WorldCat Identities

Sifuentes, Roberto 1967-

Overview
Works: 27 works in 60 publications in 3 languages and 624 library holdings
Genres: Experimental films  Television programs  Short films  Drama  History  Interviews  Documentary-style films  Criticism, interpretation, etc 
Roles: Performer, Creator, Actor, Interviewee, Other, Contributor
Publication Timeline
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Most widely held works about Roberto Sifuentes
 
Most widely held works by Roberto Sifuentes
Exercises for rebel artists : radical performance pedagogy by Guillermo Gómez-Peña( Book )

10 editions published in 2011 in English and held by 208 WorldCat member libraries worldwide

"In Exercises for Rebel Artists, Guillermo Gomez-Pena and Roberto Sifuentes use their extensive teaching and performance experience with La Pocha Nostra to help students and practitioners to create border art. Designed to take readers right into the heart of radical performance, the authors use a series of crucial practical exercises, honed in workshops worldwide, to help create challenging theatre which transcends the boundaries of nation, gender, and racial identity. The book features: detailed exercises for using Pocha Nostra methods in workshops; inspirational approaches for anyone creating, producing or teaching radical performance; a step-by-step guide for large-scale group performance; new, unpublished photos of the Pocha Nostra method in practice. Exercises for Rebel Artists advocates teaching as an important form of activism and as an extension of the performance aesthetic. It is an essential text for anyone who wants to learn how use performance to both challenge and change."--Publisher's description
Temple of confessions : Mexican beasts and living santos by Guillermo Gómez-Peña( Book )

8 editions published between 1996 and 1997 in English and held by 202 WorldCat member libraries worldwide

In this original and politically-charged work, two performance artists bring the US/Mexican cultural and linguistic melting pot to the boil, by analysing the connection between fear and desire in our reaction to different races
Border art clásicos (1990-2005) an anthology of collaborative video works( Visual )

1 edition published in 2007 in English and held by 59 WorldCat member libraries worldwide

Ten examples of Gómex-Peña's work with other artists
Radical performance pedagogy : exercises for rebel artists and border crossers by Guillermo Gómez-Peña( Book )

5 editions published between 2010 and 2011 in English and held by 18 WorldCat member libraries worldwide

Guillermo Gomez-Pena uses his extensive teaching and performance experience with La Pocha Nostra to help students and practitioners to create 'border art'. He uses a series of crucial practical exercises to help create challenging theatre which transcends the boundaries of nation, gender, and racial identity
El naftazteca by Guillermo Gómez-Peña( Visual )

3 editions published between 1995 and 2007 in English and Undetermined and held by 11 WorldCat member libraries worldwide

"Thanksgiving, 1994 ... The evening news is interrupted by Cyber-Aztec pirates transmitting their views from their underground vato-bunker. In actuality, viewers were participating in an experiment in interactive television, which reached a potential audience of 3.5 million American homes. [This] is an edited version of [that] live telecast."
Antología del saber popular : a selection from various genres of Mexican folklore across borders by Stanley Linn Robe( Book )

in Spanish and held by 5 WorldCat member libraries worldwide

Temple of confessions : Mexican beasts and living santos by Guillermo Gómez-Peña( Recording )

1 edition published in 1996 in English and held by 5 WorldCat member libraries worldwide

Guillermo Gómez-Peña's El Naftazteca : Cyber-Aztec TV for 2000 AD( Visual )

3 editions published between 1995 and 1998 in English and Spanish and held by 5 WorldCat member libraries worldwide

Gomez-Pena performs as the Cyber-Aztec pirate, El Naftazteca who commandeers the commercial TV signal from his underground studio and broadcasts a demonstration of his Chicano Virtual Reality time-machine. The Chicano Virtual Reality machine enables El Naftazteca to retrieve instantly any moment from his or his people's history, and then display the moment in video images. The content? "Weapons, chickens, propositions, cacti, trackballs, commentary, vegetables, wrestler masks, Pepto Bismol, the V.R. sombrero and Generation Mex." The piece combines the old technology of cable access and radio call-ins with the new technologies of cyberspace, virtual reality and satellites to destroy the border between new and old technologies, English and Spanish, Mexico and the U.S
The dangerous border game( Visual )

2 editions published between 1996 and 2005 in English and held by 4 WorldCat member libraries worldwide

This theatrical performance art piece is the product of a five-year ongoing collaboration between Guillermo Gómez-Peña, Roberto Sifuentes, and a troupe of Washington, D.C. performance artists. Presented by the Washington Performing Arts Society and GALA Hispanic Theater, this 'multi-cultural, end-of-the-century, post-NAFTA, freak show extravaganza' blends narrative, poetry, dance, rap, and performance art in a multi-lingual exploration of cross-cultural, border-crossing issues and debates on multicultural fears and desires, stereotypes, diversity and identity. La Pocha Nostra (www.pochanostra.com) is an ever-morphing trans-disciplinary arts organization, founded in 1993 by Guillermo Gómez-Peña, Roberto Sifuentes, and Nola Mariano in California. The objective was to formally conceptualize Gómez-Peña's collaborations with other performance artists. It provides a base (and forum) for a loose network of rebel artists from various disciplines, generations and ethnic backgrounds, whose common denominator is the desire to cross and erase dangerous borders between art and politics, practice and theory, artist and spectator. As of June 2006, members include performance artists Guillermo Gómez-Peña, Violeta Luna, Michelle Ceballos, and Roberto Sifuentes; curators Gabriela Salgado and Orlando Britto; and over thirty associates worldwide in countries such as Mexico, Spain, the UK, and Australia. Projects range from performance solos and duets to large-scale performance installations including video, photography, audio, and cyber-art. La Pocha collaborates across national borders, race, gender and generations. Their collaborative model functions both as an act of citizen diplomacy and as a means to create ephemeral communities of like-minded rebels. The basic premise of these collaborations is founded on an ideal: If we learn to cross borders on stage, we may learn how to do so in larger social spheres. La Pocha strives to eradicate myths of purity and dissolve borders surrounding culture, ethnicity, gender, language, and métier. These are radical acts
Border art clásicos (1990-2005) : an anthology of collaborative video works by Guillermo Gómez-Peña by Guillermo Gómez-Peña( Visual )

1 edition published in 2007 in Multiple languages and held by 4 WorldCat member libraries worldwide

The temple of confessions( Visual )

4 editions published between 1996 and 2007 in English and Undetermined and held by 4 WorldCat member libraries worldwide

This itinerant performance/installation present two 'end-of-the-century saints' from an 'unknown border religion', in search of sanctuary across the United States while gathering confessions on intercultural fears and desires. Designed as a theater of mythos and cultural pathologies, the 'Temple' proposes a ceremonial space for the reflection on ethnic, racial, and gender prejudices. It is divided in three main areas: the 'Chapel of Desires', displaying 'El Pre-Columbian Vato' or 'holy gang member' (performed by Roberto Sifuentes); the 'Chapel of Fears', displaying 'San Pocho Aztlaneca' (a 'hyper-exoticied curio shop shaman for spiritual tourists' performed by Guillermo Gómez-Peña); and an enigmatic funerary vignette composed by performance objects. Paintings of other 'hybrid santos' hang from the walls, two 'nuns' ('chola/nun' Norma Medina and 'dominatrix nun' Michelle Ceballos) take care of the temple, and visitors can leave their 'confessions'; the most revealing ones are incorporated into the installation soundtrack for future performances. La Pocha Nostra (www.pochanostra.com) is an ever-morphing trans-disciplinary arts organization, founded in 1993 by Guillermo Gómez-Peña, Roberto Sifuentes, and Nola Mariano in California. The objective was to formally conceptualize Gómez-Peña's collaborations with other performance artists. It provides a base (and forum) for a loose network of rebel artists from various disciplines, generations and ethnic backgrounds, whose common denominator is the desire to cross and erase dangerous borders between art and politics, practice and theory, artist and spectator. As of June 2006, members include performance artists Guillermo Gómez-Peña, Violeta Luna, Michelle Ceballos, and Roberto Sifuentes; curators Gabriela Salgado and Orlando Britto; and over thirty associates worldwide in countries such as Mexico, Spain, the UK, and Australia. Projects range from performance solos and duets to large-scale performance installations including video, photography, audio, and cyber-art. La Pocha collaborates across national borders, race, gender and generations. Their collaborative model functions both as an act of citizen diplomacy and as a means to create ephemeral communities of like-minded rebels. The basic premise of these collaborations is founded on an ideal: If we learn to cross borders on stage, we may learn how to do so in larger social spheres. La Pocha strives to eradicate myths of purity and dissolve borders surrounding culture, ethnicity, gender, language, and métier. These are radical acts
Mexican cowboys and Indian lowriders( Visual )

2 editions published in 1996 in English and held by 3 WorldCat member libraries worldwide

An experiment in 'reverse anthropology', this performance/installation creates an inverted world where Chicanos and Native Americans occupy a fictional cultural center and the 'Anglos' are nomadic minorities and tribal peoples with exotic costums and costumes. The resulting diorama is an experimental Indian trading post and curio shop of sorts, incorporating fictitious museum labels, racist pop archeology (Indianabilia, Mexicabilia, 'Western' souvenirs), 'authentic' Cowboy an Indian art, and the display of the troupe of collaborating performers as 'stuffed humans' or 'cultural specimens'. La Pocha Nostra (www.pochanostra.com) is an ever-morphing trans-disciplinary arts organization, founded in 1993 by Guillermo Gómez-Peña, Roberto Sifuentes, and Nola Mariano in California. The objective was to formally conceptualize Gómez-Peña's collaborations with other performance artists. It provides a base (and forum) for a loose network of rebel artists from various disciplines, generations and ethnic backgrounds, whose common denominator is the desire to cross and erase dangerous borders between art and politics, practice and theory, artist and spectator. As of June 2006, members include performance artists Guillermo Gómez-Peña, Violeta Luna, Michelle Ceballos, and Roberto Sifuentes; curators Gabriela Salgado and Orlando Britto; and over thirty associates worldwide in countries such as Mexico, Spain, the UK, and Australia. Projects range from performance solos and duets to large-scale performance installations including video, photography, audio, and cyber-art. La Pocha collaborates across national borders, race, gender and generations. Their collaborative model functions both as an act of citizen diplomacy and as a means to create ephemeral communities of like-minded rebels. The basic premise of these collaborations is founded on an ideal: If we learn to cross borders on stage, we may learn how to do so in larger social spheres. La Pocha strives to eradicate myths of purity and dissolve borders surrounding culture, ethnicity, gender, language, and métier. These are radical acts
La Pocha Nostra : Mapa/corpo 2 : ritos interactivos para el nuevo milenio( Visual )

1 edition published in 2007 in English and held by 3 WorldCat member libraries worldwide

Video documentation of La Pocha Nostras Mapa/Corpo 2: Ritos interactivos para el nuevo milenio (Mapa/Corpo 2: Interactive Rituals for the New Millenium), performed as a part of the 6th Encuentro of the Hemispheric Institute of Performance and Politics, celebrated in June of 2007 in Buenos Aires, Argentina under the title CORPOLÍTICAS en las Américas: Formaciones de Raza, Clase y Género / Body Politics in the Americas: Formations of Race, Class and Gender. La Pocha Nostra (www.pochanostra.com) is an ever-morphing trans-disciplinary arts organization, founded in 1993 by Guillermo Gómez-Peña, Roberto Sifuentes, and Nola Mariano in California. The objective was to formally conceptualize Gómez-Peña's collaborations with other performance artists. It provides a base (and forum) for a loose network of rebel artists from various disciplines, generations and ethnic backgrounds, whose common denominator is the desire to cross and erase dangerous borders between art and politics, practice and theory, artist and spectator.'Mapa/Corpo' is a poetic interactive ritual that explores neo-colonization/de-colonization through acupuncture and the reenactment of the post-9/11 body politic
Borderscape 2000 : kitsch, violence, cyborgs, and shamanism at the end of the century (backstage interviews and performance)( Visual )

1 edition published in 1999 in English and held by 3 WorldCat member libraries worldwide

Documentation of a backstage interview with performance artists Guillermo Gómez-Peña and Roberto Sifuentes by filmmaker Ed Morales, along with footage of pre-performance preparations and excerpts of the actual performance at the Magic Theater in San Francisco, CA. Described as a 'high-tech Aztec Spanglish lounge operetta', this performance works through and with Chicano stereotypes -featuring the Cyber Vato, the Mexterminator, the Transvestite Mariachi and other Pocha Nostra 'cultural specimens'- in order to address and examine border-crossing issues of race, gender, language, religion, politics, commodification and multiculturalism. La Pocha Nostra (www.pochanostra.com) is an ever-morphing trans-disciplinary arts organization, founded in 1993 by Guillermo Gómez-Peña, Roberto Sifuentes, and Nola Mariano in California. The objective was to formally conceptualize Gómez-Peña's collaborations with other performance artists. It provides a base (and forum) for a loose network of rebel artists from various disciplines, generations and ethnic backgrounds, whose common denominator is the desire to cross and erase dangerous borders between art and politics, practice and theory, artist and spectator. As of June 2006, members include performance artists Guillermo Gómez-Peña, Violeta Luna, Michelle Ceballos, and Roberto Sifuentes; curators Gabriela Salgado and Orlando Britto; and over thirty associates worldwide in countries such as Mexico, Spain, the UK, and Australia. Projects range from performance solos and duets to large-scale performance installations including video, photography, audio, and cyber-art. La Pocha collaborates across national borders, race, gender and generations. Their collaborative model functions both as an act of citizen diplomacy and as a means to create ephemeral communities of like-minded rebels. The basic premise of these collaborations is founded on an ideal: If we learn to cross borders on stage, we may learn how to do so in larger social spheres. La Pocha strives to eradicate myths of purity and dissolve borders surrounding culture, ethnicity, gender, language, and métier. These are radical acts
The great mojado invasion, part 2 : the 2nd U.S.-Mexico War( Visual )

1 edition published in 2011 in English and held by 3 WorldCat member libraries worldwide

"A masterpiece of border camp and reverse anthropology." Pioneer performance artist and writer Guillermo Gómez-Peña and independent filmmaker Gustavo Vazquez reunite to re-edit their legendary cult video with brand-new footage and a re-mastered soundtrack by maestro Guillermo Galindo. In this 'master piece of border camp and reverse anthropology, ' the artists attack hard reality with large doses of irony, black humour and high style, generating a complex commentary on history, society, pop culture, the politics of representation and the repercussions of ethnic dominance. Like a ghost from the future, 'El Mad Mex' Gómez-Peña narrates this hybrid-genre video, which envisions a queue of mojados ('wetbacks') who re-conquer lost Mexican territory to establish the new 'U.S. of Aztlan
The mexterminator( Visual )

2 editions published in 1998 in English and held by 3 WorldCat member libraries worldwide

A 'political peepshow' of sorts, this interactive performance/installation functions as a living museum of techno-dioramas displaying a series of living "multicultural Frankensteins" or "ethno-cyborgs". The characters, created by La Pocha Nostra, are based on thousands of anonymous on-line responses by net users (www.mexterminator.com), re-interpreting their proposals for 'hybrid specimens' meant to embody Americans' expressed intercultural fears and desires toward Latinos, immigrants and people of color. The resulting dioramas involve physical interaction with the audience, encouraging visitors to engage in the reflection of their own psychological and cultural monsters
Urban revisions( Visual )

2 editions published in 1994 in English and held by 3 WorldCat member libraries worldwide

Ritual spoken word performance by Guillermo Gómez-Peña and Roberto Sifuentes with Chicano journalist, author and musician Rubén Martínez, as a part of ADOBE L.A. Interventions. An enigmatic living diorama of a "Vato cultural specimen" is flanked by a border-crossing 'spoken word' tour de force, a staccato back-and-forth of poetry, word-play, political commentary, autobiographical material, and performative provocation. This intervention was performed in the context of the project "Urban Revisions: Current Projects in the Public Realm", curated by the Museum of Contemporary Art in Los Angeles, California, and later edited by Elizabeth A.T. Smith
Chicano literature in the seventies : a round table discussion( Visual )

2 editions published in 1980 in Spanish and English and held by 2 WorldCat member libraries worldwide

Chicano critics Juan Rodriguez, Eliud Martinez and Roberto Sifuentes discuss with Luis Leal the history and development of creative writing by Mexican Americans. The relationship between Chicano authors and the university as a base for Chicano authors is explored as well as the topic of Chicano literature's experimentation and recognition as a body of writing outside the United States
Nao Bustamante : Sans gravity( Visual )

1 edition published in 2003 in English and held by 2 WorldCat member libraries worldwide

Video documentation of Nao Bustamante's solo performance 'Sans Gravity', presented as a part of the 4th Encuentro of the Hemispheric Institute of Performance and Politics, celebrated in July of 2003 in New York City, United States under the title 'Spectacles of Religiosities'. Water can symbolize many things, but often it is associated with knowledge and emotion; both of which are difficult to define in logical terms. In the installation/performance space of 'Sans Gravity', Bustamante explores the metaphors associated with water in the physical realm by burdening her body. The weight and the movement of the water develop into extensions of the gesture and another layer of the distorted self. The audience becomes a mechanism of relief. Nao Bustamante is an internationally known performance art pioneer originating from the San Joaquin Valley of California. Her work encompasses performance art, installation, video, pop music and experimental rips in time. Using the body as a source of image, narrative and emotion, her performances communicate on the level of subconscious language taking the spectator on a bizarre journey, with haunting images, cracking stereotypes by embodying them. Bustamante's work has been presented, among other sites at, the Institute of Contemporary Arts in London, the San Francisco Museum of Modern Arts, and the Kiasma Museum of Helsinki. She has performed in Galleries, Museums, Universities and underground sites throughout Asia, Africa, Europe, New Zealand, Australia, Canada, Mexico and the United States. Her collaborations include working with such luminaries as 'Coco Fusco' and 'Osseus Labrint'. In 2001 she received the prestigious Anonymous Was a Woman fellowship. Currently she is living in Troy, New York and an assistant professor of New Media and Live Art at Rensselaer Polytechnic Institute
The temple of confessions : pre-performance street intervention, Detroit( Visual )

1 edition published in 1996 in English and held by 2 WorldCat member libraries worldwide

As a pre-performance strategy for advertising their upcoming 'The Temple of Confessions' performance/installation, La Pocha Nostra conducts a series of interventions in Detroit's public sphere. Two 'end-of-the-century saints', in search of sanctuary across the United States while gathering confessions on intercultural fears and desires, take on key politically relevant or visually interesting public sites. 'El Pre-Columbian Vato' or 'holy gang member' (performed by Roberto Sifuentes) and 'San Pocho Aztlaneca' (a 'hyper-exoticied curio shop shaman for spiritual tourists' performed by Guillermo Gómez-Peña) are walked in leashes by 'corporate dominatrix' Michelle Ceballos and tended by 'chola/nun' Norma Medina; in this fashion, they visit an array of public places, from a financial/downtown district fancy café, to the US-Canada border, always followed by an entourage of photographers and videographers from the local media that document their 'pilgrimage'. Through these performative irruptions in everyday life, La Pocha Nostra creates the means for provoking in the "Temple" prospective audience an aura of expectation, a bearing witness of a mythology of intercultural fears and desires; this, in turn, would broaden the diversity of the audience, and create a propitious environment for their upcoming 'confessions'. La Pocha Nostra (www.pochanostra.com) is an ever-morphing trans-disciplinary arts organization, founded in 1993 by Guillermo Gómez-Peña, Roberto Sifuentes, and Nola Mariano in California. The objective was to formally conceptualize Gómez-Peña's collaborations with other performance artists. It provides a base (and forum) for a loose network of rebel artists from various disciplines, generations and ethnic backgrounds, whose common denominator is the desire to cross and erase dangerous borders between art and politics, practice and theory, artist and spectator. As of June 2006, members include performance artists Guillermo Gómez-Peña, Violeta Luna, Michelle Ceballos, and Roberto Sifuentes; curators Gabriela Salgado and Orlando Britto; and over thirty associates worldwide in countries such as Mexico, Spain, the UK, and Australia. Projects range from performance solos and duets to large-scale performance installations including video, photography, audio, and cyber-art. La Pocha collaborates across national borders, race, gender and generations. Their collaborative model functions both as an act of citizen diplomacy and as a means to create ephemeral communities of like-minded rebels. The basic premise of these collaborations is founded on an ideal: If we learn to cross borders on stage, we may learn how to do so in larger social spheres. La Pocha strives to eradicate myths of purity and dissolve borders surrounding culture, ethnicity, gender, language, and métier. These are radical acts
 
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Exercises for rebel artists : radical performance pedagogyRadical performance pedagogy : exercises for rebel artists and border crossers
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Temple of confessions : Mexican beasts and living santosRadical performance pedagogy : exercises for rebel artists and border crossersTemple of confessions : Mexican beasts and living santos