Corpus delecti : performance art of the Americas / edited by Coco Fusco.

Enhanced descriptions from Syndetics:

The most comprehensive volume on performance art from the Americas to have appeared in English, Corpus Delecti is a unique collection of historical and critical studies of contemporary Latin performance. Drawing on live art from the 1960s to the present day, these fascinating essays explore the impact of Latin American politics, popular culture and syncretic religions on Latin performance.
Including contributions by artists as well as scholars, Fusco's collection bridges the theory/practice divide and discusses a wide variety of genres. Among them are:
* body art
* carpa
* vaudeville
* staged political protest
* tropicalist musical comedies
* contemporary Venezuelan performance art
* the Chicano Art movement
* queer Latino performance
The essays demonstrate how specific social and historical contexts have shaped Latin American performance. They also show how those factors have affected the choices artists make, and how their work draw upon and respond to their environment.

Table of contents provided by Syndetics

• List of illustrations (p. viii)
• Introduction: Latin American Performance and the Reconquista of Civil Space (p. 1)
• Part I Heterotopic, Homoerotic, Hyper-Exotic Cabarets
• The Melodramatic Seductions of Eva Peron (p. 23)
• Chicas 2000: an excerpt (p. 41)
• Exotic Exports: The Myth of the Mulatta (p. 43)
• She is a Virgin and She Awaits You: an excerpt (p. 55)
• The Beach is Nice (p. 59)
• Stuff!: an excerpt (p. 61)
• Visibility as Strategy: Jesusa Rodriguez's Body in Play (p. 63)
• Border Brujo (p. 79)
• Oh Goya! Goya!: an excerpt (p. 81)
• Camp, Carpa and Cross-Dressing in the Theater of Tito Vasconcelos (p. 83)
• Memory Performance: Luis Alfaro's "Cuerpo Politizado" (p. 97)
• The Adventures of Connie Chancla (p. 115)
• Architectures of Seeing (p. 116)
• Part II Ritualizing the Body Politic
• Henny-Penny Piano Destruction Concert (p. 133)
• From Inscription to Dissolution: An Essay on Expenditure in the Work of Ana Mendieta (p. 134)
• The Burden of Guilt (p. 153)
• Una Cosa es una Cosa (A Thing is a Thing) (p. 155)
• Lygia Clark and Helio Oiticica: A Legacy of Interactivity and Participation for a Telematic Future (p. 156)
• Todos Mis Muertos (All My Dead Ones) (p. 175)
• Embodying Venezuela (p. 177)
• PerforMANcena (p. 193)
• America the Beautiful (p. 197)
• Part III Stepping Toward An Oppositional Public Sphere
• Sunday, July 25, 1965 (p. 201)
• Margins and Institutions: Performances of the Chilean Avanzada (p. 203)
• Operations (Work in Progress) Chile-England (p. 219)
• Las Yeguas del Apocalipsis (The Mares of the Apocalypse): The Equine Lips of Exile (p. 221)
• The Street and Its Conditions (p. 223)
• Non-Objective Arts In Mexico 1963-83 (p. 225)
• Orphans of Modernism: The Performance Art of Asco (p. 240)
• The End of the Line (p. 265)
• Performance in Cuba in the 1980s: A Personal Testimony (p. 266)
• Art Attack: The Work of ARTECALLE (p. 275)
• "1242900 (Parte I)" (p. 283)
• Electronic Disturbance Theater (p. 285)
• Index (p. 287)

Author notes provided by Syndetics