Ruth Hellier-Tinoco

Associate Professor

Office Location

Music Building 1105

Specialization

Faculty Affiliate:
Department of Theater and Dance
Department of Feminist Studies
Latin American and Iberian Studies Program
Co-Chair, UC-Mexico Initiative, Working Group for Arts and Culture
ucmexicoinitiative.ucr.edu
Editor: journal of Mexican Studies/Estudios Mexicanos, UC Press, UC, UC MEXUS and UNAM, http://www.hfa.ucsb.edu/mexicanestudiosjournal/ or http://msem.ucpress.edu
 
Areas of specialization:
Politics and cultural histories of musics, theater, and dance in Mexico
Mexican nationalism and tourism
Experimental performance art and postdramatic theater
Community arts and education
 

Education

Ph.D. University of Central England, Birmingham Conservatoire, 2001.
     Performance Studies, Ethnomusicology and Dance Anthropology.
     Removing the Mask: The Viejitos Dance as Ideological and Political Tool in Post-Revolution Mexico 1920-1940.
 
P.G.C.E. University of Central England. Drama in Education, 1991.
     Postgraduate Certificate of Education
 
B.A. Hons University of Birmingham. Music, Drama & Dance, 1983.

Bio

Ruth Hellier-Tinoco, PhD, is a scholar, creator and performer, whose work engages in an interdisciplinary context with the fields of performance studies, ethnomusicology, dance studies, community arts, theatre studies, and Mexican and Latin American studies. Her research projects explore issues of identity, ethnicity and migration; power relations; tourism; gender; embodiment; vocality; and the ethics in/of performance and research.
 
Publications include Embodying Mexico: Tourism, Nationalism, and Performance (OUP); chapters in Performance, Embodiment and Cultural Memory, and Music, Power and Politics; articles in Performance Research and Research in Drama Education; an edited collection, Women Singers in Global Contexts (forthcoming: University of Illinois Press) and Performing Memory: Contemporary Mexican Theater (forthcoming: Intellect).
 
She holds BA Hons in Music, Drama and Dance, PGCE in Drama in Education; and PhD in Ethnomusicology/Dance Anthropology. Ruth had a successful career as a professional stage and TV actor, and also worked as a community arts facilitator, and Head of Music in secondary education. In the field of arts and disability, she directed the InterAct Theatre Workshop.
 
Latin American and Iberian Studies: Undergraduate Advisor
Feminist Studies: Affiliate
Modern Mexican Studies Research Focus Group: Co-Convenor
 
Associate Professor: University of California, Santa Barbara. Department of Music
Affiliated Faculty: Theater and Dance; Feminist Studies: Latin American and Iberian Studies.
 
Current leadership roles
Editor: Mexican Studies/Estudios Mexicanos journal (UC Press, UCMEXUS, UNAM) (Oct. 2014–)
 
Areas of specialization
Politics and cultural histories of musics, theater, and dance in Mexico
Nationalism and tourism in 20th and 21st century Mexico
Music, gender, singing, and biography
Experimental performance art and postdramatic theatre
Concepts of time, memory, and history in creative practice
Community arts and education.
 
EDUCATION
Ph.D. University of Central England, Birmingham Conservatoire, 2001.
     Performance Studies, Ethnomusicology and Dance Anthropology.
     Removing the Mask: The Viejitos Dance as Ideological and Political Tool in Post-Revolution Mexico 1920-1940.
 
P.G.C.E. University of Central England. Drama in Education, 1991.
     Postgraduate Certificate of Education.
 
B.A. Hons University of Birmingham. Music, Drama & Dance, 1983.
 
SPECIALIST TRAINING
1997-1998 Universidad Michoacana de San Nicolás de Hidalgo, Morelia, Michoacán, México.
1994 International House, London. Certificate Royal Society of Arts/UCLES TEFLA.
1993                    Bagamoyo College of Arts, Bagamoyo, Tanzania, Africa.
1985-1987           Cannon Hill Puppet Theatre, Birmingham, Puppetry, teacher: John Blundell.
1985-1992           The Actors Centre, London, Manchester and Birmingham.
1980-1983           Birmingham School of Music, Voice/Opera, teacher: Janet Edmunds.
1973-1983           Alexander Technique, Chelmsford and Birmingham.
1973-1979           Guildhall School of Music & Drama, London, Junior Music School scholarship, Piano and Violin. Grade VIII, Piano, Royal Schools of Music, 1979 Grade VIII, Violin, Royal Schools of Music, 1979
1969-1978           Brenda Goddard School of Dancing, Essex: ballet, tap, modern, character.
 
EMPLOYMENT
July 2013          Associate Professor, University of California, Santa Barbara.
July 2011          Assistant Professor, University of California, Santa Barbara.
2002-2011        Senior Lecturer (Associate Professor, USA equivalent), Full-time: University of Winchester, UK. Performing Arts, Contemporary Theatre and Performance; Applied Theatre; Music Theatre.
2010                 Visiting Associate Professor, University of California, Santa Barbara (Sep-Dec: on leave from the University of Winchester).
2008-2009        Visiting Lecturer, Department of Music and Department of Theater & Dance, University of California, Santa Barbara (Sep-June on leave from the University of Winchester).
2005                 Research Fellow, Arts and Humanities Research Centre for Cross-Cultural Music and Dance, SOAS, University of London.
2000-2001        Lecturer in Performance Studies, Dance, Performing Arts, South Birmingham College, Birmingham.
2000-2001        Lecturer in Latin American and Caribbean History, Department of Comparative American Studies, University of Warwick.
2000                 Studio Teacher, voice and singing, Birmingham Theatre School, Birmingham.
2000                 Teacher, classroom music, drama/dance, and Choir Director, Camp Hill School, Birmingham.
1994-1999        Undertaking fieldwork for doctoral research in Mexico. Extended periods.
1995-1996        Head of Music, classroom teaching, Choir director, Orchestra conductor, Dance director, Accompanist for Mass, Bishop Challoner School, Birmingham.
1994-1995        Head of Music, classroom teaching, Choir director, Orchestra conductor, Wind band director, Dance director, Accompanist for Mass. St Thomas Aquinas School, Birmingham.
1994                 Teacher, drama and performing arts, Countersthorpe Community College, Leicestershire.
1990-1991        Post Graduate Certificate in Education: Drama in Education – full-time student.
1985-1991        Community arts facilitator and workshop leader, Artlink, West Midlands Arts.
1983-1993        Professional actress, musician, puppeteer, musical director, composer, dancer: UK (Repertory, touring, community, children’s, educational, TV).
1983-1993        Workshop leader: theatre arts and music.
1979-1980        Choir director and piano accompanist, The College Singers, Writtle College, University of Essex.

Projects

Professor Ruth Hellier-Tinoco with Son Jarocho musician Jorge Mijangos, UCSB students, and the Harmony Project Ventura. May 2015. (Photo by Sonia Fernandez)

Creative works and research (UCSB)

IHC Performance and Politics Research Focus Group: founder and co-convener (2013 —)

IHC Uses of the Public University Research Focus Group co-convener (2013-14)

IHC Modern Mexico Research Focus Group: founder and co-convener (2012-13)

 

Noon Bowl Concert, Department of Music, 21 May, 2014 (violin, guitar, voice).

 

Traces and Fragments of Embodying Mexico, Davidson Library, UCSB, April- June 2012. Public Exhibition

 

UCSB Reads Radio contributor 2013

 

UCSB Reads Panel Speaker: Santa Barbara Public Library, 2013

 

Primavera Festival of Contemporary Arts and Digital Media, Committee member. 2011-2012.

 

Primavera Festival of Contemporary Arts and Digital Media, Director of Undergraduate Performances, April 10 2012

 

Speaker, Inspirations: Celebrating Newly Authored Women, UCSB Women's Center Annual Lunch Reception and Book Symposium, May 2012. 

 

Actress: Play-reading: La Malinche by Carlos Morton. Performance Studies Research Focus Group, IHC and Department of Theater and Dance. Role: La Llorona, 27 January 2012.

 

Musician: World Music Series, Music Bowl, UCSB, With Mariachi la Olas de Santa Barbara. Voice, violin, guitar. Directing P'urhépecha repertoire: “La Reina de los Juaquinaquiles”; “La Virgen de la Candelaria,” (Juan Francisco Calixto).  “La Última Noche”, 1 Feb 2012.

 

Actress: Staged reading: Army of Lovers by Brian Grainger, Studio Theater, Department of Theater, UCSB, Role: Thebe, Queen of Pherae, 11 Feb 2012

 

Musician: World Music Series, Music Bowl, UCSB, With Mariachi la Olas de Santa Barbara. Voice and violin. Bésame Mucho. Directing P'urhépecha repertoire: “El de Ichán” (Julio Granados), “Jarácuaro” (Nicolás Bartolo Juárez), “La Canoa Más Ligera” (Nicolás Bartolo Juárez), 2 May 2012.

 

Musician: Book presentation: Embodying Mexico, Musicians: Ruth Hellier-Tinoco, Juan Zaragoza, Ann Hefferman, Daisy León, 9 May 2012.

 

Music consultant for Anowa by Ama Ata Aidoo, directed by Irwin Appel, Hatlen Theater, Department of Theater and Dance, 25 May- 2 June 2012.

Committee, Student Colloquium:  The Knowing Body, June 1, 2012.

Student Colloquium, Performance Studies Research Focus Group of the Interdisciplinary Humanities Center, Performance: Inger Lise Sortland, 1 June 2012

 

Chair, Open Discussion: “Performance Studies:Is it still useful or is it time to ditch it, part 2?” Performance Studies Research Focus Group, IHC Feb 2012.

Presenter, Talk: Re-Membering: Creating memories/histories, with Carol Press (Dance), Performance Studies Research Focus Group IHC, 9 April 2012.

Curator, Performance: Re-Membering: Performing memories/histories, UCSB students, 10 April 2012.

Presenter and musician, Talk: Book Presentation, Embodying Mexico, Ninotchka Bennahum, Sarah Cline, María Herrera-Sobek (in absentia), Suk-Young Kim, Dave Novak, and undergraduate students. Musicians: Ruth Hellier-Tinoco, Juan Zaragoza, Ann Hefferman, Daisy León, IHC, 9 May 2012.

Book summary, XIV Colloquium on Mexican Literature: Las dos caras de la ficción (The Two Faces of Fiction: Masks, Costumes, Disguises, Defacement). UC-Mexicanistas Intercampus Research Program, the Department of Spanish and Portuguese, and the IHC. 3-5 Nov 2011.

Co-convener, Interdisciplinary Humanities Center,. Organized and participated in eight events:

Chair, Discussion, opening event, Performance Studies Research Focus Group, IHC, Oct 2011

Chair, Open Discussion, “Performance Studies: Is it still useful or is it time to ditch it, part 1?” Performance Studies Research Focus Group IHC Dec 2011.

 

 

Teaching at UCSB as Lecturer (2009-2010) on leave from position in U.K.

Undergraduate: Worlds of Music  (General Education) MUS 17

Popular Music and Culture in the USA (General Education) MUS 114

Transcription and Notation (Music majors and grad) MUS 169

Other Issues in Ethnomusicology: Representation, Narrative, Writing MUS 168G

Graduate:               Transcription and Notation MUS 226

Other Issues in Ethnomusicology: Representation, Narrative, Writing MUS 262G

Research and Bibliography MUS 200C        

Pro-Seminar in Ethnomusicology MUS 227

Studies in Ethnomusicology MUS 276B

 

 

 

 

COMMUNITY SERVICE, Santa Barbara

Musician (piano, guitar, voice) and actor, Schmooze Room, Bronfman Family Jewish Community Center, Santa Barbara, March 2014.

Pianist/accompanist, St Michaels University Episcopal Church, Isla Vista, CA, Jan, Feb, May, June 2012.

Musician, St Michaels University Episcopal Church, Isla Vista, CA, Memorial service: violin/voice, January 2012.

Musician: St Michaels University Episcopal Church, Isla Vista, CA, Lessons and Carols: Mariachi Integral de Santa Barbara – violin and voice, and Choir, 4 Dec 2011.

Choir member and musician, St Michaels University Episcopal Church, Isla Vista, CA (guitar, violin, piano, recorder) 2011-13.

 

 

 

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Creative Works Prior to 2003: Professional Actress, Musician, Dancer, Puppeteer

Keystage Theatre. Director: Cherry Stephenson.
Role: Hermia in A Midsummer Night’s Dream by William Shakespeare. [Actress] [40 performances]. 1993.

 

The Royal Society for Arts, Shakespeare in Schools Project, Keystage Theatre. Director: Maurice Gilmour.
Role: Lady Macbeth in Macbeth by William Shakespeare. [4 performances]. 1993.

 

Keystage Theatre. Director: Maurice Gilmour.
Role: Lady Macbeth in Macbeth by William Shakespeare. [Actress] [50 performances] 1992-1993.

 

Pattern 23 Theatre Company, Birmingham.
Role: Ruth in I’m not racist but… by Gwen Williams. [Actress] [10 performances]. 1991.

 

Pattern 23 Theatre Company, Birmingham.
Role: Ensemble in Aston Hall By Candlelight. [Actress, musician, dancer] [4 performances]. 1991.

 

Leicestershire Theatre in Education Company. Director: Maurice Gilmour.
Role: Aztec child in Aztec by Maurice Gilmour and company. [Actress] [50 performances]. 1991.

 

Leicestershire Theatre in Education Company. Director: Maurice Gilmour.
Role: Rob in Bug, by Maurice Gilmour and the company. [Actress] [40 performances]. 1991.

 

Leicestershire Theatre in Education Company. Director: Maurice Gilmour.
Role: Anne in Fair Deal by Maurice Gilmour and the company. [Actress] [50 performances]. 1991.

 

BBC Television, Director: James Ormerod.
Role: admissions clerk in Vote for Them by David Edgar and Neil Grant. [BBC 2 Television]. 1989.

 

MacRobert Arts Centre, Scotland. Director: Dennis Critchley.
Role: Snow White (lead) in Snow White and the Seven Dwarfs by D. Critchley. [Actress, singer] [48 performances]. 1988-1989.

 

BBC Television, Director: Christopher Menaul.
Role: university lecturer in Nice Work by David Lodge, adapted from his novel. [Actress] [Four episodes shown on BBC 2 Television and BBC 1 Television and sold worldwide]. 1989.

 

Turtle Theatre (Birmingham Repertory Theatre) Birmingham. Choreographer: Claire Russ; Director: Nigel Stewart.
Role: Lieutenant Rose in The Gun by Alan Hancock. [Actress: physical theatre piece] [25 performances]. 1989.

 

Malcolm Knight Productions, No. 1 National Tour (Bristol Theatre Royal, Leicester Theatre Royal, Director: Robert Arditti.
Role: Jane (understudy) in Salad Days by Julian Slade and Dorothy Reynolds, [70 performances]. 1988.

 

Proteus Theatre Company, Haymarket Theatre, Basingstoke.
Role: Maria in In the World: A Revolutionary Tale by Maxim Gorky adapted by Sam Snape, [35 performances]. 1988.

 

Albermarle of London, Congress Theatre, Eastbourne. Director: Basil Chritchley.
Role: Fairy Kindheart in Snow White and the Seven Dwarfs. [Actress and singer] [45 performances]. 1987-1988.

Publications

BOOKS
Women Singers in Global Contexts: Music, Biography, Identity, edited by Ruth Hellier, with an Afterword by Ellen Koskoff. Champaign: University of Illinois Press, 2013.
Companion Website: www.music.ucsb.edu/projects/womensingers with audio, video, and other resources.
 
Embodying Mexico: Tourism, Nationalism and Performance. New York: Oxford University Press. Print: hardback & paperback, 2011.
Oxford Scholarship Online, DOI: 10.1093/ acprof:oso/ 9780195340365.001.0001, 2011.
Companion Website: www.oup.com/us/embodyingmexico. 42 video resources recorded by R. Hellier-Tinoco, 2011.
 
CHAPTERS AND ARTICLES
“Staging Entrapment in Mexico City: La Máquina de Teatro’s Reconstruction of the Massacres in Tenochtitlán and Tlatelolco.” Journal of the Society for Architectural Historians 73 (4): 474-477. 2014.
 
“Embodying Touristic Mexico: Virtual and Erased Indigenous Bodies.” In Meet Me At the Fair: A World’s Fair Reader, edited by Laura Hollengreen, Celia Pearce, Rebecca Rouse & Bobby Schweizer. 71-80. Pittsburgh, PA: ETC and Carnegie Mellon Press, 2014.
 
“Constructing “Old Spanish Days, Inc.” in Santa Barbara, California, USA: Flamenco vs. Mexican ballet folklórico.” Congress on Research in Dance Conference Proceedings, ISSN 2049-1255, 2014.
 
"Vocal Herstories: Resonances of Singing, Individuals, and Authors." In Women Singers in Global Contexts: Music, Biography, Identity. 1-37, edited by Ruth Hellier. Champaign: University of Illinois Press, 2013.
 
“Ixya Herrera: Gracefully Nurturing 'Mexico' with Song in the USA.” In Women Singers in Global Contexts: Music, Biography, Identity. 92-111. edited by Ruth Hellier, Champaign: University of Illinois Press, 2013.
 
“Themes, Threads, Connections, and Clusters.” In Women Singers in Global Contexts: Music, Biography, Identity. 227-238, edited by Ruth Hellier. Champaign: University of Illinois Press, 2013.
 
“Corpo/Reality, Voyeurs and the Responsibility of Seeing: Night of the Dead on the island of Janitzio, Mexico.” Performance Research 15(1):23-31, 2010.
 
“¡Saludos de México (el auténtico)!: Postales, anuncios espectaculares, turismo y cuerpos actuantes.” Fractal 46:79-98, 2010.
 
“Mexico, But Not Mariachi.” Classroom Music. Rhinegold Publishing. Autumn Term 2, 2009.
 
“Dead bodies/live bodies: death, memory and resurrection in contemporary Mexican performance.” In Performance, Embodiment, & Cultural Memory, edited by Colin Counsell & Roberta Mock, 114-139. Newcastle: Cambridge Scholars Publishing, 2009.
 
“Creative Graduates Case study: Performing Arts: University of Winchester.” Scottish Enhancement Theme and PALATINE: a Subject Centre of the Higher Education Academy supporting learning and teaching in dance, drama and music, QAA, 2008.
 
“Embodied artefacts of the Viejitos Dance of Lake Pátzcuaro, Michoacán, Mexico.” In Invisible and Visible Dance: Crossing Identity Boundaries. (Proceedings of the 23rd Symposium of the International Council for Traditional Music Study Group on Ethnochoreology) edited by Elsie Ivancich Dunin and Anne von Bibra Wharton, 2007.
 
“Becoming-in-the-world-with-others: Inter-Act Theatre Workshop.” Research in Drama Education: Special Edition on Ethics 10(2):159-173, 2005.
 
"Power Needs Names: Hegemony, Folklorisation and the Viejitos Dance of Michoacán, Mexico." In Music, Power and Politics, edited by Annie J. Randall, 47- 64. Routledge: New York and London, 2004.
 
“Soul in a Suitcase: Metaphysique.” Total Theatre Magazine 15/3: 12-13, 2003.
 
“Steady-state story simulations: Gamelan and electronics combine in the compositions of Mark Lockett.” Fourth Door Review 5/6: 11-16, 2003.
 
“Experiencing People: Relationships, Responsibility and Reciprocity.” British Journal of Ethnomusicology 12(1):19-34, 2003.
 
“Limiting frames and stereotypical classification: the shortcomings of the exemplar scheme of work music at Key Stage 3.” www.worldmusiccentre.com, Cultural Diversity in Music Education, 2001.
 
“A piece for the time being: The compositions of Mark Lockett.“ Seleh Notes 8(9): 8-9, 2000.
 
“Danza de los Viejitos de Jarácuaro.” P'urhépecha Jimbo: Página P'urhépecha, La Voz de Michoacán I.19.1999.
 
“Los Sombreros de Jarácuaro.” Úkata: revista del arte popular michoacana 5(23): 23-26,1999.
 
“La Corona: Símbolo de un Cargo, Cerveza y Flores.” Piel de Tierra: Michoacán, Ciudades y Regiones, Su Entorno, Historia y Cultura. Morelia: Instituto Michoacano de Cultura. 3(10): 35-38,1999.
 
“Meet Pablo and Juan: Perspectives on Rescuing, Reviving and Preserving a Tradition.” British Forum for Ethnomusicology Newsletter 16: 23-25,1998.
 
“La Danza de los Viejitos de Jarácuaro: La Tradición Sigue Evolucionando.” Piel de Tierra: Michoacán, Ciudades y Regiones, Su Entorno, HIstoria y Cultura. Morelia: Instituto Michoacano de Cultura. 2(9): 37-39, 1998.
 
“La Orquesta Uarhurhi de La Pacanda.” P'urhépecha Jimbo: Página P'urhépecha, La Voz de Michoacán IX.13.1998.
 
“La Ceremonia del Cambio de Cargueros en La Pacanda.” P'urhépecha Jimbo: Página P'urhépecha, La Voz de Michoacán IX.15.1998.
 
“La Esperanza del future.” P'urhépecha Jimbo: Página P'urhépecha, La Voz de Michoacán IX.17.1998.
 
“La Fiesta del Señor de la Exaltación, en Santa Fe de La Laguna.” P'urhépecha Jimbo: Página P'urhépecha, La Voz de Michoacán IX.29.1998.
 
“El Conjunto de Cuerdas de Juan Francisco Calixto.” P'urhépecha Jimbo: Página P'urhépecha, La Voz de Michoacán X.4.1998.
 
“Maria Luisa Calixto.”P'urhépecha Jimbo: Página P'urhépecha, La Voz de  Michoacán X.15.1998.
 
“Don Felipe Ramos Santiago/ Don Dimas Esteban Mangato. P'urhépecha  Jimbo: Página P'urhépecha. La Voz de Michoacán XI.17.1998.
 
“Heliodoro Fouar Fermín y Miguel Bacilio.” P'urhépecha Jimbo: Página P'urhépecha, La Voz de Michoacán XI.1.1998.
 
“El cohetero.” [photo] P'urhépecha Jimbo: Página P'urhépecha, La Voz de Michoacán XI.15.1998.
 
“El amanecer.” [photo] P'urhépecha Jimbo: Página P'urhépecha, La Voz de Michoacán XI.17.1998.
 
“¿Remando hacía el éxito?” P'urhépecha Jimbo: Página P'urhépecha, La Voz de Michoacán XI.29.1998.
 
 
WORK UNDER CONTRACT OR IN PRESS
Theatre of Time: Mexican Trilogy/Trilogía Mexicana. Bristol: Intellect Press.
 
“The …. Mexican / U. S.  (drug / border)  / War / ON / IN / Drugs/  Mexico / Terror *….. *delete as appropriate.” In Choreographies of 21st Century War, edited by Gay Morris and Jens Giedersdorf. Oxford University Press.
 
“Mexico” (30 entries) In The Cambridge Encyclopedia of Actors and Acting (CESAA), edited by Simon Williams. Cambridge University Press.
 
 
BOOK AND RECORDING REVIEWS
Book review of The Stridentist movement in Mexico: The Avante-Garde and cultural Change in the 1920's by Elissa J. Rashkin. In Bulletin of Latin American Research 33(4): 7-8, 2014.
 
Book review of Afro-Mexico: Dancing Between Myth and Reality, by Anita González. In Dance Research. 32(1): 99-101, 2014.
 
Book review of Indigenous Dance and Dancing Indian. Contested Representation in the Global Era by Matthew Krystal. In Dance Research 32(1):101-102, 2014.
 
Book review of Transnational Encounters: Music and Performance at the U.S.-Mexico Border, ed. by Alejandro Madrid. In Latin American Music Review. 35(1):155-157, 2014.
 
Book review of Música Norteña: Mexican Migrants Creating a Nation between Nations by Cathy Ragland. Ethnomusicology Forum, 21(2): 290-292, 2012.
 
Book review of Sounds of the Modern Nation: Music, Culture, and Ideas in Post Revolutionary Mexico by Alejandro L. Madrid. Ethnomusicology, 54(1):141-146, 2010.
 
Book review of Maya Achi Marimba Music in Guatemala by Sergio Navarrete Pellicer. Bulletin of Latin American Research 26(1):157-158, 2007.
 
Recording review of ¡Llegaron Los Camperos!-Concert Favorites of Nati Cano’s Mariachi Los Camperos and Aztec Dances-Xavier Quijas Yxayotl. World of Music 48(1):120-122, 2006.
 
Recording review of El ave de mi soñar: Los Camperos de Valles: Mexican Sones Huastecos and Mexique/Mexico: Sones Huastecos: Los Caimanes de Tampico. World of Music 48(2):189-191, 2006.
 
Book review of Music in Latin America and the Caribbean: An Encyclopedic History edited by Malena Kuss. Bulletin of Latin American Research 25(1):150-151, 2006.
 
Book review of Aesthetics in Performance: Formations of Symbolic Construction and Experience edited by Angela Hobart and Bruce Kapferer. Dance Research  22(2):175–77, 2006.
 
Review Essay: Special Feature: New Books and Compact Discs in Mexican Music. Banda: Mexican Musical Life Across Borders by Helena Simonett; Virtuoso Mariachi by Jeff Nevin; Heroes and Horses: Corridos from the Arizona-Sonora Borderlands, Smithsonian Folkways Recordings, CD; Viva el mariachi! Nati Cano’s Mariachi Los Camperos. Smithsonian Folkways Recordings, CD.  British Journal of Ethnomusicology 12(2):107-115, 2003.
 
Book review of Lydia Mendoza’s life in Music: La historia de Lydia Mendoza by Y. Broyles-González.  British Journal of Ethnomusicology 10(2):126-128, 2001.
 
Translation
Barba, Maribel and Concha Martínez (1999) Like Gold in the Fire: Voices of Hope From El Salvador. Nueva Esperanza Support Group, Birmingham (Spanish to English).
 
 
CREATIVE WORKS SINCE 1995
Pre-now-post: una trilogía. Nitery Theater, Stanford University. Creator and performer. June 2013.
 
Embodying Mexico.  Cover photo. Oxford University Press. 2011.
 
Embodying Mexico. Videographer and editor — 42 video resources. www.oup.com/us/embodyingmexico. 2011
 
Tasting my Voice. The Articulate Practitioner: Articulating Practice, The Magdalena Project, International Network of Women in Contemporary Theatre and Performance Studies, University of Wales. Performer and creator, July 2005.
 
Four Tribes. Winchester Hat Fair, International Street Theatre Festival, Inter-Act Theatre Workshop. Performer and facilitator/animateur, July 2004.
 
Snapalishous. Winchester Hat Fair, International Street Theatre Festival, SNAPS 16+ Performing  Arts Project. Performer and facilitator/animateur, July 2003.
 
Musician: Violinist with Los P’urépechas de Jarácuaro, Michoacán, México. [Over 100 performances]. 1995-1999.
Peña Colibrí, Morelia, Michoacán, México.
Hotel Alameda, Morelia, Michoacán, México.
Festival, Noche de Muertos, Isla de Jarácuaro.
Fiesta, La Candelaria.
 
Musician: Los Viejitos de Jarácuaro : Danza Tradicional de Michoacán. Con el Conjunto de Cuerdas Los P’urépechas de Jarácuaro.  Alborado Records CDIM 2070. 1999. (Violin. Includes composition La Rosa Inglesa by R. Hellier).
 
Musician: Michoacán y Sus Danzas P’urépechas. Los P’urépechas de Jarácuaro. Alborado. Records KGM 211, (Violin) 1998.
 
 
CONFERENCE PAPERS, RESEARCH SEMINARS, AND PUBLIC LECTURES
Invited speaker: “Moving between now and then: constructions and re-presentations of identities and histories in theater, dance, and music in Mexico.” Performance as Public Practice, Department of Theater & Dance, University of Texas, Austin, 10 October 2014.
 
Scoring goals through song: Cielito Lindo, Mexican football fans and the power of allegiances.” International Association for the Study of Popular Music (IASPM) UK & Ireland Conference 2014, University College Cork, 11-14 September 2014.
 
“Constructing ‘Old Spanish Days, Inc.’ in Santa Barbara, California, USA: Flamenco vs. Mexican ballet folklórico.”  Congress on Research in Dance and the Society for Dance History Scholars (CORD/SDHS), Riverside, CA. Congress on Research in Dance, Society for Dance History Scholars, 13-17 November 2013.
 
Invited Lecture: Strategies of now-then: molding Mexicanness through music, dance, theater, film, and photography” University of North Texas, School of Music. Division of Music History, Theory and Ethnomusicology, with Research Methods in Ethnomusicology: Graduate Seminar, World Music and Mexican Musics: Undergraduate lectures, October 2013.
 
“Embodying Touristic Mexico: Virtual and Erased Indigenous Bodies.” In the Balance: Indigeneity, Performance, Globalization, Indigeneity in the Contemporary World: Performance, Politics, Belonging. Royal Holloway, University of London; University of Notre Dame, London.  24-27 October 2013.
 
“When Moctezuma met Cortés….:  choreographies of encounter, incursion, and terror.” Tactical Bodies: The Choreography of Non-Dancing Subjects: Congress on Research in Dance (CORD) Special Topics and Dance Under Construction, UCLA, 19–21April 2013.
 
Invited Speaker: “The …. Mexican / U. S.  (drug / border)  / War / ON / IN / Drugs/  Mexico / Terror *….. *delete as appropriate.” Dance Research Series, Critical Dance Studies, University of California, Riverside, Feb 2013.
 
 “Embodying Mexicanidad: The representational legacy of Nicolás Bartolo Juárez of the island of Jarácuaro, Lake Pátzcuaro, Michoacán.” IV International Symposium on Latin American Music, University of Arizona, 24-26 Jan 2013.
 
“Ultra-sonic improvisation, inclusion and advocacy: dancing sound in an invisible beam of Soundbeam technology.” Association for Technology in Music Instruction/College Music Society Annual Conference, San Diego, 14-16 Nov 2012.
 
“Biography, theory, context, and women singers: an exploration of tensions, boundaries, and necessities.” Chair and presenter of Roundtable, with Carol Muller, Amanda Villepastour, and Louise Wrazen. 57th Annual Meeting of the Society for Ethnomusicology, with the American Musicological Society and the Society for Music Theory, New Orleans, 1-4 Nov 2012.
 
“The performance of fishing and making tortillas: exchange value, cultural practices, and the tourist industry on Lake Pátzcuaro, Mexico.” Psi 18, Performance Studies International Conference, University of Leeds, 27 June-3 July 2012.
 
Desde rengueando a brincando:  La Danza de Los Viejitos del Lago de Pátzcuaro durante noventa años de diversión.” XVIII Congreso anual de Mexicanistas Juan Bruce-Novoa, Department of Spanish and Portuguese, University of California, Irvine, 26-28 April, USA. 2012.
 
“Dancing sound in an invisible beam: an exploration of movement/musical improvisation using Soundbeam technology in an integrated applied arts context.” Society for Ethnomusicology and the Congress on Research in Dance Annual Conference. Philadelphia, USA. 17-20 Nov 2011.
 
Invited speaker. “From local to global in thirty-seven year: the artistic festival of the P'urhépecha people, Zacán, Mexico.” Sing a simple song. International colloquium. Musée d'ethnographie de Neuchâtel/ Institut d'ethnologie, Switzerland. 15-16 Sep 2011.
 
“Long Before Time Ever Started: Memory and Contemporary Mexican Theatre.” PSi 17, Performance Studies International Conference, University of Utrecht, Netherlands. 25-29 May 2011.
 
“Embodying Mexico.” Latin American Music Seminar, University of London. 14 May 2011.
 
Invited speaker. “On Experience, Memory and Becoming-in-the-world through participatory research and learning.” Participatory Research and Learning in the Performing Arts, Colloquium, The Centre for Creative Collaboration, University of London and PALATINE (Subject Centre of The Higher Education Academy supporting learning and teaching in Dance, Drama and Music), UK. 6 May 2011.
 
“C is for Collaboration, Creativity, and Community:  A model of alliances through applied drama, theater, and arts courses for the UC System.” UCIRA (University of California Institute for Research in the Arts) State of the Arts Conference, UC San Diego, USA. 19 Nov 2010.
 
“Being There (Virtually): Night of the Dead on Janitzio and in Hannover.” Geographies of Place and Performance Studies Research Group, Interdisciplinary Human Center, University of California, Santa Barbara, USA. 1 Nov 2010.
“Turísmo, transmisión y heréncia: Nicolás Bartolo Juárez de la isla de Jarácuaro, Michoacán, México.”  Congreso Internacional de Musicología, International Musicology Conference, International Musicological Society (IMS), Centro Nacional de las Artes, Mexico City, México. 30 Oct. 2010.
“Falsetto and Childhood Thrill: Ixya Herrera and nurturing “Mexico” through song in the USA.” Song Stage Screen V – Interdisciplinary Approaches to Voice in Music, Theatre and Film, University of Winchester, UK. 3-5 Sep. 2010.
“An Authentic Performance of Fishing: Indigenísmo, Tourism, Music, and Dance on Lake Pátzcuaro, Michoacán, Mexico.” Interdisciplinary Humanities Center, University of California, Santa Barbara, USA. 15 April 2010.
 
“Nurturing nostalgia, sharing experiences, and shaping ‘Mexico’ through song in the USA.” International Council for Traditional Music, Ireland, Annual Conference, Mary Immaculate College, University of Limerick, Republic of Ireland. 26-28 Feb, 2010.
 
Invited speaker: “Shaping ‘lo mexicano’ through music.” Ethnomusicology Institute of the Universidade Nova de Lisboa, Portugal. 13 Nov 2009.
 
“Traces of Musical Mexicanness: Tourism, Transmission, and Twentieth-Century Politics.” Society for Ethnomusicology Annual Conference, Mexico City, México. Nov 2009.
 
“Traces of Musical Mexicanness: Tourism, Transmission, and Twentieth-Century Politics.” Combined Fora of Ethnomusicology, Musicology, and Theory, & the Center for Interdisciplinary Studies of Music, University of California, Santa Barbara, USA. 29 May 2009.
 
Invited speaker: “PAR (Practice as Research) and Tasting my Voice.” PerForum, University College Cork, Republic of Ireland. 2009.
 
“Performing in the Kitchen: Bobby Baker’s Kitchen Show.” Interdisciplinary Humanities Center, University of California, Santa Barbara, USA. 29 April 2009.
 
“Dead Bodies/Live Bodies: Myths, Memory and Resurrection in Contemporary Mexican Performance. Performance Studies Research Focus Group, Department of Theater and Dance, University of California, Santa Barbara, USA. April 2009.
 
“Mexican Tourist Legacy and Transmission: Nicolás Bartolo Juárez of the island of Jarácuaro, Lake Pátzcuaro.” Society for Ethnomusicology Southern California  & Hawai’i Chapter Annual Conference. University of California, Los Angeles, USA. Feb 2009.
 
Creative agency in the mountains: the Zacán Artistic Festival of the P'urhépecha People, Mexico.” Society for Ethnomusicology Annual International Conference, Wesleyan University, USA. Nov  2008.
 
Invited speaker: “From Rock to Jarocho, and Mariachi to Marimba: Diversity and Difference in Mexican Musics.” Hochschule fuer Musik und Theater, Rostock, Germany. 24 June 2008.
 
“‘Our music isn’t folklore…’: festivals, tourism and ethnicity in the P'urhépecha region of Mexico.” Society for Ethnomusicology Southern California Chapter Annual Conference, University of California, Santa Barbara, USA. Feb 2008.
 
Postcards, billboards, tourism and performing bodies in Mexico.” Danzateórica: Encuentro Internacional de Danza. Mirar adentro y afuera de la danza. Aproximación contemporánea a las manifestaciones dancísticas. Universidad Nacional Autónoma de México (National Autonomous University of Mexico), Mexico City, México. 2007.
 
Politics, Aesthetics and Constraints of an Embodied ‘Latina’ Voice in Britain.” 39th World Conference of the ICTM (International Council for Traditional Music), University of Music and Performing Arts, Vienna, Austria. 4-11 July 2007.
 
‘Como México no hay dos’ (There’s no place like Mexico): Exploring mariachi, ‘home’ and Mexico.” International Association for the Study of Popular Music IASPM, Biennial Conference. Universidad Iberoamericana, Mexico. June 2007.
 
 ‘Greetings from (authentic) Mexico!’: postcards of musicians as framed embodiment of subjectivity.” British Forum for Ethnomusicology, University of Manchester, UK. 2007.
 
Tourism, reconstructed ethnicity and indigenous politics in Mexico.” Society for Ethnomusicology Annual Conference, Honolulu, Hawai‘i, USA, Nov 2006.
 
‘Sexy salsa’: a feminist approach to resisting the Latin American stereotype.” Dance Ethnography Forum, DeMontfort University, Leicester, UK. 2006.
 
Tourism and performance in Mexico.” Latin American Music Seminar. University of London, UK. 2006.
 
“Performing the Virgin: Cross-dressing males in Mexican rural dance.” Dance Ethnography Forum, De Montfort University, Leicester, UK. 2005.
 
What’s in a name: Inter-Act Theatre Workshop.” Standing Conference for University Drama Departments (SCUDD) and the Standing Conference for Dance in Higher Education (SCODHE) Annual conference, University of Northampton, UK. 2005.
 
The embodied trappings of tourism explored through the Viejitos Dance of Lake Pátzcuaro, Mexico.” Society for Latin American Studies, University of Derby, UK. 2005.
 
Embodied voices in cross-cultural contexts.” British Forum for Ethnomusicology and AHRB Centre for Cross-Cultural Music and Dance Performance, University of London & Royal Holloway, University of London, UK. 2005.
 
Performing femininity: Constructions of female ‘Latin Americans’ in the UK through voice and body.” Society for Ethnomusicology 50th Annual Conference, Atlanta, USA. Nov 2005.
 
‘But we want to act’: Integrating Practice as Research.” PALATINE, University of Central Lancashire, UK. 2005.
 
“Challenging subjectivity through integration: aspects of power-relations in the Inter-Act Theatre Workshop. Empowerment and Conflict Resolution. Interventionist Theatre Conference, University of Leeds, UK. 15-18 July 2004.
 
 “Embodied artefacts of the Viejitos Dance of Lake Pátzcuaro, Michoacán, Mexico.” 23rd Symposium of the ICTM (International Council for Traditional Music) Study Group on Ethnochoreology, Monghidoro, Italy. 11-18 July 2004.
 
Transforming tradition through abstention: Alcoholics Anonymous and the reintroduction of the Catrines dance in Jarácuaro, Mexico.” British Forum for Ethnomusicology Annual International Conference, University of Aberdeen, UK. 15-18 April 2004.
 
“Projections of Mexican-ness: Night of the Dead on the tiny island of Janitzio. Nation or Notion?” International Performance Studies Conference, University of Wales, UK. 2004.
 
“Disability/Ability: Proposing Interaction and Challenging Subjectivity through Soundbeam.” Workshop & paper. Powering Up/Powering Down, Teknika Radica: An International Festival of Radical Arts, University of California, San Diego, USA, 30 Jan-1 Feb. 2004.
 
Viva el mariachi: migration and musicians in Michoacán, Mexico.” Latin American Music Seminar, Institute of Latin American Studies, University of London, UK. 2003.
 
Representations: Politics and Ideology of Noche de Muertos, Michoacán, Mexico.” Photo installation & paper. Latin American Music Seminar, Institute of Latin American Studies, University of London, UK. 2003.
 
“Crossing the dividing line: constructing a Mexican identity through the Viejitos Dance of Mexico in 1930s Texas,” Society for Ethnomusicology Annual Conference, Tucson, USA. 2004.
 
Invited Speaker: “Postrevolutionary performance.” Comparative American Studies Research Forum, University of Warwick, UK. 2002.
 
Old men dancing: Identity, embodiment and hegemonic folkorisation in post Revolution Mexico,” Latin American Music Seminar, Institute of Latin American Studies, University of London, UK. 2002.
 
Power needs names: the oppression of Mexico’s indigenous people’s within mechanisms of ‘folklore’ examined through the Viejitos Dance from Michoacán, Mexico.” British Forum for Ethnomusicology Annual Conference, Brunel University, UK. 2001.
 
“Unmasking the old men: the Viejitos Dance as political tool in post-revolution Mexico.” Latin American Music Seminar, Institute of Latin American Studies, University of London, UK. 2001.
 
“Limiting frames and stereotypical classification: the short-comings of the exemplar schemes of work at key stage 3-Or What is ‘western music’, ‘non-western music’ and ‘world music’?” Cultural Diversity in Music Education VI, School of Oriental and African Studies and Institute of Education, University of London, UK. 2001.
 
A bit of give and take: some thoughts on the importance of giving in the ‘field.’” British Forum for Ethnomusicology Annual Conference, University of Sheffield, UK. 2000.
 
Invited speaker “…and the Dance goes on: The Viejitos Dance.” Department of Music, University of Wales, UK. 2000.
 
Invited speaker: “Behind the mask.” Department of Spanish and Spanish American Studies, King’s College, London, UK. 2000.
 
“’I feel joy in my hands and my heart when I play’: the theraputic effects of being a P'urhépecha musician.” 3rd Triennial British Musicological Societies’ Conference, University of Surrey, UK. 1999.
 
“La Orquesta Uarhurhi de la isla La Pacanda: La tradición ha renacido.” Etnomusicología, Escuela Nacional de Antropologia e Historia (National School of Anthropology and History), ENAH, Mexico City, Mexico. 1998.
 
 
Research Fellowships And Grants
Regents Humanities Faculty Fellowship, UCSB, 2014
Faculty Collaborative Research Grant, Interdisciplinary Humanities Center, UCSB, 2013
University of Winchester, Special Initiative Project 2006.
British Academy Overseas Conference Grant, 2004 -5, -6,
AHRB (Arts and Humanities Research Board), Short Term Fellowship: AHRB Research Centre for Cross-Cultural Music and Dance Performance, SOAS and Uni. of Surrey, 2004.
University of Winchester, Research Project Funding, 2003-2009.
Winchester City Council, 2003.
 
Current Scholarly Society Service
Ethnomusicology Editorial Advisory Board (Sep 2014— ).
Congress on Research in Dance (CORD) Board of Directors (2013 – ongoing)
Mexican Studies/Estudios Mexicanos Editor (Oct 2014 —).
 
Current Scholarly Society Membership
The Magdalena Project (International network of women in contemporary theatre) 2002-present.
Performance Studies International 2009-
Society for Ethnomusicology (SEM) 2002-
Congress on Research in Dance (CORD) 2004-
Society for Dance History Scholars (SDHS) 2012–
British Forum for Ethnomusicology (BFE) 1998-
International Council for Traditional Music (ICTM) 2000-
ATHE Association for Theater in Higher Education 2012–
 
CONFERENCE AND COLLOQUIA COMMITTEES
Program Committee: Society for Ethnomusicology Southern California and Hawai‘i Chapter 48th Annual Meeting Feb 22, 2014 (UCSB)
 
Chair: Program Committee: Society for Ethnomusicology Southern California and Hawai‘i Chapter 47th Annual Meeting Feb 23, 2013 (UCR)
 
Program Committee: Conference of the Society for Ethnomusicology Southern California and Hawaii Chapter, 2012.
 
Program Committee: Sound Ecologies, Conference of the Society for Ethnomusicology (review and programming, c.900 abstracts), 2010.
 
Chair, Reception: British Forum for Ethnomusicology at the Society for Ethnomusicology Annual Conference, November 2010.
 
Program Committee, The Art of Music, British Forum for Ethnomusicology Annual Conference, Cardiff University, 9-12 April 2008.
 
Chair and Sole Organizer: Sexuality and Gender in Performance, Fieldwork and Representation. British Forum for Ethnomusicology & Arts and Humanities Research Centre for Cross-Cultural Music and Dance Performance, (four-day international conference) University of Winchester, UK, 2006.
 
 
Academic Judge
Ki Mantle Hood Prize: Society for Ethnomusicology, Southern California and Hawaii Chapter, 2012-2014.
British Forum of Ethnomusicology, Student Paper, Annual Conference, Newcastle University, April 2010.
British Forum For Ethnomusicology, Student Paper, Annual Conference, Oxford University, April 2007.
 
Manuscript And Proposal Reviewer
Ethnomusicology; Dance Research; Ethnomusicology Forum; Latin American Music Review; Mexican Studies/Estudios Mexicanos; Studies in Musical Theatre; City and Society, Society for Urban, National and Transnational/Global Anthropology (SUNTA); Research Journal of the World Dance Alliance (Proposal).
 
Prior Scholarly Society Service and Professional Higher Education Consultancy
External Examiner: BA World Performance, East15 School of Acting, University of Essex, 2010-2011. 
External advisor: BA (Hons) Performing Arts, University of Wolverhampton, 2006.
External Examiner, BA Theatre Arts, University of Brighton, 2004-2009.        
Editorial board member, Ethnomusicology Forum (peer-reviewed journal), 2007-2010.
Editorial board member, Winchester University Press, 2008-2009.
Arts and Humanities Research Council (AHRC), UK. Peer Review College member, Principal Governmental Funding Agency (task: reviewing major funding applications for between $30K and $200K). 2007-2010.
 
Visiting Professor
Research Methods in Ethnomusicology (Graduate Seminar); and World Music and Mexican Musics (Undergraduate lecture), University of North Texas, October 2013.
 
"Topics in World Dance," (Dance 82) GE, Category VIII (International/ Global Issues) Invitation by Professor Nancy Ruyter. University of California, Irvine, April 2012.
 
Ph.D. in Arts Practice Encounters, 5-day intensive workshop, Irish World Academy of Music and Dance,
University of Limerick, Ireland, June 2010.
 
Drama Studies, University College Cork, Republic of Ireland, 2009.
 
UNIVERSITY OF CALIFORNIA, SANTA BARBARA
Teaching  (since July 2011)
Graduate:               Performance Studies
Ethnomusicology Forum
 
Undergraduate:  Creating experimental performance: memory/history, process and practice
Musics and Dance in Mexico;
Theatre and Performance in Mexico with a focus on Women, Feminism and Politics;
Latin American and Iberian Studies 10, Introduction, GE.
Worlds of Music, GE
Senior Project advisor
 
FRAP, Faculty Research Assistant Program 99RA/199RA: 8 students (2012-14)
 
Guest:     Music and Tourism (grad and u/g)
Latin American and Iberian Studies 100
Studies in Ethnomusicology (u/g)
 
Service
Departmental: Music Faculty
Academic Committee,
Ethnomusicology Program Committee
BA Curriculum Committee 2011-2012
 
UCSB-wide
Senate Undergraduate Council, 2013-14
Senate Legislature, 2011-13
Executive Committee & Faculty Undergraduate Advisor, Latin American and Iberian Studies Program, 2012-14
Graduate Division, Central Continuing Fellowship Committee 2012-13.
 
UC-Wide
UC Education Abroad Program (EAP) liaison, 2013-2014.
UC-MEXUS Dissertation Grant Committee, 2014.
 

Courses

Courses Offered

  • Mexican Theater and Performance: Theater 185MX
  • Musics in Mexico: Music 175X/293X
  • Performance/Memory/History: Creating and Analyzing Music, Theater, and Dance: TD 187MU & Mu 168P   (listed concurrently in two departments)
  • Worlds of Music : Music 17 – General Education
  • Performance Studies: Music 262Q
  • Ethnomusicology Forum Music: Music 188/288
 
Course Descriptions

Mexican Theater and Performance                                      Theater 185MX
In this course you will engage with drama, theater, and performance in Mexico, covering a diversity of genres, styles, and works that have been significant in the last five centuries, up to and including the present day. Through play-readings, video screenings, and reconstructions you will explore and critically evaluate these plays, performances and dramas.
 
Each play/ performance will be studied in terms of:
1. aesthetic and dramaturgical elements; and
2. contextual elements (historical, political, ideological, cultural, religious, and social).
 
Throughout the course you will undertake contextual and theoretical readings that will enable you to consider the contextual issues. In each class you will be expected to participate fully in discussions, presentations, play-readings, and performative responses to video-screenings. 
 
Course material will cover:
Colonial theater and performance (16th – 19th Centuries), including:
· Nahua (Aztec) theater (16th century);
· Plays by playwright Sor Juana Inés de la Cruz (17th century)
· Socio-religious and large scale dramas (16th century to the present)
20th Century
· Carpa (tent shows) (1920s – 1940s)
· Teatro folklórico, sintético and cuadros costumbristas (1920s – 1930s)
· Poesía en Voz Alta (Poetry Outloud) and playwright Octavio Paz (1950s)
· Playwright Sabina Berman (1970s onward)
· Playwright Carmen Boullosa (1980s onward)
· Mayan theater and playwright Petrona de la Cruz Cruz (1990s onward)
· Performance art and cabaret (1960s to present), including Tito Vasconcelos, Astrid Hadad, and Jesusa Rodríguez.
21st century
· Experimental contemporary theater - La Maquina del Teatro
 
Learning Outcomes
 
By the end of the course you should be able to:
1. demonstrate understanding of the role of theater, drama and performance in various historical, political,  ideological, cultural, and social contexts;
2. demonstrate understanding of aesthetic and dramaturgical elements and practices, through performative responses, and written and live discursive formats;
3. engage in complex and rigorous discussions about Mexican theater and performance.

Musics in Mexico                                                           Music 175X/ 293X
This course encompasses an exploration of a range of musics in the twentieth and twentyfirst centuries in Mexico, contextualized in their political, ideological, and social milieu. This course is titled Musics IN Mexico (rather than Musics of Mexico, or Mexican Music), because the focus is on music within the territorial boundary of Mexico, rather than Mexican musics in the USA.
 
The approach of the study we do in this class is called ethnomusicology. We focus on music as a part of society, which involves studying people-making-music, and music making people (i.e. construction of identities/ nations/ societies). The overall objective of this course is to enable you to engage with, critically evaluate, and take pleasure in a range of musics in their cultural contexts.
Within Mexico there is a huge range and diversity of music. In this course, we will be focusing on just a few of these, with a particular emphasis on P'urhépecha music in the twentieth and twentyfirst centuries.
 
 Areas for study:
·         P’urhépecha (Michoacán)
·         national art music after the revolution (1920-1940)
·         corridos and narco-corridos
·         banda
·         norteña
·         rocnrol and rock en español
·         mariachi
·         jarocho
 
Concepts and theoretical contextualization will include: nationalism, tourism, revolution, populism, cross-border relations, ethnicity, identity, and gender.
 
Learning Outcomes
 
By the end of the course you should be able to:
1. demonstrate understanding of a range of musics in Mexico in the twentieth and twentyfirst centuries;
2. demonstrate understanding of the principles of ethnomusicology (the study of music as culture, people making music, and music making people) as an approach to music-cultures in Mexico;
3. demonstrate skills in recognizing and describing elements of music performances in context; 
4. critically consider and discuss issues of politics, ideology, identity, geography, representation, and value in relation to a range of different musics in Mexico.
 
Weekly Class
Classes will involve: discussions, presentations, and video-showings. You will be expected to participate fully in all activities in class.

Performance/Memory/History:
Creating and Analyzing Music, Theater and Dance
Music 168P   + Theater   TD 187MU (listed concurrently in two departments)
Engaging with music, theater and dance, students create interdisciplinary contemporary performance work, examining how memory and history are useful in creating performances and how performances create memories, histories, and herstories. Includes workshops, discussions, and readings, live performances and presentations.
 
Course Description and Philosophy
In this course we examine how memory and history are used to create performances and how performances create memories and histories (and herstories). Engaging with theater, music, dance, film, performance art, and new media, within an interdisciplinary framework, we use a method of praxis to explore these ideas.
 
Praxisis the process by which a theory, lesson, or skill is enacted or practiced, embodied and/or realized. This is a model of an artist/theorist, who integrates practice and theory in a fluid and ever-changing manner, in order to develop embodied understanding, through making new art work.
 
This course is about exploring network of ideas about performances and is designed to provoke you into considering many aspects of performance in relation to memory and history.
 
We explore the role of the past in the present: our own past and collective pasts. We particularly focus on creative processes, examining how major events, famous people and fragments of memories are transformed into artistic practice. We engage with a range of performances – music, theater, dance, film, ritual, visual art, design, performance art – as examples for study and analysis.
 
As this course deals with an interdisciplinary framework, we explore key issues with particular reference to performance studies, theater studies, dance studies, and ethnomusicology. In this course the model is for engagement with ideas, concepts, and creative processes rather than “getting knowledge.”  It is more about the questions than answers: It is not what you know but what you DO with what you know. We encourage complexities and contradictions, rather than trying to simplify.
 
Throughout the course we engage with practice-based workshops, discussions, readings (theoretical texts and narrative performance texts) and on-going research, leading to performances, presentations, and an essay. In each class will be integrate ideas from the theoretical readings, from performance analysis, and from creative work, using these ideas to push forward collective and individual performance-practice.
 
Weekly Class
Each week the class will combine a range of learning activities and approaches, so it is important to be aware of, and engage with all of them in order to get the most out of this course. The classroom is a more-or-less empty studio space, which allows for creative embodied workshops. 

Worlds of Music                                                 Music 17 – General Education
 
Course Description and Philosophy
 
The subject of this course is people making music and music making people, in various regions of the world. The objective of this course is to enable you to engage with, critically evaluate, and take pleasure in a range of musics in their cultural contexts. Course material will cover aspects of music-cultures from various geographic areas or culture groups including: Hawaii, Indonesia, Mexico, USA, Africa, Latin America, Europe, Poland, and Arab musics.The approach of the study we do in this class is called ethnomusicology. We focus on music as a part of society. The principles we use when studying people-making-music, or “music-cultures,” can be applied to any music making activity and any style and genre of music, including one’s favorite music and music of people living in, for example, Santa Barbara.
 
Learning Outcomes
 
By the end of the course you should be able to:
1. understand and demonstrate the principles of ethnomusicology (the study of music as culture, people making music, and music making people) as an approach to music-cultures in the world;
2. demonstrate skills in recognizing and describing elements of music performances in context; 
3. critically consider and discuss issues of politics, ideology, identity, geography, representation, and value in relation to a range of different musics;
4. apply the principles of this course to any and all genres of music.
 
GRADUATE COURSE

Performance Studies                                                                          Music 262Q
 
Performance Studies has a varied and interdisciplinary trajectory of many decades, and in the twenty-first century Performance Studies as a field and discipline continues to been taken up by many fieldsfor differing agendas.  Over the past decades, performance has developed as an umbrella term for scholarly as well as artistic research engaged with a wide variety of topics. The research conducted under this umbrella term is interdisciplinary and is strongly rooted in the interaction between theory and practice. It is a dynamic field of encounters rather than a discipline grounded in one particular methodology or tradition.It encompasses artists, thinkers, activists and academics working in the field of performance. ?
 
In this course we deal with a range of readings, topics, and themes drawn from the field of Performance Studies. These theories, methods, and frameworks can be applied to your own specific area of research and study.
 
If you are interested in challenging perceptions, thinking outside the box, discussing notions of politics and performance, carving a path for yourself in the fast-moving and complex globalized future, and working in an interdisciplinary framework, then this course will stand you in good stead for potential endeavors. 
 
A quotation from the Introduction to The Performance Studies Reader by Henry Bial (Routledge 2007): 
“There are people who already know, or think they know, what performance studies is. This book is not for them. This book is for the people who like not knowing, who find the uncertainty of unmapped terrain exhilarating. This is also true of the field itself. What makes performance studies unique is that it shares the characteristics of its object: performance. Just as performance is contingent, contested, hard to pin down, so too is its study. For the most part, those of use who consider ourselves ‘performance studies people' like it that way.”
 
A quotation from “Why Music and Performance Studies? Why Now?: An Introduction to the Special Issue” by Alejandro Madrid.  TRANS 13 (2009):
“I have mentioned elsewhere that my main concern lies with musicology’s ostensible inability to engage and contribute to the intellectual dialogues and concerns of the rest of the humanities and social sciences. (Corona & Madrid 2007: 5-8)  The intersection of music and the contemporary field of performance studies could be the site that would allow musicologists to ask questions that might be relevant to and would enter into larger intellectual dialogues. By allowing music scholars to think about the performativity of music beyond the realm of performance and its performatic aspects, performance studies might offer ways for musicologists to contribute their expertise on sound to answer questions relevant to a larger intellectual community. I am not suggesting we should disregard the performatic or the performance locus; instead, I argue that we should incorporate the performative lens into the study of this and other loci of the music process. But not only that, I propose that we reevaluate what that music process is in relation to new understandings of music production or composition, consumption or reception, and distribution or regulation, as well as in relation to the bodies and senses of those who experience music, the geographies and virtualities that allow for these experiences to take place, the technologies that allow for the magnification of these experiences, etc”.
 
The website of Performance Studies International (PSi) may also be useful: http://psi-web.org/

Ethnomusicology Forum                                                   MUSIC 188/2
 
Everyone is invited to participate in Ethnomusicology Forum, which is a space and place for supportive, rigorous and interesting discussion of issues concerning music (all genres, eras, and contexts) and for music-making.
 
If you would like to be added to the Ethnomusicology Forum database, please let Ruth know.