A performance by Coco Fusco and Nao Bustamante
The Drama Theatre, Dunedin College of Education Saturday August
9th.
Brought to NZ by the Otago Polytechnic School of Art with the support
of Creative NZ.
What it is to perform is rarely explored in theatrical contexts
without self-referentiality fast becoming tedious, or moving performance
itself outside traditional configurations of actor and audience.
Brecht wrote that the theatre's function is to both instruct and
entertain, neither one without the other. In its derivation from
Latin, "entertainment" means to "hold between". Performances which
succeed in making theatrical illusion visible while still managing
to keep the audience 'in there' are, in my experience, rare. I am
not speaking here simply of the suspension of disbelief but of creating
instances where performance itself is harnessed as a radical tool
in the creation of new ways of seeing and the embodiment of new
ways of doing. It is this precarious and finely attuned sense of
balance that Nao Bustamante and Coco Fusco provide in their collaborative
work, Stuff.
Stuff was one of the most enjoyable, thought provoking, intelligently
constructed and tightly performed pieces of work I have seen all
year. Personal stories, travel and tourism are the raw material
of this work which looks at "the cultural myths that link Latin
women and food to the erotic in the Western popular imagination"
(programme notes). As background to the performance, Fusco and Bustamante
write:
"A year ago, we decided to create a performance that dealt with
Latin women, food and sex. We started from our own stories. Nao
is from an immigrant farm worker family that was involved in the
Chicano political struggles of the 1960's and 1970's. She grew up
in the San Joaquin Valley of California, a region that at one time
produced more fruit and vegetables than any other in the world.
Coco's family is from Cuba, a country that gained a reputation in
the 1950's as an international whorehouse, and which, in response
to its present economic crisis, has reverted to sex tourism as a
strategy of survival. In the course of writing STUFF Coco travelled
to Cuba to interview women in this burgeoning industry. Then we
both went to Chiapas, the centre of indigenist culture tourism in
Mexico, and the site of the 1994 Zapatista insurrection. We spent
several weeks in conversation with women and children whose livelihoods
are linked to their daily contact with foreigners" (programme notes).
On entering the theatre, other audience members and I were handed
squares of coloured card - an event which could only have been interpreted
as a forewarning of impending audience interaction. The strong of
heart took up seating toward the front and the cautious, with whom
I was numbered, gravitated to safer regions. The stage was set as
an open space of play with the "stuff" of performance displayed
everywhere - a rack of costumes, several polystyrene heads embellished
with wigs, boxes of make-up, hair accessories and a few hand mirrors.
A video screen, suspended at the back wall, hung like an oversized
painting above a dining table where places were set for four. The
table was covered by a gaudy flowered cloth and overlayed with plastic.
There was a playful intimacy generated by the staging, complimented
well by the pre-school feeling of the venue itself, with its cluster-together
seating and brightly coloured cushions.
The work opened with an exchange of postcards between Fusco and
Bustamante, who were seated in the open "dressing rooms" at either
side of the main stage area. The relaying of travel stories from
places around the globe served to introduce multiculturalism, tourism
and travel as concerns. The fourth wall principle was dismantled
from the beginning of the evening with both performers taking prolonged
glances from postcard to audience at regular intervals. Performative
space was established not as a place to create illusion, but a chance
to meet "eye to eye". The postcards presented snapshot perspectives
on lives and realities from Elsewhere. Trumps are handed to the
stage when the last card reads current time and date, this reflecting
the questions "Where is Elsewhere ?", " Who are the Others ?" and
"For Whom ?", directly back at the audience. These questions were
partcularly pertinent for a touring production, where connections
to the specific content of the work may not resonate immediately
for an audience thinking about a local or national (ie, New Zealand)
context.
The placement and presence of the audience was mediated by the tele-present
head of 'Triple E' - the evening tour guide for "Travel Tasters",
which, we were told, was a company marketing package tours for the
"authentic" Latin experience. Audience members were positioned through
the performance as both tourists (consumers of indigenous culture)
and participants in a live studio event (consumers of media culture).
Thus, the audience was made complicit in a performance structured
as a promotional display for a tour company, the representation
of which resembled life with the kind of accuracy that only fiction
ever affords. Our guides for the evening, Blanca (Coco Fusco) and
Rosa (Nao Bustamante), performed samples of the range of services
the company offers. The live action was spliced by sales pitches
and new product introductions from Triple-E. The distinction between
live and mediated presence was highlighted further by the frame
freezing of Triple E's sycophantic smile into grotesque heavenward
glances, making him resemble an air hostess caught mid-stream on
an in-flight safety demonstration.
Audience-interactivity was a structural motif, and there was no
escape, no matter where you were sitting. People where chosen at
random from the display of cards, or by the pull of Nao's elbow
during one seat clambering episode. Selected audience members were
invited to partake in a meal, ritual or hear exotic legends. The
audience's bi-lingual ability was tested through request to translate
a variety of dialogue refrains after which four qualifiers were
invited onstage for a rumba lesson. The contestants were then whittled
down to one lucky young white boy who was given a crash course in
Spanish, sufficient for him to attempt to bed a Latino girl while
still respecting cultural difference. For the really adventurous,
Travel Tasters were offered the full "Aphrophrenetic" experience,
complete with flares, bangles and plenty of hip gyration. Appropriate
to appropriation itself, we finished the evening in grand karaoke
finale.
Refusal to provide spectacle or conform to type becomes the driving
logic of Stuff. At the heart of the performance was the desire for
an Authentic Other (spiritual, sexual, mythical) as explored in
the send-up of rites and rituals. The mythicising of the Other in
the figure of the goddess was subverted by her realistic depiction
as a working class woman, just as themes of extravagence and feasting
were subverted by a sparse use of very raw ingredients. The abject
and the erotic are seen coupled together in the chopping, spitting
and spewing of ceremonial foodstuffs, or through the brandishing
of knives in a self-conscious display of ethnic ritualistic dance.
The incongruities between text and display thus worked to force
the audience to read meaning from between the gaps and spaces of
representation. The work turned Brecht's concept of culinary theatre
on its head, making the audience as tourist complicit in the consumption
of a spectacle packaged as entertainment.
Stuff not only disrupted the physical spaces between performers
and audience, but it also interrogated the boundaries of fantasy
and imagination. Communal desires were cunningly elicited through
the enactment of a survey, taken by Bustamante as representative
for a "well known" San Fran sex toy distributer. And if you've never
questioned what your preference would be between a waxy skinned
english cucumber, the ready-plastic coated variety, or a prostrate
and/or g-spot stimulating gourd, is an interesting exercise. On
the relationship between western appetites for sex and daily consumer
practice, Fusco and Bustamante write: "If food here serves as a
metaphor for sex, then eating represents consumption in its crudest
form. We are dealing with how cultural consumption in our current
moment involves the trafficking of that which is most dear to us
all - our identities, our myths and our bodies" (programme notes).
Communication in performance work is a dynamic process, involving
complex stimulations of sense and sign. Work which demands interactivity
is as idiosyncratic as the makeup of any particular audience on
any given night, this greatly increasing the risk of "losing the
audience", or compromising content. However, there is no obscurity
as to the issues Stuff addresses; the politic of the work is as
succinct as its presentation. This attests not only to the skills
that Coco Fusco and Nao Bustamante bring to performance, but to
the intellectual rigour that has gone into the research, scripting,
and compilation of the material. Through engagement with the act
of performance and the positioning of an audience as complicit in
this act, Stuff critiques what it is to perform the identity of
an Other, making it an important and readable work for any cultural
context.
Olivia Lory Kay
16 August 1997
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