The Buffalo Project

The Buffalo Project

Synopsis

A performance written and directed by Robbie McCauley Robbie McCauley’s BUFFALO PROJECT in production. This collaborative theater work rooted in local race history will be the model for a series of similar projects in other cities by the nationally renowned performance artist which, 6 years later, is still ongoing. Commissioned and produced for Hallwalls by Ron Ehmke, in collaboration with members of Ujima Theater. Performances at Hallwalls, Polish Community Center (PCC), and Langston Hughes Institute.

 

Publication featuring this and other works, sponsored by Hallways Performance Center http://www.hallwalls.org/pubs/1990_6.7.RFS.pdf

Collaborators

The Arts Company, producer

Rene Armstrong; Africa Brown; Barry T. Burts; Diane Cammarata-Charlesworth; Laverne Clay; Tom Dooney; Emanuel Fried; Lorna Hill; Catherine Horton; Darleen Hummert; Fortunato Pezzimenti; Gerald Ramsey and Nelson Brown

Performances

1989-1990

 Publications

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Heat

Synopsis

‘HEAT is a multi-disciplinary, collaborative work in two parts – “New Moon Fantasies” and “Shelter” – that evokes the many images suggested by the word “heat.”‘ From The Kitchen Archives. http://archive.thekitchen.org/?p=7350

 

Collaborators

Performances

1985-88

  • The Kitchen, New York City
  • 7 Stages, More Productions, Atlanta, GA

 

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Teenytown

Synopsis

“Franklin Furnace and Thought Music produce Teenytown, a multimedia performance by Jessica Hagedorn, Laurie Carlos and Robbie McCauley with film by John Woo and choreography by Jawole Willa Jo Zolar, which examines how racism is embedded in popular culture and entertainment.”(http://franklinfurnace.org/research/projects/thotf_performance/press_release.html)

Collaborators

Franklin Furnace | Laurie Carlos and Jessica Hagedorn, Thought Music | John Woo, film | Jawole Willa Jo Zolar, choreography

Performances

1987-92

  • Franklin Furnace, New York City
  • St. Mark’s Danspace, New York City

2000

  • Festival, San Francisco

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My Father and the Wars

My Father and the Wars

Synopsis

Collaborators

Performances

Tour 1985-88

  • Chicago Art Institute
  • New Federal Theatre, New York City
  • Real Artways, Hartford
  • Franklin Furnace, New York City
  • Brecht Auditorium, New York City
  • Basement Workshop, New York City

Media

Publications

Sims, Lowery Stokes. “Heat and Other Climatic Manifestations: Urban Bush Women, Thought Music and Craig Harris with Dirty Tones Band.” HIGH PERFORMANCE 45 (Spring 1989): 2225.

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Courtesy New Museum, New York. Photo; New Museum.

Sally’s Rape

Synopsis

“Sally’s Rape is a social experiment in which Robbie McCauley, an African-American female performance artist, performs the black female subject out of victimization. Like any social or theatrical experiment, the results are rather inconceivable to gauge. However, according to my own reception, and that of other spectators, my evaluation is optimistic. McCauley’s contribution to the emerging black female theatrical subject is her development of an anti-racist, heuristic performance mode(1). She inherits a tradition of black performance which is both politically and mimetically sophisticated, expanding it to express the often obscured experience of gender. McCauley’s performance experiments demonstrate a black female subject bearing witness to the confluent demons of racism and sexism in representation as well as in everyday life. In this essay, I will explicate McCauley’s key heuristic tools-revision, embodiment, and dialogue-in the per formance text of Sally’s Rape.”   http://www.academicroom.com/article/sallys-rape-robbie-mccauleys-survival-art.

From there, it played at BACA in Brooklyn, The Kitchen, and City College-Davis Center in Manhattan. In 1992 it received an OBlE Award for Best Play. McCauley took the piece on the road to the Boston Women’s Festival and the American Festival Project in Louisville, and on a tour of the Southwest, in 1993. Segments of the performance have also been featured in two film documentaries on women performers: Sphinxes

Collaborators

The Stories Exchange Project

Jeannie Hutchins

Performances

1989, Premiere, at PS 122 in New York City.

1990, The Studio Museum of Harlem (The Decade Show Performance Series: Robbie McCauley with Jeannie Hutchins

(Robbie McCauley and Jeannie Hutchins performance organized in conjunction “The Decade Show: Frameworks of Identity in the 1980s,” an exhibition co-organized by the New Museum, the Museum of Contemporary Hispanic Art, and the Studio Museum in Harlem. The performance was presented at the Dance Theater Workshop, Bessie Schonberg Theater.) 1991, The Kitchen 1989-94
  • BACA Downtown, Brooklyn
  • Crossroads, New Jersey
  • Institute of Contemporary Arts, London
  • Labyrinth et al, Prague, Czech Republic (in collaboration with The Stories Exchange Project)
  • Penumbra Theater Company, MN
  • Serious Fun, Lincoln Center
  • Sushi, San Diego

1994, Prague ( simultaneous interpretation in Czech by Hana Syslova, produced by the Fund for New Performance/Video)

  • Zizkov Theater
  • Studio Labyrinth
  • National Theater (Divadlo Kolowrat).

Media

1995, Sally’s Rape Video – Context Studios

The Decade Show Performance Series: Robbie McCauley with Jeannie Hutchins (1990)

Publications

1999, http://www.academicroom.com/article/sallys-rape-robbie-mccauleys-survival-art

 

Appears in

Moon Marked and Touched by Sun: Plays by African-American Notes Women.

Black Theatre U.S.A.: Plays by African Americans, The Recent Period, 1935-Today, rev. ed., eds. James Hatch and Ted Shine (New York: Free P, 1996), 368-75.

Analyzed in

Diamond; Patraka; Schneider; and Whyte.

From there, it played at BACA in Brooklyn, The Kitchen, and City College-Davis Center in Manhattan. In 1992 it received an OBlE Award for Best Play. McCauley took the piece on the road to the Boston Women’s Festival and the American Festival Project in Louisville, and on a tour of the Southwest, in 1993. Segments of the performance have also been featured in two film documentaries on women performers: Sphinxes

Sally’s Rape: Robbie Mccauley’s Survival Art

Without Secrets by Maria Beatty and Conjure Women by Demetria Royals. For the most complete listing on McCauley’s compositions and performances, see Patraka’s “Performance Production History” (52-53).

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