The College of Liberal Arts at Texas A&M University is pleased to present Race Talks: An Interdisciplinary Virtual Colloquium Series that aims to invigorate campus-wide conversation about anti-racist advocacy through pedagogy, performance, and research. Made possible by an Advance Climate Together grant, Race Talks will launch this Spring semester bringing together emerging and established BIPOC (Black Indigenous People of Color) scholars, managers, art administrators, producers, film makers, musicians, dancers, choreographers, visual artists, faculty, and students.
The series is coordinated across six participating university units (Africana Studies, the Dance Program, Film Studies, Latino/a and Mexican American Studies, Performance Studies, and Religious Studies) and offers a diverse and multidisciplinary program of events including keynote speakers, lecturers, interviews, workshops, panels, and student presentations.
For questions, please contact Race Talks coordinator Dr. Mariana Gariazzo at firstname.lastname@example.org.
Students can earn MaroonBase points for attending Race Talks! Use the MaroonBase App to check-in to earn points for these events, then use your points to enter to win up to $2,000. Prizes are funded by a donation from a former student. For a complete list of prizes, rules, FAQ’s, and how to redeem your points for prizes, please visit the MaroonBase Student App page.
NARDA E. ALCORN (she/her) is a Professor and Stage Manager who has worked on Broadway, Off-Broadway, regionally, and internationally. In 2019, Narda was appointed Chair of the Stage Management Program at Yale School of Drama. She has been Head of Stage Management for New York University, DePaul University, and State University of New York at Purchase. She received DePaul’s Excellence in Teaching Award in 2015 and The Robert Christen Award for Excellence in Technical Collaboration in 2017. With co-author Lisa Porter, Narda has written, Stage Management Theory as a Guide to Practice: Cultivating a Creative Approach, and the HowlRound article, "We Commit to Anti-Racist Stage Management Education."
On Broadway, Narda has had collaborations with the Tony-winning directors Kenny Leon, Bartlett Sher, and George C. Wolfe. She premiered four of Pulitzer-Prize winning playwright August Wilson’s Century Cycle plays, and stage managed two Broadway revivals of his work. Her New York and Regional credits include productions with Denzel Washington, Viola Davis, Billy Crystal, Kevin Kline, Annette Bening, Phylicia Rashad, David Schwimmer, and Richard Foreman. Narda was a long-time stage manager on the Broadway production of The Lion King. She has collaborated with the celebrated MacArthur Fellows, composer George E. Lewis and playwrights Tarell Alvin McCraney and Sarah Ruhl.
Philip Ewell is an Associate Professor of Music Theory at Hunter College of the City University of New York, where he serves as Director of Graduate Studies in the music department. His specialties include Russian music and music theory, Russian opera, modal theory, and critical-race studies. He received the 2019–2020 “Presidential Award for Excellence in Creative Work” at Hunter College, and he is the “Susan McClary and Robert Walser Fellow” of the American Council of Learned Societies for 2020–2021. In August 2020 he received the “Graduate Center Award for Excellence in Mentoring,” which recognized his “ongoing, long-term, commitment to students at all stages of graduate research.” He is also a “Virtual Scholar in Residence” at the University of the Pacific Conservatory of Music for 2020–2021. As a result of his ACLS award, he is currently working on a monograph—to be published by the “Music and Social Justice” series at the University of Michigan Press—combining race and feminist studies with music and music theory.
Leticia Robles-Moreno holds a PhD from New York University’s Department of Performance Studies. Her research is focused on transnational collective creation processes in contemporary performance and politics. Her book project Becoming Collective: Relational Cartographies of Collective Resistance in the Americas analyzes how theatre, art, and activism, performed especially by women, can build networked practices as strategies of political survival, from a combined perspective of Performance Studies and Affect Studies. As a member of the Women Mobilizing Memory research group at the Center for the Study of Social Difference at Columbia University, she has studied Latin American Antigones’ role in post-conflict contexts. Her work has been published in Latin American Theatre Review, Contemporary Theatre Review, Conjunto, Hispanic Issues Online, e-misférica, and TDR. She is Assistant Professor in the Department of Theatre & Dance at Muhlenberg College.
MK Abadoo’s creative work exist at the crux of dance theater, undoing racism cultural organizing, and critical education studies. Combining classical American modern and postmodern dance vocabularies, neo-traditional Ghanaian movement, and social Funk styles, Abadoo draws from the "tradition of black literature and art that unites past and present in unsparing dialog."
She is an assistant professor in the Department of Dance and Choreography at Virginia Commonwealth University (VCU), and a lead faculty member in the Racial Equity, Arts, and Culture Core of VCU's ICubed, the Institute for Inclusion, Inquiry & Innovation. She is considered a "Breakout star of 2018," as a member of Dance Magazine's annual 25 to Watch list of "rising stars" in the dance field. In 2017 she was honored as a Forty Under 40 awardee by Prince George's County Social Innovation Fund for her leadership and achievement in the arts, and commissioned by the John F. Kennedy Center for the Performing Arts to create a new work for their Millennium Stage season. As a 2016-2017 U.S. Fulbright Fellow, she recently conducted eight months of intensive creative research at the Noyam African Dance Institute in Dodowa, Ghana, and with the National Dance Company of Ghana, deepening fourteen years of collaboration with Ghanaian contemporary dance colleagues.
Marcela A. Fuentes is a performance artist and scholar. She serves as an associate professor in the department of performance studies at Northwestern University. Her work focuses on the role that performance as a symbolic, embodied, and time-based event plays in sparking and sustaining collective action toward social justice. Her first book, Performance Constellations: Networks of Protest and Activism in Latin America (University of Michigan Press, 2019) maps out the intertwinement of street protests and digitally mediated mobilizations in contexts affected by state violence and neoliberal exploitation. She offers the concept of “performance constellations” to trace how notions that are central to studies of performance such as embodiment, liveness, eventness, and site-specificity are redefined in the era of communicative capitalism and remote collectivity. She has been awarded national and international fellowships and grants such as the Fulbright Fellowship and the Andrew W. Mellon postdoctoral research grant. Her work has been published in Text and Performance Quarterly, e-misférica, the Journal of Latin American Cultural Studies, Conjunto, LatFem, Moléculas Malucas, Página 12, and edited volumes on transnational and activist performance. Her research and teaching interests include tactical media, social art tactics, documentary theater, technopolitics, digital performance, theories of embodiment, practice-based research, the digital humanities, and feminist and queer performance. From 2016 to 2018 she was a member of the feminist activist collective Ni Una Menos an she currently serves as External Consultant of the Buenos Aires Performance Biennial and Council Member of the Hemispheric Institute of Performance and Politics. Her lecture performance Sujeto Transnacional has been presented in Argentina, Brazil, and the US.
Yosimar Reyes is a nationally-acclaimed Poet and Public Speaker. Born in Guerrero, Mexico, and raised in Eastside San Jose, Reyes explores the themes of migration and sexuality in his work. The Advocate named Reyes one of "13 LGBT Latinos Changing the World" and Remezcla included Reyes on their list of "10 Up And Coming Latinx Poets You Need To Know." His first collection of poetry, For Colored Boys Who Speak Softly… was self-published after a collaboration with the legendary Carlos Santana. His work has also been published in various online journals and books including Mariposas: An Anthology of Queer Modern Latino Poetry (Floricanto Press), Queer in Aztlán: Chicano Male Recollections of Consciousness and Coming Out (Cognella Press), and the forthcoming Joto: An Anthology of Queer Xicano & Chicano Poetry (Kórima Press). Reyes was featured in the Documentary, "2nd Verse: The Rebirth of Poetry." He is a LAMBDA Literary Fellow as well as the recipient of the Undocupoets Fellowship. Reyes previously served as Artist-in-Residence at the media and culture organization, Define American. Reyes has toured and presented at university campuses across the United States. He is currently working on his one-man show, "Prieto," to premiere in the near future. Reyes holds a B.A in Creative Writing from San Francisco State University.
Dr. Joe Feagin is Distinguished Professor and Ella C. McFadden Professor in sociology at Texas A & M University. He has done much internationally recognized research on U.S. racism, sexism, and political economy issues. He has written or co-written 74 scholarly books and 200-plus scholarly articles in his social science areas. His books include Systemic Racism (Routledge 2006); White Party, White Government (Routledge 2012); Latinos Facing Racism (Routledge 2014, with J. Cobas); How Blacks Built America (Routledge 2015); Elite White Men Ruling (Routledge 2017, with K. Ducey); Racist America (4th ed., Routledge 2019, with K. Ducey); Rethinking Diversity Frameworks in Higher Education(Routledge, 2020, with E. Chun); and The White Racial Frame (3rd ed., Routledge 2020). He is the recipient of a 2012 Soka Gakkai International-USA Social Justice Award, the 2013 American Association for Affirmative Action’s Arthur Fletcher Lifetime Achievement Award, and three major American Sociological Association awards: W. E. B. Du Bois Career of Distinguished Scholarship Award, the Cox-Johnson-Frazier Award (for research in the African American scholarly tradition), and the Public Understanding of Sociology Award. He was the 1999-2000 president of the American Sociological Association.
Allan deSouza’s artworks restage colonial-era legacies through counter-strategies of humor, fiction, and (mis)translation. Recent projects, Through the Black Country…(2017), and La Vida del Capitan (2019), transpose Henry Stanley’s 1870s African expedition journals to England during the 2016 Brexit vote, and Columbus’ 1492 ship diaries to a 2019 expedition from Oakland to Seville. Both projects include expedition maps and photographs. deSouza’s work has been shown extensively in the US and internationally. deSouza’s book, How Art Can Be Thought: A Handbook for Change (Duke, 2018), closely examines art pedagogy and critique, and provides an extensive analytical glossary of common art terms while considering how they may be adapted to new artistic and social challenges. deSouza’s most recent book, Ark of Martyrs: An Autobiography of V (Sming Sming Books, 2020), is a polyphonic, dysphoric rewrite of Joseph Conrad’s infamous Heart of Darkness (1899). deSouza is represented by Talwar Gallery, NY and New Delhi, and is Professor and Chair of the Department of Art Practice at University of California, Berkeley.