Puerto Rico Coursebook 2010

Program in Educational Theatre

Theatre Practices Course Book

Puerto Rico Study Abroad San Juan, Puerto Rico Dr. Philip Taylor, Director January 3-16, 2010 E17.2151 Theatre Practices: Leaders in Educational Theatre

PUERTO RICO INTERSESSION COURSEBOOK

CONTENTS INTRODUCTION……………………………………. 2 SAFETY………………………………………………. 3 COURSE OUTLINE…………………………………. 5 TEXTS AND SUPPORTING MATERIALS……….. 8 DAILY SCHEDULE…………………………………. 9 ARRIVAL & TRANSPORTATION…………..……. 13 ACCOMMODATIONS……………………………… 15 FIELD TRIPS………………………………………... 16 STUDENT BIOGRAPHIES…………………….…... 20 FACULTY BIOGRAPHIES………………………… 26 POLICIES……………………………………………. 30 1

INTRODUCTION

DEP ARTM ENT OF M USIC AND PER FORM ING ARTS PROFESS IONS Program in Educational Theatre

Welcome to the 2010 January Intersession Course, Theatre Practices, to be located for the fifth year in Puerto Rico. This immersion experience in the Caribbean grew from the program‘s desire to explore how theatre arts generate community identity in the Latin-American context. As many of you would know, the Program in Educational Theatre has established longstanding study abroad efforts in England and Ireland where we have collaborated with Europe‘s leading innovators in drama education and the applied theatre. In recent times, we have broadened our global offerings with courses in Brazil, Mexico and Puerto Rico. The faculty views this development as richly contributing to cultural exchange, and especially how this exchange enables our students to develop an aesthetic identity informed by the diverse international agenda in community art. We could not think of a more vibrant location than the Caribbean to study given the centrality of arts activity to the way of life. The fact too that the Puerto Rican community in New York is so large provides further dimension to the need to understand our cultural legacy and inheritance. Of course, the fact that we are in sunny San Juan during the New York winter is a great incentive to study in PR. Over the next 10 days you will participate in a rich array of activity which will transform your own understanding of aesthetic education. Students will work with many of the preeminent artist-educators in the Caribbean including the legendary Rosa Luisa Marquez who has pioneered a number of important movements in community-engaged theatre. As well, Antonio Martorell, one of the more influential visual artists in Latin-American will host us in gorgeous Ponce where we will travel for the important Three Kings Holiday event. You will also work with many community activists and artists whose identity is shaped by their cultural productivity. We are delighted to welcome Julian Boal to our San Juan course for the first time. The theatre of the oppressed techniques, as pioneered by his father Augusto Boal, have had such a major impact in the international arts community, especially in the Caribbean. As this movement has significantly informed the curriculum of NYU Program in Educational Theatre, we are indeed grateful that Julian has travelled all the way from France to work with us. I do know that you will find your studies this January tremendously rewarding. I am delighted you have made the trip and I look forward to our studies together.

Philip Taylor, PhD Director, NYU Program in Educational Theatre 2

SAFETY Emergency Contacts for Students Theatre Practices, Puerto Rico Emergency Services in Puerto Rico Life-Threatening Emergency: 911 Police: 787-343-2020; Ambulance: 787-343-2222 Dr. Philip Taylor, Office (212) 998-5769, Cell in PR: (347)853-3848 Caribe Hilton (787)721-0303 G.A. Rocio Lopez Cell: (805)264-7859 Office of Academic Initiatives and Global Programs Staff
 Erich Dietrich, Director (212)998-5263
 Daniel Young, Assistant Director (212)998-5091

 NYU Department of Public Safety 24/7 number (212)998-2222 By joining our global programs you have demonstrated that you are a risk taker of the very best kind! We hope that you will continue to challenge yourself and take advantage of the opportunities that present themselves to you while abroad. Remember that you play an important role in maintaining your own health and safety. Pay attention to your surroundings, keep your head on straight, and don‘t place yourself in situations that could be potentially dangerous. Prior to travel, you should do careful research on your destination country. Read about the political system, culture, language, and history to better prepare yourself for a safe and fulfilling study abroad experience. Security Precautions and Procedures: Student Guidelines The Office of Academic Initiatives and Global Programs at New York University is committed to the safety, security and well being of its study abroad participants. While efforts are made to ensure the safety of participants, it is necessary to note that each participant is the primary person responsible for his or her own safety and security. The following outlines the responsibilities of participants, procedures in the event of an emergency, and recommended codes of conduct.* Prior to departure: Familiarize yourself with the terms of participation, codes of conduct, host-country law, and emergency procedures. Educate yourself about host-country conditions and customs that may present health and/or safety risks. While abroad: Upon arrival, provide family and staff with emergency contact information. Comply with terms of participation, codes of conduct, and host-country law. Express any concerns about local conditions to program staff. Familiarize yourself with the procedures for obtaining emergency health and law enforcement services in the host country. Follow the program policies for keeping program staff informed of your whereabouts (e.g. travel plans). Act responsibly.

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In the event of terrorism, political unrest, war, or natural disaster: Report your whereabouts: contact your on-site faculty member immediately. Return to your host family or other living quarters and await contact from program staff or local authorities. Follow their instructions: Specific response plans will vary according to the situation at hand. Avoid congregating in groups of Americans or foreigners and try to avoid places known to be frequented by foreigners. NYU has a tracking system, which is used in the event of an emergency situation. This system alerts university administrators of all students in a particular location, based on registration information. NYU administrators will then begin contacting students abroad to ensure their safety. NYU Traveler NYU Traveler is a web-based system that allows NYU to keep track of students and faculty when traveling outside NYC. The Office of Academic Initiatives and Global Programs will upload program dates, housing and emergency contact information. Students are encouraged and welcome to update individual records for side trips to other cities during the length of your program. For example, a student studying in London can inform NYU of travel plans to a vicinity for an event. Students can access the NYU Traveler login page, while home or abroad, through Albert or through a link located on the Academics page of home.nyu.edu. The service will be available on December 1 2009. Any person traveling to a foreign country or city should be careful, regardless of location. ―Street smarts‖ are useful everywhere. Standard safety precautions include always knowing your destination, traveling in groups and with maps, using a money belt, and not keeping valuable items in purses or backpacks. You should always keep your eyes wide open, look confident and in control. That said, it is also important not to become paranoid so that your time abroad is spent in fear. Safety Tips

Never be alone. Always be with at least one other member of the NYU group. When travelling, carry your valuable documents on your body and pack photocopies of them in a separate piece of luggage. If you are not in transit, leave your valuable safely at home or in the safe at the hotel. Walk in groups whenever possible. Be respectful and polite to those you meet. Remember you are a guest in someone else‘s country. Your Program must be notified of your whereabouts at all times. For more information about safety in your particular destination country, refer to the U.S. Consular Information Sheets at http://travel.state.gov and at the Center for Global Education Student Handbook at www.studentsabroad.com.

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COURSE OUTLINE E17.2151 Theatre Practices Applied Drama and Community Engagement Special Intersession Course – Puerto Rico January 2010

Professor Philip Taylor Telephone: (212)998-5868 Email: [email protected]

OBJECTIVES This course interrogates broad questions about dramatic praxis in multi-cultural settings. Radical approaches to applied theatre in Latin America will be considered. Students will develop a vocabulary of theatrical skills for use in the implementation and integration of dramatic strategies into community based work. They will study the impact of theatre of the oppressed in the Caribbean, and explore the community arts movement in Puerto Rico. This course interrogates broad questions about drama and its practice in educational and applied settings. Recent radical approaches to applied theatre will be considered, especially those shaped by Freire and Boal in the Latin-American context. Its principal objective is to introduce students to the power of applied drama in the Caribbean. It aims to give students a background for more specific studies in drama and its implementation, and examines the way in which drama provides contexts for developing change. Key questions which identify the key learning objectives to be addressed for this subject are: What is the role of applied drama in the 21st century? How does our work in Puerto Rico inform a social justice agenda? How is my own aesthetic vision informed by my participation in the course? What is the relationship between drama education and applied community arts? Further information, http://steinhardt.nyu.edu/study_abroad/programs/Theatre_Practices

CONTENT Educators and teaching artists require knowledge of the dynamic which occurs when a group creates a fictional world and engages in dramatic action which extends and changes their understanding of events, people and relationships. This knowledge exists as tacit and learnt understandings. This course provides opportunities for students to engage in a dialogue on the drama process, to reflect on their learning, and then to evaluate their personal responses to structured drama and community-based events. As this occurs, students are introduced to ideas which power drama in education, and, to the theoretical and conceptual bases which underpin the strategies and leadership styles appropriate for different community groups. 5

Informing the above is the understanding that drama is an artform which demands that students are well-grounded in the construct and delivery of artistic experience. Students will consider the relationship of drama to the other artforms and ways that teaching artists develop and share their own artistry. This course builds skills, knowledge and understanding in the content area and pedagogy of drama and community arts. It enhances the professional and personal skills of educators committed to drama in education. The content includes: (a)

The application of the elements of drama: Extending the students' understanding of the elements of drama, e.g. the human context, focus, tension, contrast, symbol, ritual, time and place in drama when used in the playing and playmaking modes.

(b)

Application to teaching artistry: Planning drama experiences; recognizing the teacher's goals and the students' goals, devising tasks, developing and managing dramatic action, intervention and teacher-in-role. Managing drama experiences; managing dramatic action in practice, developing competencies to manipulate the action where necessary. Reflecting on and in drama experience – Evaluating drama curriculum and the teacher's delivery of it.

In January 2010, the course content specifically focuses on innovative community arts programs. We will take advantage of Julian Boal‘s special visit to Puerto Rico. Julian is a leading Theatre of the Oppressed practitioner based in France. The program will be acknowledging the lifetime contribution of his father‘s work in the Caribbean.

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ASSESSMENT 1. Participation

Weighting 25%

Attend all classes punctually and contribute actively and constructively to the seminars. Demonstrate competence in basic dramatic techniques (where appropriate). Complete all assigned tasks as outlined, especially participatory and reading assignments. Contribute to a strong sense of community Presentational skill Working as a cooperative ensemble member Ability to reflect in and on action Peer and group assessment where appropriate

2. Community Theatre Portfolio and Logbook

Weighting 75%

Students keep a documented record of their experience in the Caribbean and the connections they are making to the development of drama in education within their own professional context. This record should include written log entries outlining the students‘ learning, artifacts students collect which demonstrate their learning, analyses of the reading and other materials. Alternate assessments are possible such as the construction of a travel log which can be posted on blog spot or some other site. Do give some thought as to how you would prefer to set this portfolio out in an engaging, practical and accessible manner.

Possible Table of Contents for Logbook A. An Opening Statement describing what students hope to achieve from their Caribbean experience.* DUE Jan 3rd.  *This is a mandatory, 2-3 pages, double-spaced, to be handdelivered to Dr. Philip Taylor in San Juan at the opening Orientation. B. Extracts from Log Book which reveal the development in students‘ learning. C. Students‘ responses to the Key Course Questions (page 3). D. Essay on the Caribbean Community Theatre Course and how it has shaped students‘ understanding. E. The contribution of Freire, Boal and other authors to students‘ knowledge of community arts in the Caribbean. F. A Closing Statement on your own progress and development during this course. G. Appendices: Artifacts (materials, resources, pictures, documents, pretexts, other information than you collect while in PR that have made an impact upon you and which you have referenced above). H. Bibliographic List DUE DATE: This Portfolio should be delivered no later than February 1, 5.00pm to the Program in Educational Theatre Office. Include a large padded self-addressed envelope for timely return. Late delivery of assignments will be penalized. 7

ADMINISTRATION Assignments must be handed in on the due date. Only substantial medical conditions (medical certificate stating specific condition) or exceptional personal circumstances (confirmed in writing by an appropriate person) will be considered for an extension of the deadline, provided notification is made before the due date. Late assignments will be penalised. All written assignments must be legible. Assignments should be word processed and single sided. You should leave room for tutor comment. You must keep a copy of all assignments to be submitted. Written assignments must be in appropriate style-syntax, spelling, grammar and structure.

TEXTS AND SUPPORTING MATERIALS These books have been ordered by the NYU Bookstore.

Required Reading:

Boal, A. (1985) Theatre of the Oppressed New York: Theatre Communications. Cohen-Cruz, J. & Schutzamn, M. (2006) A Boal Companion New York: Routledge. Freire, P. (1970) Pedagogy of the Oppressed NY: Continuum Prentki, T. & Preston, S. (2008) The Applied Theatre Reader. London: Routledge. Rohd, M. (1998) Theatre for Community Conflict and Dialogue: The Hope Is Vital Training Manual Portsmouth: Heinemann.

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DAILY SCHEDULE SCHEDULE OF ACTIVITIES – Puerto Rico 2010 Sunday, January 3 – Saturday, January 16 (Do anticipate changes)

Sunday January 3 Arrivals 6:00pm

Opening Reception at the hotel, Caribe Hilton 1 San Geronimo Street, San Juan, Puerto Rico 00901 Tel: 787-721-0303 Fax: 787-724-6992 Dr. Taylor Cell Contact: 347-853-3848 G.A. Rocío López Cell Contact: 805-264-7859

Monday January 4 9:00am

Students will travel to Libreria la Tertulia bookstore Avenida Ponce de Leon 1002, Rio Piedras Tel: 787-765-1148 Fax: 787-765-1207

10:00am

Welcome and Orientation Dr. Philip Taylor, Program in Ed Theatre

11:00am

History of Puerto Rico Fernando Pico

12:00pm

Puerto Rican Theater Foundations Dr. Lowell Fiet

1:00pm

Lunch on your own at Libreria la Tertulia

2:00 – 4:00pm

Performance: Grupo de Teatro Yerbabruja Theater presentation by Deborah Hunt

4:00pm

Trip to Old San Juan Escorted by Philip Taylor and Javier Cardona

6:00pm

Group Dinner at El Jibarito, Old San Juan

8:30pm

Return to hotel/Pack overnight bag for following day

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Tuesday January 5

Overnight field trip to Cayey Bring small overnight bag, limited space on bus

9:00am

Depart hotel to University of Puerto Rico, Cayey Campus Bring water, snacks

11:00am

Conference / Guided Tour at the Pio Lopez Martinez Museum by Humberto Figueroa and Antonio Martorell, The marriage of theatre and visual arts

1:00pm

Lunch

2:00 – 4:00pm

Workshop: ―Transforming Spaces‖ By Antonio Martorell and Rosa Luisa Marquez

4:00 -6:00pm

Dance Workshop: Bomba By Jessica Gaspar

6:00 – 8:00pm

Pizza and live traditional Puerto Rican music By Luis Rodriguez For those fearless ones: Hang out and watch the stars

Wednesday January 6 9:00am

Depart for fieldtrip to Three Kings Festival in Juana Diaz Bus will stop in at fast food for breakfast Morning in Juana Diaz

1:00pm

Lunch at Antonio Martorell‘s Art Gallery in Ponce

6:00pm

Return to San Juan

Thursday January 7 Morning free 1:00pm

Make your own plans to travel to theatre Teatro Yerbabruja 1104 Calle Brumbaugh, Rio Piedras, PR 00925

2:00 – 5:00pm

Workshop: Mask Making With Deborah Hunt 10

Friday January 8 10:00am – 1:00pm

Workshop: ―Creating plays collectively using Boal‘s Image Theater Techniques‖ with Maritza Perez and youth theatre group

1:00pm

Lunch (on your own)

2:00 – 3:30pm

Introduction to Theatre of the Oppressed in the Caribbean and the legacy of Augusto Boal By Rosa Luisa Marquez and Philip Taylor

4:00 – 6:00pm

Workshop: Building Trust Rosa Luisa Marquez

Evening

At your leisure in Rio Piedras or return to hotel

Saturday January 9

Free day

Sunday January 10 Morning free 1:00 – 6:00pm

Workshop: Participatory Theatre at UPR, Rio Piedras With Julian Boal, #1

Monday January 11 10:00 -12:00pm

Workshop: Physical Theatre With Javier Cardona

1:00 – 6:00pm

Workshop with Julian Boal, #2

Tuesday January 12 Rehearsals; and Morning tutorials with Philip Taylor 1:00 – 6:00pm

Workshop with Julian Boal, #3

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Wednesday January 13 Rehearsals; and Morning tutorials with Philip Taylor 1:00 – 6:00pm

Workshop with Julian Boal, #4

Thursday January 14 9:00am – 4:00pm

Group rehearsal / Set up for performance

4:00pm

Forum theatre performance Jokered by Julian Boal

6:00pm

Fiesta and live music!

Friday January 15

Course Evaluation and Conclusions With Philip Taylor and staff

Saturday, January 16

Departures

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ARRIVAL & TRANSPORTATION

Check-In Date: January 3, 2010 Program Dates: January 4 – 15, 2010 Check-Out Date: January 16, 2010

TRANSPORTATION From Airport The Luis Munoz Marin International Airport, San Juan PR Buses The buses run regularly the 7 mile distance from the airport to the Caribe Hilton, but we strongly recommend that you take a taxi with all of the luggage you will be carrying. Bus fares are 75 cents. Taxi Taxis are available from the first level of each terminal (journey time to San Juan 30-45 minutes). Puerto Rico has both ordinary taxis and taxis turisticos which have a special knowledge of tourist areas; these are painted white with a logo and charge set rates depending on zones. They are generally about $20 from the airport to the Caribe Hilton, and can fit up to 5 individuals per cab. Therefore, we strongly recommend that you get in touch with other program participants to arrange traveling together for cost efficiency.

Getting Around Town You will be taking public transportation to your classes, and you may also enjoy walking in Old San Juan. Additionally, there is a free tourist trolley that stops at the Parada bus stop signs. Taxis There are two types of taxis in San Juan. The white taxis with the Sentry Box logo and Taxi Turístico label charge set rates from the airport to certain destinations. The rates are $8 to $20. Taxis cost $1.75 for the initial hire, plus $.10 for every 1/19th of a mile thereafter. There is an additional charge of $1 for each piece of luggage. 13

Buses The public buses, publicos or guaguas, run in the daytime. The A5, B40, C45 and B21 routes run from along the Old San Juan-Condado-Isla Verde corridor. The stops are indicated by the magenta, orange and white parada signs and fares are $.75. For information on bus routes, call (787) 729-1512. Tren Urbano The first phase of the Tren Urbano system started in 2005. This rapid transit rail system connects the central business district to residential and employment areas in greater San Juan. Fares on the Tren Urbano are $1.50- $1.75.

OTHER Climate Temperatures in Puerto Rico average 82° F with constant mild winds. The U.S. Weather Bureau has never measured temperatures in San Juan above 97°F or below 68°F. A sweater is usually necessary in the hills away from the coast. Sayings have it that Puerto Ricans never go to the beach in a month with an ‗R‘ in it (September through April), though you can always find plenty of tourists there because of the mild temperatures. Money and Banking Please remember to take extra caution with your money. Puerto Rico is a relatively safe area, but petty crime is not uncommon. Be alert, careful, and sensible. It takes some time to figure out what things cost and to budget your spending needs. It‘s better to be frugal in the beginning and be sure you have enough money to be comfortable during the second week of the program – especially if you are planning on traveling. When considering how to budget your money or how much money to bring, keep in mind these costs: local transportation (buses and taxis), food and beverages, sightseeing, travel, souvenirs, everyday items, and emergencies. You do not need to change money in Puerto Rico as they use American currency. ATMs Contact your bank to find out the names of affiliated ATM networks or actual ATM locations in your country and to assure that your card is valid for international use. You should also find out if there are any associated fees. Phone and Internet If you have computer access, you can make calls with Skype, an Internet-based calling service that calls anywhere around the world for between 2 and 7 cents per minute. All you need to do is set up a free account and add money as you go. Create an account at http://www.skype.com/ Electrical Devices Voltage in Puerto Rico is the same as mainland United States.

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ACCOMODATIONS Housing You will be staying at the Caribe Hilton Hotel in San Juan located at Los Rosales Street San Juan, Puerto Rico 00901. For more information you can visit their website at www.hiltoncaribbean.com/sanjuan/. For any inquiries they can be reached at (787) 721-0303. Caribe Hilton Los Rosales Street San Geronimo Grounds San Juan, Puerto Rico 00901 Telephone: +1 787 721 0303 Fax: +1 787 725 8849

Amenities/ Hotel Facilities The hotel offers a secluded beach, oceanfront swimming pools, restaurants, Olas Spa and Fitness Center, tennis courts, a Bird Sanctuary, tropical gardens, Starbucks, and free Wi-Fi in public areas. Individual guest rooms offer amenities that include internet access (you must pay separately for this and Wi-Fi is not offered), small refrigerators, 24 hour housekeeping, and a safe for your valuables.

Meals Meals are not included in your Housing & Activities fee. However we will be hosting a Welcome Reception dinner on January 3rd in honor of your arrival and the commencement of the program. Additionally, there will be a final dinner at a local restaurant at the end of the program. Please note that while breakfast at the hotel is not included in your housing & activities fee, it is available for individual purchase from the hotel.

Classroom Facilities Classes will be held at the Teatro Estudio Yerbabruja and the University of Puerto Rico campus in San Juan and Cayey. TeatroEstudio Yerbabruja 1104 Calle Brumbaugh Rio Piedras, PR 00925

University of Puerto Rico Rio Piedras Campus San Juan, PR 00925

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University of Puerto Rico Cayey Campus 205 Antonio R Barcelo Ave Cayey, PR 00736

PUERTO RICO & FIELD TRIPS Information compiled from Wikipedia.com and Welcome.topuertorico.org

Puerto Rico is officially the Commonwealth of Puerto Rico (in Spanish, "Estado Libre Asociado de Puerto Rico" — literally Associated Free State of Puerto Rico), and is a self-governing unincorporated territory of the United States. Puerto Rico is located in the northeastern Caribbean Sea east of the Dominican Republic and west of the Virgin Islands. Puerto Rico is composed of an archipelago that includes the main island of Puerto Rico and a number of smaller islands, the largest of which are Vieques, Culebra, and Mona. Puerto Ricans often call the island Borinquen, from Borikén, its indigenous Taíno name. The terms boricua and borincano derive from Borikén and Borinquen respectively, and are commonly used to identify someone of Puerto Rican heritage. The island is also popularly known as "La Isla del Encanto", which translated means "The Island of Enchantment." Puerto Rico Capital: San Juan (and largest city) Population: July 2007 estimate 3,994,259 2000 census 3,913,055 Density: 438/km sq 21st in the world, 2nd in the U.S. 1,115 square miles Official languages: Spanish and English Sovereignty: United States -Cession from Dec 10, 1898 from Kingdom of Spain Presidential Head of State: Barack Obama Current Governor: Luis Fortuño On July 25, 1898, during the Spanish-American War, Puerto Rico was invaded by the United States with a landing at Guánica. As an outcome of the war, Spain ceded Puerto Rico, along with Cuba, the Philippines, and Guam to the U.S. under the Treaty of Paris. Puerto Rico began the 20th century under the military rule of the U.S. with officials, including the governor, appointed by the President of the United States. The Foraker Act of 1900 gave Puerto Rico a certain amount of popular government, including a popularly elected House of Representatives. In 1917, the Jones Act granted Puerto Ricans U.S. citizenship and provided for a popularly elected Senate to complete a bicameral Legislative Assembly. As a result of their new U.S. citizenship, many Puerto Ricans were drafted into World War I and all subsequent wars with U.S. participation in which a national military draft was in effect. Natural disasters, including a major earthquake, a tsunami and several hurricanes, and the Great Depression impoverished the island during the first few decades under U.S. rule. Some political leaders, like Pedro Albizu Campos who led the Puerto Rican Nationalist Party, demanded change. On March 21, 1937, a march was organized in the southern city of Ponce by the Puerto Rican Nationalist Party which turned into a bloody event when the Insular Police ("a force somewhat resembling the National Guard of the U.S. state" and which answered to the U.S.-appointed governor Blanton Winship opened fire upon, what a U.S. Congressman and others reported were, unarmed and defenseless cadets and bystanders alike, killing 19 and badly wounding over 200 more, many in their backs while running away. An ACLU report declared it a massacre and it has since been known as the Ponce massacre. The internal governance changed during the latter years of the Roosevelt–Truman administrations, as a form of compromise led by Luis Muñoz Marín and others. It culminated with the appointment by President Truman in 1946 of the first Puerto Rican-born governor, Jesús T. Piñero. On June 11, 1948, Piñero, signed the "Ley de la Mordaza" (Gag Law) or Law 53 as it was officially known, passed by the Puerto Rican legislature which made it illegal to display the Puerto Rican Flag, sing patriotic songs, talk of independence and to fight for the liberation of the island. It resembled the anti-communist Smith Law passed in the United States. In 1947, the U.S. granted Puerto Ricans the right to democratically elect their own governor. Luis Muñoz Marín was elected during the 1948 general elections, becoming the first popularly elected governor of Puerto Rico. In 1950, the U.S. Congress approved Public Law 600 (P.L. 81-600) which allowed for a democratic referendum in Puerto Rico to determine whether Puerto Ricans desired to draft their own local constitution. This Act left unchanged all the articles under the Jones Act of 1917 that regulated the relationships between Puerto Rico and the United States.

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Today, Puerto Rico has a republican form of government, subject to U.S. jurisdiction and sovereignty. Its current powers are all delegated by the United States Congress and lack full protection under the United States Constitution Puerto Rico's head of state is the President of the United States. The government of Puerto Rico, based on the formal republican system, is composed of three branches: executive, legislative, and judicial. The executive branch is headed by the Governor, currently Luis Fortuño.

San Juan is the capital and largest municipality in Puerto Rico. As of the 2000 census, it has a population of 433,733. San Juan was founded by Spanish colonists in 1521, who called it Ciudad de Puerto Rico ("Rich Port City"). Puerto Rico's capital is the second oldest European-established city in the Americas, after Santo Domingo, in the Dominican Republic. Several historical buildings are located in San Juan; among the most notable are the city's former defensive forts, Fort San Felipe del Morro and Fort San Cristobál, and La Fortaleza, the oldest executive mansion in continuous use in the Americas. During the Spanish colonial times most of the urban population resided in what is now known as Old San Juan. This sector is located on the western half of a small island called the Isleta de San Juan, which is connected to the mainland by two bridges and a causeway. The small island, which comprises an area of 47 mi² (122 km²), also hosts the working class neighborhood of Puerta de Tierra and most of Puerto Rico's central government buildings, including the Commonwealth's Capitol. Old San Juan This is a 465-year-old neighborhood originally conceived as a military stronghold. Its 7-square-block area has evolved into a charming residential and commercial district. The streets here are paved with cobbles of adoquine, a blue stone cast from furnace slag; they were brought over a ballast on Spanish ships and time and moisture have lent them their characteristic color. The city includes more than 400 carefully restored 16th- and 17th-century Spanish colonial buildings. The Old San Juan attracts many tourists, who also enjoy the gambling casinos, fine beaches, and tropical climate. More tourists visit San Juan each year than any other spot in the Caribbean. Historical/Cultural Points of Interest Plaza de San Jose Plaza del Quinto Centenario (Quincentennial Square) Plaza de Armas (arms square) Plaza de Colon (Columbus square) Plazuela de la Rogativa (plaza of the procession) Plaza de Hostos Parque de las Palomas (pigeon park) Muñoz Rivera Park El Morro (fort) Castillo de San Cristobal (San Cristobal Fort) Fuerte San Geronimo (San Geronimo Fort) Santa Elena Battery La Fortaleza, Palacio de Santa Catalina Alcaldia (San Juan‘s City Hall) El Capitolio (Capitol Building of Puerto Rico) Catedral de San Juan (San Juan Cathedral) Iglesia de San Jose (San Jose Church) Capilla del Cristo (Cristo Chapel) Teatro Tapia (Tapia Theater) Centro de Bellas Artes (Fine Arts Center) Escuela de Artes Plasticas (School of Fine Arts) San Juan Museum of Art and History Pabro Casals Museum Casa de los Dos Zaguanes (House of the Two Foyers) Museo del Indio (House of the Indian Asilo de Beneficiencia (Home of the Poor) Instituto de Cultura Puertorriqueña (Institute of Puerto Rican Culture) Casa Blanca (White House) Casa Rosada (Pink House) Ruinas de Caparra (Caparra Ruins) Museum of the Conquest and Colonization of Puerto Rico Cuartel de Ballaja (Ballaja Barracks or Ballaja Quarters) Museo de Doña Fela (Felisa Rincon de Gautier Museum) Museum of Contemporary Puerto Rican Art Sacred Heart University

Casa de los Contrafuertes (House of Buttresses) Museum of Colonial Architecture Museum of the Puerto Rican Family Museo de Nuestra Raiz Africana (African Heritage Museum) Casa del Libro (House of the Book) La Princesa (the princess) Paseo de la Princesa (promenade of the princess) Centro Nacional de Artes Populares y Artesanias (Popular Arts and Crafts Center) University of Puerto Rico

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FIELD TRIPS

Cayey

CAYEY is a mountain town in central Puerto Rico located on the Central Mountain range. Cayey is host to one of the main campuses of the University of Puerto Rico. The University of Puerto Rico at Cayey is the only liberal arts college in Puerto Rico. Cayey is known as "La Ciudad del Torito" (town of the little bull) and "La Ciudad de las Brumas" (city of the fog). Cayey was founded on August 17, 1773 by Juan Mata Vázquez, who became its first mayor. It is said that Cayey derives its name from the Taino Indian word for "a place of waters". Cayey is famous for its two twin peaks known as "Las Tetas de Cayey," (the teats of Cayey), nicknamed for their similarity to a female body part, which were formed by volcanic activity. The surrounding areas produce sugar, tobacco, and poultry. Cigars and clothing are also manufactured. In Cayey, we will stay at the University of Puerto campus and participate in cultural workshops (see schedule Jan 5th). JUANA DIAZ is known as as "La Ciudad del Mabí" (mabí city) and "La Ciudad de los Reyes y los Poetas" (city of kings and poets). Juana Díaz is located in the southern coast of the island, south of Villalba; east of Ponce. Juana Díaz produces sugar cane and beige marble--one of the finest marbles in the world. Juana Diaz is notoriously known for its Holy Kings monument, Three Kings Museum, and Three Kings Festival on January 5th and 6th of each year. In Juana Diaz, we will spend the morning of January 6th at the Three Kings Festival (see schedule Jan 6th). Three Kings Festival – This religious and cultural event began in 1884. It celebrates the visit of the Three Kings (Three Wisemen) to baby Jesus. Every year on January 6 people of all ages come to town to celebrate Three Kings Day. The main event is a parade down Comercio Street to the town's plaza where a big altar is set-up for the celebration of the Holy Eucharist. The Eucharist begins with an act of the Prophets announcing the coming of a messiah. The prophecies are followed by the sighting of three kings by the shepherds. The holy mass follows and at the end the Three Kings find and adore baby Jesus. If you can, come dressed as shepherds and be part of the celebration.

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PONCE is the second largest city in Puerto Rico outside of the San Juan metropolitan area. Ponce is often referred to as La Perla del Sur (The Pearl of the South), La Ciudad Señorial (The Noble City), and La Ciudad de las Quenepas (Genip City). The beautiful downtown Plaza de las Delicias is a worthwhile stop, with lovely fountains, a cathedral and local bench sitting denizens. The unique red and black, century old wooden firehouse, commonly known as "Parque de Bombas" is a landmark and still in use. Parque de Bombas originally built in 1882 for an exposition and from 1883 to 1989 it served as headquarters of the Ponce Fire Corps. In 1990, the firehouse was reopened as a museum, there are exhibits on the second floor, and the municipal band plays a free concert every Sunday night. In Ponce, we will visit Antonio Martorell’s Art Gallery (see schedule Jan 6th). Dance Workshop by Jessica Gaspar, Jan 5th Bomba is one of the most famous musical styles of Puerto Rico. Although there is some controversy surrounding its origin, most agree that it is a largely African music. The rhythm and beat are played by a set of hand drums and a maraca. Dance is an integral part of the music: the dancers move their bodies to every beat of the drum, making bomba a very wild and rich dance. Bomba is described to be a challenge between the drummer and the dancer. The dancer produces a series of gestures to which the primo drummer provides a synchronized beat. Thus, it is the drummer who attempts to follow the dancer and not the other way around. A single large maraca usually completes the sound of bomba, though a güiro has commonly been used in orchestral arrangements. Both of these last two instruments have origins in the Taino culture of the Caribbean Basin.

Other Attractions in San Juan: Find additional places of interest at http://www.gotopuertorico.com/puerto-rico-old-san-juan.php. Travel Resources * Lonely Planet (Recommended), www.lonelyplanet.com * Rough Guides, roughguides.com * Fodor‘s, www.fodors.com * Frommer‘s, www.frommers.com * Let‘s Go, www.letsgo.com * Bradt Travel Guides, www.bradt-travelguides.com * State Department Bureau of Consular Affairs, http://travel.state.gov/ * Tourism Offices World wide, www.towd.com Nightlife There are abundant opportunities for entertainment in San Juan. Both the Condado/Santurce areas and Old San Juan have a bustling nightlife. There are also casinos and sporting events, even baseball. Two large venues for performances include the Luis A. Ferré Performing Arts Center and the Teatro Tapia y Rivera. Find a copy of the daily San Juan Star for theater, film, dance, and sporting event listings. Dining San Juan offers many choices for dining, from budget restaurants to fine dining in the hotels on Condado and Isla Verde. The Bienvenidos Magazine is the most informative dining guide. You should also check tourist guides and websites. You can find all kinds of meals, but you will also find plenty of traditional Puerto Rican fare. With a strong agricultural and fishing tradition, you will find fresh fruit, vegetables and juices along with fish at every meal. Tipping follows North American rules. Some restaurants include the service charge in the bill, but if they don't a 15% tip is expected.

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STUDENT BIOGRAPHIES Melinna Bobadilla Melinna ―Teatrina‖ Bobadilla is an Edutainer-Artivist-Chicana-Capricorn currently pursuing an MA in Educational Theater at NYU. She teaches social justice theater workshops at West Brooklyn Community High School, performs with A.C.E.S (Arte Colectivo en Solidaridad), and is a current board member of Pedagogy and Theater of the Oppressed Inc. Prior to moving to NYC, Melinna served as an artistic associate, ensemble member, and educational theater coordinator at El Teatro Campesino. Her favorite experiences facilitating theater workshops were at the 2007 Cuban Hip Hop Symposium where she directed and jokered a Hip Hop Forum Theater piece with a group of break dancers, and with Teatro East of the River and a group of 16 East Los Angeles youth who wrote the original show "Ojos Que No Oyen/Eyes that do not Listen." She wants to continue using teatro to build bridges and burn borders. Educate. Agitate. Liberate.

Emily Boudreau Emily C. Boudreau is a MA candidate in the EDTA program from Albany, NY. She has a BA in English and a BFA in Theatre Performance Studies from Niagara University.

Rachel Brill Rachel Brill is a first year Graduate student at the Steinhardt School at NYU for Educational Theatre. She currently holds a BFA in Theatre from SUNY Buffalo. Rachel is very enthusiastic about incorporating Theatre Arts with Education!

Carolyn Burke Carolyn is a graduate of Syracuse University Drama and a second Year M.A Candidate in the Program for Educational Theatre. She has recently been seen in the programs productions of WOYZECK, The Class Project and THEATRIX! This is her second Study Abroad experience and looks forward to the opportunity to learn invaluable skills from experts in her field from all over the world.

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Chantelle Burley Chantelle Burley is from London, England. She completed her B.A in Drama, Education and Applied Theatre at the Central School of Speech and Drama in 2009. She has worked in America, Brazil and Kosovo as a drama educator and applied theatre practitioner.

Susan Comer Susan Comer is currently pursuing a Masters of Arts in Educational Theater and Communities from New York University. Susan is a native of Raleigh, North Carolina and a graduate of Northwestern University in Chicago where she studied music, theater, and dance. Susan was a recipient of the Alma Goudes Encouragement Award from the Metropolitan Opera's National Council Auditions in 2006. Susan discovered her call to education when she was hired to direct and choreograph musical theater productions at the Music Institute of Chicago. She presently works as a teaching artist with TDF, Broadway Bound Kids, and LEAP. Susan had the amazing opportunity to study in Brazil with Dr. Taylor this summer and looks forward to another life-changing experience.

Namibia Donadio Namibia was born in Panama and raised in New Jersey. Her background is in acting, singing, and doing political community organizing. Her B.A. is in History with a Minor in Political Science from Rutgers University. She has been a student leader and youth organizer for the last few years. She worked for Youth Services in the City of New Brunswick as a Reading Coordinator for the P.L.A.Y.S.A.F.E. program for children ages 6-12, and later as an after school counselour, using drama to implement grammar and reading curriculum. In the last two years, she was asked on delegations to labor and youth conferences in Mexico, Lybia and Cuba. She is currently in her first year at New York University pursuing an M.A. in Educational Theater in Colleges and Communities.

Teresa Fisher Teresa Fisher is a doctoral candidate and Steinhardt Doctoral Fellow in the Program in Educational Theatre. A former mental health counselor and play therapist, Teresa‘s passion is using theatre to explore obesity and body image, most especially through Boal‘s Theatre of the Oppressed and Rainbow of Desire forms. In addition to being an educator, Teresa is a director, actor, stage manager, dramaturge, producer/administrator, and house manager. She is the Producer/Administrator for New Plays for Young Audiences, a play development series housed in the Program in Educational Theatre.

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Thomas Hecht Thom Hecht is a dance educator and scholar, with a research emphasis on educational historiography. His graduate degrees include: M.Phil. in Contemporary Dance from the London Contemporary Dance School at The Place (London); M.A. in Performance Practices and Research from the Central School of Speech and Drama (London); M.A. in Fashion History and Theory from the London College of Fashion (London). Since 2008, he is pursuing a Ph.D. in Dance with a double-doctoral minor in Higher Education and Women's Studies at Texas Woman's University, Denton, TX, where he is currently completing his doctoral coursework. In addition, Thom is an American Ballet Theater® certified ballet teacher (primary to level 3), focused on combining his dance training with social entrepreneurship by organizing and leading community dance projects for rural and displaced children in Africa.

Jonathan Jones Jonathan Jones is currently the Graduate Fellow for the Program in Educational Theatre. He was a teacher of Theatre and English at North Hollywood High School where he directed productions of West Side Story, Little Shop of Horrors, A Midsummer Night’s Dream, Grease, The Laramie Project, Bye Bye Birdie, Dorothy Rides the Rainbow, Elsewhere in Elsinore, and Julius Caesar. In 2008, he received a grant from the National Endowment for the Humanities to attend the Teaching Shakespeare Institute at the Folger Shakespeare Library in Washington, DC. Jonathan is a graduate of the Gallatin School of Individualized Study and he completed the EDTC master‘s program and served as the Program Assistant for the Study Abroad Program in London in 2004.

Lindsay Krause Lindsay graduated from the University of Arizona in 2004 with a BA in Political Science and a minor in Theatre Arts. Prior to entering the EDTA program at NYU, she worked at Seattle Repertory Theatre and Seattle Children‘s Theatre as both a fundraiser and a teaching artist. Lindsay‘s artistic background includes training in musical theatre, dance, and vocal performance.

Sasha Lauren Lakind Sasha Lakind was born and raised in Santa Fe, New Mexico. She went to boarding school at Interlochen Arts Academy in northern MI and majored in Theater. Sasha also has a BA in Contemporary Performance from The Royal Scottish Academy in Glasgow. She likes long walks on the beach... but walks through the bustling streets of Manhattan are wonderful too.

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Rocío López This Chicana Latina artivist lives for arts programming and filmmaking to create voice and engage youth in social justice dialogue. A Cali-native, she got her B.A. in Latin American Studies at UCLA, where she founded the Latin@ Cultural Night -an annual musical play written by students addressing immigration themes and showcasing Latin American music and dance. As an arts educator, she uses Theatre of the Oppressed techniques and pedagogy to engage youth in creating murals, theatre and film as a means for voice and empowerment. Rocío has worked as an Arts Educator for MALDEF (Mexican American Legal Defense and Educational Fund) and other community agencies and has created pilot programs: CREATE! Civil Rights Education and Arts Toward Empowerment, as well as The Third ACT! Youth Arts Academy. She is also a Parent Facilitator for PIQE (Parent Institute for Quality Education. Rocío is currently pursuing a Masters in Educational Theatre at NYU. In her spare time, she loves to sing, dance salsa, and produce telenovela spoofs with friends.

Kyla McHale Kyla F. McHale is in her final semester as a Master‘s candidate at NYU where she is studying Educational Theatre for Colleges and Communities and a graduate of Muhlenberg College, where she received a BA in Performance and Performance studies. This summer she had an amazing experience in Brazil where she studied at the Centro de Teatro Oprimido (Center for Theatre of the Oppressed) with the fabulous jokers: Julian Boal, Barbara Santos, and Geo Britto. Kyla is a performer, puppeteer, teaching artist, and director. In these roles she has had the opportunity to study and perform with Tim Miller, Peter Schumann, Martina Plag, and other change inspiring theatre makers. She is excited to continue to explore the possibilities of theatre, particularly how theatre can be a vehicle for transformation.

Mary Corinne Miller Mary Corinne Miller is a graduate student in the Educational Theater program at NYU Steinhardt. She is the owner and Artistic Director of Saratoga Student Stages, a children‘s theater school in Saratoga Springs, NY, which she founded in 2004. She has also worked as a teaching artist at the Children‘s Theater Company and John Robert Powers School in NYC and the Schuylerville and Caroline Street elementary schools in Saratoga, NY. Corinne is excited to be embarking on her second study abroad program with the NYU Educational Theater department, after having studied Theater of the Oppressed in Rio de Janeiro this past summer.

Megan Morrison Megan Morrison is a Graduate Student in the Education Theatre department at New York University with a focus on Applied Theatre. She has been involved in performance studies since the age of five and completed her undergraduate studies at UC Santa Cruz in the theatre department. After graduation Megan appeared on various Los Angeles stages working as an actor and a dancer. She also worked as a teaching artist and began to develop arts-based programming for underserved youth and communities throughout Southern California. Megan is currently dedicating to folding her passion for movement, theatre and eastern philosophy together in order to develop transformational tool which empower local and global communities alike.

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Heidy Perez Cordero Heidy M. Pérez Cordero is a M.A. candidate in the Educational Theatre in Colleges and Communities Program at New York University. Heidy holds a bachelor‘s degree in Education with a concentration in Theatre from the University of Puerto Rico-Río Piedras Campus. As a big believer of social justice, she became part of ―Los Teatreros Ambulantes de Río Piedras‖ directed by Rosa Luisa Márquez. Passionate about educating children through drama, Heidy will explore early childhood education during her practicum next semester in Eagle‘s Wing Child Care and Education Programs at University of Wisconsin.

Thomas Rothacker Tom is an actor and director and will be graduating from the Education Theatre program at NYU this Spring, 2010. He has worked frequently Off and Off-Off Broadway with companies and venues such as The Rapscallion Theatre Collective, Theatre Row, The Tank, Horse Trade, American Theatre of Actors and Theatre for the New City. Tom hopes to continue his career as a Teaching Artist and teach in Community Colleges.

Sara Simons Sara Simons began pursuing her PhD study in Educational Theatre this past fall as a Steinhardt Doctoral Fellow. Prior to coming to NYU, she taught as an adjunct at a technical college in Boston and worked in the education department at Planned Parenthood, writing sex education curriculum for middle school and high school students. Sara earned her MA in Theatre Education from Emerson College and her BA in Women‘s Studies and Theatre from Wellesley College. Sara is excited to be stage-managing Sonia Flew this spring. When not wearing a headset or making lists, Sara works part-time as a research assistant at the Center for Health, Identity, Behavior, and Prevention Studies at NYU.

Kelly Thomas Kelly Anne Thomas is a senior at NYU in the Steinhardt School's Educational Theatre Program. She is a director/ writer for theatre and also works as a teaching artist. She is interested in theatre work in "nontraditonal settings" and the highlight of her educational journey thus far has been her work with the Hip Hop Education Initiative at NYU. In the future Kelly plans to country-hop teaching theatre and eventually develop art and social justice curriculum for youth programs.

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Abraham Velazquez Abraham graduated from New York University with a B.Sc. in Communications and a Concentration in Graphics, and is currently working towards his M.S. in Educational Theatre in Colleges & Communities. From an early age, this South Bronx native has been recognized in NYC as a fierce battle mc, a conscious and profound poetry writer, and a creative visual artist. The proud Afro Taino is a member of the Peace Poets. Together, they teach workshops internationally and in New York City focusing on Hip Hop Theatre and performance poetry. Abraham Velazquez was broadcast by BronxNet, Urban Latino Magazine TV and NBC as a positive Latino role model and educator. His short film, The First Stone, received acclaim at the Chelsea Art Museum, the DIYDS Youth Media Festival, and the Urban Visionaries Youth Film Festival. Pa'lante, Siempre Pa'lante! Claudia Walters Claudia Walters is in her 2nd semester of the Educational Theatre Program at NYU. After graduation, she wishes to work in arts in education programs in New York, London, and her home town of Chicago. She is extremely excited to be a part of this winter session's Puerto Rico program and to learn how this will enhance of knowledge of theatre practices.

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FACULTY BIOGRAPHIES Philip Taylor, Ph.D. Director and associate professor in educational theatre, New York University. B.Ed. 1980, Rusden State College (Australia); MA 1988, Ph.D. 1992, New York University; has been Director of the Program in Educational Theatre since 2003. His research interests are in the fields of applied theatre and process drama, qualitative research, reflective praxis and educational inquiry. His book Applied Theatre: Creating Transformative Encounters in the Community describes how theatre can empower individuals and communities to effect change. Dr Taylor established the International Institute in Drama in Education Research Institute (IDIERI) which has met in Australia, Canada, England, Jamaica, and the United States. He was inaugural director of the first centre in Australia dedicated to applied theatre research, Centre for Applied Theatre Research, Griffith University, 1997-2001, and was foundation editor of Applied Theate Researcher. His book Researching Drama and Arts Education: Paradigms and Possibilities (Falmer) has been a standard text on research design used by many graduate students worldwide. Dr Taylor has given keynote addresses across the globe, most recently in Japan and China, and is a frequent workshop presenter worldwide. At NYU he established a new scholarly periodical, Arts Praxis, and is excited by his forthcoming book Theatre behind Bars: can the arts rehabilitate? Antonio Martorell Puerto Rican printmaker, painter, draughtsman, illustrator and performance artist of Spanish birth. He studied in Spain in 1961-2 under Julio Martin Caro and with Lorenzo Homar at the graphic arts workshop of the Instituto de Cultura Puertorrique?a (1962-5). He inherited a social and political commitment from Puerto Rican artists working in the 1950s, but introduced wit and irony to his satirical treatment of political themes in prints, posters and illustrations. From the late 1960s, for instance, he produced portfolios of woodcuts in which he combined texts and images as a way of commenting on social and political events.

Dr. Fernando Pico Ph.D. from Johns Hopkins University. Professor of History at the University of Puerto Rico. Author of the most important textbook on Puerto Rican History: Historia general de Puerto Rico (General History of Puerto Rico). He dedicated himself to the study and documentation of micro-history: cane workers, slavery, prisoners, town histories, etc. and is also a writer of fiction. Dr. Pico has been Chaplain of several prisons in Puerto Rico where he has been instrumental in developing a program of university studies for inmates.

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Deborah Hunt Maskmaker, puppeteer and performance artist with over 30 years experience in the creation and presentation of original theatre works. International touring as performer and pedagogue (New Zealand, USA, England, Mexico, Central America, Puerto Rico, British Windward Islands, Argentina, Denmark, Norway, Belgrade, Venezuela, Cuba, Spain, Singapore, Australia, Italy). Working bilingually since 1985. Born in New Zealand, residing in Puerto Rico since 1990. Deborah Hunt is an expert in manipulation and creation of masks with twenty-five years of experience working with puppet theatre. Deborah has also studied ancient Greek and history, English, contortionism, capoeira, classical ballet, contemporary dance, pantomime and fire works. She is cofounder and artistic director of Toporojo, a theatre company which worked in New Mexico from 1985 to 1988 and a member of the well-known research theatre group Red Mole Enterprises in New Zealand from 1976 to 1984. She has published La Maestria de Máscaras: Manual de la Fabricación de Máscaras, Fabricando Títeres: Un Manual, Deborah Hunt: Mask Work 95/96 and Windows/Vitrinas 97/98. Originally from New Zealand, Deborah moved to Puerto Rico in 1990 where she lives now and works, also touring and teaching abroad. Her productions receive the support of New Zealand Art Council, NEA and Puerto Rico Cultural Institute. Javier Cardona Javier Cardona is a performing artist and educator originally from Puerto Rico, who began his performing and arts and education career with Los Teatreros Ambulantes de Cayey, directed by Rosa Luisa Márquez and the visual artist Antonio Martorell. He has studied and worked with contemporary theater and dance masters such as Peter Schumann, Bread and Puppet Theater; Osvaldo Dragún, Escuela Internacional de Teatro de América Latina y el Caribe; Augusto Boal, Theater of the Oppressed; Miguel Rubio, Yuyachkani; Viveca Vázquez, Taller de Otra Cosa; Sally Silvers and Jennifer Monson, Birdbrain.His own artistic work, which is primarily concerned with issues of race, gender and identity, has been presented throughout the Caribbean, Latin America, and the United States. Javier‘s performative artwork forms part of the collection of the Hemispheric Institute Digital Video Library, based in New York City. Experienced in the use of the arts as an aesthetic form and a dialogical medium for human reflection and social action, Javier currently works as the Arts & Education Director for Rehabilitation Through the Arts, a non-governmental arts in education initiative inside New York State prisons. In addition, he works in The New Victory Theater’s education department as a teaching-artist. Javier holds a Masters in Educational Theater from New York University. Julian Boal Julian Boal is a freelance workshop leader. He has led workshops, either alone or as Augusto Boal's asssistant, in more than 25 countries. He is one of the founding memebers of GTO-Paris, groups that works principally on the oppressions dues to the relationship between bosses and workers. He is also the author of Images of a Popular Theatre.

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Dr. Lowell Fiet

Lowell Fiet (PhD Theatre, Wisconsin 1973) has taught at Michigan State University (1973-76), the University of Oregon (1976-78), and at the University of Puerto Rico-Río Piedras since 1978. Widely published in the field of Caribbean theatre, drama, and performance, he is also the founding editor of Sargasso (since 1983) and the author of El teatro puertorriqueño reimaginado (2004) and Caballeros, vejigantes, locas y viejos: Santiago Apóstol y los performeros afropuertorriqueños (2007). He directed the experimental group Taller de Imágenes (1987-1995), the Caribbean 2000 Research Center (1995-1999), writes theatre criticism (since 1992) for the weekly newspaper Claridad, and leads the independent theatre-in-education project másTaller (mas[k] Worshop). He currently chairs the Interdisciplinary Studies Program in Humanities and the ―Art, where and for whom?‖ institutional grant at UPR. Maritza Pérez Otero An educator and ―Teatrera” (Theater Person), Maritza has developed and designed a tutoring system integrating the arts and education for middle and high school students since 1980. Her theater work as an actress and script writer begins in 1972 with Anamú, a theater of the streets group dedicated to perform short plays in low income communities about topical themes of the moment: the lack of rice, the rescue of lands, the migration problems, etc. From 1979 to 1985 she formed part of a dance-theater group called Pisotón as an actress, singer, writer and later on as the director. In 1995 she create Proyecto Talleres, a non-profit artistic and educational organization where she offer courses in theater and studies techniques to young people at high schools, housing projects, community centers and universities. Maritza had been also a Public High School Spanish Teacher, an Academic Director of a Montessori Middle School, the Creative Director of Badillo Saatchi & Saatchi Advertising Agency, has designed the remedial Courses for High School Spanish, English and Mathematics for the ―Summer for Excell‖ Program of the Departament of Education and the Interamerican University of Puerto Rico. She designed and directed the theater project of the Proyecto de Comunicación de WIPR-TV (the government public TV station) for marginated comunities in Puerto Rico, called ―special communities‖, from 2003 to 2005. Maritza Pérez Otero has a BA in High School Education from the University of Puerto Rico, Río Piedras and Graduate Studies in Hispano American Literature (MA) from the National Autonomous University of México (UNAM), México City.

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Dr. Rosa Luisa Marquez Born in Puerto Rico in 1947 Márquez has a Bachelor‘s Degree from the University of Puerto Rico, an M.A. from New York University and Ph.D. from Michigan State University. Doctor Márquez is a Full Professor of Theater and Drama at the University of Puerto Rico where she teaches: Introduction to Theatre, Theater Games, Socio-drama, Theatre History, Latin American and Post-Brechtian Theatre and stages plays. Trained in street theater, founder of Anamú Theater Collective, constant apprentice to Peter Schumann of the Bread and Puppet Theater and Augusto Boal of the Theater of the Oppressed, of Grupo Yuyachkani of Peru and Grupo Malayerba from Ecuador, she has developed her own theatrical language in collaboration with Puerto Rican graphic artist Antonio Martorell. They both conceived and directed the Teatreros Ambulantes, a student theatre project that performed in communities, schools and alternate spaces from 1986-1990. Her projects have traveled extensively through North and South America and the Caribbean. Winner of the Puerto Rican Drama Critics Circle Award for Theatrical Creativity, 1990 and Best Production Award for her staging of Jardín de pulpos, 1996, for the University of Puerto Rico‘s Traveling Theatre Company and for her Caribbean version of Waiting for Godot, 1997. Actress and director, dramatist, radio and TV producer and announcer, she published her first book on her own methodology: Brincos y saltos: el juego como disciplina teatral. (Leaps and Bounds: Games as Theatrical Discipline). Artist in Residence at MIT's Music and Theatre Department from 1992-1993, she established bridges between diverse groups and theatres in the US and Latin America; since 1989 she has been a Member of the Board of Directors of the International School of Theatre of Latin America and the Caribbean headed by Argentinean playwright Osvaldo Dragún.

Teatro Estudio Yerbabruja An experimental theatre space created (literally) by actors in 1990 in the heart of Rio Piedras. At the time it opened it was the only non-commercial independent theatre venue in San Juan. It is the base for the theater company Maskhunt and is also used by newly emerging independent companies for classes, rehearsals and performances.

Grupo Iyawo An emerging Puerto Rican musical group, committed to the exploration and fusion of an array of musical genres, from ―nueva trova‖ to Afro-Caribbean beats, blending diverse popular and folkloric rhythms with original lyrics.

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POLICIES Student Conduct Status Membership in a global campus community requires mutual respect, consideration, and concern for the well being of others, as well as a significant degree of personal integrity and maturity. Students who have been determined through a University student conduct process to have engaged in behavior disruptive to the University community or antithetical to these qualities may be precluded from participation in an NYU Steinhardt Study Abroad Program. Information concerning student conduct actions is made available to NYU Steinhardt Study Abroad Admissions and will be considered in reviewing a student's application, and determining a student's continued eligibility, to participate in an NYU Steinhardt Study Abroad Program. Students who have been placed on University disciplinary probation or on deferred suspension from University housing are ineligible to participate in an NYU Steinhardt Study Abroad Program during the period of their probation and/or deferred status. Students who have been suspended, withdrawn or dismissed from the University, or who have been dismissed or suspended from University housing, are ineligible to participate in an NYU Steinhardt study abroad program. Should a student's admission to an NYU Steinhardt Study Abroad Program be revoked as a result of disciplinary action or conduct violation, New York University will not be responsible for refunding any expenses incurred in preparation for the intended semester abroad. Visitors Policy No family member, friend, or significant other may join the program or stay with the student in the housing the university provides, unless she/he enrolls as a student in the program. There are no exceptions. If a relative or friend wants to visit the country while the program is in operation, then the visitor needs to arrange for her/his own daily activities and housing. A registered student may choose to move out of the on-site housing for the brief period of the visit, but must clear this with the faculty director before doing so. A relative or friend not attending the program may not stay in the group accommodations. If relatives and friends chose to visit they are strongly encouraged to do so before the academic program begins or after it is completed. Health Policy NYU Steinhardt's Office of Academic Initiatives and Global Programs is committed to the health and safety of all our program participants. Participants must complete a medical history form prior to departure. This information will be kept confidential and used only by Student Health Center and Global Programs staff. NYU Student Health Center staff will review health forms. We strongly encourage all students to fully disclose their medical history so that we can prepare them properly for their experience, and make necessary accommodations. In some cases, NYU Student Health Center staff will contact students to discuss how a medical condition may affect the student's experience in a particular program. In addition, we recommend that students have a general physical done well in advance of departure to identify and address any conditions that may impact your study abroad experience. Physicals can be obtained free of charge or at minimal cost at the Student Health Center. Students should make sure that all of their routine immunizations are up to date. In cases where specific immunizations are required for travel, our office will alert participants. Study abroad 30

participants are also encouraged to contact their health insurance provider to learn details about international coverage. If students who plan to attend a study abroad program require academic/housing accommodations or special services because of a disability, they should contact the Moses Center to request accommodations. Students must be registered with the Moses Center to request accommodations, whether they are NYU students or students from another institution. The Moses Center will work with a student and the NYU Steinhardt Office of Academic Initiatives and Global Programs to arrange approved accommodations. Students with disabilities planning to study abroad are urged to obtain information in advance regarding the specific programs and facilities, so that adequate planning for reasonable accommodations can take place. Staying in Non-NYU Housing Abroad The Office of Academic Initiatives and Global Programs recommends that students stay in university provided housing for a variety of important reasons. Safety and costs are taken into account and students often find it to be both socially and academically rewarding to stay with other students in the program. The Global Programs Office will make exceptions when a student wishes to stay with immediate family members who live in the nearby area. If students wish to stay with family, it is very required that they still participate in all program related activities, some of which may occur in the evening, and students should ensure that they will have safe and regular transportation to and from the group's hotel and classroom space. A written request must be submitted to the Office of Academic Initiatives and Global Programs ([email protected]) as well as the academic program Director at least six weeks in advance of the program start date. Students must also share emergency contact information abroad, including their address and telephone number with the Office of Academic Initiatives and Global Programs as well as the academic program Director NYU Policy on Alcohol, Drug Use, Sexual Harassment, Discrimination Alcohol and Drug Use Please visit www.nyu.edu/public.safety/policies and download and read the Alcohol and Drug Use Policy Statement. You are responsible for understanding this information. Please keep in mind that being alert and being sober are keys to personal safety. Sexual Harassment Please visit www.nyu.edu/public.safety/policies and download and read the Sexual Assault and Harassment Policy Statement. You are responsible for understanding this information. Discrimination and Harassment Please visit www.nyu.edu/public.safety/policies and download and read the Anti-Harassment Policy Statement. You are responsible for understanding this information. International Laws Faculty, staff, and students should be aware that in addition to the university sanctions, all program participants are subject to the local laws of the host country, which may specify fines or imprisonment for conviction of offenses. When appropriate or necessary, NYU will cooperate fully with international law enforcement agencies. Inform yourself on the laws of host country, particularly in regards to controlled substances. 31

Immediate Suspension If in the opinion of the Program's Faculty Director, a student's behavior presents an imminent threat to the student's physical or emotional health, safety, or well-being, or the health, safety, or well-being of others, the maintenance of public order, or the effective continuation of the educational process, the director may immediately suspend the student from the program prior to any formal disciplinary proceeding. The director shall promptly advise the Dean of the school in which the student is enrolled, and the designated representative from the Office of Academic Initiatives and Global Programs. The student will be responsible for returning and for making alternative housing arrangements on his/her own and at his/her own cost. The student will not be able to take a grade of Incomplete in the course, nor will he/she receive any refund for the course. Typically, the grade entered the transcript will be F.

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