Abstract
We examine Chicano on the Storm, performed in 1991 by Richard Montoya of the theater group Culture Clash, and Border Brujo, performed in 1990 by Guillermo Gómez-Peña to explore the ways that the performances stage identities. We contend that the performances advance commentaries about the cultural milieu shaping Chicana/o identities and the notion of a foundational “Chicano” identity by performing psychic trauma so that struggles and tensions may be exorcized. Subsequently a ChicanoBrujo subjectivity is possible. Both performances yield insights about the confluence of culture, performance, and narratives that position us to advance the contours of a decolonial performance practice that melds insights from cultural performance scholarship with that of emancipatory cultural concepts derived from Mexican oral tradition.
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