Collection Title: Jesusa Rodríguez & Liliana Felipe : El Hábito collection
Title: Big mother
Alternate Title: Big mother
Alternate Title: Gran desmadre (video para expectáculo)
Date: 2002 June
Location: Video insert for performance at Teatro Bar El Hábito, Mexico City, Mexico, in June 2002.
Work Type: Performance/Performance video insert., Cabaret., Theater., Satire., Political performance., Queer performance.
Jesusa Rodríguez, writer, producer, director ; Liliana Felipe, producer, musical director.
Jesusa Rodríguez, Ana Francis Mor, Nora Huerta, Marisol Gasé, Cecilia Sotres, Liliana Felipe.
Run-time (hh:mm:ss): 00:13:09
Language: In Spanish.
Synopsis: Performance video inserts for 'Big Mother: El Gran Desmadre.' Here included are: newscast footage of the terrorist attacks to the World Trade Center in New York City; a spot advertising and introducing Mega Corporation ('a product of the global fusion of the market of perfect autocompetition') in its 'crusade against terrorism;' three Mexican soap opera excerpts; an infomercial by a well-known Mexican actor; a mock newsflash on Big Mother's surveillance cameras (installed in order to observe the Mexican population, looking for possible terrorists against sovereignty of the State); and a spot of 'Bernarda Alba's daughters' in a barren land, waving the Mexican flag.All these footage excerpts complement the show's 'metaphysical' reflection on terrorism, surveillance, and the society of spectacle, in a sorts of 'reality TV' show where metaphysical debates juxtapose with beauty contests, bureaucratic limbos, and theatrical last suppers, searching for Truth amidst a war on Nature and Humanity. Mexican director, actress, playwright, performance artist, scenographer, entrepreneur, and social activist Jesusa Rodríguez has been called the most important woman of Mexico. Often referred to as a 'chameleon,' Rodríguez moves seemingly effortlessly and with vigor across the spectrum of cultural forms, styles, and tones. Her 'espectáculos' (as both spectacles and shows) challenge traditional classification, crossing with ease generic boundaries: from elite to popular to mass, from Greek tragedy to cabaret, from pre-Columbian indigenous to opera, from revue, sketch and 'carpa,' to performative acts within political projects.Humor, satire, linguistic play, and the body are constants in her productions. She seeks to render corporal and, thus, visible, the tensions between the discourses in operation on and through the individual and collective body. Rodriguez's energy is intense and her commitment non-negotiable, always interrogating the nature, site, and consequences of power and its representation. Liliana Felipe, one of Latin America's foremost singers and composers, was born in Argentina in the 1950s. She left for Mexico just before the outbreak of the 'Dirty War' (1976), but her sister and brother-in-law were both 'disappeared'--victims of the military dictatorship's criminal politics. Liliana's music has a wide following in Latin America. She continues to be a powerful presence in Argentina, working with human rights organizations--especially H.I.J.O.S. (the organization of the children of the disappeared). In Mexico, Liliana went to one of Jesusa Rodríguez's performances.Jesusa, catching a glimpse of Felipe in the audience, remembers saying to herself: 'I am going to die with that woman.' Since then, Liliana and Jesusa have created two performance spaces, El Cuervo and later El Hábito in Coyoacán, Mexico City, that they still run. They 'married' in February 2000. El Hábito ( is a hotbed for intellectuals, feminists, gay rights activists and open-minded, progressive people who want to be engaged by a smart and critical humor. In this off-off space, and with the collaboration of their theater cooperative Las Divas, Jesusa y Liliana have produced hundreds of shows since the 1980s.
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Copyright Holder: El Hábito
Contact: Jesusa Rodríguez, Liliana Felipe
Jesusa Rodríguez
Liliana Felipe
Madrid 13
Coyoacán, México D.F., 04100