Collection Title: Jesusa Rodríguez & Liliana Felipe : El Hábito collection
Title: El club de los enemigos de Fox
Alternate Title: Fox's enemies club
Date: 2004 Dec. 18
Location: Performed at Teatro Bar El Hábito, Mexico City, on Dec. 18, 2004.
Work Type: Performance., Cabaret., Political performance., Satire.
Jesusa Rodríguez, writer, director, producer ; Liliana Felipe, producer, music ; Simone Victoria, assistant playwright.
Jesusa Rodríguez, Liliana Felipe, Leticia Pedrajo, Montserrat Marañón, Oscar Olivier, Hena Moreno, Zulema Clares, Montserrat Díaz.
Run-time (hh:mm:ss): 01:48:49
Language: In Spanish.
Synopsis: Cabaret performance by Jesusa Rodríguez and Liliana Felipe, exploring the downside of social indifference and the power of civil disobedience as an effective form of civic participation through which to enact political, cultural and social changes in the public sphere. An anthropologist for 'Discovery Chafa' (a parody of ethnographic documentaries on American television) researches a tribe of Latin American indigenous people, the 'Yanomami', joining them in a continental search for their lost gods. Western and Eastern cultures - characterized as representing 'el Tener' (to have) and 'el Ser' (to be), respectively - are represented as two pseudo gods attempting to be recognized as the 'universal' Culture.Countering this battle of wills, the piece propose (through satiric eschatological dialogues and parodic twists) a rupture of the Manichean East/West binary, favoring a 'third option', that of 'Saber Estar' (to know how to be in a place), attributed to native civilizations; this option intends to open up a space for empowering and incorporating indigenous people in contemporary national projects - projects which tend to isolate them in discourses of Romantic myths of origin, while being considered technologically and culturally 'backward'. Furthermore, the artists invite the audience to have a critical approach not only to foreign political and cultural agendas, but more urgently, to Mexico's current governmental agendas (among them, the effects of NAFTA on civil society).Civil disobedience is proposed as an effective tool for civic participation; the audience is invited to join the 'Enemigos de Fox' club (a fictional opposition club against Mexican president Vicente Fox) and to publicly express their discontent with the political and economic situation of contemporary Mexico. 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