In the post-performance discussions of Housekeeper's Diary, the audience comments range from some middle-class people's expression of discomfort, or their own lack of knowledge as to how to even treat their own maids in a more real, humane way. But there are also comments about what is the vitality and vibrancy of working people — comments about the inherent dignity they sense, despite an external objectification. This, to me is the kind of dialogue and engagement I find most satisfying as a performer.
While those points of divergence are significant, I felt I had read something that will challenge me to keep thinking about the political context of performance. One last reservation with this book was Fusco’s tendency to make referential comments to different artists, without always placing them in context. This can make for a limited appreciation of the the work as a whole, as well as perpetuate an unfortunate tendency of performance artists conversing amongst themselves. (Particularly since Fusco plumbs the legacy of imperialism, colonialism in her work, it strikes me as odd that she gears her writing to the art intelligentsia. ) It is a challenge, however, worth the effort of cross-referencing and research for the reader.
Article comments
1 - Natalie Bennett
This article has been selected for syndication to Advance.net , which is affiliated with newspapers around the United States, and to Boston.com. Nice work!