Biography
“My work be it scholarly, artistic or community-based is informed by a deep sense of gratitude and a feeling of responsibility to those who have come before me, those who are with me now, and those who will come after."
Guillermo Aviles-Rodriguez was born and raised in the community of Watts, California; he has built a career around using theater as a way of exploring issues of social inequality together with self-empowerment. His study of theatre has taken him throughout the Americas and to the Caribbean. Through a Cornerstone Theater Company residency, Guillermo was mentored by Bill Rauch, artistic director of the Ronald O. Perelman Performing Arts Center at the World Trade Center, and Juliette Carrillo, Associate Professor of Directing at the University of California Irvine. He attended the University of Utah, where he was the first Chicano ever to star in a main stage production. Upon graduating from the U of U, Guillermo attended the MFA program at the University of California San Diego, where he collaborated with some of the most influential theater practitioners in the nation, including Athol Fugard, Michael Greif, and Les Waters. While at UCSD he devised a plan to study political theater in Cuba in the summer of 2001 and collaborated with a Havana-based theatre group margenes del rio. Over his seven-year tenure as Artistic Director of Watts Village Theater Company, the company received the American Theater Wing Award for being “one of the top ten most promising small companies in America.” He has a long history of developing devised and ensemble-based work as a second-generation Joint Stock practitioner, in both community and professional settings. He is the creator of Meet Me @Metro—an innovative, interdisciplinary performance festival in and around the Los Angeles Metropolitan Transit Authority rail system. He holds a PhD from the Theatre and Performance Studies Department at UCLA and a Lecturer in Chicana/o Studies and Theatre at California State University, Northridge. He has collaborated with Spanish-speaking theatre groups including Grupo malayerba from Ecuador, Yuyachkani from Peru and Teatro de los andes from Bolivia, as well as the Los Angeles-based Cornerstone Theater Company.
Teaching Philosphy
I believe all students have a right to learn. A right independent of their ethnic background, level of preparation, physical abilities, or any other trait that could be used to explain their perceived “inability to learn.” In my experience, having taught at every level from middle school to university, setting elevated expectations of all students frequently proves extremely productive. This is a guiding principle in my teaching philosophy, one informed by both hard knocks and fulfilling achievements. So much of my early teaching experience happened in some of the most disadvantaged schools in the Los Angeles Unified School District, which taught me to over- prepare my lessons and to be ready to quickly adjust to unforeseen circumstances. During my first three years of teaching tenth- and twelfth-grade English, I had at least four lockdown situations and one death threat. But I also had dozens of students whom I was able to help get into community college, or to find scholarships, many of whom had been ready to sign up for the military due to what they perceived was a lack of options for their future beyond high school. I would not change any of these experiences, because they prepared me for the pedagogical challenges I have since had teaching at the university level. My early educational experiences motivate my work to meet pupils where they are, to help them absorb as much knowledge as they can, as painlessly as possible. I employ a variety of techniques to communicate concepts and related ideas to students’ general circumstances. In one example from an ESL class, I taught the prewriting strategies of outlining by laying out its organizational concept, and then pairing students to “outline” each other’s outfits by material, brand, location purchased, and so on. In any class I teach I always make sure to have at least one guest speaker from an underrepresented group so that all students can interact with professionals that may help stretch everyone’s opinions of what is possible. I have been deeply influenced by scholar educators such as Paulo Freire and Marva Collins, their pupil centered approach where one is called to be more of a coach on the side, than a sage on a stage has been a hallmark of my teaching style. A belief that there is no “best” way to reach all students is a guiding principle in my teaching and so I deploy a variety of techniques to communicate concepts and relate ideas to students’ daily lives. Embracing a teaching philosophy that privileges the spectrum over the binary in any given class, I may move from leading Socratic discussion, to scaffolded and moderated debate. And I try to do this with intellectual and academic humility, because I believe that a teacher who does not learn from their students cannot completely or even effectively mentor, instruct, or advise. This brings me to the most essential element that I try to bring to my teaching: intellectual and academic humility. I believe that a professor who does not want to learn cannot completely or effectively sponsor, mentor, instruct, or advise a diverse student population. Academic humility for me, in all its forms, is what keeps me open to new epistemes. This is why I use student evaluations not simply to reflect on the efficiency of what I have done in a given class but as a blueprint of how to improve my upcoming ones. I do my best to help struggling students become better writers by bringing them into office hours to talk about their work and by setting short-term achievable goals. With more advanced students I often give specific suggestions for advanced readings and challenge them to write beyond the minimum requirements.
Teaching
"It is good to be available when a student calls for help, but it is much better to make a call to help a student whenever possible."
Classes Taught
"With any course I teach academic thinking, writing, and communication are all paramount."
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The Chicana/o Movement and Its Political Legacies
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Chicano and the Arts
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Lowriders, Loncheras, and Opera in Chicano Los Angeles
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Origins of Chicano Theater
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Chicano Culture
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Contemporary Chicano Theater: Beginning of Chicano Theater Movement
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Contemporary Chicano Theater: 1980 to the Present
My Research
My research is motivated by a search for connections, patterns, and imbrications in the historical fabric that makes up America. I search out connections between aesthetic forms, cultural traditions, and ideas across time and space. My approach to research is transcultural, trans-medial and trans-national and I am attracted to the reexamination of established historical narratives, truths, and dogmas especially when these narratives occlude more than they reveal. In my work, I draw on performance studies, semiotics, philosophy, and text analysis to make sense of artifacts and events.
Latest Academic Publications
Dissertation, 2021
Through a critical examination of mobility as a social, cultural, and historical concept in and through Chicana/o communities in Southern California, Transit-Oriented Performance Through Chicana/o Spaces in Southern California argues mobility to be a consubstantial element in Chicana/o subject formation.
Aztlan, 2019
In this article I recount the process of working on a commission from Center Theatre Group to
research and write pedagogical materials based on the 40 th anniversary of Zoot Suit and its
enduring influence and legacy. In it I argue that this play and the community for whom it was
created can only be understood in a genealogical context.
Latest Pedagogical Publications
Center Theatre Group, 2017
In September 2016, I was approached by Center Theatre Group’s (CTG's) educational department with a commission to write a set of dramaturgical and instructional materials for the 40th anniversary of Zoot Suit. This Discovery Guide was handed out to all the youth who attended the play as part of CTG’s educational department’s outreach to low-income high schools.
Center Theatre Group, 2009
In this discovery guide, I distilled the relevant themes from a Culture Clash production set on an
American Indian reservation in the Southwest. It follows the fate of Army Captain Siler who has
returned from Iraq with a secret she just can't keep. Determined to set the record straight about
the "friendly-fire" death of the tribal chief's son, she discovers she is considered a dangerous
outsider rather than a messenger of truth.
Latest Book Reviews
In this book review I highlight the important contributions this text makes towards elevating Aztec philosophy to its rightful place among the world's most recognized contributors to metaphysics. With this texts Chicana/os can have a coherent and incisive explanation of the world view that helped shape who they have become.
In this book review I highlight the important contributions this text makes towards elevating Aztec philosophy to its rightful place among the world's most recognized contributors to metaphysics. With this texts Chicana/os can have a coherent and incisive explanation of the world view that helped shape who they have become.
Essays
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