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E.D. Huerta Booking & Literary/Research Assistant to Cherríe L. Moraga

Note: University and Smaller Production Companies may download a sample play rights agreement and include it with your request for permission rights. (link to play rights contract)

 

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See Review:  http://www.ocweekly.com/2010-08-05/culture/cherrie-moraga-digging-up-the-dirt-breath-of-fire-latina-theater-ensemble/

"Mathematics of Love" takes place in the lobby of the Biltmore Hotel at the turn of this century in Los Angeles.  The main character is "PEACHES" an aging and early-staged Alzheimer Mexican woman who, along with her Anglo husband, POPPA, is awaiting the arrival of their out-of-town son, "God."  He is to throw an anniversary party for them the following day.  In the interim, while they wait (the play takes place over one afternoon until dawn the next day), the couple's middle-aged DAUGHTER mediates between the opposing characters of her parents, while mourning the recent death of her beloved partner, Virginia.  PEACHES reviews the major traumas of her life -- the betrayals from family members (as she perceives them) and an emotionally absent husband.  She is pretty much stuck in the current biography of her life, until the character of MALINXE arrives to shed some light on PEACHES' past through a grander historical lens.  (Malinche Tenepal was the Indigenous slave who was given to the Spanish Conquistador, Hernan Cortez upon his arrival in Mexico in 1519.  She became his mistress, translator and tactical advisor and, although a slave, is historically considered a traitor to Indigenous Mexico.)

Through the character of MALINXE, (originally conceived by playwright, Ricardo Bracho, who contributed several scenes to "Mathematics") PEACHES is required to come to terms with a kind of collective guilt carried by Mexican women over five centuries of colonization.  The theme of betrayal is especially salient and mirrored between the two women, as both their lives have been marked by "sleeping with the enemy."  As the play time travels across those five hundred years, collapsing time and technology, PEACHES becomes a pre-teen Tohono O'odham servant to a 17th c. MALINXE.  At times MALINXE, in Aztec regalia, can be seen e-dating on the hotel computer while PEACHES appears in a Californio Mission-style penitent outfit.  Of course, "God" never arrives in the play; at least not in the form PEACHES had expected.  Still, the play attempts to tell us a bit of how we calculate the gains and losses of love, not just in our individual lives, but the life of a people. 

Creative Non-fiction/Poetry/Essays . . .

Moraga is the co-editor of This Bridge Called My Back: Writings by Radical Women of Color, which won the Before Columbus American Book Award in 1986.   She is the author of the now classic Loving in the War Years: Lo Que Nunca Pasó Por Sus Labios (1983/2003) and The Last Generation (1993), published by South End Press of Cambridge, MA.  In 1997, she published a memoir on motherhood entitled Waiting in the Wings (Firebrand Books) and is completing a memoir on the subject of Mexican American cultural amnesia entitled Send Them Flying Home:  A Geography of Remembrance.  This year Moraga also completed a new collection of writings --   A Xicana Codex of Changing Consciousness:  Writings 2000-2010, published by Duke University Press in 2011.

Plays/Theater

Moraga has also published three volumes of drama through West End Press of Albuquerque, NM.  They include:  Heroes and Saints and Other Plays (1994), Watsonville/Circle in the Dirt (2002), and The Hungry Woman (2001).  In 2010, WEP will publish a volume of Moraga’s children’s plays, entitled Warriors of the Spirit.  A San Francisco Bay Area playwright, Moraga has premiered her work at Theatre Artaud, Theatre Rhinoceros, the Eureka Theatre, and Brava Theater Center.  Brava's  production of "Heroes and Saints" in 1992 received numerous awards for best original script, including the Drama-logue and Critic Circles Awards and the Pen West Award. Her plays have been presented throughout the Southwest, as well as in Chicago, Seattle and New York.  In 1995, "Heart of the Earth," Moraga's adaptation of the Popol Vuh, the Maya creation myth, opened at the Public Theatre and INTAR Theatre in New York City.  

In 2005, "The Hungry Woman:  A Mexican Medea" opened at The Pigott Theater at Stanford University, directed by Moraga and Adelina Anthony.  In the years following, Moraga developed several new works, including:  "Mathematics of Love," "Digging Up the Dirt" and “La Semilla Caminante/The Traveling Seed.”  "Semilla," conceived and designed in collaboration with Alleluia Panis and Celia Herrera Rodriguez, opened in a workshop production with Campo Santo Theater of San Francisco on April 23-25, 2010.   On July 30, 2010, Moraga's "Digging Up the Dirt" opened to a sold-out audience five-week run at Breath of Fire Latina Theater in Orange County, CA, in a co-production with See-what (Cihuat) Productions. Her most recent play, New Fire -- "To Put Things Right Again" was produced by cihuatl productions and Brava Theater in San Francisco in January 2011.  A collaboration with Celia Herrera Rodriguez and the winner of the Gerbode-Hewlett Foundations Playwright's Award, the play was witnessed by over 3,000 people over its 12-day run.

Day Job

For over ten years, Moraga has served as an Artist in Residence in the Department of Drama at Stanford University and currently also shares a joint appointment with Comparative Studies in Race & Ethnicity.   She teaches Creative Writing,  Xicana-Indigenous Performance, Latino/Queer Performance, Indigenous Identity in Diaspora in the Arts and Playwriting.  She is proud to be a founding member of La Red Xicana Indígena, a network of Xicanas organizing in the area of social change through international exchange, indigenous political education, spiritual practice, and grass roots organizing.

 

 

PUBLISHED WORKS

Author

Send Them Flying Home:  A Geography of Remembrance. (Memoir, Stuart Bernstein Representation, NYC. )

A Xicana Codex of Changing Consciousness:  A Decade of Discourse  (Essays, Forthcoming from Duke University Press, NC 2010.)

Warriors of the Spirit: children’s plays of protest and promise. Albuquerque, NM:  West End Press, Forthcoming 2010.

Watsonville:  Some Place Not Here/Circle in the Dirt:  El Pueblo de East Palo Alto (Plays).  Albuquerque, NM:  West End Press, 2002.

The Hungry Woman:  A Mexican Medea/ The Heart of the Earth:  A Popol Vuh Story. (Plays) Albuquerque, NM:  West End Press, 2001.

Loving in the War Years (Expanded Second Edition, Non-fiction).  Cambridge, MA:  South End Press, 2000.

Waiting in the Wings:  Portrait of a Queer Motherhood.  (Non-fiction) Ithaca, NY:  Firebrand Press, 1997.

Heroes & Saints  and Other Plays.  Albuquerque, NM: West End Press, 1994.

The Last Generation (poetry, fiction and non-fiction).  Boston: South End Press, 1993.

Giving Up the Ghost (play).  Albuquerque, NM:  West End Press, 1986.

Loving in the War Years/Lo Que Nunca Pasó Por Sus Labios (poetry, fiction and non-fiction).  Boston: South End Press, 1983.

Co-editor

This Bridge Called My Back:  Writings by Radical Women of Color (Expanded Third Edition).  Berkeley:  Third Woman Press, 2002.

Cherríe L. Moraga is playwright, poet, and essayist whose plays and publications have received national recognition, including a TCG Theatre Artist Residency Grant, a National Endowment for the Arts Fellowship for playwriting, and two Fund for New American Plays Awards.  In 2007, she was awarded the United States Artist Rockefeller Fellowship for Literature.

She is the co-editor of This Bridge Called My Back: Writings by Radical Women of Color, which won the Before Columbus American Book Award in 1986. She is the author of the now classic Loving in the War Years: Lo Que Nunca Pasó Por Sus Labios (1983/2003), The Last Generation (1993), and Waiting in the Wings (1997).  Duke University Press will publish her new collection of essays, A Xicana Codex of Changing Consciousness in 2011.  Moraga's most recent play, "The Mathematics of Love" will be produced in Fall 2010 by Company of the Angels Theater (L.A.) and also, Brava Theater Company of San Francisco.  

For over ten years, she has served as an Artist in Residence in the Department of Drama at Stanford University and currently also shares a joint appointment with Comparative Studies in Race and Ethnictiy.

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Forthcoming from Duke University Press.  2010.

Includes the following essays and others:  

"A Xicanadyke Codex of Changing Consciousness."  2000

"From Inside the First World -- On 9/11 and Women of Color Feminism."  2001

"An Irrevocable Promise -- Staging the Story Xicana."  2002

 "'Weapons of the Weak' -- On Fear and Resistance."  2003

"Indígena as Scribe -- The (W)rite to Remember."  2005

"Salt of the Earth -- In this Season of My Mother's Death . . ." 2006

"The Poetry of Heroism -- A Tribute to Audre Lorde and Pat Parker."  2007

"This Hidden América/The Other Face of (Im)migration." 2008

"What's Race Gotta Do With It?" -- Upon the Election of Barack Obama."  2008

 "Modern Day Malinches -- A School of Thought."  2008-9

"Without Preacher or Priest -- On Keeping Queer Queer."  2009.

"Xicana Mind, Beginner Mind."   2009

Cherrie L. Moraga

Personal Information:

Address:
Phone Number:

Keynote Speaker/Invited Lecturer. (7 to 10 major presentations per year). A sample list of most recent speaking engagements (2000-2001) include: The City University of New York; Columbia University, Smith College, Wesleyan University, UC Davis and Berkeley, Duke University, Williams College, Clarmont McKenna Colleges, Williams College, the University of Texas at Austin and the opening key note lecture for the American Theater in Higher Education (ATHE) Conference scheduled for Summer 2002 at UC San Diego.

Artist-in-Residence: Instructor in Latino Theater, Playwriting, Creative Writing and U.S. Latino/a Literature. Department of Drama and the Department of Spanish & Portuguese. Stanford University. 1994 to the Present.

Visiting Professor: Instructor in Creative Writing and Chicano Theater. Chicano Studies Department. University of California at Berkeley. Fall Semester, 1999-2001.

Guest Faculty: Instructor in Playwriting. MFA program, Creative Writing Department. St. Mary's College, Moraga, California. Fall 1997 & Fall 1999.

Playwright-in-Residence. Theater Communications Group (TCG) National Theater Artist Residency Program. Brava Theater Center in San Francisco. 1996-7.

Regents Professor, Instructor in Literature and Playwriting. Department of English, The University of California at Los Angeles. Winter 1996.

Playwright-in-Residence & Instructor in Latino Theater. Committee for Black Performing Arts at Stanford University. 1994-1995.

Artist in Residence, Instructor in Creative Writing and Theater. California Arts Council Residency Program. Brava Theater Center in San Francisco. 1991 to 1995.

Instructor in Writing and Theater. Chicano Studies, The University of California at Berkeley. 1986 -1991.

Instructor in Literature. California State University at Hayward (1987); Stanford University (1986); San Francisco State University (1980 & 1986).

Instructor in Women's Studies. San Francisco State University (1986) and University of Massachusetts (1981).

Playwright-in-Residence. INTAR Latin American Theater, New York City. 1984-85.

Who Killed Yolanda Saldívar?"

• Staged Reading. "Lesbian Playwrights' Festival" at The Magic Theatre, San Francisco. January 13 and 23, 2000. Directed by Irma Mayorga.

The Hungry Woman: A Mexican Medea
Commissioned by Berkeley Repertory Theater.

• World premiere at Celebration Theater in Los Angeles. Scheduled for October 12, 2002. Directed by Adelina Anthony.
• Staged Reading. "Plays on the Border Festival" at The Magic Theatre, San Francisco. December 4, 2000. Directed by the author.
• Staged Reading. A Contemporary Theater, Seattle. May 21, 1999. Directed by Richard E.T. White.
• Staged Reading. Brava Theater Center in San Francisco. June 10, 1997. Directed by the author.
• Staged Reading. New Work Festival at the Mark Taper Forum in Los Angeles. December 3, 1995. Directed by Lisa Wolpe.
• Reading. Berkeley Repertory Theater. April 10, 1995. Directed by Tony Kelly.

Watsonville: Some Place Not Here,
Winner of the 1995 Fund for New American Plays Award. Commissioned by Brava Theater Center, with support from the Rockefeller Foundation.

• World premiere at Brava Theater Center of San Francisco. May 25, 1996. Directed by Amy Mueller.
• Staged Reading at The John F. Kennedy Center for the Performing Arts. February 19, 1996. Directed by Amy Mueller.
• Staged Concert Readings at The Traveling Jewish Theater. June 5-6, 1995. Directed by Amy Mueller.
• Staged Reading at South Coast Repertory Theater of Costa Mesa, CA. August 6, 1995. Directed by José Luis Valenzuela.
• Opened at Frontera @ Hyde Park Theater of Austin, Texas. June 18, 1998. Directed by Rodney Garza.

A Circle in the Dirt
Commissioned by The Committee for Black Performing Arts, Stanford University.

• World Premiere at Stanford University. November 29 - December 3, 1995. Directed by Roberto Gutiérrez Varea.
• Heart of the Earth: A Popol Vuh Story
• Commissioned by INTAR Theater, New York.
• Premiered at the Public Theater in New York, September 14, 1994. Directed by Ralph Lee. A collaboration with composer, Glen Velez and visuals by Ralph Lee.
• Opened at INTAR Theater of New York, January 10, 1995.
• Directed by Ralph Lee.
• Opened at The John F. Kennedy Center for the Performing Arts in January 1997. Directed by Ralph Lee.

Heroes and Saints
Commissioned by the Los Angeles Theater Center. Winner of the Pen West Drama Award and the Will Glickman Prize.

• Premiered at The Mission Theater in San Francisco. Produced by Brava Theater Center. April 4 - May 17, 1992. Directed by Albert Takazauckas.
• Opened at The Guadalupe Cultural Arts Center in San Antonio, Texas. October 23, 1992. Directed by Susana Tubert.
• Opened at Borderlands Theater in Tucson, Arizona. August 18, 1993. Directed by Diane Rodríguez.
• Opened at The Latino Chicago Theater in May 1994. Directed by Juan Ramírez.
• Opened at The Miracle Theater in Portland, Oregon. October 21, 1994.
• Opened at The Working Theater in New York City. December 7, 1994. Directed by Albert Takazauckas.

Shadow of a Man
Winner of the Fund for New American Plays Award.

• Premiered at The Eureka Theater in San Francisco. A co-production with Brava! For Women in the Arts. November 10 - December 9, 1990. Directed by María Irene Fornes.
• Opened at The Latino Chicago Theater on May 17, 1992. Directed by Carmen Aguilar.
• Opened at The Miracle Theater in Portland, Oregon. May 1992.
• Opened at Su Teatro in Denver, Colorado. January 1995.
• Opened at The Cara Mía Theater in Dallas, Texas. May 23, 1996.

Coatlicue's Call/ El llamado de Coatlicue

• Premiered at Theater Artaud in San Francisco. October 25, 1990. Conceived and performed by Guadalupe García. Directed by the author.

Giving Up the Ghost

• Premiered at the Theater Rhinoceros in San Francisco. February 10 - March 12, 1989. Directed by Anita Mattos and José Guadalupe Saucedo.
• An earlier version opened at The Front Room Theater in Seattle. March 8, 1987. Directed by Laura Esparza.
• Opened at the Diversionary Theater of San Diego. March 1998.

Books, Author

Watsonville: Some Place Not Here/Circle in the Dirt: El Pueblo de East Palo Alto (Plays). Albuquerque, NM: West End Press, Summer 2002.

The Hungry Woman: A Mexican Medea/ The Heart of the Earth: A Popol Vuh Story. (Plays) Albuquerque, NM: West End Press, Fall 2001.

Loving in the War Years (Expanded Second Edition). Cambridge, MA: South End Press, 2000.

Waiting in the Wings: Portrait of a Queer Motherhood. (Non-fiction) Ithaca, NY: Firebrand Press, 1997.

Heroes & Saints and Other Plays. Albuquerque, NM: West End Press, 1994.

The Last Generation (poetry, fiction and non-fiction). Boston: South End Press, 1993.

Giving Up the Ghost (play). Albuquerque, NM: West End Press, 1986.

Loving in the War Years/Lo Que Nunca Pasó Por Sus Labios (poetry, fiction and non-fiction). Boston: South End Press, 1983.

Books, Co-editor

This Bridge Called My Back: Writings by Radical Women of Color (Expanded Third Edition). Berkeley: Third Woman Press, 2002.

The Bridge Called My Back: Writings by Radical Women of Color (poetry/non-fiction anthology). New York: Kitchen Table: Women of Color Press, 1981/3.

Cuentos: Stories by Latinas (fiction anthology). New York: Kitchen Table, Women of Color Press, 1983.

Esta puente, mi espalda: Voces de mujeres tercermundistas en los Estados Unidos (Spanish adaptation of This Bridge Called My Back), co-editor. San Francisco: Ism Press, 1988.

Third Woman: The Sexuality of Latinas (poetry and non-fiction anthology). Berkeley: Third Woman Press, 1989.

Anthologized Writings, A Selected List

"Watsonville: Some Place Not Here" in Latino Plays from South Coast Repertory Hispanic Playwrights Project Anthology. Juliette Carrillo and José Cruz Gónzales, eds. New York: Broadway Play Publishing, Inc., 2000.

"Heart of the Earth: A Popol Vuh Story" in Puro Teatro: An Anthology of Latina Theater, Performance and Testimonios. Alberto Sandoval and Nancy Saporta, eds. University of Arizona Press, 2000.

"The Hungry Woman: A Mexican Medea" in Out of the Fringe: Latino/a Theater and Performance. Caridad Svich, et al, eds. New York: Theater Communications Group, 2000.

"Waiting in the Wings" (an excerpt) in The Politics of Motherhood: Activists' Voices from Left to Right. Jetter, Orleck and Taylor, eds. Hanover, NH and London: University Press of New England, 1997.

"Giving Up the Ghost" in Literatura chicana 1965-1995. Manuel de Jesús Hernández-Gutiérrez and David William Foster, eds. New York: Garland, 1997.

"El Mito Azteca" and "Our Lady of the Cannery Workers" in Goddess of the Americas: Writings on the Virgin of Guadalupe. Ana Castillo, ed. New York: Riverhead Books, 1996.

"Heroes and Saints" in Contemporary Plays by Women of Color: An Anthology. Kathy A. Perkins and Roberta Uno, eds. New York: Routledge, 1996.

"The Breakdown of the Bicultural Mind" in Names We Call Home: Autobiogaphy on Racial Identity. Becky Thompson and Sangeeta Tyagi, eds. New York & London: Routledge, 1996.

"Where Beauty Resides" in The Art of Love: An Anthology of Lesbian Love Poems. Clare Coss, ed. New York: Scribner, 1996.

"New Mexican Confession" in Daughters of the Fifth Sun: A Collection of Latina Fiction and Poetry. B. Milligan, M.G. Milligan, and A. de Hoyos, eds. New York: Riverhead Books, 1995.

"Giving Up the Ghost" in The Actor's Book of Gay and Lesbian Plays. Eric Lane and Nina Shengold, eds. New York: Penguin Books, 1995.

"La Güera" in The Woman That I Am: The Literature and Culture of Contemporary Women of Color. D. Soyini Madison, ed. New York: St. Martin's Press, 1994.

"Art in América con Acento" in Negotiating Performances: Gender, Sexuality and Theatricality in Latino/o America. Diana Taylor and Juan Villegas, eds. Durham, N.C. and London: Duke University Press, 1994.

"Shadow of a Man" in Shattering the Myth: Plays by Hispanic Women. Linda Feyder, ed. Houston: Arte Público Press, 1992.

"Poema como Valentín" in An Ear to the Ground: An Anthology of Contemporary American Poetry. Athens: University of Georgia Press, 1989.

"Feed the Mexican Back into Her:" and "For you, Mamá" in Gay and Lesbian Poetry in Our Time. Carl Morse and Joan Larkin, eds. New York: St. Martin's Press, 1988.

"A Long Line of Vendidas" in Feminist Studies/Critical Studies. Teresa de Lauretis, ed. Bloomington: University of Indiana Press, 1986.

"La Dulce Culpa" (and other poems) in Pleasure and Danger: Exploring Female Sexuality. Carole S. Vance, ed. Boston: Routledge and Kegan Paul Press, 1984.

"What We're Rolling Around in Bed With" (with Amber Hollibaugh) in Powers of Desire: The Politics of Sexuality. New York: Monthly Review Press, 1983.

Cherríe L. Moraga

Cherríe L. Moraga is playwright, poet, and essayist whose plays and publications have received national recognition, including a TCG Theatre Artist Residency Grant in 1996, the NEA's Theatre Playwrights' Fellowship in 1993, and two Fund for New American Plays Awards.  In 2007, she was awarded the United States Artist Rockefeller Fellowship for Literature, and in 2008, a Yaddo Artist Residency Fellowship.

She is the co-editor of This Bridge Called My Back: Writings by Radical Women of Color, which won the Before Columbus American Book Award in 1986. She is the author of the now classic Loving in the War Years: Lo Que Nunca Pasó Por Sus Labios (1983/2003) and The Last Generation (1993), published by South End Press of Cambridge, MA.  In 1997, she published a memoir on motherhood entitled Waiting in the Wings (Firebrand Books) and is completing a memoir on the subject of cultural memory in a Mexican Indian California entitled Send Them Flying Home:  A Geography of Remembrance.  This year Moraga also completed a new collection:  A Xicana Codex of Changing Consciousness:  Writings for a New Century (2000-2008).

Moraga has also published three volumes of drama through West End Press of Albuquerque, NM.  They include:  Heroes and Saints and Other Plays (1994), Watsonville/Circle in the Dirt (2002), and The Hungry Woman (2001).  A San Francisco Bay Area playwright, Moraga has premiered her work at Theatre Artaud, Theatre Rhinoceros, the Eureka Theatre, and Brava Theater Center.  Brava's  production of "Heroes and Saints" in 1992 received numerous awards for best original script, including the Drama-logue and Critic Circles Awards and the Pen West Award. Her plays have been presented throughout the Southwest, as well as in Chicago, Seattle and New York.  In 1995, "Heart of the Earth," Moraga's adaptation of the Popol Vuh, the Maya creation myth, opened at the Public Theatre and INTAR Theatre in New York City.    

For over ten years, she has served as an Artist in Residence in the Department of Drama at Stanford University and currently also shares a joint appointment with Comparative Studies in Race & Ethnicity.   She teaches Creative Writing, Chicano/Latino literature, Xicana-Indigenous Performance, Indigenous Identity in Diaspora in the Arts and Playwriting.  She is proud to be a founding member of La Red Xicana Indígena, a network of Xicanas organizing in the area of social change through international exchange, indigenous political education, spiritual practice, and grass roots organizing.

Cherríe Moraga is a co-editor of This Bridge Called My Back: Writings by Radical Women of Color, republished in a new edition by SUNY Press in 2015. As a political and literary essayist, she has published several collections of writings, including A Xicana Codex of Changing Consciousness—Writings 2000-2010. Moraga is the recipient of the United States Artist Rockefeller Fellowship for Literature, the American Studies Association Lifetime Achievement Award, and the Lambda Foundation’s “Pioneer” award, among many other honors. 

Her most recently premiered play, New Fire: To Put Things Right Again, which she also directed, opened at Brava Theater Center in San Francisco in 2012. A collaboration with visual artist, Celia Herrera Rodríguez, over three thousand people witnessed the work. In 2017, Moraga will premiere a new work, the award winning The Mathematics of Love, a theatrical conversation with her forthcoming literary memoir, The Native Country of a Heart—A Geography of Desire.

For nearly twenty years she has served as an Artist in Residence in the Department of Theater and Performance Studies and in Comparative Studies in Race and Ethnicity at Stanford University. She has mentored a full generation of published writers and professional playwrights who credit Moraga as one of their most influential teachers. Cherríe Moraga is an activist writer, who sustains an engaged schedule of appearances on college campuses, at activist and academic conferences and in community settings both nationally and internationally. She is also a founding member of La Red Xicana Indígena, an advocacy network of Xicanas working in education, the arts, spiritual practice, and indigenous women’s rights. 

New Works
Books/Publications
A Xicana Codex of Changing Consciousness:  Essays for a New Century  (Stuart Bernstein Representation, NYC. )
Send Them Flying Home:  A Geography of Remembrance (memoir). (Stuart Bernstein Representation, NYC. )
Warriors of the Spirit: Children's Plays of Protest and Promise.  (Forthcoming 2009.)  (Original works by the playwright, produced in collaboration with the students of Oakland Unified School District, Sequoia Theater.)

Plays
"The Mathematics of Love."
    Originally commissioned as a collaboration with other playwrights by The Latino Theater Initiative of The Center Theater Group, Mark Taper Forum, Los Angeles. under the title "Amor Eterno."
    Staged reading.  El Teatro Campesino, San Juan Bautista, CA. Directed by Diane Rodriguez.  January 2005.
    Staged reading.  Ricardo Montalban Theater.  Hollywood, CA.  Directed by Laurie Woolery.  June 2004.
 "Who Killed Yolanda Salivar? 
    Workshop production scheduled for Fall 2008, Los Angeles, directed by Adelina Anthony.  (Originally presented in an earlier version at the  "Lesbian Playwrights' Festival" at The Magic Theatre, 2000.)

Earlier Works
Publications/Books*
Watsonville:  Some Place Not Here/Circle in the Dirt:  El Pueblo de East Palo Alto (plays).  Albuquerque, NM:  West End Press, 2002.
The Hungry Woman:  A Mexican Medea/ The Heart of the Earth:  A Popol Vuh Story. (plays) Albuquerque, NM:  West End Press, 2001.
Waiting in the Wings:  Portrait of a Queer Motherhood.  (Non-fiction) Ithaca, NY:  Firebrand Press, 1997.
Heroes & Saints  and Other Plays.  Albuquerque, NM: West End Press, 1994.
The Last Generation (poetry, fiction and non-fiction).  Boston: South End Press, 1993.
Giving Up the Ghost (play).  Albuquerque, NM:  West End Press, 1986.
Loving in the War Years - Lo que nunca pasó por sus labios (poetry/non-fiction).  Cambridge, MA:  South End Press, 1983; (Expanded Second Edition, Non-fiction), 2000.
The Bridge Called My Back:  Writings by Radical Women of Color  (poetry/non-fiction anthology), co-edited with Gloria Anzaldúa.  New York: Kitchen Table: Women of Color Press, 1981/3.  (Re-issued Berkeley, CA:  Third Woman Press, 2002)

Theatre Productions
"The Hungry Woman:  A Mexican Medea" -- Commissioned by Berkeley Repertory Theater.
* Presented by University of Massachusetts, Amherst. Department of Theater. The Curtain Theater.  May 1-10, 2008.  Directed by Dora Arreola.
* Presented by Brown University, Department of Theater.  Leeds Theater, April 13-23, 2006.
* Presented by Stanford University, Department of Drama.  Pigott Theater, May 11- May 22, 2005.  Directed by Adelina Anthony and the playwright.
"Watsonville:  Some Place Not Here"-- 1995 Fund for New American Plays Award. 
* Commissioned by Brava Theater Center, with support from the Rockefeller Foundation; world premiere at Brava Theater Center of San Francisco.  May 25, 1996. 
* Staged Reading at The John F. Kennedy Center for the Performing Arts.  February 19, 1996. 
 "Heart of the Earth:  A Popol Vuh Story" --  Commissioned by INTAR Theater, NYC.
* Premiered at the Public Theater in New York, September 14, 1994.  Directed by Ralph Lee.  A collaboration with composer, Glen Velez and visuals by Ralph Lee. 
* Opened at The John F. Kennedy Center for the Performing Arts in January 1997.
 "Heroes and Saints" -- Commissioned by the Los Angeles Theater Center.  Winner of the Pen West Drama Award and the Will  Glickman Prize.
* Premiered at The Mission Theater in San Francisco.  Produced by Brava Theater Center. April 4 - May 17, 1992.  Directed by Albert Takazauckas.
"Shadow of a Man" --  1991 Fund for New American Plays Award.
* Premiered at The Eureka Theater in San Francisco.  A co-production with Brava! For Women in the Arts.  November 10 - December 9, 1990.  Directed by María Irene Fornes.


Academic & Other Teaching Positions
* Artist-in-Residence: Instructor in Chicano/Native American Theater, Playwriting, Creative Writing, U.S. Latino/a Literature and Xicana Indigenous Performance.  Department of Drama and (since 2007-8) Comparative Studies in Race and Ethnicity.  1996 to the Present.
* Visiting Professor:  Instructor in Creative Writing and Chicano Theater.  Chicano Studies Department.  University of California at Berkeley.  Fall Semester, 1999-2001.
* Guest Faculty: Instructor in Playwriting.  MFA program,  Creative Writing Department.  St. Mary's College, Moraga, California.  Fall 1997 & Fall 1999.
* Playwright-in-Residence.  Theater Communications Group (TCG) National Theater Artist Residency Program.  Brava Theater Center in San Francisco.  1996-7.
* Regents Professor, Instructor in Literature and Playwriting.  Department of English, The University of California at Los Angeles.  Winter 1996.
* Artist in Residence, Instructor in Creative Writing and Theater.  California Arts Council Residency Program. Brava Theater Center in San Francisco.  1991 to 1995.

Major Keynote Addresses, Artist Residencies, and Distinguished Lectures. 
* Keynote.  Stockholm Europride @ Stockholm Pride House, Sweden.  July 29-30, 2008
* Plenary Keynote.  « Signatures of the Past: Cultural Memory in Contemporary Anglophone North American Drama;" The Center for Canadian Studies and the Modern Languages and Literatures Department. University of Brussels. 2007.
* Writer's Residency.  VONA  (Voices of Our Nations Arts) Foundation.  The Voices Summer Writing Workshop for Writers of Color.  University of San Francisco, 2006.
* Keynote. MELUS (Society for the Study of Multi Ethnic Literature of the U.S.) Conference and The Brackenridge Distinguished Visiting Professor Lecture. University of Texas, San Antonio, 2004.
* Keynote. American Theater in Higher Education (ATHE) Conference, San Diego, 2002.
* Keynote.  III Congreso Internacional de literature chicana. Málaga, Spain. 2002.

Awards
United States Artists Rockefeller Fellowship in Literature (2007); Yaddo Artist Residency (2008); American Studies Association Lifetime Achievement Award (2002); National Association for Chicana and Chicano Studies Distinguished Scholars Award (2001);  David R. Kessler Award, the Center for Lesbian and Gay Studies, CUNY (2000); the National Endowment for the Arts Theater Playwrights' Fellowship (1993); the Critics' Circle Award for Best Original Script (1992); the Drama-logue Award for Playwriting (1992); the American Book Award, Before Columbus Foundation (1986); the Creative Arts Public Service  (CAPS) Grant for Poetry, New York State (1983); and, the Mac Dowell Colony Fellowship for Poetry, New Hampshire (1982).

Education & Other Resources
* Master of Arts in Literature (Feminist Studies), California State University, San Francisco, 1980; Bachelor of Arts in English.  Immaculate Heart College, Los Angeles, 1974.
* Voices of Feminism Oral History Project.  Sophia Smith Collection.  Smiith College, 2006.
* The Cherríe Moraga Papers (1970 -1996). The Mexican American Special Collections of the Stanford University Libraries.
* The Wounded Heart:  Writing on Cherríe Moraga by Professor Yvonne Yarbro-Bejarano (Stanford University, Department of Spanish/Portuguese).  University of Texas Press, 2001.


* This listing and all credits noted in this resume reflect a selected and abbreviated list.
 

...

Edited by Alma Gómez, and Cherríe Moraga, and Mariana Romo-Carmona

Cuentos: Stories by Latinas describe the varied experiences of Hispanic women. Anger, love, compassion, humor and pathos fill the pages of this collection. Most importantly, these women speak of their ability to overcome daily struggles of survival, and prevail.

Out of print

Edited by Norma Alarcón, Ana Castillo, and Cherríe Moraga

Sexuality is a collage of essays, poetry, fiction, and artwork from the "actively heterosexual, to the celibate, to the secretly sexual, to the politically visible lesbian." Both poignant and humorous, it's thirty-seven contributors examine attitudes toward and representations of sexuality. Among others, it features Gloria Anzuldúa, Elvia Alvarado, Julia Alvarez, Ana Castillo, Barbara Brinson Curiel, Denise Chavéz, Sandra Cisneros, Lucha Corpi, Arcelia Ponce, Ana María Simo, Carmen Tafolla, and Luz María Umpierre.

Out of Print

In Heart of the Earth, a feminist revisioning of the Quiché Maya Popul Vuh story, Moraga creates an allegory for contemporary Chicanismo in which the enemy is white, patriarchal, and greedy for hearts, both female and fecund. Through humor and inventive tale twisting, Moraga brings her vatos locos home from the deadly underworld to reveal that the real power of creation is found in the masa Grandma is grinding up in her metate. The script, a collaboration with master puppet maker Ralph Lee, was created for the premiere production of the play at The Public Theater in New York in 1994. In an afterword to this edition, Moraga comments on her concerns about nationhood, indigenism, queer sexuality, and gender information.

Description of play 

 

Description of play

Description of play

 

In Heart of the Earth, a feminist revisioning of the Quiché Maya Popul Vuh story, Moraga creates an allegory for contemporary Chicanismo in which the enemy is white, patriarchal, and greedy for hearts, both female and fecund. Through humor and inventive tale twisting, Moraga brings her vatos locos home from the deadly underworld to reveal that the real power of creation is found in the masa Grandma is grinding up in her metate. The script, a collaboration with master puppet maker Ralph Lee, was created for the premiere production of the play at The Public Theater in New York in 1994. In an afterword to this edition, Moraga comments on her concerns about nationhood, indigenism, queer sexuality, and gender information.

 

Description of play

 

Description of play

 

Description of play

 

Deleted

December 2008.  Cherrie Moraga (playwright), Celia Herrera Rodriguez (InstallationVisual Artist) and Alleluia Panis, (Choreographer) are the recipients of a  $40,000 Bay Area Creative Work Fun, with collaborating with San Francisco's Campo Santo. The fund will support a performance work -- "LA JORNADA -- Woman Calling the Night Sky," The performance work will be created in dialogue with (im)migrant communities and revolve  around the theme of women (especially Indígenas) separated from their children and lands of origin through forced migration and violence. 

_{The Creative Work Fund is a program of the walter and Elise Haas Fund, supported by The William and Flora Hewlett Foudnation and the James Irvine Foundation.}