ABSTRACT
This entry surveys the performance history and theoretical contributions of Josefina Báez, a performance artist of Dominican descent. It covers Baéz’s development as an artist in New York in the 1970s and 1980s as well as later transnational influences from geographic locations such as India and Cuba. It also considers the impact of Báez’s autobiography—namely her experience as a woman of African descent—on her artistic expression. With this background in mind, it describes how her work challenges the idea of a Latinx American theatre and performance canon as she negotiates multiple and non-binary identities through her performance work.
