María Regina Firmino-Castillo; Photo by Tohil Fidel Brito, 2020 Grupo Sotz’il, Indigenous Choreographers Gathering; Photo by Jonathan Godoy, 2018 Performance Video Still, “automaieusis/felo-de-se;” María Regina Firmino-Castillo, 2009 Performance Video Still, “aria-del-río;” Almah Lavon Rice and María Regina Firmino-Castillo, 2009 Video Still, “la del fuego en el horizonte;” Claudia Hernández, María Regina Firmino, Castillo, and Felo (Rafael Domenech), 2009 Xhivaska’ (Juana Tepaz) with Oxlaval Q’anil, Nebaj, Guatemala; Photo by María Elena çruz Brito, 2013 Ixil Maya and Uyghur Performance Collaboration, with Grupo Sotz’il and Liga Maya Internacional; Centreville, Virginia; Photo by Teko (Tomás) Alejo, 2017 Grupo Sotz’il and Liga Maya Internacional; Washington, DC; Photo by Teko (Tomás) Alejo, 2017 María Regina Firmino-Castillo, Indigenous Choreographers Gathering; Photo by Jonathan Godoy, 2018

MARÍA REGINA FIRMINO-CASTILLO, Ph.D. (She/Her/Hers)
Assistant Professor

María Regina Firmino-Castillo is a transdisciplinary artist, researcher, writer, and educator. Born in Guatemala and raised in Miami, she works across national, colonial, and disciplinary borders. Her research and writing critically engage dance and performance studies and anthropology through an anticolonial lens attentive to the political dimensions of ontology and corporeality.  Firmino-Castillo’s current book project, tentatively titled Choreographies of Catastrophe, is a multi-sited work that investigates how bodies are sites of ontological violence in the context of genocidal coloniality and its complex and transnational reverberations across the hemisphere. Through the work of artists in Guatemala, México and the United States, the book traces the ways that those affected by the multiplicitous catastrophes of coloniality deploy insurgent corporeal strategies not only to survive, but also to enact otherwise bodies, worlds, and lives despite ongoing necropolitical control and violence. Firmino-Castillo is also co-editing an anthology on critical Indigenous dance studies with Jacqueline Shea Murphy (UCR) and Karyn Recollet (University of Toronto).

Firmino-Castillo’s previously published work analyzed the role of performance in the genocidal, ecocidal, and ontological destruction committed during the Guatemalan counterinsurgency war against Ixil Mayans in the 1980s, while also examining the ways that—30 years later—genocide survivors and their allies engaged in ritual, dance, and theater to confront this complex violence and its aftermaths. With Kaqchikel dancer and musician, Daniel Guarcax, and Ixil artist and epigrapher, Tohil Fidel Brito, Firmino-Castillo has published collaborative experimental texts that center Mayan performance and aesthetic theories to enact radical forms of relationality that contest colonial paradigms of personhood, space, time, and movement and that inform a dialogical, anticolonial, and reparative research praxis.

As an artist, popular educator, and organizer, Firmino-Castillo has years of experience working with human rights and social justice collectives in Guatemala and with health, racial, and economic justice organizations in Washington, DC. She has created documentary, performance and experimental video pieces that interrogate the paradoxical social imaginaries of the Guatemalan post-war period and depict the complexities of life in the diaspora. She has directed site-specific sculpture, installation, and interdisciplinary performance collabotrations in Guatemala, México, and the United States. Her video and performance work has been presented at Teatro Nacional Miguel Ángel Asturias (Guatemala), Yoochel Kaaj  (México), New York University’s Hemispheric Institute of Performance and Politics (Universidad Nacional de Colombia, Bogotá), Performance Space New York, Santa Fe Art Institute, University of California-San Diego, and other venues. Her research has been supported by The Institute for Citizens & Scholars (formerly Woodrow Wilson foundation) and the National Science Foundation. As the recipient of a National Dance Project grant, she coordinated the 2017-2018 US tour of Grupo Sotz’il, a Kaqchikel Maya dance company from Guatemala. Since 2018, Firmino-Castillo, has co-organized UCR’s Indigenous Choreographers Gathering at Riverside, which was founded by Jacqueline Shea Murphy in 2011. https://icr.ucr.edu/

As an assistant professor of dance and critical dance studies, Firmino-Castillo teaches graduate seminars on decolonial approaches to dance and performance studies, choreographies of catastrophe, and anticolonial intersections between Black and Indigenous performance. She also teaches undergraduate courses in critical dance studies and performance which combine research, writing, and embodied practice. Firmino-Castillo is committed to a continued engagement in performance-making as an epistemological and ontological praxis that informs her approach not only to research, writing, and pedagogy, but also to living and being.