The making of a book requires the participation of many people. I wish to
first thank my longest-standing inspiration, my grandmother, Mildred
Frederiksen (‘‘Nena’’). The stories and photographs from her interna-
tional travels with my grandfather, John Frederiksen, set the spark inside
of a small girl’s imagination and ignited the wanderlust that would last a
lifetime. I must also thank my extremely talented and artistic mother,
Karen Frederiksen, who first put me up on a proscenium stage in my
debut role as ‘‘Scarlet’’ in the play Li’l Abner when I was eight years old.
Without a doubt, the ghosts of those theatrical hillbillies from Dogpatch
USA hover over these pages. The music and theater people filling our
house throughout the years also gave me a gentle nudge in the direction of
art and performance—as a practicing artist and in my anthropological
If not for Professor Frederick Damon at the University of Virginia, a
cultural anthropologist who motivated me to shift from nonhuman to
human primates, this book might instead be titled: Chimpanzees in the
Mountains. Professor Damon also introduced me to Karl Marx by forc-
ing his senior seminar class to read Das Capital, vol. 1 in its entirety,
which, without a doubt, contributed to my interest in socialism and
communist revolutions. Faculty in the Department of Social Anthropol-
ogy at the University of Cape Town—especially David Coplan, John
Sharpe, Mamphela Ramphele, Andrew Spiegel, Linda Waldman, and
Fiona Ross—were key influences when I first began to connect politics
and social protest to artistic performance. Upon my arrival at the Uni-
versity of Chicago, my tentative plan to continue to pursue theater as a
site of anthropological investigation was encouraged by Andrew Apter,
Jean Comaro√, and John Comaro√. When my regional focus shifted from
Africa to Latin America, these mentors were joined by what ultimately
became my Ph.D. dissertation committee: James Fernandez, Claudio
Previous Page Next Page