Acting Like Women: Performance Art of the Woman's Building
History and teaching methods of the Los Angeles center for women's culture. Puvblished in High Performance #11/12, Vol. III, Nos. 3/4, 1980. By Cheri Gaulke (September 2002)

Appalachia's Roadside Theater: Celebration of a Community's Culture
The beginnings of a nationally known company from Appalachia that has closely examined the art of celebrating the community from which it comes. Published in High Performance #64, Vol. XVI, No. 4, 1993. By Donna Porterfield (September 2002)

Art and Ceremony
The artists writes about using aspects of performance in healing practices and in "reconnecting humans with nature in a balanced way." published in High Performance #40, Vol. X, No. 4, 1987. By Barbara T. Smith (September 2002)

Art in the AIDies: An Act of Faith
The late playwright ponders making art in the face of death, and talks with other prominent artists with AIDS about their issues related to art, survival and political fury. Published in High Performance #36, Vol. IX, No. 4, 1986. By Max Navarre (September 2002)

Between Me and the Giant: Imagination Workshop
About a group of actors at work in a neuropsychiatric institute., from Cleveland's book, "Art in Other Places: Artists at Work in America's Community and Social Institutions," published by Praeger, 1992. Published in High Performance #67, Vol. XVII, No. 3, 1994. By William Cleveland (September 2002)

Between the Diaspora and the Crinoline: An Interview with Bonnie Sherk
The environmental performance sculptor discusses public art whose material is private space. Published in High Performance #15, Vol. IV, No. 3, 1981. By Linda Frye Burnham (September 2002)

CWT#3: Making City Water Tunnel #3
A first-person account of doing art with laborers on a major NYC water project. Published in High Performance #75, Vol. XX, No. 1, 1997. By Marty Pottenger (September 2002)

Call Me in '93: An Interview with James Luna
The artist, of Luiseno Indian ancestry, talks about what it's like to be pigeonholed as an ethnic artist, and called upon only when his ethnicity is timely�as during the Christopher Columbus anniversary in 1992. He also addresses his place as an artist in his own community. published in High Performance #56, Vol. XIV, No. 4, 1991. By Steven Durland (September 2002)

D.B.D. - the Mind/Body Spa: An Interview with Rachel Rosenthal
The performance artist talks about her personal transformation workshop. Published in High Performance #26, Vol. VII, No. 2, 1984. By Linda Frye Burnham (September 2002)

Drawing the Line at Place: The Environmental Justice Project
Artists and organizers collaborate to address environmental issues in Louisiana. Published in High Performance #72, Vol. XIX, No. 2, 1996. By Mat Schwarzman (September 2002)

El Teatro Campesino: An Interview with Luis Valdez
The noted director talks about the cultural wing of the United Farm Workers union, a popular theater that took its material directly from the lives of its audience in the bean fields of California's central valley. published in High Performance #32, Vol. VIII, No. 4, 1985. By Carl Heyward (September 2002)

Ideology, Confrontation and Political Self-Awareness
The artist puts forward an understanding of how ideologies are developed and maintained, and how the activist artist can recognize and address them. Published in High Performance #13, Vol. IV, No. 1, 1981. By Adrian Piper (September 2002)

Introduction to The Citizen Artist: 20 Years of Art in the Public Arena
Anthology of articles from High Performance magazine (Gardiner, N.Y.: Critical Press, 1998). By Steven Durland (September 2002)

It's All I Can Think About: An Interview with Nancy Buchanan
The artist talks about her work based in social and political issues, including the status of women, the Cold War, U.S. policies toward the Third World, and the war in Nicaragua. published in High Performance #25, Vol. VII, No. 1, 1984. By Linda Frye Burnham and Steven Durland (September 2002)

LAPD, Skid Row & The Real Deal
Two founders talks about the Los Angeles Poverty Department, a performance group that grew out of a 1985 workshop for the homeless of Los Angeles. Published in High Performance #43, Vol. XI, No. 3, 1988. By Elia Arce and John Malpede (September 2002)

Living with the Doors Open: An Interview with Blondell Cummings
The dancer/choreographer talks about her community workshops, which provide her with material for her performances. Published in High Performance #69/70, Vol. XVIII, No. 1/2, 1995. By Veta Goler (September 2002)

Maintaining Humanity: An Interview with Grady Hillman about Arts-in-Corrections
The poet and founder of the Southwest Correctional Arts Network comes up with some cold, hard statistics in defense of arts programs in prisons. Published in High Performance #71, Vol. XIX, No. 1, 1996. By Steven Durland (September 2002)

Miles from Nowhere: Teaching Dance in Prison
A choreographer writes about Dancing Inside Out, Movement Workshops for Incarcerated Women, her program at Broward Correctional Institution in South Florida. Published in High Performance #71, Vol. XIX, No. 1, 1996. By Leslie Neal (September 2002)

No Time for the Blues (Aesthetic)
From an issue of High Performance magazine by African-American artists examining the blues not just as music, but as painting, photography, fiction, politics, social condition and cultural force. High Performance #52, Vol. XIII, No. 4, 1990. By Pearl Cleage (September 2002)

Of the People, By the People, and For the People: The field of community performance
An essay on the essential attributes of community-based theater, and by extension, community-based arts. First published in High Performance #64, Vol. XVI, No. 4, 1993. By Richard Owen Geer (September 2002)

On the Side of the Deepest Soul on Earth: An Interview with Ja Kyung Rhee and Hye Sook of Theatre 1981
Two Korean artists talk about their shamanic theater of protest against the use of mass violence against peoples everywhere. Published by High Performance #45, Vol. XII, No. 1, 1989. By Steven Durland (September 2002)

Professional Jaywalker: Richard Posner on crossing from the studio to public art
A sculptor talks about the challenges of creating public art. Published in High Performance #73, Vol. XIX, No. 3, 1996. By Douglas Eby (September 2002)

Resolving Conflicts: A Poet's Residency in Tulsa
The artist discusses the uses of conflict resolution in art workshops that intend to celebrate the private and communal life; to question societal values regarding women; to provoke critical thinking around deeply rooted social issues. Published in High Performance #72, Vol. XIX, No. 2, 1996. By Alice Lovelace (September 2002)

Ritual Keeper: An Interview with Anna Halprin
The choreographer and pioneer of community-specific rituals discusses her deep belief in the power of art to affect essential change in human life on a universal scale. Published in High Performance #40, Vol. X, No. 4, 1987. By Janice Steinberg (September 2002)

She Who Would Fly: An Interview with Suzanne Lacy
The performance artist talks about her large-scale performances about rape, aging and the status of women in U.S. culture. Published in High Performance #1, Vol. I, No. 1, 1978. By Richard Newton (September 2002)

Shock of the Real: An Interview with Karen Finley
The notorious performance artist, who received the wrath of the religious right during the Culture Wars as one of the NEA Four, talks about issues that drive her work. published in High Performance #41/2, Vol. XI, Nos. 1/2, 1988. By Margot Mifflin (September 2002)

Shooting the Klan: An Interview with Andres Serrano
The artist, an unwilling soldier in the Culture Wars of the early '90s, talks about making "Piss Christ," photographing the Ku Klux Klan, and how things have changed for him as a result of all the hoopla. Published in High Performance #55, Vol. XIV, No. 3, 1991. By Coco Fusco (September 2002)

Silence Still = Death
The art critic views the work of activist Michael Nash and his cohorts in ACT UP as art. Published in High Performance #36, Vol. IX, No. 4, 1986. By Lucy Lippard (September 2002)

Taking Back the Power: An Interview with Robbie Conal
The artist talks about wallpapering cities with his satirical portraits of figures in power, including Caspar Weinberger, Nancy Reagan, Oliver North and Margaret Thatcher. Published in High Performance #39, Vol. X, No. 3, 1987. By Claire Peeps (September 2002)

The Art/Life Experiment
Introduction to Part I of "The Citizen Artist: 20 Years of Art in the Public Arena," anthology of articles from High Performance magazine. By Linda Frye Burnham (September 2002)

The Artist as Activist
Introduction to Part II of "The Citizen Artist: 20 Years of Art in the Public Arena," anthology of articles from High Performance magazine. By Linda Frye Burnham (September 2002)

The Artist as Citizen
Introduction to Part III of "The Citizen Artist: 20 Years of Art in the Public Arena," anthology of articles from High Performance magazine. By Linda Frye Burnham (September 2002)

The Artist as Citizen: Guillermo Gómez-Peña, Felipe Ehrenberg, David Avalos and Judy Baca
A discussion of four artists from Mexico, the border region and southern California and their art strategies for involvement in binational political struggle. Published in High Performance #35, Vol. IX, No. 3, 1986. By Emily Hicks (September 2002)

The Citizen Artist
A visual artist talks about her involvement in her local neighborhood. Publishedx in High Performance #75, Vol. XX, No. 1, 1997. By Aida Mancillas (September 2002)

The Citizen Artist: 20 Years of Art in the Public Arena
Anthology of articles from High Performance magazine (Gardiner, N.Y.: Critical Press, 1998). By Linda Frye Burnham and Steven Durland (September 2002)

The Cutting Edge Is Enormous: Liz Lerman and Richard Owen Geer
Shedding some new light on the artist's job by looking at two of the most accomplished community-based artists in the U.S. Published in High Performance #67, Vol. XVII, No. 3, 1994. By Linda Frye Burnham (September 2002)

The Selma Project: "Understanding, the Struggle for Community"
Reflection on a significant community-arts work in Selma, Alabama. Published in High Performance #69/70, Vol. XVIII, No. 1/2, 1995. By Robert H. Leonard (September 2002)

The Streets: Where Do They Reach
The noted Mexican performance artist looks at the theater of the street in the biggest city in the world, in a time of severe economic crisis. Published in High Performance #28, Vol. VII, No. 4, 1984. By Guillermo Gómez-Peña (September 2002)

The Year of the Rope: An Interview with Linda Montano & Tehching Hsieh
The two performance artists talk about their one-year artwork: tied at the waist with an eight-foot rope. Published in High Performance #27, Vol. VII, No. 3, 1984. By Alex Grey and Allyson Grey (September 2002)

Touch Sanitation: Mierle Laderman Ukeles
The artist talks about her massive real-time performance work that examined the caretaker role of women, and then caretaking itself. Published in High Performance #19, Vol. V, No. 3, 1982. By Robert C. Morgan (September 2002)

Toward a New Folk Dance: Caregivers and other partners
Choreographer Pimsler writes about his work with healthcare professionals. Published in High Performance #74, Vol. XIX, No. 4, 1996. By Stuart Pimsler (September 2002)

Town Artist: An Interview with David Harding
The artist talk about his stint as the town artist of Glenrothes, Scotland, 1968-1978. Published in High Performance #34, Vol. IX, No. 2, 1986. By Moira Roth (September 2002)

Two Lines of Sight and An Unexpected Connection: The Art of Helen Mayer Harrison and Newton Harrison
A talk with the two artists, known for their large-scale projects that observe, comment on and alter our ecology. Published in High Performance #40, Vol. X, No. 4, 1987. By Arlene Raven (September 2002)

We All Are Theater: An Interview with Augusto Boal
Boal discusses his Theatre of the Oppressed and its critics in the U.S. and other places. Published in High Performance #72, Vol. XIX, No. 2, 1996. By Douglas L. Paterson and Mark Weinberg (September 2002)

We Are All Connected: Elders Share the Arts
ESTA's artist founder talks about its models for planning and sustaining meaningful connections among generations and between cultures living in the same communities. Published in High Performance #69/70, Vol. XVIII, No. 1/2, 1995. By Linda Frye Burnham and Susan Perlstein (September 2002)