Guide to the Hank Tavera papers M1118
Michelle Morton
Department of Special Collections and University Archives
2007
Green Library
557 Escondido Mall
Stanford 94305-6064
specialcollections@stanford.edu
Language of Material:
English
Contributing Institution:
Department of Special Collections and University Archives
Title: Hank Tavera papers
source:
Tavera, Hank
creator:
Tavera, Hank
Identifier/Call Number: M1118
Physical Description:
12.5 Linear Feet
(16 manuscript boxes, 8 flat boxes)
Date (inclusive): circa 1980-1999
Abstract: The Hank Tavera Papers include files related to his work as an actor and director, a gay activist, a member of TENAZ (Teatro
Nacional de Aztlán), a journalist and editor, and an organizer for the 11th International Chicano Latino Teatro Festival in
San Francisco.
Physical Location: Special Collections materials are stored offsite and must be paged 36 hours in advance.
Language of Material: Materials in English and Spanish.
Processed
November 2007 by Michelle Morton
Biography
Hank M. Tavera, a performer, director, cultural worker, counselor, and activist in the Chicano and Gay and Lesbian movements,
was born in East Los Angeles. He lived in Santa Barbara from 1976 to 1979, then he moved to the Mission District in San Francisco,
where he remained until his death in 2000. Tavera performed in
Brujerías,
Hijos 1 and 2, and
La Victima with Teatro de la Esperanza (Santa Barbara) and directed
The Leash and
Reunion with Teatro Gusto (San Francisco). He also published and edited columns on theater for the newspapers
TENAZ Talks Teatro and
El Tecolote. Tavera served as chairperson and board member of TENAZ, co-coordinated the 11th International Chicano Latino Teatro Festival,
directed the AIDS Theater Festival and the Performing Arts Show of Latino/a GLBT Artists, and served on the California Theater
Council. In addition to his theater work, Tavera worked as a high school and community college teacher, a counselor and
an AIDS intervention specialist. He founded and directed La Casa Counseling Services, the Third World Counselors Association
of California, and the Mission/Southeast Adolescent Day Treatment Center of Children’s Hospital of San Francisco. He was
head of Client Services at the San Francisco Aids Foundation and co-chair of the Third World Aids Advisory. Tavera also co-founded
LLEGO, Latino/a Lesbian and Gay organization. AGUILAS (Asamblea Gay Unida Impactando Latinos a Superarse) has established
a Hank Tavera Community Service Award, and the Mission Cultural Center has an Annual Hank Tavera Performance Show in his honor.
Tavera was a key participant in the Chicano Theater Movement, a grassroots, guerrilla organization closely associated with
the Chicano Movement. In 1965 Luis Valdez left the San Francisco Mime Troup to found Teatro Campesino and work with César
Chávez and the United Farm Workers. Made up largely of students and workers, Teatro Campesino drew on the vaudeville and
carpas tradition of Hispanic Theater in the United States to dramatize political questions and raise the consciousness of
their audiences. Teatro Nacional de Aztlán (TENAZ), a network of theater groups, was founded in 1969 by Teatro Campesino,
Teatro de la Esperanza, and Los Mascarones of Mexico. TENAZ aimed to nourish and coordinate the Chicano Theater Movement,
sponsoring theater festivals, holding seminars and workshops, and producing a newsletter,
TENAZ Talks Teatro. Hundreds of theater companies in the U.S. and Latin American belonged to TENAZ in its heyday. The TENAZ Manifesto, produced
during the 4th Chicano Theater Festival in San Jose, California in 1973, articulates its artistic, ideological, and organizational
goals:
"El Teatro Chicano was born of the social struggle of la Raza; given birth by trabajadores who remain trabajadores. Este es
un renacimiento: de lo Viejo sale lo Nuevo. Teatro es el espejo y el espíritu del Movimiento. Es el espejo de Tezcatlipoca
que ilumina the evil we are surrounded by; es el Espíritu de Quetzalcoatl en que hallamos la bondad y la Esperanza de la Raza.
Teatro es la voz de los barrios, de la comunicad, de los de abajo, de los humildes, de los rasquachis."
"Los Trabajadores del Teatro Nacional de Aztlán are committed to a way of Life/Struggle ayudandole a la gente a entender el
porqué de sus problemas sociales individuales and to search for solutions. Que sea nuestro Teatro el arco iris humano: let
it create Teatro para toda la palomía—para niños, jóvenes, viejos, mujeres, estudiantes, obreros, campesinos y hasta para
los tapados. Debe nutrirse de las raíces culturales de nuestros antepasados para sembrar semillas de liberación en el presente
y para cosechar en el futuro la Victoria de nuestros pueblos."
"La organización de TENAZ, which will work with all oppressed peoples, must develop a humane revolutionary alternative to
commercial theater and mass media. It is also necessary that we work and unite with all theaters struggling for liberation
donde quiera, particularmente en Latinoamerica. It should serve as a tool in the Life/Struggle of la Raza by developing Teatros
as community organizations."
"El Teatro debe ir al pueblo y no el pueblo al Teatro."
In the 1970s and 1980s, TENAZ offered seminars, produced publications, provided technical and design assistance, helped with
fundraising and touring assistance, coordinated publicity and communication, and organized theater festivals throughout the
United States and Mexico. The 1980s saw the professionalization of the Chicano theater movement. Many theater groups set down
roots, established repertory theaters and received funding from organizations such as the National Endowment for the Humanities
and the Ford Foundation. TENAZ disbanded in the mid-1980s.
Throughout the 1970s TENAZ was instrumental in the expansion, diversification, and maturation of the Chicano Theater Movement.
During the 1974 5th International Chicano Theater Festival in Mexico City, sponsored by TENAZ and the Mexican theater organization
CLETA (Centro de Experimentación Libre y Artística), there was a split between groups such as Valdez’s Teatro Campesino focusing
on spiritual, mythical, and historical aspects of Chicano identity, and groups that insisted on more immediate material and
explicitly political themes. As a result Valdez and Teatro Campesino left TENAZ and Teatro de la Esperanza took up leadership.
Scope and Contents
The Hank Tavera Papers include files related to his work as an actor and director, a member of TENAZ, a journalist and editor,
and an organizer for the 11th International Chicano Latino Teatro Festival. Formats include correspondence, clippings and
newspapers, column drafts, memoranda, minutes, play manuscripts, photos, playbills and programs, subject files on theater
groups. It is arranged in four series:
- Series I.
- Tavera Personal Papers
- Series II.
- TENAZ Adminstrative Files
- Series III.
- TENAZ Talks Teatro
- Series IV.
- 11th International Chicano Latino Teatro Festivals
Acquisition Information
Accession number 2000-064. The papers of Hank Tavera were purchased by Stanford University by the Dept. of Special Collections
from Hank Tavera in March, 2000.
Conditions Governing Use
While Special Collections is the owner of the physical and digital items, permission to examine collection materials is not
an authorization to publish. These materials are made available for use in research, teaching, and private study. Any transmission
or reproduction beyond that allowed by fair use requires permission from the owners of rights, heir(s) or assigns.
Subjects and Indexing Terms
Theater -- Political aspects
Street theater
Mexican Americans
Chicano theater
Mexican American theater
Mexican American theater -- History
Mexican American art -- California.
Mexican American theater -- California
Teatro Gusto
Teatro Campesino (Organization)
Teatro de la Esperanza
Tavera, Hank
Pomo, Edgar
Tavera, Hank
Siguenza, Herbert
Series I. Tavera Personal Papers
Scope and Contents
This series contains teaching materials and play manuscripts, notes, and reviews relating to the plays
La Victima and
Reunion.
Reunion is thought to be the first Chicano theater piece to directly address homosexuality and homophobia in the Chicano community.
Written by University of California Berkeley student Edgar Pomo (B.A. English, 1983),
Reunion was performed by Teatro Gusto and directed by Hank Tavera at the Capp Street Playhouse in 1983.
Reunion materials include play manuscripts, direction and production notes, stage design painting and sketches, a guestbook, correspondence,
clippings, and printed materials related to gay and lesbian organizations and events in the Bay Area. Tavera’s teaching materials
include syllabi from Chicano studies courses at Santa Barbara City College (1975-1977), readings, and the by-laws of the Association
of Mexican American Educators.
box 1
La Victima, annotated typescript draft
box 1
Reunion, annotated typescript drafts
flat-box 3
Reunion, stage design paintings
flat-box 3
Reunion, stage design sketches
flat-box 3
Posters removed from series 2-4: "La cita" (series 2); "El canto de la cigarra" (series 2); "ASUC MECHA cino de mayo" (series
3); "AMAE ¡El grito!" (series 3); "Soldado raza" (series 3); Posters, 11th International Chicano Latino Teatro Festival (series
4); Posters with notes on back, 13th International Chicano Latino Teatro Festival (series 4)
box 4
Reunion, notes (3 folders)
box 5
Teaching materials (3 folders)
box 5
Association of Mexican American Educators
Series II. TENAZ Administrative Files
Scope and Contents
This series includes board agendas, by-laws, minutes, and resolutions; clippings; correspondence; materials related to International
Chicano Latino Theater Festivals; materials related to the establishment of a TENAZ archive; materials related to various
theater groups; newsletters; plays and essays; playbills and posters. Note that TENAZ materials also appear in Series III,
TENAZ Talks Teatro.
box 8
TENAZ, correspondence, 1979-1985
box 8
TENAZ, Guadalupe Cultural Arts Center
box 8
TENAZ, newsletters, various, 1979-1985
box 8
TENAZ, Teatro de la Esperanza
box 8
TENAZ, Teatro de la Unidad
box 8
TENAZ, theater playbills and posters
flat-box 3
Posters, "La cita" and "El canto de la cigarra"
Series III.
TENAZ Talks Teatro
Scope and Contents
This series contains materials related to Tavera's work as editor of
TENAZ Talks Teatro (founded in 1976; Tavera served as editor 1982-1986) and his column, "Puro Teatro," in
El Tecolote, as well as newspapers and magazines collected by Tavera.
TENAZ Talks Teatro materials include correspondence from various theater groups, information on TENAZ sponsored events, political fliers and
essays, funding information, and subject files on theater groups and topics. Note that in addition to the photos file photos
appear throughout the subject files.
El Tecolote, a revival of a 19th-century Spanish-language newspaper of the same name, included a bi-monthly literary supplement,
Revista Literaria El Tecolote (first issue April, 1980) with Tavera's column "Puro Teatro." Newspapers and magazines in this series include publications
related to theater, arts, politics, and the Spanish-speaking and gay and lesbian community in California. For most newspapers
and magazines there are 1-4 issues, but there are more extensive runs of
¡AHA!,
El Observador,
El Tecolote, and
TENAZ Talks Teatro. Note that
TENAZ Talks Teatro materials also appear in Series II, TENAZ Administrative Files.
box 9
TENAZ Talks Teatro, photos (2 folders)
box 9
TENAZ Talks Teatro, layout
box 9
TENAZ Talks Teatro, contracts
box 9
TENAZ Talks Teatro, funding
box 9
TENAZ Talks Teatro, grant writing
box 9
TENAZ Talks Teatro, subscribers, paid
box 9
TENAZ Talks Teatro, subscribers, potential
box 9
TENAZ Talks Teatro, mailing lists
box 9
TENAZ Talks Teatro, 1981, 1983, 1984
box 9
TENAZ Talks Teatro, Puro Teatro column
box 9
TENAZ Talks Teatro, copy March 1983
box 9
TENAZ Talks Teatro, copy, April 1983
box 9
TENAZ Talks Teatro, copy, Summer 1984
box 10
TENAZ Talks Teatro, drafts and correspondence, 1981
box 10
TENAZ Talks Teatro, drafts and correspondence, 1982
box 10
TENAZ Talks Teatro, drafts and correspondence, 1983 (3 folders)
box 10
TENAZ Talks Teatro, drafts and correspondence, 1984 (3 folders)
box 11
TENAZ Talks Teatro, drafts and correspondence, 1985
box 11
TENAZ Talks Teatro, drafts and correspondence, 1986
box 11
TENAZ Talks Teatro, drafts and correspondence, 1987-1993
box 11
TENAZ Talks Teatro, drafts and correspondence, no date
box 11
TENAZ Talks Teatro, clippings, 1984
box 11
TENAZ Talks Teatro, clippings, 1971-1993
box 11
TENAZ Talks Teatro, catalogs
box 11
TENAZ Talks Teatro, miscellaneous (2 folders)
box 11
TENAZ Talks Teatro, plays and criticism, (2 folders)
box 12
TENAZ Talks Teatro, Aztlán Dance Co.
box 12
TENAZ Talks Teatro, CLETA
box 12
TENAZ Talks Teatro, Elias Nandino
box 12
TENAZ Talks Teatro, Asian American Theatre Co., Asian American Dance Co., and Teatro Yugen
box 12
TENAZ Talks Teatro, Culture Clash
box 12
TENAZ Talks Teatro, Grupo Cultural Zero
box 12
TENAZ Talks Teatro, The Guadalupe Cultural Arts Center
box 12
TENAZ Talks Teatro, The Guadalupe Cultural Arts Center, photos
box 12
TENAZ Talks Teatro, Nixtayolero Theatre Group
box 12
TENAZ Talks Teatro, Old Globe Theatre
box 12
TENAZ Talks Teatro, Paul Rodriguez
box 12
TENAZ Talks Teatro, San Francisco Mime Troupe
box 12
TENAZ Talks Teatro, San Francisco Mime Troupe, photos
box 12
TENAZ Talks Teatro, San Jose Repertory Company
box 12
TENAZ Talks Teatro, Teatro Campesino
box 12
TENAZ Talks Teatro, Teatro Chicano
box 12
TENAZ Talks Teatro, Teatro de la Esperanza
box 12
TENAZ Talks Teatro, Teatro de la Esperanza, photos
box 13
TENAZ Talks Teatro, Teatro Gusto
box 13
TENAZ Talks Teatro, Teatro Latino
box 13
TENAZ Talks Teatro, Teens 'N Theater (2 folders)
box 13
TENAZ Talks Teatro, Toviah Theatre
box 13
TENAZ Talks Teatro, UCB MECHA Cinco de Mayo
box 13
TENAZ Talks Teatro, Venezuela
box 13
TENAZ Talks Teatro, Wall Flower Order
box 13
TENAZ Talks Teatro, Wilson Pico
box 13
TENAZ Talks Teatro, Women in Film and Theatre
box 13
TENAZ Talks Teatro, Zoot Suit
box 14
TENAZ Talks Teatro,
¡AHA!, 1984-1989 (3 folders)
box 14
TENAZ Talks Teatro,
El Kaite, 1983-1984
box 14
TENAZ Talks Teatro,
Metamorphosis, 1980-1981
box 14
TENAZ Talks Teatro,
The New World, 1979-1980 (2 folders)
box 14
TENAZ Talks Teatro,
Nosotros, 1983-1987
flat-box 15
El Calendario Chicano (1972, 1974, 1976)
flat-box 15
San Francisco Literary Calendar (1988)
flat-box 15
Central America Alert (1984)
flat-box 15
City Arts (1981, 1982, 1983)
flat-box 15
Coming Up! (1983, 1984, 1986)
flat-box 15
Horizontes (1983, 1984, 1985)
flat-box 16
El Observador (various, 1984-1985)
flat-box 16
Putting Columbus' Legacy on Trial
flat-box 16
Santa Barbara News and Review (1975, 1979)
flat-box 16
Santa Barbara Chronicle: La Crónica (1979)
flat-box 17
El Tecolote (various, 1979-1984)
flat-box 17
TENAZ Talks Teatro (various, 1982-1986)
flat-box 3
Posters, "ASUC MECHA cinco de mayo," "AMAE ¡El grito!," "Soldado raza"
Series IV. 11th International Chicano Latino Teatro Festivals
Scope and Contents
TENAZ held annual, and later bi-annual, theater festivals starting in 1970. In addition to performances, festivals included
meetings, critique sessions, workshops, and seminars. The 11th International Chicano Latino Teatro Festival took place in
San Francisco, September 11-20, 1981. The festival was hosted by Teatro Latino, Teatro Gusto, and the Mission Cultural Center.
Participating theater groups included Teatro Urbano (Los Angeles, Calif.), La Compania de Teatro Infantería Teatral Veracruzana
(Mexico), Teatro Raices (Oxnard), Teatro Taller de Tecolote (Mexico), Paso de Oso (Mexico), Teatro Universitario (Mexico),
International Mime Theatre (Colombia), Teatro la Mama (Colombia), Teatro Con Ganas (Texas), Teatro Para Obreros (Venezuela),
The Bear Republic Theater (Santa Cruz, Calif.), Grupo Zero (Mexico), The San Francisco Mime Troupe, and Teatro de la Esperanza
(Santa Barbara, Calif.), among others. This series contains the administrative, instructional, and media files of the festival
organizers. Materials in these files include agendas, articles, budgets, committees, contact lists, correspondence, fliers,
minutes, memoranda, notes, photographs, press materials, programs, reports, schedules, and workshop materials,
box 18
International Chicano Latino Teatro Festival, 1977
box 18
International Chicano Latino Teatro Festival, 1979
box 18
International Chicano Latino Teatro Festival, 1981 (5 folders)
box 19
International Chicano Latino Teatro Festival, 1981 (4 folders)
box 19
International Chicano Latino Teatro Festival, 1982
box 19
International Chicano Latino Teatro Festival, 1984
box 19
International Chicano Latino Teatro Festival, 1986
box 20
International Chicano Latino Teatro Festival, actors, 1981
box 20
International Chicano Latino Teatro Festival, budget and funding, 1981
box 20
International Chicano Latino Teatro Festival, committees, 1981
box 20
International Chicano Latino Teatro Festival, essays, 1981
box 20
International Chicano Latino Teatro Festival, media, 1981 (2 folders)
box 20
International Chicano Latino Teatro Festival, photos, 1981
box 20
International Chicano Latino Teatro Festival, playbills and programs, 1981 (3 folders)
box 20
International Chicano Latino Teatro Festival, schedule, 1981
box 21
International Chicano Latino Teatro Festival, seminarios, 1981
box 21
International Chicano Latino Teatro Festival, seminarios,alternative/community theatre, 1981
box 21
International Chicano Latino Teatro Festival, seminarios, gay and lesbian Theatre, 1981
box 21
International Chicano Latino Teatro Festival, seminarios, Latin American theatre, 1981
box 21
International Chicano Latino Teatro Festival, seminarios, Women in theatre, 1981
box 21
International Chicano Latino Teatro Festival, technical, 1981
box 21
International Chicano Latino Teatro Festival, TENAZ correspondence, 1980-1981
box 21
International Chicano Latino Teatro Festival, theater groups, 1981 (4 folders)
box 21
International Chicano Latino Teatro Festival, workshops, 1981
flat-box 3
Posters, 11th International Chicano Latino Teatro Festival
flat-box 3
Posters with notes on back, 13th International Chicano Latino Teatro Festival
