{"id":3727,"date":"2020-09-03T23:26:34","date_gmt":"2020-09-03T23:26:34","guid":{"rendered":"http:\/\/dance.ucr.edu\/?page_id=3727"},"modified":"2025-06-25T12:59:17","modified_gmt":"2025-06-25T19:59:17","slug":"jose-reynoso","status":"publish","type":"page","link":"https:\/\/dance.ucr.edu\/faculty\/jose-reynoso\/","title":{"rendered":"Jose L Reynoso"},"content":{"rendered":"[vc_row][vc_column width=”2\/3″][vc_column_text animation=”fadeInUp”]JOSE LUIS REYNOSO (BELLO) (He\/Him\/His)\r\nAssociate Professor & Undergraduate Advisor<\/strong>\r\n\r\nJose Luis Reynoso Bello\u2019s scholarly, pedagogical, and creative practices are rooted in his trajectory as a brown working-class Mexican inmigrante who works across disciplinary, geographical, social, and linguistic boundaries. After completing an ESL program, a high school for adults program, and lower division courses at a community college, Jose Luis completed a B.A. in psychology and was three (theater) classes short from completing a B.A. in dance at California State University Los Angeles where he (simultaneously) earned a M.A. in Psychology (while keeping his job as a construction worker). He completed a M.F.A. in dance and a Ph.D. in culture and performance with a specialization in dance studies at UCLA. Jose Luis was the Andrew Mellon Postdoctoral Fellow in Dance studies at Northwestern University (2012-2014).\r\n\r\nJose Luis\u2019 research interests also<\/em> stem from experiencing the intersection of dance studies, dance practice, and life-labor in academia as a field of embodied and discursive knowledge production associated with the exercise and negotiation of different forms of power. His interests include the analysis of ideological aspects and value judgements involved in the formation and selective<\/em> uses of categories and identifications such as \u201ccontemporary\u201d and \u201cexperimental\u201d dance\u201d; \u201csocial,\u201d \u201cfolkloric,\u201d \u201cethnic,\u201d and \u201ccultural\u201d dance; \u201cArtist,\u201d \u201cdancer,\u201d and \u201cpractitioner\u201d; \u201cchoreography,\u201d \u201cdance making,\u201d and \u201cperformance\u201d; \u201cauthoritarian\u201d and \u201cdemocratic\u201d; \u201ccompassionate\u201d and \u201ccaring\u201d; etc. He is specially interested in how the narratives dancers create to conceptualize and talk about theirs and others\u2019 work, practices, and identities (as specific artists, dancers, and humans) relate to explicit and implicit hierarchies of value (i.e., what constitutes legitimate, \u201crigorous\u201d dance\/art; what criteria\/power relations mediate access to resources\/promotions; what determines notions of ownership; who and what defines who is, and whose practices are, \u201cauthoritarian,\u201d \u201cdemocratic,\u201d \u201ccompassionate\u201d and \u201ccaring,\u201d etc.). Jose Luis\u2019 interests assume that what dancers, dance scholars (and other people) say and claim about theirs and others\u2019 practices and identities re\/produce and challenge (hierarchical) notions of race, gender, sexuality, class and other categories of difference, including ways of knowing and being that defy normative binaries as well as those associated with different strands of posthumanism (i.e., non-human entities and processes, technology, AI, etc.). Other interests include dance practice and scholarship\u2019s relationship to the production and accumulation of different forms of capital (i.e., financial, cultural, symbolic) inside and outside academia; transnational approaches to historicizing modernisms and theorizing contemporary dance practices and scholarship (primarily in the US, Europe, and Am\u00e9rica Latina with an emphasis on M\u00e9xico); immigrant and Latina\/o\/e\/x corporealities, embodied practices, strategies of survival, and modes of conviviality; racial and social formations and power relations inside and outside academia; legacies of Latin America\u2019s colonial caste system and its logic\u2019s relation to caste systems in other cultural and historical contexts; decolonial theories and practices, what they enable and their limitations.\r\n\r\nHis publications investigate some of his research interests in different cultural, geographical, and historical contexts. In his first book, Dancing Mestizo Modernisms: Choreographing Postcolonial and Postrevolutionary Mexico<\/em><\/a> (Oxford University Press, 2023), Jose Luis analyzes the ways in which national and international concert dance artists, visual artists, critics, government officials, social dancers, and pedestrians of different ethnic, racial, and social class backgrounds have contributed to create notions of modernity and Mexicanness. The work focuses on the periods after the Mexican War of Independence against Spain (1821-1976), the dictatorship of Porfirio D\u00edaz (1976-1911), and the postrevolutionary period from 1919 to 1940. In this book, Jose Luis contends that people\u2019s practices and the claims they make about theirs and others\u2019 practices and identities reproduce and challenge racialization and socialization logics established by Mexico\u2019s colonial sistema de castas (caste system). Thus, the monograph centers dance and other forms of embodiment to examine how racial and social formations have played a crucial role in the development of Mexico\u2019s cultural, social, and political histories. (The book is currently a finalist for the 2024 Dance Studies Associations\u2019 Oscar G. Brockett Book Prize for Dance Research award)\r\n\r\nJose Luis\u2019 research interests have also formed and evolved from his creative practice. He has presented his solo and collaborative work nationally and internationally, from the concert stage and the museum to the community center and the nightclub\/bar. His creative ancestral<\/em> genealogy has been cultivated by embodied knowledges and interdisciplinary practices passed on for generaciones to and through the diverse working-class (undocumented) laboring bodies as well as dance artists\u2019 bodies with whom he has learned, played, crossed borders, worked, performed, and collaborated nationally and internationally.\r\n\r\nJose Luis is currently at work on a second book project under the working title, \u201cMythologies and Other Narratives of World and Self Making\u201d and a series of creative works under the rubric of \u201cThe Migrant\u2019s Time.\u201d His personal background as well as his scholarly and creative research interests also inform his teaching practice in undergraduate and graduate courses as well as his mutually beneficial mentorship relationships with undergraduate and graduate students.\r\n\r\n\u00a1\u00c1nimo!\r\n\r\n \r\n\r\nPUBLICATIONS<\/strong>\r\n\r\nBooks<\/strong>\r\n\r\nDancing Mestizo Modernisms: Choreographing Postcolonial and Postrevolutionary Mexico<\/a>. New York: Oxford University Press, 2023.\r\n\r\n \r\n\r\nArticles and Essays<\/strong>\r\n\r\n\u201cGenealogical Cultural Heritages of an International Mexican Vanguard: Dance, Race, Memory, De\/Coloniality, and the Making of Aesthetic Ideologies.\u201d In Danza, Herencias y Provocaciones Decoloniales, edited by Eugenia Cad\u00fas and Hayde Lachino. Ciudad de M\u00e9xico: Universidad Nacional Aut\u00f3noma de M\u00e9xico (UNAM), Forthcoming in English and Spanish, 2014.\r\n\r\n\u201cCampobello, Nellie (1900-1986) and Campobello, Gloria (1911-1968)\u201d (Revised). In The Routledge Encyclopedia of Modernist Dance, edited by Allana C. Lindgren. Forthcoming, 2014.\r\n\r\n\u201cTowards a Critical Globalized Humanities: Dance Research in Mexico City at the CENIDID.\u201d<\/a> In\u00a0Futures of Dance Studies, edited by Susan Manning, Janice Ross, and Rebecca Schneider. Madison, WI: University of Wisconsin Press 2020, 523\u2013540.\r\n\r\n\u201cDemocracy\u2019s Body, Neoliberalism\u2019s Body: The Ambivalent Search for Egalitarianism within the Contemporary Post\/modern Dance Tradition.\u201d<\/a> Dance\u00a0Research Journal, Special Issue, \u201cWork With(Out) Boundaries: Precarity and Dance.\u201d Guest editors: Katharina Pewny, Annelies Van Assche, Simon Leenknegt, and Rebekah J. Kowal. 51\/1 April 2019, pp. 47-65.\r\n\r\n\u201cLa Coreograf\u00eda como Metodolog\u00eda Te\u00f3rica para el An\u00e1lisis Cr\u00edtico de la Corporeidad y la Subjetividad.\u201d<\/a>\u00a0InterDanza, edited by Carmen Boj\u00f3rquez. Coordinaci\u00f3n Nacional de Danza del Instituto Nacional de Bellas Artes: Ciudad de Mexico. A\u00f1o 5, Num. 45, Agosto, 2017, pp. 86-91.\r\n\r\n\u201cCampobello, Nellie (1900–1986) and Campobello, Gloria (1911–1968).\u201d<\/a> Routledge Encyclopedia of Modernism, edited by. Stephen Ross and Allana C. Lindgren. Routledge Taylor and Francis Group, January 10, 2016.\r\n\r\n\u201cRacialized Dance Modernisms in Luso-Phone and Spanish-Speaking Latin America.\u201d<\/a> The Modernist World,\u00a0edited by Stephen Ross and Allana C. Lindgren, Routledge P: London; New York, 2015: 392-400.\r\n\r\n\u201cChoreographing Modern Mexico: Anna Pavlova in Mexico City (1919).\u201d<\/a>\u00a0Modernist Cultures\u00a09.1, edited by Carrie J. Preston. Edinburgh University Press, May 2014, pp. 80-98.\r\n\r\n \r\n\r\nCONFERENCES\/PERFORMANCES (Selected)<\/strong>\r\n\r\nPresenter-Discussant, (Roundtable discussion: Remapping Dance Modernisms II\u201d organized by Susan Manning and Lucia Ruprecht) \u201cEmbodied Mestizo Modernisms as an Analytical Concept: What Enables, Its Contradictions, and Its Limitations.\u201d Co-discussants, Elizabeth Schwall, Ana Paula H\u00f6fling, Alexander H. Schwan, and Wojtek Klimczyk. Dance Studies Association Conference, \u201cCartographies of Movement.\u201d Buenos Aires, Argentina, July, 2024.\r\n\r\nPresenter, \u201cConstructing Queer Subjectivity through Social Dance in the Mexican Public Sphere.\u201d Dance Studies Association conference, \u201cContra: Dance and Conflict.\u201d\u00a0 University of Malta, Valletta, Malta, July, 2018.\r\n\r\nPresenter-Discussant, (Roundtable discussion) \u201cTransmitting Dance Studies: Latin American Concert Dance Research in Hemispheric Perspective.\u201d Co-discussants, Victoria Fortuna, Eugenia Cad\u00fas, Ana Paula H\u00f6fling, Andrea Margarita Tortajada Quiroz. Dance Studies Association (previously CORD-SDHS) Inaugural Conference, \u201cTransmission and Traces: Rendering Dance.\u201d Columbus, Ohio, October, 2017.\r\n\r\nPresenter-Performer, \u201cLa Coreograf\u00eda como Metodolog\u00eda Te\u00f3rica para el An\u00e1lisis Cr\u00edtico de la Corporeidad y la Subjetividad\u201d (Two-hour version). Como parte del 20 Festival\u00a0Internacional de Danza Cotempor\u00e1nea On\u00e9simo Gonz\u00e1lez (invited, Coordinaci\u00f3n de Danza (director: Sandra Soto) de la Secretar\u00eda de Cultura del estado de Jalisco). Edificio Arr\u00f3niz, Centro de Creaci\u00f3n Cotempor\u00e1nea \u201cEl Cuartel\u201d. Guadalajara, Mexico, October, 2017.\r\n\r\nPresenter, \u201cLa construcci\u00f3n del sujeto de g\u00e9nero fluido al momento de bailar salsa-cumbia en el espacio p\u00fablico.\u201d Moderator, Carlos Guevara Meza. Co-panelists, Luis Eduardo Bautista Pe\u00f1a, Ernesto de la Teja Gonz\u00e1lez. II Colloquio Universitario de Danza y Filosofia; Centro de Investigaci\u00f3n Choreogr\u00e1fica, Organized by Colectivo Giroscopio and Universidad Nacional Aut\u00f3noma de M\u00e9xico, Mexico City, Mexico, September, 2017.\r\n\r\nPresenter-Performer, \u201cLa Coreograf\u00eda como Metodolog\u00eda Te\u00f3rica para el An\u00e1lisis Cr\u00edtico de la Corporeidad y la Subjetividad\u201d (Twenty-minute version). Segundo Coloquio Latinoamericano de Investigacion y Practicas de la Danza VISCESC. Centro Cultural del Bosque, Mexico City, Mexico, July 2017.\r\n\r\n \r\n\r\nFELLOWSHIPS<\/strong>\r\n\r\nUCR-UNAM (Universidad Nacional Aut\u00f3noma de M\u00e9xico) Faculty Exchange Initiative Grant, 2020-2021\r\n\r\nRegents Faculty Fellowship (Committee on Research of the Riverside Division of the Academic Senate), 2019-2021\r\n\r\nUC MEXUS-CONACYT Postdoctoral Research Fellowship. Research residency at the Centro Nacional de Investigaci\u00f3n, Documentaci\u00f3n e Informaci\u00f3n de la Danza Jos\u00e9 Lim\u00f3n (CENIDID) in Mexico City; January-December 2017\r\n\r\nHellman Fellowship, UC Riverside Hellman Fellowship Program, 2016-2017[\/vc_column_text][\/vc_column][vc_column width=”1\/3″]
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ARTS 201<\/h4> <\/div> <\/div><\/div>
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jose.reynoso@ucr.edu<\/h4> <\/div><\/a> <\/div><\/div>[\/vc_column][\/vc_row]","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column width=”2\/3″][vc_column_text animation=”fadeInUp”]JOSE LUIS REYNOSO (BELLO) (He\/Him\/His) Associate Professor & Undergraduate Advisor Jose Luis Reynoso Bello\u2019s scholarly, pedagogical, and creative practices are rooted in his trajectory as a brown working-class Mexican inmigrante who works across disciplinary, geographical, social, and linguistic boundaries. After completing an ESL program, a high school for adults program, and lower division […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":2988,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3727","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/dance.ucr.edu\/wp-json\/wp\/v2\/pages\/3727","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dance.ucr.edu\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/dance.ucr.edu\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/dance.ucr.edu\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/dance.ucr.edu\/wp-json\/wp\/v2\/comments?post=3727"}],"version-history":[{"count":19,"href":"https:\/\/dance.ucr.edu\/wp-json\/wp\/v2\/pages\/3727\/revisions"}],"predecessor-version":[{"id":6415,"href":"https:\/\/dance.ucr.edu\/wp-json\/wp\/v2\/pages\/3727\/revisions\/6415"}],"up":[{"embeddable":true,"href":"https:\/\/dance.ucr.edu\/wp-json\/wp\/v2\/pages\/2988"}],"wp:attachment":[{"href":"https:\/\/dance.ucr.edu\/wp-json\/wp\/v2\/media?parent=3727"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}