Description
This collection of papers, photos, LP records and
three dimensional items represents the personal collection of the performance
artist Robert Legorreta also known as Cyclona.
Items of special interest include Cyclona's scrapbook and LP record and artifact
collection depicting representations of Latinos.n.b. Please note that accents
have been omitted to facilitate the use of all web browsers.
To Facilitate the use of all types of web browsers, accents have been omitted.
Researchers who would like to indicate errors of fact or omissions in this
finding aid can contact the archivist at archivist@chicano.ucla.edu
Background
THE FIRE OF LIFE - EL FUEGO DE LA VIDA As a child Robert Legorreta, also
known as Cyclona, recalls seeing Elvis's television debut. This whetted his
youthful appetite for provocative entertainment. He also remembers the hit
novelty song, "The Monster Mash" and how that song transformed Halloween from an
innocent candy and costume holiday for children into a subversive teenage rite
of passage. Since that time, he has been a performance artist and provocateur.
In the guise of a Pagliacci-like clown, inspired by the subversion of The
Monster Mash, and the sexuality of rock music, he laces his performances with
subliminal and overt messages about race, gender and identity. Born September
15, 1952 in El Paso Texas, his family soon moved to East Los Angles in hopes of
finding a better life. He attended Belvedere Elementary, Griffith Junior High
and Garfield High School, the latter school was also attended by the founding
member of the rock group Los Lobos as well as by artists Gronk and Mundo. By the
late 1960s Legorreta had become interested in what he felt was an aesthetic of
hippie androgyny. He and his friend, the artist Mundo began to provoke some of
the residents of East Los Angeles by parading down Whittier Boulevard in daring
drag costumes. These provocations came to the attention of the playwright Gronk
(later artist) who had written a play, "Cockroaches Have No Friends." In it
there was a part calling for a transvestite named "Cyclona." Robert Legorreta
became Cyclona, improvising the part, imbuing it with life, and, conversely,
imbuing Legorreta with the persona he would identify as since that time. Cyclona
describes himself as a live art artist, bringing art to life. Although his
performances can be interpreted as a cross dresser's show, Cyclona does not
identify as a transvestite and does not dress as a woman. He notes that he
drapes himself in fabrics and paints himself with exaggerated makeup. He
challenges the audience to question their perceptions of gender representation
and stereotypes, as Cyclona says: "I am perception, perceive me as you
will."
Restrictions
Publication Rights
For students and faculty researchers of UCLA, all others by permission only.
Copyright has not been assigned to the Chicano Studies Research Center. All
requests for permission to publish or quote from manuscripts must be submitted
in writing to the Archivist and/or the Librarian at the Chicano Studies Research
Center Library. Permission for publication is given on behalf of the UCLA
Chicano Studies Research Center as the owner of the physical items and is not
intended to include or imply permission of the copyright holder, which must also
be obtained.