Luis Carlos Sotelo-Castro (PhD, FHEA) is a Colombian artist-researcher now based in the United Kingdom. His practice is performance-based. He creates live environments of memory in collaboration with other artists and participants from specific communities and locations. He has done work with and for internally displaced people, Indigenous communities, and elderly people both in Latin America and in the UK.

His (collaborative and solo) work has been featured as part of festivals and events such as Fierce!, The Northampton Music and Arts Festival, The Big Dance, and more recently, on Antony Gormley’s One & Other live sculpture project for London’s Trafalgar Square.

He explores in his research the interconnections between cartography, presentation of self, memory, and performance. He has made recent contributions on this subject to journals such as Performance Research, RiDE: The Journal of Applied Theatre and Performance, and M/C: A Journal of Media and Culture

• Performing Arts Representative for the School Learning and Teaching Committee
• Tutor for current students on the Community Arts Practice Programme
• Contact point for the external examiner in a number of modules

I am interested in the potentials of participatory performance as a means to facilitate processes of collective remembrance, and as a means of engaging specific client groups in issues relevant to them.

I welcome research proposals by PhD candidates in areas such as: participation performance, walking as artistic practice, site-specific performance, live art, interactive performance, arts management, verbatin theatre, documentary performance, physical performance, and performing Indigeneity.

BA Theatre Studies

• PA 1101 Making Performance
• PA 1104 Interdisciplinary Project
• PA 1402 Reading Performance
• PA 2106 Public Project 2
• PA 2102 Arts Management
• PA 3000 Dissertation

I am currently developing a practice-based research project on the question of how to use a heritage site in performative terms to facilitate an intercultural dialogue between Indigenous and non-Indigenous Peoples in Colombia. In addition, I am exploring in both practice and theory ways of performing identity changes by means of physical performance.

‘Looking backwards in order to walk forwards: walking, collective memory, and the site of the inter-cultural in site-specific performance’, Performance Research Vol. 15 No. 4 (Dec 2010)

 ‘Participation Cartography: blurring the boundaries of space and autobiography by means of performance’ RiDE: The Journal of Applied Theatre and Performance, Themed issue (15.4; November, 2010)

 ‘Participation Cartography: the presentation of Self in spatio-temporal terms’. CFP: ‘Disclose’, M/C Journal Vol. 12. No. 6, 2009.

 ‘El artista: un sujeto ético al servicio del arte’. Revista de la Academia Superior de Artes de Bogota Nro. Escarlata, pp. 28-38, 2001.

 PhD Monograph

‘Participation Cartography: Performance, Space, and Subjectivity (University of Northampton, 2009).

 Theatre Reviews

‘my hands as a common grave as a garden…’ Review of The Jesus Guy, a piece of theatre written and directed by Julia Lee Barclay. In: Body, Space and Technology, Vol. 6, 2006 (http://people.brunel.ac.uk/bst/vol0601/home.html, accessed 25/02/2009)

 ‘La política del significante: breves apuntes para la crítica del arte del performance en Colombia’. esferapública.org (2006) (Main Colombian online art forum).

www.sluisca.com

http://journal.media-culture.org.au/index.php/mcjournal/article/viewArticle/192