Monique Mojica is an independent actor, playwright, dramaturg, theater instructor, lecturer, and artist-scholar.Brenda Farnell is Professor of Socio-Cultural & Linguistic Anthropology and American Indian Studies, University of Illinois at Urbana Champaign.

“The centering of molas and of Guna epistemologies, the radically de-colonial ways in which contributors came to the piece, and the deep process of vigilance and protection that went into the creation of Chocolate Woman Dreams the Milky Way are all deeply provocative and form a much-needed intervention in the fields of theatre, dance, and performance studies, as well as Indigenous and anti/post-colonial studies.”—Julie Burelle, University of California San Diego

• ContentsAcknowledgmentsNotes on ContributorsForeword…Forward: Earth Divers in the House of Balu Wala (Jill Carter)Prologue: Verbing Art (Monique Mojica)Chapter 1 Mola Dulad Agbanaed (Living Mola Moving): Reclamations, Reenactments and Creating an Embodied ScriptChapter 2 Dule Wagan Reading Molas (with Sue Patricia Haglund and Gloria Miguel)Chapter 3 The Road to GunayalaChapter 4 Working Process for Mapping Embodied Performance (with José A. Colman and Sue Patricia Haglund)Chapter 5 The Making of Chocolate Woman Dreams the Milky Way: Towards a Culturally Specific Dramaturgy (Ric Knowles)Chapter 6 Scoring the Body: The Mola Dulad as Movement ScoreChapter 7 Intersections: Pattern Literacy, Metaphor and MappingChapter 8 Chocolate Woman Dreams the Milky Way – Vocal ScriptReferences CitedIndex

Monique Mojica is an independent actor, playwright, dramaturg, theater instructor, lecturer, and artist-scholar.Brenda Farnell is Professor of Socio-Cultural & Linguistic Anthropology and American Indian Studies, University of Illinois at Urbana Champaign.

“The centering of molas and of Guna epistemologies, the radically de-colonial ways in which contributors came to the piece, and the deep process of vigilance and protection that went into the creation of Chocolate Woman Dreams the Milky Way are all deeply provocative and form a much-needed intervention in the fields of theatre, dance, and performance studies, as well as Indigenous and anti/post-colonial studies.”—Julie Burelle, University of California San Diego

• ContentsAcknowledgmentsNotes on ContributorsForeword…Forward: Earth Divers in the House of Balu Wala (Jill Carter)Prologue: Verbing Art (Monique Mojica)Chapter 1 Mola Dulad Agbanaed (Living Mola Moving): Reclamations, Reenactments and Creating an Embodied ScriptChapter 2 Dule Wagan Reading Molas (with Sue Patricia Haglund and Gloria Miguel)Chapter 3 The Road to GunayalaChapter 4 Working Process for Mapping Embodied Performance (with José A. Colman and Sue Patricia Haglund)Chapter 5 The Making of Chocolate Woman Dreams the Milky Way: Towards a Culturally Specific Dramaturgy (Ric Knowles)Chapter 6 Scoring the Body: The Mola Dulad as Movement ScoreChapter 7 Intersections: Pattern Literacy, Metaphor and MappingChapter 8 Chocolate Woman Dreams the Milky Way – Vocal ScriptReferences CitedIndex

Monique Mojica is an independent actor, playwright, dramaturg, theater instructor, lecturer, and artist-scholar.Brenda Farnell is Professor of Socio-Cultural & Linguistic Anthropology and American Indian Studies, University of Illinois at Urbana Champaign.

“The centering of molas and of Guna epistemologies, the radically de-colonial ways in which contributors came to the piece, and the deep process of vigilance and protection that went into the creation of Chocolate Woman Dreams the Milky Way are all deeply provocative and form a much-needed intervention in the fields of theatre, dance, and performance studies, as well as Indigenous and anti/post-colonial studies.”—Julie Burelle, University of California San Diego

• ContentsAcknowledgmentsNotes on ContributorsForeword…Forward: Earth Divers in the House of Balu Wala (Jill Carter)Prologue: Verbing Art (Monique Mojica)Chapter 1 Mola Dulad Agbanaed (Living Mola Moving): Reclamations, Reenactments and Creating an Embodied ScriptChapter 2 Dule Wagan Reading Molas (with Sue Patricia Haglund and Gloria Miguel)Chapter 3 The Road to GunayalaChapter 4 Working Process for Mapping Embodied Performance (with José A. Colman and Sue Patricia Haglund)Chapter 5 The Making of Chocolate Woman Dreams the Milky Way: Towards a Culturally Specific Dramaturgy (Ric Knowles)Chapter 6 Scoring the Body: The Mola Dulad as Movement ScoreChapter 7 Intersections: Pattern Literacy, Metaphor and MappingChapter 8 Chocolate Woman Dreams the Milky Way – Vocal ScriptReferences CitedIndex