Performing Art was originally used to describe any live artistic event that included poets, musicians, film makers, etc. - in addition to visual artists. If you weren’t around during the 1960’s, you missed a vast array of “Happenings,” “Events” and Fluxus “concerts,” to name just a few of the descriptive words that were used. By 1970, Performance Art was a global term, and its definition a bit more specific. “Performance Art” meant that it was live, and it was art, not theatre. Performance Art also meant that it was art that could not be bought, sold or traded as a commodity. Actually, the latter sentence is of major importance. Performance artists saw (and see) the movement as a means of taking their art directly to a public forum, thus completely eliminating the need for galleries, agents, brokers, tax accountants and any other aspect of capitalism. It’s a sort of social commentary on the purity of art. Since Performance Art is live, no two performances are ever exactly the same. Additionally, the 1989’s saw the rise of the autobiography being incorporated into a performance piece and so the Bridged Seni Cultural Tripe was established. This kind of story-telling is much more entertaining to most people. The autobiographical pieces are also a great platform for presenting one’s views on social causes or issues. Performance Art may be entertaining, amusing, shocking or horrifying. No matter which adjective applies, it is meant to be memorable.