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As the popularity of audience participation in contemporary perform- ance continues to rise, this article examines  the extraordinary form of spectator- ship found in the work of Guillermo Gómez-Peña’s  performance group La Pocha Nostra. The essay draws on the insights  I have gained  of their practice  as both a spectator  and collaborator, and how these experiences converge with critical concepts on participation, borderlines, and the emancipated spectator as outlined in Jacques  Rancière’s  writing.  A primary  concern  is to investigate the way that participation invites a reconsideration of the borders  between  performer and spectator. This is explored  with reference to theories  regarding  those that do and those that do not participate, and how this establishes a hierarchy  amongst spectators, which includes  what I call ‘expert participant-spectators’. I also offer an analogy between a participatory performance encounter and a one-night stand social encounter as a way of unravelling the mixed emotions  that  can follow a participatory experience, while taking into account the paradox  of participation – the phenomenology of being both participant and spectator  at the same time, and how this complicates reflection.  The article  determines that,  although audience participation may collapse  and re-orientate borders,  participation yields its own limitations, as fresh borders are drawn up

On the Border of Participation: Spectatorship and the ‘Interactive Rituals’ of Guillermo Gómez-Peña and La Pocha Nostra