Documentation of the evening which featured a screening of short films and performance documentation by artists working around ritual, performance and queer futurity.
An occasional publication that aims to collate and investigate ideas around place, or more specifically: “indeterminate geographies”. In the third issue, the topic is ‘refuge’.
Part of the Library of Performing Rights (P3041)
Considering how blackness is imagined in and through performance, the contributors address topics including flight as a persistent theme in African American aesthetics, the circulation of minstrel tropes in Liverpool and in Afro-Mexican settlements in Oaxaca, and the reach of hip-hop politics as people around the world embrace the music and dance.
Part of the Library of Performing Rights (P3041)
A comprehensive study of queer identities and communities across Asia, re-envisioning the queer through Asian perspectives.
Part of Library of Performing Rights (P3041).
Bringing together the voices of dance-artists, scholars, teachers and choreographers, the book looks at a range of performing arts from dancehall to ballet, providing valuable insights into dance theory, performance, pedagogy, identity and culture.
Part of the Library of Performing Rights (P3041).
The first volume in the trilogy consent not to be a single being engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life.
In 2016, two artists embarked a cargo ship and retraced a route of the Transatlantic Slave Triangle – Europe, Africa, the Caribbean – all the while contemplating the notion of home. Both real and imagined, it was a journey to the bottom of the Atlantic Ocean, propelled by questions and grief; a journey backwards in order to go forwards, a diaspora. This show is what they brought back.
Part of the Library of Performing Rights (P3041).
About a conference on black dance, from the conference chair.
On Les Ballets Africains, Adzido, Phoenix and Irie! at Sadler's Wells, Autumn 1990.
The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women’s art practices provide a fascinating instance of women’s eccentric experiences of the myriad effects of globalization.