Deftly illuminates the phenomenon of white fragility and “allows us to understand racism as a practice not restricted to ‘bad people’” (Claudia Rankine).
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).
Discusses sex, desire and dating with leading figures from the trans and non-binary community.
Ruminates on the significance of physical and mental roaming for black freedom.
Part of the Library of Performing Rights (P3041).
Reframes Live Art practice, adopting the handy neologism gen-age, to describe the intersection of gender and age.
Part of the Library of Performing Rights (P3041).
Reveals a tradition of queer environmentalism in contemporary literature and film from the Americas.
Develops a three–part definition of xenofeminism grounded in the ideas of technomaterialism, anti–naturalism, and gender abolitionism.
Considered one of the most outrageous, violent and certifiably crazy tracts when it first appeared in 1968, Solanas’ text is reconsidered in Avital Ronell’s introduction, “Deviant Payback: The Aims of Valerie Solanas”.
It examines the ‘performance of extremity’ as practices at the limits of the histories of performance and art, in performance art’s most fertile and prescient decade, the 1970s. Dominic Johnson recounts and analyses game-changing performance events by six artists: Kerry Trengove, Ulay, Genesis P-Orridge, Anne Bean, the Kipper Kids, and Stephen Cripps.
Part of the Library of Performing Rights (P3041)
Review of the book published by LADA.
In misc. folder 7.