African dance and western programmers.
|Artist / Author||Chris de Marigny|
|Journal||Dance Theatre Journal|
|Journal date||Spring 1992|
In 2014 Project O (Alexandrina Hemsley and Jamila Johnson-Small) began working with Charlotte Cooper and Kay Hyatt on a show called SWAGGA. The work is rooted in dance and draws on other performance traditions, including a live soundtrack by Trash Kit and original compositions by Verity Susman. This collaboration was remarkable because it featured untrained dancers with the kinds of political bodies – fat, queer, older – that are rarely treated as creative, expressive or worthy choreographic subjects. Over two years SWAGGA was refined and performed for audiences around the country. Katarzyna Perlak documented the process and in 2016 created SWAGGA: A Study On Camera, a creative response to the live performance. The result is an extravaganza of mess, antisocial emotions and intersectional feminist sensibility.
SWAGGA: A Study On Camera was first screened by the Live Art Development Agency in 2018 as part of the LADA Screens programme, a series of online screenings of seminal performance documentation, works to camera, short videos, films and archival footage.
Documentation of the event marking the end of Restock, Reflect, Rethink Four, a project about Live Art and Cultural Privilege.
Forty years since the publication of Naseem Khan’s seminal report The Arts Britain Ignores, how much has changed?
Manning extends her previous inquiries into the politics of movement to the concept of the minor gesture.
Tells the story of the theatre blogosphere from the dawn of the carefully crafted longform post to today’s digital newsletters and social media threads.
Materials from the activation day against the Hostile Environment policy. Organised by Migrants in Culture and Keep it Complex.
In the oversize cabinet.
One of the contemporary art world’s most acclaimed mixed-media & performance artists, is the subject of this smart, sassy documentary that showcases her spectacle-rich approach to explorations of gender, racial identity, and sexuality. Bonus features include two deleted scenes.
Captured during a weekend-long workshop held in Glasgow as part of DIY16.
Part of the Library of Performing Rights (P3041)
The second volume of the landmark trilogy consent not to be a single being.
Recounts Preciado’s transformation from Beatriz into Paul B., and examines other processes of political, cultural and sexual transition.