Footnotes and Works Referenced
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Internet Killed the B-Boy Star: a Study of B-Boying Through the Lens Of
Internet Killed the B-boy Star: A Study of B-boying Through the Lens of Contemporary Media Dehui Kong Senior Seminar in Dance Fall 2010 Thesis director: Professor L. Garafola © Dehui Kong 1 B-Boy Infinitives To suck until our lips turned blue the last drops of cool juice from a crumpled cup sopped with spit the first Italian Ice of summer To chase popsicle stick skiffs along the curb skimming stormwater from Woodbridge Ave to Old Post Road To be To B-boy To be boys who snuck into a garden to pluck a baseball from mud and shit To hop that old man's fence before he bust through his front door with a lame-bull limp charge and a fist the size of half a spade To be To B-boy To lace shell-toe Adidas To say Word to Kurtis Blow To laugh the afternoons someone's mama was so black when she stepped out the car B-boy… that’s what it is, that’s why when the public the oil light went on changed it to ‘break-dancing’ they were just giving a To count hairs sprouting professional name to it, but b-boy was the original name for it and whoever wants to keep it real would around our cocks To touch 1 ourselves To pick the half-smoked keep calling it b-boy. True Blues from my father's ash tray and cough the gray grit - JoJo, from Rock Steady Crew into my hands To run my tongue along the lips of a girl with crooked teeth To be To B-boy To be boys for the ten days an 8-foot gash of cardboard lasts after we dragged that cardboard seven blocks then slapped it on the cracked blacktop To spin on our hands and backs To bruise elbows wrists and hips To Bronx-Twist Jersey version beside the mid-day traffic To swipe To pop To lock freeze and drop dimes on the hot pavement – even if the girls stopped watching and the street lamps lit buzzed all night we danced like that and no one called us home - Patrick Rosal 1 The Freshest Kids , prod. -
The Time Has Come, for You to Lip-Sync, for Your Identity: Bridging the Queer
The Time Has Come, For You to Lip-Sync, For Your Identity: Bridging the Queer Gap Between Theory and Practice Thesis RMA Musicology Vera van Buren (5539307) Feb- Aug 2019 RMA Musicology | Supervisor: Dr. Olga Panteleeva | Second reader: Dr. Judith Peraino Abstract The humanities seem to want to specialize in capturing the human experience in their socio-cultural context. It seems, however, that throughout the past decades, certain experiences are harder to academically pin down than others. The critique posed by queer people on queer theory is one example of this discrepancy. Judith Butler, Maggie Nelson, Sara Ahmed and Crystal Rasmussen are some authors who intellectually capture the experience of queerness. Especially Butler has received critique throughout her career that her description of queerness had very little to do with the real-lived experience of queer people. But, her work showed seminal in the deconstruction of gender identity, as did the works by the other mentioned authors. Despite the important works produced by these authors, it is still difficult to find academic works that are written with a ‘bottom-up’ approach: where the voices of oppressed groups are taken for the truth they speak, while academic references are only there to support their claims. In this thesis, I utilize this ‘bottom-up’ approach, testing through my case study—namely, the experiences of Dutch drag queens, specifically how they experience topics around lip-sync performances—to what extent their lived experience is in accordance with the theoretical works by which they are framed. Through interviews with Dutch drag queens, by attending drag shows, and by critically reviewing academic literature, I will test the discrepancy, or parallel, between the theory, and practice. -
Field+Perspectives+2017.Pdf
Field Perspectives is an arts writing project organized by Common Field in collaboration with nine arts publishing organizations around the US. Field Perspectives publishes writing that considers the state of the artist organization field and the key ideas explored in the Common Field 2017 Los Angeles Convening. The nine 2017 Field Perspectives partners are Los Angeles publications Contemporary Art Review Los Angeles (CARLA), contemptorary, X-TRA; and national publications ARTS. BLACK (Detroit/New York), Art Practical (Bay Area), The Chart (Portland, ME), DIRT (DC, Maryland, Virginia (DMV) Area), Pelican Bomb (New Orleans), and Temporary Art Review (St. Loius). Commissioned writers include Chloë Bass, Dan Bustillo, Travis Diehl, Lucy Lopez, Lindsay Preston Zappas, Ellen Tani, Anuradha Vikram; Andrea Andersson, Imani Jacqueline Brown, L. Kasimu Harris, and Charlie Tatum; and a collaborative essay by Ani Bradberry, Martina Dodd, Andy Johnson, Jordan Martin & Ikram Lakhdhar, Georgie Payne, and Valerie Wiseman. Thanks to the organizing and editing efforts of the people behind our nine partner organizations — Taylor Renee Aldridge, Anahita Bradberry, Michele Carlson, Poppy Coles, Jenna Crowder, Martina Dodd, Andy Johnson, Gelare Khoshgozaran, Eunsong Kim, Ikram Lakhdhar, Jessica Lynne, Shana Lutker, Jordan Martin, James McAnally, Georgie Payne, Lindsay Preston Zappas, Cameron Shaw, Vivian Sming, Charlie Tatum, and Valerie Wiseman. Each publication commissioned writing published weekly throughout October 2017, with goals of catalyzing discussion, dialog, and debate before, during and after the Los Angeles Convening. To see the 2016 Field Perspectives project, you can download a PDF of the essays from Common Field or read on websites of 2016 partners Miami Rail and Temporary Art Review. -
A Case Study Exploring the Agency of Black Lgbtq+ Youth In
A CASE STUDY EXPLORING THE AGENCY OF BLACK LGBTQ+ YOUTH IN NYC’S BALLROOM CULTURE By Shamari K. Reid Dissertation Committee: Professor Michelle Knight-Manuel, Sponsor Professor Yolanda Sealey-Ruiz Approved by the Committee on the Degree of Doctor of Education Date 19 May 2021 . Submitted in partial fulfillment of the requirements for the degree of Doctor of Education in Teachers College, Columbia University 2021 ABSTRACT A CASE STUDY EXPLORING BLACK LGBTQ+ YOUTH IN NYC’s BALLROOM CULTURE Shamari K. Reid Recognizing the importance of context with regard to youth agency, this study explores how 8 Black LGBTQ+ youth understand their practices of agency in ballroom culture, an underground Black LGBTQ+ culture. Ballroom was chosen as the backdrop for this scholarly endeavor because it allowed for the study of the phenomenon — Black LGBTQ+ youth agency — in a space where the youth might feel more able to be themselves, especially given that the 2019 Black LGBTQ+ youth report published by the Human Rights Campaign revealed that only 35% of Black LGBTQ+ youth reported being able to “be themselves at school” (Kahn et al., 2019). Thus, instead of asking what is wrong with schools, this study inverted the question to explore what is “right” about ballroom culture in which Black LGBTQ+ youth might practice different kinds of agency due to their intersectional racial and LGBTQ+ identities being recognized and celebrated. Framed by the youth’s understanding of their own agency across different contexts, my research illuminates the complex interrelationships between youth agency, social identity, and context. Extending the literature on youth agency and Black LGBTQ+ youth, the findings of this study suggest that in many ways these youth are always already practicing agency to work toward different ends, and that these different end goals are greatly mediated by the contexts in which they find themselves. -
Dickie Beau, LOST in TRANS, the Theatre Centre, Toronto Fabien Maltais-Bayda
Document généré le 1 oct. 2021 10:58 esse arts + opinions Dickie Beau, LOST in TRANS, The Theatre Centre, Toronto Fabien Maltais-Bayda Esquisse Sketch Numéro 93, printemps 2018 URI : https://id.erudit.org/iderudit/88029ac Aller au sommaire du numéro Éditeur(s) Les éditions esse ISSN 0831-859X (imprimé) 1929-3577 (numérique) Découvrir la revue Citer ce compte rendu Maltais-Bayda, F. (2018). Compte rendu de [Dickie Beau, LOST in TRANS, The Theatre Centre, Toronto]. esse arts + opinions, (93), 116–116. Tous droits réservés © Fabien Maltais-Bayda, 2018 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Esse Dickie Beau LOST in TRANS, 2018. Photos : Joel Fildes (left), courtesy of the artist Dickie Beau LOST in TRANS In a recent episode of the podcast Food 4 Thot, a discussion in LOST in TRANS belong here, too. This notion, however, on queer vocality began with one host revealing, “People’s raises questions around belonging and identity that feel voices are pretty much my favourite thing… their singing tricky when a white artist like Beau takes on the vocality of voices, their speaking voices. -
The House Party Spirit in All Its Glory
Sunday, December 28, 2008 ARTS & ENTERTAINMENT Photographs of men in drag, erotic murals in the bathroom, and glittery painted stars hanging from the THE HOUSE PARTY SPIRIT ceiling are all part of The B Sides, a new, boldly unconventional show IN ALL ITS GLORY at Aljira, a Center for Contemporary Art in Newark. It looks at visual art Exhibits That Show the Influence of Dance, inspired by 1980s and early ’90s Music and Movement post-disco dance music, especially the pared-down genre known as By BENJAMIN GENOCCHIO house music. The show gathers 32 artists and artist collectives with the emphasis on paintings and documentary photography of people partying. But there is also sculpture and installation art, for house music concerts, clubs and parties, which began in Chicago, Detroit and New York in the ’80s before spreading to Europe, often involved elaborate setlike environments. Several artists selected for the exhibition by Edwin Ramoran, the curator, are recording artists or worked as party promoters or set designers for clubs. Among them is Carlo Quispe, a stage designer and comic book artist who was given the task of decorating the structural columns in the gallery. Influenced by graffiti art and party culture, DESIGNING Above. Lincoln his column designs depict writhing, Motel Birdhouse dancing figures, cartoon characters, (2006) by John tribal motifs and text. Mr. Quispe Parris. Left, Javier also did the restroom murals Ninja Performance (involving sex and drugs). (2007) photograph by Ryan Joseph. continued on other side… 591 Broad Street, Newark, NJ 07102-4403 p. 973 622-1600 f. 973 622-6526 www.aljira.org An interest in the body, dance figure in Jennie Livingston’s 1990 I liked this work a lot, as much for and movement is a common documentary Paris Is Burning about its eccentricity as for its intricate thread among the artworks in the world of drag balls in Harlem. -
Black Dance Stories Kicks Off March 2021 Programming with 'The
Black Dance Stories Kicks off March 2021 Programming with ‘The Professor of Tap’ Dianne ‘Lady Di’ Walker and Choreographer/Dancer Gabri Christa, Thu Mar 4 at 6pm Featured Guests Include Gesel Mason, Jamal Story, Sidra Bell, Archie Burnett, Natasha Diamond-Walker, and Trebien Pollard (Brooklyn, NY/ March 4, 2021) – Black Dance Stories kicks off its March 2021 programming with tap legend Dianne "Lady Di" Walker and choreographer/dancer Gabri Christa on Thursday, March 4. The popular program will present new episodes during March featuring Black dancers, choreographers, movement artists, and creatives who use their work to raise societal issues and strengthen community. Black Dance Stories also welcomes Gesel Mason, Jamal Story, Sidra Bell, Archie Burnett, Natasha Diamond-Walker, and Trebien Pollard. The series streams live on YouTube Thursdays at 6 pm EST. Conceived and co-created by performer, producer, and dance writer Charmaine Warren, the weekly discussion series showcases and initiates conversations with Black creatives that explore social, historical, and personal issues and highlight the African Diaspora's humanity in the mysterious and celebrated dance world. Black Dance Stories is presented in association with 651 ARTS. Black Dance Stories Upcoming Live Episodes Thursdays at 6 pm EST • March 4, 2021 | Dianne Walker & Gabri Christa • March 11, 2021 | Gesel Mason & Jamal Story • March 18, 2021 | Sidra Bell & Archie Burnett • March 25, 2021 | Natasha Diamond-Walker & Trebien Pollard In January 2021, Black Dance Stories and 651 ARTS announced their partnership to co-present the series for the Spring 2021 season. The new partnership reflects Black Dance Stories' commitment to support, uphold, highlight, and celebrate Black creatives and mark the first time 651 presents an online series as part of its suite of programming. -
Title of Dissertation
SETTING UP CAMP: IDENTIFYING CAMP THROUGH THEME AND STRUCTURE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Michael T. Schuyler January, 2011 Examining Committee Members: Cornelius B. Pratt, Advisory Chair, Strategic Communication John A. Lent, Broadcasting, Telecommunications & Mass Media Paul Swann, Film & Media Arts Roberta Sloan, External Member, Theater i © Copyright 2010 by Michael T. Schuyler All Rights Reserved ii ABSTRACT Camp scholarship remains vague. While academics don’t shy away from writing about this form, most exemplify it more than define it. Some even refuse to define it altogether, arguing that any such attempt causes more problems than it solves. So, I ask the question, can we define camp via its structure, theme and character types? After all, we can do so for most other genres, such as the slasher film, the situation comedy or even the country song; therefore, if camp relies upon identifiable character types and proliferates the same theme repeatedly, then, it exists as a narrative system. In exploring this, I find that, as a narrative system, though, camp doesn’t add to the dominant discursive system. Rather, it exists in opposition to it, for camp disseminates the theme that those outside of heteronormativity and acceptability triumph not in spite of but because of what makes them “different,” “othered” or “marginalized.” Camp takes many forms. So, to demonstrate its reliance upon a certain structure, stock character types and a specific theme, I look at the overlaps between seemingly disperate examples of this phenomenon. -
January 14 - February 9, 2020 | Quadracci Powerhouse
JANUARY 14 - FEBRUARY 9, 2020 | QUADRACCI POWERHOUSE by Matthew Lopez | Directed by Meredith McDonough A CO-PRODUCTION WITH ARIZONA THEATRE COMPANY EXECUTIVE PRODUCERS: ASSOCIATE PRODUCER: Melanie and Steve Booth Robert Burrell JANUARY 14 - FEBRUARY 9, 2020 | QUADRACCI POWERHOUSE by Matthew Lopez | Directed by Meredith McDonough TABLE OF CONTENTS Synopsis /Characters 3 About the Playwright 4 Elvis Impersonators: 5 Mark Clements A Profession and a Passion ARTISTIC DIRECTOR Chad Bauman Jumpsuits and Bedazzling: 6 EXECUTIVE DIRECTOR Elvis’ Many Iconic Looks Elvis’ Many Iconic Looks PLAYGUIDE WRITTEN BY Desperately Seeking a Diva: 8 Lindsey Hoel-Neds Casey’s Icon Try-Ons Casey’s Icon Try-Ons CONTENT WRITER Drag Queens: 10 Katie Wagner From the Ballrooms to the Mainstream From the Ballrooms to the Mainstream CONTRIBUTING WRITER Walking the Talk: 12 PLAYGUIDE EDITED BY Steps to Serving Fierceness Steps to Serving Fierceness Jenny Toutant Director of Education Featured Artist 13 Auburn Matson Armand Fields esss Education Administrator Talking the Talk: 14 Lisa Fulton Allusions and Terms in the Play Chief Marketing Officer Resources 16 2 The Legend of Georgia McBride – PlayGuide SYPNOSIS The Legend of Georgia McBride tells the story of an upstart Elvis impersonator, Casey, and his journey to stardom. The problem is, he isn’t finding stardom impersonating The King. The rent is late, the checking account is overdrawn, and his wife, Jo, is frustrated. When Jo tells Casey that she is pregnant, he is not sure how they will make it through. One night, just as Casey is getting ready to hit the stage at Cleo’s, a local bar, a tornado of fab and fierce sweeps into his dressing room in the persons of Miss Tracy Mills and Miss Anorexia Nervosa (Rexy), two drag queens. -
Queering Black Greek-Lettered Fraternities, Masculinity and Manhood : a Queer of Color Critique of Institutionality in Higher Education
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2019 Queering black greek-lettered fraternities, masculinity and manhood : a queer of color critique of institutionality in higher education. Antron Demel Mahoney University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the African American Studies Commons, Africana Studies Commons, American Studies Commons, Feminist, Gender, and Sexuality Studies Commons, Film and Media Studies Commons, Higher Education Commons, History of Gender Commons, and the Performance Studies Commons Recommended Citation Mahoney, Antron Demel, "Queering black greek-lettered fraternities, masculinity and manhood : a queer of color critique of institutionality in higher education." (2019). Electronic Theses and Dissertations. Paper 3286. https://doi.org/10.18297/etd/3286 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The nivU ersity of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The nivU ersity of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. QUEERING BLACK GREEK-LETTERED FRATERNITIES, MASCULINITY AND MANHOOD: A QUEER OF COLOR CRITIQUE OF INSTITUTIONALITY IN HIGHER EDUCATION By Antron Demel Mahoney B.S., -
Simon Schultz Von Dratzig Hildesheim
Simon Schultz von Dratzig Hildesheim Voguing in Cinema Kinematografische Entwürfe tänzeri- scher und sozialer Praxis Abstract: Jennie Livingstons Dokumentarfilm Paris is Burning gibt Zeugnis über die ballroom culture in New York, einem Phänomen der schwulen Schwarzen und Latin@-Szene, das Ende der 1980er Jahren in den Mainstream der Stadt gelangte. Spätestens seit Livingstons Film existiert für sie und den mit ihr verbundenen Tanz Voguing ein Kanon an Bildern und Narrativen. Die Repräsentation der Szene weicht dabei in den kanonisierten Bildern teilweise erheblich von der außerfilmischen Realität ab. Ziel dieses Textes ist, die diskursive Funktion des Tanzes Voguing innerhalb verschie- dener Dokumentarfilme zur ballroom culture herauszuarbeiten. Der Tanz bietet sich bietet sich dabei besonders an, da ihm durch die Protagonist_innen der Filme eine besondere Funktion zugespro- chen wird. Im Zentrum des Interesses stehen die Fragen nach den Mitteln und dem Interesse, mit dem Voguing im filmischen Diskurs thematisiert wird. _______ Simon Schultz von Dratzig (M.A.) studierte im kulturwissenschaftlichen Masterstudiengang „Inszenierung der Künste und Medien“ an der Universität Hildesheim. Seine Abschlussarbeit zum Thema Voguing in Cinema um- fasst ebenfalls ein filmisches Portrait des in Chicago ansässigen Tänzers Benjamin Hart. Zurzeit bereitet er ein Dissertationsprojekt zu Digitalkultur, spekulativem Design und Dokumentarfilm als sozialer Praxis vor. © AVINUS, Hamburg 2017 Curschmannstr. 33 20251 Hamburg Web: www.ffk-journal.de Alle Rechte vorbehalten ISSN 2512–8086 Simon Schultz von Dratzig | Voguing in Cinema 1. Intro Voguing, der Tanz der New Yorker ballroom scene, hat durch Jennie Livingstons Film Paris is Burning Anfang der 1990er Jahre relative Bekannt- heit erlangt. Doch schon seit Mitte der 1980er Jahren hat sich eine filmische Darstellungspraxis etabliert, deren Einfluss bis heute spürbar ist. -
©2009 Edgar Rivera Colón ALL RIGHTS RESERVED
©2009 Edgar Rivera Colón ALL RIGHTS RESERVED GETTING LIFE IN TWO WORLDS: POWER AND PREVENTION IN THE NEW YORK CITY HOUSE BALL COMMUNITY by EDGAR RIVERA COLÓN A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Anthropology Written under the direction of Professor Louisa Schein And approved by __________________________ __________________________ __________________________ __________________________ New Brunswick, New Jersey May, 2009 ABSTRACT OF THE DISSERTATION Getting Life in Two Worlds: Power and Prevention in the New York City House Ball Community By EDGAR RIVERA COLÓN Dissertation Director: Dr. Louisa Schein This dissertation project is an ethnographic study of the House Ballroom community in New York City. The House Ballroom community is a Black and Latino/a queer and transgender alternative kinship system and dance performance circuit. Specifically, it follows the lives of HIV prevention workers who are deeply embedded in House Ballroom social networks. Based on four years of anthropological fieldwork, I document the way that these community activists fashion meaningful lives in the meeting point between the Ballroom world and the HIV prevention not-for-profit organizations in New York City. It is also an ethnography of the productive failure of the gay and lesbian movement's inability to include working class Black and Latino/a queer communities in developing a political infrastructure to combat HIV/AIDS in New York City. My informants have helped to develop an alternative civil and political infrastructure by combining material and symbolic resources found in the HIV prevention not-for-profit ii organizations and the House Ballroom community.