UrbanApa presents: BLACKNESS

THE POSTMODERN& Blackness & the Postmodern, 2018 antiracist andintercultural platform heldinHelsinki. This publication isapartof#STOPHATREDNOW Caisa. Center andCultural ofArt Department Finland (Taike), for –Center Zodiak New Dance, University’s Aalto ArtsEqual, The publication was withthesupport actualised Promotion oftheArts Center Helsinki 2018 byPublished UrbanApa Layout by KiiaBeilinson Lindfors Edited by Sonya Blackness &thePostmodern

Caisa CONTENTS Blackness & the Postmodern, 2018 42 38 28 9 5 50 KokoHubara Girl WriterBrown Checklist ofIrrelevance for the Maïmouna Jagne–Soreau Confessions ofaBounty WesselsChristopher Musings on Jazz andother noise Jassem Hindi This hopelessrage Jaamil Olawale Kosoko Praxis ofJustice andthe Curation Crisis intheGallery: Sonya Lindfors Foreword 3

Blackness & the Postmodern, 2018 92 74 63 Thomas F. DeFrantz afrofuturequ##r Jamila Johnson–Small just aniche fingers on mydesire/_is mybody Anh Vo Sexualization Pleasure inRacialization- 4

FOREWORD Blackness & the Postmodern, 2018 _Who gets torepresent neutrality or humanity? contemporary? _Can abstract or Blackness bepostmodern, fundamental questions: perspectives. Ituncovers personal strategies, structural abrasions and collection coherence, isnot seeking butjuxtaposingdifferent voices and artists, curators, researchers, performers, activists andmuchmore. The The writers come from different backgrounds andlocalities;they are Blackness andpostmodern contemporaneity inone way or another. of various forms, eachofthem approaching thefriction between Blackness &thePostmodern. This publication contains eight texts You are holdingacopy oftheartcommunity UrbanApa’s publication Reader,Dear 5 by Sonya Lindforsby Blackness & the Postmodern, 2018 _Who whoare get givenvisible theirvoicesheard, power? _Who are thegatekeepers holdersof andinvisible dance, choreography orperforming arts? whoare _In general, thecreators in of discourse _Who assigned is tothecanon? predominantly white, slim, able, cisgender bodies? reason for thefact thatin 2017, European stages stillcontinue toshow certain qualitiesare admitted or end upin art institutions? What isthe exceptions –only peoplefrom certain backgrounds or inpossession of concrete exclusion andtheunderlying ideologies. Why –barring afew well asthehomogeneity ofourartsfield. By exclusivity, Imeanhere both exclusivity ofourartinstitutions andcontemporary artingeneral, as born from avery personal need. näkökulmia toiseuteen writers why these andquestions rightnow?But future? _How canwecollectivelydream aboutabetter art market? capitalist _Is Blackness anichefor thecontemporary agency? Over thepastfew years, Ihave endeavoured tostirupdebateon the This publication, like UrbanApa’s previous publication [Otherness 101–Perspectives ofotherness], was 6 Toiseus 101– Blackness & the Postmodern, 2018 colour, butitisalarge andcomplex ideologicalfield.Itincludesthe great narratives, ithasfailed todeconstruct itsown whiteness. postmodernism on asanideologybeingbased thedeconstruction of is defined by thegreat narrative ofwhiteness. Inother words, despite publication suggest aframe whichcentralizes questions around Blackness. obstacles always callfor anintersectional approach, thetitleofthis and, therefore, inthestructures oftheartsfield.Even thoughstructural down, including theruling gatekeepers, there isadanger thatBlackness always Iftheartsfield does notdiversify inthecontent. from thetop event, theartsfield is always defined byitsstructures; the contextis the wholeoperation oftheinstitution ismuch more ofararity. Inany but for anantiracist andintersectional feminist ideologytopermeate institutions welcome artistewithopen armsonto their stages, aPOC initiatives’.creates politicaldebateand‘bold Today, more andmore art theme intheartsmarkets. tickets, Itsells attracts mediaattention. It timeothernessbut atthesame or Blackness hasbecome atrendy Blackness andpain. worksThese are andrevolutionary, emancipatory where brown andBlackartistsexplicitly address theirotherness, festivalsArt around Europe are presenting works (my own included) feminism has changed agreat deal. Words like and energetic, primitive timewithoutahistory. butatthesame primarily perceived ascultural, symbolic, archaic andinfantile, exotic art’,‘white notoriginating from the Western European whitecanon, is and invisible, timedesirable. butatthesame other Any artapartfrom beauty, as‘Western’ and‘European’ andwhite. Whiteness isneutral and certain qualities,like civilisation, education, intelligence and perception and ownership ofcertain values, like equalityor democracy, However, duringthepastyears theworld, andwithitthefieldofart, Moreover, thenorm ofwhiteness is notaquestion ofmere skin The postmodern concept ofart–like theentire concept of Western– ofsuchconcreteThe causes exclusivity liedeepinourconcept ofart and decolonial practices 7 have entered oureveryday language. Blackness , otherness , intersectional intersectional Blackness & the Postmodern, 2018 demanding change, we canalter thestructures despitethefriction. hand, when there isasufficient impetus for change, enough voices all inevitable, butwe are allinvolved inaprocess oflearning. theother On otherness withinessentially whitecontexts isasource of friction. Itis the artsfieldisinformed by whiteness, andaddressing Blacknessand structural layers, isbothextremely important andchallenging. For now, the Blackartistandwhiteinstitution. Kosoko andJohnson-Small address thiscomplex relationship between and itstreatment remain butapassingtrend. The texts by bothOlawale Each ofthem makes theirown contribution tothechange. the writers hastaken thetimefrom theirown work for thecommon good. are personal, political,courageous, wild,precise andanalytical.Eachof I hopethepublication willinspire questions, ideasanddiscourse. I ameternally grateful tothecontributors ofthispublication. The texts Analysis of Blacknessandotherness, exposing thehistorical and power structures andempower thecommunity. UrbanApa artsplatform. Inallher work shepursuestoshake andchallenge existing Sonya Lindfors isaHelsinki Choreographer based Director andtheArtistic of 8 CRISIS IN THE THE IN CRISIS Blackness & the Postmodern, 2018 GALLERY: justice. We are stilltalking aboutaparadigm cultural equity, cultural democracy, cultural decades ago) whenweneedconversations about (conversations thatstartedthree orfour multiculturalism about diversity, inclusion, _The [...] is story weare stilltalking/thinking by Jaamil Olawaleby Kosoko 9 JUSTICE THE PRAXIS OF CURATION AND Blackness & the Postmodern, 2018 opening up opportunities for upopportunities boardopening participation/ and culturally-specific institutionsononehand; sustain community-based/culturally-grounded/ support, sword: theneedtobuild, a two-edged two battlefronts with on struggle revolutionary struggles. (unspoken) power a We are fighting inreality, weare oftenengagedshift when, in liberate us. can create themapsthatwhenfollowed will that thatcanrevision, the mindthat canresist, possibility. For there itis thatwecanconstruct being, theplaceofmystery, creativity, and psyches toencounterthere theground ofour spacesofour andintotheinterior categories, to transcend race and gender, beyond tomove oneofus forthe invitationis eachandevery _When radically wespeak ofthedarkdivine, mainstream” organizations ontheother. in“major/ employment opportunities –bell hooks –Ms. Baraka Sele 10 , Lorde: , Lorde: The Imagination ofJustice , A Black Paper: Revolution/Resilience/Race, ABlackPaper: Blackness & the Postmodern, 2018 people whoexist outside thesphere ofwhitecisgender hetero-normality questionme thesame inregards tocreating more inclusive spacesfor and/or peopleofcolor. Performance curators andaudiences alike ask individuals whoidentify astrans*, queer, indigenous, Black, disabled, encountered alackofsupportive cultural spacesfor inclusionary travels inEurope, andtheUnited States,Ihave Canada, consistently predominantly whitecultural institutional frame? Throughout my does thispractice become alived experience thatmoves beyond the What doesaradically inclusive curatorial practice looklike? How PART 1:Colonial Distortion usher, was attheCharles H. Wright American Museum ofAfrican within Black studyandartistic communities. My firstjob, asateen fascinating ofmy consistent because tofocus impulse mythinking found theactoforganizing performance, exhibition, and thehumanities Before Idiscovered thelanguage toidentify mycuratorial practice, I Frank writes: conventional predominantly whitestructural frames ofcuration. and decolonize modern curatorial practices by altering thecurrent Frank speaks directly tothisquestion. Shemakes tobroaden acase Practice”,Curatorial theindependent curator andeducator Chandra white spaces? diverseaudiencestofeelto allow more welcomedinsidepredominantly and ability: histories. histories. to the unearthingofhidden and theinstitutiontocontribute informed theapplicationofthis process requiressaid, thecurator becomesacoreThat epistemologies ofcuration. partofthepolitics creates anenvironment where theincorporation ofalternative ofexhibitionmaking.the development commitment This dynamicsthatliebeneath the power museum space,anddisrupts ofthe embeddedintheexistence thatis Westerncoloniality A decolonialcuratorial process committedtoundoing is How dowebegin tobreak theborder artandculture between

In her blog post, “PolicyIn her blogpost, Briefing: Towards Decolonial a 11 Frank 2015Frank

Blackness & the Postmodern, 2018 and presenting live works, objects,andideastorealize thepossibilityfor outside thecultural involves institution. Curating selecting, organizing, practices through hidden histories toreveal“unearthing” structures social andcreative practice today ofthefoundation because Igained walls. museum withinthose cultural democracy, cultural justice” It sparked myengagement in mentorship, employment, professional development, andcommunity. Michigan. For inDetroit, History me, was thatmuseum aplaceofrefuge, such overwhelming tribulation? such overwhelming tribulation? “minoritarian” white institutions (PWIs) actuallyable tocare for Black andother does predominant whiteness distort curatorial praxis? Are predominantly part ofsurvivalist tacticsand freedom strategies for diasporic people? How questions.series ofinescapable How doescare operate asanessential crisis locatedwithininstitution Iamleftwitha oftheAmericanproject, With thisunderstanding ofthecorrosive effects ofcolonization andthe writes aboutthedistortive effects ofcolonization: power. Inhisacclaimedbook withinthis“perverted logic”co-exist The concept ofcare asitpertains tocuratorial practice simplycannot curatorial ideology—while shared by many—is notastandard practice. induce care, andsupport multipleexpressions offreedom for allpeople. cultural production, andpractice radically inclusive strategies thatheal, curation shares embodied practices andresources tocentralize new one’s own imagination (and perhaps sparktheimagination ofothers); Unfortunately, duetoembedded systems ofcoloniality, this As Ihave grown curating isa practice that todefineit, requires distorts, disfigures anddestroys it. distorts, and tothepastofpeople, logic,itturns a kindofperverted thenative’s andemptying grip brain By ofallform andcontent. merely notsatisfied people inits withholdinga is Colonialism Muñoz: 1999 12 oblique people? How dowe curate healthinthewake of or slant “ The Wretched oftheEarth conversations aboutcultural equity, readings ofmodernity bothinsideand Sele 2017 Sele Fanon of racialized institutionalized ofracialized institutionalized . I understand my curatorial I understand mycuratorial . 963 210 3: 6 19 , Frantz Fanon Blackness & the Postmodern, 2018 curatorial practices intheUnited Statesand beyond are stilldeeply classification”social “race andracial identity were establishedasinstruments ofbasic be madethatmodernity isintrinsically linked tocoloniality whereby project isbuilton asystemic colonial doctrine. mightevenThe case projects. an ensemble, toframe thecuratorial rationale andpresentation ofthese indigenous, andpeopleofcolor (QTIPOC) allowing artist-curators us,as care andinclusivityby centering thevoices ofwomen, queer, trans*, 2017 Divine Dark thespaceofidentities beyond illegible: opening RepresentationsExperimental Through theEphemeral Form my own independent curatorial projects suchas of practice. Radical care isgracious, healing, andaffirming” care withego isunamused andconsiders community the cornerstone writes, “Radical care doesnotshyaway from theunfamiliar. Radical Radical Care,” where sheoutlinesaseriesofradical care attributes.She her essay, “Rep’ing Performance Blackness:Curating asaPractice of omissions. NicoleMartin American scholar speaks tothispointin inevitably accountablefor andholdsitself inclusionary oversights and spaces for allpeople. positions ofpower ifwe are ever torealize radically inclusive cultural to undoingcoloniality incuration mustbeacentral goal for in those education, activism,andthesustenance ofculture). Acommitment to wieldaparadigm shiftwithintheirinstitutions (as they relate to of thepoliticscurating, practitioners withinthefieldmustbewilling communal methodology thatallows the laborious work ofimaging entrenched incolonial systems ofpower. Undoing this willrequire a , Ihave worked strategies same toinstitutethese ofcollective If alternative decolonial epistemologies are tobecome acore part The work ofundoingcoloniality isdifficult.American The when practicedCuration, withradical care atitsfoundation, is

2015 , and,mostrecently, 13 Quijano 2000: 534 . Thus, theracial informing biases The Blood Was On Their Shoulders Blood WasShoulders The Their On 2015 , Imaging Justice for the Imaging Justicefor the Black Male Revisited: Black Male Revisited:

2014 5 56 5 15: 0 2 , legible/ . In . In Blackness & the Postmodern, 2018 theory andEmergenttheory Improvisation (under thetutelage ofSusan (SCM) curatorial ideology, Mapping hereby namedSocio-Choreological of literature, performance, andvisualarts. To create theinclusive rooted insideatraditional predominantly whiteliberal artstraining communities, muchofmyacademic studybefore graduate was school goals cohere. insideand outsideoftheinstitution) central whose individuals (both justice andimplementing decoloniality tobeshared among multiple 1 theoretical world. Aself-proclaimed activist cantweet, write, march withinthedigitalworld,of entry thephysical world, andthepsychic/ project. The versatility ofdecentralized systems allow multiplepoints empower anyperson toparticipatewithinashared seeking goal or have thenuance, reverberation, andemergent complexity neededto Mapping to itallowsbecause thebehaviors ofSocio-Choreological decentralize thevoice ofone singlecurator. iscritical Decentralization movement actions created by Blackandqueer women ofcolor, examples, when considered through thelens ofperformative #BlackLivesMatter, #TransIsBeautiful and#GirlsLikeUs. These realityfound justicemovements andsocial intrans-digital suchas communicate,document, andrealize theirown freedom strategies. how queer, trans*, indigenous, peopleofcolor (QTIPOC) Improvisation context social withinaBlack/minoritarian toidentify systems inthebody term notatemovement in1955withdancer wife—to Joan Benesh—his and mathematician Rudolf Benesh’s term “choreology.” He coinedthe Sgorbati College) atBennington andaminfluenced by dancetheorist Clear examples ideologicalapplication be canalso ofSCM While mycuratorial work centralizes Blackandother minoritarian (their bodies, movements) ideas and into cultural the record. create radically inclusive where notate, spaces they archive, strategize and themselves document Socio-choreographical is apractice mapping to discuss frame minoritarian conceptual how and people 1 , Idraw from myacademic performance studiesincomplexity 14 Kando 2016 Kando . Isituatechoreology andEmergent move together, Blackness & the Postmodern, 2018 Arts andGibneyArts among other locations), Dance Browncreated thathasbeen heldatNew by A. Camille York Live partnership withvarious institutions include and serve asexamples ofhow works themodelofSCM successfullyin for andothers). self examples Some ofprojects thatcentralize care is deeplysituatedwithinthepractice andsustainabilityofcare (both framework for inclusivity, ithasbecome clearthattherole ofthecurator and/or archived forms ofperformed protest. createin protest, amural or theatrical work, allaslegitimatenotated followed willliberate us” sustained resources mapsthat when neededto continue creating “the committed toproviding engaged thesocially artist-activist withthe the resistance against whitesupremacy andcoloniality—are genuinely we—as members ofthecultural sector andglobalcitizens invested in illegibility, andhealingintheirwork, Iaskmyreadership toconsider if voice totheways render inwhichartist-curators themes offugitivity, performance showings, readings, andpersonal reflections thatgive of theartworld. Through collectedinterviews, rehearsals, workshops, creation ofradically inclusive withinthedominant care-giving culture conceptual frame. Iargue for asahealthy alternative SCM for the studiesthathighlightvaluecase systems thatare integral totheSCM and undocumented fugitive knowledge to consider care asatechnologyderived from centuries ofdocumented the institutional frame muchneededdisruption. andcause between institutions andartists/activists allowing new voices toenter while created by asingleartist-curator, encourage deepcollaboration Trinidad & Tobago, andDC). Miami,Detroit, curatorialThese projects, (a project created by BrittanyL. Williams withteammembers in based institution suchasBAAD intheBronx andBAX), and (a project created by Paloma McGregor thathascollaborated with My goal inwritingthispaper—as academic, artist, andcurator—is Mapping asaconceptual In identifying Socio-Choreological 15 hooks . Harney &Moten:Harney 2013 The Gathering The Gathering Dancing While Black While Dancing Dancing forDancing Justice whileproviding (a project

Blackness & the Postmodern, 2018 performance ofBlacknesswould mean.Itwas aneffort tolocatesome was anattempt tobeginaconversation withmyself aboutwhatmy through action. that practice takes place. Itisapsychic process before itisarticulated relationship toone’s practice aswell astheenvironment insidewhich curatorial practice. isaway SCM ofthinkingandconsidering in theself tomycontemporary approachart makingandembodied theory to PART 2:Personal Reclamation amount ofmentorship, embodied knowledge, andcultural negotiation my undergraduate experience andasaresult ofthiseraser, asignificant explorations intoalternative digital-reality performance. investigation offugitive theory, Blackexistentialist and thought, Muñoz, andStuartHall, FredJames Baldwin, Moten, bellhooks, Audre Lorde, José Esteban practice andeducation. was thirstytolocatemyself like andthose meinsidemyperformance me. While Icouldnotopenly articulatethisinternal needatthetime, I (and create space for) thedeepunknowing thatwas growing inside refuge, space, tools,andsystems ofself-care Ineededtomaterialize became ameansfor metovent, tounleashmycreativity andfindthe of Blacknessinsidemydailylife College, atBennington noticed were surfacing insideme. Eager todecolonize myperformance how Imightbeindialogue withthevarious intersectionalities thatI Iwanted to better understand programmed intomyperception ofself? possible todisruptthefinitenotions ofcolonized Blackidentity already ofBlackidentitieskind ofunarticulatedset would emerge. Mightitbe perform freely withinmyenvironment. Ibecamecuriousifanother aspect ofmyself whilecreating aspacewhere myunconscious could But these BlackandBrown these But andpoets were scholars omitted from Years before Iwas exposed tothewritings ofMichelleM. Wright, For example, one ofmyearlycreative projects, aspedagogyI consider SCM linkingmyearlyexplorations with 16 The Night Dances allowed metobegin anascent The Night Dances The Night Dances The Night Dances

Blackness & the Postmodern, 2018 I would have totake on apractice of unlearningcertain kindsof lenswhite masculinist becomes aradical act. tenure may notbeanoption. As aresult theactofteachingoutside the whitesupremacist heteropatriarchal canon otherwise because liberal artscollege, althoughitcanbeargued ofcolor thatscholars teach not have omission letthiskindofliterary take placeatarenowned students, andstaff. Ibelieve BlackandBrown professors simplywould there were few so representations ofracial diversity among thefaculty, was myentire losttome—and undergraduate community—because that would celebrate theoriginal exhibition whilecontinuing topush Museum inNew ofAmerican Art York City. outtocreate Iset aplatform Black Male andDirectorCurator of curated The Studio Museum inHarlem, Golden curatorial approach withthisexhibition. Currently working astheChief 2014, I found myself deeply inspired by Thelma Golden’s writings and Art inContemporary Masculinity hidden truths’ regarding myunderstanding ofBlackmasculinity. as acontainer for multiplicity andqueer study, andcould‘unearth projectsCentral tothese was the idea thataperformance sitecanserve by atheoretically queer ecologicalstudyof performance andcuration. body. of videoandlive performance, includingworks entitled Negro New on camera. The project was titled digital mediatoreveal acomplexity rarely ofBlackmasculinity caught with artist andthinker Iknew was forming insideme. Similartomypractice practice ofdecolonizing mycreative work inorder tobecome thekindof of professional American concert dance. thatyear, During Itookon a normalized creative tacticsdominant withinthepost-modern franchise With the20 In 2013, Ifound myself again atakindofartisticcrossroads where The Night Dances

2013/14 , butthislineofresearch evolved intovarious configurations and in1994 asthe #negrophobia th 17 anniversary of , Ifound myself wanting toexpress myself through first

2015 African American curator African atthe Whitney approaching thefollowing year in . This seriesofprojects was influenced Black Male: Representations of Black Male Revisited: Revenge ofthe other.explicit. Blackness & the Postmodern, 2018 Golden writes, writes, Golden American inContemporary Artof Masculinity trans identities mightfitintothe‘Black Male’ exhibition lexicon. forward andopen aconversation astohow performance andBlack people are forced to exist. as proven inboth thepeopleand environments insidewhichthese have been forced tomaster theartofcoping withinthewake oftrauma minoritarian communities isnothingnew. BlackpeopleinAmerica of oppression? The diagnosis oftrauma within Blackandother opportunity toexist outsideofanormative system whitemasculinist might mypractice ofliving, curating, creating arttake given the normssocial or riskutter annihilation, it’s worth asking: What shape mind” ignorance ofyour mind—“a cannotknow statethatdoesnot, your understanding ofself. a chord inmeemotionally andprofoundly influenced mythinkingand the invention nor intheresult ofthefear projected onto hisbodystruck third, thenotion oftruthasaideaembedded neither intheconception of historical context aswell climate. asthecurrent socio-political And clear understanding oftheBlackmale’s positionality bothwithinthe for fear-mongering withintheAmerican psyche articulatesavery theideathatinvention Second, in America. becameacatalyst in regards tothecreation andexperience oftheBlackmale’s presence concept ofbeing Being Blackisbelonging toastateorganizedBeing according toits I found thispassage particularlystrikingfor three the reasons. First, In her essay Wagner, 2009: 1 the blackmale’s existence” psyche whichrarely orcontainsthetrope about oftruth conveys represents anamalgam offear andprojections intheAmerican African-American male—‘invented’ becauseblackmasculinity the is century ofthegreatest inventionsofthetwentieth “One MyBrother 18 invented . As Blackpeopleforced toeither conform towhite articulatesaspecificframing andperspective written for the 19 . BlackMale: Representations exhibition catalogue 1994 , Blackness & the Postmodern, 2018 moment asaninfinitespaceofunlimited evolution andpossibility. domain, inturn,Ireclaim ofmyBlackbodyinthepresent thehistory stereotypical notions often ofBlacknessso presented inthepublic I employ toprotect myoppression, aswell aschallenge standard tool todecolonize mythinkingandundothelearnedprotective reflexes privilege andpower, examines astrategic process thatcanserve as a By engaging inathoughtprocess thatchallenges current positions of in thisessay, Ibecome anactive framework. participantinsidetheSCM constantly interrogated. Inlocatingthevitalcuratorial questions located might Ibeableto engender before hadthose mebeen curated into a body, andallbodiesalike, for generations? What performance of self of race hadnever become apreordained performance assigned tomy reinvented, labeled,andrendered marginal? illusion What ifthediseased 243 “createlimitlessly and,asaresult, themapsthatwhen followed” curating live performance isdeeplyintertwined withtheabilitytodream freedom andfuturityrisen from astolen past. The practice ofcreating and Iamaremarkableand activism.As aBlackartist-curator expression of the body, transmitted intoaction through creative forms of expression transgression, andpractices offreedom tobefelt andmaterialized in performance andpsychic experience tooccur. Itallows escape, refusal, to markmyfuture. allows Blacktheory aspacefor infiniteimaginative how Ichoose labels markmypastandpresent, they obtainthepower a negro, colored, anincomprehensibly Blackfugitive. even But asthese illegible, criminal,disposable, trauma-stricken, policed,athug, anigger, constructa social thatunderstands metobenon-human, invisible, PART 3:Fugitive Survival articulatethepossibilities for aliberated society. I like toimaginewhatifmyancestors hadnotbeen colonized, Before Iknew whoIwas, mybeingwas already rendered into Mapping requires kindsofissuestobe these Socio-Choreological 19 hooks 2011:hooks Blackness & the Postmodern, 2018 my entire immediatefamily everyday isdead,andso Ilive inthewake of led tomymother’s premature deathattheage of36, Iknow lossbecause Denver, Colorado. Inthealcoholictearsandschizophrenic that episodes shape ofmy22-year-old brother whowas murdered outsidea7-Eleven in father’s toofrequent actsandsudden disappearing death. They take the understand theperformance ofmyidentity. The strains trace backtomy is anepigenetic system embedded intheDNA ofhow Ihave come to Black beingcameintoexistence withinanAmericancontext where loss condition offreedom insteadofenslavement? researching this ideaofself-care as acuratorial practice. What canBlack US andwestern world cultures, I return to one ofmyleading questions for world known history asthe Trump administration. attempt to navigate through thisturbulent atypicalpolitical moment in offer thepublicdomain isintegral tothe healingof morediscourse now thanever before. The cultural production thatwe and/or shun.Blackartists are vital tothecontemporary cultural anecdotes ofBlackjoy andsurvival for theworld toeventually consume in thehabitofconjuring magic, medicinalpotions, stories, andother being itisconstantlymethods ofbeingbecause negotiating theobstacle of in thethroes oftheavant-garde, always considering new imaginative intheworld.ease Always forced tolive on edge, Blacklife isconstantly achievement “inthewake ofloss” Moten 2003: 1 the assumption oftheequivalence ofpersonhood andsubjectivity” of aspecificupheaval, an ongoing irruption [...], astrain that pressures push toward ourdeath” unifying factor thatstillconnects us,thatholdsus“always livinginthe that ultimatetruth. In bringing attention to the issues plaguing the art sector within the In bringing attention to theissuesplaguing theartsector withinthe Within theAmerican colonial historical project, lossisthesingle Knowing lossisanepistemology locatedinmybloodmemory. My . From popularmusictovisualartliterature, Blackpeopleare forces ustoimaginenew experimental ways ofpracticing 20 Sharpe 2016:Sharpe 10 Sharpe 2016 Sharpe . Blackness, “the extended. Blackness,“the movement because one because isnever quiteat all people aswe

Blackness & the Postmodern, 2018 successfully withinthewhitecultural frame, more inclusionary find new meaning withinmylife’s work asanartist-curator. how Iwas allow andasaresult, abletobeginidentifying SCM, myself to how toexist insidethiswake, how todothework ofthewake might translate intovarious communities andcreative practices. Learning strategy for myown survival inthewake ofimmense loss;astrategy that is anideologyIneededtoresearch Ihadtodevelop andnamebecause a world were where “we never meanttosurvive” thought teach concept of within artandculture. The issue, inmyopinion, goes far beyond the most peoplewithininstitutions recognize theimportance ofdiversity intellectual and/or conceptual rigor. Even ifit isnotpracticed, Ibelieve that ordains European aesthetics andcreativity asthehighestlevel of managed under astructurally violent whitesupremacist’s doctrine exhibitions, andperformance seasons, muchofthe artworld isstill of incorporating Blackandother minoritarian voices intotheirstaffs, contemporary curators andartisticdirectors know theimportance enslavement, andsegregation. whilemanyenlightened And white stricken tohealfrom civilization, stilltrying thetraumas ofwar, 15 2015: Wethers “predominant whiteness” musttranspire withinthefieldofcuration surrounding theconsistent andhighlyproblematic implementation of practices withintheartsfieldmust occur. A reorganized methodology hospitality needed to sustain members of minoritarian communities hospitality needed tosustain members of minoritarian communities white institution isactually capableofdelivering thekind ofcare and audience,artist, board member), Iquestion ifthe modern American predominantly whiteinstitution. No matter thecapacity(staff member, individuals whoare once they QTIPOC arrive withinthewalls ofthe What Iamarguing for isarevision in theway we care andsupport The statisticsare notsurprising. We live inanincredibly pain- Mapping ideologytobeapplied forBut mySocio-Choreological creating diversity . all people aboutliving, being, andcreating meaningina 21 within predominantly white spaces. withinpredominantly whitespaces. Lorde 1995 Lorde ? The SCM concept ? concept The SCM Sharpe was was Blackness & the Postmodern, 2018 towards greater publicconsumption, andinsomemonetize cases, their work online and/or invideoandfilmmediumstopushtheir work within theartfield. Today, contemporary Black experimentalists can allowed multipleartistsaplatform tochallenge thestructural racism experienced. The mainstream distribution oftheworld-wide web has The internet haschanged theway visualandperformance artis managed tobecome far lessdependent on cultural institutions. its corresponding micro-aggressions) are endured on adailybasis. who have been forced towork withinspaceswhere thewhitegaze (and digital age positioned under constant hasQTIPOC surveillance. the potency ofthisquestion feels particularlyvital. The contemporary the constant threat ofdeathlooming like anevil shadow over ourheads, simultaneously making celebrities outofmurdered Blackpeople. With communities tobedisplayed online, gaining aninternational audience, phone technologieshave allowed thatplague manyoftheillnesses Black aidedintheviralit hasalso sharingofBlackdeath.Advancements incell venue representation. a meanstodistributetheirwork tothe publicregardless ofgallery or avant-garde, allthewhile connecting theirwork to digital audiences as metaphors—to bridge thegap popand between art, “high” and“low” bodies—sometimes assexual subjects,sometimes asradical racial multi-layered, andsexually complex mystique. their artistsuse These portray intheirworks locatethem insituations thatcreate structural, online. The hyper-Afro-queer futuristicdigitalpersonas they often many others, have created significantaudiences for themselves Lawrence Graham-Brown,IMMA, andJacolby among Satterwhite, directly withpublic. platforms circumvent theinstitution asmediator, connecting theartist work withoutthebackingofanestablishedcultural institution. Digital But just astheinternet hasexcelledBut thecareers ofmanyBlackartists, Experimental BlackartistssuchasJulianaHuxtable, M.Lamar, In response tothiscultural erasure, manyartistsofcolor have 22 Blackness & the Postmodern, 2018 hooks argues, “[B]lack men endure theworst impositions ofgendered her book left withtheunfortunate her children. dutyofburying Inthepreface to specifically theBlackmother’s experience toooften because sheis plagued experience theBlack/minoritarian andeven inAmerica, more public domain andmourninghave for massconsumption. Loss always pass-time, toooften displaying themutation bodiesinthe ofthese Americahasalong,awful habit. deranged withthiskindof history people by negrophobic badge-and/or cape-wearing whitemen isan white dominant culture, whohave positioned themselves under the knowing andpractice ofthis. Whereas operating manyofthose within circumstances.to these Most curators andartistsofcolor have adeep questions.these As cultural citizens, Ibelieve it isourdutytorespond moment? Itistherole ofcurators andartiststoconcern themselves with enough to bringissues ofthecontemporary tolightthesociopolitical of color curate spaces, environments, andcommunities thatare brave connection between curation andlarger issues? societal How doartists the role ofradical care anddecoloniality even more closely. What isthe patriarchalmasculine identity” When manylives so are hangingby athread, Iamforced toconsider The policing, killing, lynching, andpublicassassinations ofthese We Real BlackMen Cool: andMasculinity black menhavehadnoreal dramatic saywhenitcomestothe andmurderers, natural rapists, born brutes, asanimals, Steen than it. embodyingitorseekingtobeother whetherby to thestereotype bedefinedin thatblackmaleidentity relation white supremacy is are rare, worldof inthecontemporary for ofvisibility theprice nation inthepresent day. Blackmaleswhorefuse categorization but holdsway themindsandimaginationsofcitizens ofthis over thatwerestereotypes firstarticulatedinthenineteenthcentury As areon thestereotype. victimizedby aconsequencethey havemadefew are interventions way represented. They they 23 2003 xii x 3: 0 0 2 : ii x 3: 0 0 2 . Shewrites: , feminist scholar bell , feminist bell scholar Blackness & the Postmodern, 2018 scarce across theboard, nomatter one’s race or gender, ifcontemporary and vague understanding societal inthefirstplace. world thatgot usinthispredicament ofmonotonous curatorial praxis of power withinmostinstitutions throughout theUS andthe Western progression among whitecurators andcultural producers inpositions political investment, andthedelusion ofnational socio-economic danger. Arguably, itmay bethehistorical engagement, lackofsocial urgency ofthematter now thatmanyoftheircivilrightsare in also cloak ofwhiteness andneoliberalism, are justbecoming ‘woke’ tothe attract white, wealthy prospects. Now itistime todevote thesame that facilitate non-inclusion andsegregation tolocate, intrigue, and cultural Infrastructure hasspent hundreds of years mastering barriers institutions are toremain vitalfor decadesintothefuture. The American can nolonger systems passé use support work andmake hires iftheir to enter intothecenter. Watch andpresenters andlisten. Curators multilayered, dynamic, andradical asthework itself. tosupportused thework oftheartistscolor needtobejustas Brown peoplewithnew creative strategies. The toolsandframeworks diversity, inclusion, andradical care, cultural hubsmustmeetBlackand master’s house” highbrow master’s critique. “the Because toolswillnever dismantlethe even-leveled, interaction totake prejudice, placewithoutjudgment, and future istocreate more spacesfor this kind ofexperiential, innovative, concretely by media), social therole andso oftheartinstitution ofthe which they ordain asmostimportant totheirlives (as displayed most control oftheirexperiences, carefully curating the cultural content minority, More andindependent. thanever before, individualsare in producers, andcurators whoare on thehorizon, self-taught, outsider, artistic concerns, then they mustbeinconstantwithartists, discourse institutions are toremain embedded inthecriticality ofcurrent Hand over your oldtoolsandallow whoexist those on theoutskirts In atimewhen financialandeducational resources intheartsare 24 Lorde: [1984] 2007: 110 , inorder toimplement thereal work of Blackness & the Postmodern, 2018 like, allowingdeserve. usthecultural equity,we care and support, communitiesand attention andthe communities, ofdisabled QTIPOC amount ofenergy tocentralize the“dark divine” and the Choreography of Citizenship. Choreography the and Durham: Duke Cox, Meredith. Aimee 2015. Shapeshifters: Black Girls WA: Press.Townsend, Canyon Copper Clifton, Lucille. 1992. of Light. Book The Port https://www.youtube.com/watch?v=2ozhqw840PU Lecture, College, Barnard New York, October 21 Practice of Fugitivity.” Helen The McIntyre Pond ‘48 Campt, Tina. 2014. “Black Feminist the and Futures Morrison. New York: Library of America. DevilThe Work Finds Essays. /Other Edited Toni by Street in Fire the /The Name / /No Next Time Name Essays: Notes My of aNative Knows /Nobody Son Baldwin, James. 1998. Baldwin: James Collected pOnderosa, Germany. August. Commissioned Text Author, by Color Block Retreat. practice promote healing for generations? future Allegra, Indira. 2016. self-care your does How Press. MA: Persephone Watertown, Called Back: My Writings Of Radical by Color. Women Letter To 3rd World Writers,” Women in This Bridge Anzaldúa, Gloria. 1981. in Tongues: “Speaking A metaphor-anyone-could crenshaw-intersectionality-i-wanted-come-everyday- w.newstatesman.com/lifestyle/2014/04/kimberl- w http://w Statement. UK. April London, 2 could use.” that anyone everyday metaphor New intersectionality: with “I up to an come wanted Bim.Adewunmi, 2014. Kimberlé on Crenshaw Bibliography Oslo NorwayOslo ofthisessaySections have appeared inNorsk his work at Fellow. Kosoko performs andteachesinternationally. more about Learn inResidenceArtists atAbrons Center, Arts a2017Cave Poetry Canem and performanceHe isa2017Princeton Fellow, Arts artist. a2017Jerome Jaamil Olawale Kosoko 25

jaamil.com

.

isaNigerian-American artist-curator, author,

Case Study—my Subjective Study—my Case View.” In Configurations Gonzalez, Levi. 2015. Research “Movement aNYC as of Art, American at Whitney Museum New the York. exhibitionMasculinity Art American in Contemporary conjunction with Black the Male: Representations of Golden, Thelma. 1994. “My Brother.” Published in briefing-towards-a-decolonial-curatorial-practice/. http://discoversociety.org/2015/06/03/policy- 3. June Decolonial Curatorial Practice.” Discover Society. 2015. Chandra. Frank, “Policy Briefing:a Towards York: Grove Press. Fanon, Frantz. 1963. Wretched The of Earth. the New 281–301. New York: Press. Penguin The Subjectivity Truth, edited and Paul by Rabinow, of Self the aPractice as of Freedom.” In Ethics: Foucault, Michel. 1997. Ethics “The of Concern the Press.Minnesota Spatial of Extent Sovereignty. University of Elden, Stuart. 2009. Terror Territory: and The Philadelphia, PA, September. DuBois, Vashti. 2016. 039. Interview with Author. 07/1229 oi:10.23 d 1241–99. ofagainst Color.” Women Stanford Review Law 43 (6): Intersectionality, Identity Politics, Violence and Crenshaw, Kimberlé. 1991. Margins: the “Mapping University Press Books. hooks hooks Shakespeare and gain thetrust Tidsskrift, Tidsskrift, Blackness & the Postmodern, 2018 ———. 2003.———. We Real Cool: Black Masculinity. and Men New York: Holt Paperbacks. 1999.———. Rapture: Remembered Writer The at Work. Practice the as of Freedom. New York: Routledge. hooks, bell. 1994. Teaching to Transgress: Education feminist-praxis-in-geography/. societyandspace.org/2016/09/30/making-room-for-black- Geography.” Society &Space. 30. September http:// for Room Black“Making Feminist Praxis in Camilla,Hawthorne, Brittany and Meché. 2016. Compositions. Minor Wivenhoe: Undercommons: Fugitive Planning &Black Study. Harney, Stefano, Moten, and Fred. 2013. The Performance|Culture|Technology University. at Duke Color, 26–30. Published in conjunction with SLIPPAGE: in Motion: Performance Curation Communities of and Muñoz, JoséMuñoz, Esteban. 1999. Disidentifications: doi:10.1215/00382876-2345261. 737–80. Flesh).”in the Atlantic South Quarterly 112 (4): 2013.———. (Mysticism “Blackness Nothingness and Press. Blackthe Radical Tradition. University of Minnesota Moten, Fred. 2003. Break: In the Aesthetics The of Color. Watertown, MA: Press. Persephone Bridge Called Back: My Writings Of Radical by Women Moraga, Cherrie Gloria and Anzaldúa, eds. 1981. This Performance|Culture|Technology University. at Duke 54–57. Published in conjunction with SLIPPAGE: Performance Curation Communities of Color, and Radical Care.” In ConfigurationsMotion: in Curating Performance aPractice as of Martin, Nicole L. 2015. “Rep’ing Blackness: Series. NY.: Trumansburg, Crossing Press. Speeches, Reprint. Crossing The Press Feminist Master’sthe House.” In Sister Outsider: Essays and 2007.———. Master’s “The Tools Will Never Dismantle Black Unicorn: Poems. W. W. Norton &Company. Lorde, Audre. 1995. “A Litany for Survival.” In The October Lamar, M. 2016. Interview with Author. New York, NY. humanities/what-is-choreology. 2. https://owlcation.com/ December Owlcation. Juliette.Kando, 2016. Is “What Choreology?” Oxford New York: Oxford University Press. BetschJohnnetta Cole, Beverly and Guy-Sheftall. Writings of Lorde, Audre edited Rudolph by P. Byrd, Your Sister:In IAm Collected Unpublished and 2011.———. “Lorde: Imagination The of Justice.” York:New Routledge. 26 beyond.” Culturebot. January 6. http://www.culturebot.Bodies’ ‘Imaging Justice for Divine’ Dark the and Convening: Jaamil Olawale Kosoko &Anonymous Peskin, Eva. 2016. Radical “The Pleasure of Sup_Culture.PDF w.cwsworkshop.org/pdfs/CARC/Overview/3_White_ w http://w http://www.cwsworkshop.org/PARC_site_B/dr-culture.html, for SocialWorkbook Groups. ChangeWork Change Culture.”Supremacy Dismantling From Racism: A Jones, and Tema Kenneth.Okun, 2001. “White Minneapolis, London: University of Press. Minnesota Queers of Color Performance of the Politics. and York, NY. February Whitson, Ni’Ja. 2017. Interview with Author. the New y. Universit with SLIPPAGE: Performance|Culture|Technology at Duke Communities of Color, 15–19. Published in conjunction ConfigurationsMotion: in Curation Performance and Wethers, Marýa. 2015. from Within.” “Thinking In 21. ber Novem Meeting, HiltonAnnual Washington, Washington, DC, meeting of Studies American the Associationannual pessimistic Theory.” Queer presented Paper at the Warren, Calvin. 2013. “Onticide: Afro- an Toward Cambridge, MA: University Harvard Press. Police the Culture and Power after Slavery. Wagner, Bryan. 2009. Disturbing Peace: the Black american-museums-gets-a-report/ hyperallergic.com/226959/the-diversity-problem-at- Gets aReport,” Museums American 3. August https:// Voon, Claire. 2015. Diversity “The Problem at onbeing.org/programs/ruby-sales-where-does-it-hurt/.Hurt?. Being. On Podcast, 15. September http:// Tippett, Krista. 2016. Sales Ruby It Does —Where doi:10.2307/464747.65–81. Book.”Maybe: Grammar American Diacritics An 17 (2): Spillers, Hortense J. 1987. “Mama’s Baby, Papa’s www.dukeupress.edu/in-the-wake. Being. NC:and Durham, University Duke Press.http:// Sharpe, Christina. 2016. Wake: In the Blackness On Resilience/Race. Electronic Newsletter Ms. Sele, 2017. Baraka. ABlack Paper: Revolution/ Minneapolis, Minnesota: Graywolf Press. Claudia.Rankine, 2014. Citizen: Lyric. American An 1(3):from South 533–80. Eurocentrism, Latin America.” and Nepantla: Views Quijano, Anibal. 2000. “Coloniality of Power, justice-for-the-dark-divine-and-beyond/. jaamil-olawale-kosoko-anonymous-bodies-imaging- org/2016/01/25217/the-radical-pleasure-of-convening- Williams, Brittany L. 2017. “Open Call And Wright, Michelle M. 2015. Physics of Blackness: Response To Art And Cultural-Art Organizations Beyond the Middle Passage Epistemology. Minneapolis: To Step Up And Push Back.”27 Dancing for Justice, University of Minnesota Press. 24 January. http://us14.campaign-archive1. https://www.upress.umn.edu/book-division/books/ com/?u=7ed600a5b9d644a5a8ec54030&id=1f712014d6 physics-of-blackness. THIS HOPELESS HOPELESS THIS Blackness & the Postmodern, 2018 RAGE emergency’, by imposed the West on some artists,redefining them triple function: articulation An ofthe concepts of what Inamedthe Here Ishare theongoing accumulation ofmaterial Ihave builttowards A critique of theword 28 arab future fiction YOUR ENEMY IN ORDER ORDER IN ENEMY YOUR IGNORE TO HOW OR TO LIVE ABETTER LIFE future , understood as‘a new curatorial , anartisticmovement defined a by by Jassemby Hindi death and hospitality

1 . Blackness & the Postmodern, 2018 freakazoids, theintellectuals, theenraged teenagers, thehistorians and Arab artists,andtothefaggots,Easterns, anti-establishment the futurism or arab future fiction. ofhumorthe sense atplay inpoliticalartisticgestures suchasafro- clarification forces flatten theinternationalist revolutionary forces a by demanding word). Byusingtheaestheticalhammer, theimperialist reactionary hectoring gesture asan as representative voices ofvarious communities. Iqualify POC this _A quote is always_A quoteis alie would like toshare withyou. Mansour andafter her by Borges. Here are thegiftsImadeandthat writing the complexity ofourgeopolitical pre, postandcolonial upbringing. populations, defacing thepoly-singularities, thepasts,cultures and religionisation’ oftheArabs, stabilizingidentities inorder todestabilize forcingArab =x, are-homogenisation, re-nationalisation and‘re- caring handthatisconstantly handlingArabs under thebrutal equation the extreme leftwing, whoare continuously strangled by themortiferous (thank you Fred thankyou Joyce thankyou Luisthankyou ) Ihave found in solace The arab future fiction alove isalso song toanti-bigot Middle about –Arab proverb, supposedly of ourgames. This gesture threatens, among other things, them, inatradition opened by Moten andbefore himby 29 appropriation using fugitive writingtechniques, rather than 2 (in the marxist sense of the ofthe (in themarxistsense Blackness & the Postmodern, 2018 sun ifitinsultedme.” Talk nottomeaboutblasphemy, I’d strikethe and givenoreasons feel! for life thetorrid they thatlive;andseek, and unworshippingthings, The Pagan thesun. by Leopards -theunrecking Seethelivingbreathing pictures painted _Look! gained nothing from this, butthepleasure to gained nothingfrom this, For nothing. like them. talk and write We have masters ofthe West, to topretend tobethem, technique was toimitatethe collective survival Forto persist. toolongitwas thoughtthat a transmission ofknowledge andfor kindness I welcomemydeathasacondition for ashared before meandwillstaystandinglongafterIdie. and die.Ahousethatrose from theground long play, transformthat otherscancomeandvisit, build myhouseofknowledge. Ahousebuiltso cohesive thinkingandIwillfindother ways to _I willrefuse obsession theeuro-american with in –H. Melville Five reasons nottobeafraid ofGod 30 reconstructed by Annawel elSai’da Sahabat 2006 ,

Blackness & the Postmodern, 2018 grow stronger andstronger on –like blowing furtively, ofnaming poison whichmakes this quickly, to nametheland, apower Only words. mastersofthe Only are nomastersoftheland. There my enemyanddanceway todeath. Iwilljoyfullyignoredialectic Iwillengage in. notthe is This Mybones. hear ourbonescrack. and structural ofwhata racialized analysis ofpsychological _At theoutpouring somepoint, lost. ofcourse,thatthemeanings were result was, The and workoutthemeanings afterwards. was towin thewar first, That policy countries. ofthegovernments speaking ofEnglish policy thewar,_During wefelt thesilencein masterthatwillbreak ourbones. fiery butsurely tothe slowly givingrise dead embers, – essay on oracle poetry – Muriel Rukeyser Joumana elHindiEkhtMehtél 31

2002 2016 ,

Against ourmasters, an Blackness & the Postmodern, 2018 about living beings become a tool, notfor the about livingbeingsbecomeatool, called pragmatic race usamerican theories At theso- some point, racist theoreticians. resource, progressive notby butby forces, sum ofknowledge willbeusedasapolitical ofracism itself.history Astepfurther andthis body standsfor startstoblendwiththe are ofsociety. thethaumaturgic powers Their otherness They itselfshare alikeness withkings. toothernessThose whohave beenvowed by others. by andposited our bodies, _And toendure otherness asaroyalty placed on ignore itis: them. yourvanquish enemies, The wordoppressors. not: oftherevolution is narcissistic dialoguewithour constant perverse andletgo volunteerslavery, this ofthis work, for themomentwhenwewillhavetodo become anexcuse,aconstantdelay worse, they And butfor forces. thereactionary revolution, feminist guerrilla symposium, feminist guerrilla – Samar Leyl elKhebez Samar 32 , excerpt ofalecture atthe Bint el Jnoub, Lebanon BintelJnoub, Lebanon

Arab 2017 Blackness & the Postmodern, 2018 imperialists andallreactionaries oftheworld imperialists thelogicof thatis tilltheirdoom; again… _make fail make trouble again, trouble, fail, that. There (…) nothing. is willbehatedfor They tohealallothers. curse is (sometimes alsojustcalled ‘civilization’ for states that whatseparates civilization western _One which racist theanalysis historic clichéis their senseofhumor. and joyoftheir life: theartoftellingstories, very you mustmake themloosethe your discourse, _In order toenslavethem toyour willandto attain Buddha. never gonever will against logic. whythey this is This indealingwithpeople’sover will cause,andthey Middle East – – aka thelittlered book – Nour Hurriya A’nd elJiran Line Helm elBahr Mao Zhedong, 33 1972 Quotation from Quotation chairmanMao Zhedong, , The artofhaving slaves 1966 , Strangers andmagicinthe 1585

Blackness & the Postmodern, 2018 just tinkers their way through life and objects, just tinkers theirway through life andobjects, andthe tinkerer doingbeforehand, what heis engineer andthetinkerer. The engineerknows Strauss ClaudeLevi once madeby was:the confabulation ontheother. The distinction Placingrationalism onone sideand to truth. that matter) from aspecific othersis relation concept of civilization) other civilizations (therefore validating the ofrationalism theexistence Defending in A. to notfall is intothetrap distinction of: possibleOne way tocircumvent entire this cliché always transparent tohim. andtheprocess supposedly in theoperation, is suchor moment hecanmodify If hefails, directed towards aspecific, repeatable result. actionsare andhis repeatable operations, operates following acoherent setofdetermined, The engineerrather,anything butincidental. and skinofbear, hopingfor a“result” thatis associating offlower toothofsharkwithpetals 34 Blackness & the Postmodern, 2018 to our collective doom. Just ignore the child and Justignore thechildand to ourcollectivedoom. of thatconversationwouldmostcertainlyleadus Would webotherarguingwithachild? The result ofachildtounderstandtheworld. struggle but todismiss theentire asthemere distinction oldedebate around magicandtruth) (ye thevalue Defending ofthetinkeringprogramB. enemy, andinvent your own allies. strategy tosurvive asastranger, asamarked name, istoignore the Perhaps are these enough giftstonourishthisintuition that one possible keep working. But hear,But mylastraging gifttoyou. – run likerun hellmy dear your precious budding wings that maynot strengthen from anything mydear run to holdourselveshostage from love We world exquisite havenot comeintothis to life andtojoy. But tosurrender more ever deeply We havenot comehere totake prisoners struggling monkeys Nouhad Alba Tayyeb basmatNarvéza 35

1997

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Blackness & the Postmodern, 2018 than ours. than ours. likethem out, one would clothes thatwere try tailored for another body somatic practice, toa recitation, toderivation we intosomething else: try of drawings, a shared meal, or anatmosphere; theirhospitalitytoa texts,of these theirecology, theircapacitytotransform intoaseries andothers.Omran Hindi’s taskistofind ways to explore the poems written by Arab women: Nazik elMalaika, EtelAdnan, Rasha Arab future fiction isnow focusing on the reconstruction ofdeath Erme – Jassem elHindi,Saint Telemark, April 2018 dearbrotherOur Hafez, 1320–1389 Or toconfineourwondrousOr spirits For wehavenotcomehere totake prisoners pleaseOcomeoutandplay’‘O and shouttoourreason: that standoutsideourhouse ofobedience those aspects tobefriend we haveaduty of your beautifulheart tendervision into thesacred, to putasharpknife from anyone likely But to experience ever more ever deeplyourdivinecourage.But toexperience 36

materialität

Blackness & the Postmodern, 2018 2. 1. Endnotes curators express themselves can manifest and their outer to the imperial world. body considers that isn’t everything (the them artists their and ideas) “nature”, as which the through substantially post-colonial the more cynical than studies’ version, it curator as that the means outer the world.apprehend context In of critique, the my use of the Marxist the is concept objects, which apprehend individuals under is chief the mode which by the humans mean and into contact withincorporate come nature they the into themselves. This activity of appropriation in used cultural one not the studies. It is merely ageneral expression of fact the that humans reconstructed Jassem by el Hindi. didWhere get we idea the of going into this not night subside?” that does metal of true the deathwas where, clear, into view, coming or driving it ends to dead entered we arrestingwhen that storm one betrayal the Iwas the of life Just here to us remind of atechnical distinction: of concept the appropriation is Marx chez is“what it Iwanted? Rasha Omran, When longing tormented me, longing tormented excerpt When translated Omran, Rasha from Arabic Gomez-Rivas by and and MiaHabib. Ryan, Eoghan Lewis, Keith Hennessy, Valentina SinaSeifee Desideri, ofthenorth ofNorway.eco-poetics He's recent collaborators are Ligia works includealong term research/performance installation on the movement -aperformance, Hindi’s andvisual artproject. poetry other education inphilosophy. He isinventor oftheArab Future Fiction French He isaperformer, descent. andwriter, artist, sound withan Jassem Hindi 37

is born in Saudi Arabia, of Palestinian-Lebanese and ofPalestinian-Lebanese Arabia, isborn inSaudi

Blackness & the Postmodern, 2018 MUSINGS ON ON MUSINGS 1 NOISE OTHER AND JAZZ spending sometime in Dakar. sometime like It Enjoy!spending though. musing another sound does in this text after very fundamental editor something the by suggested to tempted change I am since more to 2016 this Ihave changed added recommendations doing because musing the Iam as and wherespot echoes’, the find truth How/is possibleit decolonizeto space?” art the (2016).What’ that Ihave written thesis in aMA Ihave co-writtenhave I Al-Nawas with Ahmed called “‘ If Icould This Musing is excerpt an chapter from a sub called ‘personal praxis/archeology of subjectivity/ So 38 1

by Christopher WesselsChristopher by Blackness & the Postmodern, 2018 5. 4. 3. 2. 1. M Suggested playlist toaccompany thistext. 2 postmodern. Attali says, referring tomusicas prophetic, isprophetic noise then itcertainly ismodaljazzthatushers usintothe noise, Ifone asunsophisticated. takes Attali’s Western classicalmusicisprobably the reason whyitwas regarded as is regarded asthe epitome ofthemodaljazztradition. This break from framework. Miles Davis’ album music or modes of musicinsteadchord progressions asaharmonic ‘ The Oxford defi English dictionary homage totheblues, thus itsacknowledgement ofitsstruggleroots. talking aboutother possibilities,thebeautyofitliesinitsvery obvious it ismodaljazztradition thatfor mebecomes themusicthatstarts A musicalform thathasdeeplyinfluenced meisjazz, then withinjazz substance SunRa andtheArkestra Nina Simone Archie Shepp Cecil TaylorCecil iles Davis interesting. It is noting worth that this text written was prior his career acivil as servant. a very different political to Attali animal Noiseon theirof some Ifind but thoughts very 80’sin the asenior civil became Mitterand right-wing under servant and Sarkozy. obviously Iam 16, University of Press, Minnesota 1977:6). Attali is social aFrench economic and theorist and Jacques Attali, ‘Noise, political the of Music’, economy History and In theory of Literature (Volume absence ofnoise. Nothing essential inthe orprohibited. happens sold, Noise bought, ofbeast. andnoise ofman, noise silent:worknoise, death aloneis and castrate meaning, forgetting andthat thatlife fullofnoise is sciencehasalwaysOur desired tomonitor, measure, abstract, – Jacques Attali, Noise, The politicaleconomy ofMusic ’. Modal jazzcanthusbedefinedasthat uses forms of , , 39 So What , Cell Walk for Celeste(Take 1) , Don’t smoke inbed The Magic ofJu

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Blackness & the Postmodern, 2018 them togive new meaning‘other’ meaning. improvising Soloists to I’mCecil! searching, whatdoesyour atonality suggest? 3 things. Itneeds toconstantly beinaposition where it isinare/hear/sal hierarchies,these timeamplify whileatthesame thepolynature of hierarchies ofstabilities andattractions. Noise tosubvert needstoseek attractions. Polytonality then, isessentially acacophony or many create aperceived hierarchy ofperceived relations, stabilitiesand theoretical toolthatIwant toexplore touse thepractice ofnoise their humanity. Itisthepolytonality ofmodaljazzthatfor mebecomes a us thatathree-letterword thecomplexity cannotbegintodescribe of in shitandhelpsusmend ourbroke(n)ess. ItisCecil Taylor whoreminds clarity andvirtuositythatawakens usandreminds usofourcomplicity of change thismusicwas/is/will patriarchy successfullycommodified thathasso andcaptured thespirit maternal home ofresistance breaking theshackles ofthecapitalist Then itisArchie Sheppwho, through free jazz, brings jazzbacktoits dissonance warning usofourcognitive dissonance intimeandspace. Western musicthen itisSunRa andhisArkestra with itscacophony of jazz represents anew beginning intheconception andexpression of ship steadysure ofit’s form notsure notwhere itwillend. Ifmodal sound the rest oftheband re-define waiting inthewings keeping the The tonality ofmusic isessentiallythearrangement ofcords to With itsbutchering anddeconstruction ofoldmelodiesreinventing Orthodox uses of harmony, melody and rhythm is actively uses of rhythm harmony, melodyOrthodox and consciously and ignored. What distinguishesWhat noise music or is art expressive the use of noise within context of the music. present in embryonic formpresent inthemusicofeighteenthcentury. inembryonic almostentirely thelatteris thoughtofthenineteenth, political rooted is inthe organization century political ofthetwentieth thatthe true asweshallsee,ifitis herald oftimestocome. Thus, for prophetic. itis Ithasalways beeninitsessenceIt heralds, a 40 demand /ing. ItisNinaSimone’s lyrical 3 . Blackness & the Postmodern, 2018 it isrisks thatwe musttake. Itneedstohelpusdecolonise ourbodies! economic determinist manifestation on because ourmarch tofreedom and goes. Itmusthelpusrethink riskhelpusimagineinit’s non- freedom islong we because donotyet know what freedom is.Itcomes experience temporary those moments of emancipation for the journey to ambiguities andparadoxes mustbeencouraged. Itneedstohelp us webecause know what’s possible. Borders mustbechallenged; stratosphere takingusintospacewhere theImpossibleisconsidered the normative needstobeit’s startingpointasitblaststhrough our of rebellion, itmustcrack thedome thatcolonises ourmind.Countering and themusingofImpossibleForms. move toward theconception ofthecenter for thestudyofImpossible privilege asaloss. We needtorethink themargins asthecenter and ourminds! Decolonise It needstotake usoutofourelitistbubblesandhelpunlearn We needtobreathe inandout. consciousness at its foundations. consciousness atitsfoundations. of counter hegemonic institutions withanti-racist, anti-sexist andclass look attheun-silencing of counter hegemonic narratives andthebuilding of artistsandcurators inHelsinki. Hisartisticandcuratorial practices Directors, of andheisco-founder a collectiveThird Space(2014-2016), Museum ofImpossibleForms where one heisalso oftheArtistic (M{�ƒ}) Project at Christopher Wessels 41 Åbo Akademi University. He isfounding member of The iscurrently acurator withtheChildren’s Library CONFESSIONS OF OF CONFESSIONS Blackness & the Postmodern, 2018 BOUNTY A my heroes friends: and closest Isaw myself asone of them. My body rage and relief for themostextreme catharsis. Oldwhitemen were would justlisten toMozart atfullvolume on my Walkman, in crying clever jokes justfor me. When life felt like too much tohandle, I would asIwas laughoutloudreading Flaubert, sure hemadethose world.built myimaginary becamemybestfriend, Nietzsche andI towards literature, musicand philosophy, around whichIquickly would probably call aculture nerd: myintroversion pushedme In myhead,Iamanoldwhiteman.Growing up, Iwas whatyou 42 by Maïmouna Jagne-Soreau by Blackness & the Postmodern, 2018 could dowhatever Iwanted andbecome Iwanted. who-ever as And limited meintheeyes ofsociety. Igenuinely always believed thatI male, and/or white. Itnever occurred tomethatmybodyeventually not identify withthecharacter ofanovel or amovie hewas because contrary, Isaw itasagood fortune: itnever occurred tomethatIcould spectrum ofbodyfeatures, butthiscontrast never bothered me. the On me asayoung brown woman. world, mylivingfriends andfamily, would indeedmostlikely describe nonetheless seems totelladifferent story. People existing inthereal 1 equivalent oftheAmerican insult “Oreo”: you may bebrown or black bounty”, thischocolatebar withcoconut inside, istheFrench fascinates me, Ifound theway heperceives meeven more interesting. still deeply asmuch hisnot-so-unique-case But brother didnot. I, for some mysterious reason, thisfate, escaped itisclearthat my influence one’s identity,so Iamnot going to go intothathere. While great discussions abouthow representation andstereotypes can already been alotwritten aboutracialization, structural racism, and progressivelywith Malcom X, dropped etc. outofschool There has in slang, changed hiswalk, listened got to rap andhip-hop, obsessed claimed hisBlackidentity. Abitoutoftheblue, hestartedtospeak and whiteyounger siblings inawhiteneighborhood –mylittlebrother even years-younger brother. thebothofusare Although Eventually, Idefinitelycared. More precisely, Istartedto feel guilty. Ididnotcare.back, myawareness But grew andI long asIwas notmadeaware ofwhatpeoplemightsay behindmy By theage often heindeedstartedtocall me“lebounty”. “A “people”The first whomademecare happened tobemytwo- There isprobably nogreater diametricoppositealong the the “métiss the The French language distinguishes “métisse”: French language the The mixed-race with culture the of both parents, from métisses é ”: mixed-race with culture the of only parent. one 1 –we grew upwithourwhitemom, whitestep-father 43 tried métissés nottocare. andnot Blackness & the Postmodern, 2018 defined eachother- I was notspared from the feeling ofbeingthebad wayin thesame thatwe long believed thatgender and sexuality questions –asifmyidentity was related tomyskincolor by I cannotbeandwillnever be? Realizing theabsurdity ofthose Wasmyself? Ipretending tobesomething Iamnot?Something its nature andauthenticity. Was Ireally justaparody? Had Ilost (supposedly white) inner world from me, andIwas forced toquestion and mypeople”, progressively tookaway theinnocence ofmy of being“white-washed”, tomyself, ofnotbeing“true my origins on theoutside, butyou are whiteon theinside. This accusation allowed tobea happy Oreo? iftheyto writeabout it, don’t care? is it more Or thatnoone is really inside”.caring about beingconsidered “white Maybe they don’t need find atext aboutwhatIwillcall “happyOreos”: non-white people not Forher defeat. Ikept anoptimist, mypart, searching, butIcouldnot back from thesearch for her identity inablack-sailed ship, flagging confused from thelabyrinth after hekilledtheMinotaur, Oreo comes disappeared when shewas ababy). like But, camebackTheseus the heroine’s questofher lost whiteJewishWhiteness (her father cleverly problematizes theideaofauthentic ethnicidentity by telling tone. With direct references totheGreek mythof thestoryTheseus, American andJewish background, Oreo, withahilariouspicaresque Ross the avant-garde novel satirical andone-of-a-kind cultural capitaletc. with Whiteness. Turning toliterature, Ifound problem success,education, ofassociating good language, high testimony hadthecommon aspectofcallingouttherepresentational even occurred. theother side–theones calledOreo-, On their explicit disgust withwhitepeople oftheideabeingassociated among mixed-race Insome extreme andother POCs. an cases, I realized thathisfear ofbeingout-blacked was surprisingly common guy inthehouse. Reading further aboutmybrother’s “Oreo complex”, 1974 , whichdepictstheadventures ofayoung woman ofAfrican- 44 Oreo by Fran essence, Blackness & the Postmodern, 2018 always lookingatone’s through self theeyes ofothers, ofmeasuring of BlackFolk the African-American scholar W.E.B talked Bois Du about cultural exclusion andinferiority, racial terror etc. As earlyas1903 defined culture andbehavior, and experiences and feelings suchas pride, Blacklove, Blackexcellence, BlackLives Matter, toacertain ideasandmovements going from Blackpower,encapsulate Black to century. Evolving from ofslavery, thehistory itcanbeconsidered concept 3 2 skin andhairseemto make thechoice for meevery day. Intheeyes of awkwardness anytimeIend upoutsidemylimitedcomfort zone, my of doingin2015. unlike But anddespitemyhelplesssocial Dolezal, reciprocally asgrotesque astheone we Rachel allaccused Dolezal a really artificialthingtodo;aperformance ofcultural appropriation me ofbetraying. From where Istand,callingmyself Blackwould be Europe theCaribbean, in North andAfrica. America, andSouth a shared, thoughheterogeneous, culture thatjoinsdiverse communities essentialist visions ofracial identity andracial nationalisms, infavor of Gilroy developed theconcept of“Black Atlantic” idea ofdoubleconsciousness andwithintheproject ofmodernity, Paul outside ofthedominant whiteculture. later, Acentury buildingfrom this and persisting awareness ofexisting simultaneouslybothwithinand yourself tobeaproblem arrangement. social inandofaset Itisthe fixed are andofwhatothers wanteventually time; atthesame tosee taking pity”. Inother words, thevertiginous feeling ofbeing aware ofwhatyou one’s by soul thetapeofaworld thatlooks on contempt inamused and So, there you have the blackcream fillingmy it: brother accused Beyond asimpleskincolor, Blacknessasasociocultural fraud as she lied she as fraud being African about American. instructor. In 2015 Dolezal publically was accused to have committed cultural appropriation and sociocultural concept, otherwise “black” referring when to asimple skin color. Rachel Dolezal (1977-) is former American civil an rights activist former Africana studies and I write “Black” or “Blackness” with acapital letter referring when to this established 2 startedtobedeveloped intheUSA around thetwentieth and pointed out its double-consciousness: “this sense of of sense “this andpointedoutitsdouble-consciousness: 45 1993 . He argues against The Souls The Souls 3

Blackness & the Postmodern, 2018 blackness, nor alackofshared experiences or adeepunderstanding that alackofassociation doesnotmeanalackofsolidarity, anti- irresponsible anddysfunctional person. Today, Ihave understood lack ofassociation, Ihave long seenmyself asapathologicallyselfish, Add theinsidiousfeeling ofbeingatraitor against blackpeopleby majority, andajudgmental -eventually asracializing- blackminority. made tolookatmyself through theeyes ofbotharacializing white struck methatasOreo, Isuffered from atripleconsciousness I amnot. Trying toformulate how myself Isee through myown eyes, it the whitemajority, IamBlack. Yet, intheeyes of(at least) mybrother, 4 (including figureheads likeAlione Diop, Césaire,Aimé Franz Fanon, 1956. Delegations Europe from andAmericawere Africa, present des Écrivains Noirs” etArtistes in Sorbonne thattook place atLa postmodernity in dialogwith discourse. Parallel to myattempt toarticulatea postmodern identity white) couldcome asamuch-needed exit door intoday’s racialized black ANDwhite), the logicofdoublenegation (neither blackNOR dualities(either blackOR or” white), or reconciliations “both-and” (both dialecticissymptomatic ofpostmodernism. Incontrast to“either-nor” personal, itappearshowever thatdefending anidentity ina“neither- this claimmay provocative. sound This internal battlebeinghighly encouragement toembrace ourblackfeatures withoutcompromise- identifying asBlackandwithout feeling guilty for that. at theconclusion thatitisfullymy righttohave brown skinwithout and concern for invisiblepower structures. Given Ifound myself that, James Baldwin in“PrincesandPowers”James Baldwin reported thebig“Congrés At a time ofsuper-Blackness -romanticization oftheghettoand important to have in mind. important gay.and triple Imean consciousness in here, way another perspective gender the but is of course express problematics the of intersectionality: of or being burden both black black the awoman, and The expressionThe “triple consciousness” in used black is commonly feminism studies queer and to blackness, I also want blackness,Ialso to acknowledge manifestations of 46 within blackness. blackness. 4 : Iwas Blackness & the Postmodern, 2018 Going againstGoing theseparatist doctrine, Ellisexpressed theideaofdual Aesthetic” the Blacknationalist movement, Trey New Ellisargued for “The Black realities. Inreaction tothisunwanted homogenization, andparodying Bois’s or Gilroy’s are stilldominating today, ignoring mostindividuals’ irreconcilable. Yet coherent “grand narratives” ofBlacknesslike Du political, spiritual,andhistorical backgrounds makingthecrowd The project didnotquitework asplanned,thevariety ofgeographical, men across theplanetwithestablishment ofa“cultural inventory”. toonly nameafew),Senghor withtheproject ofallyingblack Léopold by African-American aesthetic andhistory, progressively adding Instead,the localunderstanding ofBlackness islargely that. inspired could really argue thatanyblack narrative was ever developed after Rosa Emilia Clay becameaFinnishcitizen asearlyin1875, noone the Nordic scene, is displaying avery interesting trend. Although it was already fightingfifty years ago. dead –isstillfighting forsame things the and same on the racial terrain postmodernthese movements. The New BlackAesthetic today –ifnot sociocultural paradigm shiftthatwould have permitted areal impactfor Black narratives. Tragically, have scholars pointedouttheabsence ofa blur andchallenge itslimitsfrom withinby tellingnon-traditional as primarilyto opposed Whiteness. Rather, they trouble Blackness, beyond. movementsThese allhave incommon notdefiningBlackness from “postliberated” to “post-soul” to“post-black” to“NewBlack” and Since Ellis,other postmodern Blackmovements have seen theday, Richie, asexamples ofcommercialized “assimilationist nightmares”. “neutered mutations” whilereferring to Whitney Houston andLionel liking bothJimand Toni Morrison”. theother hand,hetalks On of can relate todifferent heritages –“some oftheonly blacks whoadmit someone whocanrelate tomultiplecultures way thesame a identity anddefended theconcept of“cultural mulatto”, meaning Talking ofterrain, theEuropean ground, andeven more precisely 1989 , and becameone ofthefirstblackpostmodern figures. , 47 métisse

Blackness & the Postmodern, 2018 In thespiritof Trey friend thedeconstructivist Ellisandmyimaginary postmodern reasoning challenges metothinkoutsidethiscurrent battle. tense politicalclimate, arenegotiation isinfullprogress. yet, And my in whichnon-white peoplecanfeel safe andaccepted,despitethe better express theiridentity. There was areal needtocreate anarrative finally happeningso thatagrowing number ofpeoplecanfindato way cultural echototheexperience ofracialization. Iamgladthatthings are as well asthecreation ofseparatist spaces,illustrate thewilltogive a refugees. Lately, ofwords use like “afrosvenskar” and“afrosuomalaiset”, the traumas ofcolonialism, war, anddislocation ofthelastwaves of freedom and equality. inner oldwhiteman –eventually nothing more thananallegory for permitting metobe ahappy young brown woman, atpeacewith my not questioned” claims Betweenship. This placewould be, for me, one common denominator isthesearch for aplacewhere ouridentity is second-generations toresist trying cultural projections. andOreos, transnational-adoptees andmétissés, métisses Bounties and more. No cultural inventory nor bignarratives there, justabunchofother putting words totheexperience ofracialization, triple consciousness and movement whichoffers aBlackness-free cultural neutrality, whilestill organization, Betweenship (Mellanförskap inSwedish) isapostmodern of “betweenship”. anindependent andnon-profit Originally Swedish eternal interplay. In this dynamic, I got byseduced the interesting concept not tosynthesize theconcepts inequalopposition, buttomarktheir opposite. Then tobe effective, deconstruction needstocreate new terms, way we theaspectoftruththatmightlieburiedin learntosee dismantle ourexcessive loyalty toone or theother idea. This istheonly the dichotomy between Blacknessand Whiteness isaneeded stepto or cynical position. Highlightingtheconstruction andestablishment of deconstruct theway oppositions work andthen stopthere inanihilistic IwouldJacques argue Derrida, thatitisnotenough toexpose and “We allhave ourown way ofrelating toourbetweenship, butour 48 Blackness & the Postmodern, 2018 Works cited Thomas, Ann-Bernice.Thomas, 2017. Oreo “The Complex”, Pearson TEDx College UWC. Swaim, Bob. 2006. Lumières Noires, Entracte by Productions. documentary Ross, Fran. 1974. Oreo. Rivera, Petra R. 2011. “Triple Consciousness”, in Transition No. 105. Padila, Brian. 2014. Oreo “The complex”, Complex.com on Gilroy, Paul. 1993. Black The Atlantic: Double Modernity and Consciousness. Ellis, Trey. 1989. New Black “The Aesthetic”, in Callaloo No. 38. Derrida, Jacques. 1967. la De grammatologie Bois,Du William Burghardt. 1903. Edward Souls The of Black Folk. Mellanförskap.se Betweenship: Baldwin, James. 1956. “Princes Powers”, and in Letter from Paris. and peopleofmixed-race heritage intheNordic countries. expressionthe literary andrepresentation ofsecond generation migrants thesis, shedevelops theterm “postmigration’s literature” andfocuses on the University ofHelsinki andParis-Sorbonne since2015. Inher doctoral Maïmouna Jagne-Soreau 49 (born inFrance, (born 1991)isaPh.Dcandidateat CHECKLIST OF OF CHECKLIST Blackness & the Postmodern, 2018 IRRELEVANCE saying, isthevery regardless pointofmaking art, ofgenre or school and encourages us tostepoutsideboxes –which, andthisgoes without fascinating -ism. While itchallenges ustonot take anything asagiven Postmodernism is,from anintersectional feminist pointofview, a FOR THE BROWN GIRL WRITER 50 by Kokoby Hubara Blackness & the Postmodern, 2018 discourses prevaildiscourses they because are valued by elitegroups. You may only seemstoserve theprivileged. others inavery upon closer inspection, modern manner ofthoughtthat, manages tokeep some categories asmore ofsociety prevalent than on whether they leadtosome typeofobjective somehow truth,italso postmodernism claimsthatitisimpossibletorate based discourses general outofthereach ofanykindskepticism. andscope So, while of history, marginalizing structures andpower ofsociety structures in of thought–itmanages, time, atthesame toconveniently keep parts 1 this was inmostpartsofthe thecase Western world. acurious Being in 2004, postmodernism was alltherage. Iamquite confident that Girl Writer.Brown throughAnd thislesson, Icreated theChecklistofIrrelevance for the cultural when landscape Ibecameawriter ofcolor ofacouplefirsts. understandably doesnotelaborate on the Whiteness of language. were notconsidered anequaland credible partofanydiscourse, she and changed. she wrote Because at atimewhen peopleofcolor language,to use oflanguage themasculinity hastoberecognized in therealm oflanguage butaddsthatinorder for women tobefree the greats one thatinorder hastoplaceoneself tobecome asubject, fluidity with femalesex organs. SheagreesLacan andall with Jacques is predominantly male, with malesex solidity associates organs and rather theinstitution thanfluidmechanicsbecause ofphysics, which inpowerthose are more interested indeveloping mechanics solid cultural theorist andpsychoanalyst LuceIrigaray, Frenchremember philosopher, the mid-century literary/ linguist, When Istarted mystudiesattheUniversity ofHelsinki, Finland, toprovideBut, context, let mestartatthebeginning. Ihadagreat lesson ofwhatisvalued inapostmodern Finnish course,Of postmodernism hasan answer tothis:prevailing http://www.iep.utm.edu/irigaray/ 51

1 who argued that whoargued that Blackness & the Postmodern, 2018 in the1990sandassomeone whohadgrown upinafairly religious Foucaultian lens. Beowulf ten years, andIfeel like itwas notjustsemanticsbuteverything from North work Americanstudies,social and communications for atotalof intellectual spiritaspossible. Iended upstudyingEnglish philology, point ofpanic, metaphysically relative, andassubjective andfree in heaven withthetimes,inwhichitwas trendy tobeskeptical tothe (at best) andunstable(at worst) personality was amatchmadein white Brown GirlEditor-in-Chief inall of Finland’s one hundred years of and nowof thenearly one hundred Itook, classes beingtheonly non- of power to change. Itwas notjustmebeingthe only Brown Girlinall a paradox thatIamnotinanyway responsible for or inanyposition than thatofyoung adulthoodandpersonal background. itis Infact, actually brought on by amuchmore relentless andpainfuldichotomy was notthewholetruth.My exhaustion andconfusion were—are— the pointofview ofnon-whiteness intheFinnishcontext, isthat onpublic discourse journalism,literature andtheartsingeneral from African-American professor inone throughout course years). allthose (well, Iamlying:didhave one Brown student colleague andone White, Eurocentric higher knowledge and White students andteachers too young anage, happened Ialso tobeaBrown Girlsurrounded by only postmodernism granted metoomuch freedom ofthoughtandidentity at my fatigue was fact thatwhile this all-encompassing thedouble-edged ugly) mostofthetime. Up untilvery recently, Ithoughtthereason for academic decade, feeling misunderstood andmisplaced(stupid, fat, time,the same Iremember beingendlessly exhausted throughout my not everything was gloomy andblackor white(no pun) allthetime. At finally breathe through thefragmented thoughtsofpostmodernism; and conservative Iremember household, feeling excited andableto But my understanding now,But after afew years ofparticipatingina As aworking-class Finnishkidwhohadsurvived agreat recession to theFinnishwelfare statesystem thatwas taughtthrough a 52 Blackness & the Postmodern, 2018 the subject. Savethe subject. for sporadic meetings withaneditor or abookcover that writingisadeeplysolitary, subjective actofcreativity, nomatter have anyknowledge aboutworking inother artforms, butIdoknow and ofitself, thevery epitome ofpostmodernism inthearts.Idonot and theself-contained, self-referential nature oflanguage, thatitis,in very thingthatIwas beingtaught. taught toquestion everything around me–except Whiteness, except the independence (Iwillreturn thislater inthetext). rigorous on discourse civil andhuman rights anddecolonization – who merrily participated increating postmodernism –even witha parallel, readers whoare simultaneouslyrepresentatives ofinstitutions thathave happens tomywritingwhen itends upinthehandsofindividual uncomfortable andconfused as Iever was asayoung iswhat student, happy. perhaps, they read mybookon thetoilet. This thoughtmakes mevery gettingan unhealthysnack, mybookdirtywiththeirgreasy fingers.Or, to thinkthatmyreader sitsintheirragged also clothes,having house overlandscape whichI,thewriter, have nocontrol whatsoever. I’d like personal, relational space, withinanincredibly individualisticlinguistic act ofreading, mostofthetime, happens inprivate, withinavery finally reaches theaudience, it generally reaches it one by one. The and acomplete denial ofobjectivity. write, on itisallbased imagination, i.e., endless skepticism, relativism which you canplaceanything. whatever And itisthatyou to choose onwith theblindsclosed asunnyday. There isalways blankpaper on at leastinmycase, inafood-stained, worn-to-pieces Supreme T-shirt producing literature doesnothappen infront ofanaudience. Ithappens, art director, there isnoteam.Save for short readings for PRpurposes, What doesnotmake mehappy, whatinfact makes meas Literature atrulypostmodern isalso form ofart inthatwhen it Itcouldbeargued, sincewritingisanartform on solely based words Itwas inthespiritofpostmodernism, Iwas thefact that, being 53 Blackness & the Postmodern, 2018 nature ofhumanlife intheend, for outon thatitmisses thefact that, concept itis.Postmodernism concerned isso withthefragmentary whodonotturntheirskepticalthose eye onto how deeply White a despite allofitsnobleefforts andseemingly universal premises, for few years, ithasbecome cleartomethatpostmodernism isreserved, forth,so aswell asthedifferent intersections ofallthese. Inthe last contexts suchasmental andphysical ability/accessibility, sexuality and Gender, Race, Class(inmypersonal case) other andofcourse so-called and thinkabouthow appliestothem thisphilosophy inthecontexts of have intheforty oddyears’ not, timethey have had,bothered tostop 3 2 most ofthem, tomyknowledge, peoplewithnobackground inliterary resistance tomywork bookbloggers Infact, aswhile writingabook. – Ihaveof theinternetmedia, andsocial nothadtoface typeof thesame ofthe Imaintain thatbecause endlessnatures confinement ofthought. asIfeel theinternet online isaspacefreer media, ofinstitutions and country. completely excluded from andmediacanons theliterary inmyhome my endeavors toother Brown Girls,i.e., ofuswhohave those been non-whiteness towhiteness. Ihave very verbally dedicatedbothof person ofcolor thatwere explicitly notconcerned withexplaining were boththefirst“for us, by us” textual publications by aFinnish of in-Chief translates intoEnglish as of thecollection ofessays called criticismand journalisticcoverageof literary ofliterature ingeneral. Iamtalkingabouttheinstitution some fragments ofusthose intersect. Inthisessay, Iamgoing tofocus on mybook rather thanthe AsIbecamethewriter Isaid, ofacouplefirsts.amtheauthor https://www.ruskeattytot.fi/about-us aSwedishbe translation, Fall in the though, of 2018. Finnish decided my agent because that this discourse is not relevant to other countries. There will I am sorry,I am reader, dear that there is for way no English to you read an translation of book, the Ruskeat Tytöt Media Ruskeat Tytöt 54 Brown Girls–EmotionalEssays

. 3 aswellThe book, astheonline media, Ruskeat Tytöt – Tunne-esseitä Ruskeat Tytöt , andtheEditor- , 2 which which Blackness & the Postmodern, 2018 of its inhabitants is collected, based on the idea that during the Second onof itsinhabitantsiscollected,based theideathatduringSecond nodataoftheethnicity most countriesinEurope (to myunderstanding) from, mostlyonly personal experience andfeelings. InFinland, like in – Ihadnext tonostatisticsor even other scientific references to draw context Iwas writingit–theFinnishcultural andnational landscape that. treating my bookasanormal bookandmyonline mediawork asjust whoidentifythose asexplicitly racist) –have nothadanyproblem with peopleonlinecriticism, andalso whoidentify themselves as White (save juggling withthe intersections of race andgender and,some ofus, and generalizing. the four walls Outside ofthehome, we are constantly them unlessitisin thecontext ofracializing, exoticizing, fetishizing else, allthewhiletacklinglife that doesnotacknowledge inacountry concerned withallthesmallandgrand things inlife, justlike everybody motherhood toParis. tosayWhat Iamtrying initisthatBrown Girlsare erase entire discourses. This freedom isstillnotgranted toeveryone. themagnificent quest for freedomsomehow of color: manages also to paradox ofpostmodernism from thepointofview ofafemale writer being treated asanartist/writer. This very muchreminds meofthe best racially ambiguous) appearance andname–how Iamnow my entire life inmyhome country, on based myMiddleEastern (or at means White, whichisthecomplete oppositeof how Ihave been treated is considered anative inday Finn.And, today language, native Finn motherbirth isFinlandandwhose tongue andnationality isFinnish, nationality. like Someone me, own whose andmother’s of country ofbirth,theirparents’country countriesofbirth,mother tongue and data iscollected,ofcourse,time erases us.Some thisbeingaperson’s noble, yet whileprotecting minorities andpeopleofcolor, itatthesame and suchamistake cannotberepeated. The thoughtisimportant and World War, ethnicity statisticswere toplanandexecute used genocide My booktackles avariety oftopics from literature tohip hop, from itbecause, Ichose usstartwiththenameofbook: inthe Let 55 Blackness & the Postmodern, 2018 form Ifelt because itsdualnature –thesimultaneouspresences offact/ language, justaswriters are to. supposed Ideliberately theessay chose artistic practice. energy for thatinsteadofbeingused mere survival couldbeputintothe kind ofconstant is,inmyopinion, double-life exhausting, anditderails toquestion themselves,seem tobeinnohurry letalone change. This simultaneously dealingwithmonolithic, marginalizing structures that we are constantly jugglingtherandomness ofpostmodernism while many other things aswell. tosayWhat I am trying inmybookisthat 4 brownness. Justtogive you a few examples: thebiggest dailynewspaper continually interrogated.” thinkingaboutaestheticsorculture andcritical experience mustbe theory. black The ideathatthere nomeaningfulconnection between is having noconnectiontoabstract thinkingandtheproduction ofcritical or conceivedeitherasopposing solely withconcrete experience gutlevel hands ofcultural journalists. a book. This joy lastedexactly upuntilthepointthatitended upinthe smart choicesandmake ofallmy manyprivileges use and publish freedom.absolute hopes for. Itwas wonderful; rarely have I felt such pride andjoy –and the gatekeepers ofthepostmodern discourse, thecritics. nature ofmypostmodern being. Except thatitwas never read assuchby many peopleaspossible, alanguage thatdepictsthevery fragmentary realm oflanguage thatincludesallpartsofwhoIamandtoincludeas Yemenite Jew Hebrew torap lyricstoacademic Finnish,tocreate a allofthelanguagesmy points.Iused from inwhichIthinkandspeak, fiction andpersonal/social high/low servewould best indelivering bell hooks writes,“ The bookhittheshelves withabang, whichis whatevery writer I wrote mybookafter careful considerations ofstyle, structure, and http://www.africa.upenn.edu/Articles_Gen/Postmodern_Blackness_18270.html 56 Äiti , aba, walla, I made it, Imanaged walla,Imadeit, tomake, aba, afew Racism whenblackness perpetuated associated is is 4 I suppose a similar thing could be said of of asimilarthingcouldbe said Isuppose

Blackness & the Postmodern, 2018 representation ofBrown peopleinthefilmindustry, notwiththelazy touse,chose thestories Itold(among whichIdidnotreally go into the It.” With Identify Terrorists –Koko Hubara Wrote and AboutIt, Teenagers aBook from Espoo “Brown GirlsAre Used toMovies in Which People Like Who Look Them Are background andasked them ifthey couldrelate toit. The headlineread: Kanerva,journalist Arla they gave mybooktotwo teenage girlsofArab Inthearticle,to speakaboutit. of mybookbutinsteadcreated awholenew articleconcept inorder in Finland, 5 she hadmade mesay things (and thatIhadnot said disagreed with), quotes. When Iconfronted thejournalistviae-mail, asking her why on peopleofcolor andb) thingssaid, in Ihadmost definitelynot days later, Ireceived adraft ofthe article. Itwas fullofa) generalizations wanted tosay andpresented myself agreeably. Ifelt understood. Afew three hours,andIlefttheinterview happy, feeling whatI thatIhadsaid Well Female) for alengthy feature inthe Women’s magazine disagree, writers because should befree todowhatever they want. whichwere out, butwithwhichheseemed to notincludedinthebook, context, which Ihadpublishedonline over ayear before thebookcame heavily on my writings on cultural appropriation intheFinnishliterary strong,” (review notavailable online). Inithecallsmybook book inone ofFinland’s mostreputable monthly magazines, in Finland,JuhaItkonen (White, Male) wrote aone-page review ofmy pure infantilization andunderestimation. angle mentioned intheheadline, atleast), thethoughtsIhad.Justplain, Third example: Iwas interviewed by alongtime journalist(White, Another example: one ofthemostpopularcontemporary writers , nottobefound online). We hadagreat conversation for over https://www.hs.fi/kulttuuri/art-2000005187837.html but he also callsme buthealso Helsingin Sanomat 57 Not aword aboutessay asform, aboutthelanguage I “an activist first, authorsecond”“an first, activist , decidedtonotwriteanormal review 5 whichwas written by the White “enlightening and “enlightening and Voi Hyvin and focuses andfocuses Image ( Feel

Blackness & the Postmodern, 2018 by White people. Ihave been asked –after Ihave angry whyIamso just postmodern writer ofcolor. interviews, All save one, were conducted ethical codeofjournalistsandtherulesquotation. aggressive when Iexplained to her, asafellow theFinnish journalist, I thoughtoftheworld. Let’s justsay thather e-mailsdidnotget anyless shefelt So thatsheknewissues thatIwriteabout. better thanmewhat group for adoptive parents inwhichthey hadalready allthe discussed adoptive mother ofaBrown Boy andhadparticipatedinapeer support she promptly replied, educatingmeon thefact thatsheherselfwas an 6 trouble toshrinkmywork oftrying intoirrelevance? What isthere to and theartsingeneral? Why goWhat are they through allthis afraid of? essays? What would happen ifthey letmeintothecanons ofliterature liberal,if these postmodern gatekeepers read mybookasaof own work). (ironically, thatisprobably theonly critiquethatIhave yet tohearofmy in whichhewas reprimanded for polishinghissentences toomuch post asareply review toanot-so-great in made headlines reading thereviews. theaforementioned Infact, JuhaItkonen himself very difficulttomove on tothenext after writing one andthen story they receive, itmustbe race; nomatter theirgender and/or so-called nominated for prizes. anyliterary a self-help Itprobably goes book. withoutsaying thatthebookwas not if there were more thanone plausible answer. My bookhasbeen called have experienced sexual violence on based myskincolor asachild, like tobeaBrown Girl,asifIknow ofanother life. What itfeels like to told ajoke. Ihave been asked multipletimesininterviews whatitfeels All ofthishasleftmewithafewAll questions: whatwould happen I imagineitisdifficult for anywriter tomakes sense ofthecriticism We donothave timenor spacefor allofmyexperiences ofbeing a https://www.is.fi/viihde/art-2000001159004.html 58 6 afew years backwhen hewrote amiffed Facebook

Helsingin Sanomat of his book ofhisbook Blackness & the Postmodern, 2018 silly andchildish.Itmakes one And feel quitehopeless,tobehonest. body ofwork hasbeen, either explicitly or implicitly, deemed angry, maintaining White privilege andoppressive structures insociety. own Whiteness –thefact thatinallofitsfreedom, itactuallyisa toolfor the fact thatithasfailed torecognize intersections ofhumanlife andits in aninabilitybutareluctance tolookatthelimitsofpostmodernism, subject? Icannothelpbutthinkthatthereasons for thiscanbefound not opportunity toplacethemselves intherealm oflanguage andbecome a lose? What istheworst thatcouldhappen if to follow? Maybe the daily newspapers and to follow? and Maybe thedailynewspapers 2. to read aboutme. written whatis Ichoose the sake of keeping upwiththediscourse, fine,butletusimagine that thenthatis for If not, Iordonotread aboutme? written 1. Do whatis Checklist: started by answering questions, these known also aspartone ofthe of language Itisavery asart. simplepractice withwhichyou canget aguide toplacingoneself smackdaband whatisnot, inthemiddle postmodernism ashope, postmodernism asaguide towhatisrelevant have toget been trying tothroughout thisessay isexactly that: postmodernism thathasgiven mehopeafter everything. what isreally quitesurprising andfunnyisthatitactuallyinsufficient This I know for afact thatisitdifficulttomove forward when one’s entire In which case, which publications do I choose In whichcase, whichpublicationsdoIchoose Checklist ofIrrelevanceChecklist for theBrown Girl Writer 59 everyone everyone were granted the that I thatI Blackness & the Postmodern, 2018 me? me? 3. When doIchoosetoread about written whatis agree discourse’s tothis prevalence? board? choice–whydoI Why doImake this magazinesquality butnottheneo-Nazi message Checklist: answeringAfter ofquestions, this set you may move onto part two ofthe that Icall“acceptably andcasuallyracist/sexist”? have chosentofollow, usuallysomething whichis about meintheseprestigious publicationsthatI How doIreact whenIread5. written whatis same time?) allatthe my workanddehumanizepeople them tosendmelinksarticlesthatundermine aroundto thepeople for methatIdonotwish (As ofsidenote:HowdoIcommunicate 4. atype

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Blackness & the Postmodern, 2018 Postmodernism, even likely to subscribe to them? likely tothem? tosubscribe even Postmodernism, likely familiarthat is withtheconcept(s) of arepresentative person Is this ofaninstitution likely tothem? tosubscribe even Postmodernism, age likely familiar thatheis withtheconcept(s) of class? middleorupper ofthe person person Is this person Is this White? Male? person 6. Is this Is this 7 trend? Are there to? anyinstitutionsIcan write valuate meinany way other thanasatoken or institution for?institution Iam writing this Does to get the Is ofguiltdoesnotcount.) this rid do thesamefor (Writing mewiththeirwriting? person’s intheworld? ofpower position Will they betterthis to alignmyself with?mywriting Can Iwant to? Iamwriting theperson the person Is this 7. Part three ofIrrelevance: ofmyChecklist Is this “yes” tomore thanonequestion, built onEurocentric assumptions? Iftheansweris Is theinstitutionpredominantly White, and/or If not, intersections the stop Imay to ponder at play. not. Or 61 7 I bring out… out… Ibring

Blackness & the Postmodern, 2018 Lacan andtheother Lacan White Men wanted. what ismineandexercising myfreedom toquestion everything, justlike intersectional feminism –no, on beingaBrown Girl Writer –oftaking to reclaim postmodernism asatheoretical frame for of adiscourse word, sentence, paragraph, chapter andstory. The Checklistisatool and GirlhoodBrownness intheepicenter ofevery letter, syllable, damn well inallofmypostmodern please freedom andsubjectivity Irrelevance iscompleted andIgo on towritewhatever itisthatI If theanswer is“no” tomore thanone question, theChecklistof

Koko Hubara established one for peopleofcolor. Finnish language, whichhasdozens ofwords for snow butnotasingle kids, opening soon. Her mainobjective istocreate new words for the LIT AKATEMIA, for awritingschool Brown GirlsandNon-Binary Editor-in-Chief of 62 (b. Helsinki, 1984)isanessayist (b. andtranslator and Ruskeat Tytöt Media Ruskeat Tytöt . She is also theprincipal. Sheisalso ofRT PLEASURE IN IN PLEASURE Blackness & the Postmodern,SEXUALIZATION 2018 RACIALIZATION 63

by Anh Vo by —

Blackness & the Postmodern, 2018 with asbodilyintensities thatare immaterial, internal, andinherently freedom –amodeoffreedom thatisunfortunately often experimented and porn stars,usingtheirworks asatoolinmysearch for orgasmic pleasure ascapital.Iturntocontemporary dance/performance artists and affects inaprescriptive pathway, consequently extracting sexual pornography, where Ilookintopornography’s mobilization ofbodies researchscholarly interest liesattheintersection ofchoreography and in Vietnam, currently studyingandworking intheU.S. My current I amanemerging choreographer andperformance born/raised theorist, Foreword diversity among theyounger generation, more awareness of race, more the downtown New York dancescene there hasbeen somewhat more artists ofcolor bare ourracialized pleasure for thewhite gaze? Yes, in which brings tomymindthe most prominent question: how canwe alone pleasure, letalone inpublic? How canwe even allow ourselves tofeel anythingother thanpain,let we artistsofcolor get passthepain ofracialization andcolonization? authority andagency tobare theirbodies-in-pleasure inpublic. How can theybecause are entitled to, non-white artistsdonothave the(same) endlessly explored pleasure asasubjectmatter throughout history imaginable races, except for white. Therefore, ifwhiteartistshave in mainstream pornography, where there are categories for any by whiteness toconfess theirracial difference, mostprominently their massrepresentation –theirbodiesare constantly deployed of whiteness. Inthe West, non-white folks are never incontrol of dance or anyother cultural industriesisfundamentally arealm surprise, sincethepublicrepresentation ofpleasure inpornography, bodiesarethe specificitiesofwhose atstake,a shouldnotcome as the expense ofminoritarian subjects’ racialization-sexualization. colorless. Pleasure hasbeen conceptualized withoutregards to, andat The publicincontemporary dance, more iswhite, often than not, This project ofinternalizing pleasure withinthebody, yet without 64 Blackness & the Postmodern, 2018 of racialized pleasure on topofthisquestion ofassimilation, theextra their works andare aboutblackness.Adding lookblack, another layer white structures –whitefolks are only interested inblackartistsif to bare theirracial difference inorder toassimilateintotheexisting performances intovisibility, there is stillthispressure for artistsofcolor in whiteness. Thus, even when efforts are madetodrag non-white and structure performance ofviewing/making are deeplyrooted also resources are white, structure, thewholesocial architectural structure, the mostpower are white, thedonors andinstitutions withthemost and pay themostare white, thecurators andpresenters whohold grappling withwhiteness; butessentially thetheatre goers whodonate The Body Is AHouseThe Body Pleasure inRacialization-Sexualization: once enlarges anddeflates racist-sexist controlling these images. racial exploitation. Rather, there ispleasure inacollective laughter thatat pleasure doesnotemerge either from thefemale sexualization or the Narcissister bares herselfinfront ofapredominantly whiteaudience, and section three Is AHouse Body In thefollowing text, Iwillexamine her latestevening-length show making visiblethetightgripoffetishization on theracial-sexual subject. literalizes racist-sexist stereotypical images across her own explicit body, engaging inaprocess and“reverse ofstriptease striptease” that orgasmic body. andartistsofcolorscholars like mewhowant toexperiment with the white pleasure, canbecome toooverwhelming thatitcanparalyze danger ofnotonly baringracial thispainfor ofselling pain,butalso signature of mannequin-like use masks inevery public performance Narcissister isaBrooklyn-based performance maker, known for her Nonetheless, Narcissister dives straight intothisrisky space, 65 2017 Basket, Basket, , looking specifically into section, lookingspecificallyinto seven respectively. Iargue thateven though

2017 by Narcissister Everywoman, Everywoman, The The Blackness & the Postmodern, 2018 stereotypical imagery on her own naked physicality –her bodybecomes (mouth, anus,vagina) tospectacularlyconstructs anddeconstructs virtuosic manipulation ofmasks, costumesandvarious bodilyorifices identity, anditsmassrepresentation. Inparticular, her tropes rely on a personal essence, toaddress larger-than-self issuesofracial-sexual mobilizing her own explicit bodywhilemaskingandemptying itofany space between thesingular narcissism andthecollective sisterhood, always performing by herself, Narcissister issituatedintheliminal aloof andattention-grabbing. Never appearingasher personal yet self and videowork toconstruct apersona thatisatonce anonymous, 1 racial difference—a difference essentially invented by, andexploited for persistently deployed inpornography andpopularculture tobare their fantasy” Narcissister makes explicit that“race apornographic isnecessarily always been contingent upon themanufacture ofracial difference. expounding theprocess behindtheproduction ofpleasure thathas prosthetic body, theprevalence ofracist stereotypes insexual fetishes, around womanhood. Inturn,sheconfronts, withher own visceral yet body, strippinginandoutofdifferent racialized-sexualized icons theaudience’steases imagination withher mannequin-like naked quite directly performs seven distinctdance/performance/video numbers where theartist sexually invitingandsuggestive quality, East Side. Structured like aburlesqueperformance withasimilar length show Biennale 2017inNew York City, when shepresented her latestevening- into almostanyimages imaginable. a prosthetic dollwithsuchextreme mutabilitythatshecantransform I first encountered Narcissister’s work recently during Performa University Press: 2014), 6. Jennifer Christine Nash, The Black in Ecstasy: Body (Duke Race, Reading Pornography Reading 1 : thebodies-in-pleasure oftheracialized others have been The Body Is aHouse The Body 66 for the (predominantly white) spectators. She the (predominantly white) spectators. She

2017 inasmallgallery spaceintheLower The Body Is aHouse The Body contains contains Blackness & the Postmodern, 2018 prominent inthefinale The regulatory power ofstereotypical imagery ismademost of Her Ass Everywoman: the exhaustion ofwhiteimagination. flesh, constraining their presence andlimitingtheiridentification within nonetheless hauntstheracialized subjectsinreality, takingholdtheir white pleasure. Race isafantasy, afantastical wet dream perhaps, that image ofan“every-woman”. one by one to wear on her body, constructing inreal timethephysical vagina/anus –slowly over thenext four minutes shepullsthem out andacolorful summer insideherand-white scarf stripemini-skirt, insideherand asmallpurse Afro wig;apair ofred stockings, ablack- earrings insideher mouth;apairofsparkly bracelets, apairofheels orifices. A red meshbandeautop, a apairof gold belt, yellow hoop and accessories thatare tucked away intheartist’s various bodily body –instead,whatkeeps meon mytoesisthedonning ofapparels excitement inteasingandrevealing, butnotofthe“natural” unclothed underneath, this“reverse striptease” plays withasimilarkindof layers ofclothingandthetitillation inuncovering thefleshhiding “reverse striptease”. relies Ifastriptease on thesuspension inshedding giant Afro wigthatshehason her head–performing whatshecallsa themerkin, thepairofred glovesI donotcountthemask, andthe entirety ofthesong, Narcissister enters thestage naked –thatisif celebrate thesexual prowess ofwomanhood. through the Dancing Every“I’m Woman” structures andfeel-good around itself thehigh-energy anthem disco quite literally pullingthisfetishized image outofher ass. the fantasy blackwoman ofseeing asahypersexual creature, by 67 1978 by Chaka lyricsunapologetically Khan,whose Pulling Pulling Womanhood Out Everywoman , inwhichNarcissister tackles Everywoman Everywoman Blackness & the Postmodern, 2018 and revealing breasts clothes(her canbeseenthrough thebandeau), Narcissister meticulouslydesigns:awoman inhighheelswithtight striptease”, anexpression ofafetishized blackfemininity that “Every-woman” becomes thedestination point inthis“reverse doitnaturallyI’ll Anything you want done,baby, it’s allinme woman, every _I’m 2 femininity, timehow andatthesame thisartificialitybeen normalized shockingly explicit shereveals act, theartificialityof fetishized black its lyrics,Narcissister pullswomanhood outofher ass,andinsucha Bringing awholenew frame ofunderstanding tothesong by literalizing that make Narcissister an“every-woman” are quitephysically infectiously echoesinmyhead,theirony isnotlostwhen theobjects them commodification ofthe with female costumes carry bodythatthese as sexy, enactingfor thescript femininity, for sexualization and Narcissister performs successive thatare poses culturally stylized playfully drawing along thecontours ofthebodyandobjects, highly articulate, her fingers animated and expressive, her gestures flirtatious andsuggestive convention of female striptease. Her hips choreography, vocabulary whose borrows significantly from the is further enhanced andparodied by theartist’s hyper-feminine This over-rehearsed over-sexualized stereotype of black womanhood, dressed inbright colors andadorned by over-the-top shinyjewelries. As thecatchyanthemic hook Culture and the Performance of the Culture Race.” Social and Text 27, no. 4(101) (2009):creating people things. between and adance See Robin Bernstein, 73. with “Dances Things: Material to script subject’s the behavior not but without opportunities for resistance variation, and Robin Bernstein defines “scriptivethings” theirby ability hail to an individual into subjecthood, 2 . – Chaka Khan 68 ,

Lyrics from “I’m every woman, it’s allinme” woman, every “I’m I’m Every Every Woman I’m

(1978) in her. her. Blackness & the Postmodern, 2018 insofar asitisadorned andcostumedinaway thatmakes socially itself Narcissister’s naked bodyonly gains cultural meanings andidentities, of thiscontrolling image on theblackfemalelike subject: amannequin, unfolding ofthis“reverse striptease”, Narcissister makes explicit thegrip image, whichhasnothingtorefer tobutitself. Through theslow real cultural effects, generating aconcrete regulatory andfetishized fabrication, arepresentational synthesis ofan“every-woman” hasvery fabrication withnoreal basisofevidence –yet, despitethisarbitrary would imply, pullingsomething outofone’s asssuggests aprocess of throughin society thefixingofstereotypical imagery. As theslang 3 racialized who hastoexclusively female subject, bearthe regulatory the performer inthis“reverse striptease”. Itisnolonger Narcissister, the reversing the pleasure agency away from the(white) spectators towards pleasure. thecontrary, On Narcissister burststhisfantasy open, of race asapornographic fantasy thatisconstructed by andfor white for the sake ofpleasure. Thus, even thoughshebares herself performing sexual-racial difference thatisoften subsumed,andmadeinvisiblefor parodying literalization, from theabsurd enlargement ofthefetishized womanhood nor from theexploitation ofblackness,butfrom the white audience. Pleasure emerges, notfrom thesexualization ofthe stereotypical imagery, rendering itabsurd infront ofapredominantly her visceral yet prosthetic body, Narcissister deflatestheauthoritarian this controlling visuality. Yet, by makingexplicit racial mythologyacross an invented racial fiction. or biologicaldeterminants, asitisanimposition ofstyleand “visuality” of racial-sexual construction muchcontingent asnotso upon skincolor canvas waiting tobemadeintoan“every-woman” reveals thattheterms and visuallylegible. Inother words, her corporeal statusasablank white spectators, Narcissister doesnotfeed intothemanufacture For Narcissister asaracialized there female isnoway subject, outof The Drama Review Drama The 59, no. 4(2015): 106. Ariel Osterweis, “Public Pubic: Narcissister’s Performance of Race, Disavowal, Aspiration.” TDR/ and 69 3 , Blackness & the Postmodern, 2018 at timeseven expected, butitisquitevisceral, sudden, anduncanny in Pleasure produced in Sexualization Pleasure inRacialization-Race-humor: stereotypes. as beingcomplicit intheproduction andreproduction ofracist-sexist onpassed thisweight ofracialization-sexualization, whoare revealed burden ofracist-sexist images, but itisthe(white) spectators, whoare 4 up, basket her hands holdingabiglaundry on topofher head.She stereotypes. that gestures towards acollective pleasure inface ofsuchracist-sexist transformations, generating comes race-humor intoact, laughter images from blackto white, from amaidtostripper. Insuchuncanny and masking, andreassembling disassembling multiplestereotypical the third section allows her toswitch from one image toanother intheblinkofaneye. In out ofhermanifests ass,butitalso inher spectacular mutability, which not only on thesuspenseful andcomical construction ofblackfemininity racial-sexual fetishes across her body. Narcissister’s relies race-humor Narcissister’s project ofcomposing minoritarian pleasure by literalizing condition ofracialization-sexualization on-screen, whichalignswith black female porn actresses manage tofindagency withinthe extreme exciting andsexy” played with,exaggerated, rendered absurd, deflated,and even rendered onscholar pornography, calls“race-humor”, racial fictions are “where pleasure, butaradical form ofecstasy thatJennifer Nash, ablackfeminist moments ofcleverness, Itisnotaform ofderivative virtuosityandshock. Basket Jennifer Christine Nash, Black The in Ecstasy, Body 127. opens with Narcissister in a white mask, her body stuffed opens with Narcissister her bodystuffed inawhitemask, 70 Basket 4 . Nash coins the term “race-humor” to describe how how todescribe . Nash coinstheterm “race-humor” The Body Is aHouse The Body , theartistutilizeslayers upon layers ofcostuming is not so straightforward or straightforward isnotso or Blackness & the Postmodern, 2018 African American mammy.African No longer standingupright dancing, the mask toreveal another blackone, turning herselfintoacaricature of Narcissister intothenext image. Sheslowly takes offthelayer ofwhite unfolding, acallthatwillconstantly return throughout thepiecetorush anycomfortit unsettles thatIhave developed withtheimage currently is acalltostripintodifferent avatar, sudden acallso andabrupt that which thesheanswers phone withanoldschool buriedinthebasket: it However, thischaracter isshortly after interrupted by aringtone, from music andcolorful costumethatare culturally also specificto the dance. performs anEastern European folk danceroutine, accompanied by folk out of cannotbe anymore dramatically different, I because butalso I laugh,alot. problematicthese stereotypes andtocome toaresolution –nonetheless, disorients myexperience, depriving meofanyopportunities tositwith Narcissister’s virtuosic anddizzyingmutabilityoverwhelms and vulgar “How Many Licks”. Four very distincticons inunder five minutes, red andblacklingerie, performing toLilKimnotoriously astriptease andsecond, anoversexualizedaudience; blackwoman inprovocative Simone’s “BluesFor Mama”, flattering her giantboobsandbutttothe African-American mammyinaleopard-print dress grooving toNina artist inturnoffers thespectators two more stereotypes: firstanoff-duty caricature. As two more phone callsinterrupt theperformance, the movements tomake her caricature immediatelyrecognizable as experience thatmeticulouslyinterlaces costumes,music, and wholesome package ofnotonly ofaudio-kinetic visualitybutalso overweight housekeepers inwhitefamilies. serving black womanhood duringandafter slavery asdocile, nurturingand Wind” isbeingplayed inthebackground, evoking themythologyof wipe thefloor whileNinaSimone’ssorrowful “Wild Is version The of artist isnow on theground, usingone ofher head-wraps asaclothto I laughnot only thecharacters because Narcissister stripinand With eachoftheimage construction, Narcissister composes a 71 Blackness & the Postmodern, 2018 multiplies andintensifies after eachof Narcissister’s transformation, interpellation” ofmarginalized racial and sexual subjects feministCeline scholar film Parreñas Shimizudefinesasa“hypersexual ofrepresentation”,immediately hailtheaudience intoa“bind which here, culturally butthese legibleimages initssudden appearance basket holder. There isnounfolding inNarcissister’s extreme mutability a range ofracial-sexual mythologiesaround thefemale figurea as the slow teasingin sexualized images constantly poppingupinfront ofme. Asto oppose feel extremely uncomfortable watching problematic these racialized- 6 5 relief, than a collective of sense responsibility and awareness around the a reflective andintrospective laughter that brings lessofan affective utopian stillemerges notfrom thepromise ofareflexiveself, butfrom body, thananenactment ofautopicever-changing self. Nonetheless, the erasure thatmagnifiesthe working of racial-sexual fetishes across her Narcissister’s mutabilityappearsto signalmore ofanextreme self- Osterweis that visualities. extrapolates from The “fluidityofidentity” is constantly being policed,regulated andmoldedintomultiple static artist makes it very explicit thatidentity isnotatallfluid,asthebody Osterweis Ariel as dancescholar theorizes a “transgressive magic” thatperforms “a utopicfluidity ofidentity” However, Narcissister’s virtuosicmutabilitydoesnotsuggest much so feeling ofagency andasense inface ofsuchracist–sexist stereotypes. loosening itsarresting gripon racial and sexual subjects. commonality emerges thatmakes thebindvisiblewhilesomewhat bondage between subjectivityandvisuality. of asense As aresult, audience, demonstrating acollective acknowledgement ofthetight laughter asaneffect nervously ofrace-humor breaks outamong the As race-humor permeatesAs thespace, race-humor there emerges autopic Miss Saigon.” Theatre Journal 57, no. 2(2005): 248. Ariel Osterweis, “Public Pubic”, 104. Celine Shimizu, Parreñas Bind “The of Representation: Hypersexuality in Performing Consuming and 72 Everywoman , Basket bombards the spectators with bombards thespectators with 6 . Quite thecontrary,. Quite the 5 . As this bind . As thisbind Blackness & the Postmodern, 2018 baring pain in front of whiteness in order to critique the white-centric baring paininfront ofwhiteness inorder tocritiquethewhite-centric important tonotmistake Narcissister’s literalization effort asanactof even when pleasures as Jennifer canincluderacialization “black Nash pointsout, as apossibletechnologyofpleasure canappearquiteunintuitive, but Narcissister self-racialization andself-sexualization. deflated,tothepointwhere therelaughed at, canbepleasure taken in stereotypes toparadoxically beenlarged, madeexplicit andatonce be ofrepresentation”.“bind Suchradical allows race-humor racist-sexist 7 sexual painitself. of thecutthatcanhappen along withtheresidual ofhistorical racial- thecollectivecut, responsibility around thecutandpotential healing the urgency away towards from thepainofcut, thepleasure inthe the explicitly racialized female body, Narcissister paradoxically shifts subjects. Byexpounding relations thematrixofsocial thatcutthrough with thepainfullytightbondage between visualityandminoritarian racialization-sexualization itself, aneffect thatplays ofrace-humor mode ofpleasure production. Rather, itisaradical form ofecstasy in My argument thatNarcissister utilizesracialization-sexualization Jennifer Christine Nash, Black The in Ecstasy, Body 4. on The Indy (USA), Etcetera and (Belgium), The Theatre Times (Canada). queerness indanceandpornography. Hiswritings have been published which dealswithquestions ofcapitalism,colonization, whiteness, and editor oftheperformance blogCultPlastic theory of Rebecca andNoémie Schneider He Solomon. isthefounder and Performance StudiesatBrown University, studying under thetutelage VoAnh (and precisely because) 73 is currently an Honors candidate for the B.A. program in iscurrently anHonors candidatefor theB.A. racialization ispainful” ( www.cultplastic.com) 7 . It is . Itis , DESIRE/ MY ON FINGERS Blackness & the Postmodern, 2018 (FRAGMENTS OF TEXTS FROM WORK IN 2017) 74 _ JUST A NICHE A JUST by Jamila Johnson–Small by IS MY BODY MY IS

Blackness & the Postmodern, 2018 conference, Helsinki November 2017. harnessing ofpower etc. Delivered aspartofPerforming Otherness and blurred boundaries/inrelation tomovement andremoval and not‘Otherness’Considering complexity, butentanglement, hybridity gaze, resistance, surrender, alienation, destruction andtransformation... as danceperformances (iestuffaboutmyartpractice) thoughtsabout assimilationist holisticpractice withtangible, focused manifestations nonbelonging anddecolonising mymindincludingideasfor anti- unperformance: apoeticlecture about navigating fragility, accepting thingsSome are taken from Unacademic unprofessional unneutral constantly transgressing, holding the multiple anddisrupting patterns Working withdance Ifindtheideaof boundaries interesting, practice as up andput on, confusing. Itreads like theperpetuation ofboundaries. oppression. corporations, ’Otherness’ festishisation…. andco-option, (that can never becashedinby whoproduce and those it). Otherness or create ascurrency situations ofotherness or anothering? Otherness through theglobalNorth). Ifthisisaboutrelation how doesspacedenote (culturally) lesspower (the kindthatallows for ofmovement ease inand produced through theeffects ofagaze with those usuallytodescribe expression ofdistanceand distinction, asystem ofrelation, something Idon’tbecause thinkofotherness asaperformance butaprojection, an theother? Ihavedistinct, titledthislecture/notlecture ‘unperforming’ the privilege? thisscenario turnmeintoacuriosity, Does something time, tobegiven time...what amIrequired to‘give inexchange back’ for whether Ineedtoaddress this…Ialways finditstrange tobegiven ‘represent’ andgive voice to The Other, others’, one of‘the wondering myself whatIwant tosay on topics,suspectingthatI amhere these to I have been strugglingwiththepreparation ofthispresentation, asking More struggling I findtheideathatotherness isanobjective, tobepicked possessed, 75 Blackness & the Postmodern, 2018 happens when the spotlight is onyou? is whenthespotlight happens What forming,slippery, reforming, unforming? What always clearand meaningis the focus never is withthecentrehappens always is shiftingand _What whenweshiftthecentre? happens What medium Iamworking gazes alotwiththese thatother me. queer, artistmakingdanceperformances myembodiment thatuse as and codesoflanguage and feeling andbeing. ifyou As ablack, like, This name came upafter watching the 1997 Basquiat dramatisation ‘Britain in Pieces’. presentation we were invitedtogive was on Brexit, under thebanner Ironicallythe embodiment ofdisplacement. then, ofalong the history different reasons andrepresenting theimpossibility -tomeofHome, American continent toEngland...these oceaniccrossings asepicfor hundreds ofyears later mygrandmother on aboatfrom theSouth think ofthebodiesmyancestors thatwere forced tocross oceans a section ofthefestival called‘Crossing Oceans’. This titlemakes me with whom Iwork withasProject O. We were speakingatSpielartin weeks ago Iwas inMunich withmycollaborator Alexandrina Hemsley, Dance’ andImake shows, organise events andhostconversations. Two I was Itrained in‘Contemporary born inLondon. andamstillbased Backstory position? doesnotaccept that Other’ when‘the happens onme? is toyou whenthespotlight happens What Last Last Yearz Interesting Negro 76 isthename Igive projects. tomy solo Blackness & the Postmodern, 2018 and of course thataffectsand ofcourse theshape andform thatwhatImake will responsive, pragmatic somehow -Iwillwork withwhatever Icanget about thishappening on different -scenario responsive, scales. context I aboutmypractice makingresponses to myenvironment, andIthink theatres,squats, museums, concert venues, fields,shops, living rooms… guess thishastaken meandmywork intoarange ofspaces-galleries, eventually Irealised thatitwas anamefor me. how Iwanted andthen it-thetitleofawork, touse thenameofabook, of thelife ofJean-Michel by Basquiat Ididn’t JulianScnhabel. know in order tohave acareer, Imake work Ifeel because moved toattempt relate toprocesses ofothering andfetishisation… Idon’t make work to thepoint ofthedestruction oftheartisticgesture andhow thismight myself… processes ofhybridisation thatproduce me meanthatIamatoddswith tensions, acceptingthatIamatoddswithmy environment andthe to produce statesofalienation anddiscord andtofindthe flow inthese dancing asstatealtering, working withemotionality, attempts sadness, thinking aboutchoreography asatmospheric temporary world building, or newness Iaminterested mypresent. butdealingwiththe present, in that are anti-assimilationist andnotinterested innovation inseeking without rejecting or disregarding, how to develop working processes driven by questions around how muchthatIhave toundoso learned developing ameta-logicfor thinkingabouthow andwhytodothings, I realised thatIwas sort ofEverywhere; mypractice isinterested in of medium(at best), Ifelt asthoughIwas ’no where’ butafterwards was mine, like Iwas justasequenceofreferences, achannel,some kind and softfocus language. Ididaperformance theother day ofmyshow communicated inamultitudeofways, rather thanthrough one formal take, butmyinterest ismaybe more inhow ideascanbeembodied or I amthinkingalotabout theprofessionalisation ofartandpractice The way I’ve operated far so isjusttogo where i Iaminvitedso , nolonger anywhere andasIwas dancingIfelt like nothing 77 i ride in colour incolour i ride Blackness & the Postmodern, 2018 assume that this taking up space to Be looks/soundsassume thatthistakingupspacetoBe anyparticularway. where mypotential growth through notto abandon canhappen. But where mypolitical/ethical/aesthetic agenda isprevalent (control) and space where myunadulterated presence iswelcomed andfacilitated, the terms whichistheoppositeofmyexperience ofdailylife. tomake So way for metoprocess, respond, healandalso, tobeincontrol andset encourage shiftstoallow thenecessary for myinclusion, it’s because a totakecounted, tobevisibleandconnect, and upspaceindiscourse to make spacesfor mybodyandexperience tobeincluded, performed atFierce festival inOctober: about myshow I willread anextract from areview ofmywork, written by Eve Allin Small rant ignorance andprivilege mean you have the rightto abdicate. Ithink has aticket? Ioften come upagainst the feeling that this sentiment, (which Iobviously have desired and consented to share) to whichshe space’to enter ‘this - beingapublicperformance toshare mywork instead ofresponse? Why does sheneedtoaskwhatgives her theright – whatisthelens ofacritic? Why isanalysis thefirst way of relating it isimportant to notclaimspacewhere itisnotyours tobeclaimed. was theintention oftheshow, butIwanted to preface because withthat, admiration, andofwanting tolearn, tobeeducated.Idon’t thinkthat a placeofignorance and ofprivilege. writethisfrom Ialso aplaceof me therighttoenter thisspace, Iwritethisfrom andcomment on it. lens ofcritic, andreflect theshow backto you. I have toaskwhatgives asmyownstory Ican’t. toanalyse; Icanattempt toobserve through a I have afoothold here. I’m aciswhitewoman. Idonotwant totake this I have aquestions aboutdialogue andchange inresponse tothis Before thisreview continues, Iwant tomake itclearthatI’m notsure Right now, I want totalkaboutDestruction. 78 i ride incolourandsoftfocusi ride , nolonger anywhere Blackness & the Postmodern, 2018 people whoare ‘othered’. can move abouttheworld nothaving toconsider theexperiences of physical spacebutarequest for spaceinthemindsofother peoplewho to abdication? What doesitmeanto‘give space’? That spaceisnotonly privilege? How doesthework disruptignorance or privilege ifitleads to anactofsharing. How doesthisabdication disruptthatignorance or comment andcomes across asconfused andungenerous asaresponse feelings oftheperson/people feeling tooignorant andprivileged to that thiscanoften, once again, affirmandcentre thenarratives and impossibility of un-fractured togetherness andthe acknowledgement of feels super oldfashioned. choice or agency or intelligence ofdance/me.all workingin This people ‘expression’ asthoughexpression presupposing isabstract, limitations on archival processes, practical healingprocesses andmakingitpurely about ring beingdrawn around dancing, separating itfrom thinkingprocesses, working Istrugglewithwords. withdancebecause Iambored ofthis people anddancesong andritual…People suggest thatImustbe adopted for theoppressor of‘liberating’ thepurpose status asqualitiesseen inorsocial movements are madeby other’ ‘the that work toproduce ourpresent identities, intellectualpositions and meeting spaceswhere one isnotsingular butmultiple, many-headed… they needliberation, want totake offtheirskinandcelebrate energetic speak or relate toclubspaces.Ithinktheone whoisnottheother feels energy. thisinthegrowing Isee interest indanceperformances that that attempt tocreate some sort ofcollective withcollective feeling and I thinkwe are other’, bored of‘the trends Isee indanceandperformance Now I am thinking and dancing about alienation a lot at the moment, the the I amthinking anddancingabout alienation alotatthe moment, There are manyclichesabout blackpeopleandrhythm, so Ithinkthatthisdenies anderasesSometimes histories ofoppression 79 Blackness & the Postmodern, 2018 everyday practices ofcommunication. We allspeakintongues across with myself logicsasaspaceofrupture andmyforming/unformed to levels through some kindofperformance ofanembodied engagement an understanding or engagement thathappens on different, multiple shared language thatdealsinrepeated forms andfixed definitions but could speakaboutdancingandsay thatIamnotinterested increating a canwestarting point, juststartfrom here? (wherever here mightbe) I like forgetting anderasure. Insteadoflookingfor commonality tobea for wholeness, oneness, unity, that atthispointjustlooks andsounds shiftingdivisions andpointsofseparation ratherconstant, thanaquest transform. about thisevery day since. Every day tofigure Iamtrying outhow to cannot bemadeor destroyed, only transformed. Ihave thought erasing andignoring. I hada Year 3teacher whotoldmethatenergy innovation istotallycolonial, theperformance ofacontinued forgetting, aesthetic choices?those and aboutwhatwillfollow. What vision ofthefuture iscontained in genres, rhythmshave whatthese totellaboutabody, aboutamoment, future… whatthey andaboutthe at thelittlepiecesandseeing tellaboutthepast, and thepoliticsassumedwithingestures, takingthem apartandlooking make atwhatishere now, actions those andchoices.Looking already, all myactions andchoicesthethingthatIamimaginingwhen I is contained Not inthepresent. some dream but thethingIcreate with intersecting andconflicting systems. many stories atonce. are Bodies complex time-travelling beastsofmany continents andbackforth through time, simultaneouslytelling Nothing ever really goes away, andfetishising newness and At andrhythm,musical themoment Iamthinkingabout‘instinct’ I hadaconversation theother day anditreminded methatthefuture 80 Blackness & the Postmodern, 2018 in your hoodielike itisnothing. I’m like, stay in West keep London, your muchshitforso things allthese for long so andthen you walk around know, apartofmefeels like BACKTHEFUCKOFF we because have got people endlessly quotingbellhooks tome.…and andAudre Lorde you trainers towork, everyone lathering themselves incoconut oil,white intermingling inthemainstream, whitepeoplewearing tracksuits and people braiding theirhairwithextensions, blacknessandqueerness Black artistspresenting andrepresented inlarge institutions, white andme2017 London December 1st. December that mybrain switched off, went on holiday assoon astheclockstruck manyfeelingsso compromise, ofconflict, contradiction and______brogues on andshave thatbeard. At theend oftheyear Iwas leftwith In London, we’veIn London, hadwhatpeoplecalledthe‘BlackSummer’. 81 Blackness & the Postmodern, 2018 alongside their current Soul of a Nation exhibition. alongside theircurrent SoulofaNation exhibition. Modern aspartofthepublic programme ofevents participate in‘Work ItOut’ aworkshopat Tate alongside Errol to Anderson andJoy Miessi, Zinzi MinottandImaniRobinson, _I was invitedby context for ‘art inthe age ofBlack Power’. discussion around BlackBritish acontemporary agroup toopen and reflections totheexhibition, to make a10minutepresentation onmypractice forThe brief here thetext thatIamsharing was 82 Blackness & the Postmodern, 2018 relevant ways to speak about my practice or imagine relevant ways aboutmypractice tospeak orimagine and Iamclutchingatstraws toimagine trying the nightbefore presentation, Iamduetodeliverthis and intendedmeaning. It’s onFridaynight, 22:40 complications created inthegaps perceived between aplacewhere Idonotneedtodealwiththe to speak, I finditeasieratthemomenttomove rather than research, andwe often say we want theconversation tobeproductive understanding assensing… my mindrearranges around…transgressions, itself transcendence… possibility for singular realities, something my bodyencounters and reality more clearly thanthereality whilst doingaway itself withthe thethingthat weaponisesthe artpart, represents thestatement, the politic, allthoughtsprocessed through ideologybutIamcuriousabout what itmightbethatmakes actions somethingcontain political.All a asking myself whatitisthatmakes something ‘Art’, maybe more than so there isdemand (from institutions atleast) for Iamoften ‘political’ art, bypossessed feeling andaninstinct for where survival. Inthismoment, – withmeaning, Idonotknow atthispoint, about‘Meaning’, Iam I struggle–feel like itwould maybe bemore on trend tosay ‘grapple’ meaning astream So, ofconsciousness: am justtired. maybeI Itallfeels like avoid…but my practice atall. I participate inafew ‘professional’ conversations, public andas 83 Blackness & the Postmodern, 2018 is thego ofthings” and“energy cannotbemadeor destroyed, only loved scienceandshewould always say, itwas her motto, “Energy when thecurriculuminUKseemedlessstrict–andthisteacher transformation. Ihadateacher in Year Three were –andthese thedays TRANSFORMATION. Not change, littleby shift, littlebutactually in ourmeetingon Thursday. That’s thethingrightnow: FUCKING this was whatZinzi[Minott] regarding also said thisconversation want conversations these tobe Transformative. Itmademesmilethat and theimmediateexpansion); now Ihave startedtosay thatI (too muchofacapitalistagenda); generative (privileges thetangible become anobstacle for me. actually, whatIdo, willalways cannot bethat, disruptthat or otherwise Dance’,‘Contemporary Ihave but Dance anMAinContemporary Dancer.Contemporary Ithought thatIwas, Itrained for years in make artthatisn’t political? make abstract artor isthatshirkingresponsibility? canblack artists in Room 10 – canblackartistsmake abstract art?Shouldblackartists sampling, remixing, collage, ritual,trance…. transforming itintosomething else. Iguess you thinkaboutthisas ina space,Arriving lettingitin,processing feeling itand itout, feel socially”. moral tographically obligationdocument whatI totry asaBlackartist, Feelings make facts. DavidHammons inRoom 6isquoted“Ifeel itmy new aboutexperience ‘meaning’ thatwas notinitiallyrepresented. conventions ofsignification intheir imbuingthesignifier with work, quote from Frank Bowling, abouttheway thatblackartistsdisrupt transformed”. This stays withmeandinforms mypractice. I realised something theother day, which isthatIcannotbea There’s thisannoying debateaboutabstraction thatisreferred to abstraction At the moment mywork isalotaboutenergy transformation. Walking through theexhibition Ihearthissentiment echoedina 84 Blackness & the Postmodern, 2018 what was once abstract isnow anaestheticconvention and‘abstract’ is newencounters, death.But languages are always beingcreated and myblackbodyappearsinfrontbecause ofyou ofevents, withahistory from representation” or abilitytodeal with“ideasrather thanevents” do isloadedhere, thatmybeingpresents there athreat, isno“freedom work, butIwalk down theroad andIknow fullwell thateverything I to gain when your body(or your name) are notvisiblyracialised inyour aka pseudo-neutrality whiteness –perhaps thisissometimes possible abstract art?Inaway, always no, we because donothave theprivilege of than I am,itischoreographed, itisexperimental asit isworking itsway whatIdoas dancing.I describe Itistechnical, itisimprovised, itisnofreer and want tofindallthe ‘doors’ possible, open them, and feel the breeze. interesting, Ithinkaboutfocus assome kindofepicholisticawareness they wanted them thatwe toclose so could‘focus’. Ifound thisvery they thatindiscussions said aboutthework I“open allthedoors” and and conflict and continue? Indiscussionsomeone with I work with, have manyconversations atonce? How toholdallthecontradictions continue thisculture ofexclusion andcentring ofwhiteness. How to had tointernalisefor survival butitfeels very notto important totry audience, Iamsure Ihave done also this,itisagaze thatIthinkhave that are by blackandpocartiststhataddress themselves toawhite that this.Ihave seen –andfelt anderasure sadness at–toomanyshows and engaging withyour work, itfeels toacknowledge important totry people butwhen you don’t –or choose even know –whoisinaspace singular mass. There are different conversations tobehadwithdifferent attempting toengage withapublicor anaudience asmany, nota the thing. oftenalso aword aperson’s todescribe used perceived distancefrom Room 10speaks toimprovisation. This isanother word Istrugglewith. improvisation This energy work Iamdoing, itison one level astrategy for blackartistsdocontemporary dance?Can blackartistsmake Can 85 Blackness & the Postmodern, 2018 perform (music, or verse) drama, spontaneously or withoutpreparation”. validate them ourselves. Fantasies andvisions become Guides. for myself, have changed) Feelings have tobecome facts, andwe needto collections inthelibraries Ifrequented asateenager, desperately looking thatwillexplainlibrary thesituation toyou. Ihopethe (Thisissaid, experience isyour reference there pointbecause isnobookinthelocal experience andblackartwhen lackofrepresentation isathing, and privileges certain kindsofknowledges Idonotthinkishelpfulfor black from knowns andintounknowns. The way thatthisword ‘improvisation’ the work and politics are activated or enacted? embodiment when bodies are the ground on, through andover which wasn’t of aNation’ called‘Soul but actually referenced some kind of were marked? What ifwe were notspatoutintotheshop? What ifit contextualisation were presented? What ifthegaps andabsences What ifNationhood was notinvoked? What ifdifferent forms of of theproduction ofthework or theartist’s birthwere notmentioned? What ifchronology shiftedfrom the calendar logic? What iflocations presents, produces complex experience asablackbody, asalivingbody. of moving through represents, thatspacefullofartdescribes, a Blackaesthetictradition?of history) Iamstruckby theexperience strategies by used artistsworking tocreate (intentionally or by virtue centre whiteness andexploit andcrushblackness, coulditemploy those intentions,those avision ofanda strugglefor aworld thatdoesn’t perhaps have been designedwithalogicthatrelates tothathistory, the tensions between things thatwe callrelationships. whatcanbedoneAnd withit?Objects,energy, ideology, power structures, art making. ofthequestions Iaskmyself One alotis,whatishere already? Zinzi referenced by Senga Nengudi. Ithinklife ispreparation enough for material; one ofthemoststrikingworks inthisshow for meisthetights Running through thistext, Iguess istheideathateverything canbe I wonder aboutthecuration oftheexhibition, thejourney could Improvisation(google): here isdefinedinthisdictionary “create and 86 Blackness & the Postmodern, 2018 good nproper by adailytrampling that isunwillingtobesuppressed by thepaving stones and itwould seem asIamwading through thedebris ofthispast IamwalkingSometimes Lane Well Street Hackney Road PondBalls Road Lower Clapton Road Homerton HighStreet Morning up anddown streets these Mare Street Kingsland Road Lane Dalston In mythirtyyears Iwonder thenumber oftimesthatIhave walked buoyed by ofwaste the masses emerging from what Ipretend on a bobbing up anddown asIwalk I’m like initially am walking the rubbishpushes up, expanding thecracks inthestreet on whichI Anyway whyshould thetreeAnd give ashitanyway Nothing isforever Life willout regardless ofthe destruction some roads like trees theroots angry drivingupthecement ofthose andtarmacon up we’ve itbeneath thepavement triedtobury andtheroads butitpushes it isaboutwaste I have thisrecurring dream up just rises of footsteps millions from thethousands

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Blackness & the Postmodern, 2018 I amafraid ofwater or burn drown Would you rather IwillbedrowningSoon colours rising I keep walking daily basisistheground Coherence isstifling me desperation insports techandbuggies self-contained machinesofpurpose trotting towards self-improvement and lookinglike something sinister The parks andcanalsare fullofconstant joggers walk withme walk withme baby 2016 but Idon’t have ahome I buyanew pairofshows for every show reebok steppinguponce again fresh nike creps on credit My metropolis and thethings thatthey take away ofthethingsbecause they keep afraidI amalso oftime

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Blackness & the Postmodern, 2018 inside thebinary to mydailyexistence of unrulyfeeling like sabotage Acts oflove what happens tomybodywhen growth isanabstract concept between one andzero there isn’t really muchnuance loadedupwithsignstheypeople so looklike code nottospend alldayI try reacting it ischasing andthatsomething already else left nostalgic word something and something iswhat isbeing chased else what incredible potential manythingsso madereal youDo thinkthat’s ground you’re walking on this world building I like ourshared andcasualfantasies repeatedly and engage it is todevote yourself toasinglesource ofstimulation another systems that thisexcess overloads theoverload andconfounds the bodily on purpose A good tacticistooverload much so thesenses overloadbecomes managingthissensory and life engaging withfeeling isjusttoomuch sometimes

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Blackness & the Postmodern, 2018 a prologue I wanted towrite atext aboutdancing addition in anendless actofcomposition to gain theextra code say I amhappy tobeimprinted upon a long timeago how myjeanswillfit and Iworry crests nightIdreamt that IhaveLast two huge clitoris growing from myiliac or something

public, her toaccess andutilise own seek power for her own ends, shecreatesThe landscapes for her dancingbodyto inhabitwitha opening up spacesinthinking,it, feeling, reading anddancing. sensuality ofthiscontemporary moment andher position within that resonates withthehorror, discomfort, cringe, confusion and rearranges them inaneffort toencounter some unholycombination invention or innovation things sheuses thatare already there and tensions between things thatproduce meaning. Not interested in to buildatmospheric created landscapes by thelive unfolding ofthe navigated animal,human,machine, asobject, environment, energy, Inher performances,the spot. bodiesofpublicandperformer(s) are narratives, intensities, electronic music, andalove ofdancingon cracks intime/memory/attention –syncopation, trance states,internal and works within-between spaces–things thatexist inandthrough she makes shows withdance, choreography, video, sound, sculpture Last Yearz Interesting Negro

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is the solo project isthesolo of

Jamila Johnson-Small , Blackness & the Postmodern, 2018 regular low-key DIY event. andGUSHHOTLINE withDavid Panos, Sassanelli, withSara asemi- recently she performs inwork by Fernanda Munoz-Newsome, runs Alexandrina Hemsley, immigrants andanimalswithMira Kautto. More long term collaborations withother artistsincludingProject Owith instrumentalise her existence on adailywithouther consent. disentangling from –or entangling herself further with–theismsthat Of Caribbean descent, born and based in London shehasformed born inLondon andbased descent, Caribbean Of 91 AFRO Blackness & the Postmodern, 2018 FUTURE QU##R 92 — by by Thomas F. DeFranz —

Blackness & the Postmodern, 2018 bare life. incompletelyrendered. disdain. abjection, disavowal, capitalisms. thelogicsof little makes sense,beyond here, littlemaybetaken for granted. _we begin intheafterlivesofslavery. of citation anddataarrangement ofartmaking. intheservice Blackperformancestreams ofdata, engages multiplicitousformations human capacitiesto maintainclarityoffocus inrelation toendless of blackaestheticcreativity. As researchers wonder atthe limitsof concerns ofinformation overload buttupagainst demonstrations these impossible experience ofdeepsensorial complexity. Posthuman seeks tooverlay experience by way ofcitation toproduce acapacious, of place, articulations ofbare life, etc. Blackexpression inthismode across temporality, gender presentations, class formations, conceptions renderings ofexperience assimultaneous actsofcitation thatcut American culturalAfrican expressions among rise multi-valent possibility. conditionandits theposthuman is but this saturated experience. by incompletely allowed. In other words, Black performance within andthrough arises 93 Blackness & the Postmodern, 2018 knowable characterizations ofcivilsocieties. epitomizes theposthuman,anditsstretching beyond known and proceeds. Conceived atitsstarttobeoutsidethehuman,Blacklife become thecircumstance or situation from whichBlackperformance devastations thathave shapedBlacklife andformed Black Reason, Slavery, andApartheid;namedby Colonialism, Mbembe asthethree centuries ago by thebrutalities oftheslave trade anditsaftermaths. recognizable only through theposthumancondition produced contradictory flows ofinformation thatare ultimatelyunreconcilable; tomorrow and more oftomorrow and tomorrow. the Afrofuture yesterday is andtomorrow... and possibility.with emotion and spiritual bound up the afrofuture physical sensation, is the afrofuture admires collectiveaction unapologetic the afrofuture complexand thatitis knows the afrofuture unafraid is welcomeso totheafrofuture imaginative rendering ofanafrofuture rife withpossibilityanddiversity. afropessimisms thatdefineBlackhistories asdisovawal, withacallto science fiction and fantasy, afrofuturism operates asananecdotetothe abjection, we turntotheafrofuture. Aspeculative spacethatcombines To imaginepossibilityinthiscircumstance ofoutsiderness and 94 Blackness & the Postmodern, 2018 understanding of social possibilty and art, weunderstanding possibiltyandart, ofsocial imagineforward together. other, andhow alignedwe are diasporic inthispursuitofanAfrican imagine forward together. Knowing how different we are from each dances, senegal andbrazil, urbanmoves andpostmodern stages. We dance, andourgatherings confirm this. We are balletand orisha We are notone thing, we whoare invested inblackandafricandiaspora protest oftheassumption ofa unifiedsubject. in theafrofuture, wedancetodemonstrate our can you theafrofuture? describe note adetail focus onus-seewhere welive -whereimagine thecity do you seeitfrom? where ontheplanet are you? 100 years from -2118 now close your eyes an afrofuturist exercise: 95

Blackness & the Postmodern, 2018 Colonialism, Apartheid. Colonialism, forged inreponse to, andinspiteof, asymmetrical encounters ofSlavery, Afrofuturism replaces Blackdisavowal withAfrican-inspired humanity leap toward apossibilityoutsideoftime. maybe Or aheadoftime. yes, toward butalso humancapacity beyond reason. imaginative An trajectories toward impossibleopenings outward. Toward hope, coercion, afrofuturism presents aradical restructuring ofhistorical life emerged inthecracks ofhistorical action formed by disavowal and Afrofuturism arrives Black asahailingofBlackHumanism. Because Afrofuturism is VERY POPULAR stabilizes thesteady presence of erratic code. humanity among thebinary Afrofuture, Afrofuturism peopledance truthswithinBlack sound; and forced migrations through sonification and digitalization. In the confirms ahumanitythattranscends disavowal, or even enslavement forthe bases considered andsustained intellectualdebate? Afrofuturism BlackJoy even aswe are shotinthestreets, forced intoghettos, denied Black peopledanceeven aswe are disavowed; experience andcirculate itiscoherent And inwhatuniverse initsimpossibility: that funk. could the noizesoftomorrow andyesterday. Yes, we want gotta thefunk, have among eachother, thatelectronic so interferences canbeprivileged as Blackcyborgsassembly: anddancesoftheancestors cutandmixed its sonic universes outward asone action. danceconsecratessocial thisconnection, pushingrhythmicgesture and interlocking andinterdependent creative gestures inBlackperformance; communion through musicandmotion. Music andmotion arrive as of Blackpeopleamong eachother, enlivened by physical gesture and dance performs theremains ofBlackhumanism,through the encounters performance, even initsmore abstract or hyperreal modes. Blacksocial I want toconsider how danceoperates Blacksocial asabasisfor Black danceasitmovessocial through mediaandother forms ofperformance. Afrofuturism might be so popular now because of its radical Afrofuturism popularnow mightbeso ofitsradical because I want toarrive attheAfrofuture through dance, andinparticular 96 Blackness & the Postmodern, 2018 processed, categorized, andfiled assessed away even before we realize What chancedowe have inthelighthaving italldone for usalready: smart machinesthatprocess thisinformation seeminglywithouteffort? eat aday before, how canwe approach AI,or globalsurveillances, or we putourkeys down, or where we parked thecar, or whatwe hadto process more thanwe canor do? Ifwe canbarely remember where we survive theonslaught oftechnologiesthatseemtoremember and overwhelming streams ofbigdata. We wonder, again andagain, can We imaginearound future possibilities thatplaceHuman inrelation to But What ofPosthuman Interference? made possibleby emergent interfaces. What mightbe different now, more imagery more tostimulate withvigorous quickly; intensities discover -withdesires totouch more surfaces; topassoureyes across of usnow. I wonder ifwe replace ourdesires tobecome -tonotknow, to as we recognize thatwe canbutbarely accommodate what isinfront that we hunger for more information, more more capacities even data, as theabdication ofmystery thatenhances encounters intime. uncanny valley oflife notasasurprisetomysense or not/life, butrather without aphenomenological purpose. Inthisformation, Iimaginethe process theinformation andpredict theoptimal outcome, we may beleft data andanarrowing ofpossibility. When therobot cansuccessfully expression andcapacitynew touswe enjoy timeanditsirregularities. revel innotknowing or coming toconsciousness; infindingmodesof information discovery. we But doexplore; we gather anddebate, we know whythisis;we mightachieve pleasure from thepursuitof humans, we actuallyenjoy notknowing; becoming. We don’t necessarily overwhelmingly denies theplacesofhumanindeterminancies. As maintain some sorts ofautonomies intheface ofdataaggregation that that we’re notsure ofthequestion athand? Posthuman interference in notknowing, then, mightbetheways The posthumanprediction, insome ways, imaginesagathering of Posthuman critiqueswonder atthecapacitiesofpeopleto 97 Blackness & the Postmodern, 2018 now asacountermeasure, butitsspreadability istinyinrelation to the dingy bedroom, whichyou never needleave. Participatory artwork rises physical Ready containment. Player play theoculusfrom One: your television programming, or enhanced reality gaming allencourage media: social Twitter, Facebook, Feeds, Security Caption Closed reality life by creating aneedtodisembody. Insome ways, therabbit holesof information available. impossibilitiesofconnectingand theabsolute toeven afraction ofthe in theface oftoday’s technologies,are interactions, ofthese thescales citizens inthe context oftheUnited States. peopleintopropertyproduced andnot- themodern, as it re-coded from other sorts ofslaveries alongside modernity. This chattelslavery the engagement ofchattelslavery, aslavery practiced in huge variance human tothingness, tothenebulousstatusofBlackBody, reflected physical engine ofcapitalandthemodern; thistransference from physical matter oflabor. Blackpeoplebecameblackbodies,andthe whites invested instructures ofcapitalism.Blackpeoplebecamethe People becamethematter of‹otherness,› thekeepers ofalterity for life recurred? To move through athumbnail depiction then: Black disavowals precipitated disavowals, social how hasthiscreative have never been humaninthecontext ofthewest; thatlegislative Apartheid?IfweColonialism, acknowledge thatBlackpeople has Blackcreativity withstoodandadvanced amidSlavery, itself abjection, slavery, JimCrow, policestates? How and21stcentury itself, even asthey pushtowards pleasure. of aestheticstructures thatvalorize thecollective anditsknowledges of with animpossibilitytoknow theoutcome oftheday; strategies born will happen next inresponse toaglobaldigitalconnectivity. populations invested invisualmonitoring. We honestly don’t know what I’m wondering here, how isitthatBlackcreativity hasendured then, weSo turntoBlackperformance anditsstrategies that collude The circumstance ofposthumantechnologiesinterferes withdaily 98 Blackness & the Postmodern, 2018 creation ofbent possibilities.Create amidashared truthoflivinginan ability towithholdconclusions/endings/solutions; revel, instead,inthe into relation nomatter theirorigin narratives. Develop anoutrageous accumulative, remixed, bent andcontradictory brought impulses Black Body. Create acollective awareness thatknows through itself whateverBend seemsrigid,includingthenon-human status ofthe demonstration ofmethodtobend thecircumstance ofenslavement. exploration ofbending thenoteandbending thegesture ascreative to improvisation asamodeofproduction andexpression; theliteral recordings assembled by djs. always, ofcourse, in relationship to musicalstructures brought forth by their body andreform its energy inshapesofunlikely accord. And Here, thedancer demonstrates physical agency inanabilitytobend abletomoveas amalleableobject, beyond standard recognitions. social In thisdecidedlyAfrofuturist dancepractice, performers treat thebody coded toallow for imaginative, creative re-purposing. futures oftechnological interfaces splicedandre- andhumanimpulses places ofperformance: predictive these performances thatsuggest impossibilities ofbeing. Insome ways, BlackLife emerges itself inthese coerced intowork. Creative practices emerge inrelation tothefuzzy labors ofcapitalism; labors thatproduce nocapitalfor theBlack Bodies provoke dancingandanimatedphysical gesture. Distractions from the musics on topofmusics;contradictory assemblages always intended to directives Jazz musicthatlaidtuneswithintunes; ofGooglemaps. how theSlave toescape plantation, mixingreligiosity withthepractical as inthespiritualsandsorrow songs thatconveyed information on focus anddistraction. Multiplicities ofdatadelivered simultaneously, of anoutcome. inhumane world withoutimaginableend; livingwithoutanassumption As example ofthis sort ofcreative address, consider Bonebreaking. In this,Blackperformance created urgent modesofaddress insplit- Black creativity endured through this,withavigorous attention 99 Blackness & the Postmodern, 2018 hear thesounds...ooh coming. we are inaneighborhood-there music;aparty is 200 years from -2218 now close your eyes an afrofuturist exercise, part2: how doestheafrofuture dance? note adetail feel thevibe 100 Blackness & the Postmodern, 2018 improvisers holdthelargest storehouses ofinformation thatthey refer to: contents inunusualandunanticipatedmanner. andmix. Cut The best in thisabilitytoinnovate by citingmyriadsources andarranging those an archive ofpossibilities.Creativity inBlack expressive cultures trades creative improvisation, designedtoexpand from continuous accessto aggregation? a blackposthumanabletonavigate ever-increasing streams ofdata How doaestheticstrategies ofimprovisation andcitational collage predict Afrofuturism Arrives Inherently Queer affirm. Blackperformance builds directly from thespace ofdisavowal afrofuturism continuous arrives disembodiment, queerly adjustedto of dataaggregation thataccelerate thecontemporary condition of encounter withposthumaninterference. withthedistractions Aligned to. Always already inmotion, Afrofuturism isqueerly alignedasan aesthetics exploring theunusualaffiliations andmarvelous speakings- thatcomethe impulses forth amidalways-changing circumstances. Black spilling toandfro; perusing theconnections anddivergences according to normative inexclamation andrevelation. non- inthemostbasicmodeofassembly: citational surprises. Queer sexually ambiguous, maybe so; butnotnecessarily gender fluidintheir conceptions ofassemblage. Unexpected, odd,surprising -queer. Perhaps unanticipated and inherentlyunanticipated linesofflight; queer intheir underscore theways that Blackcreativity emerges amidqueer possibility. address speaks toandfrom thecircumstances ofBlacklife, andalso neighborhoods. The mixture ofsources andapproaches tocreative inasequenceconcerned withproperty Collins Bootsy values inBlack trans lives andgun laws; referring torhetoric from Angela Davisand cruising through gestures ofclassicalballetinthemidstadanceabout dropping achildren’s rhymeintoapieceaboutpolicebrutality; nursery These areThese rhizomatic assemblies-gathered by exploring thegrounds creativeThese forms are built upon recyclings and reflections through Actually, Blackaestheticstructures move through processes of 101 Blackness & the Postmodern, 2018 the possibilitiesofexpressive reconfiguration. posthuman creativity, one wily andaware oftheends ofhumanismamid in large datastreams, withanintentionality thatimaginesacritical gesture, toward thesound anarrative thatisofandfor rightnow. need from anendless stream ofpossibilities,butbend theinformation, the are practices thatencourage artistsandaccomplices whatyou tochoose andfromand displacement, theimperative ofthecollective voice. These how do we get to the afrofuture? note adetail feel thevibe hear thesounds...ooh ... coming. in aneighborhood-music; party -whereimagine thecity do you seeitfrom? where ontheplanet are you? focus onus-seewhere welive 300 years -2317 close your eyes Bending towardBending the This bending couldcreate arefraction thatencourages participation bendAnd itqueerly, toward the 102 afrofuturequ##r. afrofuture . Blackness & the Postmodern, 2018 lingering allusions toaninevitable context social binddancetoits exceed itsmanifold emergences for dancers alike. andwitnesses These and communal; ithastoberecognised tobecirculated, anditstraces by agenerosity ofmemory. atonce physical danceisatrust, Africanist of compassion, amoving intoanunknown spacethatcanbeenlivened animates memories ofdeepcompassion. To me, danceisoften anact a doingenlivened by abeing. situatedasalocalpresent Dancing that making; theappliedscience ofthephysical embedded withinthesocial; proposition, ariffon alternative alignments ofcapitalanddance- sortWe of go backtoimaginewhatcouldbenext. if’ This isa‘what an assimilation that could render the black unrecognisable; a hue an assimilation thatcould render ahue the blackunrecognisable; assumptions surrounding afuture/presence ofblackness mightassume component ofhow Afrofuturism achieves traction. social Common corporealities ofmiddlepassages. cognisant Irony issurely akey dense cultural criticismprojecting animpossiblefuture rife withblack travelling indigenous populations; andthe ironic implications of festoonedblack soul; costumingthatreferences other-worldly space- music anditsprogeny, theelectronic, vocoded soundings ofadigitised fiction laden with fantasy imagery ofaliens and cyborgs; Funkadelic born essenceof creativity. ofabeliefin thesocial pre-, andpost-human pure- iterations ofcorporeal dance connectivity: replenish communication among people. The Afrofuturist remains are technologies—the LP, theCD, thevideogame, thehologram—to anew. This eternally forward-looking danceaccommodates new everyone canengage somehow; thedanceoffamily transmitted entirely mediatedanddigitallyexchanged. This isthedancethatmost anemancipated danceofcommunion thatcanbe and impossible; applications ofscienceintechnologiesnotyet developed. ahead, toward anunknowable circumstance thatmay involve untested presence andpresents; itshere andnow. Afrofuturist allusions imagine Typically, Afrofuturism isnarrated interms ofspeculative science In theAfrofuture, dancearrives ofsomething personal asamemory 103 Blackness & the Postmodern, 2018 this; blackwomen ofallages engaged technologies.Geeks, withthese with thefabrication anddeployment more oftechnologies.But than it isafuture ofqueer, transand hetero-sexual blackwomen engaged but one thatevades theinevitable yoke ofsubaltern status.Instead, withtheblack church;associated notafuture withoutblacksubjectivity, one witharelease from theprimitive-naive analyses consistently an abeyance ofracism; notafuture withoutblackministries,though an entirely notafuture mediatedfuture; withoutrace, thoughone with among manywithoutspecificcultural imperatives. in order toresist thelabel of‘nerd’; andtheways that anemergent howliving with toolsoftechnology; artistsidentify withAfrofuturism Social Text, inwhichvarious authors explored the fact ofblackpeople space toconsider Afrofuturism when sheeditedanimportant issueof allowed tobemysteriously fun. where concepts ofaffect are defined by theirdigitalcoding, andstill or rhythmscience authors fast-forward toasomewhat obscure space value. Inwritings, recorded explorations, andperformances, breakbeat rhythmicityto post-Enlightenment Africanist legitimises doctrinesof spaces ofplayful breakbeat translation. literary As aconcept, science invention andproduct creation—with theundeniably esoteric soft production, engagements withsoftware andhardware, histories of beats per minute, tinydifferences inparticulartechnologiesofmusical hard scientificanalyses— which suggests thealignment ofso-called the musicalinAfrofuturism asbreakbeat science, or rhythmscience, Kodwo EshunandAmericanartistDJ Spooky (Paul Miller) narrate complexity thatourdancingselves routinely engage? Britishtheorist ourselvesdrylongso—project intoanAfrofuture withanyvestige ofthe aged brothers on thecuspofsenior status.How canwe people—the boys, andwanna-be bangers, too. Grandparents, toddlers, middle- glamour-pusses, and‘round theway girls’ alike. Athletes, nerds, shy Cultural historian AlondraCultural Nelson opened aproductive intellectual Afrofuturism, though,assumesatangibleblackaffect present in 104 Blackness & the Postmodern, 2018 boundaries ofqueer, freedom, andindividualitywithinagroup dynamic. Drawing on blackperformance, Afrofuturists continually remark the capacityboundupinhistories ofcapital,captivity, andlabour.itself’—a boundariesandlimitations ofthehuman and musiccanmark‘the Weheliye notesthattheperformance ofthehumaninblackliterature human—singularities thatalways incorporate their own multiplicities.’ of humanityinblackculture provide particularperformances ofthe especially eloquent inthislatter motive, when henotesthat‘inscriptions blackness in Western modernity. theorist Literary Alexander Weheliye is Afrofuturism couldcounter thenegative ontological placement of membering older dances. Pace Schneider, its remains interms of engaged by children andgrandparents imagining forward by re- provocative asitsfantasy-laden imagery, dances in its social butalso archive inits mostspectacularmanifestations, leaving remains as performance arrives emphatically present andunavoidable. Itcreates Muñoz’s queer aheadtoward futurityimaginesitself possibility. feel ‘beyond thequagmire ofthepresent’. Like Afrofuturist performance, as astructuringandeducatedmodeofdesiring thatallows and ustosee ahorizon imbuedwithpotentiality.queerness asanideality; Queerness value Muñoz wonders liesinitspursuit. aboutqueerness ashorizon, or Muñoz predicts, one thatisalways out ofreach, its inpartbecause may besomething like thequeer utopiathattheorist José Esteban that speaks ambitions tosocial enlivened by artmaking practice. This ‘towards thenot-yet, towards tocreate becoming’ aspirational space just beyond imagination. Afrofuturists demonstrate responsibility The Afrofuturist spaceshimmers inanticipation ofafuture always 7. Afrofuturism Changes Time teleport forward, even ifonly toproductively disidentify. AfrofuturistsThis isbecause have torefer tothegroup from whichthey But Muñoz’sBut queer danceis‘hard to catch’, whileAfrofuturist 105 Blackness & the Postmodern, 2018 lives asrichinnuance andavailability. Afrofuturism deploys strategies corporealities asmainstream infuturisticiterations; itspeaks ofblack the technologicallyinflectedfuture ofblacklife. Itimagines black or itsstandards. Itsurprisesby itsimplication oftheeveryday within economics ofblackcreativity thatexceeds expectations ofitsdisciplines analysis, conjecture, Afrofuturism participatesinaspeculative andrisk. referencing itspastaccumulations andimprovising on theircontents. emergent archive ofdance, andthatarchive tiltscontinually forward by body are processes andrelationships; itsvalues are created inthe Let’s end withafiction. theAfrofuturequ##r_Because revels indiversity unalienated blacksubjectinmotion. danceand,mostimportantly,impossible objectsofsocial animpossible, corporeal presence. thatallows Ablackpause ustoconsider the possibility for familial, social, communal, technological,andofcourse, reach multidirectionally, aligningbothaparticularandsituated ofablackpause.service Ablackpause, where Afrofuturist remains space, previous exchanges social are continuously referenced, inthe of computation andperformative interactivity. IntheAfrofuturist to reflect on pastactions andhistories as we imaginenew modes Speculation isaneconomic approach tobuildingwealth on based 106 Blackness & the Postmodern, 2018 class, scheduled tomeetforclass, scheduled thefirsttimethat evening. TeleBrea was Dance. Sheneeded tocheckthevisualimaginginterfacesSocial for her the door oftheclassroom 732.5: andCulture assignedtoArts Black TeleBrea Roth’astein pursuit. _in theafrofuture asolitary is danceinstruction TeleBrea had been operating at atrulyslow 5million clicks per second -tothis participating inher broke-down, network home neuro-pulse –and that participation vectors hadgone from tohave the1200sheused on tobeinvitedteach classes campus. dance; black social TeleBrea’s was highlyunusualfor someone working indance, andinparticular, years ago thatshewas asked todoin-person, on-site sessions. this toitsstudent network. itwas justtwoas anelective ‘physical activity’ recently, the university picked upthefeed andbroadcast her teaching run asuccessfulneural distancedanceacademy ofher own. Only couple ofyears; well, ago, teachinginperson, thatis. Long shehad participation classroom. live presence students coming inperson todanceintheneural-system enrolled university participantsandsome 80,000 with5 witnesses, fashioned dancing. For session tonight›s sheexpected mostofthe1500 provocation, integrated neural system participation, andsome very old interface sessions were smartandsweaty; acombination ofdiscussion, collection ofdanceforms or even ofparticularpractices. aset Her understand blackdanceasacapacityandstrategy, more thana professor ofanindeterminate age whoencourage her students to known by aglobalcohort ofstudents tobeatoughbutapproachable TeleBrea hadonly been teachingatthisprivate university for a 107 waved her handinfront ofthesensor padtoopen Blackness & the Postmodern, 2018 distance neuraldistance interface asoftennot. _in thefuture, danceclasses are way of taughtby troubleshoot whatever communication thatmightgone awry. her temple-processor shecouldsummon ateamofIT support ready to working advanced, inthese newly-outfitted facilities, where atthetapof hyperfast 2billion responses per second, fullneural interface. Sheliked brave new world ofnearly 100,000 students atatimeplugged intoa century. dances from she learned these her father, when shehad been telebrea’s specialty was the old-timey black dancesofthetwenty-first – athome. stilltaughtbody-to-body is _in theafrofuture, traditional blacksocialdance movements attracted allsorts ofstudents. method ofhaving atalented dancer literally move you by way ofher to take updancing asacreative physical exercise. theplugandplay the emergent technologicalinterfaces allowed more andmore people teachers, jumpedonto thebandwagon instruction. ofimpulse-driven the very like bodiesoftheirstudents, telebrea, other industriousdance wearable sensors; asdanceteachers couldgenerate movement within distance dancelessons becamepopularwhen neural implants replaced devicestheir pulse guided theirgestures through tinyelectriccharges. they triedtoperform themovements thatshedemonstrated, even if students tended tobeawkwardlydistance neuro-pulse detachedas always been conducted withoutanystudents inproximity. andthe with live students intheclassroom. sessions had her home-teaching honestly, though,telebrea didn’t have muchexperience working 108 Blackness & the Postmodern, 2018 of thetwenty-second butthatdispersedcommunity didn’t century; him. intra-gender children were notallthatuncommon atthedawn the work toallow himtoexpress thefluid gender identities thatsuited and jadeena knew thathewas nosignle-gender child,andthey did hoedown staged cotedivoire. inchinese when telebrea was born, zekiel rethinking repatriation affair attheholistichappiness florida; ofsouth 2070s; attheresistance against central congo overdevelopment; atthe – telebrea’s mother –dancedalltheprotests thatthey couldinthe parents had metatadancingprotest zekeil innew Detroit. andjadeena a littleboy, hisfather, zekiel,camefrom adancingfamily, andtelebrea’s of avogue drop, amovement shealways did as partofher twerk feminine asacapacity shehadtopractice. self andsocial inthemiddle dances fromthese her grammamere helpedtelebrea understand her power fertitlity andpower dances –twerking andj-setting. learning argentina inthe2050s.tesladella taughther thelong-time ago black tesladella roth’astean, her mama’s whohademigrated from mama, meaning, andthrough fullbodied,handshoulder legandfoot contact. way, by demonstrating, playing together, themetaphor discussing and and theway thathisfather guided himthrough themovements theold ofthe mechanicalapocalypse.sounds telebrea enjoyed styles, these and full-bodied slamdancing, crashing one into theother tosynthesized dancesthatalternatedthe 2060s;those tender caress inhanddancing man be-a-manpartner dances,thathaddeveloped inthemegajails of lived withelectricityonly halfthetime. andhetaughthimtheman-to- become popularinthegreat power failure decade, when mostblackfolk line dancesthathadbeen dancesthathad popularinthe2030s,those church communication networks. hetaughthimthewind-jamming old WW4 internet archives thatyou couldstillfindhooked some upto b-boying from ashecould;learnedthose turn ofthelastcentury the preferred toberecognized asaboy, andzekeil taughthimthebasics of make anyone’s lives easier. between five andeight years old,telebrea telebrea learnedher warrior dancers from her grandmother, 109 Blackness & the Postmodern, 2018 as amixed-gender mediatedpersonality. hebegan postinghis3-d Telebrea’s gained danceclasses social inpopularityashematured gender, mixed-race blackness _in theafrofuture, somedancersclaimmixed- the assofracist bsworldwide andacross time. sequence, telebrea thought ofherself asabadassgirlboy, ready tokick of the teaching assistants. Telebrea knew her dancing was infinitely alternate between that theimpulses Telebrea emitted ofany andthose alternative physical narrative for thedistancelearners; students could fast neural connection interfaces. theteachingassistants provided an consultation, andthey were paidwithtuition remission andsuper university teachingassistants totelebrea assignedthese withouther to perform theold‘mars-man’ stylesthatblew the upinthe2140s. and acoupleofthem coulddislocatetheirshoulders on command pretty muchanythingthatcametheirway. they were all hyperflexible, they ofcourse eachhadexcellentthought. technique, andcoulddo they were young, for hungry movement, agile, andnotvery nice, she instructors at the level ofmusculature impulse. claim toblackness,thoughnever wavered. generate, and Telebrea only worked thatmodeon occasion. Telebrea’s puss. her glamourpussperona, whilepopular, tookconsiderable timeto but demonstrably female, or sometimes straight upfem-bot glamour something perhaps recognizably male, surreptitiously androgynous, gendershifting shealways so tobea trick, aunifiedmodeper chose day; representation week by week andthen day by day. shedidn’t want her visualization dancelogs asateenager, firstalternating gender The five on-site student teachingassistantsfreaked Telebrea out. in theafrofuture, neural attachments allow students toconnect with 110 Blackness & the Postmodern, 2018 history, andheknew thatthiswas adanceabouttheindustrialprison but rhythmicpartner dancefrom theolddays. Telebrea knew hisblack focus on theoldestdanceinher repertoire, astrangely free-floating, bounded weightiness, rhythmicity, and affect. Today to shechose the histories asshehadbeen taughtthem, anddemonstrating their carefully tending tothemotions andtheirimplications, narrating engaging theircontours. Shedipped,withsubtletyandsuppleness, preferred tofeel thespikes ofenergy castby theyounger dancers. more nuancedthanthatofthe TAs, enrollees butmanyofthecourse music. created, others were watching interface news feeds or chattingabout while most ofher students were tocapture trying thegestures she movement worked and,more commonly, where itdidn’t. sure enough, the gestures thather students created, tobetter understand where the once, sheswitched on her feedback paradigm; this allowed her tofeel Memphis aboutblackerotic thattoldastory and South connection? undulation thathad emerged inahook-up network between Oakland culture. Telebrea wasn’t sure. maybe there was something inthisgroup orgies; they hadnothingtodowithdancingandlittle withblack did together ingroups of8or 10were nothingmore thanelectronic as justsex new dances,thatthese dancesthatinterfaced young people some folksslightest passingerotic thought. new thoughtof these styles ones thatgave full-body stimulation by neural feedback inresponse to would time” rather bedoingtheir“bumping interface dances,the soundscore ofdogs barkingandtheoldpolicesirens. and pushed,gathered fists,andthechest heaved intoloose a intimeto down down andback, andbackwiththelegs, whilethearmsfloated as partofthatpractice. thedancecalledfor asort ofweighted volition extravagant gang dancebattles, andhow this dancewas very popular complex, andtheway blackyouth that21stcentury would engage in Telebrea danced,andthe TAS looked bored. Sheknew thatthey Teaching, Telebrea relaxed intoremembering thedancesand 111 Blackness & the Postmodern, 2018 dance in team. Let’s It’s go it. now, is man!” timetodothe...running this dance inteam. andpushupalongside your partnerso you can make aloosefist, your chest, heave partnerswhowanted Jack your toget legs, by eachother’s attention. anoldcourtshipdancethatwouldbedone is This understand blackhistory! now, wake .. up!”hesaid fists, deepened her voice, andmorphed intoamalepersonae. “Come on Telebrea didtheunsual.Shescrewed upher face, clenched her 112 “This is an important dance you need to know to to danceyou needtoknow animportant is “This Blackness & the Postmodern, 2018 it doesn’t like allthatitreveals. it animates. it forgets itself. _in theafrofuture shimmers. fiction, this of blacklife. of life life of overwhelmed of bare life of blacklife capacity and itchallenges ustorethink theextraordinary it missteps. 113 Blackness & the Postmodern, 2018 114 Philipa Rothfield, Palgrave, 2016, pp209-222. Relayand Corporeality: inMotion edited by Thomas F. DeFrantz and Speculative Rendering Futures Dance v2.0” ofSocial in Choreography Portions ofthisessay were publishedin “Afrofuturist Remains: A andqueer affirming.proto-feminist, creative spiritfor acollective good thatisanti-racist, anti-homophobic, DeFrantz believes inourshared capacitytodobetter, andtoengage our a permanent installation AmericanMuseum. attheSmithsonian African College, Duke, andtheUniversity ofNice. He contributed avoice-over for Waves Institute, Dance aswell asatMIT, Stanford, Yale, NYU, Hampshire Festival,at theAmerican Dance ImpuseTanz, andtheNew POnderosa, emerging technologyinlive performance applications. He hastaught Performance, Culture, Technology, aresearch group thatexplores award from StudiesAssociation. He directs theDance SLIPPAGE: Thomas F. DeFrantz received Research the2017Outstanding inDance