Friday Reading: Cristy C. Road & Fabian Romero
3:30 p.m.-5 p.m. (Main Lecture Hall)
Cristy C. Road
Cristy C. Road is floating in a pool of her own blood, sweat, and occasional tears. C. Road is a 30-year-old Cuban-American artist and writer. Blending social principles, sexual deviance, mental inadequacies, and social justice, she thrives to testify to the beauty of the imperfect. Her obsession with making art [and her emotions] publicly accessible began when publishing GREEN'ZINE in 1997, a fanzine that was originally devoted to Green Day. The exclusivity of high art disgusted her, as she fell in love with a Xerox machine and the creativity expressed through the punk rock community. Eventually, she made friends, found solace outside of a single band, and began including blurbs on other punk rock bands, gender identity, sexuality, aimless travel, and radical organizing. Her preferred mediums are Micron Ink pens, Sharpies, Chartpak markers, fluid acrylic paint, and Photoshop. Today Road works as a freelance illustrator, aside from her personal goals in publishing. Taking both writing and visual elements a step more seriously, her visual diagram of lifestyles and beliefs have are currently in tune to the zine’s portrayal of living.
Fabian Romero is a Queer Chicano poet, performance artist, and community organizer. They co-founded several writing and performance groups including Hijas de Su Madre, Las Mamalogues, and Mixed Messages: Stories by People of Color. Their sincere poetry and stories arise from their experience as an Economic Refugee, speaking two languages, queerness, gender-queer identity, brown skin, time as a migrant worker. and childhood in poverty. Currently they are the co-director of Education at Bent Writing Institute and are a pursuing their B.A. at Evergreen State College with a focus in writing, social justice, and education. You can contact them at FabiOrtizRomero@gmail.com
Friday Performance: Heels On Wheels
8 p.m.-1 a.m. (Red Barn)
Heels on Wheels Glitter Roadshow is a 2-hour long queer performance art cabaret of radical extravagance and thought-provoking glamour. Our fearless performers rampage across the femme-inine spectrum serving up poetic theatre, hilarious performance art, and rocknroll you can sink your heels into! The five touring artists are: Shomi Noise [NYC], Kirya Traber [SF/NYC], Heather Acs [NYC], Bevin Branlandingham [NYC], and Damien Luxe [NYC} http://www.heelsonwheelsroadshow.com/
Saturday Keynote Address:# Queerness & the Brown Commons: The Sense of Wildness
3:30 p.m- 5 p.m. (Main Lecture Hall)
Brownness describes an expansive sense of the world, a feeling and being in common that surpasses the limits of the individual and the subject. Brownness is a conceptual framing that launches us into a vaster consideration of the ways in which people and things suffer and experience harm under the duress of local and global forces that attempt to diminish their vitality and degrade their value. The idea of Brownness also offers us an account of the ways in which brown commons, in all their harmony and turbulence, offer resources for thinking and doing otherwise. This paper presents an example of brown commons that it is both diverse and uniform, in the form of a collectivity that included working-class transgendered Latina immigrants and queer of color punks and artists. Wu Tsang’s film Wildness (2012) tells the tale of an art project that attempted to imagine and catalyze a cross-generational queer and brown commons. Wildness resists many of the protocols of realist documentary. It narrates a the story of Los Angeles’s Silver Platter, a longstanding Latino Gay bar that caters to a local gay community and featured old school transvestite performers. Tsang and a group of other younger queer artists took over the bar’s less populated Tuesday night slot and hosted a party that featured edgy queer performance. The documentary tells the story of The Silver Platter through interviews with the bar’s proprietors, regular patrons and those who would become Tuesday night’s denizens. The film includes talking heads and performance documentation but also attends to the larger urban ecology that surrounds the space by including adjacent histories of anti-immigrant and homophobic violence. Wildness also features the bar itself as a speaking persona who narrates the ebbs and flows of brown life that traverse its walls. My analysis of the film is a launching pad for a more expansive consideration of a mode of brownness that is articulated not as a realist or empirical rendering of Latina or migrant experience, but, instead, a theory of brownness as a simultaneously singular/plural sense of the world. This paper makes the case that Wildness is a cinema of specularity that offers spectators an expanded materialist lens for a new consideration of the striving, conflicts and flourishing of people, spaces, objects and feelings that are vitally brown and queer.
José Esteban Munoz
José Esteban Muñoz: Author of Disidentifications: Queers of Color and the Performance of Politics and Cruising Utopia: the Then and There of Queer Futurity. José Esteban Muñoz looks at how those outside the racial and sexual mainstream negotiate majority culture--not by aligning themselves with or against exclusionary works but rather by transforming these works for their own cultural purposes. Muñoz calls this process “disidentification,” and through a study of its workings, he develops a new perspective on minority performance, survival, and activism.
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