Before scientific advancements with genomic research, phenotypes, the visual were the things people had to go by and make assumptions on and think through. So, now, contemporaneously, genes and blood become the new medium for political agendas (we discussed Elizabeth Warren in my race and genomics class yesterday!)
You bring so much gusto to everything, Julio, as if you were totally unafraid, but your art makes me think that you live in a world that vibrates with danger. And to choose to make art, each time, is difficult enough. How do you bring yourself to grab your paintbrush, that snake-birthing snake? Does it scare you?
I’ve long been drawn to the epistolary exchange between writers. Before I was involved in any sort of creative community, I turned to these exchanges with an urgent desire to know what it was like to be a part of a network of people thinking, writing, & fucking. The unarchived moments of what precedes the published book, the historic performance, what were they thinking about & what were they wearing.
I feel some deep shifts happening as well as a need to keep going. I’m thinking about what it takes for us to connect deeply to ourselves, be our very most and help our friends, family and community to be their very most without being sucked up in capitalist and ableist ideas around “proving yourself/productivity.”
Undefined spaces in places and in relationships often are the most productive ground for creative thinking, problem-solving, digging deep, and transformation. I spend a lot of my relational practice working to draw community members together in new ways/venues, in order to establish veins of solidarity that relationships can grow out of. So maybe it’s more about water-witching for compassion points, rallying moments, and unity energy—and knowing that I can lean hard on those powerful hot spots in order to navigate difficult differences.
two writing-ass blk wimmin connected via email to discuss our relationship to drapetomania—“the disease causing negroes to run away.” one a mental health practitioner. the other phd student. both drawn to poetics as a medium of articulation. both kind of into black women performers in vintage porn. both curious about the other’s work.
I decided to look at the fringes of these markers and present a performance that will not feed into the narrative. I remember after one of my performances a Japanese friend came to me and was like, “When I read that a Ghanaian and a Nigerian are performing, I thought it was going to be a beautiful dance but no, you guys talk about serious issues, it was dark and too much for me.” So immediately you see you’ve deflated their Expectations 101. Now you can have a genuine and proper conversation on the performance.
I’m new to the world of the archive, a world where you dig through text and images in an attempt to excavate some new or previously rejected truth. Kathleen Bomani is not. Our work became entwined with one another's through our shared attempts to find answers to questions about Germany that history and relationships to communities have guided us towards. And also questions we didn’t know to ask.
I went to summer camp with designer Mi Leggett. Back then, we were both kind of hippie-ish theater kids. I think we were in a production together that involved large paper mâché puppets? But it was a long time ago.