Shelly Mars, solo performance artist

followed by a discussion led by: Una Chaudhuri, English, New York University Carolyn Dinshaw, English and Social & Cultural Analysis, New York University

Performance Studies Studio 721 Broadway, Room 612

For more information about the Homobonobo Project, click here.

For more [...]]]>

March 1, Thursday
6 to 7:30 pm

Shelly Mars, solo performance artist

followed by a discussion led by:
Una Chaudhuri, English, New York University
Carolyn Dinshaw, English and Social & Cultural Analysis, New York University

Performance Studies Studio
721 Broadway, Room 612

For more information about the Homobonobo Project, click here.

For more information about this event, please contact the NYU Department of English at 212-998-8800.

This event is free and open to the public.  Venue is wheelchair accessible.

Co-sponsored by the NYU Animal Studies Initiative; Center for the Study of Gender and Sexuality; Joe A Callaway Series in Dramatic Literature of the Department of English; and Department of Performance Studies.

The fall CSGS calendar of evening events ended on an amazing note, with a conversation between Shelley Jackson and Rebecca Schneider, hosted by CSGS and NYU’s Department of Performance Studies. Jackson and Schneider, whose books include The Melancholy [...]]]> Performing (at) the Body’s Edge: “This Is Just Like Life”
New York University, 15 November 2011

The fall CSGS calendar of evening events ended on an amazing note, with a conversation between Shelley Jackson and Rebecca Schneider, hosted by CSGS and NYU’s Department of Performance Studies. Jackson and Schneider, whose books include The Melancholy of Anatomy (Jackson) and The Explicit Body in Performance (Schneider), had a lot to say to one another about bodies. They focused their discussion on Jackson’s work and, in particular, on her short story, “Skin.”

In 2003, Jackson put out an ad in Cabinet magazine, calling for participants in a “mortal work of art”: a 2,095-word story that required as many volunteers to provide a surface for her text. Jackson joked that “Skin” is “one of the more expensive books ever published, at $50 to $100 a word.” The story is “still at the printers,” as it is being published one word at a time on living human skin, in the form of tattoos on the bodies of volunteers. Jackson described “Skin” as a project that “blurs to the point of collapse the distinction between body and language,” so that the relationship between body and language “becomes one of identity,” not simply of likeness. With “Skin,” she posits: “if bodies are words, then words are bodies”—and indeed she refers to the participants in the story as “words.” Jackson described her work more generally as “an extension of an obsession with having a body at all,” and a “fascination with how weird it is that we think of the world in terms of ideas” or meanings, instead of materiality—“and yet, we are made of stuff.” Her work plays with the also-weird materiality of words and ideas through the “fantasy of total translatability in the world,” which offers the possibility that “meaning might not be as abstract and remote as it seems,” and so it might “engage with us on a physical level.”

Rebecca Schneider suggested that “the project underscores an always-already operation of language and embodiment: words are always tactile, but we don’t always take note.” She offered a beautifully playful riff on the “incredibly, fabulously material” project, describing the ways it “undoes” the meanings of literature and the “stuff” of books, reworking them in terms of intimacy, collectivity, and consent. In “Skin,” “circulation has to rethink itself,” and “binding holds differently,” as the words “may be bound together in some way, but that way has become immaterial, or affective”—the space between words, and between word and reader, can either be “no space at all,” as close as ink on skin, or reflect the “outrageous expansion” of the physical location of the words, dispersed across continents.

If the meaning of the word literature is “acquaintance with letters,” then Schneider understands Jackson’s aim to be “to unsettle the term acquaintance into something more viscous, porous and flexible”—and, certainly, Jackson has “made matters more interesting.” The participants become the words of the story, and so an acquaintance with these words is relational, as “the words have lives: walking to the grocery store, showering when dirty, turning over in bed.” While Jackson described the participants’ experience in the project, Schneider spoke to the ways Jackson’s “words” might be encountered out of context, if the reader is a person accessing the word on or as another’s body. “Look around,” Schneider said, “surely we have some words among us; or we are all perhaps words among themselves, making a part of a story with spaces between us, as between words, the spaces that separate skin from skin.”

Jackson didn’t read an excerpt from “Skin,” as she has specified that only the participants, or “words,” can read the whole story. She did read another story—also called “Skin”—which she described as “one of the myriad of stories that is not [her] story, but that [her] story could form on an auspicious day,” as it was written using only words from the original “Skin.” Her reading of this brief and haunting version of “Skin” was accompanied by a video of the story’s text, commissioned in 2011 by the Berkeley Art Museum.

The video was cut and pasted together from short video clips of 191 of Jackson’s “words” pronouncing themselves. “Who are we, anyway?… We don’t remember who we are but we are certain we are not dead,” she intoned, as bodies flashed across the screen behind her, echoing her words: “This is just like life.”

–Julia DeLeon

Julia DeLeon is a PhD student in Performance Studies at NYU.

Read a review of this talk!

November 15, Tuesday 7 to 8:30 pm

Shelley Jackson, writer and artist

Rebecca Schneider, Theatre Arts and Performance Studies, Brown University

The question of the body — the body as question – is a recurring motif in the work [...]]]>

a conversation with Shelley Jackson and Rebecca Schneider

Read a review of this talk!

November 15, Tuesday
7 to 8:30 pm

Shelley Jackson, writer and artist

Rebecca Schneider, Theatre Arts and Performance Studies, Brown University

The question of the body — the body as question – is a recurring motif in the work of multi-media artist Shelley Jackson. Whether she is spiritualizing anatomy in her short story collection The Melancholy of Anatomy, imagining an alternate universe in which conjoined twins (“twofers) are the avant-garde of identity politics (Half Life), or “publishing” a short story (“Skin”) composed entirely of tattoos inked one word at time on the bodies of 2095 participants, Jackson presses her audience to ask, where does my body begin and end? “Skin” is subtitled “A Mortal Work of Art.” But the relationship among body, art, and mortality cross-crosses her work. This issue — whether or how art preserves the body, and with what de- and re-composing effects — is at the center as well of scholarly investigations by performance studies scholar Rebecca Schneider, whose publications include the books The Explicit Body in Performance and Performing Remains: Art and War in Times of Theatrical Reenactment. Join us for an exciting evening of conversation between Jackson and Schneider at the body’s edge.

Department of Performance Studies Studio
721 Broadway, Room 612
between Waverly and Washington Places

This event is free and open to the public.  Venue is wheelchair accessible.

For more information, please call CSGS at 212-992-9540 or email csgs(at)nyu.edu.

Co-sponsored by the NYU Center for the Study of Gender and Sexuality (CSGS) and the Department of Performance Studies.

Image courtesy of Shelley Jackson.

New Majorities II had a double task: First, the day-long forum continued an initiative launched at the UCLA Center for the Study of Women (CSW), and co-conceived by CSW director Kathleen [...]]]> New Majorities II:
A Cross-Country Duet on the State of Gender and Sexuality Studies in the Academy
New York University, 29 April 2011

New Majorities II had a double task: First, the day-long forum continued an initiative launched at the UCLA Center for the Study of Women (CSW), and co-conceived by CSW director Kathleen McHugh and NYU Professor Lisa Duggan, to respond to the uneven budget cuts affecting gender and sexuality departments—as well as other interdisciplinary programs, such as African-American and Latino/a Studies—nationwide. This conversation/duet began with a one-day conference hosted by UCLA in early March.  Second, the NYU forum was also a celebration of the 11th anniversary of the Center for the Study of Gender and Sexuality (CSGS). (As CSGS Director Ann Pellegrini mock protested, “why celebrate the even when you can celebrate the odd.”)

The linked conferences proactively, instead of defensively, addressed the attacks on interdisciplinary programs in gender and sexuality studies, ethnic studies, and related fields. These programs are often derided as “identity studies” departments, and this ideological attack along with the increased monetization of higher education has made these programs especially susceptible to budget cuts. In her framing remarks at the beginning of the day, Pellegrini, who, in addition to serving as CSGS director, is Associate Professor of Performance Studies and Religious Studies, acknowledged the necessity of learning to speak to administrators who control university budgets in the language of dollars and cents. But she also expressed the hope that the day’s conversation might generate a way of talking about the ongoing value of interdisciplinary projects like gender and sexuality studies and ethnic studies that was not reducible to economic inputs and outputs. She stressed that monetary value is not the only – nor even most important — measure of value.

The first panel, Gender and Sexuality Studies at NYU: History, Futures, Institutional Possibilities and Dilemmas, discussed CSGS’s history and the current challenges and possibilities for gender and sexuality studies at NYU. Rahma Abdulkadir, Research Fellow at NYU Abu Dhabi, kicked off the event with unfettered optimism by discussing the interdisciplinary possibilities of NYU Abu Dhabi (NYU-AD). NYU-AD is a research institution with an integrated liberal Arts and Sciences college with an international student body. In the nascient stages of its development, NYU-AD has only 19 majors. Although it currently offers only three classes in gender and sexualities, Abdulkadir believes that the open nature of the core areas of study, which includes “pathways of world literature,” as well as the eagerness of NYU-AD’s leadership to be in conversation with NYU’s Department of Social and Cultural Analysis and CSGS, has significant space to expand its activities with a deeper incorporation of gender and sexuality-oriented research and pedagogy.

Next Carolyn Dinshaw, Professor of Social and Cultural Analysis and English at NYU, founding director of CSGS, and and self-professed “living archive,” addressed the changing nature of the center since 1999, when NYU was not yet the global institution it is today. At its inception, CSGS was linked to the Gender and Sexuality degree program in the College of Arts and Sciences, a union that gave the research group a medium to forge long bonds not amenable to the “one night stands” of CSGS events. The relationship between the Gender and Sexuality Studies program (GSS) and CSGS, Dinshaw explained, was multifold: the academic program provided an excellent foundation for the creation of a core audience for CSGS events while the political and pedagogical agenda of the Center helped influence the curriculum of the GSS program with the creation of elective courses like “Transgender histories, identities and politics.”

Don Kulick, who succeeded Dinshaw as CSGS Director and now a Professor of Comparative Human Development at University of Chicago, focused on two events in the Center’s history: CSGS’s shift from a Center linked to an academic program to its current “all university” status, and the permanent appointment of Robert Campbell as Associate Director. The former, Kulick, explained, meant that as a “provostial” center, CSGS represents the entire university and not just the Arts and Sciences. It was thus better positioned to forge connections across the university with faculty and programs doing work in gender and sexuality studies. Campbell’s appointment, preceded by a series of temporary terms, gave the Center a permanent foundation and continuity. Because of these transitions, CSGS didn’t have to legitimate itself as a scholarly institution and was able to popularize its evening programming to include speakers like Heather Boyle and Kate Bornstein, broadening its audience beyond academia.

Drawing from her multiple roles at NYU since 1998, e. Frances White, Professor in the Gallatin School of Individualized Study and SCA and former Vice Provost for Faculty Development, spoke to both the evolution of NYU’s Woman’s Studies Program into the Gender and Sexuality Studies Program, now housed in SCA, and her role in increasing faculty diversity, which involved getting to know junior faculty of color in particular, and putting people together with similar concerns who were isolated in their respective disciplines.

The panel’s moderator Gayatri Gopinath, Associate Professor of Social and Cultural Analysis and Director of NYU’s Gender and Sexuality Studies Program, brought the conversation full circle by addressing the historical discussion of CSGS and SCA regarding the nuances of the notion of “value” in terms of NYU’s increased corporatization. Attending to this problematic project of NYU’s globalization, Gopinath reminded us of the New Majorities agenda by addressing how we can “create insurgencies within the structure” by theorizing how the interdisciplinarity itself interrupts the ways institutions are formed.

A lively discussion followed between the panelists and with the audience. There was a lot of attention, and concern, focused on the possible imperial dimensions of NYU’s global initiatives at Abu Dhabi and beyond. As was pointed out, NYU is not the only major U.S. university building global satellite campuses, and participants together asked about the political and economic implications of this expansion at this particular historical moment.

The second panel, New Paradigms, New Possibilities broadened the scope of discussion from an NYU focus to the fragile state of interdisciplinary programs nationally. The panel’s speakers came from a variety of institutions: public and private, both colleges and universities. They continued and deepened the project begun in the morning, namely how to articulate why what women’s studies, LGBTQ studies, and ethnic studies do matters at a time when the marketplace of ideas has been reduced to market value. Given the very real crises affecting particular programs, the panelists also sought to develop concrete and local strategies to combat the marginalization of “diversity” programs. There was a recognition that there is no one size fits all approach to the current situation.

Lisa Duggan introduced the panel by discussing New Majorities’ history, which began with a questionnaire asking about the states of various interdisciplinary programs as a way to use local case studies to talk about national situations. This served as an empirical anchor for the subsequent early March conference at UCLA whose aim was to create new knowledges to talk across programs and institutions.

The panel’s first speaker was Kathleen McHugh, Professor of English and the FTVD Critical Studies program at UCLA. McHugh presented how faculty demographics would be affected without the programs under attack by sharing the statistical research she compiled from hypothetical campus UCLX: without such programs, the number of white-male faculty would be unaffected; white-female employment would drop by almost 10%; and faculty of color would be reduced by about 50%. Riffing off David Letterman’s daily top ten list, McHugh also shared the top ten insights of New Majorities. These insights included: New Majorities is proactive rather than reactive; rethinks the marginal; moves being entrenched modes of thinking; and produces alternative structures of university governance.

Providing a perspective from Duke University, Jennifer D. Brody, the embodiment of interdisciplinarity (and over-extended academic labor) herself, is a Professor of African and African American Studies who also teaches Performance Studies, Gender/Sexuality Studies, and Visuality and Black Performance. Among other things, Brody addressed the issues of downsizing, noting in particular how funding for the arts has been slashed at various institutions. This affects diversity at our institutions in at least two ways: the creative arts offer an important site for university-community contact and have also traditionally provided a receptive space for women and people of color. But Brody also pointed to her own position at Duke, where she has a triple appointment, to ask what happens when one body is asked to perform diversity in multiple institutional sites? No body can do it, she said, but particular bodies are commonly asked to. Connecting back to McHugh’s presentation, Brody underscored the unequal division of labor that results when white women and women and men of color are asked to be the institutional face of diversity. Additionally, she pointed out that women and people of color are disproportionately hired in diversity programs, which allows public land grant universities (and she used to teach at one) to claim they are meeting various diversity targets or goals even as they are in fact continuing to segregate the university by knowledge division and department.

Next was Laura Levitt, Professor of Religion and Women’s Studies at Temple University, who is “in belly of beast” of the academic budget crunch. At Temple, five programs—including Woman’s Studies, American Studies, Jewish studies—will be absorbed in the departments of Sociology, English, History, etc. The rationale for this administrative decision, Levitt explains, was fiscal; in other words, these programs are failing and not valuable. After the five programs hand over their autonomy to departments, the continued life of the programs would depend on the voluntary labor of an already over-extended staff, most of whom were highly vulnerable, non-tenured faculty. Levitt reminded us of an important oversight: this restructuring leaves little time for actual teaching and researching.

Following Levit was Janet R. Jakobsen, Professor of Women’s Studies and Director of Barnard College’s Center for Research on Women. As a professor at a women’s college where Women’s Studies and feminist research are not currently under attack, Jakobsen spoke to the particular dangers of being on the receiving end of this capital flow. In the new neoliberal order, she argued, women and feminism were both now seen as good investments through which money might circulate along with imperialism. How would feminist work at U.S. colleges and universities be redefined in the light of this monetized “woman question”? Which kinds of research projects would be funded and supported and which, not? The way in which capital flows are set up to run through academic institutions, she maintained, can have serious dangers for other progressive institutions, like poorly funded activist organizations. Jakobsen’s talk was a warning call against such complicity that marginalizes other projects of resistance.

Licia Fiol-Matta, Professor of Latin American & Puerto Rican Studies at Lehman College, CUNY, concluded the panel with an example of the way diversity studies play out in specific institutional sites and in relation to local demographics. At Lehman, Fiol-Matta explains, there is a radical disconnect between the faculty, which consists of mostly of white, relatively wealthy males, and the student body, primarily composed of women of color. Fiol-Matta revealed another paradox: while one would think this population would be receptive to interdisciplinary, diversity-oriented thinking, they succumb to the extreme conservativism expressed through the business model of education, where the student is the consumer and goods are recognizable. As a result, this population is entrenched in an aspirational model toward insertion into the capitalist structure that equates “making it” with “making money.” But Fiol-Matta stressed the complexity of Lehman’s particular students’ identification with this aspirational model, suggesting that it could be seen as a vehicle of Americanization and racialized assimilation. In other words: the consumer-citizen economic circuit works differently, and demands different things, of different student bodies. As scholars of diversity, how do we reckon with this concrete situation?

In (im)proper interdisciplinary fashion, the conference closed with a performance party to celebrate the 11th anniversary of the Center. The performance party – entitled Gender and Sexuality: A Musical Revue – was produced by musician Viva DeConcini and held at a local music venue, the Gallery at Le Poisson Rouge. The cabaret-style event was emceed by Jennifer Miller Circus Amok founder and Associate Professor of Humanities and Media Studies at Pratt Institute. About 200 people packed the downstairs gallery space for the musical celebrations. The audience was “schooled” in gender and sexuality by: Karen Finley, Peggy Shaw, Lois Weaver, Geo Wyeth, Glenn Marla, Neal Medlyn,burlesque performers Darlinda Just Darlinda and Coco Lectric, and Jomama Jones. There was even a surprise musical performance by CSGS director Ann Pellegrini.

If Gender and Sexuality: A Musical Revue showcased the serious play of gender and sexuality studies, it also offered a welcome respite from – and reenergizing bounce to confront – the crises discussed during the day.

–Krista Miranda

Krista Miranda is a PhD candidate in Performance Studies at New York University and the Book Reviews Editor for Woman and Performance: A Journal of Feminist Theory. Her prior graduate work includes an MA in Humanities and Social Thought with a concentration in Gender Politics and an MA in Writing and Publishing.

The day’s conversation will be followed by an early evening performance party — with music and queer burlesque highlights! — to celebrate the 11th anniversary of CSGS. Producer Viva DeConcini is rounding up a bevy of special guest stars, so put [...]]]> April 29, Friday
7 to 8:30 pm: Gender and Sexuality: a Musical Revue!

The day’s conversation will be followed by an early evening performance party — with music and queer burlesque highlights! — to celebrate the 11th anniversary of CSGS. Producer Viva DeConcini is rounding up a bevy of special guest stars, so put on your dancing shoes and get ready to celebrate the odd year with us!

Confirmed performers:

Darlinda Just Darlinda

Viva DeConcini

Karen Finley

Geo Wyeth

Jomama Jones

Coco ‘Lectric

Glenn Marla

Neal Medlyn

Peggy Shaw

Lois Weaver

and Jennifer Miller as the MC

The Gallery at LPR
Le Poisson Rouge
158 Bleecker Street
between Sullivan and Thompson Streets

$10 at door

Facebook event page: http://www.facebook.com/home.php#!/event.php?eid=202175143138626

April 6, Wednesday 6:30 to 8 pm

READ THE REVIEW! Reclaiming Hysteria in The Reality Shows: A Conversation with Karen Finley and Ann Pellegrini

Karen Finley, Art and Public Policy, NYU

Ann Pellegrini, Performance Studies & Religious Studies, NYU

The Reality Shows collects a decade’s [...]]]> THE REALITY SHOWS

a conversation with Karen Finley

April 6, Wednesday
6:30 to 8 pm

READ THE REVIEW! Reclaiming Hysteria in The Reality Shows: A Conversation with Karen Finley and Ann Pellegrini

Karen Finley, Art and Public Policy, NYU

Ann Pellegrini, Performance Studies & Religious Studies, NYU

The Reality Shows collects a decade’s worth of performance pieces by internationally renowned artist and cultural provocateur Karen Finley. One of the hallmarks of Finley’s work—and nowhere more urgently showcased than in this new collection—is the way she uses multiple aesthetic forms in order to disturb settled emotional and political responses to both individual and collective trauma. To mark the publication of The Reality Shows, Finley sits down for a wide-ranging conversation with performance studies scholar Ann Pellegrini to discuss ongoing currents in Finley’s artistic practice and the work of performance art in an age of virtual reality.

Department of Performance Studies
721 Broadway, Room 612
between Waverly and Washington Places

Karen Finley’s raw and transgressive performances have long provoked controversy and debate. She has appeared and exhibited her visual art, performances, and plays internationally. The author of many books, including A Different Kind of Intimacy, George & Martha, and Shock Treatment, she is a professor in the Department of Art and Public Policy at NYU’s Tisch School of the Arts.

Ann Pellegrini is Associate Professor of Performance Studies and Religious Studies at New York University, where she also directs NYU’s Center for the Study of Gender and Sexuality. She is the author of Performance Anxieties: Staging Psychoanalysis, Staging Race; co-author, with Janet R. Jakobsen, of Love the Sin: Sexual Regulation and the Limits of Religious Tolerance; co-editor, with Daniel Boyarin and Daniel Itzkovitz, of Queer Theory and the Jewish Question; and co-editor, with Jakobsen, of Secularisms.

Co-sponsored by NYU’s Department of Art and Public Policy, Department of Performance Studies and Hemispheric Institute of Performance and Politics; and by The Feminist Press.

This event is free and open to the public.  Venue is wheelchair accessible.  If you need accommodations, please let us know as soon as possible.

Seating is limited and on a first-come basis.  No RSVPs.

For more information, please call 212-992-9540 or email csgs(at)nyu.edu.

February 22, Tuesday 7 to 8:30 pm

Barbara Browning, Performance Studies, NYU author of The Correspondence Artist

Linda Schlossberg, Women, Gender and Sexuality, Harvard University author of Life [...]]]> FEMINIST AUTOBIOGRAPHICAL FICTIONS: PERFORMING THE SELF ON STAGE AND ON THE PAGE

a book talk with Barbara Browning, Linda Schlossberg, & Alina Troyano (aka Carmelita Tropicana)

February 22, Tuesday
7 to 8:30 pm

Barbara Browning, Performance Studies, NYU
author of The Correspondence Artist

Linda Schlossberg, Women, Gender and Sexuality, Harvard University
author of Life in Miniature

Alina Troyano (aka Carmelita Tropicana), writer and performance artist
author of I, Carmelita Tropicana: Performing Between Cultures

This panel opens a feminist space — call it genre trouble — between self and “self” to explore the tension and productive possibilities between memory and imagination, autobiography and audience, printed text and embodied performance. Reading from and discussing their own creative fictions, our three speakers reflect on the political and artistic stakes of performing identities and re-staging histories, both intimate and public.

Department of Performance Studies
721 Broadway, Room 612
between Waverly and Washington Places

Co-sponsored by the Tuesday Night Forum Series, NYU Department of Performance Studies.

This event is free and open to the public.  Venue is wheelchair accessible.  If you need sign language interpretation services or other accommodations, please let us know as soon as possible.

For more information, please call 212-992-9540 or email csgs(at)nyu.edu.

Presented by NYU’s Office of LGBT Student Services Storytelling and Performance Series/Multiple Identity Speaker Series

November 29, Monday 6 to 8 pm

Jeffrey S. Gould Welcome Center 50 West 4th Street

To see the Facebook Invite: http://www.facebook.com/event.php?eid=171571102869379

Join NYU’s [...]]]> Living Out Loud:
Men of color creating HIV awareness through their stories, art, & activism

Presented by NYU’s Office of LGBT Student Services Storytelling
and Performance Series/Multiple Identity Speaker Series

November 29, Monday
6 to 8 pm

Jeffrey S. Gould Welcome Center
50 West 4th Street

To see the Facebook Invite: http://www.facebook.com/event.php?eid=171571102869379

Join NYU’s Office of LGBT Student Services and the Center for Multicultural Education and Programs in celebrating AIDS Awareness Month with performances and spoken word by HIV positive (poz) men of color who are well-known writers, actors, hip hop performers and political activists.

Tim’m T. West: Hip Hop Artist, Scholar, Poet

Cornelius LIFE Jones: Actor, Writer, ARTivist

Brandon Lacy Campos: Organizer, Writer, FierceCook

Pedro Julio Serrano: Communicator, Activist, Blogger

The audience will have an opportunity to participate in a post-performance talk back with the performers that will focus on the issues raised in the performances and the work you’ve done to bring awareness to HIV and the impact it has on communities of color.

For more information, please contact the NYU Office of LGBT Student Services at 212-998-4424.

Co-sponsors:
Center for the Study of Gender and Sexuality
Office of LGBT Student Services clubs: BodyQueer

an evening with Ignacio Rivera and Awilda Rodriguez Lora

November 15, Monday 6 to 8 pm

NYU Kimmel Center 60 Washington Square South Room 802

Presented by the NYU Office of LGBT Student Services’ Storytelling and Performance Series

For more information: http://www.facebook.com/event.php?eid=157347347637869

Join Puerto Rican performers Ignacio Rivera and Awilda Rodriguez [...]]]> QUEER RICAN PERFORMANCE

an evening with Ignacio Rivera and Awilda Rodriguez Lora

November 15, Monday
6 to 8 pm

NYU Kimmel Center
60 Washington Square South
Room 802

Presented by the NYU Office of LGBT Student Services’ Storytelling and Performance Series

For more information: http://www.facebook.com/event.php?eid=157347347637869

Join Puerto Rican performers Ignacio Rivera and Awilda Rodriguez Lora as they celebrate Trans Awareness Week and Latino Heritage Month at NYU!

Dancer
by Ignacio Rivera

Solo performance about sex work, colonialism and gender identity.

IGNACIO RIVERA is a queer, gender fluid, trans-entity, Black Boricua performance artist who performs skits, spoken word, one-person shows through intentional storytelling. Ignacio is also a lecturer, activist, new filmmaker and self-proclaimed sex educator.

I wanted to be a cheerleader but my cuntry didn’t have it
by Awilda Rodriguez Lora

A multimedia solo performance about identity, family and intimacy.

AWILDA RODRIGUEZ LORA is a dancer, performer, producer, activist, yogi, lover and traveler who has been performing and creating her own work for over 10 years. She has collaborated with Darell Jones, Tim Miller, Kortney Ryan Ziegler, Baraka de Soleil and others.

For more information, please contact the Office of LGBT Student Services at 212-998-4424.

Co-sponsored by:
Latino Heritage Month
Trans Awareness Week
Center for the Study of Gender and Sexuality
Office of LGBT Student Services clubs: BodyQueer, Campgrrl, T-Party

Monday, November 15 6 to 8 pm

NYU Kimmel Center, Room 802 60 Washington Square South

For more information: http://www.facebook.com/event.php?eid=157347347637869

Join Puerto Rican performers Ignacio Rivera and Awilda Rodriguez Lora as they celebrate Trans Awareness Week and Latino Heritage Month at NYU!

Dancer [...]]]> Queer Rican Performance:An evening With Ignacio Rivera and Awilda Rodriguez Lora

Monday, November 15
6 to 8 pm

NYU Kimmel Center, Room 802
60 Washington Square South

For more information: http://www.facebook.com/event.php?eid=157347347637869

Join Puerto Rican performers Ignacio Rivera and Awilda Rodriguez Lora as they celebrate Trans Awareness Week and Latino Heritage Month at NYU!

Dancer
By Ignacio Rivera

• Solo performance about sex work, colonialism and gender identity.
• More info: ignaciorivera.com

IGNACIO RIVERA is a queer, gender fluid, trans-entity, Black Boricua performance artist who performs skits, spoken word, one-person shows through intentional storytelling. Ignacio is also a lecturer, activist, new filmmaker and self-proclaimed sex educator.

I wanted to be a cheerleader but my cuntry didn’t have it
By Awilda Rodriguez Lora

• A multimedia solo performance about identity, family and intimacy.
• More info: laperformera.org

AWILDA RODRIGUEZ LORA is a dancer, performer, producer, activist, yogi, lover and traveler who has been performing and creating her own work for over 10 years. She has collaborated with Darell Jones, Tim Miller, Kortney Ryan Ziegler, Baraka de Soleil and others.

Co-sponsors:
Office of LGBT Student Services
Latino Heritage Month
Trans Awareness Week
Center for the Study of Gender and Sexuality
Office of LGBT Student Services clubs: BodyQueer, Campgrrl, T-Party