#Malik Nashad Sharpe

[globefan]

Henry V photos (c) Johan Persson

Oliver Johnstone as Henry V and James Cooney as Thomas Joséphine Callies as Boy Eleanor Henderson as Prince Louis and James Cooney as Orleans Joséphine Callies as Katherine Jon Furlong as Bardolph Oliver Johnstone as Henry V

Creatives Associate Designer: Mona Camille Associate Director: Naeem Hayat Candle Consultant and Lighting Designer: Azusa Ono Casting Director: Becky Paris Composer: Max Pappenheim Costume Supervisor: Harriet Barsby Designer: Moi Tran Director: Holly Race Roughan Dramaturg: Cordelia Lynn Fight Director: Kate Waters Globe Associate, Movement: Glynn MacDonald Head of Voice: Tess Dignan Intimacy Director: Yarit Dor Movement Director: Malik Nashad Sharpe Seasonal Voice Coach: Katherine Heath Musicians Bass Viol: Joanna Levine Cello: Maddie Cutter Musical Director and Contrabassoon: Lois Au Nyckelharpa: Benjin Pollock

[xavierdesousaofficial]

NEW QUEERS ON THE BLOCK

New Queers on the Block is the Marlborough Productions’ artist and community development programme.

Throughout the pandemic, we commissioned and supported the following projects:

COMMUCRACY NOW!  a short film and manifesto by Oozing Gloop

Stomach Full a new zine by Rachael Young

Now in its fourth year, New Queers on the Block proposes a bold new vision for how LGBTQIA+ culture is supported across England. Bringing together arts partners in Bradford, Blackpool, Hastings, Folkestone and Brighton.

For our next phase, we will be commissioning performance artists to embark on a 6-month development period with, crucially, no expectation to deliver a show or other fixed outcome at the end. In addition to financial support, commissioned artists will benefit from residency space, mentoring, access support, and professional guidance in producing, marketing and community engagement from Marlborough Productions and its national partners.

Since New Queers on the Block was established in 2018, the initiative has supported the artistic development of a number of innovative and exciting LGBTQIA+  performers. The project has developed, produced and toured new performances from Oozing Gloop, Malik Nashad Sharpe, Rachael Young, Harry Clayton-Wright, mandla rae, Subira Joy, Jackie Hagan and many more - working across live art, theatre, dance, cabaret, film, spoken word and visual art. 

The New Queers on the Block Team Xavier de Sousa: Creative Producer Tarik Elmoutawakil: Artistic Director Rasheed Rahman: Marketing Manager Lee Smith: Producer David Sheppeard: Executive Producer

Art B&B and LeftCoast in Blackpool, Bradford Producing Hub and Theatre in the Mill in Bradford, Attenborough Centre for the Creative Arts in Brighton, ]performance s p a c e[ and Creative Folkestone in Folkestone; Home Live Art in Hastings, Cambridge Junction in Cambridge and Unlimited. New Queers on the Block is funded by Arts Council England and Esmée Fairbairn Foundation.

[jacobwren]

The PME-ART website is currently under construction. We are very excited that we'll have a new website soon. In the meantime, you can still download the free bilingual publication En réponse à Vulnérables Paradoxes / In Response to Vulnerable Paradoxes: https://bit.ly/publication-pme-art So many beautiful and thought-provoking texts. We hope it will continue to circulate for a while. With the participation of Aisha Sasha John + Burcu Emeç + Dana Michel + Dayna Danger + Elena Stoodley + Kama La Mackerel + Kamissa Ma Koïta + Lara Kramer + Mai t̶h̶i Bach Ngoc Nguyen + Malik Nashad Sharpe + Marilou Craft + Milton Lim + nènè myriam konaté + Po B. K. Lomami + Sonia Hughes

[13bis]

SOFTLAMP.autonomies, Ellen Furey et Malik Nashad Sharpe, 2018.

via Ménagerie de verre

SOFTLAMP.autonomies is a dance co-created by Malik Nashad Sharpe (who regularly choreographs under the alias marikiscryrycry) and Ellen Furey, built on desires to embody not-yet-here, not-yet-attainable notions of solidarities across borders. It moves, dreams, and longs for re-configured and indeterminate conceptions of personal autonomy. Solo practices rub up against each other in order to test modalities of compassion and fellowship and also to generate pluralistic aesthetics that suggest possibilities beyond incessant nationalist and/or authoritarian visions conjuring coping mechanisms, anxiety rituals, theories, and more, as keys to our emotional survival in frightening times. SOFTLAMP.autonomies is an emptied slogan repurposed as a dance-floor ^ office with windows that open onto potential ruptures in the present, recurrent, hegemonic push. Our giant blood aunt, *Vaporwave, along with the invisible and undisclosed labour of each of her creators, embraces us in an aesthetic and under-dramatic, ultra midnight hug.

SOFTLAMP.autonomies est un objet chorégraphique co-créé par Ellen Furey et Malik Nashad Sharpe, qui signe régulièrement sous l'alias marikiscryrycry. Construit à partir du désir d'incarner des notions non-encore-existantes et non-encore-actualisables de solidarité à travers les frontières, cet objet interroge ce qui bouge, rêve et aspire à des conceptions reconfigurées et indéterminées de l'autonomie personnelle. Les solos travaillés se frottent les uns aux autres afin de mettre à l’essai des modalités de compassion et de sororité à l’œuvre. Sont ainsi générées des esthétiques pluralistes explorant les possibilités qui s’inscrivent par-delà les nationalismes et / ou les autoritarismes persistants et qui font apparaitre des clés de survie en ces temps effrayants, notamment divers mécanismes d'adaptation, des rituels anxiogènes, des théories, etc.  SOFTLAMP.autonomies est un slogan vidé de ses prémisses et reconverti en  bureau^dance-floor dont les fenêtres ouvrent sur des potentielles ruptures dans la montée actuelle, hégémonique et récurrente. Et notre giant blood aunt, *Vaporwave, accompagnée du travail invisible et invisibilisé des concepteurs et conceptrices, nous embrasse dans un câlin esthétique, sous-dramatique et ultra-nocturne.

img via La Chapelle twitter

[nous-sommes-folklore]

[a---z]

DÉCALÉ #4 When dusk arises, agitated spirits awake DÉCALÉ X JUPITER WOODS presents MANARA (Rinse FM) HANNAH CATHERINE JONES YAYA BONES MARIKISCRYCRYCRY TABITA REZAIRE CHOOC LY ALPHA ⚡TICKETS: ADV £5 / OTD £8 https://tickets.partyforthepeople.org/events/4737-decale-4 Décalé = 1 year! So we would like to make it more special than ever. For this reason, we are joining forces with our friends Jupiter Woods, a South East London art organisation, to co-curate an invigorating programme of live acts, screening and DJ sets that are uncompromising and forward-thinking. And we are doing it at one of our favorite venue: Ormside Projects! ▶ MANARA (Rinse FM) Manara is a London DJ and producer who is no stranger to making the dancefloor bounce, whether in London, New York or Berlin. A regular on the airwaves at BBC Asian Network, NTS and Rinse FM, she is also a Night Slugs and Fade To Mind affiliate. ▶ HANNAH CATHERINE JONES I am an artist, multi-instrumentalist, scholar, radio presenter (NTS), composer, conductor and founder of Peckham Chamber Orchestra. My broad practice is connected through a central spine of inclusivity and decolonization. Myths, (both ancient and modern), word-play, appropriation and my own voice (in song) are my materials. ▶ YAYA BONES YaYa Bones is the musical moniker of multi-disciplinary artist Ayesha Tan Jones. Coining their genre 'dream n bass', YaYa Bones makes protest music for witches, fusing operatic melodies and earthcore beats. ▶ MARIKISCRYCRYCRY marikiscrycry is the performance project of London-based choreographer and artist Malik Nashad Sharpe, born in 1992 in New York City. They make emotional choreographies that are less like descriptors of themes and more like worlds in themselves. Their work deals primarily with the social imprints and inflections left on the body, existentialism, the necessity to proliferate pro-Queer and pro-Black aesthetics under neoliberal hegemonies, choreography as an expanded formal proposition, and allostatic load. ▶TABITA REZAIRE Tabita Rezaire is infinity incarnated into an agent of healing, who uses art as a mean to unfold the soul. Her cross-dimensional practices envision network sciences - organic, electronic and spiritual - as healing technologies to serve the shift towards heart consciousness. Tabita is based in Cayenne, French Guyana and is a founding member of the artist group NTU, half of the duo Malaxa, and the mother of the energy house SENEB. ▶CHOOC LY Not limited by a specific genre, though a penchant for electronic and club music. Chooc Ly's DJ sets present a varied selection forging astral connections through spectrums of Techno, Kuduro, futuristic Chaabi الشعبي, high-voltage Electro, Hip hop, Qgom through to fusions we haven’t found names for yet. Chooc Ly recently played at Chale Wote Festival 2018 (Accra, Ghana), the Living Art Museum (Reykjavik), Tate Modern (London) and Villa Empain (Brussels). ▶ALPHA Alpha (Anne Duffau) is a cultural producer that creates soundscapes  exploring & defying preconceived/imperialist hi.Stories of identities & bodies. Through the scope of narratives & distinctive genre ranging from art, youtube mash-up, performances, discussions. Exploring artistic practices and knowledge exchange through presentations, screenings and discussion A---Z aims at opening up to a large audience by sharing discursive practices in order to deconstruct preconceived ideas on race, gender identities and the so call history in terms of power relationship. ---- DÉCALÉ ‘When dusk arises, agitated spirits awake A night on planet earth, Décalé A platform for nocturnal creatures and loud existential insurgents Disobedient children will come together and rise from the dark to encounter experimental collapsing, flawless sounds, visuals and people. Together they will declare the unspoken, and embrace the hybrid and reactive nature of their collective experience. Together, we rewrite reality now, against distorted norms, for an alternate tomorrow.’ Décalé’s mission is to create a safe and fun space for nocturnal creatures, in an environment animated by visuals and uncompromising sound. The collective want to break down fences and boundaries in an ever-inclusive atmosphere. There is no tolerance for unethical, racist, homophobic, transphobic or any other abusive behaviors. ---- ABOUT JUPITER WOODS Jupiter Woods is a London-based art organisation and platform for interdisciplinary research and practice. Our activity is rooted in developing and experimenting with different methods of working and forms of collaboration and exchange. By proposing alternative formats of production, presentation and dissemination of contemporary art, Jupiter Woods is devoted to continuously creating a dynamic space for multiple encounters. http://jupiterwoods.com/ ⚡TICKETS: ADV £5 / OTD £8 https://tickets.partyforthepeople.org/events/4737-decale-4

_________________________________

Ormside Projects 32 Ormside St London SE15 1TR

– No one will be turned away for lack of funds, please contact Décalé in advance:

decaledecaledecale@gmail.com

– Access via stairs to first floor (assistance can be provided, please get in contact with any queries).

– Gender neutral toilets.  

poster by latica.co.uk Twitter: @Decaledecale Insta: Décalé fb: https://www.facebook.com/DecaleDecaleDecale/

[slave2freedom]

https://www.transmissiongallery.org/Calendar/THE-OTHERD-ARTISTS/63

Transmission is excited to present:

THE OTHER'D ARTIST/S, an exhibition curated by Travis Alabanza that opens May 20th at Transmission, Glasgow. The Other'd Artist/s is an exploration and documentation of how the Black body feels within spaces, in the gallery, out of the gallery. It's a creative clapback to the white walls that normally plaster our vision. The Other'd Artist/s aims to turn the gallery into a living room. From a place we stand in quiet solitutude, to a place where we can move, shout and lotion. With over 20+ Black artists exhibiting work in the space, including:

Zinzi Minott, The Black House, Daniel Brathwaite-Shirley, Jacob V Joyce, Malik Nashad Sharpe, Symoné, Dominique White, Christian Noelle, Xana, Joy Miessi, Christopher Kirubi, Harvey Dimond, Adelana Hughes, Nina Mdwaba, Matthew Arthur Williams and more - this is set to be a Black artistic takeover of the gallery - aiming to change the function of the space in its present and future.

[ewansplacement]

Part 2. FIRST JAM

On Saturday, 27th October, we had our first event of the season. It was a big event, with a facilitated warm-up, a jam and a film screening that was planned to occur right after. Coming into the space, I was experiencing a lot of trepidation with regards to the idea of doing Contact Improvisation. I had been ‘out of practice’ for a while now - my school commitments meant that I had been unable to attend any sessions in 2018.

Within dance - particularly dance that involves Choreographic Practice (In this context, I define choreography as simply movement, in sequence) - I have often felt unsafe or unwelcome within those forms. I have often reflected on the ‘gaze’ that is put upon bodies that dance - in club spaces, theatre spaces and such. I have understood this gaze to be irksome, unwelcome and non-consensual - particularly within the dynamic of normative-sized dancers gazing upon fat bodies that dance.

Reflecting back on the session today - I have felt that in many ways I have been able to dance without a gaze - or without the sense of one as such. Our facilitator today was Srik Narayanan - a ‘body-oriented therapist and educator’ who’s ‘teaching draws upon a long experience of contemplative practice, dance improvisation and creative practice’.

I found several things interesting with Srik’s facilitation of the space. They began with us working alone. Our dancing was framed as ‘just for us’, and they introduced to us the idea of improvising with ourselves. This was a really refreshing and relaxed somatic approach - and one that really suited me considering the issues I had previously mentioned.

I also feel like it introduced the idea of consent into the space - in a very cool way. Kathleen Rea’s influential and important blog, Contact Improv Consent Culture, provides an important breakdown of all the ways that consent can be clouded and impaired in this space. [https://contactimprovconsentculture.com/]

One of the more important points of contact improvisation is ‘weight taking, giving and receiving’. As a fat body - I find myself at a point of tension regarding this. In many ways, I am ‘unable’ (or perceive myself as such) to give my weight freely to people.

Working with Srik - I felt more comfortable giving my weight to people and performing lifts. Perhaps sensing my unease [or recognising me as the fattest person in the room], they directed a lot of their focus towards me - using my body in demonstrations and working with me during the improvised weight-taking moments. This felt really generous, and set an example to the members of the room [who I had sensed an unease towards working with me already] that I was possible to dance with, and that my weight could be held. I could be lifted.

This - to me so far - is one of the only examples I can name in which a normatively sized professional in a dance space actively working to demolish fatphobia in the space. I would argue their experience as a somatic practitioner and therapist has helped to shape this understanding - in line with Contact Improvisation’s fluid, open and accessible [ish - many barriers are still perpetuated and experienced] form.

The exercises that took place in this warm up have really inspired and intrigued me. I have begun to think about how I can take this learning and practice into my work. Praxis-wise, I have been thinking about somatic practices as a way into ‘fat embodiment’. I recently spoke with Max Power - a fat, queer artist and systemic therapist who has been delivering similar workshops in Berlin. They spoke at length about fat as the enabler of movement in the body - and how they use tasks such as authentic movement, massages and somatic practice to engage their participants.

Authentic Movement has been a recurring activity for me - working with Malik Nashad Sharpe over 4 days I did a lot of this task. However, it came with stylistic concerns (ie: lighting to emulate a club space, music) as well as a framing - a dance without a gaze.

For me, this entailed a tender and challenging experience. With regards to fat bodies, it brings to mind my lived experience in club spaces - my fatness being owned, and taken apart, and deemed undesirable. Fat people dancing always has a gaze - always attracts onlookers - always attracts wonder. My workshop will most likely involve authentic movement - with a similar framing - that of fat people dancing just for themselves, not for anyone else, in rejection of the signification of their bodies.

I also would be really interested to work with weight, and lifting - two actions that fat people supposedly cannot do. I would like to give fat people those experiences - in a safe and holistic manner - live in the space. However, consideration must also be given to the ability, able-ness, and vulnerability. A gentler introduction to this work might be more appropriate. These are loose thoughts, and will be developed further in the coming weeks.

[TL;DR: It was good, and i'm excited for the next one]

Notes:

-Srik held my weight, which was very nice and powerful. We did a lot of work on weight taking, with several exercise that have inspired me regarding my own practice.

-I learned a lot doing the social media marketing - mainly I need to do more and do it better. I feel that I have been able to develop my confidence in these matters.

-The post-discussion was interesting, we talked a lot about what ‘advanced ci means’ - and if that allows for a certain elitism in this space. I felt that the history of Contact Improvisation was carried throughout - we watched 40 minutes of somebody from the original CI classes speak about their experience and thoughts. To be honest, I questioned its relevance - especially if the requirements of CI is to become more open, and inclusive.

[criticalinterruptions]

Critical Interruptions Vol 1

We begin from the position that criticism is a political event, formed at the confluence of artist practice and the politics it lives in, attacks, reinforces or creates. We begin from the premise that the ecology of criticism is not one of journalism, but of art practice. We begin with a disregard for criticism as secluded work and instead, propose criticism as a collaborative practice.

'Critical Interruptions Vol I' follows 'Steakhouse: Live Writing', a pilot project undertaken as part of Steakhouse Live’s 'LONGER WETTER FASTER BETTER' festival in October 2016. The publication brings together artists, curators and producers, writers and critics including Palin Ansusinha, Katy Baird, Katharina Joy Book, Jennifer Boyd, Jasmine Shigemura Lee, Emma Selwyn and Malik Nashad Sharpe to think through their relationship with criticism.

Launch: 9 may, 19:00, LADA.

GET YOUR COPY HERE.

Read the preview here.

[xavierdesousaofficial]

NEW QUEERS ON THE BLOCK

Role: Creative Producer

Info: http://www.marlboroughtheatre.org.uk/on-tour/

The Marlborough Theatre is bringing together some of the artists we work with for the first time, in a celebration of all things queer. And this time, we are taking them on the road across the UK!

New Queers on the Block is a new touring scheme showcasing some of the finest international queer work from Rachael Young, Hester Chillingworth, Stacy Makishi & Malik Nashad Sharpe, hosted by Ophelia Bitz. Plus, in each town we visit, we will have a local LGBTQ+ artist joining the ranks.

Expect shows about being a queer black woman channelling the power of Grace Jones, memories of a queer childhood, reclaiming your faith with the help of pop music, and black melancholy through the legacy of Tupac.

Here’s what people are saying about our line-up:

Rachael Young – “An uncompromising original tornado” The Stage

Stacy Makishi – “Brilliant” The Guardian

Malik Nashad Sharpe – “a raw portrait of black, queer identity and politics” Exeunt Magazine

Hester Chillingworth – “hilarious, witty and entertaining”, A Younger Theatre

New Queers on the Block is a scheme supporting the development of LGBTQ+ artists & audiences across the UK developed by The Marlborough Theatre.

The scheme is developed and presented in partnership with Theatre in the Mill (Bradford), Live Art Bistro (Leeds), Home Live Art, Coastal Currents (Hastings), Quarterhouse Folkstone, ]performance s p a c e [, AB&B, Left Coast and QUOD (Blackpool).

[jacobwren]

En réponse à Vulnérables Paradoxes / In Response to Vulnerable Paradoxes. 

A free bilingual (English/French) publication.

You can now download it here: https://bit.ly/publication-pme-art

So many beautiful and thought-provoking texts. I hope it will continue to circulate for a while.

With the participation of Aisha Sasha John + Burcu Emeç + Dana Michel + Dayna Danger + Elena Stoodley + Kama La Mackerel + Kamissa Ma Koïta + Lara Kramer + Mai t̶h̶i Bach Ngoc Nguyen + Malik Nashad Sharpe + Marilou Craft + Milton Lim + nènè myriam konaté + Po B. K. Lomami + Sonia Hughes

[londontheatre]

Xavier de Sousa and Foreign Actions Productions present POST.

This warm, inviting solo performance celebrates the migrant experience, delving into the construction of national identity and the notions of borders and nationalism in a changing socio-political climate. Devised and performed by Xavier de Sousa

UK TOUR: Saturday 11 November 2017 – Wednesday 16 May 2018 & further 2018 dates to be confirmed

PRESS NIGHT: Toynbee Studios, London, Saturday 11 November 2017, 7.30pm and Sunday 12 November 2017, 2.30pm

“This is a production of consummate ease and huge sensitivity.” A Younger Theatre

On tour across the UK for the first time, this bold theatre show celebrates the freedom of movement: the mixing of cultures and identities, of experiences and world views, by inviting audiences to eat, drink and get merry to challenge what a ‘nation’ is nowadays.

POST considers how notions of national identity and their basis within past colonial adventures reflect on contemporary systems of oppression which in turn continue to reinforce racial and colonial discriminations today. The performance asks what a national identity is today and reflects on borders as protective systems, asking us who they protect us from, what they represent and what they are reinforcing.

Deviser and performer Xavier de Sousa said: “POST came as a direct response to the rhetoric employed around migration and refugees in the UK and across mainland Europe. It was essentially my way of re-gaining some sense, some pride and joy in the word and the lived experience that being a migrant provides you with.”

“Since moving to England, I have always questioned what ‘national identity’ might mean, and certainly why we have to confine ourselves with a passport mainly due to where we were born? The place where you are born is merely coincidental. What you have around you, what you learn and what you become, those are what defines us. I use British history in the show to illustrate how the concept of ‘national identity’ is an oppressive social control vehicle hence the name POST which proposes to explore what ‘post-nationality’ might be. Or as Theresa May might call it ‘citizenship of nowhere’.

“POST looks back through history and at specific traditions and identities that are part of both Portugal and England’s brand, deconstructs them and asks ‘why are we so obsessed with keeping this so-called national identity, what the hell is that in the first place and why are so many of us willing to die for it?”

Performances at Toynbee Studios and the Marlborough Theatre will feature post show migrant takeover parties, in partnership with Counterpoint Arts, the UK Lesbian and Gay Immigration Group and TRAUMFRAU. The parties will give migrant friends a platform and rebalance the power to celebrate everything migrants bring to the UK.

The parties will feature performances, installations and DJ sets by local migrant artists, in a celebration of multi-culturalism, national identity and above all, our migrant communities. Migrants are welcome to come and enjoy the marvels of dancing to songs they barely understand the lyrics to, share experiences of micro-aggression, and rant about the impossible bureaucracy of moving. Brits are also welcome at this inclusive event.

The migrant takeover party lineups will feature artist and performers including Rachael Young, Malik Nashad Sharpe, Local Foreigner and Johanna Lindsey. Full line-ups to be confirmed on the venue websites.

POST is produced by Foreign Actions Productions, a producing company for live art and performance art practices and events, with a special focus on the platforming of migrant voices of all kinds and backgrounds.

This is an extra-live show and audiences are invited to respond to the show in whatever way feels natural; moving around, making noises and coming and going from the auditorium if needed. Latecomers are permitted. For more information on the Extra-Live movement, please follow this link: http://ift.tt/2gfYDfk

POST is a new commission by Ovalhouse Theatre and is supported by Bike Shed Theatre, Camden People’s Theatre and Attenborough Centre for the Creative Arts. Supported using public funding by the National Lottery through Arts Council England.

This performance has developed into a full production from Xavier de Sousa’s FiRST BiTE work-in-progress piece Saudade, originally presented at Ovalhouse in 2015.

Xavier de Sousa is an independent performance maker and producer. Having grown up with Europe’s oldest performance art festival, CITEMOR (Portugal), he has been working solidly in theatre, dance and live art since graduating from Kingston University in 2010. His previous solo practice included Almost Xav, a character which explored hyper-masculinity and the effects of mainstream discourse on masculinity, which was performed at Latitude Festival, Southbank Centre and King’s Head Theatre.

He has previously worked with Tino Sehgal, Lauren Barri Holstein, Richard De Domenici, Rosana Cade, Forest Fringe, Louise Orwin, Ellie Stamp, Needless Alley Collective and OperaUpClose amongst others. He has also performed in a variety of solo shows and collaborations at Latitude Festival, Tate Modern, Vogue Fabrics, Southbank Centre, Whitechapel Gallery, Old Vic Tunnels, King’s Head Theatre and Camden People’s Theatre amongst others.

As a producer, he currently works with Chris Goode and Company, and together with Sally Rose, he runs Producer Gathering which proposes to be a point of network, mapping and sharing of resources for producers of all backgrounds. This initiative came from a two-year-long producer residency at the Live Art Development Agency.

Company Devised and performed by Xavier De Sousa Dramaturgy by Deborah Pearson and Ira Brand Produced by Sally Rose Lighting by Marty Langthorne Sound by George Percy Design by Lucky Bert Tour Produced by Toni Lewis http://ift.tt/1PiW2dp | @xavinisms | #POSTtour Running time: 90 minutes | Age restriction: All ages

Listings information Toynbee Studios 28 Commercial Street, London, E1 6AB Saturday 11 November 2017 | 7.30pm Sunday 12 November 2017 | 2.30pm £8 (£6) (post show migrant takeover party included in ticket price) Book tickets online at: www.artsadmin.co.uk

Marlborough Theatre 4 Prince’s Street, Brighton BN2 1RD Friday 24 November 2017 7.30pm | £9.50 (£7.50) (FREE entry to migrant takeover party with or without POST ticket) Box office: 01273 273 870 | http://ift.tt/1OvbEQ7

The Lighthouse 21 Kingland Road, Poole BH15 1UG Tuesday 13 February 2018 7.30pm | £12 (£10) Box office: 01202 280000 | http://ift.tt/1BF4o7x

The Continental South Meadow Lane, Preston, Lancashire PR1 8JP Wednesday 14 March 2018 TBC | £TBC Box office: 01772 499425 | http://ift.tt/2geg53T

Derby Theatre 15 Theatre Walk, St Peter’s Quarter, Derby, DE1 2NF Friday 16 March 2018 7.30pm | £10 (£8) Box office: 01332 59 39 39 | http://ift.tt/1VMXWc5

Colchester Arts Centre Church Street, Colchester, Essex, CO1 1NF Wednesday 4 April 2018 7.30pm | Pay What You Want Box office: 01206 500900 | http://ift.tt/2gfYDMm

Live Art Bistro Regent Street, Leeds, LS27QA Friday 6 April 2018 8pm | £6/8 Box office: Book online at www.liveartleeds.com

Norwich Arts Centre St. Benedict’s Street, Norwich, NR2 4PG Thursday 12 April 2018 7.30pm | Pay What You Want Box office: 01603 660352 | http://ift.tt/1meQrMi

Chapter Arts Centre Market Road, Canton, Cardiff, CF5 1QE Saturday 14 April 2018 TBC | TBC Box office: 029 2030 4400 | www.chapter.org

Trinity Centre Trinity Road, Bristol, BS2 0NW Friday 20 April 2018 TBC | £TBC Box office: 0117 935 1200 | www.3ca.org.uk

Rich Mix 35-47 Bethnal Green Road, London, E1 6LA Saturday 28 April 2018 TBC | £TBC Box office: 020 7613 7498 | www.richmix.org.uk

FORM – Blackpool Wednesday 16 May 2018 TBC | £TBC Box office: TBC

http://ift.tt/2geg7sx LondonTheatre1.com

[nous-sommes-folklore]

[nous-sommes-folklore]

[xavierdesousaofficial]

QUEERINGBORDERS

A new series of interviews and chats with queer migrant artists, curated by Xavier de Sousa and produced by Foreign Actions and performingborders.

‘queeringborders’ will be published every month as both a vlog and a podcast and will focus on contemporary queer artists who have migrated to new contexts and whose work is directly influenced by that experience.

Taking the approach of a conversation between host and guest, the series aims to be a point of connection and representation of the various layers of the artists' practice, research and thinking through the lens of their migrant and queer identities.

INTRODUCTION TO THE SERIES by Xavier de Sousa

VOL. 1 Marikiscrycrycry (a.k.a. Malik Nashad Sharpe)

VOL. 2 Greg Wohead

VOL. 3 Sebastian Hau-Walker

VOL. 4 Rachael Young

VOL. 5 Tarik Elmoutawakil

VOL. 6 Copenhagen Landscapes

KEEP UP WITH UPDATES:

Sign up to the performingborders podcast here