We must never settle for that minimal transport; we must dream and enact new and better pleasures, other ways of being in the world, and ultimately new worlds … Queerness is essentially about the rejection of a here and now and an insistence on potentiality or concrete possibility for another world.
—José Esteban Muñoz
We identify with the term queering ritual in relation to a fluid heterogeneous attitude toward performance making and the practice and aesthetics of contemporary, multidisciplinary performance work. Queering ritual is also a lens in which to think through the composition of materials to create hybrid, subversive, augmented and indeterminate bodies, subjects, and territories. We consider the terms queering ritual as the structured recontextualising of pre-existing material. We propose queering as an expansive act and ritual as a return to an act through invocation, repetition, coded iteration, sacrifice, submission, custom, and rule formation. We consider the terms separately queering/ritual and together as a practice that embodies the form and content of a performance via the writing, shaping, and dramaturgy of a work.
Queering Ritual hosts 10 minute provocations in the forms or interforms of live performance, poetry, electronic writing, real-time media, film, participatory event, academic paper, experimental lecture, other.
The provocations were proposed with the term Queering Ritual in mind either together as a phrase, or separately Queering/Ritual. The provocations will be shared by those interested in performance making and/or composition/intertextual/intermedia practices and from both makers and theorists.
Provocations from: Fulla Abdul-Jabbar, Dr Kimberly Campanello, Amanda Couch, Crisis + Denial (Catherine Hoffman and Lesley Ewen), Cassandra Davis, Dr Louie Jenkins, Virginia Kennard, Dr Liesl King, Dr Alexandros Papadopoulos, Amble Skuse, Nathan Walker, Jessica WordenSee full programme and documentation
Lost in A Sea of Glass and Tin responds to David Lynch’s concept of ‘the eye of the duck’, particularly with regards to the shape and colour of performance, and echoes the energy and commitment of the super fans of a local seaside entertainer. We play with cross-fertilizations of art forms between Lynch’s noireesque cinema where he queers psychoanalysis and a distortion of gestures for the singing body explored by Christopher Roman’s queering the hermit.
Gary and Claire are influenced by cult cinema, dead icons, eremitic culture and dark emotional ballads. They tour internationally and in 2015 and 2017 they were in residency at the Defibrillator Gallery Chicago. Gary Winters is the Co-artistic Director of performance company Lone Twin and Claire Hind is an Associate Professor at York St John University. www.garyandclaire.com
Kjell Theøry is an Augmented Reality (AR) performance juxtaposing the historical narrative of gay computing pioneer Alan Turing’s theory of morphogenesis with algorithmic mutations of the prologue to Guillaume Apollinaire’s 1917 play, Les Mamelles de Tirésias (Tirésias’ Tits), a gender-fluid burlesque spectacle for which the author invented the word surrealism. In Apollinaire's play, a woman Theresa, transforms into the mythological male prophet, Tiresias, while her husband gives birth to 40,049 babies. In response to the male birthing scene in Apollinaire’s play, ATOM-r researched neo-pagan fertility rituals, including and adopting elements from the ‘Obby ‘Oss festival, a Cornish May Day parade.
ATOM-r is a provisional collective exploring 21st century embodiment through performance, language, and emerging technologies. The work is interdisciplinary and evolves through large-scale projects with long durations of research and practice that generate outputs across a range of platforms including performance, site specific installation, publication, film and objects. The collective ATOM-r is Mark Jeffery, Judd Morrissey, Justin Deschamps, Colin Roberson, Josh Hoglund and Christopher Knowlton. atom-r.com
Roberta Mock is Professor of Performance Studies and Director of the Doctoral College at the University of Plymouth where she also convenes the Performance. Experience. Presence (P.E.P) research group. Her research tends to revolve around gender, sexuality and the body, particularly in relation to live art and stand-up comedy performed by women.