These are the five themes which thread through most THIS IS WHAT I WANT activity.
- Performance pieces which consider desire as a socio-political force What ways does desire intersect with the economy? Does integral desire confound capitalism? How does privilege affect our experience of desire? How can we manage the significance of our bodies and the values that are projected into/away from them?: Chase Joynt, Monique Jenkinson (AKA Fauxnique), Diamanda Kallas, Tessa Wills, Annie Danger.
- Rupturing the line between private and public in performance Where is a generative space between internal and external worlds in these performances? What happens if we disrupt these private and public boundaries, or stage the disruption of them?: Rafael Esparza, Eve Minax, Mica Sigourney, Tessa Wills
- Investigation of radical sex as fertilization of/inspiration for/sustenance of the (performative) body How are sexual somatics and the embodied experience of desire informing performers’ bodies and their practice?: Annie Danger,Sara Kraft, Eve Minax.
- Historic/geographic contextualization What is the history of the intersection of radical sex and radical performance in the Bay Area? What oral histories should we know about?! What are comparative scenes in other places?: Keith Hennessey, Annie Sprinkle, Carol Queen, Dino Dinko, Jesse Hewit, Felix Ruckert, Ernesto Soppranni.
Through the practice of this field, I’ve come to believe that to say what you want can be a formational (and vulnerable) act. It has a relationship to identity in private and public that has both personal and social significance. It can confound expectations (both your own and others’) as it creates new ones: undoing, writing and rewriting assumptions on many levels. It is an activity motivated with promise, passion and necessity. And when it’s real, it’s often a risk.
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