Lion’s Jaw and MIT Performing proudly present
QUEER FUTURES: re-orientations for performance. queer arrivals and pursuits through and after the pandemic.

Three evenings of discussions hosted by Lion’s Jaw and facilitated by Thomas F. DeFrantz featuring;
zavé martohardjono
Eroca Nichols
Joseph M. Pierce
jumatau poe
jess pretty
and Joy Mariama Smith

DAY ONE 10/8 5pm EST:
Thomas F. DeFrantz | facilitator
jess pretty
Eroca Nicols

DAY TWO 10/9 5pm EST:
Thomas F. DeFrantz | facilitator
Joseph M. Pierce
zavé martohardjono

DAY THREE 10/10 3pm EST:
Thomas F. DeFrantz | facilitator
Joy Mariama Smith
jumatatu poe

ASL service provided at each session.

Suggested donation of $5-25 payable to (paypal) lionsjaw@gmail.com
[nobody will be turned away due to lack of funds]
Donations will go 50% 50% to the Marsha P. Johnson Institute and the NDN Covid-19 Response Project [receipts will be posted] This event is made possible in part through a Live Arts Boston Grant via the Boston Foundation

ZOOM LINK : TBA

PANELISTS

Thomas F. DeFrantz

Thomas F. DeFrantz is Chair of African and African American Studies and Professor of Dance, and Theater Studies at Duke University. He is past-president of the Society of Dance History Scholars, an international organization that advances the field of dance studies through research, publication, performance, and outreach to audiences across the arts, humanities, and social sciences. He is also the director of SLIPPAGE: Performance, Culture, Technology, a research group that explores emerging technology in live performance applications. He convenes the working group Black Performance Theory and the Collegium for African Diaspora Dance. His books include the edited volume Dancing Many Drums: Excavations in African American Dance (2002) and Dancing Revelations: Alvin Ailey’s Embodiment of African American Culture (2004) and Black Performance Theory co-edited with Anita Gonzalez.

jumatatu m. poe

I am a choreographer and performer based between Philadelphia and New York City who grew up dancing around the living room and at parties with my siblings and cousins. My early exposure to concert dance was through African dance and capoeira performances on California college campuses where my parents studied and worked, but I did not start formal dance training until college with Umfundalai, Kariamu Welsh’s contemporary African dance technique. My work continues to be influenced by various sources, including my foundations in those living rooms and parties, my early technical training in contemporary African dance, my continued study of contemporary dance and performance, and my recent sociological research of and technical training in J-setting with Donte Beacham. I produce dance and performance work with idiosynCrazy productions, a company I founded in 2008 and now co-direct with Shannon Murphy. Since 2012, I have been engaged in a shared, multi-tiered performance practice with NYC-based dance artist Jesse Zaritt. Previously, I have danced with Marianela Boán, Silvana Cardell, Emmanuelle Hunyh, Tania Isaac, Kun- Yang Lin, C. Kemal Nance, Marissa Perel, Leah Stein, Keith Thompson, Kate Watson-Wallace, Reggie Wilson, and Kariamu Welsh (as a member of Kariamu & Company). As a performer, I also collaborate with Merián Soto. I am an Assistant Professor of Dance at Swarthmore College.
My middle name is Mtafuta-Ukweli, which means “one who searches for the truth”.

jess pretty

jess pretty is on a quest for pleasure that transcends time and the spaces she claims to reside in. within her research she choreographs, performs, collaborates with other artists (will rawls, katie workum, cynthia oliver, leslie cuyjet, larissa velez-jackson, dianne mcintyre, jennifer monson and niall jones) and teaches her contemporaryTRAP class in new york city where she moved after receiving an mfa in dance and queer studies from the university of illinois at urbana champaign. her free time is filled curating methodologies for living past survival through being as unapologetically black as possible.

Joy Mariama Smith

Performance, installation, and movement artist and educator Joy Mariama Smith’s work focuses on issues related to visibility, projected identities, and self-representation in different contexts, and investigates the interplay between the body and its cultural, social, and physical environment. In their* dance, performances, and installations, they create spaces in which the distinction between spectator and participant becomes blurred and visitors are encouraged to reflect on the ways in which they deal with space. They teach at SNDO-School for New Dance Development, Academy of Theatre and Dance, Amsterdam. Their work has been performed internationally, including at Freedom of Movement, Stedelijk Museum, Amsterdam, 2018; If I Can’t Dance Edition VI – Event and Duration, Amsterdam, 2016; SoLow Festival, Philadelphia, 2015; and Ponderosa, Stolzenhagen, 2013. Smith lives and works in The Hague.

Eroca Nicols

Eroca Nicols is currently known as a dancer/choreographer/teacher, her multiplitous practice stems from a family of semi-mystical trailer people and years working as a janitor. They have a BFA in video/performance art and sculpture from California College of the Arts (formerly and Crafts.) Their teaching, dancing and training are deeply influenced in her continued study of ritual, biomechanics and Brazilian Jiu Jitsu.

zavé martohardjono

zavé martohardjono is interested in performance that spurs embodied healing and radical thinking as pathways to decolonizing and de-assimilating the body and contending with the political histories it carries. They have performed at the 92Y, Bemis Center for Contemporary Art, BAAD!, Bronx Museum of the Arts, Boston Center for the Arts, Center for Performance Research, EFA Project Space, El Museo del Barrio, Gibney Dance, HERE Arts, Issue Project Room, Movement Research, Storm King Art Center, Wendy’s Subway, the Wild Project, WOW Café Theater, and elsewhere. A 2019 Movement Research Artist-in-Residence, zavé participated in LMCC’s 2017-2018 Workspace Residency, the Bronx Museum’s BxMA Co-Lab Residency, Shandaken: Storm King, Gibney Work Up 3.0, and Chez Bushwick residency. zavé has worked in social justice for over a decade and organizes with artists of color through Potluck Project.

Joseph M. Pierce

Joseph M. Pierce is Associate Professor in the Department of Hispanic Languages and Literature at Stony Brook University. His research focuses on the intersections of kinship, gender, sexuality, and race in Latin America, 19th century literature and culture, queer studies, Indigenous studies, and hemispheric approaches to citizenship and belonging. He is the author of Argentine Intimacies: Queer Kinship in an Age of Splendor, 1890-1910 (SUNY Press, 2019) and co-editor of Políticas del amor: Derechos sexuales y escrituras disidentes en el Cono Sur (Cuarto Propio, 2018) as well as the forthcoming special issue of GLQ, “Queer/Cuir Américas: Translation, Decoloniality, and the Incommensurable.” His work has been published recently in Revista Hispánica ModernaCritical Ethnic StudiesThe Art Newspaper, and has also been featured in Indian Country Today. Along with SJ Norman (Koori, Wiradjuri descent) he is co-curator of the performance series Knowledge of Wounds. He is a citizen of the Cherokee Nation.