SHOW FULL TEXT
Into your work. Well , as I have black person I’m really invested in the dialogs between black and trans bodies and though I’m a light skinned person had been realized my entire life by virtue of being part of first the dance world and then performance world and as a , as a professor as well and university spaces that I occupy body and the people in my life are as well . And so I think there’s a lot of important conversations . We need to continue to have because of the attacks on on my people . The attacks on black people . The last week’s declarations against trans intersex non binary gender fluid other their bodies . I feel like it’s an opportune moment to have dialogs beyond the normalizing tendencies towards gestures towards humanity that we don’t all have access to and so I’m I’m interested in leering blackness and tenderness in conversation with other artists and scholars that I adore , and trying to understand what my offering is there .
I wonder how you do that as a dancer you have to have it seems to me. Absolute confidence in your body and absolute confidence and the willingness and ability to exhibit your body as as as an exhibit and as a work of art , and then you’re living in a society that has told you , things about your body that that would put anyone in fear . It’s an existential threat . How do you manage that both .
My work over the last year and this piece it elsewhere is also exploring the idea of mourning morning lack both this lack of access to humanity and in the context of Chan’s bodies morning none belonging to a binary and those of us who don’t want to. What does it mean to live in a feminized body as a mask presenting person as American presenting person of color where people want me to hit people weren’t my people dead and so rather than working from a space of victimhood working from a space of being warriors raid and being our bodies are living testimonies to other ways of of existence and we hold that space together and so I’m invested in creating spaces that that hold the hold where my own body feels held where can invite their bodies into feeling more human .
We’ve transitioned had been making a transition from pure dance to true performance art. So talk about your art and what it looks like and how you present some of these ideas and embody them .
So wait for many years. The performance artist after childhood Korean classical ballet and so I had my body became very radicalized in the process and so now I I combine installation work and very interested in working with with images of almost such an image-saturated society and also how the body is moving poetry and so I I play with movement now not from hyper-choreographed body but also acknowledging that my body is very trained and people aren’t used to sing trans bodies move yeah and move in ways we we feel erotic and and Arjen Lord erotic ecstasy and joy and grief and pleasure and pain . And so I use my body as an extension of the social bodies and the geographic space that were to move .
Can you be in a position to express your art from from a purely inward view. In other words , expressing the sense of who you are when you drop into yourself in an environment where you’re always reminded that other ideas that you are the victim of another gays , whether you like it or not , how , what what what part of your performance reflects that . The fact that I must be pay attention to this other gays and that the real power in peace in my life comes from . The truth of who I am .
Mr. question I think performance taught me that as they reintegrate performance work as a move I’ve learned how to move from , and it’s an initiation that comes internally , some movement comes from and there eye movement history is like Bhutto and other movement genealogies to understand that we can generate movement from the inside. So rather than focusing on esthetically what do I look like Ray moving from what I feel how external eyes that feeling . And then what it looks like . So then I take the case back so people can choose to look upon me however they want but they don’t own that anymore .
That’s a new target because I know you’ve also taken over one of the rooms at the museum here others southern constellation fellow this time around described with the room is going to look.
By so I leering onto and Williams is work where he had a piece from 2016 as a southern constellations fellow called because they were unicorns because they believed in you know occurrence which was an elaboration of Michelle Alexander’s book The New Jim Crow thinking about the war against black bodies , especially with the introduction of drugs in the ’80s into particular communities and also in deconstructing this very romanticized idea of an America great and leering onto that the war against a trans bodies and black Chan’s bodies and turns bodies of color and so Antoine Williams has a unicorn figure made out of army surplus and some sticks hanging from the back wall. It’s a very small room and he layered images of white women . Post-war era time magazine images and heat blue on the Wall St blue being the blue walls in the south to innovate spirits to exit to convince them that there’s there’s a sky and you can leave and I have my own ancestral practice and so I’m coming into conversation with my own trans ancestors clear ancestors in the space that is in the space of the South , so I’ve added Meares continuing to add layers of architectural and history places and I’ll be moving to music by a sweet honey in the rock and sounds of train tracks from Greensboro in conceiving of this rotational history that’s not linear or progressive , but actually deeply regressive at many points in time as we can see now and how we are ladies we are complicated and how bodies because of who we are , we can see , we can feel these spaces in ways other bodies may not be able to .
The great work. I want to thank you both for being on our program . Daniel B Coleman as a trans-feminist artist and scholar also assistant professor and Women’s and Gender Studies at UNC Greensboro Wallace is a Baltimore-based street photographer activist and organizer and they’re both current southern constellations fellows and elsewhere museum . Thank you so much .
You catch Daniels’ performance of his installation and she has worked in Greensboro is first Friday event November second 6 to 9 and of course we’ve got all that at our website stated things.org the program produced by Anita Rau Laura palace or Dana Terry and Amanda the Magners Robin cobblers are technical director with help from Alberto ski and John Hardy today North Carolina Public Radio’s broadcast service of the University of North Carolina at Chapel Hill. I’m Frank Stasio once again . The music of Laura Jane Vincent .
This is W UNC FM 81-0 Chapel Hill.
At one o’clock here and now is next support comes from we’ve really Hematology-Oncology providing personalized comprehensive cancer care including clinical trials molecular tumor analysis and survivor programs in an independent non-hospital setting in Kerry since 24 Weaver leak Hematology-Oncology come the Persian carpet oriental rug gallery celebrating its 42nd anniversary inventory event through November 30 featuring our traditional and contemporary handmade rugs information Persian carpet.com go triangle hosting meetings this Saturday in November 5th in 8th. How did community feedback sheep . The light rail systems designed details that go triangle.org .
This is North Carolina Public Radio.
Funding for here and now comes from math works creators of Matt lad and semi-link software accelerating the pace of engineering and science learn more and map works.com , from NPR and WBUR Boston I’m Jeremy Hobson and Robin Young.