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NOT FESTIVAL: Schlundt Lecture - Thomas DeFrantz. Keith Hennessy.

Wednesday, February 28, 2018
  10:30 a.m.–9:30 p.m.


Location: Arts Building Performance Lab, ARTS 166. Dance Faculty Studio, ATHD 159. Screening Room, INTS 1128. Round Lab, INTS 1111.
  Parking Information

Category: Performance

Description:

DEPARTMENT OF DANCE

NOT FESTIVAL:
&everyone&nomadic&queer&artist&latino&immigrant&black&other&everyone&

Created by Luis Lara Malvacias / 3RD CLASS CITIZEN in cooperation with the
UC Riverside Department of Dance.
http://notfestival.ucr.edu/

The NOT FESTIVAL embraces the strange, the unconventional, the unaccountable and the unfamiliar. It will pursue a deeper investigation of the cultural, aesthetic and social complexities embedded in the word “Alterity,” which in itself defies a simple definition: it equally defines both difference and otherness.

February 24 - March 3, 2018
All events are free and open to the public, unless otherwise noted.
Reservations are required.

Created in 2003, the 3RD CLASS CITIZEN collective is constantly evolving and changing. The NOT FESTIVAL is a result of this evolution. As a kaleidoscopic, ephemeral, erratic and nomadic artistic object, the NOT FESTIVAL embraces the ideas of global artistic collaboration and the cross-cultural, interdisciplinary, DIY( Do It Yourself) attitudes. its inclusive nature allows it to move inside and outside of institutions and at the same time avoid the institutional restrictions. This political “object” aims to fight the standardized and systematized commodification of the arts. Thus, it is NOT a FESTIVAL.

SCHEDULE OF EVENTS (subject to change – updated Jan. 7, 2018)

FEB 28 • Wednesday

10:30 - 1:00 pm. Dance Faculty Studio, ATHD 159.  
Workshop with Thomas DeFrantz.
Making Queer Messes: Performance and Autobiography
A workshop on modes of making and unmaking queer lives in relation to public address, performance, memory, and aspiration. Participants construct strategies for making queer performances that intersect with identities of race, ethnicity, class, gender, location, and the failures to align these aspects of life.

2:30 - 4:00 pm. Screening Room, INTS 1128.  No reservations required.
Protests Songs. Video Projection.

5:00 - 6:30 pm. Symposium Room, INTS 1113.  
Annual Christena L. Schlundt Lecture with Thomas DeFrantz.
Lecture Performance: “White Privilege”

6:30 - 7:00 pm. Round Lab, INTS 1111.   
Short reception after Lecture Performance.

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8:00 pm. Performance Lab, ARTS 166.  • Admission fee
Performance: Keith Hennessy.
The final work is still TBD. Below are the descriptions of the two possible works to be presented.

Crotch (all the Joseph Beuys references in the world cannot heal the pain, confusion, regret, cruelty, betrayal or trauma…) (2008).

Crotch references the images and actions of artist Joseph Beuys. On the surface the work is about art, its histories and heroes. Deeper, a sadness grows, a queer melancholy. A song, a dance, a lecture, an image. Talking to the dead. Chaos through Play becomes Form.
Performance & installation by Keith Hennessy
Music: Emmy Lou Harris, Craig Armstrong, Teddy Thompson, Down River, Nirvana.
Crotch was awarded a 2009 Bessie, the New York Dance and Performance Award.

                    OR

Sink (2017).
Rants, dance, and ritual by Keith Hennessy

Sink’s approach to current politics waivers between punk and contemplative, transformative and fucked. It won’t be pretty most of the time. Hennessy is white, cis male, queer, immigrant/settler San Franciscan, anarchist, improviser, late 50s, broken, and pissed… all of which situate his dancing / imagination.

Costumes: Jack Davis, Nadine Jessen, Keith Hennessy
Music: Marc Kate others TBD
Performance, text, visuals: Keith Hennessy

Keith says, “Sink is a personal experiment… I’m feeling fragile and distracted and that’s partly structural. I’m responding to hate and terror, shame and paralysis, the will to survive competing against the urge to implode/explode. I’m reaching in new and old directions, dancing contemplatively, climbing dangerously, singing my guts out, asking too many questions at once: Is freedom a useful concept to motivate dancing? Can a performance be a spell of support for Syrian and Sudanese refugees or victims of fire, hurricane and government betrayal? Is there a non-harmful role for the white and male artist? In our need to create contexts for healing, care, and trauma relief, how can I defend artistic provocation or abstract formalism?”

• $12.50 General, $8.50 students, UCR alumni cardholders, senior citizens & children.
Buy Tickets Online:
https://red.vendini.com/ticket-software.html?t=tix&e=3f8631fbc92cd100b8a9b9e7e441dd5e
Parking: $5.50 in Lot 1 – no fee with UC permit.

TICKETS: (951) 827-4331
$12.50 General, $8.50 students, UCR alumni cardholders, senior citizens & children
Advance Tickets: available at the University Theatre Fine Arts Ticket Office, Wednesday - Friday, 10:00 am - 2:00 pm.
Walk-up Tickets: available at the ARTS Building Ticket Office, one hour before performances.

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Parking for free events: Complimentary permits are available at the Information Kiosk.
Information: (951) 827-3245  performingarts@ucr.edu  www.dance.ucr.edu

Photo: Keith Hennessey. Credit: Robbie Sweeny.



Open to: General Public
Admission: Entry Charge: $12.50 General, $8.50 students, UCR alumni cardholders, senior citizens & children.
Sponsor: Dance Department

Contact Information:
Kathy DeAtley
(951) 827-3245
performingarts@ucr.edu