Open Call for ROYAL TRASH

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DEADLINE: SATURDAY 18 MARCH 2017
OPEN CALL FOR DEEP TRASH: ROYAL TRASH

More information here.

“We are now accepting proposals for a new episode of Deep Trash, the unique multi-disciplinary exhibition and performance club night in London.

Calling for performances, videos and artworks to be shown on Saturday 29 April 2017 at the Bethnal Green Working Men’s Club, London. We accept proposals by artists of any artistic background and nationality. We are also keen to hear from writers and academics responding to the call either in written form (theory and cross-genre) or through a performative lecture.

For the next 3 episodes of Deep Trash, we are delighted to have the support of the Department of Drama at Queen Mary University (London) – one of the leading research centres for performance and drama across the UK – who will host our symposium on Thursday 27 April 2017 entitled ‘Power, Subcultures & Queer Stages’ with a keynote talk by Dr. Shaun Cole, fashion historian, curator and writer. Our headline artist for the live art night will be the one and only “Un-Royal Variety” Star Jonny Woo.

This call mainly looks at the relations & tensions between subcultures & high society, state & monarchy, class & sexual expressions, empires and colonialism. We welcome proposals at the intersections of queer, feminist, postcolonial discourses or artistic frameworks.

This event’s applications may include, respond to, be affected by, but not restricted to:

– (Un)making the Empire: examining the social construction of Whiteness.
– A cabinet of curiosities: colonialist and patriarchal spectacles re-imagined.
– Contemporary takes on Victorian literature & class discourses.
– Kings and Queens: royalty and drag culture.
– Royal Scandals: revival and re-appropriation of Royal chronicles.
– Dancefloors, podiums & other queer stages: sub- and counter-cultures at the club.
– ‘Jubilee’: Punk & Anarchy as a resistance to monarchy.
– Aristocrazy: middle/upper class Bohemia and extravagance.
– Camp: style, subcultures and sexual politics.
– ‘I want a Dyke for President’: counter-actions, anti-heroes and alternative role models
– Rulers & Responsibility: eco-feminist critiques of Earth Crimes.
– The Golden Cage: female domesticity and oppression in the house, the castle or the Harem.
– Vajazzles, Golden Showers, Royal Albert and Pearl Necklaces: Royal Slang & Sexual PracticesOrientalism and Occidentalism: Art as social distortion.
– ‘Let them eat cake’: inequalities between the people and the monarchy.
– Waacking and Voguing: the relation of dance and dance spaces to the queer community.
– Oligarchy, kleptocracy and plutocracy: critiques of wealth and state corruption.
– Non-noble entities of wealth and power, such as mafia, “nouveau riches”, yuppies, socialites and media personalities.
– Sex and power in Dynasty and contemporary soap operas.
– An Un-Royal Variety: subverting the canon of mainstream culture.

To apply please follow the link: http://www.cuntemporary.org/open-call-deep-trash-royal-trash

The programme is supported using public funding by Arts Council England.”

For further information:
CUNTemporary
Arts | Feminism | Queer
email: info@cuntemporary.org
web: http://www.cuntemporary.org

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Caribbean Queer Visualities & Transmission Gallery, Glasgow

Another interesting event, this time in Glasgow (thanks for this one, Gesa!). Official information here, Facebook here.

Location : Transmission
Date : Saturday, 18 February – Saturday, 25 March
Time : 11am-5pm/Tues-Sat

Transmission is pleased to be hosting the Small Axe-curated exhibition, Caribbean Queer Visualities in partnership with the British Council.

“One of the most remarkable developments in the Caribbean and its diaspora over the past two decades or so is the emergence of a generation of young visual artists working in various media (paint, film, performance) who have been transforming Caribbean visual practice, perhaps even Caribbean visual culture.

Importantly these younger artists did not grow up in the “aftermaths of sovereignty” so much as in the aftermaths of sovereignty’s aftermaths. They grow up in a context in which the great narratives of sovereignty, once oppositional, once open to the adventure of a future-to-come, have congealed and ossified, and in doing so disclose more and more their own modes of exclusion, marginalization, repression, and intolerance. And as the old anti-systemic movements for social and political change became installed in power in the new states of the region they stultified into new modes of orthodoxy, into their own terrified normativities, anxiously policing the boundaries of identity and community, the expressions of personhood and belonging, of sex and pleasure.

These are precisely themes that preoccupy this younger generation, and that provoke and illuminate the domain we call Caribbean queer visuality.”

David Scott

Director, The Small Axe Project

ARTISTS

Ewan Atkinson (Barbados)

Jean-Ulrick Désert (Haiti/Germany)

Richard Fung (Trinidad/Canada)

Andil Gosine (Trinidad/Canada)

Nadia Huggins (St.Vincent & the Grenadines)

Leasho Johnson (Jamaica)

Charl Landvreugd (Suriname/Netherlands)

Kareem Mortimer (Bahamas)

Ebony G. Patterson (Jamaica)

Jorge Pineda (Dominican Republic)

Curated and coordinated by:

David Scott, Columbia University

Erica James, Yale University
Nijah Cunningham, Princeton University

Caribbean Queer Visualities was first shown at the Outburst Queer Arts Festival in Belfast.

‘Blow up my town’ @ Market Gallery, Glasgow

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Image: Bhanu Kapil, Performance for Ban at Pratt Institute, New York, April, 2013

An interesting discussion is taking place in Glasgow on Sunday 22 January 2017. Entitled “Blow up my town: Perspectives on self-abolition, the body, and transgression”, it is a one-off “reading/group/discussion” that takes inspiration from artists and writers such as Chantal Akerman, Bhanu Kapil, Jack Halberstam, Nathaniel Mackey, Pipilotti Rist and Marina Vishmidt. They seem to be fully booked, but the website already has some interesting materials that may be interesting to readers. I’ve been told that the website will continue as a resource – and hopefully as a platform for future events!

‘We are the scissor sisters… and so are you?’

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Image source: dapd

It is carnival season all over the world (at least for another few hours – happy pancake day!) and there appear to be as many carnival traditions as there are countries, cities or even carnival associations. Although carnival has its origins in ancient culture – examples named include festivals in Mesopotamia of 5000 years ago and the Roman ‘Saturnalia’ – it is most closely associated with Catholicism and the time leading up to lent in our times. In Germany, too, people are celebrating carnival.

Few people outside of Germany know that many Germans spend months (drunk) in the streets (at subzero temperatures), in festival halls or glued to the television looking at grotesque floats and listening to the congregations of ‘idiot’ or jester parliaments (I mean the carnival ones). Every year, around 2 billion euros are spent on costumes, parties and float building materials. Officially, carnival season starts on 11 November at 11:11 hrs – in other countries such as Britain a time of silent remembrance – and finishes on Fat Tuesday. The the biggest and most mediatised days in Germany are ‘Rosenmontag’ (Rose/Shrove Monday), the climax of the season, and Weiberfastnacht (the women’s day of the carnival on ‘Dirty Thursday’/Shrove Thursday). On Weiberfastnacht, women have a special licence for outrageous and ‘unwomanly’ behaviour, which include the performance of symbolic castration acts, such as cutting off men’s ties (my father still mourns the loss of a particularly cherished tie, which he accidentally wore on the wrong day of the year). The media tends to show groups of costumed, giggling and slightly inebriated women wielding large metal, cardboard or foam scissors). It is this spectacle that caught my interest after nearly two decades abroad, which had sufficiently ‘defamiliarised’ this event for me.

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Image source: Der Stern

So, how come we have a ‘women’s day’ in German carnival? When was it put in place? What were women’s roles in German carnival over the ages? Looking through academic literature, newspaper articles and blog posts on the subject, an interesting picture of ‘top down’ and ‘bottom up’ initiated changes emerges. According to medieval historians, German carnival aka ‘legalised anarchy’ has always been a man’s business. Women’s roles in carnival were traditionally taken by men, especially the ‘virgin’ that forms part of the Cologne carnival ‘trifolium’ of peasant, prince and virgin. Cologne has a special position in German carnival, also for women. A big metropolis in the Middle Ages and a city that has defined itself through carnival for two thousand years, Cologne has always been subject to different rules. Not only did it have the most lavish carnival festivities, but these also included women, who wielded more economic power than in other places. While not trusted with important functions in the carnival parliament, they were allowed to join the ‘less serious’ aspects.

The elevated status of women in Cologne did not lead to the institutionalisation of a ‘Women’s Day’ in carnival, however. According to this article (in English) it was a group of disgruntled washerwomen in the Rhine area who were understandably unhappy that the men were off partying while they had to take care of the dirty laundry. Storming the townhall of Beuel and taking hold of the town’s keys – symbol of the mayor’s power to reign – they revolted and established a women’s carnival committee. (I would be interested to hear more about how that worked in detail…) This local revolt has become regarded as the event which started the ‘Weiberfastnacht’ idea and continues to be celebrated even in other places where women continue to storm town halls in solidarity. Apparently, the custom of cutting off men’s ties did not start until the relocation of the West German capital to Bonn, where secretaries started challenging the ministers’ power during carnival season.

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Image source: op-online.de

Yet the washerwomen’s intervention was not the only one in German women’s carnival history. Unsurprisingly, major changes occurred during the reign of the National Socialists and their ‘Strength Through Joy’ programme. Of all eras, it was under Nazi leadership that more women were incorporated into the carnival. On the whole, the Nazis tried to move carnival away from its Christian association and towards a Germanic ‘heathen’ and patriotic interpretation. Carnival was to be centralised and cleansed of regional dialects and characteristics. This loss of local identity was to be compensated by generating a sense of unity through antisemitism and hatred towards other countries. Christian symbols, including many traditional costumes, were to be purged, too, from the carnival repertoire. As Die Welt reports, some carnival associations were so thorough in their acts of purification, that people started to look too normal and ‘German’ in their clothing, and parades became criticised for blurring the boundaries between ‘idiot’ and ‘everyday life’. (The sentiment that carnival has become too normative is still felt by many ‘non-normative’ groups and has, amongst other events and critiques, led to the formation of Cologne’s ‘alternative carnival’.)

The enforcement of normativity went further. While being wildly enthusiastic about the potential of carnival as mass seduction – to represent and amplify a Germanic cultural community – the Nazis were also horrified by the criticism, anarchism, effeminacy and lewdness that were inseparately linked with the festivities. Eroticism, in particular, was deemed ‘un-German’ and diagnosed as Jewish corruption. The first thing that had to go were men in dresses. The ‘virgin’ could no longer be portrayed by a man and had to be a ‘real woman’, elected to embody the Nazi ideal. The last male ‘virgin’, who went through the streets of Cologne in 1935, was both cheered (by the traditionalists) and booed (by the NS party members). Here is a poster introducing the first female ‘virgin’, taken from a recent article German newspaper Die Welt entitled ‘The Nazi fear of gay virgins’. (Now that’s some title!). I am quite surprised that the lady wasn’t blond…

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‘Paula I’, the article tells us, was received enthusiastically by the crowds – at least according to Nazi propaganda, but probably in reality, too. Although a myth of a 1935 ‘Narrenrevolte’, an anti-Nazi jester plot, exists, authors of a book on Hitler and carnival found the protest to be constructed by carnival officials to mask their Nazi activities (documents of actual goings-on were found destroyed). According to current evidence, the ‘revolting’ high jesters merely desired more power and subsequently obliged in the de-queering and ‘proper feminisation’ of carnival. After all, carnival had just restarted and gained state support after about two decades of dismissal and great poverty, so the carnival revival was something to be preserved. Despite the dangers, protests did occur, and it seems as if women themselves were not comfortable with this top down role-change. Still excluded from the all male carnival societies, they were given an awkward representative function.

The other thing we know is that the female carnival virgin was the first novelty to disappear from Cologne carnival after the war. Men re-asserted this role (despite the vast surplus of women) and still carry it today. The only measure of Nazi ‘straightening’ that remained was the female ‘Tanzmariechen’ – a female soldier who dances in cute, revealing 18th century style uniforms. Traditionally, this ‘dancing Mary’ was also portrayed by a man – performing parodies of military discipline by swinging his legs can-can style or otherwise inappropriately (you can see the dance of a male Tanzmariechen in this documentary from 21mins24). Today, the Tanzmariechen (or Funkenmariechen) has less comical and more artistic merit, simultaneously sanitising and re-eroticising the role’s origins in the figure of the (female) sutler, a military  (adult/child) prostitute, for the disciplined heterosexual man. Still, male Tanzmariechen have not died out entirely, and ‘gender confusion’, initiated by both sexes, remains an all-present feature.

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Multiple ‘confusions’ at the author’s local carnival (feel free add your own caption below)

After the war, the idea of the Weiberfastnacht continued to gain more widespread support and was finally instated as a fixture of German carnival. While still a very male domain, today’s carnival is seeing women’s societies, conferences and prominent female carnival poets/singers. The change in status, as during previous ages, appears to have less to do with the inherent permissive, performative and/or visceral nature of carnival, as many social theorists claim, but with women’s economic power. Following carnival caricature mode, one could say: in top down ‘feminisation’, women are expected to perform their ‘traditional’ role for male convenience, whereas in bottom up feminism, women chose to be jolly, scissor swinging maniacs. This mechanism does not only seem to hold true for carnival, but for other areas of women’s struggle as well. A recent essay by Despina Stratigakos on female architects at the turn of the last century stresses a similar point. When women built networks and pooled resources, they were able to compete more closely on equal terms. When women’s equality was introduced by the Weimar Republic government, women failed to challenge the status quo, because many of them felt that they no longer had to keep on fighting for equality. Another example can be found in the activities of the Barefoot College, which first tackles women’s education and economic power to assist bottom up struggle (the documentary Solar Mamas is well worth watching). As a German carnival historian put it (at the end of this documentary), carnival is not really a reversal of society, but a mirror. It is up to us to look at it, laugh at the absurdity of the situation and take action.