Fri 26 Sep
  • Reading
    An old photograph of a group looking direct to camera


    Saidiya Hartman
    19:00–19:45 Fri 26 Sep
     / Tramway

    A socio-poetic reading on wayward communities - The wayward create upheavals, incite tumult. They come and go as they please; they are fugitive; they are in open rebellion against society.

  • Film
    B&W film still of a boy jumping from one roof to another, taken from below

    Killer of Sheep

    20:15–22:15 Fri 26 Sep
     / Tramway

    Killer of Sheep is an undisputed masterpiece of African-American filmmaking and one of the most poetic, perceptive dramas ever made about family and community.

  • Club
    Miss Prissy dances stretching her leg to her head in a room of onlookers

    Make a Way Out of No Way: Club

    MikeQ, Miss Prissy, Pony Zion, Kia Labeija
    23:00 Fri 26–03:00 Sat 27 Sep
     / Stereo

    Is it possible to dance our way out of the hardened stances and identity prisons we are locked in? A 4-hour MikeQ set and performances by three of the greatest performers of black working class dance in the USA.

Sat 27 Sep
  • Discussion
    A gloomy corridor

    Fugitivity and Waywardness

    Saidiya Hartman & Fred Moten
    14:00–15:30 Sat 27 Sep
     / Tramway

    An open conversation hosted by Saidiya Hartman and Fred Moten around ‘fugitivity’ and ‘waywardness’ and what it means to be in flight, excessive or ungovernable.

  • Screening and Discussion

    Touching the Imperceptible

    Arthur Jafa & Kara Keeling
    16:15–17:45 Sat 27 Sep
     / Tramway

    A performed filmic conversation on queer and black world making.

  • Performance
    A B&W shot of M Lamar prostrate and seemingly screaming

    Speculum Orum: Shackled to the Dead

    M Lamar
    19:00–20:15 Sat 27 Sep
     / Tramway

    A queer black operatic requiem for piano and voice that asks us to stay in the hold of the slave ship, that tries to understand the connection from the slave ship to the prison. 

  • Performance and Discussion
    Miss Prissy dances neck back and mouth open in a yell in front of a lift

    You've Never Seen Pain Expressed Like This

    Miss Prissy, Pony Zion, Kia Labeija, Danielle Goldman
    21:00–23:00 Sat 27 Sep
     / Tramway

    A freestyle performed conversation for bodies and voices –  with the Queen of Krump, the master of Vogue Femme Dramatics and the rising star of Vogue Women’s Performance.

Sun 28 Sep
  • Workshop
    Three women pose in front of a home made banner "Get the Body of a God"

    Dance Workshop

    Miss Prissy & Glasgow Open Dance School
    11:00–13:00 Sun 28 Sep
     / Tramway

    A movement-based workshop on Krump and the politics of how we teach, learn and listen with our bodies. Move with us!

  • Discussion
    Reina smiles as they hold a placard: "This is our life, this is our time"

    From Subjection to Subjection

    Tourmaline, Saidiya Hartman, Charlene Sinclair
    14:00–16:00 Sun 28 Sep
     / Tramway

    A conversation about the movement for prison abolition and refusing the logic of race and sex that underpins the criminalisation and mass incarceration of communities.

  • Film
    The sun coming through trees behind poet Hortense Spillers creates a lens flare

    Dreams are Colder than Death

    Arthur Jafa
    16:45–18:00 Sun 28 Sep
     / Tramway

    A landmark film on black life - a poetic filmic constellation of meditations, fragments and interviews on what it means to be black in America in the 21st century, from one of its great cinematographers.

  • Discussion
    A woman performs in a gold dress, a mid shot, walking down a ballroom runway


    Icon Ayana Christian, Michael Roberson, Tourmaline, Fred Moten, Charlene Sinclair
    19:00–21:15 Sun 28 Sep
     / Tramway

    A discussion about what is at stake in the performance of realness and the practice of passing, and how they are both acts of survival and resistance.

  • Performance and Reading

    Mutual Instruments

    Fred Moten & Miss Prissy
    22:00–22:30 Sun 28 Sep
     / Tramway

    Can our favourite Vegas-born poet of prophetic blackness and a South Central transmuter of social rage into beauty feel through each other?