A poet, playwright and activist, Sanchez emerged as a seminal figure in the 1960s Black Arts Movement, writing in the name of black culture, civil rights and women’s liberation.
What does it mean to listen with the mind as well as the ears? A solo performance from the great avant-garde pianist.
The club as a community and a site for performed politics: deep/ queer house, vogue femme, lipsync and ballroom.
What would have happened in 1963 if someone from the voguing ball scene going on in Harlem had travelled downtown to perform alongside the early postmoderns at Judson Church?
Voguing, drag, clubbing, and the politics of communities making different performances of gender and sexuality visible.
A dialogical meeting of Baraka’s radical poetry and Grimes’ free jazz syncopation.
Can a collective performance of NourbeSe’s poem of black life as it exceeds containment enact alternative forms of selfhood that emerge in and out of African diasporic experience?
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
In many ways, this Episode is our attempt to engage with Fred’s incredible writing: with his proposal that all black performance (culture, politics, sexuality, identity, and blackness itself) is improvisation.
Our favourite Lancashire-born autodictact asks what’s political about the tension between the individual and the collective in free jazz.