We talk about: organizing artists, participatory performance, Dionysus in 69, audience co-creation of a work, how artists are both similar to and different from other workers, the conflicted class identity of artists, building artist power as a labor force, guaranteed basic income, Daniel reads a manifesto, and much more…

ABOUT THE ARTIST

Daniel Park is a theatre and performance artist, organizer for economic justice in the cultural sector, and the cooperative business manager and a worker-owner of Obvious Agency. Obvious Agency makes playable theatre, spreads democratic and cooperative practice, and organizes arts workers and workplaces. Their mission is: Play hard. Work together. Get free.

https://www.obvious-agency.com/

@ObviousAgencyCoop

RESOURCES

Ben Davis, 9.5 Theses on Art and Class

Lucy Lippard, The Pink Glass Swan: Upward and Downward Mobility in the Art World

Forum on Working Class Artists in America

Voices for Creative New YorkCultural Workers Organize

Dionysus in 69 (video) (Richard Schechner/Performance Group)

///

Are you an artist or arts organization interested in building power and/or in need of legal support?

Reach out to movementlaw.net

We talk about…stuttering as a teacher, "bending the clock" as a disability justice and a racial justice practice, sitting with the ethics of living on stolen land, engaging with the fraught archive of slavery, "opening time" on the page, wrestling with questions of voice in the archive, the healing work of putting the archive of slavery in conversation with an archive of plants, collaborating with ensemble, singing hymns, Saidiya Hartman, m. nourbeSe philip, and much more.

ABOUT THE ARTIST

Jerome Ellis describes themself as a “blk disabled animal, stutterer, and artist.” They were born in 1989 to Jamaican and Grenadian immigrants. Jerome lives in Tidewater, Virginia with their wife, ecologist-poet Luísa Black Ellis. Jerome has been awarded a United States Artists Fellowship, a Foundation for Contemporary Arts Grants to Artists Award, a Creative Capital Grant, and 2 MacDowell residency Fellowships. Ellis was in the 2024 Whitney Biennial as both a solo artist and as a member of the People Who Stutter Create collective. Jerome's debut album, The Clearing in 2021, which was accompanied by a book, is a score of stuttering and an act of resistance against performative fluency. Most recently, Jerome is the author of Aster of Ceremonies, a multi-layered book of poetry and music that came out in 2023 from Milkweed Editions. Aster of Ceremonies engages with the fraught archive of slavery by bringing the voices of "runaway slaves" into conversation with an archive of plant life. It weaves together practices of history, ecology, and disability justice and claims stuttering as a portal into a liberatory relationship to time.

www.jjjjjerome.com

@jjjjjeromeellis

Photo credit: Annie Forrest

SHOW NOTES

Jerome Ellis, “The Clearing: Music, Dysfluency, Blackness, and Time," Journal of Interdisciplinary Voice Studies, 5, no. 2 (2020)

Saidiya V. Hartman, Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America (New York: Oxford University Press, 1997)

Craig Dworkin, “The Stutter of Form,” in M. Perloff and C. Dworkin, eds., The Sound of Poetry / The Poetry of Sound (Chicago: The University of Chicago Press, 2009)

Robin Coste Lewis, The Race in Erasure, Portland Arts & Lectures, (April 20, 2016)

Fred Moten and Saidiya Hartman in conversation with J. Kameron Carter and Sarah Jane Cervenak, “The Black Outdoors,” Franklin Humanities Institute, Duke University, (September 23, 2016)

Christina Sharpe, In the Wake: On Blackness and Being (Durham: Duke University Press, 2016)

Ashon T. Crawley, Black Pentecostal Breath: The Aesthetics of Possibility (New York: Fordham University Press, 2017)

/////

Are you an artist in need of value-aligned legal support?

Reach out to Movement Law.

movementlaw.net

We talk about: attention as a material, the politics of audio description, queer abstraction, tuning ensemble in improvisation, avoiding saying "no" when directing, translating site-specific improvisation to a proscenium context, the difference between impulse and desire, refusal as a practice, making experimental dance with AI, and much more…

ABOUT THE ARTISTS

Rashaun Mitchell + Silas Riener's work involves the building of collaborative worlds through improvisational techniques, digital technologies, and material construction. They met as dancers in the Merce Cunningham Dance company and since 2010 they have created over 25 multidisciplinary dance works including site-responsive installations, concert dances, gallery performances and dances for film in venues such as the Brooklyn Academy of Music, Barbican Centre, REDCAT, The Walker Art Center, and MoMA/PS1. Throughout they have maintained a commitment to queer culture and aesthetics. Their partnership intentionally blurs authorship and maintains a deep commitment to collaboration with a diverse community of dancers, performers, artists and cultural institutions.

https://www.rashaunsilasdance.com/

@rashaun.silas

SHOW NOTES

Rashaun Mitchell, Silas Riener, and Claudia LaRocco, Already & Not Yet: Rashaun Mitchell and Silas Riener in Conversation with Claudia La Rocco, SFMOMA's Open Space, Nov. 7, 2019

Megan Metcalf, Future Formers, Former Futures, SFMOMA's Open Space, February 13, 2018

Ted Chiang, Why AI isn't going to Make Art, The New Yorker

Danielle Goldman, I Want to be Ready: Improvised Dance as a Freedom

Hope Mohr, Self and System, SFMOMA's Open Space, Oct. 24, 2019

Signals from the West: Bay Area Artists in Conversation with Merce Cunningham at 100

///

Are you an artist or arts organization in need of legal support or capacity-building? Reach out to Movement Law, dedicated to building power with artists and mission-driven organizations. ⁠⁠⁠⁠https://www.movementlaw.net/⁠