PLATAFORMA 2020 is an encuentro and convergence spanning two-weeks between Sept. 20 - Oct. 4 consisting of workshops, grief parties, y pláticas más o menos performativas con pan y mantequilla y tu pan dulce favoritito con un cafecito! We will gather, center, strengthen, and amplify BIQTPOC artists, activists, healers, herbalists, thinkers, and movers based in the U.S. and internationally. PLATAFORMA seeks to plant seeds of hope by practicing radical vulnerability, generosity, and exchanging pleasure tactics that uplift our individual and collective queer AfroIndigenx ancestries and futurities.

 

This is about surrender and reclaiming agency.

 

This moment is the only one we really have.

 

PLATAFORMA’s first year is co-curated with the presence, attention, and laughter of Amelia Uzategui Bonilla, Javier-Stell Frésquez, and randy estrellx reyes.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

All events are sliding scale, NOTAFLOF.

DONATIONS CAN BE MADE TO:

 

Venmo: @PLATAFORMA2020

PayPal: randy.reyes05@gmail.com

Fiscal Sponsor: Dancers Group (Tax-Deductible)

NOTES ON ACCESSIBILITY:

Please note that this year due to budget constraints we are unable to provide ASL interpretation for any of our events, but we will be providing automated closed captioning for all events happening in English through specific software. Additionally, we are doing our best to provide Spanish translation / closed captioning in Spanish for some, but not all of the English-specific events due once again to our internal capacity.   

 

As a friendly reminder, PLATAFORMA 2020 centers BIQTPOC & POC voices, presences, and energy so please uphold this with us in every space that you enter. That being said, there are many events below that are open to all irrespective of your identity or positionality. 

 

We have demarcated the events as Open to All, Not Open to All, and then there are specific events that are BIQTPOC/POC ONLY. For more specific language, please read through the specific registration pages!!! 

OPENING CIRCLE | Tuning In From Infinite Space / a sonic rumination on coping

Sept. 20 | 12-2pm PST / 3pm - 5pm EST

Facilitated by: Amelia Uzategui Bonilla, Javier-Stell Frésquez  & randy reyes, | FT.  STEFA*

 

Register

Open to All.

TUNING IN. GROUNDING. ROOTING INTO THE EARTH. ABRIENDO PUERTXS y PORTALES INTERNXS. 

 

We invite you into the opening circle of PLATAFORMA 2020. We will gather and from there we will see what wants to emerge. 

 

Come as you are, even if you are weary. 

 

STEFA* will be sharing improvisational vocal loops, reading from affirming, life giving texts and singing songs that serve as medicine to cope during apocalyptikkk/ReBirthing times.

Hilando mi Autoconocimiento

e Historia

Sept. 22 (Pt. 1) | 10am - 1pm PST /

1pm - 4pm EST

Facilitadx por: Jennifer Birmania Bello

Register

Spanish Fluency Required!!!!

 

Not Open to All. 

La esencia de este espacio es sentir y escuchar al cuerpo propio y desde ahí compartir con otres acerca de nuestra historia, nuestros territorios o comunidades a las que sentimos pertenencia o arraigo. Vamos a usar ejercicios de atención plena, de escucha y tendremos la tarea creativa de encontrar otro lenguaje estético para compartir una parte de la historia que vive en nosotres. 

Para este taller/evento es importante que todxs hablen y entienden en español. Por favor traer un papel y lápiz o algo donde tomar notas, un vaso de agua, y escojan un lugar donde se sienten cómodas.

Grounding with The Griot: Grief is G.O.D. Workshop

Sept. 22 6pm-6:45 pm PST / 9pm-9:45pm EST

Facilitated by: Dr. Sina Soul

Register|

Open to All.

 

 

 

 

Dr. Sina will lead participants in a vocal ritual to transform pain into power.  We will use vowels & Hebrew incantations to sing our grief out and back into GAIA and the elements.

For a video with full description of the workshop click here.

Herbal Medicine for Heart Support

Sept. 23 | 11am - 12:30pm PST / 2pm - 3:30pm EST

Facilitated by: Berenice Dimas 

Register

Not Open to All.

In this interactive class, Berenice will share different ways to incorporate plant medicine to help support us with sadness and grief. We will discuss practices and recipes that can help nourish the heart and the spirit.

Noches de Chismes | put it all on the table

Sept. 24 | 8:30pm - 10:30pm PST / 11:30pm - 1:30am EST

Facilitated by: Amelia Uzategui Bonilla, Javier

Stell-Frésquez, y randy reyes

Register

Not Open to All.

 

 

 

 

 

 

We will gather and from there we will allow for what wants to emerge to emerge. Speaking our truths from our heart’s center.

Bienvenidxs al Grief Party

 

Sept. 25 | 5pm-7:30pm PST / 8:30pm - 10:30pm EST

 Facilitated by: randy reyes (w/ the support of Chibueze Crouch) 

Register  | LIMITED CAPACITY!!!

Not Open to All.

randy esta ARTA de la vida so it’s time to throw a fiesta and let it all out and air it all out to make space for the new to arise, arrive, and emerge. Dress up for the occasion and bring your full selves to this session. We will  commune, question, and center grief, rage, pleasure, celebration, and shedding. What do you need to outgrow, what needs to be left behind, what can be integrated, alone and together?  

Please make sure you have paper, writing utensils, water, an additional water vessel, comfortable clothing, object(s) that means something important to you, and an object that you are ok with releasing / offering to the earth and if you can manage it a small white candle.

DJ Sets by Madre Gitana y Ori Diwata 

Sept. 25 | 8:30pm - 11:30pm PST / 11:30pm - 2:30am EST

Stephanie Hewett aka Madre Gitana

Ori Diwata aka jose e. abad

Register

Open to All.

 

Suena la Alarma: Madre Gitana guides your body through dark, syncopated depths of somatic release as she provides underground sounds from around the globe.

Ori Diwata's imaginal disc(o) is a sonic meditation on emergence. What potentialities exist when we yield to our multiplicity and sink into our wholeness? This offering will feature a visual project created by Peekaboo (@peeka.true) and lighting design by Grísel Torres (@ggfreeeq).

Rest + Refuge: Movement Practice

Sept. 26 | 10am-12pm PST / 1pm-3pm EST

Facilitated by: Rosy Simas

Register| LIMITED CAPACITY!

For BIQTPOC/POC folks ONLY. 

 

 

 

 

 

Based on Rosy’s creative practice, this workshop is intended to create space for refuge and rest – for the body, the heart, the mind, and spirit. We will move, breathe, hear, see, and practice deep listening to ourselves and our environment.

This intensive will be presented via Zoom. You do not need to have your video on to participate. Rosy only asks that you be on time, mute yourself when you are not speaking, and take care of yourself during the movement and discussions.

Please participate in a space you can move in freely that is minimally 6×6. Please nourish yourself by having water and any nutrition you need nearby. Please wear comfortable clothing.

Experiments in Embodied Self-Accountability 

Sept 26 |  2-4pm PST / 5-7pm EST 

Facilitated by: Daria Garina

Register| LIMITED CAPACITY!

For BIQTPOC folks ONLY.

What does it feel like to show up as your highest self?

What does it feel like to take accountability and make amends?

How do we embody Transformative Justice?

 

Bring a pen/paper, water, and personal intention you want to cultivate through our experiment.

If possible, dial in from a private indoor or outdoor space with a bit of room to move about.

 

Please contact daria33@gmail.com with access needs asap.

MACHA! Performance, audiovisuales y diálogo

Sept. 27 | 1-2pm PST / 4-5PM EST 

Facilitated by: Diego Urbina, Luz Zenaida Hualpa

Translator: Anaís Azul

Register

Open to all.

 

 

 

 

Compartir del proceso creativo audiovisual, performativo a través del diálogo sobre las migraciónes, género, identidad y tradiciones de Zaña, un pueblo de raíces Afro-Peruanas al norte del Perú.  Este evento será conducido en castellano. This event will be conducted in Spanish, but everyone is welcome!

Huellas Afroperuanas  

Sept. 27 | 2pm - 3:30pm PST / 5pm - 6:30pm EST

Facilitated by: Carmen Román and Pierr Padilla Vasquez

Register

This session will be facilitated bilingually.

 

Open to all.

This event features award-winning dance film “Herencia de un Pueblo” directed by Carmen Roman. Followed by a 45 minute Zapateo Afroperuano (Afro-Peruvian footwork) workshop led by Pierr Padilla and Carmen Roman. The Afro-Peruvian Zapateo (footwork) entails making music with your feet including combinations of stomps with the whole foot, with the ball of the foot, or with the heels. It also involves body percussion such as claps, pats on chest or legs. When the Spanish imposed a ban on drums, African descendants transformed the rhythms played on the drums to rhythms played with or on the body.

Seeking Refuge: Working with/without Cultural Institutions

WE HAVE CHOSEN TO BE STILL. 

 

THIS DISCUSSION IS CANCELED AND MAY RETURN IN ANOTHER ITERATION OF PLATAFORMA. 

 

 

 

 

What and who gets in our way? 

When to act and when to be still? 

 

We invite you to explore these questions for yourself and to bring your reflections to this conversation on sustainability, the structures we need, and what can be left behind.

In the wake of the national reckoning with anti-black racism, cultural institutions are beginning to recognize the role they play in creating barriers to entry for artists of color. But long before the statements of solidarity, many artists of color had already taken it upon themselves to form affinity groups. This discussion brings together two of these groups, existing in different iterations: the Artists of Color Council, operating under the organizational umbrella of Movement Research, and the independent collective The Hive. We'll center our conversation around these questions:

werqwerqwerq

Sept. 28 |  7-8:30pm PST / 10pm -11:30pm EST

 

Facilitated by: Nico Ortiz Maimon & Zoe Huey

Register

Open to all.

 

 

 

 

 

werqwerqwerq is a low-key / low-stakes night of sharing  short film-based works or written prose-poetics-ideas featuring BIQTPOC artists from the Bay Area, NYC, and beyond.

Noche de Chismes | Bottoms Up, an open plática on bottoming, versatile bottoms, power bottoms, and everything in between

Sept. 29 | 3-5pm PST / 6-8pm EST

Facilitated by: Juan Escalante y randy reyes

Register | LIMITED CAPACITY!

 

Open to all. 

randy esta ARTA de la vida so it’s time to throw a fiesta and let it all out and air it all out to make space for the new to arise, arrive, and emerge. Dress up for the occasion and bring your full selves to this session. We will  commune, question, and center grief, rage, pleasure, celebration, and shedding. What do you need to outgrow, what needs to be left behind, what can be integrated, alone and together?  

Please make sure you have paper, writing utensils, water, an additional water vessel, comfortable clothing, object(s) that means something important to you, and an object that you are ok with releasing / offering to the earth and if you can manage it a small white candle.

 

 

A loosely / tautly facilitated conversation by Juan y randy (and whoever else joins the space) where we will share / talk  openly about bottoming as a starting point and end with desires, questions, and entry-points into alternative forms of intimacy that don't rely solely on the penetrative. 

 

Please bring your questions, tea, drinks, and presence.

Hilando mi Autoconocimiento e Historia

Sept. 29 (Pt. 2) | 10am - 1pm PST / 1pm - 4pm EST 

Facilitadx por: Jennifer Birmania Bello

Register

Spanish Fluency Required.

 

Not Open to All.

La esencia de este espacio es sentir y escuchar al cuerpo propio y desde ahí compartir con otres acerca de nuestra historia, nuestros territorios o comunidades a las que sentimos pertenencia o arraigo. Vamos a usar ejercicios de atención plena, de escucha y tendremos la tarea creativa de encontrar otro lenguaje estético para compartir una parte de la historia que vive en nosotres.

Por favor traer un papel y lápiz o algo donde tomar notas, un vaso de agua, y que se sientan  cómodas en el lugar donde van estar.

S.Even. / 7-Spirit S.O.U.L 
Ancient Indigenous Holistic Identification & Resilience

Sept. 30 | 6:30pm - 7:47 pm PST / 9:30pm - 10:47pm EST

Facilitated by: Dr. Sina Soul

Register| LIMITED CAPACITY!

 

For BIQTPOC Folks ONLY.

 

 

An advanced workshop of trans stellar identity exploration that is part of Dr. Sina Soul's Indigenous curriculum to uplift BIQTPOC. It’s for reframing our particularities and even some of our psychological diagnoses in terms of blessings and annointings. Participants will be sent preparatory questions in advance of the workshop, so that you can dive deeper in person.  Look for the email with prep work. 
 

For a video with full description of the workshop click here.

 

ARTISTS’ TOOLS FOR ACTIVISM

Oct. 3 |  10-12PM PST / 1-3PM EST 

Facilitated by: Zwoisy Mears-Clarke

Register| SOLD OUT!!! 

Open to all.

 

If we take on Nina Simone's understanding of the artist's duty to be to reflect the times, artists remaining responsive to what's going on (especially problems like racism that pervade and violate each individual's psyche all the way to the social system itself) becomes a necessity. What skills and resources do we have or are developing as artists, as creative beings to shape and offer acts/sounds/movements/touch/etc. of solidarity, harm reduction, transformative justice, compassion, care, and anti-racism? Together we will investigate, exchange, and care for our artist tools.  

 

 

 

This proposal reflects where I am at, moving out of the discussion of privilege and victimhood and moving into figuring out what resources we have as artists and as each individual that are shareable as well as what skill sets we are building as artists to support how we want to relate to social justice issues. This connects to the action of supporting marginalized communities/people within our artistic work as well as our personal lives.

 

Remembering to Dream / Soñando Pa' Sanar / Dream Symbolary 

Oct. 2 | 4 - 5pm PST / 7pm - 8pm EST

Facilitated by: Chhoti Maa (aka Vreni M.C.)

Register | SOLD OUT!

For BIQTPOC folks only!

 

 

This circle is for BIQTPOC who are active dreamers or want to connect deeper with their night vision in this wake life and in the spirit world. 

We will have an intimate circle to talk about plants, techniques and tender advice to strengthen and clarify our individual and collective visions. 

You will need some drawing materials to begin your dream symbolary.

 

Real Talk # 1: Vectors of Adverse Desires

Oct. 2 | 8-9pm PST / 11pm - midnight EST

Choreographed & Performed by:

randy reyes

Register

Open to all.

 

 

bb, do you notice the things getting in your way? i touch myself first in order to re-member. viscosity through the body until I become the space itself. undoing shame by naming the shame directly. is watching porn bad? does something else exist in the underground of your desire? language drip drips dripping as you find pulsing pleasure practice partners on the dance floor. yearning for...myself? again and again.

 

13 Akb’al: twilighting time

Oct. 3 | 5:15pm - 7:53pm PST / 8:15pm - 10:53pm EST

Closed event.

 

To request a link to view the recording of this event, please email randy at corporealidades.sutiles@gmail.com after Oct. 3! Footage will be available for viewing between Oct. 4 - Oct. 23. 

13 Akb’al: twilighting time

 

a collective and participative offering* to the twilight, to each other, and towards the creation of autonomous and anticolonial places, from “high c, high sea,“ located on unceded Cahuilla, Tongva, Luiseño, and Serrano lands, and places all around...

 

*from each co-conspirator's place: offerings of movement, sound, word, and image to be shared with Akb’al, the twilight, on Oct 3rd and available for broader witnessing starting on Oct 4th.

Co-Conspirators:

1| Lukas Avendaño

2| Samuel Briseño-Jiménez

3| P. Don'Té Cuauhtemoc

4| Waunette Cullors

5| Tommi Hayes

6| Mike Madrigal

7| Fabiola Ochoa Torralba

8| .turay pastel

9| Javier Rabago Martínez

10| randy reyes

11| Almah LaVon Rice

12| Amelia Uzategui Bonilla

13| Talavai Denipah-Cook

14| Justin Morrison: Wizard of Zoom 

Co-Conspirators

Oxlaval Akb’al (Ixil; 13 Twilight): day-being in the Ixil calendar; the transition between light to dark

 

Xamal (Ixil; fire): messenger and witness-being

 

Tezcatl (Nahuatl; Obsidian Mirror): instrument of relational presence

 

taisha paggett: space-steward, interlocutor

Tohil Fidel Brito Bernal: fire-tender, kamawil-maker, interlocutor

María Regina Firmino-Castillo: bricoleur, interlocutor

and a constellation of co-conspirators…

 

 

 

 

 

For More Information regarding this body of work, please contact: mariafc@ucr.edu

Suena la Alarma: Madre Gitana guides your body through dark, syncopated depths of somatic release as she provides underground sounds from around the globe.

CÍRCULO DE CIERRE | FT.  Anaís Azul - My Voice, Our Earth

Sunday, Oct. 4 | 12 - 2pm PST / 3pm - 5pm EST

Facilitated by: Amelia Uzategui Bonilla, Javier Stell-Fresquez, y randy reyes Ft. Anaís Azul

Register

Open to all.

DJ Set by Madre Gitana y jose e. abad

Sept. 25 | 8:30pm - 10:30pm PST / 11:30pm - 1:30am EST

Stephanie Hewett aka Madre Gitana

 

 

 

 

We will gather and reflect on everyone’s experience in the festival, in a creative jam session. Your voice will up the resonance!

My Voice, Our Earth: In this workshop performance, Anaís Azul will share ways they use their voice as a tool for grounding and for learning how to give and receive.

ARTIST BIOGRAFIAS

Amelia Uzategui Bonilla

Amelia Uzategui Bonilla (she/they) curates interdisciplinary curriculum and performance highlighting decolonial and migrant perspectives. She is a student of anti-racist and liberation pedagogies. Born in Peru, and raised in California, they have collaborated with Anna Halprin, the Tamalpa Institute, Tino Sehgal, Marina Abramović, Luna Dance Institute, NAKA Dance Theater, and Cunamacué, Afro-Peruvian dance theater. They completed a BFA in Dance at the Juilliard School and an MA in Contemporary Dance Education at the Frankfurt University of Music and Performing Arts where they currently teach. During the COVID-19 Pandemic, Amelia co-founded Somatic Sauce, a digital platform disseminating vernacular knowledge from the African, Native and Latine diasporas. Writing on their research has been published in the Spring/Summer 2020 edition of Dancers’ Group “In Dance” magazine. Amelia is based in Frankfurt am Main, Germany and guest teaches regularly [Photo Credits: David Poertner]

 

Javier Stell-Frésquez

Javier Stell-Frésquez (Piru & Tigua Native American from El Paso, Texas; “she”/“he” pronouns) serves Indigenous communities of the Bay, with the BAAIT-S Two-Spirits Powwow. As a House Artist at Counterpulse SF, she co-presented and co-curated Weaving Spirits Two-Spirit Performance Festival with support from grants from the Rainin Foundation and the San Francisco Art Commision. She has life-long experience in many dance forms, including, more recently, Indigenous contemporary, vogue, and performance art.  He consults for various arts organizations and creative projects with skills amplified by a B.S. in Environmental Science with honors in Chican@ Studies from Stanford University. She also tours Mother the Verb internationally, and recently completed a multi-media dance-and-video-based performance project called Chaac & Yum [Photo Credits: Robbie Sweeney].

 

randy reyes

randy reyes (they/them) is a queer, AfroGuatemalan (with interrupted Mayan ancestry) choreographer, performance artist, and healer born in New Jersey (Lenape territory) and currently based in San Francisco (Ramaytush Ohlone, Yelamu territory).

 

reyes frames choreography as a process of excavation, as edging and incremental gesture, task as meditation; they activate their work using psychosomatic state werq, Qi energetics, contemporary dance, club dancing, textures of stickiness, and structures of improvisation. They love getting messy by conjuring choreographic rituals and casting spells within quotidian, natural, subliminal, and imaginary landscapes. Their performances open portals for divine and erotic intervention and becomes a bridge towards communing with their ancestral lineage whilst interrogating and shifting patterns of intergenerational trauma [Photo Credits: jose e. abad, Ariel Appel & Yvonne Portra].

STEFA*

STEFA* (they/them) is a vocalist, composer and performance based artist from Queens, NY. After studying euro-centric classical music for 20 years (Fiorello H. LaGuardia High School of Music & Art and Performing Arts ‘07, Central School of Speech and Drama ‘10) their current practice has them creating sonic and visual works around their personal journey of decolonization and collective liberation. Pairing their divergent influences as a way of reclaiming their existence and histories STEFA* amalgamates minimalism, punk, and experimental pop, to better understand their multi-dimensional identities.They are a Hemispheric Institute of Performance and Politics EmergeNYC Fellow (2019) and a Leslie Lohman Museum of Art Artist Fellow (2019-2020). Their solo and collaborative work has led them to perform at Brooklyn Museum, Museo Del Barrio, National Sawdust, Rough Trade, Elsewhere, Nublu, The Sultan Room, NUEVOFest, Abrons Arts Center, Dixon Place, The Vienna Festival and more. Their debut EP "Sepalina" was released on Figure & Ground Records in 2018 [Photographer Credit: still from STEFA*'s music video "Fascist Love"].

Jennifer Birmania Bello

Soy Jennifer Birmania Bello, nací hace 28 años en  Boaco, Nicaragua. Estoy orgullosa de mis orígenes campesinos y de mi curiosidad que me ha llevado a tantos lugares. Me gusta nombrarme artista en construcción porque voy nutriendo y encontrando mi voz todos los días, me apasiona la palabra escrita, el teatro, el juego y el movimiento.

 

Soy filóloga, comunicadora feminista, investigadora y bisexual; en Nicaragua he colaborado en estrategias de educación, arte social y con organizaciones comunitarias. Actualmente mi atención personal está en lo psicosocial, el autocuidado, autoconocimiento y sanación de mi historia; esto lo hago procurándome el bienestar, estudiando, facilitando espacios para otres y escribiendo .

 

jennifer.birmania@gmail.com 

IG:@be_sensorial Revista donde escribo: IG: @laquimerafeminista

https://www.laquimerafeminista.com/

[Photographer Credits: randy reyes] 

Dr. Sina Soul

SalamaagogofaSina Shekina "Sina" Auset Sehkmet Ma’at Shakti Aurelia Soul (AKA Sina Soul) is a world-renowned Sociologist, Ethnomusicologist, Writer-Director, Multilingual Vocalist, Multi-genre composer, Performance Artist & Educator.  Dr. Soul teaches Socio-Ethnology, Hip Hop Theory, Indigenous Etiologies and Health & Wellness. She lectures on Afro-Caribbean, Polynesian & Indigenous traditional medicine in University of New Mexico’s Curanderismo course, and specializes in Diversity Directives and codification of Critical Cultural Consciousness curricula. Her works as an Author, Playwright, Director, Griot, Curriculum Creator, Dancer, Filmmaker and Singer/Songwriter span two decades and 5 continents. As an M.C. And vocalist, she is “D.A.G.O.D.S”, “La Diosa” & “Empress Lion S.” 

 

Sina thanks YHVH, her Family, her Tribes, faithful Supporters, her amazing Students-Whom-Are-Infinite-WISE-Teachers and them #BeautifulHaters. 

 

IG @soulqueensupreme  @sinasoul

https://sinasoulqueen.com/

https://soulsonicsourcethefeminineforce.square.site/

https://www.reverbnation.com/sinasoulqueen

Email Direct for Sessions: SinaSoul@alumni.brown.edu

Berenice Dimas/Hood Herbalism

​Berenice Dimas is a queer herbalist and birth supporter. Her work encourages people to (re)connect with plants, the land and their own ancestral traditions. Berenice is the founder of Hood Herbalism, a community based herbal education project. Find out more about Berenice's work by visiting her website www.berenicedimas.com and her IG page @hoodherbalism.

Chibueze Crouch

Chibueze Crouch is a performance artist and culture-maker working across theater, ritual, movement, prose and video. Her interdisciplinary practice explores the borders and nuances of Diasporic Black experience, queerness, and decolonial forms of collaboration. She is a proud member of the HIVE, a co-curator with the Performance Primers, and a company member with Rhodessa Jones' Medea Project: Theatre for Incarcerated Women & HIV Circle. Chibueze has shared her work all across Ohlone land and outside Turtle Island, including at CounterPulse, Theatre Bay Area, Afro Urban Society, and the Black Choreographer's Festival most recently [Photographer Credit: Ishmael Ya Agyapong].

Madre Gitana

Madre Gitana (she/her, them/they) is a DJ, choreographer, movement researcher, performer, and teacher from the Bronx, New York. She is currently based in Oakland, CA where she creates, performs, and DJs. Her current interests involve learning how to produce electronic music, navigating performance through injury, and pleasure frequencies.


Ori Diwata

Ori Diwata's (AKA  jose e. abad) artistic practice is rooted in collaboration and community engaged arts as choreography for resistance and liberation. Through dance and storytelling abad’s work unearths lost histories, memories, and wisdom that are held within the body that the mind has forgotten or dominant culture has erased. They examine the relationships between the self and our physical, social, and spiritual environments in order to rip apart the constricting narratives imposed by external forces and create space for the complex and nuanced existence of queer, black, and trans* people of color [Photographer Credit: jose e. abad].

Rosy Simas

Rosy Simas (she/her) is a transdisciplinary artist who historically has presented work as a choreographer. Simas is Haudenosaunee, enrolled Seneca, Heron Clan. She is based in Minneapolis, MN.

“The culture, history, and identity stored in my body is the underpinning of all my artwork. Creating is a spiritual act for me, rooted in nature, formed through my link to my ancestors and the land of which we are made.” Simas’ projects merge decolonized physical movement with media, sound, and objects for stage and installation. She unites cultural concepts and images with scientific and philosophical theories to create work that is literal, abstract, and metaphoric. Her work weaves themes of personal and collective identity with family, matriarchy, sovereignty, equality, and healing. She creates dance work with a team of Native artists and artists of color, driven by movement-vocabularies developed through deep listening.

Simas is a recipient of a Dance/USA Fellowship, Joyce Award from The Joyce Foundation, McKnight Fellowship for Choreography, Guggenheim Creative Arts Fellowship, First People Fund Fellowship, and a Native Arts and Cultures Foundation Fellowship.

Her dance works include Weave, Skin(s) and We Wait In The Darkness which have toured Turtle Island and France with the support of NEFA National Dance Project, MAP Fund, and National Performance Network.

Her dance, film and sculpture work-in-progress she who lives on the road to war was on exhibit and being rehearsed live at the Weisman Art Museum in Minneapolis. Her print series Blood Lines is currently on exhibit at the Seneca Iroquois National Museum. She was named Best Choreographer of 2020 by the Twin Cities City Pages. 

Simas recently co-edited the first Indigenous issue of the Movement Research Performance Journal, Sovereign Movements, Issue 52/53 [Photographer Credit: Uche Iroegbul].

http://www.rosysimas.com  

 

Daria Garina

Daria Garina is a neurodivergent, transgender immigrant, movement artist and healer. He is bringing training in Medical Qi Gong, Generative Somatics, and Transformative Justice to this collective experiment. Daria co-initiated The QTBIPOC Artist Hive and facilitates somatic and Transformative Justice based accountability coaching through Accountability Planning [Photographer Credit: Daria Garina].

Diego Urbina Martínez (Lima, Perú. 1983)

Comunicador social con énfasis en gestión de proyectos sociales por la PUCP (Lima, 2009). 

Ha trabajado en proyectos de desarrollo social centrados en equidad y educación. También formó parte de equipos de gestión de proyectos artísticos en la escena local independiente de Lima, asumiendo roles de producción y gestión.Su interés y curiosidad por las artes escénicas le llevaron a explorar el lenguaje del cuerpo a través de la danza y la actuación.

Entre los últimos proyectos en los que se ha involucrado se encuentran la participación en Tanz im August para la compañía catalana Vero Cendoya y el videoclip fourteen de la cantante sueca Tami T. En 2018, participó con Ríos Profundos en la contribución peruana al Carnaval de las Culturas en Berlín. Experiencias que resultaron de la creación de MACHA!, un proyecto de performance con la artista peruana residente en Berlín Luz Zenaida Hualpa García. 

Luz Zenaida Hualpa García

Luz Zenaida Hualpa García, coreógrafa y pedagoga peruana con residencia en Berlín, estudió Filología del Español, Ética, Religión y Educación en la Universidad de Potsdam. Actualmente viene trabajando en la elaboración de seminarios y talleres de danza, tomando como base, la tradición oral, la literatura y la lingüística. "Mundo Andino - Chix'i" y "La africanidad en nuestra América - Malambo" son el resultado de este proceso de investigación. Saberes y movimientos que comparte en sus encuentros culturales de carácter itinerante pero también en la escuela Luz Y Color, proyecto pedagógico que fundó en 2011. Ha participado en proyectos interdisciplinarios como "Latin Baroque" en Weimar con el ensemble The Playfords, "Tiqsi muyu marq'ay - Eine warme Umarmung für die Erde" y "Zuhören #4 - Climate change & democracy, From complexity to action" con La Compañía Sasha Waltz & Guests en Berlín, "Baile Tierra - Resistencias históricas de la memoria del cuerpo" con el proyecto Humboldt Huaca en Institute for Art in Context UdK Berlin, "El Barroco en Latinoamérica" con el Ensemble Eyenamá en Breslavia y "SINP'A - braid" con Punto de Encuentro en Düsseldorf. Desde septiembre de 2018 viene trabajando en la obra MACHA! junto a Diego Urbina y Sonja Ortiz.

Carmen Roman

Carmen is a dancer, choreographer, educator, filmmaker, scholar, and the founding artistic director of Cunamacué, a dance company which promotes the continuity of Afro-Peruvian culture not as a point in time, but as a living, vibrant and evolving form whose music and dance can be used as a means of contemporary expression. Raised both in Lima, Peru, and in the San Francisco Bay Area her work is deeply rooted in Afro-Peruvian dance vocabulary and also uses movements inspired by other dances of the African Diaspora and modern dance.

 

Her article, “The Danced Spirituality of African Descendants in Peru”, was published in a special edition of the African Performance Review (2013). In 2015-2016 Carmen was awarded a U.S. Fulbright Fellowship in Dance to Peru to research Afro-Peruvian dance through practice, performance, and observation. Her dance documentary “Herencia de Un Pueblo (Inheriting a Legacy )” shot in El Carmen, Peru, was awarded Best Documentary and Best Cinematography at the San Francisco Dance Film Festival (2016) and has screened in various cities across the U.S. and internationally in England, Tanzania, and Canada. In 2018 she was part of NYFA’s Immigrant Artist Mentoring Program. In 2019 she was awarded the Mythili Kumar Emerging Artist Award and was commissioned to create new work for the San Francisco Ethnic Dance Festival.

 

Carmen has been teaching dance for over ten years to children and adults in the Bay Area and in rural communities in El Salvador and Peru. She holds a B.A. in Dance from San Francisco State University and an MFA in Dance from Mills College.

 

Pierr Padilla Vasquez

Pierr Padilla Vasquez is a dancer, musician, actor, and descendant of a family of cultural bearers and masters of Afro-Peruvian folklore, the Vasquezes. He studied Artistic Education with an emphasis in Dance at the Escuela Nacional Superior de Folklore “José Marí­a Arguedas” (2000 - 2003). This gave him an immersive experience with the popular traditions and cultural manifestations of Peru. Later he studied Publicity at Instituto de Tecnología Aplicada “Charles Chaplin” (2004 - 2008). While attending the Institute he developed his career as a dancer and choreographer specializing in Afro-Peruvian folklore. He was a member of important dance ensembles such as Conjunto Nacional de Folklore and Teatro del Milenio among others. He also worked with renown Peruvian artists such as master Victoria Santa Cruz.

 

His interest to continue to develop in the performing arts lead him to become a self-taught professional musician creating his own company, Colectivo Palenke (2007), with this company he developed a stage language that combined music, dance, and Afro-Peruvian footwork. Later he realized other musical projects like Mandinga Project (2014) and Cambalache, La Fiesta Afroperuana (2016). Among the musical productions he has recorded the song “El Surco” on the album “A Chabuca”, interpreted by the Uruguayan singer-songwriter Jorge Drexler, whom Pierr has shared the stage with (2013 and 2018), his participation as Zapateador stands out. This song was nominated to Record of the Year at the 18th Annual Latin Grammy Awards (2017).

 

In his career he has made artistic cultural tours in the continents of America, Asia and Europe which have allowed him to connect to different cultures gaining fundamental experiences for his artistic development and for his work as teacher and cultural agent.

​Nico Ortiz Maimon

Nico Ortiz Maimon journeyed to the US from Mexico with her family in 1997, and currently finds herself on unseeded Ohlone Land (Bay Area.) she likes using movement to foster community, heal, and solidify her relationship with pleasure. she aims to occupy horizontal collaborations and uplift qtbipoc artists, and is on a forever quest to decolonize her body. she loves the Hive <3

​Juan Escalante

Juan Escalante (He/She/They) is a gay man who identifies as two-spirit and believes that gender is a construct, hence why you can use any gender pronoun to refer to them. Juan was born in El Salvador and emigrated to the United States at the age of nine. They believe in destigmatizing the taboo surrounding anal sex, particularly gay anal sex. Juan believes in empowering individuals to live out their most fulfilling and pleasurable sex lives, especially those who identify as bottoms or are interested in bottoming. Juan is a pro-Black, pro-undocumented, pro-Queer, pro-hoe, pro-sex work , pro-intersectional feminist, pro-Brown, pro-femme individual. Juan lost his virginity at the age of nineteen. Coming from a conservative, traditional Catholic background, Juan learned the hard way about how to engage in anal sex. Pain, pleasure, trial and error–– all these built Juan into a power bottom she is today. Juan is a Columbia University Film Student currently residing in Bedford-Stuyvesant, Brooklyn.

Zwoisy Mears-Clarke

Zwoisy Mears-Clarke (JA) is a choreographer of the encounter. He uses the expanding potential of choreography to confront mechanisms of oppression, including ableism, racism, black-&white-ness, neo-colonialism, and sexism, that sabotage human interaction both systematically and interpersonally. Dance thus becomes temporary environments that can suspend the everyday duress of discrimination, colonial nostalgia, exclusion and prejudice. Through dance, or rather collective movement, he desires to open encounters that might otherwise seem unreachable, creating opportunities to move differently with one another. His development as an artist has been guided largely by Mary Cochran, Anna Mülter, Joy Mariama Smith, Paula Chaves Bonilla, Gabi Beier, and various Black feminist community leaders. Currently, he is based in Rösrath, Germany [Photographer Credit: Pema Domingo-Barker].

 

www.zwoisymearsclarke.com

https://www.facebook.com/zwoisymearsclarke

Vreni Michelini Castillo

Vreni Michelini Castillo aka Chhoti Maa (she/they) was born in Guanajuato, Gto. Mexico. As part of the post-NAFTA diaspora, V was formed by her nomadic experience & this is visible in their migrant philosophy, everything we have is borrowed, communal and temporary. V has been a transdisciplinary cultural producer & educator since 2007. V's work reflects/embodies circular modalities, trueques, indigeneity, desmestizaje, red medicine, queerness, migrant empowerment & decolonial living [Photographer Credit: @judybell.wav].

 

IG: @chhotimaa 

Tohil Fidel Brito

Tohil Fidel Brito is an Ixil Maya artist, from Naab’a’ (Nebaj), El Quiché (Tu Tx’ich), Iximulew (Guatemala), currently living on Cahuilla, Tongva, Luiseño, and Serrano ancestral land. He studied archaeology at the University of San Carlos, in Guatemala, and visual art in Guatemala, México, and Cuba. Tohil considers his transdisciplinary practice—which includes painting, printmaking, sculpture, epigraphy, performance, and gardening—an obstinate insistence on existence despite centuries of ongoing colonialism, war, and genocide [Photographer Credit: María Regina Firmino-Castillo, 2019].

https://tohilfidelbrito.wordpress.com/


 

María Regina Firmino-Castillo, PhD

María Regina Firmino-Castillo is a transdisciplinary artist and researcher who participates in  and writes about performance across national and colonial borders. She has created documentary, performance and experimental video pieces that interrogate the paradoxical social imaginaries of the Guatemalan post-war period and depict the complexities of the Central American diaspora. With Tohil Fidel Brito, she has co-directed site-specific sculpture, installation, and multidisciplinary performance projects in Guatemala, México, and the United States. As an assistant professor of critical dance studies at the University of California, Riverside, Firmino-Castillo teaches courses on decolonial approaches to dance studies, transdisciplinary performance, and the anticolonial intersections between Black and Indigenous performance. Her forthcoming book, tentatively titled Choreographies of Catastrophe, is a multi-sited work that investigates how bodies are sites of ontological violence in the context of genocidal coloniality and its complex and transnational reverberations across the hemisphere. Through the work of artists in Guatemala, México and the United States, the book also attends to ways that those affected by the multiplicitous catastrophes of coloniality deploy insurgent corporeal strategies not only to survive, but also to enact otherwise bodies, worlds, and lives despite ongoing necropolitical control and violence [Photographer Credit: María Regina Firmino-Castillo, self portrait 2020

 

https://dance.ucr.edu/people/faculty/maria-regina-firmino-castillo.html

 

taisha paggett

Born and raised in Fresno, CA, taisha paggett is an interdisciplinary dance artist whose individual and collaborative works re-articulate and collide specific western choreographic practices with the politics of daily life so to contemplate and interrupt fixed histories of Black and queer embodiment, desire, placemaking, possibility and survival. Recent works include the dance company project, WXPT (we are the paper, we are the trees) and the collaborative School for the Movement of the Technicolo(u)r People, both of which also draw upon inquiries inside of social practice; critical pedagogy; somatic and contemplative investigation; queer, feminist and Black studies; performance and visual art studies; as well as the political and philosophical meshes of personal history [Photographer Credit: taisha paggett: self portrait, 2020]

 

paggett’s work has been presented at the Hammer Museum as part of Made in LA; Commonwealth & Council (LA); Los Angeles Contemporary Exhibitions (LA); Institute of Contemporary Art (Philadelphia); DiverseWorks (Houston); the Whitney Museum as part of the Whitney Biennial; Studio Museum in Harlem; Danspace at St Mark’s Church (New York); Defibrillator (Chicago); Gallery TPW (Toronto); and the Audain Gallery (Vancouver), amongst other venues. Additional project and research support has come via the MAP Fund (in partnership with LACE), the National Performance Network, University of California Institute for Research in the Arts, Clockshop, Show Box LA, and residencies at the Headlands (Sausalito, CA), University of British Columbia, Okinagan’s Summer Indigenous Studies program; and Basis Voor Actuel Kunst (Utrecht, NL). 

 

From 2005-13 paggett co-instigated the LA-based dance project and discursive platform, itch. In 2014 paggett was featured in Velvetpark magazine’s “25 most significant queer women of the year” list, and in 2017 was one of ten "womyn, and womyn-led community arts organizations” honored with an Avest Award for their "outstanding contribution to arts in Southern California.” paggett was recipient of the Foundation for Contemporary Arts’ honorable Merce Cunningham Award in 2019.

 

As a dancer, paggett has performed, toured with and made significant creative contributions to many choreographers, artists and performance projects over the years including that of Every House Has a Door, David Roussève/REALITY, Victoria Marks, Mike Kelley, Stanley Love Performance Group, Kelly Nipper, Meg Wolfe and Yael Davids; She’s also held a longstanding collaborative praxis with visual artist, Ashley Hunt, titled On movement, thought and politics. paggett joined the UC Riverside Dance Department in 2014 and is a founding member of the Blackness Unbound collective on that campus. 

 

Additional info here.

 

https://www.instagram.com/taishapaggett/

https://www.facebook.com/taisha.paggett

https://www.instagram.com/mil.marias/

https://www.instagram.com/tohil.fidel/

 

Samuel Briseño-Jimenez: trickster

 

INVITED CO-CONSPIRATORS FOR 13 Akb’al: twilighting time INCLUDE: 

1 |Lukas Avendaño

“I was not born in a maternity ward. My mother gave birth to me without the help of anyone. It happened on the Mexican Isthmus of Tehuantepec, the land where I grew up surrounded by other barefoot and ‘sodomitic’ (as Spanish chronicles described us) Natives. And from this land I nourished myself to do what I call ‘Installation for the Human Body.’ Some call it a happening, others call it a sketch, and still others, a provocation. Perhaps the latter is closest, for my intention is to cut against homophobia with a courageous transvestism that flirts with dance and exhibitionism as it climaxes into the word. I do this from sensuality and life, from consciousness and the body, using the Native and the modern word to disturb orthodoxies of every stripe and to show how sensitivity cuts deeper than the presumed hardness of the hard. I am well aware of the existence of borders created by politics, societies, cultures, and prejudices. This is why my corporeal installations propose borders as places of encounter, not separation; from this liminal state I stand at the vortex, with my two feet placed on both sides of being ‘man/woman,’ inhabiting reality/utopia, correct/incorrect. Perhaps this is the dichotomy that I like the most, the in/correct; here I feel free, full, true and alive. Because of this, it pleases me that my native culture not be so orthodox in the exercise of life; that is why those who visit Tehuantepec describe it as a society of matriarchs, the quasi-paradise for homosexuals, a totemic, and even ‘primitive’, place.” 

 

2 | Samuel Briseño-Jiménez 

Samuel Briseño Jimenez is from the liminal space that is the Mexicali-Calexico border and is interested in investigating, analyzing and queering the spaces he is present in. Samuel is a natural improviser, stemming his movements from deep feelings, callings and dance practices that he has studied and incorporated into his own practice. He hopes to dance anywhere and everywhere as much as possible.

 

3 | P. Don'Té Cuauhtemoc 

P. Don'Té Cuauhtémoc's (They/He/She/Prince/Father/Ella) (Mescalero Apache, Mexika-Chichimeca/Cano; cihuaiyolo butch queen) walk and raise children as "Overall Prince Don'Té Lauren" of The Legendary House of Lauren, International. Their art and research focuses on the development of the House Ballroom Scene, in particular how queer, transgender and two-spirit black, and blackened indigenous peoples of the Western Hemisphere have deployed the dance form of vogue (voguing/Performance) as a praxis of decolonization, realness, colonialism, transformational resilience via shade, and queering indigenous knowledge reclamation. Their studies have been supported by the U.S. Department of Education Native American Studies Graduate Assistance in Areas of National Need (G.A.A.N.N.) Fellowship, the Dean’s Distinguished Doctoral Student Fellowship, and the Max H. Gluck Arts Fellowship.3. P. Don'Té Cuauhtemoc

 

 

4 | Waunette Cullors 

Running for School Board in Antelope Valley of LA County, Waunette Cullors’ life has been dedicated to serving and being a positive role model for youth and involving herself in any way to better their lives – from PTA President to councilwoman. Waunette likes to share her culture with the community, as well as with younger generations, and has served on a multitude of executive boards committed to advancing the African American community. Her life mission is to focus on the education, heritage, culture, and health and wellness of her community while adding a “WOW-factor” to these lessons. She feels that a lot of children today have very little or limited exposure to museums, nature, art, and the world of science, and has thus developed the WOW Flower Project, a non-profit organization, to bring the awe of those activities to the children of her community. https://wowflower.org/ 

 

5 | Tommi Hayes 

 

6 | Mike Madrigal 

Michael Madrigal is a member of the Cahuilla Band of Indians from the Cahuilla Indian Reservation located near Anza, California. He has been a lay administrator at St. Joseph Mission at the Soboba Indian Reservation for the past 25 years. Growing up on the reservation Michael had the opportunity to learn about his tribal traditions from many elders including Katherine Saubel, Alvino Siva, Robert Levi, and Uncle Billy Mesa. Keeping vibrant the indigenous spiritual traditions of southern California tribes is one of his life vocations, and led him to initiate doctoral studies in history at the University of California-Riverside. Michael has also been president of the Native American Land Conservancy for the last eight years. The primary goal of the conservancy is to care for and preserve sacred landscapes for present and future generations, thereby honoring the ancient and ongoing relationship between Indigenous peoples and the land.

 

7 | Fabiola Ochoa Torralba

Fabiola Ochoa Torralba was born in Acapulco, Guerrero, Mexico and raised in the Edgewood District of the Westside of Yanaguana, San Antonio, Texas. Her experience as a dance artist, activist, organizer, cultural worker, and community engagement coordinator has led to collaborations with community groups, schools, and nonprofits for youth, seniors, migrants, Spanish speakers, QTIBPOC, and fine arts students. Their work has ranged from public dance actions to performance installations and theater productions supported by Jump-Start Performance Company, Lady Base Gallery, Esperanza Peace and Justice Center, Mexic-Arte Museum, W-I-P San Antonio, and the Indigenous Choreographers Gathering at UC-Riverside.

 

A first generation college graduate, Fabiola holds an A.A. in Dance, B.A. in Mexican American Studies and Anthropology, and an M.F.A in Dance. They have trained with leadership institutes by the Urban Bush Women, Dance/USA, F.I.E.R.C.E., Esperanza Peace and Justice Center and N.A.L.A.C. In addition to numerous independent initiatives, they have worked with companies such as SpareWorks Dance, Dance Exchange, Safos Dance Theatre, Forklift Danceworks, Urban-15, and Dancing Earth Contemporary Creations. Her research engages intersectional politics, decolonial epistemologies, and migrant identities. They enjoy facilitating dance making opportunities for movers of all backgrounds and cultivating interdisciplinary collaborations that explore the intersection between performance and action     

 

8| .turay pastel.     

.turay is an interdisciplinary artist, DJ and collaborator. Under the name pastelShade, their aim as a DJ is to “cultivate ecstasy on the dance floor.” pastelShade’s sets often explore femme embodiment and sexual autonomy, selecting sounds that remind listeners of “the resiliency available to them through body movement, vocal exercise, & memory’s relationship with music.”  pastelShade shares the intention behind their sets is “to develop and center a specifically BIPOC Queer Feminist liberatory consciousness through song and dance.”  

 

As a writer and movement artist .Turay has danced and performed with the experimental dance company WXPT - The School for the Movement of the Technicolor people and published writing under Naked Narratives & Women’s Center for Creative Work. Their most recent project the BIPOC Virtual Listening Party, which they co-host with Cuties Coffee, happens every third Sunday. At each event, they mix a playlist of songs and albums offered by community members in response to the submission prompt of “sounds that are provide healing.” “The listening party was created as an act of community care,” says pastelShade. “The parties serve as a container to support healing through sound, movement, and community.” Visit Eventbrite to get a ticket for the next listening party. Please note this event is exclusively for BIPOC. In addition, you can check out the mixes from the first two listening parties on pastelShade’s soundcloud.    


9 | Javier Rabago Martínez

 

10|  randy reyes 

(see above)

 

11 | Almah LaVon Rice 

Almah LaVon Rice is a writer and fairy marsh monster living in Pittsburgh with her flamingo wife. She writes creative nonfiction and uncanny short fiction focused on unfettered Black imagination and dreaming a new world many-petaled. Instagram: agentsubrosa 

 

12 | Amelia Uzategui Bonilla

 (see above) 

 

13 | Talavai Denipah-Cook      

Unvi agandi, my name is Talavai Denipah-Cook and I come from the tribes of Ohkay Owingeh Pueblo, Navajo, and Hopi. I currently reside in Ohkah Owingeh Pueblo, New Mexico and work for Rocky Mountain Youth Corps. I am a young farmer, earth guardian, and am obligated to keep this world healthy and in balance.
 

 

**Justin Morrison: Wizard of Zoom**

Anaís Azul

Peruvian first generation immigrant Anaís Azul (they/them) is a California based singer-songwriter, composer, and teaching artist. Described as “stunningly honest and vulnerable,” their artistry engages with music as a tool for community building, cross-genre collaboration, and collective healing.

 

IG: @anaisazul Website: anaisazul.com

PLATAFORMA 2020 was made possible with the support of:

randy reyes logo Designed by:

Menaja Ganesh  

(IG: menaja.art & kaamaakshii)

THe hive logo Designed by:

dongyi wu

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