RSS FeedUpcoming EventsCreative Careers Week | Arts & Humanities, April 1https://events.berkeley.edu/live/events/241151-creative-careers-week-arts-humanities

Monday, April 1, 2024
Berkeley Career Engagement
2-3pm, Dwinelle Hall 370
Presented by the Career Center

Learn the best practices for networking and more.

Tuesday, April 2, 2024, Register here
Creative Careers Networking Mixer
5-7pm, Platform Art Space, Bauer Wurster Hall
Hosted by Division of Arts & Humanities

Meet recent graduates and mid-career alumni who are working in their fields with a range of professional represented. We’ll have a great spread of food, swag, and prizes!

Wednesday, April 3, 2024, Register here
Creative Career Talk with Jill Foley, VP of Peloton Apparel
in conversation with Sara Guyer, Dean of Arts & Humanities

 Noon-1pm, Maude Fife, Wheeler Hall

Join a talk with Jill Foley, VP of Peloton Apparel to hear about her career trajectory and how her degree in Film & Media serves her role as an industry leader and entrepreneur.

/live/events/241151-creative-careers-week-arts-humanities
Cripping Performance in Shakespeare’s Disability Play, a lecture by Professor Katherine Schaap Williams, April 9https://events.berkeley.edu/live/events/243310-cripping-performance-in-shakespeares-disability-play-

2022 was the year of Richard III, with three major productions—at The Public Theater in New York (USA), Stratford Festival in Ontario (Canada), and the Royal Shakespeare Company in Stratford-upon-Avon (UK). I take up these three prominent examples to ask: what do they reveal about disability aesthetics—and the dramaturgy of disability—in the theater? Analyzing divergent approaches to characterizing Shakespeare’s titular Richard Gloucester, this talk considers how disability drives theatrical experiment and complicates embodied signification.

-Professor Katherine Schaap Williams (University of Toronto)

Sponsored by the UC Berkeley Department of English; The Department of Theater, Dance, and Performance Studies; The Florence Green Bixby Chair in English; The Ida May and William J. Eggers Chair in English; The James D. Hart Chair in English; and the Robert Hass Chair in English. 

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Diné Nishłį (I am a Sacred Being): A Boarding School Play, April 11https://events.berkeley.edu/live/events/236311-din-nish-i-am-a-sacred-being-a-boarding-school-play

World Premiere Run of Diné Nishłį (I am a Sacred Being): A Boarding School Play by Blossom Johnson. Exuberant, sunny, and delightful, this boarding school comedy celebrates the enthusiastic passions of young Native women. Directed by Daniel Leeman Smith.

PERFORMANCE SCHEDULE

Thurs, April 11 at 2pm: Matinee + Playwright Talkback

Fri, April 12 at 7pm: Media preview/opening

Sat, April 13 at 7pm: Performance

Sun, April 14 at 2pm: Matinee

Four high school girls are thrilled when their song’n’dance group is selected to sing the Navajo National Anthem at the Winter Olympics in 2002. Bursting with excitement, hope, and confidence, the girls’ plans are upset when a teacher thinks one of them left a threatening voicemail. Jumping into action, they launch a plan to get rid of that teacher. Exuberant, sunny, and delightful, this boarding school comedy celebrates the enthusiastic passions of young Native women.

AlterTheater is Berkeley’s 2024-2026 Indigenous Performing Arts Resident company, and Blossom Johnson will be the 2024 Indigenous Performing Arts artist-in-residence.

Blossom Johnson is a Diné storyteller, playwright, teaching artist and screenwriter. She is from the Yé’ii Dine’é Táchii’nii (Giant People) clan, and her maternal grandfather is from the Deeshchíí’nii (Start of the Red Streak People) clan.

Blossom has been commissioned by AlterTheatre Ensemble and has been awarded a residency with Willowtail Springs/Durango PlayFest. She is excited to make a smooth transition from theater to film narrative with the In Progress NEXUS Program in St. Paul, MN. Additionally, she has been awarded the 2022 First Peoples Fund Cultural Capital Fellowship, La Lengua/ AlterTheater Ensemble’s Decolonization Stories Commission 2022 and is proud to be a recipient of The Playwrights’ Center 2022-23 Jerome Fellowship. She is a mentee in writing for animation with the Netflix Animation Foundations Program 2022. As a dramaturg, Blossom has worked with Native Voices at the Autry, UCSB Launch Pad, PlayPenn, Urbanite Theatre, New Native Theatre and YIPAP (Yale Indigenous Performing Arts Program). She has served as a panelist and script reader for the 22′ Playwrights’ Center Many Voices Fellowship and the 22′ New Harmony Project. Blossom holds an MFA in Dramaturgy from Columbia University and a BA in Theatre from Arizona State University. A proud member of the Dramatists Guild, and the Literary Managers and Dramaturgs of the Americas (LMDA).

She was raised by her grandmother on the very top of Dził Yijiin (Black Mesa), AZ and she’s always been surrounded by stories. When she opens the front door of her grandma’s yellow house, she can see a coal mine. Below the mesa is an old run-down restaurant where her mother used to hustle as a waitress during the summer in her teen years, and there is an old store where her grandmother would up-sale her hand made jewelry to tourists by the entrance, but the restaurant and the store has now been closed for years because what was taken from the earth was diminished, so no one stayed, and they eventually went out of business.

The people that stayed are Diné, and their stories, her stories, are thriving. When she creates, she writes for her people and the stories she writes come from memories, experiences, and family history. In her writing, she reveals truths that are hard to face but she balances the darkness with humor, so the viewer has a chance to breathe and laugh.

/live/events/236311-din-nish-i-am-a-sacred-being-a-boarding-school-play
New Play Reading Series: ‘Modern Love’ by Leela Velautham, April 11https://events.berkeley.edu/TDPS/event/nprs-modern-love

TDPS’ New Play Reading Series presents:

MODERN LOVE
By Leela Velautham
Directed by Evan Sakuma & Maria Silk

The New Play Reading Series (NPRS) presents in-development, un-produced, or lesser-known plays by both up-and-coming and established playwrights. Readings are performed by a student repertory company and directed by graduate students from the Ph.D. program in performance studies.


This event is free and open to the public. Register below to receive a reminder email one day before the event.

Directions to Dwinelle Hall, Room B-4: Dwinelle Hall is located on the south-central portion of the main UC Berkeley campus near Wheeler Hall. (View a campus map here.) Enter Dwinelle Hall through the main entrance on the east side of the building. After entering, proceed to your left until you arrive at a stairwell on your left. Proceed down the stairs to Level B and turn left. Room B-4 will be on the left side of the hallway. (Note: The wheelchair-accessible entrance to Level B is located on the west side of Dwinelle Hall near Durham Studio Theater.)

Accessibility: If you require an accommodation for effective communication or information about campus mobility access features in order to fully participate in this event, please register below and provide details in the comment box. We generally require at least 7–10 days advance notice to ensure that an accommodation can be made.

https://events.berkeley.edu/TDPS/event/nprs-modern-love
Diné Nishłį (I am a Sacred Being): A Boarding School Play, April 12https://events.berkeley.edu/live/events/236321-din-nish-i-am-a-sacred-being-a-boarding-school-play

World Premiere Run of Diné Nishłį (I am a Sacred Being): A Boarding School Play by Blossom Johnson. Exuberant, sunny, and delightful, this boarding school comedy celebrates the enthusiastic passions of young Native women. Directed by Daniel Leeman Smith.

PERFORMANCE SCHEDULE

Thurs, April 11 at 2pm: Matinee + Playwright Talkback

Fri, April 12 at 7pm: Media preview/opening

Sat, April 13 at 7pm: Performance

Sun, April 14 at 2pm: Matinee

Four high school girls are thrilled when their song’n’dance group is selected to sing the Navajo National Anthem at the Winter Olympics in 2002. Bursting with excitement, hope, and confidence, the girls’ plans are upset when a teacher thinks one of them left a threatening voicemail. Jumping into action, they launch a plan to get rid of that teacher. Exuberant, sunny, and delightful, this boarding school comedy celebrates the enthusiastic passions of young Native women.

AlterTheater is Berkeley’s 2024-2026 Indigenous Performing Arts Resident company, and Blossom Johnson will be the 2024 Indigenous Performing Arts artist-in-residence.

Blossom Johnson is a Diné storyteller, playwright, teaching artist and screenwriter. She is from the Yé’ii Dine’é Táchii’nii (Giant People) clan, and her maternal grandfather is from the Deeshchíí’nii (Start of the Red Streak People) clan.

Blossom has been commissioned by AlterTheatre Ensemble and has been awarded a residency with Willowtail Springs/Durango PlayFest. She is excited to make a smooth transition from theater to film narrative with the In Progress NEXUS Program in St. Paul, MN. Additionally, she has been awarded the 2022 First Peoples Fund Cultural Capital Fellowship, La Lengua/ AlterTheater Ensemble’s Decolonization Stories Commission 2022 and is proud to be a recipient of The Playwrights’ Center 2022-23 Jerome Fellowship. She is a mentee in writing for animation with the Netflix Animation Foundations Program 2022. As a dramaturg, Blossom has worked with Native Voices at the Autry, UCSB Launch Pad, PlayPenn, Urbanite Theatre, New Native Theatre and YIPAP (Yale Indigenous Performing Arts Program). She has served as a panelist and script reader for the 22′ Playwrights’ Center Many Voices Fellowship and the 22′ New Harmony Project. Blossom holds an MFA in Dramaturgy from Columbia University and a BA in Theatre from Arizona State University. A proud member of the Dramatists Guild, and the Literary Managers and Dramaturgs of the Americas (LMDA).

She was raised by her grandmother on the very top of Dził Yijiin (Black Mesa), AZ and she’s always been surrounded by stories. When she opens the front door of her grandma’s yellow house, she can see a coal mine. Below the mesa is an old run-down restaurant where her mother used to hustle as a waitress during the summer in her teen years, and there is an old store where her grandmother would up-sale her hand made jewelry to tourists by the entrance, but the restaurant and the store has now been closed for years because what was taken from the earth was diminished, so no one stayed, and they eventually went out of business.

The people that stayed are Diné, and their stories, her stories, are thriving. When she creates, she writes for her people and the stories she writes come from memories, experiences, and family history. In her writing, she reveals truths that are hard to face but she balances the darkness with humor, so the viewer has a chance to breathe and laugh.

/live/events/236321-din-nish-i-am-a-sacred-being-a-boarding-school-play
The 8th Annual Berkeley/Stanford Symposium, April 13https://events.berkeley.edu/live/events/243864-the-8th-annual-berkeleystanford-symposium

“The fog comes… and then moves on”: On Transience and Translucence. The 8th Annual Berkeley/Stanford Symposium.

Keynote from Professor André Dombrowski, University of Pennsylvania.

For the eighth annual Berkeley/Stanford Symposium, graduate students working across disciplines and time periods will take fog, San Francisco’s friendly ghost, as a common point of departure. Between water and air, earth and sky, fog presents an opportunity, or demand, for pause. Things transform when cloaked in mist, sometimes forcing a reversal of common sense; in foggy conditions, high-beam light creates even more haze.

In such states of low visibility, what other senses displace sight in experiencing the world? What forms could art history take if, rather than stretching towards clarity, the field savored obscurity and hiddenness as spaces for discovery? What are works of art that embody the ephemeral ethos of fog in their making, material, or possibility? And what are works of art that push against fog, clearing historical forces of obscurity to allow what has been hidden to come into vision — into being?

The symposium will interpret fog widely, whether as guiding visual motif, conceptual or methodological underpinning, meteorological intervention, or poetic engagement.

Please RSVP at https://www.sfmoma.org/event/eighth-annual-berkeley-stanford-symposium/

 

Accessibility Information: Accessible seating is available at this event. Accessibility accommodations such as American Sign Language (ASL) interpretation and assisted listening devices are available upon request 10 business days in advance. Please email publicengagement@sfmoma.org, and we will do our best to fulfill your request.

 



Event Sponsors: Stanford: Global Studies, Stanford: Department of Classics, UC Berkeley: English, Stanford: Department of Theater & Performance Studies, Stanford: Office of the Vice Provost for Graduate Education, Stanford: Arts Institute, UC Berkeley: Department of Middle Eastern Languages and Culture, Stanford: Modern Thought & Literature, UC Berkeley: History of Art Department, Stanford: Department of Art and Art History, Stanford: School of Humanities & Sciences, UC Berkeley: Theater Dance & Performance Studies, UC Berkeley: Department of Film and Media Studies, Stanford: Division of Literatures, Cultures, and Languages, SFMOMA, Stanford: Center for East Asian Studies, Stanford: The Europe Center (Freeman Spogli Institute and Stanford Global Studies), Arts Research Center: UC Berkeley.

/live/events/243864-the-8th-annual-berkeleystanford-symposium
Diné Nishłį (I am a Sacred Being): A Boarding School Play, April 13https://events.berkeley.edu/live/events/236322-din-nish-i-am-a-sacred-being-a-boarding-school-play

World Premiere Run of Diné Nishłį (I am a Sacred Being): A Boarding School Play by Blossom Johnson. Exuberant, sunny, and delightful, this boarding school comedy celebrates the enthusiastic passions of young Native women. Directed by Daniel Leeman Smith.

PERFORMANCE SCHEDULE

Thurs, April 11 at 2pm: Matinee + Playwright Talkback

Fri, April 12 at 7pm: Media preview/opening

Sat, April 13 at 7pm: Performance

Sun, April 14 at 2pm: Matinee

Four high school girls are thrilled when their song’n’dance group is selected to sing the Navajo National Anthem at the Winter Olympics in 2002. Bursting with excitement, hope, and confidence, the girls’ plans are upset when a teacher thinks one of them left a threatening voicemail. Jumping into action, they launch a plan to get rid of that teacher. Exuberant, sunny, and delightful, this boarding school comedy celebrates the enthusiastic passions of young Native women.

AlterTheater is Berkeley’s 2024-2026 Indigenous Performing Arts Resident company, and Blossom Johnson will be the 2024 Indigenous Performing Arts artist-in-residence.

Blossom Johnson is a Diné storyteller, playwright, teaching artist and screenwriter. She is from the Yé’ii Dine’é Táchii’nii (Giant People) clan, and her maternal grandfather is from the Deeshchíí’nii (Start of the Red Streak People) clan.

Blossom has been commissioned by AlterTheatre Ensemble and has been awarded a residency with Willowtail Springs/Durango PlayFest. She is excited to make a smooth transition from theater to film narrative with the In Progress NEXUS Program in St. Paul, MN. Additionally, she has been awarded the 2022 First Peoples Fund Cultural Capital Fellowship, La Lengua/ AlterTheater Ensemble’s Decolonization Stories Commission 2022 and is proud to be a recipient of The Playwrights’ Center 2022-23 Jerome Fellowship. She is a mentee in writing for animation with the Netflix Animation Foundations Program 2022. As a dramaturg, Blossom has worked with Native Voices at the Autry, UCSB Launch Pad, PlayPenn, Urbanite Theatre, New Native Theatre and YIPAP (Yale Indigenous Performing Arts Program). She has served as a panelist and script reader for the 22′ Playwrights’ Center Many Voices Fellowship and the 22′ New Harmony Project. Blossom holds an MFA in Dramaturgy from Columbia University and a BA in Theatre from Arizona State University. A proud member of the Dramatists Guild, and the Literary Managers and Dramaturgs of the Americas (LMDA).

She was raised by her grandmother on the very top of Dził Yijiin (Black Mesa), AZ and she’s always been surrounded by stories. When she opens the front door of her grandma’s yellow house, she can see a coal mine. Below the mesa is an old run-down restaurant where her mother used to hustle as a waitress during the summer in her teen years, and there is an old store where her grandmother would up-sale her hand made jewelry to tourists by the entrance, but the restaurant and the store has now been closed for years because what was taken from the earth was diminished, so no one stayed, and they eventually went out of business.

The people that stayed are Diné, and their stories, her stories, are thriving. When she creates, she writes for her people and the stories she writes come from memories, experiences, and family history. In her writing, she reveals truths that are hard to face but she balances the darkness with humor, so the viewer has a chance to breathe and laugh.

/live/events/236322-din-nish-i-am-a-sacred-being-a-boarding-school-play
Diné Nishłį (I am a Sacred Being): A Boarding School Play, April 14https://events.berkeley.edu/live/events/236325-din-nish-i-am-a-sacred-being-a-boarding-school-play

World Premiere Run of Diné Nishłį (I am a Sacred Being): A Boarding School Play by Blossom Johnson. Exuberant, sunny, and delightful, this boarding school comedy celebrates the enthusiastic passions of young Native women. Directed by Daniel Leeman Smith.

PERFORMANCE SCHEDULE

Thurs, April 11 at 2pm: Matinee + Playwright Talkback

Fri, April 12 at 7pm: Media preview/opening

Sat, April 13 at 7pm: Performance

Sun, April 14 at 2pm: Matinee

Four high school girls are thrilled when their song’n’dance group is selected to sing the Navajo National Anthem at the Winter Olympics in 2002. Bursting with excitement, hope, and confidence, the girls’ plans are upset when a teacher thinks one of them left a threatening voicemail. Jumping into action, they launch a plan to get rid of that teacher. Exuberant, sunny, and delightful, this boarding school comedy celebrates the enthusiastic passions of young Native women.

AlterTheater is Berkeley’s 2024-2026 Indigenous Performing Arts Resident company, and Blossom Johnson will be the 2024 Indigenous Performing Arts artist-in-residence.

Blossom Johnson is a Diné storyteller, playwright, teaching artist and screenwriter. She is from the Yé’ii Dine’é Táchii’nii (Giant People) clan, and her maternal grandfather is from the Deeshchíí’nii (Start of the Red Streak People) clan.

Blossom has been commissioned by AlterTheatre Ensemble and has been awarded a residency with Willowtail Springs/Durango PlayFest. She is excited to make a smooth transition from theater to film narrative with the In Progress NEXUS Program in St. Paul, MN. Additionally, she has been awarded the 2022 First Peoples Fund Cultural Capital Fellowship, La Lengua/ AlterTheater Ensemble’s Decolonization Stories Commission 2022 and is proud to be a recipient of The Playwrights’ Center 2022-23 Jerome Fellowship. She is a mentee in writing for animation with the Netflix Animation Foundations Program 2022. As a dramaturg, Blossom has worked with Native Voices at the Autry, UCSB Launch Pad, PlayPenn, Urbanite Theatre, New Native Theatre and YIPAP (Yale Indigenous Performing Arts Program). She has served as a panelist and script reader for the 22′ Playwrights’ Center Many Voices Fellowship and the 22′ New Harmony Project. Blossom holds an MFA in Dramaturgy from Columbia University and a BA in Theatre from Arizona State University. A proud member of the Dramatists Guild, and the Literary Managers and Dramaturgs of the Americas (LMDA).

She was raised by her grandmother on the very top of Dził Yijiin (Black Mesa), AZ and she’s always been surrounded by stories. When she opens the front door of her grandma’s yellow house, she can see a coal mine. Below the mesa is an old run-down restaurant where her mother used to hustle as a waitress during the summer in her teen years, and there is an old store where her grandmother would up-sale her hand made jewelry to tourists by the entrance, but the restaurant and the store has now been closed for years because what was taken from the earth was diminished, so no one stayed, and they eventually went out of business.

The people that stayed are Diné, and their stories, her stories, are thriving. When she creates, she writes for her people and the stories she writes come from memories, experiences, and family history. In her writing, she reveals truths that are hard to face but she balances the darkness with humor, so the viewer has a chance to breathe and laugh.

/live/events/236325-din-nish-i-am-a-sacred-being-a-boarding-school-play
Berkeley Book Chats: Shannon Steen, April 17https://events.berkeley.edu/live/events/229983-berkeley-book-chats-shannon-steen

The Creativity Complex: Art, Tech, and the Seduction of an Idea

With its associations of brilliance and achievement, “creativity” is a seductive concept — variously conceived as a shield against conformity, a channel for innovation across the arts, sciences, technology, and education, and a mechanism for economic revival and personal success.

But creativity has not always evoked these ideas. In The Creativity Complex (Michigan, 2023), Shannon Steen (Theater, Dance & Performance Studies) traces the history of how creativity has come to mean the things it now does, and explores the ethical implications of how we use this term today for both the arts and the social world more broadly. Richly researched, the book explores how creativity has been invoked in arenas as varied as Enlightenment debates over the nature of cognition, Victorian-era intelligence research, the Cold War technology race, contemporary K-12 education, and modern electoral politics.

Ultimately, The Creativity Complex asks how our ideas about creativity are bound up with those of self-fulfillment, responsibility, and the individual, and how these might seduce us into joining a worldview and even a set of social imperatives that we might otherwise find troubling.

/live/events/229983-berkeley-book-chats-shannon-steen
The Loft Hour: Cathy Park Hong + Timmia Hearn DeRoy, April 18https://events.berkeley.edu/live/events/218703-the-loft-hour-cathy-park-hong-timmia-hearn-deroy

The Loft Hour:
Cathy Park Hong
+ Timmia Hearn DeRoy

in conversation with Abigail De Kosnik


Thursday, April 18, 2024
12 – 1pm
ARC, Hearst Field Annex D23

Elevate your lunch break with The Loft Hour, a new year-long series that invites new arts faculty to riff on their work over lunch, in an informal conversation moderated by an ARC-affiliated faculty member. The April program features Cathy Park Hong (English) and Timmia DeRoy (Theater, Dance, & Performance Studies) in conversation with Abigail De Kosnik.

Cathy Park Hong is a writer and poet who has published three volumes of poetry, with her creative nonfiction book Minor Feelings (2020) being both a Pulitzer Prize finalist and received the National Book Critics Circle Award for autobiography. She was also named on Time’s 100 Most Influential People of 2021 list, as well as a recipient of the Windham-Campbell Prize, the Guggenheim Fellowship, and a National Endowment for the Arts Fellowship.

A child of Korean parents, Park Hong grew up in Los Angeles before earning her B.A. from Oberlin College and MFA from Iowa Writers’ Workshop. http://cathyparkhong.com/index.html

Timmia Hearn DeRoy is a practitioner and scholar of social justice-based theatre and film. She was a founding member of the Trinidad and Tobago PRIDE Arts Festival, former Director of the School for the Arts at the Trinidad Theatre Workshop, the Caribbean’s oldest theatre company, and former Marketing Manager at the CaribbeanTales International Film Festival. She works in areas of post-colonial theater practice, transnational feminist praxis, and Disability Justice, and engages in community-oriented and social change focused theater across the Diasporas to which she belongs. Timmia’s directing credits include 10,000: A One-Woman New Play Development by Victoria Taurean (2020) at the Lawrence Arts Center, In the Blood by Suzan-Lori Parks (2019) at the KU University Theatre, an original I Am One musical comedy called Buss de Mark (2016) which premiered at the PRIDE Arts Festival in Trinidad, and more. Timmia holds a Ph.D. and an M.A. in Theatre and Performance Studies from the University of Kansas, and a B.A. in Theatre Studies from Yale University. You can see her work at TimmiaHearn.com.

Abigail De Kosnik is an Associate Professor in the Berkeley Center for New Media (BCNM) and the Department of Theater, Dance, and Performance Studies (TDPS), and an affiliated faculty member of Gender & Women’s Studies, Film & Media, and Folklore. She is the 2020-2025 craigslist Distinguished Chair in New Media. She researches histories and theories of new media, film and television, social media, fan studies, piracy studies, cultural memory, and archive studies. She is particularly interested in how issues of gender, sexuality, ethnicity, and transnationalism intersect with new media studies and performance studies. De Kosnik is currently writing a book on media piracy in the U.S. by queer and BIPOC users tentatively titled Minority Piracy. She is faculty co-organizer of The Color of New Media, a working group that focuses on the overlap of critical race theory, gender and women’s studies, and transnational studies with new media studies (sponsored by the Center for Race and Gender with additional support from BCNM). De Kosnik is Filipina American.

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Nguyễn Tân Hoàng | Looking for Jackie: Gaysian Archival Fantasies, April 18https://events.berkeley.edu/TDPS/event/gaysian-archival-fantasies

The Graduate Group in Performance Studies presents:

Looking for Jackie: Gaysian Archival Fantasies

A talk by Nguyễn Tân Hoàng

Associate Professor of Literature & Cultural Studies at the University of California, San Diego

In the U.S. popular imagination, gaysians (gay Asian men) occupy the position of absence, lack, and invisibility. What does it mean, then, to advance the concept of a gaysian sex archive? This presentation considers my imagining of the gaysian sex archive through three case studies: 1) PIRATED! (2000) a found-footage video about my perilous boat escape from Vietnam in 1978; 2) the “Asian Male Nude Collection” the University of South Florida; and 3) a new video essay The Lesbian Hand that culls footage of hands from lesbian-themed movies. These case studies push against conventional understandings of the archive as an official repository of documents buttressing dominant narratives of race, gender, sexuality, and nation. Instead, they advance an expanded notion of the archive to consider a gaysian sex archive as a material and affective entity, filled with imaginary, speculative, fantastical, fleshy, and gestural potentialities. 

About the Speaker:

Nguyễn Tân Hoàng is an experimental videomaker and film and media scholar. His videos include Forever Bottom!, K.I.P., look_im_azn, and I Remember Dancing. They have been screened at MoMA, the Pompidou Center, and the Getty. His writings have appeared in Camera Obscura: Journal of Feminism, Culture, and Media Studies, Porn Studies, Visual Anthropology, and The Asian American Literary Review. He is the author of A View from the Bottom: Asian American Masculinity and Sexual Representation (Duke UP, 2014). He teaches film and media at UC San Diego.


This event is free and open to the public. RSVP below to receive a reminder email one day before the event

https://events.berkeley.edu/TDPS/event/gaysian-archival-fantasies
The Wednesday Club: A New Musical, April 25https://events.berkeley.edu/TDPS/event/wednesday-club

TDPS presents:

The Wednesday Club

Written & Directed by Joe Goode
Music Direction & Composition by Ben Juodvalkis

April 25–28, 2024
Zellerbach Playhouse

What do a gay cowboy, a slam poetry genius, a revolutionary poet, a naturalist, a couple of starry-eyed lovers, and a doomsayer have in common? They all want to experiment with the theatrical form as members of the Wednesday Club, a group of LGBTQ+ drama nerds (and their allies) who get together to test out their theatrical innovations every Wednesday evening in a church basement.

Based on songs from the repertoire of the Joe Goode Performance Group, this piece looks at the sometimes painful process of collaboration and the wisdom that can be gleaned from listening and slogging through the rough stuff to arrive at a place of trust and belonging.


https://events.berkeley.edu/TDPS/event/wednesday-club