Suchergebnisse

Drew Joy is a 37 year old living in Portland, ME. They are the executive director of the Southern Maine Workers Center. They have been organizing and participating in activism since early adulthood. They have participated in public housing activism with Survivor's Village in New Orleans, anti-racism work in San Francisco with People Organized to Win Employment Rights (POWER), and now working class issues such as healthcare for all with SMWC. Drew has a very 'do it yourself', anarchism grounded ideology in their political beliefs. Their peer environment was in punk music, specifically the radical political sub-genres of queercore punk music. Citation Please cite as: Querying the Past: LGBTQ Maine Oral History Project Collection, Lesbian, Gay, Bisexual, Transgender, and Queer+ Collection, Jean Byers Sampson Center for Diversity in Maine, University of Southern Maine Libraries. For more information about the Querying the Past: Maine LGBTQ Oral History Project, please contact Dr. Wendy Chapkis. ; https://digitalcommons.usm.maine.edu/querying_ohproject/1021/thumbnail.jpg

Front Cover -- Copyright -- Title Page -- Contents -- Introduction -- Chapter 1 - The Active Joys of Retirement -- Chapter 2 - The Financial Joys of Retirement -- Chapter 3 - The Joy of Nature -- Chapter 4 - Enjoying Your Home and Garden -- Chapter 5 - The Joy of Learning -- Chapter 6 - The Art of Retirement -- Chapter 7 - The Joy of Relationships -- Chapter 8 - The Joy of Getting Away from It All -- Chapter 9 - Finding Fulfilment -- Chapter 10 - Extreme Things to Do in Retirement -- Epilogue -- CONGRATULATIONS ON YOUR RETIREMENT -- Summersdale Publishers.

From his sexual awakening in postwar England to life in the sixties and beyond, Derek Jarman tells his life story with the in-your-face immediacy that became his trademark style in both his films and writing. Accompanied by nearly one hundred photographs of Jarman, his friends, lovers, and inspirations, the candid accounts in Dancing Ledge provide intimate and incredibly vivid glimpses into this iconoclastic filmmaker's life and times

An examination of the significance of dance performances in the demonstrations of the Puerto Rican summer of 2019, this essay argues that these performances belong to a history of irreverent, extravagant mourning gestures that periodically irrupt in Puerto Rican culture as decolonial practices by dislocating the socially prescribed binding between performance and affect. Using the theories of Saidiya Hartman, José Esteban Muñoz, and Juana María Rodríguez, and connecting to the work of Rocío Zambrana on strategies that address the island's colonial legacy, the essay explores the mournfully irreverent dance performances of the Afro-Boricua bomba dancer Clara Isabel Díaz, the patería combativa (combative queer voguing) of Aldrin Manuel Cañals, and the reggaetón perreo of queer feminist activists Perra Mística and Kaya Té as gestures of loss and mourning that both demand redress and enact what Puerto Rican artists, activists, and critics have begun to call "decolonial joy."

The Western Christian tradition, particularly in the U.S. Protestantized religious landscape, has often denied dance as a legitimate form of worship, and many view Christianity and dance to be contradictory pursuits. White Soul/Forbidden Body: Dancing Christian From Ruth St. Denis to Pole Dancing for Jesus builds upon this tension in order to understand the strategies and tactics that Christian dancers in the U.S. employ to negotiate the power structures that function to forbid dancing bodies from occupying Christian spaces. This dissertation theorizes this tension as rooted in the politics of white Christian embodiment, which is created through the practice of constructing a particular relationship between the body and the soul. I argue that dance gives these dancers, who are primarily white women, the opportunity to creatively inhabit Christian power structures that privilege certain forms of embodiment over others. Through dance, this women are able to engender small pockets of religious leadership that allow them and others to experience religion through the body and explore dance's spiritual, meaning-making capacities. Methodologically, I rely on ethnography, archival research, and performance analysis in order to explore the multiple locations where Christian dance emerges in the U.S. - sanctuaries, dance fitness classes, dance studios, stages, etc. The chapters are organized around the dancers' use of embodied strategies such a "high art" framing, confrontations with the aging body, the rhetoric of health, the invocation of humor, and the development of community. By analyzing the contemporary and historical politics of Christian sacred dance, this dissertation research sheds new light on the neglected topic of dance as religious embodiment. While debates are ongoing about dance's appropriateness as a sacred art form, Christian dance continues not only to exist, but it also plays an integral role in understanding the relationship between bodily practice and religious identity formation. This research, therefore, models a critical, interdisciplinary approach essential to those who study dance history and theory as it intersects with American religion, critical race theory, and women's studies.