Feb 26, 2018

Queer Dating Sites - locationlocationlocation

Queer Dating Sites 


When:
28 Feb 12-2pm
1 March 5-7pm
2 March 12-2pm


Reminder:
This event could involve getting down on the ground, which could mean you get 'dirty'. Given this, please wear clothing and footwear which is comfortable for you.


This letter regards details of the event's locationlocationlocation.
 
If you looked up 412 Titirangi Road in Google Maps it would show you an image of the block of toilets that sits on the corner of Titirangi Road and South Titirangi Road.  If you stand on the sidewalk outside these toilets you might be gifted with a magnificent view out to the Manukau Harbour. 



This image is useful in the task of locating Queer Dating Sites.  Let’s call these toilets a key marker in the search.  Behind them you would see a carpark that is entered by car off South Titirangi Road.  It has 21 marked spaces for vehicles.  If you had been intending to drive to Queer Dating Sites you might have looked for a space to park in there.  If you had been arriving by bus, train and/or foot you most likely would have entered the carpark a different way from up on the Titirangi Road Village footpath via a neat little set of stairs to the side of the toilet block.

One possible outcome though, if you had driven to the location, is that all of these 21 parking spaces may have already been taken.  In that case, I would have recommended driving a bit further down South Titirangi Road and pulling in left at the Library/War Memorial Hall carpark.  This carpark is listed as 500 South Titirangi Road on Google Maps.  Which is interesting.  Interesting in terms of property division and numbering, which is only really interesting if you are thinking about the politics of land, ownership, and this performance site.  In any case, where I had hoped you would end up for the start of Queer Dating Sites (until about half an hour ago) was pushed up against the back of the Titirangi Village retail strip in behind the toilet block and next to the carpark.  Does that make sense?
 


My plan was to be standing around the back of the Titirangi Village retail buildings to welcome you all to Queer Dating Sites.  I would have been wearing a long baby-pink sequinned throw to flag myself as ‘queer’ (as an aside that feels relevant, the throw has stains and holes and has been performed in many times in Oakland CA, Dunedin and Tāmaki Makaurau). I thought that in wearing this sparkly pink throw you couldn’t possibly miss me, or miss Queer Dating Sites.  After all there is nothing worse than getting lost when running late and looking for a queer performance event you plan to attend in unfamiliar suburbia (from experience).  Driving the creation of these location details was a strong desire that not one of you would get lost, miss the event or feel unsafe in hostile homophobic territory.  But Google Maps had complicated the numbering system for the area which was ironically invisibilising the site I wanted you to find.  Argh.

In the interests of precise directions then, I was going to tell you that if you had met with a family of chickens in your search for Queer Dating Sites you would know that you had gone too far.  With the chickens in check, I would have warned you to back up the metal driveway a little bit and wait for me in the carpark until the exact starting time.  
As it turns out all of this information regarding the location of Queer Dating Sites is no longer current.  So, there is no need for you to click on the following links to find me.  Unless you want to look closer at the image of the toilet blocks.  Which would be perfectly relate-able.  In that case click away.

412 Titirangi Road, Titirangi
500 South Titirangi Road, Titirangi



Before addressing what occurred half an hour ago, and with further regards to the location of Queer Dating Sites, I want to tell you that after welcoming you all I had planned to lead you past the chicken whanau and past the lease holder employee carparks.  I was going to invite you all in behind and underneath the retail spaces, buildings that would extend two stories above us, to experience the invisibilised b-side of the affluence of Titirangi Village.  As part of our time together in that semi-covered dark and damp site I had prepared for encounters with security guards, wild cats, and homeless residents.  I had intentionally not asked permission of the retail space lease holders or the property owners as I was interested to see what would happen in terms of enforcement, boundaries and transgressions (sorry Lydia and Fringe, I know I have been bad).

I had wanted to reflect on our embodiments and experiences in this ignored, excluded and forbidden(?) suburban space.  I wanted to consider places like this in predominantly white rich neighbourhoods that are mostly hidden, and generally considered to be dirty, ugly, gross, filthy, and not yet* worthy of attention, touch, affection or care (yet* in the sense that the space is not-yet seen to be potentially profitable).  I had become particularly fond of the things that had been discarded in this dusty space, thrown ‘away’ as ‘rubbish’.  If you are friends with me you will probably know I am not ashamed of my love of detritus, a marginalized subgroup of >>> things <<<.  I’ve always had a softening touch for the underdog.  I am pointing here to a perceived correlation between conventional perceptions of how things and bodies relate, normative pedestrian behaviours in urban spaces, and the socio-psychic-physical patterns of homophobia, transphobia, racism and misogyny.  So, yeah, I was curious about how it might feel for us all to hang out together in that particular site with its' pretty little piles of cigarette butts, cans, glass, weeds and wheelie bins, cracked chairs, dripping pipes, flourishes of tagging and bright security lights. 



I guess you are still wondering though what happened half an hour ago that led to the irrelevancy of the location information.  That story begins a couple of weeks ago when I made contact with Te Kawerau ā Maki to consult over an acknowledgement of the site, check in about whether my plans for this event were tika with tangata whenua, and make sure I wasn’t going to interfere with the rāhui over Waitākere Ranges.  In visits to the site I had noticed a number of kauri trees nearby to where I planned for Queer Dating Sites to take place.  Some of the site floor was concreted which I knew to be safe for the trees in terms of walking, but most of the terrain consisted of dry earth that led out to the forest floor, a strip of bush where numerous kauri stood in between the Village buildings and the Titirangi Library and War Memorial Hall.

In the leadup to the event I had been thinking about the relationship between kauri dieback, manawhenua, and the concepts of ‘property ownership’ and ‘retail investment’.  I was also thinking about what it means to be a pākehā artist creating work on this contested ‘property’ site.  One particular aspect I was considering, was an ethics of accountability and the Coleman family who ‘owned’ 408-416 Titirangi Road and 490 South Titirangi Road from 1947 until recently, when they sold the site to Rotcol Enterprises Titirangi for ‘development’.


Titirangi retail investment for development or long term hold

This is not the end of the half-an-hour-ago story, but let's jump back into my imagined forthcoming event anyway. Maybe we could have admired the space and >>> things <<< together, as a kind of ‘queering’?  Perhaps we might have even moved towards the possibility of an intimate encounter with the site?

I imagine these intimate encounters as dates.  Maybe a romantic date if those kinds of feelings arose, but not necessarily.  Maybe the site would end up friend-zoning us anyways.  I wouldn’t be surprised given my flirtatious presumptions.  In any case, I had hoped to announce whatever happened in the encounters to be a collective queering of space.  And in this same line of thinking, I also wanted to name the site a Queer Space, where queer behaviour was welcomed.  But these kinds of anticipatory desires brought me right back to contemplating the ramifications of the event in terms of respect, kauri dieback, manawhenua, ‘property ownership’ and ‘retail investment’, my own whiteness, and the very colonial implications of naming this event as a queering of space, and the site a Queer Space.  You see my predicament, right?  My event is problematic.
 Whichever way I look at it, my practice in association with this particular Titirangi site invites the shady histories of the crown's land deals, dodgy Auckland City Council transactions, the impacts of colonization on local iwi, local ongoing racism and enforcement of Western ideals, AND the current urgent environmental situation of kauri dieback.

Most notably, my decision to park my physical association with the sitetonight was cemented when Waitākere Rāhui confirmed half an hour ago that walking through there is not safe for the kauri nearby since their roots extend up to 30 meters underground (!).  All hail the power of tendrils!

I want to reiterate the sensitivity and vulnerability of the whenua and taiao of the Waitākere ranges that Waitākere Rāhui and Te Kawerau ā Maki are working to protect and care for.  I don’t want to be part of a pattern of disturbance, where the land is being damaged by folks like me who might think that what I do won’t harm anything because I am just one person, or I am a harmless eco-liberal hippy or whatever (read whiteness).  Cos yeah, that's a BS irresponsible and short-sighted pov.


So I’m writing to you to let you know that Queer Dating Sites is not going to be performed where I thought it would be and that I am yet to confirm another site.  But likely it will be inside an institutional space, probably a concrete walled room at AUT on St Pauls Street in city central where I am currently enrolled as a PhD student in the Art and Design department.  Hopefully that is not too depressing a vision and hoping you still attend the event ;).  Stay tuned for confirmations on Queer Dating Sites' locationlocationlocation in the next 48 hours.

Kia kaha

#RespectTheRahui
Waitākere Rāhui video

x val

Sep 28, 2017

Enough - whY Chromozone Tempo Dance Festival

I was invited to participate this year in whY Chromozone, a "Variety Showcase" for Tempo Dance Festival. I'm not quite sure if I fit the context though, as the programme explicitly asks these questions, which I find perplexing and intimidating and annoying: 

What does it mean to be male?  What does masculinity look like?  And what does that one Y chromosome have to do with it anyway?

But I guess I wanted to contribute my current thinking around non-binary genders and queerness anyways, and see what comes of it all.

I would love to see you there!

I'm a non-binary queer femme btw!

Saturday 07 October 830pm
Sunday 08 October 630pm




























Enough - val smith


Enough Is Enough – Donna Summer & Barbara Streisand
Am I Not Pretty Enough - Kasey Chambers
Never Enough – The Cure
Never Enough – One Direction
Just Can’t Get Enough – Depeche Mode
Don’t Stop ‘Til You Get Enough - Michael Jackson
Ain’t No Mountain High Enough - Tammi Terrell & Marvin Gaye
You’re Enough - Carpenters
Are You Strong Enough To Be My Man – Sheryl Crow
Can’t Get Enough Of Your Love Baby – Barry White
Can’t Get Enough – J. Cole ft. Trey Songz
Can’t Get Enough – Supergroove
Can’t Get Enough – Bad Company
Queer Enough For You? – Mukilteo Fairies
Is That Enough – Sons of Zion ft. Aaradhna
I Am Enough For Myself – Sinead O’Connor

Cast
they/them/theirs

Music
Anonymous vaporwave track pirated from a gay porn site

Credits
Choreographic Thinking – Sarah-Louise Collins, Caitlin Davey
Design Consultant – Leyton Glen
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Thought Contribution – Creek Waddington

Oct 3, 2016

Meiosis











Conceived by val smith, developed in collaboration with Kristian Larsen
Performance by valvalval smithsmithsmith and Krstn Lrsn
12 - 4pm, Saturday February 13th 2016
Te Uru Gallery, Titirangi

Meiosis can be divided into nine stages, separated in half through the first time the cell divides and the second time it divides.
1.       Interphase
2.       Prophase I
3.       Metaphase I
4.       Anaphase I
5.       Telophase I and cytokinesis
6.       Prophase II
7.       Metaphase II
8.       Anaphase II
9.       Telophase II and cytokinesis
During these nine stages we might see cells, or their chromosomes and chromatids, pairing up, lining up, pulling apart, or pinching in the middle.
-          Sourced from www.yourgenome.org/facts/what-is-meiosis


As part of a live art festival ‘They Come From Far Away’ which ran from 10-13th February at Te Uru Gallery in Titirangi, myself, as valvalval smithsmithsmith, and fellow choreographic artist, as Krstn Lrsn, engaged in a 4 hour process of comprehensively transitioning to become each other.  The intention being honest and whole-hearted, that Krstn Lrsn would become valvalval smithsmithsmith, and valvalval smithsmithsmith would become Krstn Lrsn. With this intention we were exploring an kinaesthetic engagement with the question: How might we become each other?

Meiosis is not representation, pretending, reiteration, documentation or demonstration.
Meiosis is act/acts/acting.
Meiosis is social signs and symbols through the body.
Meiosis travels through time to understand who the other is / is not.
Meiosis is strictly a response to invisibility and a feeling of lack.
Meiosis is dance. Meiosis is not your dance. Meiosis is micropolitical.
>excerpt from performance manifesto/handout<
In the lead up to the event, Kristian and I discussed strategies that might be useful in a 4-hour process of becoming each other. We predominantly talked about somatic and performance methodologies, but also fielded other ideas such as swapping Facebook accounts / identities (for research purposes), and explored reading text sent to us from other people, and i.e. in order to practice being each other.

I was interested in how Krstn’s process and methods for becoming me, might be quite different from my own. Would this reflect our separate (and shared) histories of improvisation, dance and movement forms?

In order to know and become Krstn, I was thinking of dropping into an embodied listening practice to trace his feeling tones, anatomical personalities and other complex stylistic features. A practice that perhaps hopes to better understand who he is, in order that I might embody that ‘who’. I was imagining a kinaesthetically focused practice of empathy to comprehend the subjectivities of ‘Krstn’, sensing identifiers and signifiers as they emerged in the moment. Before the event took place, I was completely convinced that this task to comprehensively become each other was absolutely possible.

Te Uru's video documentation of the work 


I am interested in how this video documentation reads. When I watch it, I see Krstn and I working with quite different strategies. We approach the task with distinct tones and tempos. Due to the overlapping programme of events, the video documentation only occurred for the first 10 minutes and then again towards the end of our 4-hour process, so the video misses other ways of working that we engaged with. Over the span of time we worked in relation to various different spaces and people we encountered. The video shows how we started together, and some opening propositions that emerged between us. Over time these shifted and developed.

I am wondering about the ethical implications of the given task.
It is interesting for me to consider the various normative and gendered assumptions potentially embedded in a process that relies on the body and its senses as the sole source of information when considering who another human being is. What kinds of identifying impressions might emerge through an osmotic process of sensing, listening and tuning? How real and concrete will these impressions be? Will they align with the self-identifying language used by the other person to describe themselves? In reflection, I am thinking about the potentiality of the non-typical neurological activations that some somatic practices present, as a pathway that might lead into non-normative identity-forming/unforming socialisations. What are the metaphysical implications of getting to know someone else through kinaesthetic means?

“Osmosis is the spontaneous net movement of solvent molecules through a semi-permeable membrane into a region of higher solute concentration, in the direction that tends to equalize the solute concentrations on the two sides.”

During the event we shifted between sensing and talking. Sensing through touch, closeness, being-with; talking through noticing, awareness and the sharing of insights and embodied experiences. This shift between sensing and talking unintentionally invited a certain kind of engagement from exhibition attendees. People stood and watched, sat and listened, asked questions, came and went, took photos, and came in close or stayed at a distance. We responded to these spatialized engagements in various ways depending on our mood in the moment; verbal invitations to join us, walking away, looking at or seeing with, asking questions, staying with, and hiding from.


I was interested in the 4 hour time frame we had given ourselves to do the task. How long will it take to become you? What durations and stages would emerge? Can we sustain interest and energy in the process over time? How would we navigate everyday human needs through the time? Would we measure time, and how would we experience time from within the process?


We started our performance process in Te Uru’s main floor bathrooms complex where there is a wide wooden bench in a kind-of-foyer outside of the designated male, female and disabled toilets. From there we had decided to not put any restraints on where the process might take us physically (as well as psychically, emotionally and philosophically), and ended up moving through the gallery to occupy various spaces for lengths of time including the platform at the top of the back stairwell, and the cafe next door.


photo by Christina Houghton


Thankyou, we had lovely moments with people as they came, went and drifted past our 4 hour long distance. In particular, I enjoyed our time with Katherine Tate. It was super lovely, connected and felt expansive in terms of how we were dealing with the question of performance engagement. And, I will never forget our shared experience of Sean Curham's work - Gentle Lying on the Bonnet of a Popular Car  - it was super erotic, and deeply relaxing! Rrrrrmmm rrrrmmm.
Unfortunately, I truly failed to become Kristian, yet I feel like I know him in my body a little more microperceptually and intimately, which I think is, in itself, a small success.
;)


As I write above, in a text to a friend who wasn't able to make the physical performance, I failed the brief. I failed it utterly. Not in any one moment did I feel like I was becoming, or had become, Krstn. Rather, I felt like, in attempting to become Krstn, I had managed to become more myself. I had managed to better understand who I was, or perhaps more accurately, I had managed to feel more of myself through the process. This is regardless of whether those embodied experiences of myself are defining of valvalval or not. Perhaps in a small yet significant validation of this outcome I might add another val onto the end of my name - to become valvalvalval.

:)


Photo by Christina Houghton of Krstn and valvalval participating in Sean Curham's Gentle Lying on the Bonnet of a Popular Car


Postscript:

Whilst drawing heavily on post-structuralist, feminist and queer philosophies of performativity, becoming and affect from theorists such as Judith Butler, Eve Sedgwick, Jose Munoz, Gilles Deleuze and Brian Massumi, Meiosis is firmly rooted in technologies and techniques of dance, somatics and postmodern performance practices. Meiosis advocates for an addressing of HOW we might become each other (or more of ourselves) through the technologies of embodiment and choreographic thinking. I repeat; this is not a demonstration or an idea.

Meiosis is curious about how our perceptual experiences of ourselves, each other, and the environments we exist in, shift and morph when engaging in such bodily practices. Note to self: necessarily improvisational.

 
“I have been studying Krstn Lrsn’s profile page on Facebook in order to suck his humour and gendered being into my nervous system and fluids. Later into the process, I will retrieve all of this digital and electronic data and reconstitute it through my entire self."

Do signifiers applied to who we are, in the form of names, adequately capture the ‘wholeness’ or ‘reality’ of who we 'truly' are?


Disclaimer: 
'val smith' is a self-described gender. val smith and Kristian Larsen are in no way stable identities, rather they are in a constant and fluid state of reinterpretation of themselves through daily acts of sexual repetition.

Jul 25, 2016

mapping a politics of queer pride and shame


This post is a note-taking.

Sam Orchard put a call out through DPSN (diversity promotion through social networking) - for folks to talk about what pride means to them. I did some mapping of thoughts in response.

DPSN pride-vlog


I am interested in the affectivity of shame, and the politics of shame in performance and performance making.

How might gay shame and somatic practices come together in a performance context? 
Can talking about shame and pride open up a discussion around queer and trans bodies, and the realities of living every day as visibly (or invisibly) queer, trans and/or gender diverse?

Are queer bodies seen to be unworthy, unproductive bodies?
- guilty for not conforming to norms?
- rejected, ostracised bodies?
Who decides who/ and what is worthy of love?

Why is 'pride' valued by mainstream LGBTQI culture? Why is pride acceptable, but shame so abhorrent?

WE ARE WHO WE SAY WE ARE! 
why identities are so important to queer communities? 
a necessary move in revaluing bodies, expressions and sexualities that are deemed wrong, not normal, dirty or shameful.

Unvalued/valued feelings
-depression
-shame
-fear
vs
-courage
-brave
-positivity

Standards of success & Failure
-Why is there such a huge stigma around shame? Are we afraid of feeling ashamed?

Brush it under the carpet, where it cannot be seen/felt.
Reclaiming the strength and power of SHAME in a performance context.
Seeing and being seen in a state of feeling ASHAMED - affective flows between performers/audience.

What do I feel proud of?
-proud of who we are?
-proud of what we do/achieve?
-proud of non-productivity? doing nothing? 
-proud of listening to my body?
-proud of respecting my boundaries?
-when i take risks, and challenge myself to do things that feel uncomfortable?
-proud of doing things that make me feel good about myself?

Not Proud - what is that?
-feeling ashamed, hateful, judging as bad/not good?

Gay Shame
-consumerism and capitalist culture...
-what does a Pride parade stand for with its consumerist aesthetics? 
-how does racism play a part?
-how are big businesses valued over queer activism & politics?

Secrets & Shame
-feeling like a BAD person

Pride feels like:
-warm fuzzies
-loving, embracing, supportive
-smiling and caring
-little explosions of love from the chest

Making friends with shame
-taking the power out of it
-EMPATHIZING WITH resistance, judgement, tension, blocking


 

May 25, 2016

This Cloud Is - final performance event for the Caroline Plummer Fellowship!

 
What is This cloud?

This cloud is: trillions of tiny water droplets floating around in the atmosphere as a togetherness (meta-physics)

This cloud is: a face, a fish, a plane, a horse, a heart shape (matter-physics)

This cloud is: a logical pooling of digital data; a storage infrastructure non-thing-thing (meta-data)

This cloud is: here-now-morphing-gone; not a cloud, o rain (ode to)

This cloud is: allowing a lot of light through


This cloud is: not letting light through (mental health triangles)

This cloud is: ... (fake)

THIS CLOUD IS. (realness)




THIS CLOUD IS QUEERING! is a 6 month creative project facilitated by choreographic artist val smith, for the Caroline Plummer Fellowship in Community Dance at University of Otago. The project has explored a process of mapping queer, trans and gender diverse experiences of public spaces engaging Dunedin’s rainbow communities in one-on-one walks, conversations, community building experiments, workshops, studio research, site-based tests and somatic performance methodologies.

As the project’s culminated event, This Cloud Is, in partnership with Urban Dream Brokerage, will occupy George Street’s Underground Market for 2 weeks from June 6-20th in a participatory residency. 


The residency offers Dunedin’s citizenry multiple ways to engage with the creative practices, including an experimental process of digitally mapping embodied experiences of public spaces in and around the Underground Market. There will be a roaming performance installation event on June 19th, with collaborative contribution by local performers and artists, including sound artist Eves who returns from Melbourne to perform live.

The Underground Market will be open during specified hours throughout the residency. 

For details on This Cloud Is join the Facebook event This Cloud Is, Facebook page THIS CLOUD IS QUEERING! or follow thiscloudis on Instagram for digital archiving of #queerfeelings #queerephemera #queerchoreography 

This Cloud Is
a) a performance event finalising 2 weeks of #queeringspace in The Underground Market on George Street, from 5-19 JUNE in partnership with Urban Dream Brokerage.

b) a participatory residency that invites the public into a process of digitally mapping their embodied experiences of public space.

c) a present-ing of digital and realness data archives as #queerfeelings #queerephemera and #queerexperiences in #queerspace as particles of This Cloud Is.

ALL WELCOME.

Collaborators / Performers: Ede Eves and a bunch of other folks tbc

Times:
Final event - 7.30-9pm Sunday June 19th.
Participatory residency hours - tbc (limited hours each day June 6-20)

Acknowledgements: Caroline Plummer Fellowship in Community Dance, Dance Studies, School of Physical Education Sport and Exercise Sciences, Otago University. Urban Dream Brokerage. Katrina Thomson. Leyton Glen.