A long read and interview with transdisciplinary artist, activist, theologian, community healer, and creator of The Nap Ministry about her upbringing and what has influenced her rest movement.
Korra, a.k.a. ZP, speaks about some of her biggest concerns as a Black girl in the world, including what it’s like navigating 6th grade and the wonderful world of wash day for Black people.
A first-hand account from mother and archivist Tracy Drake on the challenges of caring for Black children and the conversations she recently had with her daughter, as part of a series of testimonies by Black trans, Black women and girls, Black femme, and Black non-binary artists and cultural workers.
Maya-Camille Broussard gives a glimpse into some of the challenges she experienced as a child and continues to experience in her daily life, and reminds us of why now, as always, Black Disabled Lives Matter and need to be uplifted when we talk about police violence.
A conversation with Ireashia M. Bennett, a Black queer new media artist from Suitland, Maryland who now calls Chicago home. Their work takes the form of photography, multimedia essays, short documentaries, and experimental films that poetically harness and affirm Black queer disabled perspectives and realities.
Rashayla Marie Brown weaves together elements of her past and present experiences, then connects them to the call for accountability and long-term commitment to addressing systemic anti-Black damage and misogyny within and beyond the arts sector.
This is the third article in an ongoing series about Body Passages, a partnership between Chicago Danztheatre Ensemble and The Chicago Poetry Center (the first and second are online). This series gives brief looks into a 10-month, interdisciplinary creative process between Body Passages poets and dancers, documenting and reflecting on aspects of that process as it happens. In September, I spoke with writer Lani T. Montreal and dancer/choreographer Maxine Patronik about their collaborative process; their resulting piece, “Blood Memory,” about trauma and bodily memory; and their thoughts about artists’ responsibility when presenting work with sensitive themes. This interview has been edited for length and clarity. Lani and Maxine’s final creation – along with those by other Body Passages groups – were performed at a culminating event at the Chicago Danztheatre Ensemble Auditorium on October 12 and 13. Marya Spont-Lemus: It was so cool to get to observe you today at work on “Blood Memory,” your piece-in-progress for Body Passages. So thank you! Before we get into discussing that collaborative piece and your process, I’d love …