Vogue dance workshop (BASIC INTRO! EVERYBODY CAN JOIN.)
+ talk on vogueing culture
Daniel Elahi (b. in Sweden with roots from Iran) is the father of the Kiki House of Meraki – Norways only kiki vogue house. Daniel is an international travelling dancer and perfoming artist based in Oslo. A rising legend!
BRING YOUR SASS, SELF LOVE AND GENDERFUCK CURIOSITY AND MAKE A STATEMENT IN THIS AMAZING VOGUE SESSION!
+ ONE WORK ONLY: Victoria Sin
Video, 12 min, 2016-2017
Narrative Reflections on Looking
Preface/Looking Without Touching
Part One/She Was More Than the Sum of My Parts
Part Two/The Reprise of Cthulhu
Part Three/Cthulhu Through the Looking Glass
Still from Part Two – The Reprise of Cthulhu
Victoria Sin (b. 1991, Toronto CA) is an artist using speculative fiction within performance, moving image, writing, and print to interrupt normative processes of desire, identification, and objectification.
Drag as a practice of purposeful embodiment questioning the reification and ascription of ideal images within technologies of representation and systems of looking,
Science fiction as a practice of rewriting patriarchal and colonial narratives naturalized by scientific and historical discourses on states of sexed, gendered and raced bodies,
Storytelling as a collective practice of centering marginalized experience, creating a multiplicity of social contexts to be immersed in and strive towards.
Drawing from close personal encounters of looking and wanting, their work presents heavily constructed fantasy narratives on the often unsettling experience of the physical within the social body.
Their long-term project Dream Babes explores science and speculative fiction as a productive strategy of queer resistance, imaging futurity that does not depend on existing historical and social infrastructure. It has included science fiction porn screenings and talks, a three-day programme of performance at Auto Italia South East, a publication, and a regular science fiction reading group for queer people of colour.
Vogue and drag are artistic practises within queer culture and history. Black and latino drag queens and trans women in the Harlem ballroom scene (NYC) in the 60’s were the first to vogue.
What position and responsibility does a vogue company in Scandinavia have 2018? How can we push binary and traditional ideas within queer spaces, for example who is “allowed” to perform drag? How do we build upon the legacy and keep vogue and drag as radical and rebellious as when it started?