An Intimacy Choreography for Sexual Justice: Considering Racism and Ableism as Forms of Sexual Violence

Jones, Stephanie

doi:10.1353/dtc.2019.0028

Cited by 2 publications

(3 citation statements)

References 29 publications

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“…Intimacy choreography seeks to create consent-forward rehearsal and performance spaces in which staged intimacy can be creatively explored and choreographed while maintaining the physical safety and emotional well-being of the actors. The techniques utilized by intimacy choreographers are informed by the abuses that artists have endured for years within the industry and stem from feminist practices of stage combat direction for scenes portraying sexual assault (Jones, 2019). The concept of an intimacy director was first introduced in Tonia Sina's MFA thesis in 2006 about her experiences applying fight choreography techniques to scenes involving intimacy (Villarreal, 2022).…”

Section: Intimacy Choreographymentioning

confidence: 99%

“…Reproductive justice emphasizes bodily autonomy while recognizing that people's choices, including the options they have access to, are profoundly impacted by racism and structural inequalities (Roberts, 2017). Reproductive justice emphasizes the impact of other social forces on consent and can inform intimacy choreographers to take a more multifaceted approach to examine sex and intimacy (Jones, 2019). Similarly, disability justice recognizes the ways that ableism, racism, and anti-trans and queer violence affect disabled people's relationship to sex and intimacy (Jones, 2019).…”

Section: Intersectionality In Intimacy Choreographymentioning

confidence: 99%

“…Reproductive justice emphasizes the impact of other social forces on consent and can inform intimacy choreographers to take a more multifaceted approach to examine sex and intimacy (Jones, 2019). Similarly, disability justice recognizes the ways that ableism, racism, and anti-trans and queer violence affect disabled people's relationship to sex and intimacy (Jones, 2019). Both frameworks importantly acknowledge the ways that oppressive power systems work together and inform social relations.…”

Section: Intersectionality In Intimacy Choreographymentioning

confidence: 99%

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Onstage Intimacy: How Queer, BIPOC Actors Navigate Intimate Performance

Gianna DiGregorio

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the Bay Area theater community found itself at a critical juncture. What many BIPOC, queer, and femme artists had been discussing, writing about, and organizing around for decades suddenly flooded the cultural zeitgeist, encouraging more people-especially white people-to contend directly with racism, coloniality, and their own complicity in those systems. Motivated by the national civil unrest over police brutality, a group of self-identified BIPOC theatermakers collectively published a testimonial titled, "We See You White American Theater," expounding on the injustices these communities of artists faced. The collective, thereafter known as We See You White American Theater or WSYWAT, wrote about the ways in which American theaters profit from Black people while continuing to marginalize those same artists by gatekeeping leadership positions, producing very few BIPOC stories, and avoiding accountability after harming BIPOC employees. Within 24 hours, the letter was circulated through various social media outlets and signed by over 50,000 artists (About, n.d.).More signatories are still being added. WSYWAT's powerful testimonial served as both an indictment and a rallying cry. Understanding that the systems that enabled police to murder George Floyd in Minneapolis were the same systems enabling the marginalization, exploitation, and mistreatment of artists of color, theatermakers across the country joined local movements to address a longstanding rot within the industry.As the Movement for Black Lives-a coalition organizing for Black liberation in the United States-led to demands for structural change within theater institutions, it unearthed many

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Section: Intimacy Choreographymentioning

confidence: 99%

Section: Intersectionality In Intimacy Choreographymentioning

confidence: 99%