About the text sources for the performance To Speak Light Pours Out
To Speak Light Pours Out
Kate McIntosh, 2020
The texts spoken and heard in To Speak Light Pours Out originate from many sources - theorists, poets, academics and singers, writing in different times and places. Many are drawn from feminist, queer and Afrofuturist discourses. Some writings are directly quoted and others have been adapted or synthesized by Kate McIntosh and Tim Etchells. To stage these texts we sought to voice them as directly and simply as possible.
The sources are, in roughly chronological order of appearance:
Rebecca Tamás, “Witch,” WITCH (Penned in the Margins, 2019).
Paul B. Preciado, “Feminism Is Not a Humanism,” An Apartment on Uranus: Chronicles of the Crossing (MIT Press, 2020).
Season Butler, “After Berlant,” text commissioned for the performance (2020).
Seloua Luste Boulbina, L’afrique et ses Fantomes, Ecrire l’Apres (Présence Africaine, 2015).
Emily Beausoleil, “Transforming Unjust ‘Structures of Feeling’: Insights from Four Unlikely Sectors,” Women Talking Politics (2019 issue).
Brandon LaBelle, Lexicon of the Mouth - Poetics and Politics of Voice and the Oral Imaginary (Bloomsbury Publishing, 2014).
Jon Young, What the Robin Knows: How Birds Reveal the Secrets of the Natural World (Houghton Mifflin Harcourt, 2012).
Elsa Barkley Brown, "Polyrhythms and Improvisation: Lessons for Women's History," History Workshop 31 (1991).
“Audience members’ hearts beat together at the theatre,” UCL Psychology and Language Sciences website (2017).
Daniel Blanga Gubbay, “The Rhythm of the Night,” care-package.me (2020).
Katharina Ernst, conversational quotes (2020).
Donna Harraway, Staying With the Trouble - Making Kin in the Chthulucene (Duke University Press, 2016).
Rebecca Tamás, “Witch Sex,” WITCH (Penned in the Margins, 2019).
Astrid Korporaal, "If All Else Fails,” hoaxpublication.org (2020).
Paul B. Preciado, “Moving Bodies,” An Apartment on Uranus: Chronicles of the Crossing (MIT Press, 2020).
Tim Etchells, “Always Bodies,” text commissioned for the performance (2020).
Jo Randerson, “Wolf Eats Kid,” text commissioned for the performance (2020).
Bek Coogan, “Sex/Art,” from the album Control Freaks Rule the World by Cortina (2005).
Bernard Ighner, “Everything Must Change,” Interpreted by Nina Simone on the album Baltimore (1978).
David Bowie, “Changes,” from the album Hunky Dory (1971).
Prophecy attributed to an unnamed Hopi elder, Hopi Nation, Oraibi, Arizona USA (2000).
Tim Stüttgen, IN A QU*A*RE TIME AND PLACE - Post-Slavery Temporalities, Blaxploitation, and Sun Ra’s Afrofuturism between Intersectionality and Heterogeneity. b_books, 2014.
Audre Lorde, “Age, Race, Class, and Sex: Women Redefining Difference,” Sister Outsider: Essays and Speeches (Crossing Press, 1984).
Astrida Neimanis, “Hydrofeminism: Or, On Becoming a Body of Water,” Undutiful Daughters: Mobilizing Future Concepts, Bodies and Subjectivitiesin Feminist Thought and Practice, eds. Henriette Gunkel, Chrysanthi Nigianni and Fanny Söderbäck (Palgrave Macmillan, 2012).
Emily Beausoleil, “Listening obliquely: Listening as norm and strategy for structural justice.” Contemporary Political Theory (2020).
Laboria Cuboniks, Xenofeminism: A Politics for Alienation (Published online, 2015).
bell hooks, “Eating the Other: Desire and Resistance,” Black Looks: Race and Representation (South End Press, 1992).
Carla Bergman & Nick Montgomery, Joyful Militancy - Building Thriving Resistance in Toxic Times (AK Press, 2017).
Françoise Vergès, “Capitalocene, Waste, Race, and Gender,” e-flux journal Issue #100 (2019).
C.K. Ladzekpo, “Drum Rhythm Principles of Percussion Polyrhythm from Ghana, West Africa.” U.C. Berkeley lecture available online.
Vanessa Sheared, “An Afrocentric Feminist Perspective on the Role of Adult Education for Diverse Communities,” International Adult & Continuing Education Conference (1996).
Ursula K. Le Guin, “The Ones Who Walk Away From Omelas,” The Wind's Twelve Quarters (Harper & Row, 1975).
Linn Sandberg, “The Old, the Ugly and the Queer: thinking old age in relation to queer theory,” Graduate Journal of Social Science, Vol. 5, no 2 (2008).
Juliana Spahr, This Connection of Everyone with Lungs (University of California Press, 2005).
Emily Rākete, “In Human: Parasites, Posthumanism, and Papatūānuku,” artspace-aotearoa.nz (2016).
Zadie Smith, “Fascinated to Presume: In Defense of Fiction.” The New York Review of Books (2019).
Alexandra Pirici & Raluca Voinea, “Manifesto for the Gynecene – Sketch of a New Geological Era.” LevArt /LevArText (2015).
“Queer Nation Manifesto – History Is a Weapon”, a manifesto originally passed out by people marching with the ACT UP contingent in the New York Gay Pride Day parade (1990).
Tucké Royale, “Manifest für die Neue Selbstverständlichkeit,” (2020).
Dani d’Emilia & Daniel B. Chávez, “The Radical Tenderness Manifesto,” Hysteria Magazine online (2015).