Tina Carter

Betwixt and Between:
the liminal status of the ‘disabled aerialist’
24th October @ 5.00pm

‘Bird Girl’ (with twelve ‘net performers’, four trapeze performers and four rope artists)

The ‘disabled aerialist’ is itself a problematic (even paradoxical) term, but so too is the status of such a person within the aerial world.  Relative to conventional aerialists she may be considered ‘less able’, but relative to others of similar impairments she may well be considered ‘highly able’.  Either way she falls into a liminal space between the conventional perceptions of both aerial and disability.  This presentation aims to highlight some of the examples of practice that is feeding my research; where the research sits in terms of theoretical discourse; and offers some personal reflections on the often complicated relationship between the two.

Brief Bio
I’ve been a practicing aerialist for almost twenty years, working in traditional and contemporary circuses, physical theatre, nightclubs and the odd casino.  I set up Expressive Feat Productions in 1999 to create the work I wanted to make (rather than that which earned me a living) and I closed it in 2008.  I now work freelance as an aerial trainer and choreographer (and still occasionally as a performer)  running www.airhedz.co.uk (in the process of being totally revamped) and have become quite specialised in working with disabled performers who want to fly!

+ http://vimeo.com/44234741 (short film of Hang-ups! [2012])


Becky Cremin

Functions in 1-16 and A site:
A sited city: A sited body
24th October, 2012 @ 6.00pm

This presentation will take the form of a durational performance. It will blend practice and theoretical discussions surrounding my work. Functions in 1-16 : a performance and re-performing experience of the city. Accompanied by A site: A sited city: A sited body, a theoretical exploration of the city as space to re-write and re-construct.

Rebecca (Becky) Cremin works in process and draws on traditions of live art, fluxus, performance writing and site specific work to construct a hybridity of practice which uses language as an object to expose, to investigate, to locate. She is a founding member of the poetic collective PRESS FREE PRESS.  Her publications include Occupancy in VLAK, (Litteraria Pragensia), she as again : again as she in Viersome 01 and LAY’D both from Veer Books and Cutting Movement from The Knives Forks and Spoons Press. Her poems have featured in Blart, Department, Klatch, Veer About, How2 and beyond. Her performances take place in galleries, pubs, on council estates, in her bedroom, in the street, in the book and on the page.

+ www.performatext.org

Kat Joyce

An organism I’m only a part of:
ensemble practice as research
3rd October, 2012 @ 6.00pm

All That Is Solid Melts Into Air (Tangled Feet)

The performance practice I am involved in making as part of the ensemble Tangled Feet is physical, devised, collaboratively made, co-authored and doesn’t leave textual traces. These characteristics provoke the creative impetus behind my research, but also pose unique challenges in terms of balancing the (sometimes quite different agendas) of academic investigation and keeping the show on the road.

Nearing the end of my research, I will talk about the main thrusts of both my practice and my writing, and some of the challenges of synthesising the two.

Kat Joyce is the Co-Artistic Director of Tangled Feet (see www.tangledfeet.com). Besides her work with the ensemble, her practice has spanned disciplines from playwriting to scenography, and she creates work using a range of approaches including devising, choreographing, scripting.

+ Click here for more information relating to Kat Joyce’s presentation.