TBA:17 Guest Scholars Lydia Brawner and Keith Hennessy present back-to-back lectures that engage their current research, practice, ideas, and questions.

Lydia Brawner, Kiss Me Through the Phone
Brawner will share some of research into contemporary performance’s deepening relationship with cell phones and social media as strategies that challenge, pause, mute, and even amplify our current moment of digital consumption. There will probably also be a surprise detour into scent, and the pleasure and politics of using our noses.
Lydia Brawner is the Andrew W. Mellon Curatorial Fellow at New York’s Performa. She holds a Ph.D in Performance Studies from New York University, where she also received her M.A. She is the current assistant editor of Performa Magazine, and previously was the managing print editor of the San Francisco Arts Quarterly (SFAQ), and the reviews editor of Women & Performance: a journal of feminist theory. She has taught at the San Francisco Art Institute, New York University and the College of Staten Island, serves on the advisory committee for the Center for the Arts and Religion at Berkeley’s Graduate Theological Union, and much of her research focuses on the place of religion and spirituality in contemporary performance.

Keith Hennessy, Current Events
Trump’s election marks a shift to a more intensified version of neoliberalism, or something for which we don’t yet have a name. USAmericans fail to conceive of how many people are displaced by conflict, war, and violence and how that displacement is driven by corporate more than national interests, directly driving not only refugees but the futures of art, money, identity, justice, the nation, the failed state, imperialism, debt, and more.

Keith Hennessy dances in and around performance. Born in northern Ontario, he lives in San Francisco since 1982 and tours internationally. His performances engage improvisation, ritual, collaboration, and public action as tools for investigating political realities. Practices inspired by anarchism, critical whiteness, post/Modern dance, activist art, the Bay Area, wicca, punk, contact improvisation, and queer-feminism motivate and mobilize Hennessy’s work. Keith’s 2016 collaborators include Peaches, Meg Stuart, Scott Wells, Jassem Hindi, and the collaboratives Blank Map and Turbulence. He teaches in universities, independent studios, and festivals including Ponderosa, Fresh, HZT, Movement Research, Portland State University, Sandberg Institute, and Impulstanz. Awards include the Guggenheim Fellowship, United States Artist Fellowship, a NY Bessie, multiple Isadora Duncan Awards, and a Bay Area Goldie. Keith’s writings have been published in Contact Quarterly, Movement Research Journal, Performance Research (UK), Society of Dance History Scholars Journal, Dance Theatre Journal (UK), Itch, Front, and In Dance. Hennessy directs Circo Zero and was a member of Contraband with Sara Shelton Mann. He earned an MFA and PhD from UC Davis.