i love you -- i put a spell on you

"I love you" is more than a phrase, more than an adage. It is an incantation, a spell. We must learn to be careful with our magic. We must learn to be benevolent with our love.

Pusheen & Marxism

Adventures of Desun and Cuauhtii

Desun: can you explain the Marxist superstructure to me? as it related to the field of dance?
Cuauhtii: yeah, I tagged you in a pusheen picture of it. You can think of dancers as commodities of labor, and that dance scholars are part of the management or higher, because of their intellectualism. Dance scholars are part of the superstructure of the field, while dancers do the work, and are not even considered.
Desun: did you just use pusheen?
Cuauhtii: yea, why?
Desun: are you doing pusheen studies? or Kawaii Muscle Puscheen Dance Studies?
Cuauhtii: YUP!
Desun & Cuauhtii: .....   :3

long distance relationships

Adventures of Desun and Cuauhtii

Me: we should use this app for long distance relationships

boo: oh yea what's it called

me: COUPLE

boo: -.-

me: yeah lets do it *downloads*

boo: *downloads*

me: you like it? we can #nosekiss with it

boo: there should be an option for poly-relationships

me: oh boo :3 you are always thinking forward :3 I love you

boo: *kiss

glitter pains

We feel the pain we allow ourselves to feel, we touch the glitter we allow ourselves to touch.

Cuauhtemoc Peranda @ UCR

Cuauhtémoc Peranda

cpera001@ucr.edu

Cuauhtémoc Peranda, MFA (Mexica/Aztec & Mescalero Apache) is a First-Year PhD student in the Critical Dance Studies Program at the University of California, Riverside. He is a Benjamin E. Mays Mellon Fellow, and a recipient of the prestigious Dean’s Distinguished Fellowship. He has had to honor of presenting his award winning research on Vogue/Voguing at the Queer People of Color Regional Conference at the University of California, Davis, and the Queer Yo’ Mind Conference at San Francisco State University. In 2009, he studied under Dr. Ramón Rivera-Servera, PhD at Northwestern University through the competitive Research Opportunities Program Fellowship, and graduated in 2010, with Honors, from Stanford University with a BA Degree in Comparative Studies in Race and Ethnicity. While training at Mills College for his MFA in Choreography and Performance, he established his art & dance company: Mitote Choreographics. 

Cuauhtémoc’s artistic and academic interests examine Contemporary Dance’s decolonial possibilities by ways of the imbedded Native American dance protocols; additionally, he explores Queer & Quare Fierceness in Voguing as a tool for gender and identity resistance, and a vehicle for healing and preventing suicide. His dance work has been presented throughout the San Francisco Bay Area, New York, Seattle, Cambridge, London, Germany, and he has traveled through the United States, Canada and Mexico as a performer. His writings on decolonial dance practices will be published in the forthcoming Queer Chicana/o Xicana/o Spiritualities Anthology. 

Auto-Choreographic Questions

Auto-choreographies. Could this be a thing? Auto-Choreographic? What happens when we choreograph ourselves, or try to dig into ourselves? Is the choreographic something already self described and inscribed?

What of the glitter shaman? Or Ralph Lemon's Geography? Or Adrianne Piper's Mythic Being? With the emergent choreographies and performances, don't we also see the emerging person, the emerging artist? Isn't choreography as much self work as it is artwork?

Dance USA Question

Question

In this much more expensive world of dance training, lack of part-time sustainable jobs, little to no low-income housing, low scholarships and high loan debt, how do prospective dancers become a part of a company? How can they finance training for a specific style, genre, company, or choreographer while also fulfilling personal obligations? In the time before a contact is even given, how do dancers survive? And, even if a contact is given, if it is part-time, or per project, how do dancers sustain themselves and plan for their financial future?