Friday, October 22, 2010

IQC - IDENTITY QUOTIENTS CALCULATOR in Magdalena Aotearoa October Vol 36

The second part of a  two part series I wrote about working in performance and video, published on pages  15 -16 Magdalena Aotearoa Newsletter, Issue 36 October 2010. Puts my own artistic practice in the context of the development of women working in film, and disability arts practice both in Aotearoa and Canada. Particularly the mentoring role pf women who came through Canada's Studio D, feminist film  studio;  and my inventing the IQC - Identity Quotients Calculator - a tool for the multiply marginalized! Download the Magdalena Newsletter 36 PDF here

Here's a sneak preview:  'Frustrated at times by a lack of understanding of my work, even within/between the various marginalized communities I belong to, I analyzed my work to discover in what context different disciplines have been presented 1999-2009. This resulted in the invention of my Identity Quotients Calculator – IQC ©. If mainstream society of the dominant culture defines ‘normal’ as male, European, middle-class, heterosexual, able-bodied, the further you are away from that, the least likely your work will be presented, commissioned, funded, reviewed in a mainstream context. This I call the Standard Deviation – how far you are away from ‘the norm’. 

The more I am physically present in my work, such as performance I am defined as 60% queer; or radio, audio on the web 100% disabled. In film I am 1/3 female, queer, and disabled/human rights activist. When I work in new media I am 50% disabled, 25% human rights activist, and 25% mainstream -  but neither queer nor a woman. When my poetry is published, and I’m not present I am 40% mainstream, and 20% each female, disabled, queer. Go on get out the calculator, work out your own IQC!'

The Magdalena Aotearoa Newsletter is a great read, this issue includes work from around the globe: Kahuku Empress Stiltdance month long residency and performance at the  Cairns Arts Festival in Australia;  Challen Wilson's residency at the Alaskan Indigenous Synergetic Collaboration: Winter with Cathy Rexford in USA; Madeline McNamara and Jack Trolove on critical race theory in theatre as white artists in Wellington, Aotearoa/New Zealand; Andrea Arial attends and perform Alfonisna with Auckland LAB Theatre Company at the 2 weeks Magdalena project event Vertice Brasil; Sandra Dempster and Sandra Sarala attend a Teatr ZAR workshop to learn the 2000 year old polyphonic Georgion songs in Brzezinka, Poland.

Magdalena Aotearoa cofounder Madeline McNamara wonders in her review of 2 day long sessions to reflect on 10 years since the Magdalena International Festival 1999, and in looking to the furture: 'If a local Magdalena event can actually exist if there is not an international or cross cultural exchange of some kind?'

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