S P R E A D uses dance, improvised sound, and a live installation to draw audiences into the wild expansiveness of Black time. Time in the key of Black is almost impossibly extended, variably truncated, and necessarily reversed, chopped, screwed, and remixed. As theorized in S P R E A D, Black time is erotic time in Lorde’s sense of the erotic: joyful, feminine, and bonded to each other. As we walk into a future haunted by the worst of our past selves and ratcheted up by social media and a national affair with virtual reality, S P R E A D offers a meditation on survival. If there were ever a time to study the longevity of blackness, it is now.
Anna Martine Whitehead uses movement and language to practice escaping the Planet Earth. Their solo performances, videos, and collaborations have been presented in North America and Europe, and they have contributed significantly to the work of Keith Hennessy, Jefferson Pinder, Julien Previeux, Every house has a door, and taisha paggett, amongst others. They write about Black performance in the contemporary art world and have contributed to an array of texts on queer dance, performance, and social practice, including a regular column in Art Practical, and a chapter in the forthcoming "Meanings and Makings of Queer Dance," edited by Clare Croft. Their first chapbook "TREASURE | My Black Rupture" debuted this past Spring.