We identify with the term queering ritual in relation to a fluid heterogeneous attitude toward performance making and the practice and aesthetics of contemporary, multidisciplinary performance work. Queering ritual is also a lens in which to think through the composition of materials to create hybrid, subversive, augmented and indeterminate bodies, subjects, and territories. We consider the terms queering ritual as the structured recontextualising of pre-existing material. We propose queering as an expansive act and ritual as a return to an act through invocation, repetition, coded iteration, sacrifice, submission, custom, and rule formation. We consider the terms separately queering/ritual and together as a practice that embodies the form and content of a performance via the writing, shaping, and dramaturgy of a work. We draw upon ATOM-r’s performance Kjell Theøry that juxtaposes the writings of Alan Turing—a gay twentieth century computing pioneer with Guillaume Apollinaire’s 1917 play The Breasts of Tiresias and we think through the practices and subversive hybrid performance personas of Gary and Claire’s performance Lost in A Sea of Glass and Tin that examines the ghosting rituals of a fan base and the ‘ducks eye view’ of five David Lynch movies and consider how Lynch queers psychoanalysis.
A two day symposium featuring performances by ATOM-r (Kjell Theory) and Gary and Claire (Lost in a Sea of Glass and Tin), a keynote from Professor Roberta Mock (University of Plymouth) and invited provocations on the theme of queering ritual chaired by Dr Kimberly Campanello.
Queering Ritual was conceived as collaboration between Claire Hind, Mark Jeffery, Gary Winters and Judd Morrissey and as a partnership between YSJU and SAIC.