Browsing by Subject "Dance"
- Results Per Page
- Sort Options
Item Open Access A Transnational Bohemia: Dandyism and the Dance in the Futurist Art of Gino Severini, 1909-1914(2011) Jones, Zoe MarieABSTRACT
My dissertation studies the intersection of popular entertainment and the visual arts in Paris during the first decades of the twentieth century and the dialogue that formed between this subculture and the avant-garde factions of Paris and Italy. While this project will focus on the Italian Futurist Gino Severini (1883-1966), it is not conceived of as a monograph. Instead I will use Severini as a case study to help make sense of a complicated world in which the boundaries between bohemia and the bourgeoisie, masculinity and femininity, and art and popular culture are transgressed and blurred. Severini is particularly well suited to this discussion because nearly all of the 170 paintings, sketches, and pastels that he produced between the time that he arrived in Paris and the outbreak of the First World War take as their subject a prime example of Parisian popular culture--Montmartre's dance-halls. My study will address how form and content interrelate in these works, analyzing the ongoing evolution of his style and the manner in which he developed his imagery to cater to both commercial and avant-garde audiences. It will also seek to make sense of the reception of Severini's work both in France and elsewhere. In order to make sense of his artistic career and to divine the importance of his life and work to the greater political and cultural environment of early twentieth-century Europe, I will also explore Severini's actual participation in dance-hall culture, his self-fashioning as a dandy and a foreigner, and his attempt to find a niche for himself in Paris while still maintaining a foothold in the Italian avant-garde. Gino Severini's unique posturing within the culture of Bohemian Paris and the rich visual record that he left behind provide a perfect platform from which to deepen our understanding of the multitude of factors influencing the Parisian avant-garde and its subsequent impact on avant-gardes throughout the rest of the Western world.
Item Open Access Black Girl Ecologies: Manifesting Fabulations and Embodying Otherwise Possibilities of Southern Black Femme(2021) Irving, JulietThis thesis research presents a choreographic enquiry into ways Black Americans, specifically Black femme inhabit their bodies and their entanglements to the surrounding environment. It asks the question of how Black girls in the south navigate their social circumstances, and what inheritances—metaphysical, emotional, cultural—affect their encounters with themselves and each other. To do this the author contemplates concepts of the “undistinguished mass,” Black flesh, and inheritances as offered by Hortense Spillers. The author introduces her embodied practice of Groove as a bourgeoning theoretical framework for exploring self in the context of its larger positioning within society and the land. Groove is propositioned as a way of expanding awareness of self through movement, by paying attention to the sensatory information observed and communicated within our bodies. For this purpose a working group of Black femme was formed to trace their own geographies, histories, and sense of care, through conversations and physical movement strategies, to explore aspects that mold their own Grooves. This research project presents an urgent attempt to reimagine creative and embodied strategies for Black femme as a practice of freedom, tenderness, and connection. Through multimedia experimentations with the practice of Groove, it is proposed, that Black femme move to initiate a collective imagining, and access otherwise ways of being.
Item Open Access Body Image, Ballet Pedagogy, & Flow/Yu: Pedagogical Recommendations to Mitigate Self-Objectification & Choreographic Processes to Move Towards Embodied States of Flow & Yu(2021) Liu, Courtney KObjectification theory, as delineated by Barbara L. Fredrickson and Tomi-Ann Roberts, posits that women are trained to view themselves as visual objects for consumption. The related term, self-objectification, describes the altered psychological state where an individual begins to view themselves as a body or sum of body parts. Ballet dancers exhibit higher levels of self-objectification and eating disorders than the general public and high levels of self-objectification are correlated to eating and body image disturbances. This thesis gathers, applies, and expands pedagogical tools for discouraging self-objectification in the ballet classroom in university, private studio, and open online settings. It also proposes the facilitation of flow states as the “next frontier” of addressing one of ballet’s infamous problems and details a choreographic process dedicated to understanding and cultivating amenable conditions for flow and yu. Flow is an embodied experience where an individual is performing at optimum level while fully engaged in an activity. The related concept, yu, is associated with the spiritual release and ease that comes after an individual has disciplined their habits toward living an ethical life. The final choreographic work investigates various aspects of flow and yu including intention, curiosity, bliss, distraction, collective engagement, joy, space, and suspension of time. The resulting performance reflects the individual and collective experience of flow and yu of the dancers who performed the piece. The thesis concludes with a reflection on insights that can be gleaned from intersecting paths of pedagogical research and choreographic inquiry.
Item Open Access Building a Natya Shastra: Individual Voices in an Evolving Public Memory(2011) Salinas, AnandiIn this project, I reassess fundamental assumptions about tradition, classicality, and authenticity by exploring how artists of various Indian dance forms construct and engage these terms in the retelling of the history of their dance styles. To explore the nuances in the negotiation of terminology in the creation of oral histories, as well as to showcase the dancing itself, I have chosen to look at both dance and narrative in multiple formats of video and text. This paper serves both to survey the ethnographic process of making the film as well as to further explore the theoretical possibilities that were evoked in the many narrations in the film. I will eventually suggest that the formulations of classicality and authenticity in relation to text and temple point to the importance of concept of public memory in the creation of a dynamically constituted tradition rooted in foundational texts such as the Nāṭya Śāstra and living traditions connected to dance lineages and teachers.
Item Open Access Cyclical Navigations: In the In Between (exploring Black memory through embodied storytelling)(2022) Edwards, LeeCyclical Navigations: In the In Between is a creative process-based interdisciplinaryinstallation and paper that conceptualizes storytelling as a practice of embodied memory recollection. This work focuses on viewing storytelling and land acknowledgement as necessary tools in the navigation of cyclical temporalities in the present, or what I have termed the In Between. Through the employment of ethnography, dance-based somatic practice Lettering, and oral interviews, I posit that first-person narratives work to combat the violence(s) of erasure and racial ventriloquism that occur when archiving Black life. By using a methodology of care, this project considers what is possible if Black history and thus, Black quotidian stories are treated and shared with care.
Item Open Access Dancing in the Squares(2015) Wang, Yifan“Guangchangwu,” or what is literally translated as “square-dancing,” is a form of public dance that has been exceedingly popular, albeit controversial, in China over recent years. Most of the participants are elderly women in their late-50s or above, who roughly fall in the category called “dama” (“big-mother”). Usually, a dancing group assembles in the evening and dances on a daily basis to the music played through a portable loudspeaker. Yet, because many dancing sites are in or close to residential compounds, the music played, or, the alleged “noise pollution,” have caused numerous conflicts nationwide. During the summer 2014, I conducted a three-months fieldwork on the dance in China. In this thesis, I first demonstrated how a specific guangchangwu dancing group organized in relation to the space it occupied, then I traced the media discourse of guangchangwu and showed how it became linked with elderly women, dama. I argue that this seemingly new and overwhelmingly women-dominated public dance emerges from a series of long existing activities, the embedded gender politics of which articulates China’s recent and ongoing revision of policies and laws regarding birth control and the retirement age. Moreover, it is precisely against the backdrop of such social discourse that the practice and persistence of individual dancing groups becomes meaningful: through an effective organizational structure, these elderly women made their existence visible, audible, and their stories irreducible.
Item Open Access Embodied Resonance: Using Movement Based Practice to Critically Engage Black Girlhood and K-12 Public Education(2022) Jones, AmariIn the United States children spend anywhere from nine to thirteen years in school. During this time, children experience some of their most developmentally formative years of their life, which is often characterized as adolescence. For many Black girls in school, this period of adolescence is often where they learn about how their racial and gender identity can affect their everyday life. From teachers who refuse to pronounce their Black girl students’ names correctly to statewide legislation that specifically prohibit the teaching on race and slavery, schools become a space where Black girls begin to receive negative messages about their race. This study constitutes a practice-based mode of inquiry, called Embodied Resonance, into Black girl hood and offers an artistic research project to address the negative impact that the process of racialization has on Black girls. The outward facing outcome of this process was a Marade, the combination of a March and a Parade, that shared the Embodied Resonance practice publicly on the Abele Quad on Duke University’s west campus. During this process, I, along with three first-year Black girl Duke students, explore our past experiences as high schoolers and start to uncover the ways in which we have became who we are today.
Item Open Access Gathering my people: movement-based relational organizing to dismantle white supremacy(2021) Crumpler, CourtneyPolitical organizing—the work of building relationships and capacity to execute collective action and bring about social change—is an embodied practice. It is learned by doing as people meet, in person or virtually, to hone skills, grow in relationship, develop leadership, and engage in intentional action to shift power. The long hours and commitment that organizers dedicate to building and executing campaigns requires intense bodily engagement. The exhaustion, concern, hope, and elation involved all fall on the body. Race, class, gender, and nationality differences also mark bodies, impacting who organizes, from what standpoint, and with what stakes, as well as the issues and urgencies evoked. While somatic and contemplative practices, which foreground the internal experience of the body and the information it holds, are being taught as organizing competencies by groups such as Black Organizing for Leadership and Dignity and generative somatics, the relevance of embodiment to organizing is not widely accepted or known. Paying close attention to the body can strengthen and deepen organizing work by providing insight into how to ground in presence in order to build relationships and earn trust, to expand political education through embodied proposals, to better assess the balance of power within and beyond campaigns by considering who is moving and how, and to provide resources to counter burnout and increase care. Transformative experiences as a movement artist and organizer in Brazil and in the United States serve as the basis for this MFA thesis project, which applies embodied lessons I learned in Brazil about how to disorient from U.S. hegemony and white supremacy in my home context in the United States. It is a proposal for movement-based relational organizing in response to the call from leaders of the Black freedom movements from the 1960s through to the present for white people to “organize your own.”
Item Open Access Infinite Infant: Embodying a Revolution to Restore Spirituality in Dance(2023) Zhu, ZhixuanMy MFAEIP thesis project represents an interdisciplinary integration of spirituality and dance. This thesis is based on a 40-min live performance, animated by my ongoing questioning of how innate spirituality in dance is being suppressed. This claim is, evidenced by the disappearance of numerous sacred dances, the growing emphasis on technical and practical proficiency in dance education and performance, and dance being constrained by a standardized and specific aesthetic. I have personally experienced the suppression of dance education in China, through corporal punishment, and verbal abuse,INFINITE INFANT strives to peel off constraints such as preconceived notions of beauty, prescribed movement patterns, or concern for an audience's preference. My movement praxis, in contrast, seeks to locate the spiritual core of dance by allowing and waiting for unforced and unrestricted movements to emerge. Through my humble perspectives, writings, and performances, I'm trying to call on the audience to rethink dance's meaning, form, and existence while evoking empathy and general reflection on the dance field.
Item Open Access Le Butō et le choix de la chair : les influences françaises sur la quête ontologique de la "danse des ténèbres"(2019-04-07) Gulcicek, Michael Steven"Emmenez un cambrioleur dans un café pendant la journée et donnez-lui du gâteau. Il va pleurer" - Hijikata Tatsumi (Shibusawa 79). La danse est un médium d'art éphémère dont l'expression unique du temps (Valéry 22) submerge le danseur et le spectateur dans une présence profonde (Monnier et Nancy 23 ; Badiou 97). Par conséquent, la danse, comme médium, résiste à la signification (Monnier et Nancy 18, 23, 25, 34) et existe au-delà de l'ordre symbolique du langage. Pour préciser, dans la danse en général, les danseurs témoignent souvent qu'ils s'éloignent d'une notion du soi quand ils dansent (Andrieu 115, Ténenbaum 216), surtout en rencontrant une présence pure grâce à l'ouverture de la réceptivité des sens par rapport au monde physique (Gaillard 74-76). C'est dans cet élément de " l'écart " (Monnier et Nancy 32) entre le soi et le corps que le butō fonde sa propre danse. Ankoku butō - " la danse des ténèbres " - prend son origine dans un contexte mondial d'après-guerre marqué par une perte du sens, surtout dans un Japon vaincu, où le sens de la matière même se décomposait. Plus précisément, le butō s'est formé au Japon dans un contexte politique et résolument avant-gardiste des années 1950 et 1960 qui reposait avec acuité les questions générales d'après-guerre : Qu'est-ce que l'humain ? Et, qu'est-ce que le monde ? En même temps que le butō s'origine dans un contexte et dans des traditions japonaises, il est considérablement influencé par des penseurs et des artistes français. En particulier, les artistes de butō ont lu des écrits de Jean-Paul Sartre, de Maurice Merleau-Ponty et de Georges Bataille parmi d'autres contemporains. Ils ont été inspirés par des avant-gardes françaises comme les dadas, les Surréalistes et surtout Antonin Artaud (Sas " Hands " 18). Ces créateurs exploraient tous la perception, les limites de la conscience et du sens, en cherchant des moyens de libérer le sujet de ses retranchements subjectifs et sociaux. Les idéaux ontologiques font corps avec la danse de butō. En invoquant les notions d'être de bouddhisme, de chair d'Artaud et de l'érotisme de Bataille, le butō tente de danser exclusivement sur le seuil entre la chair du corps l'humain et la chair du monde. Pour rapprocher cet écart, le butō commence sa danse avec l'acte intentionnel de dépouiller le corps de la signification. Mais, forcément le rapprochement de la perte totale du sens pose les questions : pourquoi agir ? Pourquoi ne rien faire ? Et donc, par rapport à butō : Pourquoi danser ? Pourquoi ne pas explorer l'être en méditant jusqu'à la disparition totale ? Le butō reconnaît que chaque moment de la vie est un choix. Alors, les artistes de butō mélangent leur art de la danse avec leur propre vie en choisissant le butō dans chaque instant. Le butō est le choix d'explorer notre corporéité, une part d'une plus grande réalité de l'être inconnu. Le corps lui-même est un univers complètement inconnu, la chose le "plus loin" de nous, comme déclarait fondateur Hijikata Tatsumi (SU-EN 205). Le butō tente de fouiller le corps et les limites de la corporéité. En rapprochant l'inconnu de l'être, le butō cherche la nature vraie du corps - c'est-à-dire de la chair humaine -au-delà de la raison, du langage, et de la signification. Ainsi, le butō révèle les aspects profonds et aussi "noirs" et effrayants de notre nature humaine. Désormais, le butō remplit son corps réceptif à l'univers aux mouvements et aux moyens de percevoir auparavant l'inconnu. Le butō fait de son corps-même un objet d'art. Et, en le construisant, le danseur s'engage dans un processus du devenir continu, toujours ouvert aux nouveaux possibles de la corporéité et de la perception. Enfin, le danseur continue son acte de devenir sur la scène devant un public. Ultimement, je vois le choix de danser le butō comme un acte humaniste. En descendant du seuil de la chair de l'univers, le danseur de butō réincarne son corps pour étendre les possibilités d'être un humain. Il choisit désormais de proliférer cette éthique de choix humain en créant son être dans la performance. Le butō s'installe dans un théâtre métaphysique comme celui imaginé par Antonin Artaud. Le danseur de butō présente le devenir continu de sa chair, impliquant les spectateurs dans le présent absolu. Ainsi, le danseur montre les possibilités d'être dans la forme d'un humain. À partir d'une naissance japonaise et une formation inspirée par les idéologues français, le butō incarne une philosophie plus ou moins existentialiste. Et il nous montre que notre forme est la chair du choix.Item Open Access Meshroom: Choreographing Communities(2023) Niko, MarikaMy research project focused on the creation and contextualization of Meshroom, a performance environment with an open dance floor, occasional performances, and live music. It aims to gather interdisciplinary thinkers and movers into a movement-oriented space of experimentation to question the norms that prevail in arts-presenting spaces and to resist hegemonic modes of bodily and social organization. In developing the work, I primarily drew from two embodied disciplines, butoh and social choreography. While using the theoretical and practical understandings of both movement systems to develop the concept, event structure, choreographic and atmospheric prompts, and audience community, I curated Meshroom six times over the course of a year at Duke University. Through curation and repetition as methodology, I developed the “Meshroom Tech Rider,” which proposes five aesthetic conditions that enable Meshroom: a fluid choreographic format, interpersonal and multisensory invitations, autonomous visitors and decentralized language, disruption of the social skin, and care.
Item Open Access Movement IS the Moyuba: Critical Orisha Dance Pedagogy(2021) Washington Roque, Namajala NaomiThere is not enough space in this document to capture all that you have done in support of this work.
Item Open Access Moving New Futures: Embodied Movement for a Just Society(2023) Emanuel, BrooksMy Moving New Futures workshop uses improvisatory movement to help social justice practitioners—organizers, activists, civil rights lawyers, and others—imagine new possibilities for a just society. The workshop grew out of my own backgrounds in dance and social justice work. It has two major philosophical underpinnings: (1) the radical imagination necessary for prison-industrial complex abolition and (2) the growing body of scholarship showing that our entire bodies, not just our brains, produce thought. Facilitating the workshop for two separate groups of social justice practitioners, I recorded discussion portions and used a survey to gather data. Discussions and survey responses affirmed my hope that movement would be a source of new knowledge and imagination for social justice practitioners. After these two iterations, I performed a public lecture-demonstration in which I discussed the development of the workshop and results. In a co-creative process with practitioners, I will continue developing the workshop as a tool for their work.
Item Open Access Optimal Bayesian Betting & Favorable Games(2024) Tang, ZhengyuTrading has always been considered more of an art than a science. With the rise of quantitative finance, high-frequency trading, and the demoralized equity market, there is more than ever a need to understand why specific strategies make a profit and others do not. This work focuses on the why part and tries to distill down the art component of quantitative strategy development to more of a science discipline. At the same time, it tries to lay down the theoretical groundwork for further research. Bayesian statistics is well suited for such a problem because of the inherited uncertainty quantification and its synergy with typical decision science.
To the author's best knowledge, most current works focus on a particular strategy and fail to realize that a strategy consists of various moving, intertwined, yet crucial components that require sophisticated statistical methods to disentangle and correctly attribute the "effect" to each element. Without first entangling, the analysis can quickly fail to uncover the valid underlying profit driver and get lost in the weeds.
We used the first chapter to introduce the most crucial concept of gambling, Kelly's Criterion. We highlighted its connection with the well-known log utility function of money and the theory of utility maximization in optimal decision-making. Further theories were also developed and extended around the criterion to make it suited to the equity market. The second and third chapters each dive deeply into a particular area of quantitative finance. Even though people treat these two areas separately in practice, they follow the same underlying principle. The second chapter focuses on portfolio optimization. Starting with the classical mean-variance portfolio, we extend it with the Kelly Criterion and prove two things: the latter guarantees positive growth. At the same time, the former does not, and a trade-off exists between the Sharpe ratio and the growth rate. The third chapter leaps to pairs trading through the lens of Bayesian statistics and the generative stochastic model. Such formulation offers insight into the profit generation structure and the more statistically "correct" way to conduct such trades.
Item Open Access Portal Obscura: Ecology Incarnate(2024) Piper, Julia MartinaHuman-caused environmental destruction is the result of a life rhythm that requires numbing to ecological impact. Through my Embodied Interdisciplinary Praxis Thesis, I have developed my dance practice, begun a community practice, and curated a performance, portal obscura, all investigating ecological relations through dance. Ecological relation is defined as focusing attention on the relations between living creatures (flora, fauna, fungi, and bacteria) and their environment (including land, air, water, and objects). I propose an ecological dance aesthetic that moves with an expanded sense of time, space, and selfhood while interweaving worlds of reality and imagination. Through this research project, I developed a dance practice that honed my awareness and sensation of self and ecological relationality. I shared my practice in a solo performance, portal obscura, where I invited the audience to traverse the performance space and interact with poetry and sculptures devised to enhance the ecological awareness of situating, observing, and relating. I stress that noticing connections and making communities across differences are essential first steps to a less human-centric environmental ethic.
Item Open Access Quare Dance: Fashioning a Black, Queer, Fem(me)inist Aesthetic in Ballet(2021) Baker, Alyah JenikaWhat can an intersectional lens that considers race, gender, and sexuality offer ballet in the 21st century? Historically, Black and Queer stories have been relegated to the margins of ballet history in service of Eurocentric, heteronormative ideals. This creative and written project investigates the ways Black Queer Ballerinas disrupt dominant discourses on dance and identity by moving against, through, and around oppressive structures. The purpose of this exploration is two-fold: 1) to examine the intersections of race, gender, sexuality, and ballet, with a particular focus on the stories of Black Queer Women and Femmes, and 2) to collaborate with the aforementioned artists on a performance installation that explores the embodiment of a Black Queer Fem(me)inist aesthetic through movement and material artifacts.Grounded in the present moment and framed by a close reading of Black and Queer presence in the archive, Quare Dance documents how Kiara Felder, Audrey Malek, Cortney Taylor Key, and Alyah Baker imagine and enact new possibilities for ballet’s future—possibilities that have both aesthetic and pedagogical implications. Employing an interdisciplinary lens and mixed methods approach that centers dance and material culture, this project situates these performances of Black Queer Fem(me)inity in relationship to Black feminist studies, Queer theory, dance studies, and performance theory. I argue that Black Queer Ballerinas trouble dominant discourses embodying an important, yet previously overlooked counter-narrative for what ballet and the ballerina is and can be.
Item Open Access The Political Power of Dance: To Preserve or Not To Preserve?(2017-04-16) FariasEisner, NicolenaSince the second half of the twentieth century, the performing arts community has struggled with a lack of resources, due to dwindling governmental funding. Recently, the 2008 financial recession proved the worse economic downturn for the arts. What is not well known is that the dance community suffered the most from the bust, for it is the youngest and thus most sensitive to any budget constraints, compared to theaters, symphonies or the opera.1 Moreover, because dance is not easily censored, unlike other forms of media, such as TV or the radio, dance serves as a non-verbal form of communication to express potentially powerful political thoughts. While scholars explored the idea of change in the quality of art expression due to budget constraints in terms of music, operas or theaters, they have yet to explore the topic of aligning funding cuts with the role of dance as a mechanism for conveying political messages. This thesis analyzes the impact that funding constraints due to the 2008 economic recession have had on dance’s role as a tool for expressing political messages for professional dance companies. Combining my observations from interviews and a case study with statistical financial analyses, I explore whether the potential for the political power of dance remains or if these budget cuts compromise dancers’ abilities to express themselves. Findings indicate that even though the capacity of dance as a political tool never ceases, limited funding resources jeopardize the quality of political dance expression. Nonetheless, companies remain dedicated to preserving the role of dance as a catalyst of potentially powerful political thought, by seeking alternative financial or artistic means.Item Open Access Through Her Looking Glass: Emancipation of the Black Muse(2021) Presswood, Ife MichelleThrough Her Looking Glass: Emancipation of the Black Muse, An Undertaking of Black Women Artists, and “Emancipated Spaces” seeks to explore the creative possibilities of Black Women Artists when disassociated from the stigma of misogynoir. Using closed spaces that protect and permission artistic practice and embodied engagement as technologies to reach the truer self, these spaces become a site to acknowledge and support the self-actualization and agency of Black Women Artists. In doing so, the showing of the produced art transcends the vulnerabilities of experienced misogynoir while making visible the autonomous Black Woman.
Engaging race, gender, and performance theory, this research unpacks the embodied reside of layered structural marginalization Black Women face in the U.S., through curatorial practice, collective artistic process, and embodied offering. In a six-month excavational undertaking, Ife Michelle Dance, an all-Black Woman dance company based in Charlotte, NC explore overlapping spaces: inner space, intersubjective space, rehearsal space, and intentionally curated public space where Black Women Artists can be supported mentally, physically, and artistically as liberated women and muses of [their] art.
Item Open Access We, Present in Space: Queer Performance Cultures of Transience and Care based in Black Feminisms(2021) Felix, AyanI rely on literary and performative investigations around home and comfort to reflect on how artists who identify as genderqueer, femme, or non-conforming (acknowledged as Queer, Transgender, and Non-binary identifying people or QTNs) establish relationships that encourage ethical practices in their performance communities. This project explores the multidimensional lives and art of living Black QTN dancers, choreographers, and movement artists in the Southern U.S. who I had the joy of working with from 2020-2021, and who continue to generate technologies of place-makings. Through the process of making literal and figurative space with others, I speculate on how caretaking practices among dancing QTNs develop values predicated on Black feminisms. This is in an effort to realize how much space the Black QTN voices may take up in progressive narratives of inclusivity and what that space may do to the way dance is produced. Following a process towards performance, this paper recognizes the metonymic power of site-specific dance performance and the transport of Blackness. Instead of considering the stage or place of dance as neutral, I posit that if people are there it will never be neutral and as such, we have to find ways to make brave spaces instead of safe ones. In doing so, I ask what kind of spaces do Black femmes move towards when our art is in conversation? What are the processes currently converging to prepare a space for us?
Item Open Access What Are Y’all Looking At?: Transness and Durational Performance in the American South in for public view (twenty-four)(2023) Ryan, LeoWhat Are Y’all Looking At?: Transness and Durational Performance in the AmericanSouth in for public view (twenty-four) is a creative project, centering embodied performance, moving image, and time, that seeks to explore both the lived experiences and under-representation of queertrans people in the American South. Using durational endurance performance, queer memory work, and nonlinear filmmaking installation, the twenty-four-hour performance for public view (twenty-four) synthesizes ideas on transness relating to durational and endurance performance, the politics of display of transness and gender presentation, queer legibility and illegibility, embodied storytelling via queer memory work, and externalizing interiority. By engaging with queer theory and southern queertrans community stories and memories, for public view (twenty-four) exists in a lineage of works that urgently seek reflection on the violence inflicted upon queertrans bodies in the United States, with a focus on the American South.