BCMCR Transgressive Identities and Subjectivities – Performing Transgression 9th April 2025 Eastside Jazz Club, Royal Birmingham Conservatoire
BCMCR Transgressive Identities and Subjectivities – Performing Transgression 9th April 2025 Eastside Jazz Club, Royal Birmingham Conservatoire
On the 9th April 2025 the BCMCR Transgressive Identities and Subjectivities theme took to its third seminar in its series. Where many research seminars tend to follow a tried and tested method of delivery in conventional lecture spaces and conventional research presentations, as we had in the second of our seminars (the first being an industry panel), for this one we wanted to have interpretations of the research theme presented in a more transgressive and performative way. It was decided that we would address the theme by having 3 artists/performers present their relationship with transgression through their performances. We hosted 3 dynamic and, in many respects, very different artists to perform at the Royal Birmingham Conservatoire Jazz Club, a venue that in itself was transgressive from the spaces our seminars usually inhabit. Each performance was unique, powerful and addressed different aspects of transgressive identities and subjectivities from sexuality, to race and identity.
The first performance was a unique audience interactive ‘experimental performance’ delivered by BCU researcher and professor Michael Wolters. Michael has already carved out a worthy reputation for producing unique auditory performances. What made this performance particularly special and unique was that Michael was not present to perform it. The ‘script’ and soundtrack had been carefully crafted by Michael, and then handed over to the audience to perform. Envelopes continuing instructions, timings, lines to perform and sound effects to create were handed out to the audience and the performance commenced. Like a bizarre kind of version of “Cluedo/murder mystery” the audience/actor boundaries were transgressed where they became one as each member acted out their part unaware of how it fitted together to create the final climax of the performance. Truly bizarre, truly mesmerising, truly fun!
VIDEO CLIP OF MICHAEL’S EXPERIMENTAL PERFORMANCE
The second performance was a multi-media extravaganza that combined theatre with video and music. Marlene McKenzie is a social issues performing artist and the Creative Director of Mooville Theatre Company, a well-established and well-respected theatre company based in Birmingham. Marlene is also a renowned actor and for our seminar she performed an excerpt of her self-penned and solo performed drama LITE. LITE is a powerful multimedia stage production exploring identity, self-image, and colourism through a Black woman’s eyes. Blending drama, humour, and vulnerability, it delivers a gripping take on skin lightening and conformity. Although we only had time to witness and an excerpt of this powerful production, Marlene had captured and shown the overarching themes of LITE in her vignette. It was truly moving and when she finished her performance there was a stunned silence from the audience before she was deservedly applauded.
VIDEO CLIP OF MARLENE’S PERFORMANCE
The final performance of the afternoon came from Bristol transgender woman and artist RED, who has made a name for herself as a vocal powerhouse with a penchant for bass-driven pop fusion. Taking inspiration from Britney Spears and Dannii Minogue, RED performed a number of self-penned and self-produced songs that fused together pop that transgresses genre boundaries. RED’s songs not only had the audience up and dancing but were also lyrically intimate windows into RED’s journey as a transgender woman and performing artist. Her songs documented the highs and lows, the challenges, frustrations and barriers that she faced but overcame in her mission to bring her artistry to audiences around the world. It was a truly inspirational performance from RED.
VIDEO CLIP OF RED’s PERFORMANCE
A short break was taken after the performances which was followed by a really insightful Q&A session with Marlene and RED, that was as emotionally moving and charged as their performances. Questions form the audience revealed some of the more personal aspects of our performers’ identities, challenges they have faced as artists but also in terms of their gender identity and race and how they have transgressed some of the conformities and expectations of society to remain authentic selves. One of the most enjoyable and dynamic research seminars I have ever attended at BCMCR!
VIDEOGRAPHY: JOSEPH PERKS
PHOTOGRAPHY: DIVINE-FAVOUR OWOOLA