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Collaborative Projects

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A one-time collaborative project between T.R.A.P. and Kebbi Williams & band.  In a 45 minute performance musicians and movers create tableaus using the journals, diaries, and research on black radicalism of shady Radical.  Brass. Wind. Hot. Tongues. was the debut of The Radical Archive of Preservation.

photography by Colbie Fray


“WASHING OUR MOTHERS” set out to allow children of all ages the chance to air out their love and grievances for their mothers in a four step process of picking out fabric, writing grievances down on that piece of fabric, washing that fabric by hand, and hanging it up on a clothesline in the gallery space. 

The ritualistic performance was enriched with dance (choreographed by Kerri Garret), poetry (spoken by Victoria P. Allen), a site specific work (Olamma Oparah) and archival performance (shady Radical).  This live performance installation is a development of the film Laundry Day and included a self-care workshop led by SisterCare Alliance and Anana Johari Harris Parris.  There was also an exhibition in progress in the gallery space, October 24th to Nov 5th.

photography by Jessica Thomas

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WITNESS: Pearl is a 2-part re-imagines moments during Pearl Cleage’s residency at 7 Stages Theatre in 1987 (Love and Trouble) and 2006 (Coretta). T.R.A.P. presents archival research, a library, and critical fabulations of significant, but non-iconic moments in Atlanta’s history. Centering the body in the archive, T.R.A.P. aims to enrich our cultural memory through performance, site-specific installations, and collaboration.

An Immersive Experience of Poetry, Movement, and Riddim

Written and produced by Lauren Neefe. 

Drawing from the work of Fred Moten, Stefano Harney, and  Rizvana Bradley

F(L)IGHT is a meditation on intuition, memory, and forgetting.  Building on WITNESS: Pearl the performance piece and archival installation produced for the 2021 Curious Future Encounters, Dr. shady Radical explores the sixth sense, intuition, in F(L)IGHT (*L stands for love or loss) to interrogate what we remember in our bodies or preserve in our embodied archives and what it does when we are threatened with survival.  

F(L)IGHT puts audiences in conversation with Deaf Republic and the hearing-impaired community, by showing us how processes of remembering and forgetting, like deafness, can be considered acts of resistance. Interpreter, Billy Sanders says signing is his “mother tongue” while Ilya Kominsky illustrates how deafness can constitute protest.  Additionally, if remembering and forgetting can be considered automated fight or flight responses to processes and hormones in our nervous system, how does the role of the mother, mothering, and mother tongue function or fail as stewards of the embodied archive?

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