Benji Hart is the author of several solo performance pieces, incorporating improvised movement and spoken word. Primarily engaged in reframing the Black, queer body as a site of active resistance to systemic violence rather than its passive recipient, these works overtly politicize various Black art forms, envisioning them both historically and currently as tools for simultaneously undoing oppressive structures, and imagining the liberatory ones that might one day take their place.
More detailed information about their on-stage work is listed below:
World After This One (Work In Progress)
Looking through the lenses of three distinct Black art forms—the queer street style of vogue, the Afro-Boricua dance and drumming tradition of bomba, and gospel music—World After This One examines how Black people have always relied on the found materials of the present to construct portals to impossible futures. Blurring the lines between the secular and sacred, celebration and mourning, the past and the yet-to-pass, World After This One imagines Black liberation not as a metaphor, but a possibility.
Movement & spoken word
“World After This One collapses time, conjuring a liberated Black future by stirring up our artistic past. Through dance, Hart reveals what the body already knows of freedom. Through language, Hart restores our radical imaginations. Combined, they transform the impossible into a world we can begin to see, feel, and choose.”
– Kemi Alabi, poet
Dancer As Insurgent
Dancer As Insurgent explores the dance form of vogue as a tool for radical social transformation. Through improvised movement and original spoken word, the piece traces the form’s roots back to its inception in Riker’s Island prison, grounding it in a history of Black, queer struggle, and insisting that vogue is not only a source of individual empowerment, but a portal for revolutionary social and political reimaginings.
Movement & spoken word
“[Hart’s] poses transcribe in the flesh a history of cultural struggle that goes all the way back to the 1920s and the first massive drag balls held during the Harlem Renaissance…Hart’s performance Dancer As Insurgent takes the form of a ritual invocation, channeling through verbal and bodily language a long history of resilience and survival, in which the body is revealed as a site of empowerment and collective action.”
– Manuel Segade, director of CA2M