THINGS I’M CURRENTLY WORKING WITH

TANGENTS
PORTALS
DANCE AND OTHER LIVE TEXTURES
SYSTEMS
POSSIBILITY
PERPETUITY
WHAT CONTINUES
PERMISSION
ULTERIOR MEANING PRODUCTION
THE NON-NARRATIVE
MARKERS OF IDENTITY
POST-IDENTIFYING
SURVIVAL TECHNIQUES
INTENTIONS
INTERNALITY
FELT MATERIAL
AFFECT AND AFFECTUAL POLITICS
REFLEXIVITY
AESTHETICS
RADIALITY
MARGINS
MELANCHOLIA
THE SPACE AROUND US
DIFFICULTY
VIOLENCE
THE JOURNEY, SOMETIMES TREACHEROUS
SHOWING OVERCOMING
HONESTY

dance is a belief system and choreography is space. these things do not make dreams come true but they are where dreams are made into material texture. performance is fodder for hope and the positing of something else. in defense of marginal and radial practices, choreography that is coy and dysfunctional, a moment where things are not always what they seem. dancing and making it mean something to me, asking something of it. asking it to give me a future if only fleetingly. trying to hold on to it but failing to find continuance. there is a real investment being made for something that eventually disappears. working with imprints and not permanence.

to make visible a collection of moments, some like and unlike. these are the motors underneath a collection of images that are otherworldly. felt. tears. unbridled and hopeful. through trial and tribulation. pulled. apart. anxious. narratives can easily become projection. and trap. boxes where things are built and fallen, by the authority of another. i’m favouring the complex, the tug and spiral, the working with what is known now and before hierarchies of importance were forged under the influence of others. working with being a faggot, not woman not man, unruly. ordered differently. against an unspoken genocide. working where things are built and fallen, trying to build and falling. giving rise to another possibility, again.

watch me crank dat watch me roll
watch me crank dat soulja boi and superman that oh

now watch me
me & u
ah

i been waiting think i wanna make a move
baby tell me if you like it

sometimes i think i’ll die alone
sometimes i think i’ll die alone, live, breathe, and die alone
i only rock designer when i pop out
baby just bend down
bend down pause

working with racialisation, repositioning and reneging categories set up to not make sense for me. categorisation has alienated me and left me with the things that don’t add up. but  there is gooey material leftover there, leaky and tactile. there is an assumption that this is futile and powerless. i don’t believe that. willing futurity, the body as a repository for memory. desire. the history lessons that refused to be learnt. Imagination. possibility. maintenance. relief. there is an assumption that those make us powerless and i don’t believe that. do you know what its like to not be made human? i will ensure subjectivity and remake it again and again. that is all.


Malik Nashad Sharpe is a choreographer and dancer and they make work under their alias marikiscrycrycry (marik is cry cry cry). Marikiscrycrycrycry is a long-term choreographic project for Malik’s artistic research. They were born and raised in the suburbs of New York City and their family comes from Saint Vincent and the Grenadines. They have also spent formative time in Chicago, Montreal, and Toronto. They are Black, and have African, Black Carib, Asian, and Socttish ancestry. They are nonbinary and use they/them pronoun and their work deals with gender, race, sexuality, and processes of subjectivity, ontology, and meaning production. They work with dance with an expansive outlook, drawing influence from current Black dance forms, contemporary dance, ballet, butoh, and live action. Their choreographic practice treats performance more as a space where possibility meets its materiality, creating ephemeral frameworks for now and the future and with political edge.


They graduated with a B.A. in Experimental Dance and Live Art from Williams College, and hold a diploma in Contemporary Dance from Trinity Laban Conservatoire for Music and Dance.