Navild (niv) Acosta
In order to identify all oppressive forces, we must center those who are the most vulnerable in everything we do. I choreograph movement, I compose sound, and I construct interactive objects and text to restore my sense of self and reorganize authority. I believe in creating pleasurable and educational experiences to comfort the disturbed and to disturb the comfortable. Art making shapes change, builds worlds, problematizes inequity, raises hearts, and connects severed empathic channels if we let it. Through my art I am working on our collective imagination so that my life as a black, transgender, non-binary, queer, disabled femme will be recognized as a life worth living.
While at Headlands
While at Headlands the staff and I will work closely to create the most restful passage for me to exist in peace and unbothered enough to sleep soundly. I am black, trans, femme, and disabled, making access to resources like this initiative extremely urgent. The Headlands team and I are looking to establish best practices for welcoming QTBIPOC artists and their audiences. To do so, Headlands is planning to take my Structural Racism Training. My artistic practice and myself cannot exist without the wholistic support of Headlands, and I look forward to the outcome of such intentions. Artistically, I plan to create short films and imagery, representing Afro-diasporic community leaders partaking in leisurely activities, idle time, and quality sleep.
Navild Acosta & Fannie Sosa, Choir of the Slain (Part X), 2019; performance
Navild Acosta, Discotropic: 3rd Eye (Side i), 2015; performance, cast includes BEARCAT, Fannie Sosa, Ashley Brockington, Miss Boogie, Bleue Liverpoool and Navild Acosta; performed in Vienna, 2017.