Interested in working with Fannie Sosa? Here are some of the ways that she moves in the world.
Twerkshops are platforms held by Fannie Sosa where Black and brown folx meet to share strategies for self-care and community-building, as well as exchanging knowledge about our ungrabbable asset: an activated, pleasurable, unapologetic ass. Participants are encouraged to engage in a reparative moment with themselves and the group, creating levels of trust and solidarity as conscious tools to better be careful with each other, so we can be dangerous together.
Twerkshops are free of charge and held in non-mixity. They are able to be iterated within the framework of a reparative economical relationship with the institution welcoming them. Free food and child care is also provided by the institution.
Pleasure Is Power is a workshop aimed at educators, activists, artists and community builders who are interested in centering pleasure in their practice.
Pleasurably obtaining, creating and redistributing knowledge is at the core of an intersectional understanding of how power, pleasure and pain interact when producing knowledge. Pleasurably acking femme-hood, womxnity and Blackness is one of the strategies Fannie Sosa works to defend in the making of liberatory practices, theories and economies.
Tabú y tu (Taboo and You) is a series of circular talks, knowledge shares and radically inclusive workshops about sexual autonomy, sexual well-being and oshunality for toddlers, children and teenagers.
Visioning. For work samples, please submit an inquiry.
Curator for Spaces
With an extended network of Queer Artists of Color and a structural understanding of representation and access, Fannie Sosa has been putting together collaborations and curatorial critical praxis as a way to resist being singled out as an “identity artist”. She has finalized more than 20 collaborative projects. For work samples, please submit an inquiry.
Fannie Sosa’s talk “Resistance Is In The Cracks” has toured in universities teaching master students about colonial epistemicides and ways of knowing. In it, Sosa retraces a genealogy of Black, Indigenous, and diasporic children’s body in school from the Industrial Revolution to present day, showing how “civilisation” was used to submit our pleasurable, unarmoured, resilient body into specialized, gendered labor, as well as retracing some forms of resistance involving the ass and its unrestricted movement.
Fannie Sosa is trained in physical theater and choreography.
Pleasure Against The Machine is a sound experiment and performance exploring how to break oppressive structures through healing bass. It uses the installation’s subwoofers, membranes, and vibrating floor, to make the belly space resonate, being relieved of tension.
As a dancer, choreographer or actor, Sosa have been part of I Still Believe (2013) written by Poussy Draama and Fannie Sosa, Fuck That Ass (2014) written by DJ Funk, , Sex Economics pt. 1 (2015) written by Fannie Sosa, The Ladies Almanack, written by Daviel Shy, Alien Talk Show, (2016), Clapback (2017), Discotropic (2017) written by niv Acosta.
Fannie Sosa is also a songwriter and has a band called “Fannie Sosa and The Sisterhoods”.
Fannie Sosa’s writing has appeared in numerous publications. She writes about sex economical inequalities and their impact on the Black diasporic body, genealogies of ass dances and fertility management, the origins of patriarchy and climate change, bio-hacking as a Black strategy of survival, restful and reparative economies, anti-colonial epistemologies.
For additional writing samples, please submit an inquiry.
Fannie Sosa is available to consult on a range of topics and needs pertaining to the arts, social justice, reproductive pain, academic counseling, mediation, and equity. Consulting also includes “can I pick your brain” requests.
A White Institutions Guide For Welcoming Artists of Color and Their Audience is a non exhaustive compilation of ways white cultural institutions, public or privately funded, can, should and will have to redistribute their material and immaterial resources when welcoming Black folx and people of color as well as their audiences. This guide also gives place to a hands on consultation of up to 5 people working in the white institution.
Skype sessions are also available for academic counseling. Sosa’s main areas are anti colonial epistemologies, sex economic analysis centering the well being of Black femmes, and a genealogy of the gendered rigidification of children’s bodies, as well as some practical exercises to revert this.
In terms of practical guidance, Sosa is experienced in treating mxnstrual pain and have several self care tool kits that she can share with you during a Skype consultation.
BOOK FANNIE SOSA