PIZZA, DJS, PERFORMANCES AND SHENANIGANS!! from 9pm-2am! FREE!!!! COME CELEBRATE THE OPENING of Our Future Ends, a sad yet hopeful satire that connects threats of extinction to wildlife and wild life through fabulously choreographed final numbers.
Lemurs (from lemures or ghosts) are the most endangered mammals on the planet. The displaced primates are housed in captive breeding programs for research and to maintain diverse genetic populations, but even if their species is rehabilitated to adequate numbers in captivity they will not be able to return home. After 60 million years, Madagascar is no longer an option as 90% of their original forests are gone and deposits of mineral riches continue to be mined.
Lemurians were queer prehistoric entities, occult imagined divine androgynes that went extinct along with the Atlanteans. The World Wildlife Fund’s latest report noted that the wildlife population has declined in half since 1972, an uncanny time period for the artists, culture and community lost to the AIDS crisis. By 2020 nearly two-thirds of wildlife may be lost to the planet and wild queer spaces face a similar fate.
The multidisciplinary piece unearths Lemuria in a visual arts installation that unfolds into parallel narratives. Oscillating between video documentation, animation, dance and theater, the work combines live performances from Brontez Purnell, Maryam Farnaz Rostami, and Heather María Ács as both long extinct Lemurians and the voices of stop motion animated lemurs (additionally voiced by Xandra Ibarra, Zackary Drucker, Ben McCoy, Silas Howard and Siobhan Aluvalot).
Choreography by Larry Arrington, Costume Design by Margaret Bolton Grace, Lighting Design by Jerry Lee, Original Music by Sophia Poirier and Hale May, Original Score by Ted M. Superstar, Visual Art Installation and Set Design Collaborators Jerry Lee, Conrad Meyers, Maryam Farnaz Rostami with Clement Hil Goldberg. Special thanks to the Duke Lemur Center and their lemurs, Bett Williams and Beth Hill.
Written, Directed, Animated and Created by
Clement Hil Goldberg