May Chronicle by Jafar The Superstar, Clara von Schantz, Julia von Schantz, Astrée Duval, Antonia Rebekka Truninger, & Liam Warren, feat. contributions by Öykü Özgencil, Gamze Öztürk, Gloria Sogl, Rex Collins, Lena Pfäffli, Zoé Couppe, Annette Rodriguez Fiorillo, Claudia Medeiros, Dalia Maini, Noam Youngrak Son and Louis Schou-Hansen

BQ Realness with a Twist. Nike Air MAX, 3 stripes, military green schoolboy backpack. Jock with a bounce in his walk. He makes the gorwls turn their heads 180 in the cafeteria, breaking their necks into a dip. He still has braces, but his lips are luscious. In a butch kind of way of course. No lipgloss here no. He saves the lingerie for the night. For the sissification of the moon. The big luminous ball. All-American at first then PAAPOOW all-out European no heels, no makeup, no nothing. A slight change in posture and his body screams FAG. 10 10 10s A CROSS ✟✟✟ RIP TO THESE OTHER GIRLS WHO ARE BURIED 10 FEET UNDER. He walks all over them Nike Air MAX, 3 stripes, military green schoolboy backpack, and a sissy little strut. GP 007. 

DOUBLE O, DOUBLE O he thinks to himself as he walks down the hallway the next day. As he greets his brothers in class. As he kisses his girlfriend in the schoolyard. 

BQ Realness with a twist.

Butch.Love in minor klang!

POC////////virtuous middle-class white fucker polices other people’s language, episode 17526773.

skin, slim, gorg, white, brown, black. Flip it. Everyone in the pool, streetcred elegance

Stoic. Flat lined. Straight curves. Flowing. Expressive. Connection and disassociation. Moving freely within the compounds of the room. Seemingly aware with eyes closed.

Why are you looking down? 

Stand up. Put arms out. Breathe. Look around with eyes closed. Rock back and forth. Spread fingers. Half a smile.Sway back and forth. From hip right. Tilted balance. Left hip is higher up. Still half-smile. Blink with closed eyes. Straighten up. Yawn a little. Right side seems more tense than the left.More weight is towards the right. Balance on feet, senses ground. Braid fingers. Scratch legs. Still half-smile. Look down. Prance on floor. Braid fingers again. Hands in praying mode, stretch it towards chin. Stand still. Breathe a little. Take hands behind back. Walk slowly forward. Right side seems more dominant. Look around but with closed eyes. Try to look for something to hold on to. Box.Fix sweater hooded sweater. Swing around pokemon ball. Throw a pokemon at someone. Start walking slowly forward. Spin around. Look at me when I am behind. Still intertwining fingers. Listen after me as I walk around. Follow me by my sound

Search for a foundation. Hands are either in a bowl. Or somewhere on the ground. Try to find stability. Or on legs to find common ground. Or a point of stability.

Movements in hands that are looking to land but nowhere to land. Go into clear positions. Don’t rest in randomness. Preplanned yoga positions?

Non unpredictable.

.

.

//// What are the metaphors we live by?

What does it mean to move together,
to reimagine all our movements as a choreography
woven into every aspect of our lives, from kitchen to street,
where every step is an unspoken dialogue,
a communal dance threading through our shared existence?

In these movements, we confront the violence within our bodies,

the tension born from the friction of living,

each strain a reminder of our temporary abilities.

Fragmentation flows from our unique characteristics,

each pace and form a testament to diversity.

What does it mean to move together?

Movement intertwines with intentionality,

creating a network of gestures that speak of connection and consent.

We let others know where we stand to receive support,

giving out what we wish to receive.

We are always in motion, subtly, intimately,

blurring the lines between who is moving and who is moved.

Amer Huett suggests we narrow our focus,

to slow down, to see more clearly.

Through breath, walking with expansion,

meeting in pairs, practising consent,

and engaging in contact actions like rolling, sliding, pushing,

we reveal the frameworks conditioning and disciplining our bodies,

embodied knowledge, forces, energies, politics.

voguing, from the 1960s to the 1980s in Harlem,

we encounter a culture emerging from black and Latinx LGBTQ communities,

voguing as more than just a dance; a way of life,

a vessel for political expression.
Let people know where you’re at so that they can know where you’re at, to receive support

Give out everything what you want to receive

A sober rave session reveals the essence of the dancefloor:

You are the substance.

Dance is not fleeting; it is the living, breathing proof of our humanity.

It encompasses physiology, psychology, sociology, and phenomenology in every step.

A supernatural experience, raving as a practice of expansive, progressive values,

constantly negotiated within one's movements and interactions.

In the rave space, we shake up our embodied memories, ideas, and values,

experiencing the profound interconnectedness of our being,

a dance that transcends the physical.