June sees the live art festival Beyond Bloodlines at The Cockpit in London, showcasing performances dealing with the theme of family, both traditional and otherwise. Loverboy’s Fallon Gold talked with Rosana Cade about her piece My Big Sister Taught Me This Lapdance.

This is quite an extraordinary performance piece. Can you tell me why you wanted to do it?
I first created this piece four years ago when I was beginning the process of working with my older sister, which eventually manifested itself in an hour long show called Sister. I wanted to begin by looking specifically at the lap dance she used to do (when she also called herself Rosanna) and re-perform it myself as a way of exploring the dynamic of our relationship to each other, and also the different ways in which our bodies manifest their femininity and sexuality. For much of my teenagehood I copied my sister, and tried to emulate her sexuality before discovering my own queer identity. I was interested to see what it would feel like to perform this dance, whether it would give me more of an insight into my sister’s decisions to work within the sex industry.

On re-performing this piece in 2016, I am looking at it as a way of finishing the four year process I have been on with my sister and reflecting on what it was like to work together, to make a performance together. For her, how does performing a lap dance on stage with me differ from performing one in strip clubs? What will it feel like for me to perform this lap dance 1-on-1 now, having performed it over 50 times onstage in front of an audience next to my sister in our bigger show? How will I have changed through this whole process?

You’ve performed it elsewhere. What generally is the reception?
There tend to be mixed responses although in general I would say people seem quite awkward during the actual dance. It often feels like it is a lot more exposing for the audience member than it is for me. Having spoken to my sister about this, she says that can often be the way in strip clubs too. It can be quite an emotional experience, and there is more to the performance than just the lap dance… often people are surprised by their own responses, and it gives them a chance to have a broader perspective on something having actually experienced it.

Was your sister calling her lap dancer person Rosanna in tribute to you?
I think she just likes the name! Apparently she wanted to be Roxy but that was taken so I guess Rosanna was the next thing that came into her head. I found it funny.

You’ve collaborated with your sister in the past; is she part of the creative process as well as ‘teaching you’ the dance? In other words, do you consider her your co-author for this piece?
She isn’t the co-author on this piece as I came up with the concept myself. However, she does have a lot of input into the work and her voice is represented within it. The show Sister was made as a collaboration.

What have you discovered about yourself through inhabiting Amy’s Rosanna persona?
It surprised me how quickly the dance and the persona become pretty natural. I have definitely enjoyed the performance at times, and I didn’t think I would find myself in a place where I felt comfortable enough to enjoy it. I think previously I might have viewed the aesthetic of the lapdance and the persona as weak and something created under male oppression, and restricted myself from behaving in such a way. However, having inhabited this persona I realise there is a lot of complexity when it comes to power dynamics within sexual performances, and there can be real strength and skill within this role and aesthetic. I have discovered more fluidity within my own gender expression and representation.

Being queer, is performance always political?
Complicated! I think we need to find a new word… for the past few years I have chosen to use the term queer as a political and strategic term, in that I believe in challenging existing structures and discovering new and imaginative ways of being/seeing/doing/thinking/fucking, both in my art and my identity. However, I do think that the term queer has become less and less meaningful as it’s used increasingly broadly. What does it mean now?

And what does political mean? About politics? My work is not about politics… but I am interested in art that has effect, that gives people new experiences and helps broaden perspectives. I’m interested in opening up possibilities of what is acceptable and who is acceptable.

What’s next for you?
I have been touring a participatory performance called Walking:Holding for the past five years and this continues to tour this summer across the UK, with some international dates in the Autumn. I’m developing a new film alongside this project. I’m developing a new performance called The Origin of the World for Tempting Failure in London in July, and currently working with a group of artists in Glasgow creating some city centre interventions. I’m also in a show by Nic Green called Cock and Bull which will be touring around a little bit too. And my band, Double Pussy Clit F*ck has a few gigs coming up at Knickerbocker and Latitude. Check out my website for info on any of this… rosanacadedotcom.wordpress.com

Phew – a lot of great work! And – I have to say – amazing band name. What are you looking forward to seeing at Beyond Bloodlines?
I’m really excited about the lineup. It will be great to see Catherine Hoffmann, Lucy Hutson and Richard Dedomenici’s work as I think they’re all wonderful artists.

Beyond Bloodlines runs 10^th-12^th June at The Cockpit. My Big Sister Taught Me This Lapdance is on the 10^th. Book via the Website.