All events are free and open to the public, unless otherwise noted.
Reservations are required. 
Parking for free events: Complimentary permits are available at the Information Kiosk.
For a full printable program of the performances go to this link:

FEB 24 • Saturday

7:00 pm. Performance Lab, ARTS 166.

NOT FESTIVAL Opening Performance.

Performers:  Kareem Khubchandani, Jennifer Miller, PR, Joel Mejia Smith and Jeremy Nelson. 

About the works:

  • Kareem Khubchandani
    In Bollywood Divas 101 LaWhore Vagistan, Adjunct Professor at the Drag Institute of Calcutta now Kolkata (D.I.C.K.), introduces you to the dancing divas of the Hindi film industry.  In this dance lecture, she embodies the screen-femininities of the vamp, courtesan, item girl, and disco diva to offer you a queerer history of Bollywood.
  • Jennifer Miller’s performance weaves dance improvisation, text, humor and the uncanny to create ACK ACK ACK!! glorious light moves through the house.  Harvey W is my neighbor.  Pauline Olveros is my practice.  A Man Needs a Maid.
  • PR
  • not to be confused with all outJoel Mejia Smith borrows from his own past to get at a deeper understanding of what’s living inside him, buried deep. dusting off old combos from his own jazz classes and drilling them to the future, this solo dance is nothing but FULL OUT. 
  • Jeremy Nelson
$12.50 General, $8.50 students, UCR alumni cardholders, senior citizens & children.
Buy Tickets Online:
Parking: $6.00 in Lot 1 – no fee with UC permit.

FEB 26 • Monday

7:00 – 8:30 pm. University Theatre.

Performance: Fabian Barba “A Mary Wigman Dance Evening”.

About the work:

In A Mary Wigman Dance Evening, Fabian recreates the ambience of Wigman’s 1930 tour of the United States.

$12.50 General, $8.50 students, UCR alumni cardholders, senior citizens & children.
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FEB 27 • Tuesday

8:00 pm. Performance Lab, ARTS 166.

Performance: Nicolás Dumit Estévez Raful, Thomas DeFrantz, Fabiana Marroni Della Giustina and Doran George (in memoriam).

About the works:

  • Estévez Raful rethinks an area of the exhibition/performing space for the NOT FESTIVAL as a private consultation room where he offers one-on-one hands-on-healing sessions for up to 6 people. This action is rooted in the laying on of hands through which different cultures have sought to assist individuals to achieve energetic balance and to reconnect with the larger flow of life.  In the case of // (El Doctorcito), Estévez Raful conceives of this act as a choreography that combines movement and stillness, tangible visuals and mental visualizations, and sound and silence with healing. Upon concluding their consultations with Estévez Raful, participants receive suggestions for an individualized performative action that can help them enact healing. This is formatted as an informal note written in poetic language.
    Between each session, Estévez Raful steps out from the private consultation room and into the gallery or performing space to read entries from the Mayo Clinic Family Health Book. His reading gets projected throughout the whole space by way of a microphone and a sound system.
    Those receiving hands-on-healing are asked to wear shoes that they can take off. Sessions conclude with a rest period. No cell phones or any electronic devices are allowed during the whole session.
    *** No documentation of any kind is permitted ***
  • thomas f. defrantz amid the remnants of queer failures…..imadeamess. our encounter structured as a getting-to-know not enough to know what’s what.  we try to work it out, wondering where we went wrong.  did we go wrong? wait, I voted.
  • In CoisAzul out of the box Fabiana Marroni Della Giustina ask the question How do things move? CoisAzul is a performance about the relationship between objects and dance that happens through the meeting of the dancer Fabiana Marroni and the Blue Bean Bag that comes out in a “affective coupled” choreography maximizing reflections about natural resources, living beings and “living things”. That choreography emerges from the reflection of how we organize ourselves and it is triggered into a performance that can affect the “thing”. The investigation starts from the understanding of the relation between objects and dance though the perspective of production of presence, senses and not hierarchies between things.
  • Doran George (In  memoriam)    1. “what have you been doing to contribute to your well-being?” A collaborative composition honoring the methodologies and processes of bodily investigation inspired by our work with Doran George. Performers: Jemuel J. Garcia (Kaeayo), Rosalia Lerner, Christina Michelle Leyva, Kendall Loyer and Rusty Rust.
 Free. Reserve here:

FEB 28 • Wednesday

8:00 pm. Performance Lab, ARTS 166.

Performance: Keith Hennesy.

About the work:

Crotch (2008).

Performance by Keith Hennessy

Full title: Crotch (all the Joseph Beuys references in the world cannot heal the pain, confusion, regret, cruelty, betrayal or trauma…)

Short title: Crotch (all the Joseph Beuys references in the world cannot…)

Very Short title: Crotch

Crotch references the images and actions of artist Joseph Beuys. On the surface the work is about art, its histories and heroes. Deeper, a sadness grows, a queer melancholy. A song, a dance, a lecture, an image. Talking to the dead. Chaos through Play becomes Form.

Performance & installation by Keith Hennessy

Music: Emmy Lou Harris, Craig Armstrong, Teddy Thompson, Down River, Nirvana.

Crotch was awarded a 2009 Bessie, the New York Dance and Performance Award.

$12.50 General, $8.50 students, UCR alumni cardholders, senior citizens & children.
Buy Tickets Online:
Parking: $6.00 in Lot 1 – no fee with UC permit.

MAR 1 • Thursday

8:00 pm. Performance Lab, ARTS 166.

Performance: Crystal Sepúlveda, Wendy Rogers, Jmy James Kidd and Mariel Carranza.

About the works:

  • Crystal Sepúlveda’s t r o p i c a l f o r e c a s t   is a performance score prepared as an inventory for accessing materials and actions that propel Help. What constitutes helping in the context of a post-hurricane Maria Puerto Rico? Maria is still here. She hasn’t left. t r o p i c a l f o r e c a s t   reflects the politics of Help and how to move beyond good intentions. It’s a prediction that is both known and unknown. It puts into question the impact of sticky conditions, stagnant acts of help and timely (in)efficiencies. It is a broadcast anchoring spectatorship as intentional witnessing, to understand how to ask for help, and to bravely materialize the unforeseen future with limited resources.  We are still riding out the storm! El desastre “natural” es la colonia!
  • Wendy Rogers will perform MEMO, a solo iteration of her project See What Happens.  The question ‘How do you know where you are?’ precipitated her initial ten-year project in 1991 and continues to vex and inspire.   
  • Jmy James Kidd is: A body passing through into the beyond. Pentapedal. Trash eating. Plant eating. Water drinking. Sensing. Migrating.
  • In Behind The Table # 4, Mariel Carranza attempts at creating a frame of reference for the audience to experience empathy at her portrayal of the state of alienation in connection with immigration and one’s own naturally acquired emotions and morality to emerge into a different social and political stratum with little or no control over the process. A visual/visceral means will be engaged as a metaphor to understand this inner struggle at adjustment.
Free. Reserve here:

MAR 2 • Friday

7:00 – 9:00 pm. Performances by Julie Tolentino and luciana achugar.

7:00 pm. MaryLu Clayton Rosenthal Dance Studio, ARTS 300.
Performance by Julie Tolentino.
The audience will be guided to the luciana achugar performance in ARTS 166

About Julie Tolentino’s work: is a slow archival meditation on queer grief, movement(s), and sites of productive ruin. This adapted-for-NOT-FESTIVAL performance & mini-installation reflects upon artist-to-artist relationships and advocacy, while navigating self-hood, dependency, and regeneration.   

& being with another seems to go by very fast. so much information. so much to tend to think about and the how of time talking thru how we resist, breakaway then give away. sensing bringing forward slinking back. why and what? stutter gasp. wait. what i wanted to say (because some fumbly dimming) and what that is: to be interested in. drop narrative like how there can be a split in the because. so description does not have a together & becomes again. the title perspectives. thin lines might be imagining the experts – leaning, convening and reverie and skins and what’s missing and all those rising – break – to see the small axis as axes. rushing to get it right. dying’s time. hard corps proposition stained and streaming. herbal opaque judge and unrecognizable currents. cruelty with utopia’s little edges. the separate conversations radiate dark root bodies & an aural portal, a vibe. an unnamed lived experience, says eve. or two or three or four or five or seven of us with each other’s other/s. a void. the end of the party. all together above and below. all a part of this.

8:00 pm. Performance Lab, ARTS 166.
Performance by luciana achugar.

About luciana achugar’s work:

OTRO TEATRO (Other theater or theater for the Other) is an introduction to achugar’s work and her ongoing search for another kind of theater, a theater for and of the other that gives voice to the silenced, oppressed and repressed and less valued aspects of being in our bodies and our experience. A search for an undoing of the inequality and abuse of power of the first world (class difference, gender inequality, racism and colonialism), that she grew up deeply aware of having been born and raised in Latin America with politically exiled parents; a search for an undoing from the inside out by subverting the notion that the animal, the irrational, the feminine, the uncivilized, the non-European, and the felt experience is lesser, unruly or “ugly”.

achugar’s work is not “about” cultural diversity but it has within its aesthetic and perspective an identification with the Other, the uncivilized, the second sex, the non-white European, the animal and the silenced voice of instinct and feminine desire in our society; a feminist Latinx perspective that aims to undo the foundational structures and value system within euro-centric patriarchy.

$12.50 General, $8.50 students, UCR alumni cardholders, senior citizens & children.
Buy Tickets Online:

Parking: $6.00 in Lot 1 – no fee with UC permit.


• TICKETS: (951) 827-4331

$12.50 General, $8.50 students, UCR alumni cardholders, senior citizens & children
Advance Tickets: available at the University Theatre Fine Arts Ticket Office, WednesdayFriday, 10:00 am – 2:00 pm.
Walk-up tickets for events in the University Theatre: available one hour before the performance.
Walk-up tickets for events in the ARTS Building: available at the ARTS Building Ticket Office, one hour before performances.


Parking for free events: Complimentary permits are available at the Information Kiosk.

Information: (951) 827-3245