the artist’s task is not to find an audience, but to leave behind something for an audience to find.
Once known as THE NOMAD JUNKIE due to his peripatetic lifestyle and artistic promiscuity, DENNIS LEROY KANGALEE is a writer, poet, actor, and guerrilla filmmaker from Queens, born to a Black & Indian Trinidadian couple. An eternal outsider, Kangalee – which literally means “the dispossessed” was a theater director during NYC’s final crumbling decade, the 1990’s, leading Dionysus 2000 Theater Lab, one of the most dynamic and politically progressive theater groups in NYC in the final days before 9/11. Best known for his 2001 cult film “As an Act of Protest,” a powerful ‘line in the sand’ against racism and police brutality, he is the author of “Lying Meat & Other Poems Beneath The Oil,” (2010) and experimental hybrid works such as his ‘punk-performance’ “Gentrified Minds,” a virulent artistic demonstration against the corporatization of NYC and globalization of the world and numerous screenplays.
Both personal and political, Kangalee’s art reflects his own anger and frustration as he sees the world’s injustice in an everyday observation. His point-of-view is always from that of the underdog and he is a devoted Marxist- Pan-Africanist-humanist and believes that art should illuminate, affirm and disturb — combating the forces of apathy and the colluding celebration of corporate values within the 21st-century capitalist zeitgeist.
His new site in development, Kangalee’s Cave, introduces his transition into formal cultural criticism in his own unique way after having been involved in a twenty year artistic resistance that, while proved to be futile, gave birth to independent artworks that laid the foundation for his very own ideas regarding activism, art, and rebel attitudes. He applies his experiences as a radical media ecologist and a Fanonian reading of Black films, in particular, that either fulfill or betray the notion of decolonization in modern America.
When not performing or writing, Dennis Leroy Kangalee teaches acting and travels to promote new and old aesthetically or politically radical independent and “cult” films that have been otherwise neglected by the mainstream. He is one of the leading radical outsider (“non-academic”) film theorists and an independent scholar of Black protest drama. Available for lectures, workshops, and freelance writing assignments he can be reached at firstname.lastname@example.org