much love to Billy V
Interests include dance, music, and culture of all -brows. Join me on my journey to compelling prose. (Twitter: @_ajohnny)
Things are continuing to happen
Something is still happening—
Something is happening, though I’m not yet sure what.
Of course I’m here for this.
(I think it’s tempting to wax long-winded about the video’s ‘importance’ — and it’s only a matter of time before folks in the dance and performance sector start chiming in — but I think the conclusion’s pretty simple: if you’re going to use dancers for a thing, then hire good ones and give them space to do their work without getting in the way. Respect the craft[s]. It’s not that difficult.)
Outlaws, 1984, C-print, 13 x 9 1/4 inches
Afternoons Nap, 1986, gelatin silver print, 9 1/4 x 13 inches
Monument, 1984, C-print, 9 1/4 x 13 inches;
International Style, 1984, C-print, 13 x 9 1/4 inches
The Secret of the Pyramids, 1986, C-print, 13 x 9 1/4 inches
Honor, Courage, Confidence, 1984, gelatin silver print, 13 x 9 1/4 inches
As Far As It Goes, 1986, C-print, 13 3/4 x 10 1/4 inches
Quiet Afternoon, 1984, C-print, 13 x 9 1/4 inches
Ben Hur, 1984, gelatin silver print, 9 1/4 x 13 inches
Pretty sure I’ve reblogged this before but today is a new day
Perfect op to post a link to one of my favorite dances!
from Geography: art / race / exile by Ralph Lemon
Initially, this was going to be a complaint about something I decided to call semiotic salad. The label refers to a decidedly postmodern choreographic strategy many dancemakers draw on (in various forms and to various ends) to destabilize the received meanings of familiar gestures. It’s basically what it sounds like, I guess: a rapid-fire assemblage of movements yanked from their productive interpretive contexts. It shows up all the damn time. There’s nothing wrong with the device per se, and after some thought it seems it’s only an outgrowth of the real problem I want to discuss. But there is something self-assured, something too confident, about this willful misuse of ‘found’ movement, that helps me begin to work through the dissatisfaction I’ve felt with my own dance-making practice over the past year.
Mill/Lady was, for me, a back door into Brittany Bailey’s work. I first watched Light Dance with Girl a few months ago and wasn’t sure what to make of it. She’s a super articulate mover, and I’d guess her work searches for the places where an intense devotion to clarity (rather than, say, perfectly-timed execution) pulls a performer away from the task of rote recitation and toward an experience of movement ‘in its own right.’ I couldn’t have told you any of that, though, before watching Charlie Birns’ Mill/Lady (in which Brittany Bailey figures as the choreographer and the lead actor).
Dance for camera, in my opinion, tends to do a bad job of handling dance’s strangeness; it may overtake familiar sites and feature recognizable figures, but it almost never acknowledges the fact that people don’t tend to move like dancers when they’re not in a studio or on a dance floor or on a stage. And here, that conflict is both what defines the Lady as a character and outlines her relationship with the strange Man who shows up late in the film. The whole thing presents the relationship between ‘natural’ and ‘choreographed’ movement in a way that sounds clearly and richly both through the characters in the film and to dance film as a form. It’s definitely one of my favorite dance films at this point. (If you could call it that, which you needn’t.)
Also check out Charlie Birns’ WEASEL, another movement-heavy collab with Bailey.
You can’t tell me Black people aint magic
that was AMAZING
bruh if only i could do that on a pole…. $$$$$$$
let’s not forgot this was on a moving fucking train like damn
the development of Black culture is fucking ridiculous. i lovelovelove being Black
damn im sitting here amazed what in the hell they over there moon walking on the ceiling and shit
I never get quality entertainment like this on public transportation. Really cool, and not at all what I was expecting.
this grosses me out juuuust a little bit