Showing posts with label dance. Show all posts
Showing posts with label dance. Show all posts

Saturday, June 26, 2010

PARK @ Freshkills Park

I've posted several times about my colleague poet/scholar/translator Jennifer Scappettone, who teaches at the University of Chicago and who was one of the primary forces behind the wonderful visit of some of Italy's leading experimental poets to the US a year ago.  Most recently I wrote briefly and posted photos from her performance at the Red Rover experimental poetry-performance series in Chicago. At that event and after, Jennifer told me about her spring residency at Freshkills Park, which is the new incarnation of what was once the largest (29,000 tons of trash a day) landfill in the US, the notorious Freshkills Land Fill, in Staten Island.  As part of her residency, she worked with choreographer and dancer Kathy Westwater, and architect/designer Seung Jae Lee to create a site-specific dance-poetry-performance version of one of Westwater's pieces, "PARK," at the park, and I decided not to miss it.

Below are photos and short videos from the performance, which required getting to the Manhattan Staten Island Ferry terminal at 9 am this morning, riding on a bus from the St. George Ferry terminal (on which we got an excellent introduction by Freshkills Park Outreach Coordinator Doug Elliott) to the park, and then visiting two different sites at which the performance unfolded. It was, to put it simply, unforgettable.  I'm no dance critic so I won't even try to describe it, but I did appreciate how the performance metaphorically and symbolically explored ideas concerning our consumerist, throwaway society and our relation to garbage/waste/debris, our (re-)constructions of "nature," "land" and "landscape," our struggles to communicate, community and atomization in relation to the natural world and (human) bodies, and, throughout, the role of time, in a setting like this still-unfinished, still-transforming "park." Kathy Westwater's and Jennifer's performance of insideness and outsideness, and their conceptualization of participation, involving themselves, the performers, the audience, and the surrounding landscape--with the wind providing an ever-shifting soundtrack, as the videos attest--was also enlightening.

Here's the writeup from the Freshkills Park blog:
It seems like no New York City site has truly been inaugurated as a public space until it has hosted an avant-garde dance performance.  Our time has come!  A group of artists and performers organized by choreographer Kathy Westwater has developed a movement-based project responding to their research and on-site study of the Freshkills Park site over several visits this spring.  PARK, as the project is called, isn’t a traditional dance performance—more a combination of movement, writing, and game playing.  It is “concerned with our construction and consumption of nature.”
Kathy and her dancers have previously performed PARK in locations as varied as Yosemite Park and Dance Theater Workshop in Chelsea.

And now, the photos and videos:

Jennifer Scappettone (poet/scholar), in white, dancers in background
Jennifer Scappettone (in white, in foreground), with dancers and audience around her
Dancers on the hill
The dancers on the first hill
The string phone
One of the string phones at the second hilltop (note how far it stretches into the meadow)


3 string phones
Three string phones visible (painter Vilem Benes in the foreground)

The dancers on the meadow
One of the dancers, leaving the meadow
One of the dancers leaving the meadow
The dancers, in a circle
The dancers closing a circle through and within the audience
Dancers exchanging our words
The dancers reading the words we'd written down, exchanging, chanting, discarding them
The dance
Dancing
Jennifer reading
Jennifer reading/performing

Dancing a cloud-storm
The dancers
Forming a clock/signifying time
Creating the debris-flower
Creating a waste-flower, as time (a dancer) runs on
Dancers
The dancers departing
View from East (?) Hill
Freshkills Park, from East Hill

Thursday, April 1, 2010

DWTS - Don't Want Telling Stories


For some reason, Kate Gosselin managed to survive the first cut on Dancing With The Stars. She didn't dance particularly well. Granted, she wasn't the lowest scoring "star", but when you're only scoring a couple of points above the 80 year old Buzz Aldrin, you're really not helping your cause by pointing out you didn't have the lowest score.


I guess I didn't think that she'd be around after the first cut because she is a reprehensible human being. She's loathsome. The only one more loathsome than her would be her ex-husband Jon Gosselin. He is truly a reprehensible human being. The two of them together were damn near unwatchable on their show, Jon & Kate Plus 8, where they exploited their eight children for profit. And when they were getting divorced? Holy crap, I thought that the tabloids and the media would never stop talking about either one of them. Her and her pain. Him and his fornicating dalliances. It was unbearable at one point. That's why it seems like a really good idea to me for Kate's routine on DWTS next week to be a Jon and Kate themed dance with Kate portraying her wicked self and her partner, a one Tony Dovolani, channeling the now rotund and rumored small penis sporting ex-husband Jon. Wait. What now?

Correct. According to the exclamatory folks over there at E! Online : "Kate will be transforming her recent tabloid troubles into a high-stepping dance routine." She will? Yes. She will. And according to Kate, "It's my story over the past two years. We're very, very excited." Um, no we're not.

How in the hell is that even possible? Is it Customs of Native America week on DWTS? And over the past two years? Why limit it to that? What? You can't figure out how to spin the yard of shooting six kids out of your uterus through the wonders of dance? Huh. Shocking. But why on earth would she choose the past two years? (Look, I know that the real question is why this nutjob would be choosing to do any part of her life as a dance routine. The answer to that is that she is a mentally imbalanced narcissist. Any other questions? Good. Now, back to the mocking...)

She's going to dance out her divorce from Jon? Oooh! Are the skanks that he was running around with going to be included in this routine? Because that I could get on board with a little bit. It'd definitely spice things up a bit. She could be all dancing with Tony/Jon and suddenly, some other dancer chick comes running up and boots her out of the way and sashays off the floor with Tony/Jon. Then if Kate laid there on the dance floor and cried for a while, that would make me happy. (Add a bit of running mascara and I'd be highly amused by it all.)


According to the E! Online folks, when asked how to describe said dance, Kate replied with "Dramatic" and Tony added "Lots of drama." That's when Kate felt the need to make clear "Oh my gosh, so much drama." Really, Kate? You had to throw that in? You think that we all don't know about your public trials and tribulations? You ruined a perfectly good summer for a lot of us by having to see your damn face on every gossip/entertainment magazine that we were trying to read whilst lying on the beach. Your entire existence over the past 2 years has been nothing BUT drama!! And now you're going to make us re-live the whole torrid ordeal by making us watch you dance it out?! Are you freaking kidding me?

I'm kind of guessing that she's still on the show because she's horrible and people want to watch her make a fool out of herself. (And if you saw last week's episode where she made her partner, Tony, so frustrated that at one point, he quit and walked out on her, then you know it was very entertaining!) But, of course, Kate (being Kate) says that "My dancing has a lot of work to do, and I'm the first to admit it. I'm not a quitter, I won't quit on this. I want to finish the dance." I don't know if you were the very first to admit it. But don't worry about quitting! It's perfectly all right! If that means that we don't have to look at your really weird fake hair and your forced smile anymore, feel free to quit! Quit away!

She also explains to us that "The frustrating thing for me is I can do it so well in practice that even I'm like, Wow! Did I just do that? Then I come out here and I'm like, Whaaa!" Um, I don't even know what that means, really. Whatever it is, it's unbelievable. And also whatever it is, I certainly don't want it explained to me through a series of dance moves. Because that would be what? Completely asinine, that is correct.

Tuesday, February 12, 2008

Obama Sweep + Dems Kowtow + Australia Apologizes + Ronald K. Brown's Moves

ObamaBarack Obama (at right, USA Today, Rick Bowmer, AP) swept all three--the Potomac--primaries today, but most incredible, just incredible to me, was the Obama blowout in Virginia today. It wasn't a caucus, the state has a lower percentage of Black voters than some of the other Southern states (Georgia, Alabama, Louisiana, etc.) that he's won, and while it has trended purple, Virginia is still quite conservative. I know this personally from the years we lived there.

Hillary Clinton's campaign thought she had a chance in the Old Dominion. Yet Obama won Virginia by a huge margin, 63%-37%, basically winning in every region (Northern Virginia, the Tidewater, the Blue Ridge mountains, the border counties with North Carolina, the southeast coastal areas) except the southwest, and also posted these numbers, according to the NBC exit polls: he won among Democrats 59-41, he won among independents 66-33, he won among Republicans (!) voting in the Democratic primary 70-26. He won among White male voters 55%-45%, among Black voters 90%-10%, and among Latinos 55%-45%. Among White women, he lost to Hillary Clinton 42%-58%.

But most remarkably, he received 274,000 more votes than her, and combined, they outpolled all the Republicans on the ballot (McCain and Huckabee, as well as Ron Paul, and the ghosts of Romney, Thompson, Giuliani, etc.) by 479,230 votes. That is nearly half a million more votes, or about the margin by which Gore defeated W in 2000. I think this bodes very well for Obama, very well for the Democrats in general, and ill for McCain, the presumptive nominee, and whomever he picks as his running mate. McCain in fact received yet another scare from Huckabee. Voters are obviously both energized and fed up, and these higher Democratic vote totals (save for Alabama and Georgia, I believe), both in the primaries and in the caucuses, are a harbinger of November's results.

But let me not stint Maryland or DC. In Maryland, as I type this entry (about 75% of the precincts are reporting), Obama is winning by a 60%-37% margin over Clinton, who alone has received nearly as many votes (220,000 vs. 225,000) as all the Republicans combined; Obama is ahead with about 359,700 by himself. One of the best stories out of Maryland is the victory of progressive Democrat Donna Edwards over Albert Wynn, a teddy bearish corporate sellout who had repeatedly voted against his constituents' interests again and again (cf. Bankruptcy Bill, etc.). Nearly two years ago I highlighted her primary run against Wynn, which she lost, but thanks to online supporters, she was again able to compete, and she did it! The House will have won less DINO and one more Democrat whose platform directly addresses the needs and dreams of her constituents.

In DC, Obama defeated Clinton 75% to 24%. I think it's fair to say this was the least surprising outcome of all.

These vote margins have given Obama enough delegates to tie or pass Clinton, depending upon who's counting/how they're counted. The next state up is Wisconsin, which Obama should win, and then it's on to Texas, Ohio and Pennsylvania, the first two of which Clinton is banking on. But I'll save that discussion for another day. For now, once again, congratulations Senator Obama!

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Now the bad news: today the Democratic-controlled US Senate capitulated (again) to George W. and Dick Cheney, and voted 68-29 to give the telecommunications industry retroactive immunity as part of a bill vesting the president with expanding powers to spy on American citizens.

(W spokesdissembler Dana Perino even accidentally admitted today that the telecom companies spied on US citizens. Because they were "patriotic.")

It also shuts down pending lawsuits against the telecoms, possibly ensuring that we might never learn what the W administration was up to with its spying, not only after the September 11, 2001 attacks, but, as a trial involving former Qwest executive Joseph Nacchio has shown, as early as a few weeks after W and Cheney took office. In fact, Helen Thomas's question about this earlier spying led to Perino's unplanned candor. (And we should never forget the dramatic Joseph Comey testimony about the administration's attempts to force John Ashcroft, on his sickbed, to sign off on activities so troubling that he refused to do so, and which Comey also refused to do.)

One of the chief toadies this time was Democratic Majority Leader Harry Reid, who all but turned procedural back flips to deny the advancement of the Justice Committee bill, which did not include telecom amnesty was scrapped in favor of the Intelligence Committee bill, which gave the telecoms everything they wanted, and to ensure that any Democratic challenges, led primarily by former presidential candidate Chris Dodd and Wisconsin Senator Russ Feingold, were defeated. The other was the pusillanimous Jay Rockefeller, who, assuming the role of a ventriloquist's dummy, repeatedly recited RNC and Bush administration propaganda on the floor of the Senate, which was apparently persuasive enough (or cover, either way) for Democrats to join in on the "surrender to terror" and give Bush a huge valentine. This bill, as Glenn Greenwald noted today, is so outrageous that it actually empowers Bush the right to ignore its statutory effects if he so deems it necessary.

The Republicans, unsurprisingly, voted in Bush-enabling lockstep (and yes, that includes those "moderates" like John Sununu and Olympia Snowe), as they have done since 2001, while the Democrats could only muster 29 votes in opposition. Nominally, of course, they control the Senate; in reality, they remain marionettes for corporate lobbyists and the W Gang to run ragged as they see fit. Barack Obama voted no, as did his fellow Illinoisan, Dick Durbin, both of New Jersey's Senators, and the handful of other consistently liberal members of the pathetic, phantom majority (Dodd, Feingold, Kennedy, Kerry, Murray, Cantwell, Boxer, Brown, etc.).

Hillary Clinton did not cast a vote.

At this point, this egregious farce will become law unless the House stands firm when the bill goes to conference, as it did not approve telecom amnesty. I should add, not that it matters a dime, that polls have shown a clear majority of Americans do not want the telecoms to be given retroactive immunity. There are laws already on the books protecting them if they act in good faith, but apparently, as we've seen again and again since 2000, the laws of this country do not apply to this president or his cronies. Nevertheless, the folks at Firedoglake are trying to get people to contact their House representatives via petition. Please do go this route, but even better, send a fax or letter to your Representative, telling her that you do not want the telecoms to receive immunity. W's lawlessness, which will probably never be punished, should still be investigated by a court of law.

As for the US Senate, just go here, find your Senators, and praise them or rant by phone, fax or email. (Praise if they've done the right thing for a change always is important too.)

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Australia has finally decided to apologize to its Aboriginal peoples for decades of sustained state, individual and symbolic violence, and social, political and cultural discrimination and marginalization. New Prime Minister Kevin Rudd has asked the Australian parliament to approve an apology he will deliver at tomorrow's opening session. The apology states in part that "We [the Australian state] apologize for the laws and policies of successive Parliaments and governments that have inflicted profound grief, suffering and loss on these our fellow Australians." The text is particularly aimed at the "Stolen Generations," those thousands of Aboriginals and mixed-race children who were stolen from their families and raised by whites as part of the state's white supremacist social policy, which, in 1930s Northern Territory "chief protector of the Aborigines" Cecil Cook, aimed to "breed out the color."

Unfortunately, the apology appears to be mostly rhetoric and no action; the Aboriginals will receive no reparations, remuneration, nothing, at least no time soon, beyond the Labour Party's earnest words, which also include a bit about "a future where we harness the determination of all Australians, indigenous and nonindigenous, to close the gap that lies between us in life expectancy, educational achievement and economic opportunity," because, as you might have guessed even if you know nothing about Australia, by every social index measure, Aboriginal and Torres Strait Islanders are worse off than white Australians. Mmm hmmm, sounds familiar.

One thing this news brought to mind was the concept of apologies, what they aim to achieve, especially beyond the symbolic, and why it's so difficult for some people to utter or issue them, or why they think that grudging ones (cf. David Shuster to Hillary Rodham Clinton) or non-apologies are sufficient. Here's an extremely brief piece by Jess Perriam on philosopher Aniello Ianuzzi's discussion of the philosophy of apologies. Ianuzzi says:

"Increasingly in today's society, it's perhaps becoming harder still because in many ways we're becoming a more individualistic society and also in many ways the black and white between right and wrong has become very much blurred."

"Therefore people don't generally believe they're wrong anymore."

Dr Ianuzzi gives this the definition of 'moral relevatism' and explains it like this, "We believe we have the rights and abilities to make our own definitions of right and wrong, and therefore we can impose our views on others."

"The ego gets in the way and then of course, sorry becomes that much harder."

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On a happier note, today the New York Times's Felicia Lee (one of my favorite reporters from that paper) focuses on the work of one of the major contemporary choreographers, Ronald K. Brown. Lee provides some history on Ron's company, Evidence Dance Company, which he founded in 1985 at the age of 19, and goes on to talk about the often groundbreaking work he's done over these last 23 years, emphasizing in particular the ways in which the African Diaspora is central to his work. Accompanying Lee's article is a fine photo essay (say what you will about the Times these days, but its photo slide shows rarely fail to catch the eye). Below, Ron, foreground, rehearsing his piece "Upside Down," with members of his troupe. On Tuesday night, Evidence opens its annual New York season at the Joyce Theater. (Photo: Andrea Mohin/The New York Times)