AADH Day 19 Role of the Critic, Vogue Dancing and Gay Balls Still/Here - Bill T. Jones - dancing in the era of AIDS

Nommo – the power of the word, of naming – to name a thing, person is to define it, give it existence, Nommo an African philosophical idea of language – this is a critics role

Critics Role what are the responsibilities, and limitations of critics? challenges when reviewer works from outside of your cultural experience. –Identity of reviewer – vs. identity of the artist and/or any particular art. Racism as a factor in viewing and discussing work

Critics ideal role to observe consciously, to create dialogue about art and ideas, to allow two groups audience and artists to look at their aesthetics Distinction between a critic and reviewer –Critic - takes an historical perspective – where does a new work fit in the field, in the trajectory of this artist –Reviewer -concerned primarily with the performance at hand – what happened, was it good, bad etc.

Issues of Black Choreographers and Criticism Black choreographer who uses “black” material- how viewed in media Black choreographer who does not use “black” material- how that has been traditionally viewed The use of black cultural aesthetics in modern and ballet by white artists, and American culture 1940s and 80s review both deny the label fine art to black concert dance –Rhythm is a force of nature that must be transformed to become art –Ailey works, not enough contrast or subtlety to satisfy that critics criteria for good art

Panel Perspective Donald Byrd- critics can not be objective, they bring a set of values and an agenda to the performance For black dance, a critics entire perspective on African-Americans colors their perception –Too often, black choreographer’s work is viewed from a wmiddle class perspective, rather than work’s true source –Zollar - emotion and the church form a key part of African cultural aesthetic,Emotion defines form for Euro-American tradition form reduces emotion

Panel Perspective Janice Ross -Dance critics have been skeptical and uneasy with new and unusual, black dance as well as others Judith Green- Advocacy for the arts is important -necessary to gain editors Jawole Willa Jo Zollar, - Racism is pervasive in our culture, and affect us all, blacks are trained to be critics and must overcome this Joe Nash, A Historical Perspective –Critics didn’t know how to respond to black concert dancers

The Critic’s Role to assess an artist in terms of history – how does a work rest in time, in relation to earlier work – in relation to other work of the artist. Is one a great choreographer. A reviewer – simply reports on whether a performance is good or bad – what was good or bad about it.

Paris is Burning – New York 1987 and Vogue Dancing A gay black/hispanic subculture defined through performance and dance. Sexual identity – is central factor in defining self – who will define you Identity of gay men as transvestites – want to be: –Women – feel affiliated with this gender, this reality –Men of power, influence, money

Performance as a way of being A real experience that gives status within this subculture – you will never get this in the outside world Inside the balls – you are normal / okay – vs. outside world Balls – a place feel okay as a gay person, time to prepare for the ball desire for riches Performance more than dance, an act of becoming- of having an identity

Houses = Families House, family group of human beings – overseen by a mother, –a star performer who has gone through the rejection as a gay man but has risen to prominence in this subculture –through performance and through caring for others. 1. Angi, Extravaganza, Mother 2. Willie Ninja, best voguer 3. Pepper Lebeija, the house of Labeija

Houses

Pepper Lebeija

Angie Extravaganza

Categories of performance Pretty girl, Poconos, Luscious body, School boy, Town and country, Executive realness, High fashion passion, Butch queen, First time at a ball, Military, High fashion evening wear

Realness

Source of movement - What is the movement style/expression? Shade knock sun out if you can, reading art form of insult - who is the audience? Reading became shade don ’ t insult what you know Voguing – came from shade -a form of throwing shade, –from Vogue magazine based ion the models poses – Institutionalize showing off, voguing - take an attitude, a style

Realness

Willi Ninja and Voguing the dancing is a form of battling throwing poses that suggests the other is less than –very similar to breakdance origins

Willi Ninja and Voguing

Willi Ninja – succeeds he teaches woman to walk Ballroom tells you are somebody need to convince self that you are somebody. He gets work as a dancer and choreographer in MTV. They all want a normal happy life –.

Era of AIDS - Identify as a gay person, as someone facing premature death Still / Here and era of AIDS premature mortality, Bill T. Jones working with all people – to learn from them bring people of like experience together (vs. all gay) – here all facing death. They create gestures, dreams, fears

B.T.J. creates Still/Here from this research the gestures created spontaneously by the survivor participants enter the work Community connection again - Survival workshops –Externalize feeling in your body, –gesture with confidence, then thinking and moving, –struggling between knowledge and mortality.

B.T.J. walks his life

Performance agenda – Shape around commonality, mortality central issue Not Job ’ s why, but how, to deal with fear anger pain Dancers wouldn ’ t impersonate the sick and dying but the variation on struggle to survive Still, interior world of one person Here, sensation of life altering news, denial on issue