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Don't stay in one spot! Clubs don't function like that. Think of constantly shifting, these shifts don't have to be large.

Put yourself in club or party. You will have an audience, the energy of the club has to authenticated through your gestures and bodily understanding of where you are

Fall to floor in different ways, falling to the floor is not an acting moment. You are passing out due

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"Do you care for me?" "Do you love me?" 

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"Do you care for me?" "Do you love me?" 

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I can tell by the way you look at me, you tighten up and never smile. Like aggression can only be symbolized by me. 

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I can tell by the way you look at me, you tighten up and never smile. Like aggression can only be symbolized by me. 

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Courtney's solo is about how the club becomes a place to grief and mourn

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Courtney's solo is about how the club becomes a place to grief and mourn

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Teule -  Drink On Me (Kerri Chandler Club version)

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Kevin Aviance recalls dancing in the club and looking up in a disco ball and seeing all of his friends. Due to the HIV/AIDS epidemic, many people disappeared from the disco ball.

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"at a certain time, bodies would just fall to the floor

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"at a certain time, bodies would just fall to the floor

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“IT WAS A PERIOD WHERE THE NEGRO WAS IN VOGUE” - Langston Hughes 

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“IT WAS A PERIOD WHERE THE NEGRO WAS IN VOGUE” - Langston Hughes 

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This sentence by Hughes captures what was at once transcendent and dispiriting about the era. The Harlem Renaissance was a moment when blackness was celebrated; but to be in vogue is to be in fashion, and fashions always die. As an era concerned with the vitalization as well as with the demise of African American identity, the Harlem Renaissance was an era best characterized by its contradictions: every point of celebration was also a source of contention.

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Sections

I. Drink On Me
II. We were never here...
- we dance again
III. Still life...
IV. Rally
V. and still we dance again

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Looped audio
Rally (vogue)
Live Sound score
Quindon Tarver
Two banks of Four

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Redaction
Transness--> Flesh--> Flesh as the site of somethingelseness

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Self-Containment (Reflecting on my scream in Lex Brown) 

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Self-Containment (Reflecting on my scream in Lex Brown) 

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The body is where it all started. It is the container where the human soul is housed and our first source.of knowledge. I am also was interested by the idea that the body is a physical dwelling place that holds memory. It  made me think of Alvin Ailey's work "Blood Memories"

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Vogue Lecture.pptx - Microsoft PowerPoint Online

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Notes on Ballroom and Vogue Developments 

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Notes on Ballroom and Vogue Developments 

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Vogue Lecture.pptx - Microsoft PowerPoint Online

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Claudia Rankine states, I am deeply curious about “the ways in which race informs the imagination.”  How might I use the stage, and dance, to unpack the histories and to re-present the struggles, not only the pain but

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Teule -  Drink On Me (Kerri Chandler Club version)

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Teule -  Drink On Me (Kerri Chandler Club version)

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If we can accept that the dance responds to the drum, not solely in a reactive manner, but within

the configuration of communicative collaboration, we can understand how dance is performative,

mirroring the way in which speech may be equated with action. Dance movements convey speechlike qualities...meaning beyond the formal...(66).”

“...talking by dancing over talking about

dancing” (66).

“Dance that is designed to please or rouse an audience is different from the dance of protest or personal expression. But because dancing black bodies in America are inevitably taken to be performing dances of celebration by cultural outsiders...” (72).

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Corporeal orature aligns movement with speech to describe the ability of black social dance to incite action. In this articulation, social dance may contain performative gestures that cite contexts beyond the dance.

These citations are read and acknowledged by other dancers who respond in kind with actions or decisions about, at least, the efficacy of the dance gesture.

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Things That Stood Out:

The separation between public and private

When private bleeds through into the public

When the unknown becomes known

Black Beat Made Visible discusses the idea that there is a private black dance known only within the black community and there is black dance that has been shown to the public. It also discusses how black movement is used without understanding.

“two thoughts, two souls, two unreconciled strivings...” - W.E.B. Du Bois

“...Talking by dancing over talking about dancing.”

“ a society in which bodies can be objectified and marked as ‘black’ is comfortable with watching without understanding..”

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Ideas and themes:

Home: both a social home and corporeal home

Sections
Drink On Me- Ensemble
We Were Never Here
Skyline Solo loop

On loneliness and longing - I need somebody to Love ( distorted ) and possibly reversed and looped

Phrase generation prompts:

Something that keeps going

Interiority- Open the door improv

Fugitives- small and 'undetectable'

Concealment- we don't see your face
Cannot be contained- Last Dance

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Frequent reference is made to Maurice Merleau-Ponty’s theories of gesture and movement, which provide a framework for understanding how Latisha’s individual body was understood in the context of a wider student body.

According to Merleau-Ponty, there is no hard separation between bodily conduct and intelligent conduct; rather, there is a unity of behavior that expresses the intentionality and hence the meaning of this conduct. In habits, the body adapts to the intended meaning, thus giving itself a form of embodied consciousness.

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To wear an article of clothing can thus be seen as a sexually aggressive act, justifying the violence against those who express their gender.

She also explores the way in which attitudes about Latisha were manifest how her walk was perceived and described.