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AMJAD: La La La Human Steps

We begin with a manipulated woman, not unheard of in the world of ballet, although La La La Human Steps depicts this with alarming speed and agility. The following scene, however, breathes a sense of reality into story, as a woman stands in the background watching her would-be-lover partner another man. Although the partnered man's movements are not radically feminine, he is partnered no differently than the woman might be. She mimics him, wishing to be in his position. This, in its desire, envy, homosexuality, is much more true than the pirouettes of any princess.


Jawole Zollar creates a piece, mostly comprised of African American, female dancers, of heart and truth in "Visible/invisible: Naked City." The dancers move with visceral ferocity and technical prowess, presenting everything from agression to quietude, fear to joy. Some of the most eye-opening aspects arise when there is conflict between members of the same group, those who should be united. When do we wish to be visible? When do we wish to be invisible? Why?

This photograph so beautifully represents its title. Bettis's struggle is clearly depicted through the two selves. One reaches one way, while the other twists contrarily. Unadulterated desire is everywhere in this simple black and white shot, no surprise given Bettis's notorious sense of drama. There is something beautiful about this photograph, despite of the fact that this singular being's heart is being tragically pulled.

In this miniature "dance-umentary," this professional female dancer imitates the less-than-stellar dance moves of her father. What makes this so endearing is that she, as a professional dancer with Chunky Move, is undoubtedly a phenomenal dancer. But that is not what this is about. This is about a girl watching her fathers hips swivel and loving it. Her sweet Australian voice, speaking on her adoration of her father, layered over the clips of her doing the single and double "bum wiggle" is simple and delightful.

GLOW: Chunky Move
Chunky Move seems to be bringing a concert dance into the future, full throttle. This piece involves computer generation and motion censors, which react to the dancers movements, creating a spectacular show in various aspects. The reaction of the lights to the dancers body is a spectacle all its own, but let's not forget the dancer. Her moves are seamless, her intent strong and clear. One almost doesn't know where to look, but shifting focus is not a problem here, as the simplicity of the single dancer makes the piece manageable as opposed to overwhelming.

In "Self Unfinished," Xavier Le Roy gets the last laugh. Visually absurd and confusingly comical, this piece is artistrty added to optical illusion. At times, the viewer may feel like a child watching a magician, or even something as simple as a puppet show. You think you know what you are seeing, and then, you fall back into the realization of it all. Top and bottom? Front and back? What's the difference?

TASKFORCE UK CHAPTER 3: Stephen Koplowitz:
Site-specific work might be difficult to understand, especially for those not as familiar with dance. This video gives a glimpse into the process with Stephen Koplowitz. It's nice to see the choreographer collaborating so actively with the dancers and with (in a sense) the space. The steps serve as a nice playground for the work, and Koplowitz utilizes them well. Additionally, the number of dancers really makes this piece work well, as too many would be overwhelming, but too few would be a disappointment. This was an interesting video to view in terms of a creative process and site-specificism.

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