If you’re not watching Pose, child, I can not help you.
It turns out I’ve been blogging about reading for around 2/3 the age of supernaut. It still feels like something I’ve only recently begun. This year I’d taken a slight pause from my intense reading bouts, so in part this is a reminder of what I read in the last 12 months, that I was reading, and what I thought then and now.
Yes, I’ve read less than last year, 40-ish books compared to last year’s 54-ish. This has been obvious to me in recent months with my pile being added to but not depleted, not so much reading as chiseling away. Anyway, no more blathering. The books:
The non-fiction, serious stuff:
Half of what I read was superb. When I was performing in Parsifal, I got to read William Kinderman’s Wagner’s Parsifal, a glorious book, which made me love and appreciate the opera even more. I paired that with Dayal Patterson’s equally magnificent Black Metal: Evolution of the Cult, a must-read for anyone interested in the history of the genre, and it supplied me with a mass of new listening. It was on my Book of the Year list until shunted off by a couple of exceptional works. Michel Serres’s was not one of those, but Variations on the Body is a beautiful, poetic work by one of Europe’s most profound and little-read philosophers, who understands corporeality in a way largely lacking in western philosophy.
Adam Minter writing on the recycling business in Junkyard Planet: Travels in the Billion Dollar Trash Trade is a book I’d recommend to pretty much anyone (being aware that much of what I read falls into the WTF? category), and he’s a rare, smart writer on the subject, presenting it in a way non-specialists can understand and enjoy, also a needed critical voice in the global trash industry and China’s role in it.
Another from China: Frank Dikötter is one of my favourite writers on 20th century China, and I’d been waiting for The Tragedy of Liberation: A History of the Chinese Revolution 1945-1957. I’d been interested in this period because of stories a friend in Guangzhou would tell me about her Tujia grandparents holding out for years in the mountains against Communists. I’d also been waiting for Liao Yiwu’s prison years autobiography, available in German for a year, For a Song and a Hundred Songs: A Poet’s Journey through a Chinese Prison System. There is hype around post-’89 Chinese writers, particularly the Beijing and Shanghai urban youth genre. I’ve yet to find a writer of that generation as good as Liao, and as necessary to read. All of his works are unparalleled documentaries.
Finally, there was Julia Serano, her sequel to Whipping Girl: Excluded: Making Feminist and Queer Movements More Inclusive. It’s odd to leave this off the Book of the Year list, as it’s undeniably a critical work and Serano is up with bell hooks and Judith Butler (among others) for her writing on feminism, trans, and queer politics and culture. She needs to be read; buy it and read it.
The reason why Serano got bumped is Afsaneh Najmabadi, whose Women with Mustaches and Men without Beards: Gender and Sexual Anxieties of Iranian Modernity was one of my Books of the Year last year. I heard about Professing Selves: Transsexuality and Same-Sex Desire in Contemporary Iran late last year and waited months for it. Considering the amount of attention works on trans people (particularly trans women) received in the last year, it’s baffling that Najmabadi goes largely unmentioned. For those engaged in this subject with no interest in Iran specifically, her documenting of the influence in Iran of Euro-Anglo-American ebbs and flows of political, social, medical, legal thought and practice on trans issues and identities is sufficient to make this required reading. Iran though is the dog that’s beaten irrespective of context, and successive Ayatollahs since the ’70s issuing Fatawa recognising trans people as legitimate and in need of help is presented in the west rather as the despotic Islamic dictatorship forcing sex reassignment on unwilling gays and lesbians. As with Excluded, buy it and read it.
Then there was H. Jay Melosh’s Planetary Surface Processes, which Emily Lakdawalla wrote about on The Planetary Society. Along with last year’s Colliding Continents: A Geological Exploration of the Himalaya, Karakoram, & Tibet, this one fills my need to look at massive contusions of granite and other rock. There’s a moderate number of formulae, and regular plunges into elucidations of those, placing this somewhere in general university-level and reference book. It is specific and not a casual read, and it’s the one book you want on the subject. Sometime soon I’ll pair it with one on planetary chemistry.
And finally for the non-fiction is Caroline Walker Bynum’s Wonderful Blood: Theology and Practice in Late Medieval Northern Germany and Beyond, recommended by a friend, and just one of those delightful, dense, heavy, demanding works written by someone so phenomenally talented and capable, and who simply loves her work. Completely a joy!
The fiction, also serious stuff:
I read less fiction in the last year, and tried new authors, some of whom I absolutely loved and are firmly helping me get over the absence of Iain Banks. Others … others who everything indicates I should love instead leave me cold, or worse, finding them actually not very good.
Let’s dispense with The Water Margin first. The second volume of five of John Dent-Young and Alan Dent-Young’s translation of Shi Nai’an and Luo Guanzhong: The Tiger Killers: Part Two of the Marshes of Mount Liang. This has to go on my list similarly as I have to have breakfast. Even if I read a hundred superior books, it would still be here. Some books are like that, you may never read them but they’re always around. The Water Margin is—as I keep saying—China’s Chaucer and The Canterbury Tales, or Marlowe’s riotous plays. I’d compare it to Shakespeare but it’s not equivalent: it’s bawdy, rough, uncouth characters and stories, and the writing itself is nearer the former two. Given its miraculous ability for genius turns of phrase, it’s perhaps comparable to Shakespeare for his wordsmithery. The Dent-Young’s translation is my favourite of the lot also, though the price per volume certainly isn’t.
Then there’s Ysabeau S. Wilce, who I discovered mid-this year, ordered the first of the Flora Segunda trilogy, promptly ordered the other two when barely past the first chapter. Flora Segunda: Being the Magickal Mishaps of a Girl of Spirit, Her Glass-Gazing Sidekick, Two Ominous Butlers (One Blue), a House with Eleven Thousand Rooms, and a Red Dog. Yes, that’s the title. Children’s book indeed. Would that some of the adult authors I read be capable of imagining and telling a story as this. I loved all three, though the first the most. It seems to me in trilogies where the protagonist starts almost from nothing, that the first part establishes the significant growth, and the remaining two are more working with what they’ve already learnt (the Matrix and Star Wars trilogies, for example), and it may be unreasonable to be irritated by this, but it does—books two and three are still wonderful and had I only read either of them I’d be frothing as I do over book one. It’s not in the same league as the two big ones below, but I did love the world and characters.
Another new author was K. J. Parker, who has written quite a bit. It was The Folding Knife that piqued my interest, and I enjoyed it enough that it gets a second mention here.
I almost forgot Imogen Binnie’s Nevada, neither sci-fi nor fantasy, something of an autobiography, a little like reading my own life, rough, punk and trouble. The ending I hated, but the rest, she deserves awards for this and to be read a fuck-ton load.
The two big ones then, and colossal they are.
One the Skiffy side, channelling Iain M. Banks: Ann Leckie’s Ancillary Justice; and on the Mediæval Fiction side (I keep imagining her and Caroline Walker Bynum together in a bar): Nicola Griffith’s Hild.
Buy these books. Read these books. These are incomparably the best sci-fi/fantasy of 2014. If you’re swayed by other’s opinions, between them, they’ve won or been nominated for more awards than I have fingers and toes. Both of them have my favourite covers of the year. Honestly, if you don’t like either you should give up reading; books are wasted on you.
I cannot say enough good things about either of these two books and their authors. It’s an extraordinary time for sci-fi and fantasy with writers like Griffith and Leckie. It’s unlikely I’ll ever have an experience like my reintroduction to sci-fi via Iain Banks a few years ago, but to utterly give myself over to the author and story as with these two and to be rewarded for that is beyond compare.
An aside: you may notice that many of the writers are female. It’s intentional. A while ago, I decided to put my money where my feminist mouth is. This is easier in fiction because the two genres I read, sci-fi and fantasy have many talented female writers and the genres are going through a renaissance due to these and non-white, non-western, non-straight authors (and a definite shift by the publishing industry to promote them). It’s brilliant. In non-fiction, it’s not so easy. In part this is because I want to read particular authors; in part particular subjects that are dominated by white male authors in the english language sphere. I consciously balance these two biases by seeking out and selecting female authors, and when it comes to a choice I’ll put the female author first. The result of my extraordinary and hegemonic discrimination is that the first twenty books on my wish list are split almost 50/50 between male and female authors.
There follows two salient points: first, on any subject or genre, despite their being anywhere from an abundance of quality women writers all the way down to an equal number as there are men, by comparison it requires sustained effort to find them. Secondly, women writers—or at least the ones I read—tend to take for granted aspects of society that male writers mostly consider irrelevant. (This is my “Easy A vs. Superbad” theory.) Not only do women authors tend to not make assumptions based on contemporary, western ideas of gender, desire, ethnicity in society, they also regard these subjects as self-evidently present even if not immediately obvious and therefore critical to a proper understanding of the subject (or, as my wont, deserving of entire books on their own). Male writers on the other hand far too often see the world in terms of a narrow heterosexual and mono-cultural construction where men are doing all the important stuff.
This to me is the fundamental point in arguing for proper representation: it is simply not possible to otherwise understand a subject or imagine a world. And given that there has been prolonged underrepresentation, it follows that what is claimed to known on a subject can be reasonably said to be seriously lacking at best and likely suspect unless it can demonstrate adequate representation.
Another year done, then. More shelves filled. More new, superb authors whom I’m able to enjoy because of the fortunate combination of being able to read, living somewhere I can make time to read, and where books are affordable and commonplace. So (as I said last year) here’s to the writers, and their publishers and proofreaders and editors and typesetters and designers and artists and agents and friends and families who make it possible for them to write so that I may read.
I fucking loved the shit out of this book. Hated the ending.
Let’s get the ending over with, otherwise it’s gonna hang around like a dead thing. It’s the ending you write when you don’t want to make an already heavy book a morality story, when you don’t want the reader to leave going, oh, it’s about this and means that, and here’s the resolution, and it’s poetic and all works out somehow. It’s a Greg Araki Totally Fucked Up, or Doom Generation, ’90s nihilism ending which Nevada didn’t need because it was already about something and had committed to saying that something. It’s the ending that happened because it needed to finish somewhere without going on to a third part, and with a second part that only half-worked and didn’t leave many other options.
Anyway, fuck the ending, this is one of my books of the year. I said to Dasniya last night, while hobbling on crutches, I have a book I want you to read. I say that a lot, or, you should read this book. This time I said, this one I want you to read, it’s not like the others, it’s important.
Who the fuck is Imogen Binnie? Why am I reading non-Skiffy fiction? And why am I swearing so much? Last question first: because I just read Nevada and it was like reading a story of me. Middle question: because it’s Imogen Binnie. First question:
So there’s this blog called keep your bridges burning that I’ve been reading for, I dunno, at least a couple of years, I have a feeling since early 2011, or maybe the writer had another blog before that and I jumped over from old to new. Anyway, of all the trans(*) inter queer feminist blogs I read (many) or have read (many many), this one is one of the best. I will always read whatever turns up in my feed from there. And every so often I’ll be reading something somewhere like PrettyQueer or Autostraddle somewhere else and there’ll be a piece that I’m like Whutthefuck? Who is writing this shit? (yeah, I actually do have conversations in my brain like that; it’s pretty adolescent up there. And, positive use of word, ‘shit’), or a comment or something and it turns out I’m back at those bridges again. And then there was this book, which I definitely read about on bridges at least early this year, and then forgot. Probably. And then I read about it somewhere else and thought hey that sounds kinda good and so obviously, cos I’m a bit slow it took me a while to work out the author is one in the same: Imogen Binnie.
I decided to add it to my most recent pile, not fitting in at all with the fantasy reading or the China stuff, closer with Julia Serrano, but really, no idea over here. And I started it and got through the first page or so of choking sex and thought yup, ok, I’ll deal with this one after some escapism.
To be honest, I wasn’t so enthused by that first page or two. I read a whole shitload of Gay and Lesbian Fiction in my teens and early-20s, almost all of it is utterly, utterly, horribly bland and mediocre and middle class white American dross of the ‘like I give a fuck?’ kind. I don’t, which is why I read skiffy. Reading pile depleted, I was up to Nevada and really, truly prepared to give it the best shot I could, after all, the blog, the author. I got through the first couple of pages and I was like, fuck! yeah! and read the shit out of it.
What else do I say? It was like reading part of me in my teens, the drugs, homelessness, euphoria and terror, the blankness when I was looking at myself, the anger also, the inability to even think coherently of my own identity, bound as that thinking was to some pretty odious language (substitute essentialist lesbian feminism in the second half of the book and it’s a good fit), the getting past that and finding still more blankness and inability, more anger, and the relief from that in books and riding my bike; being alone because I was and am best on my own.
I thought also a lot of people might not get anything from this, because it doesn’t speak to them subjectively. And I thought of me reading feminism in my teens, Daly and those other essentialist crypto-nazis, and that I’d not read bell hooks then because somehow I couldn’t see the relevance of a black American woman to my life in the Antipodes. Or perhaps even to feminism. Perhaps it takes discovering you yourself are not entirely white (and that the category ‘white’ is itself a racist construct, empirically without substance) to attain the subjectivity necessary to understand that reading someone like hooks is critical precisely because you can’t anticipate your own biases and prejudices. Equally possible is that I’m remembering my previous encounter with hooks entirely falsely. Supposing I am not then, reading Nevada should form a triumvirate with Julia Serrano’s Whipping Girl and Judith Butler’s Undoing Gender. And some bell hooks. Make that a quadrumvirate.
In the late ’90s there were these two books published, sort of semi-fictional autobiography written by a supposed HIV+ trans kid called JT LeRoy. I read those like I did Nevada, though with some distance; the world wasn’t the same, but it was still nice to read something that felt like parts of me and my life. Then it turned out JT was a middle-aged woman in NYC and we were all being bullshitted. A lot of pissed people, and a lot more scepticism since then when it comes to reading autobiographies or semi-fictional works. There’s the thing with bell hooks again. We need our own people; we need to say things for ourselves and not have white, male-identified, hetero- and/or cisnormative loudmouths shove their way in and take over. Like the way punk got taken over. Like the way gay, lesbian, queer got taken over. Lately I’ve been thinking the way the Voguing renaissance has been taken over by gay boys and cis women, and the trans women have been thoroughly pushed off the stage. Imogen Binnie is one of our people, and if you give a fuck at all about what it’s like to be a trans woman, you’ll read the shit out of this book also.
The reasons why I read sci-fi over all other forms of fiction have something to do with how it can help me regard myself and the world, given that there is a certain political and philosophical position underpinning the stuff I admire. Generally this is not the case for any other fiction, genre-based or otherwise, I think precisely because that underpinning is absent or secondary as a component in these other fiction forms. I read Nevada then, and find it something of a sci-fi work, because it embodies a political and philosophical position comparable to that of sci-fi (ok, let’s be clear here: I’m talking primarily about Banks, Miéville, and Stross); because I have to read it doing some heavy thinking. I also find it pretty confronting, and while I can’t bugger off like Maria with a stolen car and a sock full of smack, I am thinking, still thinking.
Published on Sunday, October 2, 2011 by NYC General Assembly
Declaration of the Occupation of New York City
by NYC General Assembly
This document was accepted by the NYC General Assembly on September 29, 2011, with slight adjustments in wording on October 1, 2011:
As we gather together in solidarity to express a feeling of mass injustice, we must not lose sight of what brought us together. We write so that all people who feel wronged by the corporate forces of the world can know that we are your allies.
As one people, united, we acknowledge the reality: that the future of the human race requires the cooperation of its members; that our system must protect our rights, and upon corruption of that system, it is up to the individuals to protect their own rights, and those of their neighbors; that a democratic government derives its just power from the people, but corporations do not seek consent to extract wealth from the people and the Earth; and that no true democracy is attainable when the process is determined by economic power. We come to you at a time when corporations, which place profit over people, self-interest over justice, and oppression over equality, run our governments. We have peaceably assembled here, as is our right, to let these facts be known.
They have taken our houses through an illegal foreclosure process, despite not having the original mortgage.
They have taken bailouts from taxpayers with impunity, and continue to give Executives exorbitant bonuses.
They have perpetuated inequality and discrimination in the workplace based on age, the color of one’s skin, sex, gender identity and sexual orientation.
They have poisoned the food supply through negligence, and undermined the farming system through monopolization.
They have profited off of the torture, confinement, and cruel treatment of countless animals, and actively hide these practices.
They have continuously sought to strip employees of the right to negotiate for better pay and safer working conditions.
They have held students hostage with tens of thousands of dollars of debt on education, which is itself a human right.
They have consistently outsourced labor and used that outsourcing as leverage to cut workers’ healthcare and pay.
They have influenced the courts to achieve the same rights as people, with none of the culpability or responsibility.
They have spent millions of dollars on legal teams that look for ways to get them out of contracts in regards to health insurance.
They have sold our privacy as a commodity.
They have used the military and police force to prevent freedom of the press. They have deliberately declined to recall faulty products endangering lives in pursuit of profit.
They determine economic policy, despite the catastrophic failures their policies have produced and continue to produce.
They have donated large sums of money to politicians, who are responsible for regulating them.
They continue to block alternate forms of energy to keep us dependent on oil.
They continue to block generic forms of medicine that could save people’s lives or provide relief in order to protect investments that have already turned a substantial profit.
They have purposely covered up oil spills, accidents, faulty bookkeeping, and inactive ingredients in pursuit of profit.
They purposefully keep people misinformed and fearful through their control of the media.
They have accepted private contracts to murder prisoners even when presented with serious doubts about their guilt.
They have perpetuated colonialism at home and abroad. They have participated in the torture and murder of innocent civilians overseas.
They continue to create weapons of mass destruction in order to receive government contracts. *
To the people of the world,
We, the New York City General Assembly occupying Wall Street in Liberty Square, urge you to assert your power.
Exercise your right to peaceably assemble; occupy public space; create a process to address the problems we face, and generate solutions accessible to everyone.
To all communities that take action and form groups in the spirit of direct democracy, we offer support, documentation, and all of the resources at our disposal.
Join us and make your voices heard!
*These grievances are not all-inclusive.
New York City General Assemblies are an open, participatory and horizontally organized process through which we are building the capacity to constitute ourselves in public as autonomous collective forces within and against the constant crises of our times
Please read the Principles of Solidarity working draft
Interested in starting your own General Assembly, here is a quick guide from Takethesquare.net
Still dark, before 6am, lying in bed, the clouded sky lighting the city and me already with coffee and reading, and then light turned out, I thought about this exhibition at Akademie der Künste and what I might write and knew I would forget how to start and so what I wanted to say.
I’ll start with the pieces I found most engaging, intelligent and… well perhaps to say most art isn’t art but polemic, a clever one-liner, an auto-biography or therapy, simply uninteresting, a gimmick even, so what compels me to think again on a piece and perhaps smile even at the subtlety and acuity that makes one remark yet from this cascade days of thought?
Three, I think, though perhaps to recount as I write, pieces affected me like this, though one remains more clear. Sanja Iveković’s Triangle places her on her balcony, a book, glass of whiskey maybe looking as if she’s masturbating, with three other photographs documenting her surrounds. The building across the road, a man standing on the roof, police on the street in front of the apartment, forming a triumvirate relationship as Tito passes in his motorcade. Then a restaging, almost two decades later, her balcony now part of the room it led off, she older, no man standing on the building roof opposite, less police and the EU members replacing Tito.
I was reminded of Zizek, whom I can no longer speak of favourably, with his crypto-fascist adoration and decidedly asinine homo- and trans-phobia, or more rather reminded of the art from these cities in the late 80s and early 90s which seemed so forthright and admirable, not lost in the self-referential mediocrity of American gallery culture and its international clones.
But I keep thinking of her sitting on her balcony and forcing an individuality and humanness into the anonymous spectacle of history.
Two other artists place their own bodies in the world in a somewhat similar manner, Martha Wilson in her photo-series, A Portfolio of Models in which she dons the accoutrements of Goddess, Housewife, Working Girl, Professional, Lesbian, others, finishing with the Earth-Mother, in pilgrim clothes, each one accompanied by a knowingly sardonic paragraph on their lives and intelligence. Closer to Sanja Iveković’s work somehow, Ewa Partum’s Samoidentyfikacja photographs of her naked in city streets, black and white, part of the minor everyday cityscape yet displaced.
Between these three I found something in feminist performance art that was missing or negated in much of the rest. Admittedly it is a vast exhibition, with hours of video content, and easily needing the free return visit the entrance ticket provides, and admittedly also thinking some of the artists’ other work is far more compelling, especially once it moved beyond the oppressive hegemony of second wave feminism.
Which I might talk about a little. Besides some well-known artists, Orlan whom I have a long-standing fondness for despite thinking she is perhaps the Jeff Koons or Damien Hirst of feminist performance art, Colette who washes over me with so much cute baroque glamour yet is perhaps the epitome of New York contentless idolatry, and Yoko Ono whom I simply can’t stand and have never found to be as interesting as I’m supposed to believe… besides this trio, there is much that simply baffles me with the question, why even bother? It’s not interesting, or if taken from a feminist political stance, contributing to either of those words.
And then there is Suzanne Lacy and Leslie Labowitz.
I feel somewhat excluded from feminism, because by its evolution it has come to be an exclusionary movement. To watch endless works by white, middle-class American women about domesticity, heteronormativity, marriage, has nothing to do with my life. Yet as a woman – and I use this generalisation in the broadest possible and most contingent sense because certainly we need something inclusive – there is an imperative for feminism to continue and for me to say, I am this because of these continuing and unaddressed inequalities.
There is a direct line in Lacy’s work to separatists like Dworkin, Daly, Raymond, Greer, to rigidly-defined roles for women, man-hating, essentialism… what I think of as a fascism of the body. And like all fascisms there is an obsession with autocrats, wherein these writers and artists are the self-appointed designates, with effectively replacing one social system with another equally repressive. More to the point, the language of revolution, distinctly Mao-ist, of smashing the patriarchy, destroying gender, of rage and anger as the primary tools of liberation, begs the question of who in all this will get hurt?
In Lacy’s work, which deals with rape and violence against women, somehow the appropriate target of feminism becomes showgirls, pornography, sex workers, a situation that remains unchanged today, thirty years later for a still highly influential strand of feminism that seeks to legislate these women out of existence and towards the exact same violence these activists purportedly oppose. This without ever entering into discussion with the objects of their politic to inquire as to what these women might really want.
Again, I find myself excluded by white, middle-class American women whose domestic political feminist agenda has been exported to a rather gullible international audience, an agenda which leaves scant room for queerness, trans* identities, any other form of living and finding recognition than highly rigid and prescriptive radical feminist lesbian separatism. That Valerie Solanas is quoted from her S.C.U.M. manifesto, “…destroy the male sex.”, both without irony and without a highly necessary accompanying criticism of this particular movement is unequivocally feminism’s moment of utter failure.
So I return to thinking of Sanja Iveković quiet sitting on the balcony, acting like she’s getting herself off under the binocular gaze of a distant rooftop observer, the later knock on her apartment door ordering that she and the sundry objects must vacate the balcony, a small private act, little more than juvenile defiance like ringing a doorbell then running away, yet this triangle, documented, outlived Tito. I wonder what in this is feminist, what also it proposes about human rights, wonder too how much more I can find that might include me as the subject of this.
Not that I’ve seen much dance this year but come December, this will still be one of the highlights of the year. I really like watching showings, often more than the real work itself buried under the detritus of staging. To have John Jasperse explain the makeshift ledge at the back of the stage (in the theatre where it will be performed in a couple of weeks, it’s the cyclorama pit), that he will be wearing a portable smoke machine so he gently smolders, that a radio-controlled car will bring the props on and off, but for now he’ll just announce that, and call for when the video should start and stop, all this, and just a bare room plus tv and a couple of chairs … this nakedness of a performance can capture and transfix me.
Becky, Jodi and John should have had another title but Chrysa Parkinson, who only appears infrequently in a skype video call couldn’t swing the schedule, so John ended up as far from New York as possible where there is still some kind of contemporary dance. Chrysa says she wants to embrace shame, and do everything that makes her feel ashamed. Jodi says she won’t do any of that post-modern roll over the foot stuff, especially on her left leg in a long list of “don’ts” (she does). John gets told by a curator he is too formal, and wonders while standing naked in front of us, if she really meant, “too old”.
They all should have retired at least a decade ago, and certainly to hold aspirations to be making art for another thirty years … herein lies the heart of this piece. Four New York dancers who have known each other for nearly twenty years, who are obviously very dear friends, spread across the globe, and for a month together in Melbourne. We don’t see old dancers, even NDT3 is a novelty act in this context and maybe in Europe the average age for a dancer is mid-thirties, but here, to be over thirty and still wanting something that dancing can give, and – more pertinently as this is how worth is measured – to still be performing, is not so common, and makes conceiving dance a thorny proposition.
Almost ten years ago Becky, Phillip Adams, Lucy Guerin returned from New York to make dance here. Melbourne’s dance is hugely influenced by New York, as became readily apparent in the last few weeks when both John and Jodi taught class at Chunky Move. To see this trio perform together, is in part to see this, as it lives in their bodies. It’s also something like reading someone’s letters, or eavesdropping, it’s the life that surrounds this movement that is on display.
I really want to rave about this work, even though it’s unfinished, it was only a studio showing, there was no music. It is magic to watch them move together, to obviously enjoy being together and to know each other so well it is no longer three separate people. And yes they dance, and entangle themselves around each other, get a little slappy and breathe hard. And they take their clothes off. Well, Jodi doesn’t, she doesn’t like showing her arms. (And Becky has the superhero power of Disappointment).
What more can you do in the face an endlessly deadly climate that sees no value in the arts, and has scant interest in seeing artists develop over their entire lifetime than to make a work such as this. Becky Jodi and John is considered, poignant, beautiful and makes stars of all of them.
Around the time I was thinking about i want your dance, I stumbled across this excellent article on ImPulsTanz by Elizabeth Zimmer, the former dance editor at The Village Voice. (As an aside, I spent much of that afternoon reading the entire features archives on ImPulsTanz; I’m such a sucker for well-written essays on dance.)
She dissects her hopelessness with the dance scene in New York that for people living in Australia is gut-wrenchingly familiar. The death of serious, intellectual coverage of the arts in the mainstream media of English speaking countries is almost tedious to watch, better perhaps to put it out of its misery than maintain the pretense.
The legitimacy of an artist’s performance and consequently their reputation however, is inextricable from column inches obtained in the press, a press that will only review work that has received presentation funding from whatever arts organisations, in turn having a not inconsequential influence on gaining subsequent funding. All round, it’s unhealthy for the people making art.
It’s frustrating then that artists here seem so categorically glacial in their adoption of technology that could make this issue more-or-less background noise. As much as I abhor MySpace, it’s really not that arcane to set up, or WordPress, or … yes, as Elizabeth says, PodCasts. The lack of engagement from artists in what they are doing as a consumable entertainment product – yes that sounds dirty, get over it – is baffling. The model ever since I was a student making work was email+jpg flier, print some A6 fliers if you have the money, and word-of-mouth. Little has changed in eight years, and really, when it’s so easy to participate in the endless swirl of new media, a media that primarily is about communication, there’s not much excuse.
And lets not forget blogs. There are some people, like Alison at Theatre Notes, who I think are singularly responsible for my not reading the papers anymore – and check out her Arts Blog Primer. But artists writing about their work, especially in the performing arts, and doubly so in dance – it’s like the map of the world connected to the internet, and while Europe and the first world blazes with light, everywhere else is black.
It was not Elizabeth’s intention to paint a facile death-of-print account, though death-of-dance is something that still looms large. Certainly if more artists here attended to and were responsible for their own appearance in a media that has long ceased to be passive and one-way, I would feel more confident that it wasn’t all a grave-digging exersise.
And someone should be running courses – free courses – for artists to learn how to use this stuff. It’s actually really easy. (I think I just volunteered myself, no?)
Miriam Rivera a couple of years ago upset a bunch of straight blokes, then rode the reality-tv thing all the way to Australian Big Brother. My, she certainly was popular back then. Normally when any former star experiences a “news-worthy” event, for example Britney shaving her head, print, television and the internet groan and sweat under the pressure of a billion giddy news flashes.
Miriam received a total lack of attention when she was attacked with a hammer and thrown out of her fourth floor apartment a couple of weeks ago. Her arms and legs were broken and she has a severe head injury from the hammer. I don’t normally blog stuff that would really belong in Who or New Idea, but … Along with Dana International I think she is largely responsible for the current popularity and acceptance of transsexuals in the mainstream media, as evinced by the number of shows around with transsexual storylines.
Possibly her other life as Victoria, a rather well-known tranny porn star, and the insinuations she was done over by a trick gone wrong make it all i-ain’t-gonna-touch-that, and there’s probably enough sex-change trannypocalypse stories in the media now with what’s going on in Largo, Florida.