In the spirit of Biba Bell's essay on promiscuity (CC; Sept 2015), we've sourced three texts from other publications and reposted them here. What these two interviews and one essay have in common is the choreographer's consciousness of and reliance on the social context to act as an informant for aesthetics. From the U.S. to Congo, the various pressures of self-awareness, as a dancer and dancing subject, play out through diverse networks of race, power, queerness, play and insurgence.
Lawrence Kumpf interviews NYC-based choreographer Moriah Evans about her recent premiere of Social Dance 1-8: Index at Issue Project Room. Evans reflects on the deeply intertwined nature of form, rhythm, architecture and choreographic structure in her practice—and she acknowledges the possibility for the unexpected to emerge, a way for dance to break through the choreographic system. The social agreement of dance, the affective exchange with others, plays out against the ever present forces of organization that structure social life.
PhD Student at the Bayreuth International Graduate School of African Studies, Nadine Siegert, contributes this essay on the problematic European perceptions of African corporeality in contemporary dance. She gives an analysis of Euro-centric interpretations of African dance works, lays out the problematic critical and financial exchanges that course through these international encounters. While she navigates this territory of the European gaze within African corporeal aesthetics, she cites some examples of artists who are enacting kinetic modes of resistance to represent a monolithic African imaginary.
Africanity, choreographic structure, contemporary African dance, dance education, Djodjo Kazadi, Faustin Linyekula, ISSUE Project Room, Lawrence Kumpf, Moriah Evans, Nadine Siegert, Olu Oguibe, Papy Ebotani, queerdom, resistance, Ryan Heffington, Seydou Boro, social dance, The Sweat Spot