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cused on three brothers helping a senile woman recapture part of her past. One evening Susan Milano got the audience to mill around and discover the human aspect of video, and that was kind of fun. Her documentation of the festival, though, appeared somewhat superfluous. Why didn't this festival offer one of her video installations? The evenings dedicated to the experimental mode turned out to be the least interesting . They appeared mostly to be about the technological pliability of film and video, explicitly so in the work of Barbara Buckner, Mary Lucier, and Abigail Child. During the two weeks of events I was seeing a great deal: splits, inserts, out-takes, animations, real proplr, negatives, hearts, colors, stills, black and white, myself, post-images, dots and bubbles. My eyes opened, closed, strained, teared. .finding myself unmoved, a nagging irritation set in. Seeing is a pretty basic function for any film/video artist: there shouldn't be anything out of his/her focus. So what are they seeing and what am I seeing and, later on, reviewing? Anyone out there SEEING anything? My concern is human activity as it appears in various guises be it film, theatre, performance, music, video, dance, photos , writing, etc. Sometimes all of this is called "culture": that is, heightened, condensed experiences of existentiality. Through our being-in-and-of-this-world and through our use of various symbols we arrange/rearrange the reality to which we are existentially connected. Film and video are examples of symbolic reality "manipulation." The inter-relationship betwen human beings and social, cultural reality adds to (at least it used to) each individual an ethical dimension. The individual gesture is NOT towards an empty 36 space but is a participatory gesture in the social composition. Each image comes from and extends into its surrounding reality thereby suggesting established, specific norms for each viewer. Our perceptions of the world (our reality) always contains something new, there is an element of production; so, two identical perceptions, i.e., reproduction, is an illusion. In other words, each perception, despite whatever small fragment is being perceived, becomes a subjectively conditioned interpretation. One of the reasons that made the festival so disappointing is that none of the evenings ' events showed me the subjects: the affinity wasn't there. I found myself sitting in the dark looking at cultural artifacts (objects). Ingrid Nyeboe Cindy Lubar, Garry Reigenborn, Union Specific. Larry Richardson's Dance Gallery (May). Pooh Kaye, Susan Rethorst, Peter Rose, Claire Bernard, Camptown. The Performing Garage (May). Yoshiko Chuna, Ragged Valley. The Performing Garage (May). It appears that choreographers are increasingly incorporating theatrical elements or fragments of texts into dance performances . Meredith Monk and Kenneth King have worked this way for years. Lesser known choreographers who have used texts include Jessica Fogel, whose wedding gown-clad dancers spoke lines from Waitingfor Godot in one dance, and Mona Sulzman, who recited poetry as part of one of her own dance pieces. Camptown (Kaye, Rethorst, Bernard, Rose) Nathaniel Tileston Union Specific featured a text by Cindy Lubar and choreography by Garry Reigenborn. The strongest sections of this work about hobos were the ones that included a text, which was mostly about motion and change and women in. a man's world. However, the sometimes witty play with words (for example, the Woman A/Woman B section, where the rapid repetition and juxtaposition of words sounded like the traveling of a train on tracks) was not sufficient to carry the piece over its many uneven spots. The choregraphy ranged from rapid, repetitive movement to simple, sentimental mime, and the different tones and moments of the piece were not well-integrated. Pooh Kaye et al's Camptown was about "a group of people coming together in a temporary settlement," only they never settled down. The theme, along with the raggedy costumes, immediately reminded one of Lubar's hobos. (Why this sudden interest in transience? We all suspect the world is changing, but perhaps dancers feel it.) When the four dancers came onstage , they hurled cement blocks at one another. Following this friendly beginning , they proceeded to relentlessly move the blocks around into every imaginable construction, with much scraping and thudding...


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pp. 36-38
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