I do what I do because
that’s what I do, and if
I didn’t do it who would?
— Rudy Perez
In talking with Rudy Perez about his career’s performances over the last nine months (see Part 1, Part 2, and Part 3), I noticed how many took place in art spaces. Of course, by the time I met Rudy in 1980, performances—dance and otherwise—were often hosted by galleries—large and small, for-profit and non. What follows are reminiscences of such productions during the years before I left Los Angeles for Denver in 2005, including bits from our conversations earlier this month. Continue reading “Portrait of Rudy Perez 4: Lingering in Spaces”
This post looks at speculations about the physical appearance of Jesus. Continue reading “Merry Kitschmas”
What follows is an extension of Part 2 of my interview with dancer-choreographer Rudy Perez. It’s not an interview but rather the thousand words that are hardly worth a (moving) picture. It’s an anatomy of the performance that first brought Rudy and me and my fellows together. Continue reading “Portrait of Rudy Perez 3: Anatomy of a Performance”
My brother’s gemology webinar last month caused me to reflect on my time as a “gemstone journalist,” which I haven’t really written about in this venue. See what you think. Continue reading “Diamonds in the Mine: An Exploration of Humanitarian Gemology”
This fourth edition of Everybody Dance Now involves travel in space and time, beginning with a short from Arizona filmmaker and photographer Harrison J. Bahe of Navajo Joe Films. “Xibalba” comes from the soundtrack of The Fountain (2006) composed by Clint Mansell, which also accompanies Bahe’s film. Xibalba is the Mayan underworld, which figures in The Fountain, a once-and-future picture that weaves together Mayan and Hebrew mythology, featuring a Spanish conquistador astoundingly being recognized by a native priest as the First Father, the life source. Continue reading “Everybody Dance Now 4: Time/Travel”
This is a second conversation with dancer-choreographer Rudy Perez, taking place last month on May 30. During our review of Part 1 Rudy raised a few topics that I wanted to pursue. And, of course, there had been the murder of George Floyd on Memorial Day, and the reactions from coast to coast.
What follows has been lightly edited for clarity. Many thanks to Susan Perry Miick for her help with photographs. Continue reading “Portrait of Rudy Perez 2: Remain in Light”
Last year, in Everybody Dance Now 1, I reminisced about studying with dancer-choreographer Rudy Perez in the early 1980s. Nearly four decades later Rudy agreed to let me interview him a week ago, on May 13. What follows has been lightly edited for clarity.
We begin where I left off in that prior post. Continue reading “Portrait of Rudy Perez”
Before Christmas I checked out a book from my little public library branch: Naomi Wolf’s Outrages: Sex, Censorship, and the Criminalization of Love. I had a lot of other things to read and left it for last, not knowing what it contained, vaguely recognizing the author’s name. Turning to it, I recognized Wolf’s photo. If nothing else, readers might remember her defense of Julian Assange when he was accused of sex crimes in Sweden. I thought the book would be a history of censorship, but it’s more comprehensive. By introducing and then returning often to her cast of characters, Wolf creates an intimate narrative against the mise en scène of her historical sweep and sociopolitical stance. Continue reading “Symonds, Whitman, Rossetti and Rake”
In a comment to my post The Stranger Alongside Me in September our friend Milania remarked on my being a rescuer. In reply my husband David Hughes said, “I guess you could say she rescued me forty-four years ago this month! We’ll have to have Andrea tell that tale some day.” Milania urged me to do so “sooner rather than later.” Okay, but I should say that “rescue” sounds more dramatic that it really was, although David and I agreed that this story could get a little bit personal. Continue reading “And He Never Left!”
This second and likely last installment of Electric Evangelists (see Part 1) looks at longer works by two composers, both choosing to present religious texts simply spoken atop electronic scores. The third and fourth pieces are artifacts of pop culture, coupling SoCal evangelical eccentricity with European élan. The last composition contains no text at all. Continue reading ““Eat the book”: Electric Evangelists 2″