brooding ’bout stuff
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”
Read Part 1.
First, a couple of cartoons…
This second installment of movement musings begins (or rather ends…) below with a variation of a video sampling technique that I covered in “Knee, Sugar” of the last section of Everybody Dance Now 1 (Knee, Sugar, Hammer, Shame). I also look at what was suggested by “Shame”: what might be seen as anti-dance, or what I call adansual.
I first became acquainted with the Australian band Bumblebeez 81 via their suggestive “Pony Ride” from 2002. Five years later they released “Dr. Love,” the promo for which involves a parody of a dance music video that could have been shot on a smoggy day along the Los Angeles River. All the performers sport Sharpie-ed chest adornments: pushbuttons and keyboards, chains, phones and headphones, a bandolier, a mink stole, an LP, even sham shoes. Rapper Christopher Colonna is bedecked in markered bling, and his sister Queen ViLa, dons an eyepatch through which she easily sees. The promo’s coda reprises the song’s sonics with pushbuttons pushed and keyboards keyed, essentially A/V sampling.