{"id":4940,"date":"2020-07-11T04:17:58","date_gmt":"2020-07-11T10:17:58","guid":{"rendered":"https:\/\/qualityofmercy.com\/blog\/?p=4940"},"modified":"2025-08-03T16:38:52","modified_gmt":"2025-08-03T22:38:52","slug":"everybody-dance-now-4-time-travel","status":"publish","type":"post","link":"https:\/\/qualityofmercy.com\/blog\/2020\/07\/11\/everybody-dance-now-4-time-travel\/","title":{"rendered":"Everybody Dance Now 4: Time\/Travel"},"content":{"rendered":"\n

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<\/em> (2006) composed by Clint Mansell, which also accompanies Bahe’s film. Xibalba is the Mayan underworld, which figures in The Fountain<\/em>, 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.<\/span>1<\/sup><\/a><\/span><\/p>\n\n\n\n\n\n\n\n

Perhaps this is not so strange for Bahe, a brown filmmaker whose company name is lifted from a spaghetti western that starred, in the title role, a white Burt Reynolds, who like many an American claimed Cherokee heritage despite evidence<\/a> to the contrary. The title Xibalba appears to have been appended to the film rather than being its inspiration\u2014the footage being the outgrowth of a boudoir photo session. Nonetheless, brown and white literally are intertwined in Bahe’s short, set in a striking, near-monochrome pecan grove whose barren branches mirror the roots that lead to a netherworld of skulls, bones, scabs, puss, and of course blood, reflected in the dancers’ shroud and carpet.<\/span>2<\/sup><\/a><\/span><\/p>\n\n\n\n

The foot-like tread of the tractor is a corrective to whatever we assumed.<\/p>\n\n\n\n

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