I feel like a blindness is incurred when we talk about dance in this utopian, clear-cut, way. Asking ‘which is better?’ obscures ‘how could it be better?’
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I wanted to address something that has been bothering me about The Experiment, organised by the Female Choreographers Collective (FCC) and performed last week at Laban.
The article was published.
We were not paid.
I did this silly thing of making a dance piece that addresses issues of race. And no-one seems to want to talk about these issues in response. This is not something I have ever really wanted to talk about before either.
I've heard lots of people going on and on about Billy Elliott and The Pitmen Painters - undoubtedly important and successful works that have reflected well on the locality whence they came. This is a the market- and London-centric view that says regional, subsidised art exists to be the research for the work that can be sold at high value to satisfy capitalist wills.
Am I just being cynical and is this actually a great thing?
At the Coffee Morning on the 10th of April we spoke about dance writing. It was one of those days when I was feeling sceptical - do we need to write about it? Surely we just need to do it? If we don't write about it, is it okay for somebody else to write about it?
I chose to edit this blogpost on Tuesday 24 April to add some things I'd forgotten or misunderstood. I'd put these in the comments, but on reflection I thought they merited being put in the main post. I have left the comments, too, for your information.
On Friday I went to an event called Meet the Programmers. This is what the pre-event information said:
At last, a dance 'flash mob' which has some sort of point and reason to it.
A blog about the state and fate of contemporary dance.