Name: Richard Move -- Dance and the still photograph
Uploaded: 2020-03-20T04:32:20.000Z
Duration: 5 min 56 s
Description: Thousands of YouTube videos with English-Chinese subtitles! Now you can learn to understand native speakers, expand your vocabulary, and improve your pronunciation...

Currently there is an explosion of dance across media platforms, from viral dance videos on YouTube to the popularity of Really Bad, a dance based reality television and choreographers across the globe are utilizing digital technologies that are forever challenging the pre conceived definitions of the virtual and the corporeal.

So how is it that he seemingly opposing entities, the embodied dancer historically thought to be best experienced, live and his or her mediated image have become so productively integrated?

I believe that the answer may lie in our relationship to an older yet persistent form of media.

This is because there is a physical involvement in all modes of spectator, ship and dance.

The viewer responds first with the sense of sight, which then becomes neuromuscular with a bodily or kinetic empathy known as medically sis.

And we have a similar medic in Eh tic interaction with the's still photograph.

This is what makes them powerful alive and evokes the corporal and spectral presence we feel when we're witnessed.

Certain images at the heart of our desire to make the still photograph dance is our simultaneous fascination with death, preserving life and the potential of particular photographs to act as a conduit for what may be described as haunting.

Occasionally to such an extent, the viewer may be compelled to fully animate the still subject and bring them to new life.

In the case of my own work, the iconic still photography of two deceased female artists provoked within me the haunting agency to create new works of kinetic cinema.

And the first is Martha Graham, seen here in her 1929 dance Heretic.

Here, the mother of contemporary dance stages the archetypal struggle of the individual versus society.

My identification with the's Still images of Graham elicited my feature film Ghost Light, in which I portray Graham and reenact her heretic among many of her dances.

The Ghost Light is a theatrical tradition in which a single solitary lightbulb bear is left burning on stage overnight.

For Graham, it symbolize the lives and legends that came before her.

And with my performances, Graham, I like to think of myself as her own ghost light.

More recently, I was awestruck with the images of Cuban body artist Ana Mendieta, seen here in her 1976 tree of Life.

I became so entranced with this and other images of Mendieta's work that for my documentary film Blood Work, I recreated 30 of them with the body of my collaborator.

In 1985 Mendieta tragically fell 34 floors from the window of an apartment she shared with her husband, a newlywed husband, the sculptor Carl Andre.

What these photographs wanted from me was clear to render Graham and Mendieta undead through filmic reenactment.

The philosopher Roland Bart's, I think, very beautifully described our relationship in connection that we all have with especially meaningful photographs.

And he asked, Are we not all in love with certain photographs?

And he described it as quote the pangs of love.

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