househedz

January 2008 / Staging the vernacular

Been a concern for me for a very long time

as pedagogy - What can we learn by staging popular, vernacular forms? How can addressing these forms in a formalist manner make us rethink distinctions between so-called "high" and "low" forms? How can we become more attuned to vernacular forms as learned codes - as techniques with rules, conventions and standards for mastery?
as most of my scholarship and performance projects over the years - a definite preoccupation...What am I trying to name, make coherent, tease out? And why does the intersection of performance and writing seem to be the best method to convey vernacular sources as knowledge?
as different iterations - changing my own perception of choreography as a long-term development process - How vernacular forms have to be played with, experimented with in order to locate their logic in a studio/presentational space. And/or perhaps, the ways vernacular forms begin to force (Western) stage presentation modes to shift their own politics and conventions of meaning....
Translating the culture of house to a staged environment – How can creative work draw upon, be informed by house in its lived cultural context but also be transformed into a concert/staged piece – i.e., How to retain some its social lived modality in the concert/staged frame?

isislady	Latest page update: made by isislady , Nov 19 2008, 11:15 PM EST (about this update About This Update Edited by isislady 1 word added 1 word deleted view changes - complete history)
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