Je crois qu’il réside un soupçon d’ingénuité, un degré de pureté et donc de vérité dans les gestes non-techniques du danseur amateur et dans la composition du chorégraphe amateur.
La grammaire de WeDance est celle de l’amateur avec ses budgets réduits, sa technique restreinte et l’esthétique qui s’en suit. Le projet est centré autour de l’amateur qui produit et consomme de nouvelles chorégraphies en évoluant dans l’univers de youtube.
En soumettant les chorégraphies au mimétisme ou à une déstructuration, en laboratoire ou sur youtube, les constructions techniques et intellectuelles seront simplifiées de manière à ce que le sujet paraisse être un amateur. WeDance est engagé dans le processus de fabrication de divers objets dérivés et d’œuvres dérivées. Il s’agit de chercher des concepts de corps dans les propositions chorégraphiques amateurs tels qu’on les trouve dans ces objets.
Because I believe that in the non-technical gesture of the amateur dancer, and in the composition of the amateur choreographer lies a glance of true, of ingenuity, a degree of purity that I find hard to experience in the professional productions. The first level of representation (in the sense of acting) from an amateur, the performer of live, represents daily life, trivial subjects. His choices over choreography fulfill an immediate desire, genuine. Manipulating his signs I pass to a second level of representation. The language is spectacular, the desire is expected to be less ephemerous pointing out a reflexive conscience.
I’m not indifferent to the growing exploration of dance. It was never easy to see dance as it is now. It even looks easier to dance. A quick search in YouTube is enlightening. Besides artistic production and commercial choreographic production (MTV dance, music videos, dance contests in television, etc.), amateur production is also significant. It is now extremely easy to be seen dancing. Everyone, in the comfort and safeness of home can make their choreographies reach the masses. Choreographic amateur production was never so visible. For instance, take Ok Go videos “Here it Goes” and “A million ways” and the “Evolution of dance “ from the comedian Judson Laipply. All of them are very successful videos viewed millions of times. These choreographies aren’t that amateur or naïf, but there isn’t a study of choreography or dance technique from their intervenients. This videos aren’t an artistic object, they result from a mediatic commercial desire of satisfaction and entertainment, they don’t reflect or question. But what I’m interested in is the derivations they produce, the spin-off choreographies. YouTube convenes partisans creating movements which beginning with an opening video, and through a snowball effect, result in the production of many other videos that imitate (conditioned by other technical constrains) or detract the original. One video uploaded to YouTube incites amateur response, creating, in this process, other objects. Virginia Heffernan says: “Really the only authentic response to a YouTube video is another YouTube video – the so-called “video response”. This means a cyclic effect of consumption and production introducing a new agent, the prosumer. I focus on the amateur that moving through YouTube’s universe consumes videodance and produces new choreographies even more low-budget and low-tech. In dance, I find this phenomenon even more interesting because it’s not limited to the knowledge of a spoken language, it can involve other cultures in this choreographic dialogue reaching individual speech. The evolution of You Tube celebrates the transition from mass media to personal media.
My research based project is a reaction to this phenomenon. Zooming out the object of my research is the representation, it’s first level dealing with the trivial, the every day life. Zooming in, my research leans over the choreographic amateur proposals, which is the concept of body, of choreography, of dance, displayed in this objects?
My project is the research for vocabulary aiming the composition of a performance. The amateur low-budget, low-tech concept and esthetic is the grammar of my artistic and chorographical speech.
The methodology that I would like to apply to my research project makes use of, and is profoundly inspired by YouTube features. Creating small video pieces and uploading them to YouTube I would incite YouTubers and my ex.e.r.ce. colleges and coaches to respond with videos/performances of their own. I’ll face these responses as question that I have to answer with new choreographies.
My methodology features the experience of a detraction process in my choreographic creation. Submitting my choreographies to mimetic reproduction or to detraction, in lab (by sharing and lending material for exhaustive ab/use) or in YouTube space, I’ll polish my material, taking away the value and even complicated technical constructions making the subject seem less impressive becoming truly amateur. I’ll be a parasite of my own work creating spin-off objects, byproducts of my own choreographic production.
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