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San Francisco’s self-proclaimed martyrs steer an otherwise productive evening into a redundant ditch
2009-02-23 9:58AM / 標準BLOG / 會員可以看
1個評論The well-intentioned community discussion last Thursday night at CounterPULSE, regarding the current state of dance writing, began with a sharing of insightful comments and opinions from a panel of some of the SF Bay Area’s better known dance writers. This efficient and informative beginning, however, quickly eroded into a disastrous Q&A of finger-pointing and scapegoating, with narcissistic and desperate explanations in self-defense against a (perceived) attacker which, instead of adding to the interesting conversation that was underway, threw it way off track. This, to a new resident of the fabled ‘Mecca of Tolerance’, was shocking, disappointing, and sad (although I suppose also extremely educational and eye-opening in its own right).
It is all well and good to ‘damn the man’ and talk about the ways in which ‘the system’ keeps people down. At best this can be constructive, helping people to gain a clear(er) idea of where they are and where they need to go. Sometimes, however, these explanations are accompanied by such ridiculous melodrama and outrageous accusations that they, in expressing an urgent desire for understanding, actually highlight a gross short-sightedness. Complaining about ‘the white people’ or pleading on behalf of the ‘immigrants’ cannot rightly be done without an entire series of qualifiers. So when someone stands up and makes a vague comment about these groups, my first questions are: Which white people? Which immigrants? Which definitions are you using? By white do you mean WASP? Or do you mean Greek, or maybe South African? (even these distinctions fall incredibly short and barely begin to get us somewhere useful). Immigrants can hail from Central and South American countries, but they can also come from Cambodia, Poland, Iran (or any where else), so while it is typical (I think) to imagine one type of oppressed group vs. one type of privileged group, we should keep in mind that some South American countries and their emigrants have a much higher standard of living than some European countries and theirs, and that there is not really a ‘white’ people just as there is no ‘black’ people. Racism directed towards the perceived group in power is still racism, and it’s not something you can combat effectively while promoting it at the same time.
Apart from this bizarre boxing of perceived racial/ethnic groups, there was another, similar set of claims that were equally surprising. Two of the artists present at the discussion have done a fair amount of work in Europe, so they would presumably have some important and nuanced ideas about ‘dance in Europe’. It seems to be common for young artists with less experience to talk about the beauty and ease of being an artist in Europe and the sad toiling in the trenches of being an artist in America. Things are great there, and horrible here; American artists are victimized while European artists are hailed as demigods. It is my opinion and experience that the US and Europe are both far too large and varied to make any valuable statements, really, comparing the two in such general ways. Europe does not only include La Monnaie in Brussels or Lucent Theatre in The Hague, but also decrepit, run-down theatres filled with asbestos and other unhealthy working conditions. Dancers in Europe are ALSO dancing for free, just like in the US, and some American companies ALSO have huge budgets and mostly-secured funding. So, when these two artists, who have experience living and working in Europe (these are the people who should know better), start ranting about the glory of Europe and the embarrassing state of things in the US, I wonder how much work they’ve done in poor Europe, or how much interaction they’ve had with some of its less ‘cultured’ communities.
The moral of the story is this, community leaders in San Francisco should be expected not only to be talented, smart, and driven, but also to be aware of their own prejudices, biases, and ill-founded opinions, and to perhaps keep this in mind before they open their mouths and start criticizing others. Preaching tolerance is necessary and wonderful, but it cannot ever be accompanied by blind intolerance or any sort of community-based/supported hatred. It is good to think about the differences between places, people, groups, etc. – but it is also good to realize that these ponderings are always based upon personal experience (and not much more), and so, just like this review, can hardly ever present observations which are both insightful and objective.
My proposal to make the next discussion more effective? Keep the Q&A’s, but limit response times. Jessica did a good job of moving people along after they’d commandeered the microphone for too long, but I think creating a system of order that kept comments brief and focused would move the discussion along more quickly and prevent community members from getting side tracked by their own personal issues, which frequently have little bearing on the topic at hand. It will be an exciting day when/if community discussions move away from ‘poor-me fests’ and become better at utilizing the intellectual wealth of the SF Bay Area to really do something, instead of just complaining about things not getting done.
Looking forward to the next one,
~Charles
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统计信息
- Charles Slender is a San Francisco-based international dance artist who has performed, made choreography, and taught in the United States, Russia, Hong Kong, Poland, Latvia, Mexico, and France...Charles Slender is a San Francisco-based international dance artist who has performed, made choreography, and taught in the United States, Russia, Hong Kong, Poland, Latvia, Mexico, and France. He is the founder and Artistic Director of FACT/SF - a contemporary dance-theater company based in San Francisco. His choreography, with commissions from art galleries, universities, and dance companies, has been described as "balancing on the edge of kitsch and something more serious...paradoxical and interesting" (Natalia Kurumova, dancenet.ru) and as "sexy...vicious...bizarre" (Ariel Soto, SF Bay Guardian). In addition to his work as a choreographer, Charles teaches contemporary dance technique at Shawl-Anderson Dance Center in Berkeley, California and continues to perform, most recently in works by Jesse Hewit, Laura Arrington, and Todd Courage. He was also visiting faculty at the American Dance Festival in 2009 and 2007.
A California native, Charles has continued to work both at home and abroad with commissions by Electric Works Gallery (San Francisco), Dialogue Dance Company (Kostroma, Russia), Acid Rain (Chelyabinsk, Russia), and the Yekaterinburg University of the Humanities (YUH, Yekaterinburg, Russia). In 2007, The Fringe Club (Hong Kong) presented three new works Charles developed in collaboration with Emily Woo Zeller. In 2006 and 2007, he performed with Provincial Dances Theatre in Yekaterinburg, Russia, under the direction of Tatiana Baganova. With Provincial Dances he toured internationally, taught company and master classes, and collaborated on the creation of new works.
Charles graduated with honors from the University of California, Berkeley, with degrees in English Literature and Dance and Performance Studies. While at Berkeley, Charles received the Chancellor's Eisner Award for "highest achievement in the creative arts" and the Hickman Undergraduate Scholarship for "continued excellence and achievement in dance". - 職業: 現代舞
- 性別: 男
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