DELUXE

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Dance Film SF is excited and honored to collaborate with BalletBoyz to present their program Deluxe, as a part of our new Digital Season. BalletBoyz has allowed us to share this program, which would be on tour right now under normal circumstances. Read more about Deluxe program here, which includes Bradley 4:18 by Maxine Doyle, and Ripple by Xie Xin.

The directors of BalletBoyz say hello to our SFDFF community and introduce the special screening of their program.

In tandem with our Digital Season screening of Deluxe, we reached out to several Bay Area choreographers to respond to the work, reflect on their practice, and expand on dance work at large. We invite you to continue the dialogue in the comments section below.

Choreographers engaged with this work in two ways: KT Nelson, Dana Genshaft, and Kristin Damrow provided insightful, discerning responses to Deluxe, while Maurya Kerr, Christy Funsch, and Nol Simonse used Deluxe as a touchstone to both explore issues of gender and diversity in dance and how these topics connect with their own practice.

Responses

BalletBoyz, Bradley 4:18, Maxine Doyle

Bradley 4:18, Maxine Doyle

KT Nelson, Co-Artistic Director of ODC/Dance and Dana Genshaft, former SF Ballet soloist/freelance choreographer, share their thoughts on Bradley 4:18

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BalletBoyz, Deluxe, Ripple

Ripple, Xie Xin

“Xie, as she said in her interview, was having difficulty translating her physicality to the men. How do we as dancers not trivialize what we think the choreographer wants?”
Read more of Kristin Damrow’s and KT Nelson’s reflections on Ripple

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Viewpoints

Maurya Kerr

We can’t talk about women choreographers without an intersectional lens that includes choreographers of color—all our liberations are inexorably bound together. Bodies are certainly gendered, but bodies of color, particularly black bodies, are tragically racialized within our inherently racist and misogynistic, political, institutional, and artistic structures.

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Christy Funsch

I don’t think it is possible to try and advance ways of seeing gender (or seeing anything) while staying within patriarchal confines of formalism. If WHAT is foregrounded–that is, basic body action—instead of HOW and WHY, we are doomed to repeat presentational clichés of identity. This is especially true in what I call homogeneous casting.

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Nol Simonse

Gender is imaginary, gender is a construct, and yet it is very real and how many of us perceive and identify ourselves. Is seeing a group of men dancing together odd? No. There is something slightly tribal about any group of humans dancing together, but what message does it convey when it is all men?

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