dance - ÉDUARD LOCK

AMELIA – la la la human steps [ on dvd ]


~ torah torah torah
~ attack attack attack
~ the thrill of speed
~ erotique
~ the body is a turbine
~ moving camera – swimming perspectives
~ film me film me film me
~ I am filming you, the camera replies
~ tight taut female bodies
~ straining to erupt from their musculature
~ the female as killing leg
~ behind in front in front behind
~ partnering that has only 2 sides
~ shadow support
~ hold hold hold
~ flick release
~ woman is the front of man
~ she faces him or is his face
~ a body face
~ his erotique body face made of her
~ put a woman in a man and a man in a woman and you get a smiling man and a serious woman
~ in every other respect their suited selves are the same
~ skin swapping
~ sharp edged
~ support given support taken
~ object object object
~ staged lives
~ dramatique erotique
~ puncture puncture puncture
~ grasping grabbing razored spinning
~ desolate con(front)ations
~ touched distance kept at arms’ reach
~ insatiable demand
~ pointe-shoe’d women powering over bent-knee’d men
~ there is work to do in this state-of-the-art arena
~ the human parts don’t fit
~ they super-charge it fractally
~ converging walls and 2 supports
~ the arms of man and the legs of woman
~ all meeting at revolving hips
~ manipulated on a spin point
~ strobe dancing
______________________________

postcript

~ if the woman’s hips are the spinning earth, if earth is read as the womb and nourisher of life, then this dance still makes masculine hands control its spin, i.e. God hands – but the hands are obsessed with their task and the men’s eyes never divert their focus from their intense concentration on the hips at hand – are they trying to get at something they can never know? - the secret of life’s source inside a womb not in their own bodies? – this interpretation of woman’s hips as spinning earth is viable given the setting – a concave world made of sloping walls – a bowl – the hollow of the pelvic bowl with a female dancer at the centre being spun from the hips – and, as per historical feminist literature showing that wo-man has no identity of her own, this dance has eroticised woman (naked legs and see-through tops) or elsewhere she is further fetishised in a man’s suit – woman made in the image of man’s choosing with no-where else in that sterile world of polished wood to be anything else – the only way out is up – but only the floating (and trespassing) Spirit-eye of the camera, like some invasive mechanical viewing implement being manipulated by a curator/collector of species, comes and goes from there to examine what’s been trapped and caught for its curiosity and fascination – a swimming zoom-presence that penetrates and rotates its own viewing in the way the choreography rotates the dancers, and their bodies and hips, or goes up high as the eye from above (the eye in the sky), or peers very closely into the woman’s eye but sees nothing except compliance – a woman’s eye, like the hips, unlike itself – a woman’s eye, a collected thing, that cannot pry in the way the prying camera eye, self permits – the object of fascination can only be handled this way and that, turned round, inspected, its quality appraised – serialised and categorised by the connoisseur – human liqueur for the cabinet – a matured product – expensive – there is no soil in this world, it doesn’t belong – and the men-servant-dancers can only do the eye-in-the-sky’s bidding, be its hands – making sure to duck under the woman’s blade-like arms and overly adamant gestures – or try to access her through competitive imitation that forms no bonds - parodic cross-signalling posed and turbo-charged as a mystique with a plaintive air

____________________________________