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Guiding thoughts for this performance work, "Iambic Pentameter" made on Saturday, March 19th at Pulsar/ How do I capture that perfect arc of the skidded stone that bloomed into islands? That rhythm can only be found through the breakdown of the crashing waves of the other language that pushed and pushes the one with which I'm most familiar in another part of me. Break it down. Apart. Piece by piece. It cannot be done alone. Collective effort. The pomp and circumstance, the heraldry, formal considerations for every damn thing. What does it look like? Sound like? Delegate the tasks of maintaining, for it is tiresome. Director. Anne Bogart. Black Theater. Gus Edwards. Circles. Kamau Braithwate. Chaos. Lucid dreams. Remove the self. How to not be the object. The Black object. To determine objectivity. objectification. How to enjoy as opposed to being enjoyed. Moten. Disappear and allow the work. Disappear and allow the Spirit. Return with. What happens when the the machine gets copied and copies itself in real-time? When to use the voice? How the voice is used. What does repetition in art do? Someone wrote about it. What did they say? Repetition of the words until they break down and come back together anew bringing material from another place found in the chant. How to talk about performance while making performance? Ask Edwards why? Why an other set of parameters from which to critique performance produced from the African diaspora? Why the removal of the Western lens? How to remove the western lens? Why give a shit? How to avoid making shit? ...because somebody's gonna have to clean it up.
ian deleon, jason colbert, jodie lyn-kee chow, charles mallison
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