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The Buzz, 3-26: ...And
Why You Won't See Him in France
In Seine-Saint-Denis, the Invisible American Choreographer
By Paul Ben-Itzak
Copyright 2004 The Dance Insider
(Editor's Note: The
opinions expressed in the Buzz are those of its author, and do not
necessarily reflect those of others on the Dance Insider staff or
among its advertisers.)
PARIS -- Once again,
this year's Rencontres Choregraphiques (so-called) Internationales
de Seine-Saint-Denis, which purports to survey the pantheon of contemporary
dance, includes no, zero, nul representatives from the country
that produced the form and that continues to push it to new frontiers.
When I looked at the
roster of 18 companies for this spring festival in the suburbs of
Paris and discovered that, notwithstanding that the titles of many
of the works play on American-English expressions, none of the companies
performing them are from the States, my initial, visceral reaction
was that this is racism, pure and simple. That's a pretty incendiary
charge and, on reflection, strictly not accurate; the exclusion
here is of a nationality, not a race. But my reasons for percieving
the exclusion this way were honest; I can now begin to understand
what a Black, Asian, or Hispanic person must feel like watching
television and seeing themselves so under-represented. In effect,
such exclusion would make a whole race invisible.
In the case of the ongoing
exclusion of United States of Americans from the Rencontres so-called
Internationales, this invisibility is doubly conspicuous because
of the indisputability of the primary contribution of American artists
to the form. We invented it!
Through a spokesperson,
I posed the following questions to Anita Mathieu, the festival's
director: "The festival is called Encounters Choreographic International.
But this year, last year, and, I believe, the year before, there
were no American companies in your 'international' festival. As
you know, modern dance was born in the US -- Duncan, St. Denis,
Graham. How can you give a festival and call it 'international'
when you have exclude companies from the US? To me, it seems like
the most profound type of racism -- the racism of exclusion." (As
noted above, since posing this question, I've revised my notion
that this can be considered racism in the classic sense. It isn't.)
Here's how Mathieu answered
through the spokesperson (freely translated by me from the French;
the spokesperson, fluent in English, did not respond to a request
to confirm the translation): "I have seen from time to time the
work of American companies, but always abroad. It seems that the
American companies do not communicate very much and rarely send
their information. For my part, I continue to travel very much and
select the companies whose work I find interesting."
This response is more
than a little disingenuous. It parallels what the president of an
"exclusive" country club might say if asked why his rolls didn't
include many Blacks: It's not that we're racist; they just never
apply! (At this point I should disclose that when the Rencontres
held platforms in New York, I worked with a company that presented
at one of these platforms and that was not selected.) If Mathieu
does not hear from many US companies eager to perform at her festival,
it's because of France's well-known and accurate reputation for
being averse to programming any American companies post-Bill T.
Jones. (The provinces and some suburbs have been an exception to
this rule, programming companies like those of Doug Elkins, Momix,
and Elisa Monte. John Jasperse has been programmed at the Montpellier
festival.)
I don't think this exclusion
is so innocuous. Were theaters and festivals in France to program
more recently developed American choreographers, French audiences
might learn that much of what passes for cutting-edge choreography
here, at least among the younger generation of choreographers, is
not so cutting edge but in fact exploring as new territory US artists
of the last 20 years have already charted.
Reading Maura's
Flash of today on David Dorfman's current season with the Harkness
Dance Project, it strikes me that by excluding American artists,
Mathieu and her cohorts are cheating their audiences of a vein of
dance that could provide an invigorating counter-pane to the cloistered
"experiments" of many young French choreographers. In her review
of today, which she frames as a reflection on "American-ness," Maura
uses the word "expansive" to describe Dorfman's "Lightbulb Theory."
Oh, but that French audiences could see that we are this too --
not just militaristic bullies self-confirmed in our own way of thinking,
as defined by George Bush, but "expansive," as presented by David
Dorfman! But I fear that notwithstanding manifestos that purport
to embrace the world, when it comes to opening their hearts to current
US choreographers, French presenters like Mathieu would prefer to
retract, lamely throwing up the crutch of an excuse that it's the
fault of American choreographers because they never call, they never
write. Contrast this with the, er, expansiveness of American presenters,
whose horizons go far beyond below 14th Street to embrace the WHOLE
globe, and I would just point Mathieu to the root of the word "Rencontre":
Meet. Meeting people doesn't just mean waiting in your flat to see
who comes 'round; you have to go out sometimes too.
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