- YorkSpace Streaming
A collection and re-creation of Bahamian traditional dances
Consists of a portion of a major research project completed through York University's Department of Dance by Roderick T. Johnson, focusing on the history and development of traditional dances in the Bahamas, including quadrille, heel and toe polka, calypso waltz, sculling dance, ring play dances (brown girl in the ring, bellaby, jump-in-dance, knock the conch style), and festival dances (junkango dance, goombay dance, fire dance).
Video credits include:
Artistic director/producer: Roderick T. Johnson
Videoproducer/director: Peter Freele
Videographer: Kouladjie Kambiz
Costume designer: Roderick T. Johnson
Narrator: Hal Sullivan
Script Editor: Rebecca Brosseau, Mary Jane Warner
Dance Segment Production: Video Department, York University
Studio and post-production facilities: Division of Instructional Development, University of Windsor.
Committee Members: Mary Jane Warner, Nina De Shane, Jeff Henry
Dancers: Marion Eva Waldamann, Gregor Breedy, Patrick Parson, Rebecca Brosseau, Roderick Johnson, Urie P. Thomas
Special Thanks: Dr. Mary Jane Warner, York University Dance Department, Marshall Pynkoski, Jeannette Zingg, Rebecca Brosseau, Constance Hammermaister, Millicent Johnson, John Wilson, Dr. Walter Zingg, Dr. Gail Saunders, Clement Bethel, Keva Bethel, Cris Leelan, Bill Galligan, Beverly Johnson, Victor Johnson.
Music: "Bone Fish Medley" by Kayla Edwards and the Research Group, Heel and Toe Polka by the American Folkway Society, "Bellamena" arranged by Clement Bethel, Produced by Kayla and the Research Group, 1990; "Brown Skin Gal" by Joseph Spence, "Junckango Dance" by Bahamian Junkanoo Band, "Goonbay Dance" by Bahamian Goombay Band, and "Fire Dance" recorded by Marshall Stern (American Folkway Society).
Painting on Film with Adam Wolfond
Adam explores painting on clear 16mm film using sticks and other materials.
When dried and projected, the film footage is an explosion of colours, textures and rhythms.
This is a new film clip from our artistic explorations about pace, sticks and its materialization with film. This came about as Adam and I discussed how he pixelates, or "frames" movement with the repetition of videos (with the quick clicks of a computer mouse), uses flipbook animation to study movement, waves sticks and flicks water to also pace movement. He thinks about the way his body tics "to feel the world..." and how it hesitates because "I feel the world too much." Hesitation and movement "dance" - like flicked sticks and watercolour - as a way to move within a barrage of sensory-motor stimuli. Adam became interested in the 8mm camera and its sounds as well as the movement of colour on film itself. Slowing down the movement provides the opportunity to study its patterns. It allows a ticcing-moving in slowmo (abeit in seconds), a movement-ephemera. This is the creative "stimvention" (playing on the words "stim" and invention) using various materials - in this case film, sticks, paint - to think differently about diversity, movement and becoming. It pulses beyond the pathology paradigm where autistic movement is characterized as a problem rather than for creative invention and contribution.
And more importantly, Adam loves to watch it for its own sake.
The Feminist Porn Archive Project: Questions from a Working Ontologist
Feminists have long been concerned by archival silences and their impact on memory. Most reclamation work has been about uncovering the buried or lost records of women and inserting interpretations of such material inside broad social, political, cultural and historical narratives. Archivists and librarians also create new and sometimes exciting juxtapositions of archival material that allows for radical recontextualizations of womens’ cultural and political contributions. Archival work at every stage is thus a process of transforming private documents into public testimonial. However, in the creation of women’s archives inside institutional archives using traditional archival principles, we replicate neoliberal ideological formations by emphasizing the individual subject and focusing on the records of primarily white straight women of privilege. How might we instead use the new archival media of the Internet to explore feminist theoretical emphases on collectivity, intersubjectivity, intersectionality, and the affective relations of care, desire and intimacy? How do we prevent subjectivity and meaning from being fixed into place but allow for more slippery and promiscuous plays of meaning in a public feminist archive? How might we reboot the archives of women through digitization, and also provoke feminist rethinkings of the technologies of archivization? Linked open data can be viewed as a deeply post-structuralist response to the nomological principle of authority and commandment of the traditional archive and offers us a generative, erotic commingling of information which resists fixity and hierarchy and focuses instead on relationality. In this paper I will speculate about how a feminist porn archive can, through linked data spatializations and their attendant onotologies, offer new ways of thinking about the archive and the archival-able., Sloniowski, Lisa. The Feminist Porn Archive Project, Questions From A Working Ontologist. Archiver les témoignages, Université du Québec à Montréal. Hosted by the Testimonial Cultures Project on January 25th, 2016.
Traditional Folk Dances from the Bahamas
Consists of a portion of a major research project completed through York University's Department of Dance by Roderick T. Johnson, focusing on the history and development of traditional dances in the Bahamas.
Video credits include:
Music by Kayla Edwards and Ed Moxey
Advisors Nina De Shane, mary Jane Warner and Jeffrey Henry
Editors Ethan Clarke, Wendell Cleare and Charles Smith
Camera operators Roderick Johnson, Wendell Cleare, Charles Knowles and Ethan Clarke
Dancers Kelvin Cooper, Vickie Duvalier, Sharon Martin, Ernest H. Peterson, Baronda Dinon, Roderick Johnson, Kathleen Wallace, Ian Smith, Sean Straehan, Graham Thordarson, Tara O'Leary, Leila Leam, Dorothea Whitlock and Dorothy Moss.
Video credits include thanks to Mrs. Pauline Glasby, Mr. Winston Saunders, Mrs. Kava Bethel, Mrs. Rogecca Dockins, Mrs. Gelina Wells, Mrs. Beverley Thatcher, Mr. Hartman Muncure, Mrs. Rosemary Johnson, Mr. Iris Muncure, Mrs. Audrey Wright, Dr. Clevin Eneis, Mr. Marshall Pynkoski, Mrs. Ernestine Dean, Mr. Andrea Mitchell, Ms. Racy Thompson, Ms. Constance Hammermeister, as well as The College of the Bahamas and the Dundas Performing Arts., Acknowledged sponsors include the Clement E. Bethel Scholarship Award and The Bahamas National Dance Theatre Company.