(Robert) Masseo Davis
Ronald K. Brown Concert
On April 12th 2008 the Ronald K. Brown dance company Evidence Dance, came to the Fine Arts Center on the University of Massachusetts, Amherst campus. It was a highly anticipated evening that was meant to inspire. In the beginning there is always a sense of anticipation, when entering a concert hall such as the fine arts center. The body of viewers at the evenings concert was composed primarily of the well dressed seemingly distinguished, myself included.
The evening ultimately was an art event, truly a demonstration of dance as art. It was not a showcase of technique/ training, nor a circus with nothing but tricks. To be frank dance is an art medium that should be considered high art because it has the potential to tell stories, and at times it is just beautiful to see bodies in motion. In regards to the performance given by EVIIDENCE A DANCE COMPANY, the evening illustrated the latter.
As a performer of the Ronald K. Brown reparatory myself, to see the company of dancers who he himself has chosen to represent his work, perform was delightful. Over the course of the evening one of the bodies of work that the company performed was ORDER MY STEPS. Within the dance there is a section performed to Bob Marley’s, Exodus. It was eye opening to be sitting and watching the company perform the reparatory that I myself had once performed. I found myself at times following along, with the choreography in my seat. Their interpretation was different than ours, calmer. I feel that may have to do with the fact they are older, not that they don’t have the potential to turn up the volume on the choreography, but that they didn’t fall into the trap of turning up the volume because the audience wanted to see that. (as they would have if they where a circus)
The overall feel of the performance was exactly as I expected, powerful without being overbearing or preachy. The one problem with the evening was that given even before the show had started. The anticipation of the show gave the impression that the performance was going to be of nothing but high energy movement, that probably has something to do with the audience previous knowledge that the choreography was composed primarily of traditional/ ethic movement.
Wednesday, April 23, 2008
Assume: The “Ass” of “U” & “Me”.
(Robert) Masseo Davis
April/ 13/ 2008
Seth Parker
English 112 assignment #3
Assume: The “Ass” of “U” & “Me”.
There is something to be said about the social consciences of a thing. In regards to the masses, it would seem that individuals are intelligent but groups of people are stupid. Be it political, religious, art related or mere unspoken social behavioral attitudes, it’s the executive decision produced by the masses that seem to indicate the way we respond, act, and even think. It’s these assumptions about the many facets of our lives that tend to trap entire demographics of people into what would presumably be cultural differences. In a sense the assumptions we make toward one another as groups are the product of shards of scattered information that then are vaguely shared, thusly producing a general consensus that is often incorrect, far too general to even acknowledge or it keeps individuals from occupying there own opinion.
Bell Hooks essay Sexism and Misogyny: Who take the Rap? on the surface is a discussion about the sexism and hatred towards women portrayed in “gangsta rap.” Hooks, however does not point the finger solely at the artists themselves, but at the cooperate system that helps maintain such a successful tradition amongst performers. More specifically The “White-supremacist capitalist patriarchy” and the “white dominated mass media” are at the center of her discussion regarding misogyny and sexism as portrayed in gangsta rap. However under her rough feminist exterior Hooks, also manages to expose the social views of the masses.
It is generally the case that when asked about sexism in reference to this generations pop culture, that Hip hop and gangsta rap are demonized for illustrating women as objects for black men to use; this, hooks says, generally is the end of the discussion and that the artists of such music are to blame for the misogyny in theses pieces, generally black men. In turn, assuming that is all there is to be said about gansta rap, it is inherently reasonable to point the finger at artists of this specific genre of music- again, primarily black men.
“To see gangsta rap as a reflection of dominate values in our culture rather than as an aberrant “pathological” standpoint does not mean that a rigorous feminist critique of sexism and misogyny expressed in this music is not needed. Without a doubt black males, young and old, must be held politically accountable for their sexism. Yet this critique must always be contextualized or we risk making it appear that the behaviors this thing supports and condones –rape, male violence against women, etc.-is a black male thing.”
(bell hooks, Sexism and Misogny: Who takes the Rap?, pg 416)
There are more factors to the situation, more influences, and many other ways to view gangsta rap, that don’t rationalize the way rap artists illustrate sexist situations, but rather expose other forms of social assumptions and institutions that are also to blame for sexism in the music industry.
The interesting thing is the argument illustrated by Hooks is not completely ground breaking. On an individual level, it has been argued that black artists are not the only people to blame for the sexism in rap music. It’s not necessarily innovative to sight the consumers, and the corporate music producers that are both primarily composed of white men. What is intriguing about the situation then is that though this is almost common knowledge that it still stands as the general view on who is to blame for the artistic choices/ aspects of the work.
Byron Hurt, director of the film Hip-Hop: Beyond Beats & Rhymes, set out on a mission similar to bell hooks, in his film. Hurt, discusses the cultural influences on Hip- Hop artists, in regards to both the misogynistic, and representational aspects regarding manhood and masculinity. The film talks about the culture of hip-hop through an anthropological lens, focusing on things such as manhood and mans desire for power. He paints a picture where hip-hops misogynistic qualities are merely part of a vicious cycle where black male artists are convinced/ programmed like robots to illustrate these violent and sexists situations, while “70% of mainstream Hip-Hip is consumed by young white-men. “ It’s an art form/ genre of music that like all other art forms is influenced by, and influence the world around it.
“Hip- Hop Culture is not separate from the rest of American culture, objectified female bodies, those images are everywhere… The real negative thing about music videos and advertisements, is that is the only way women are presented.”
-Sut Jhallly, founder of the Media Education Foundation.
In Hurt’s film he indirectly acknowledges the assumptions of the general publics views on hip-hop in regards to the misogynistic, and violent qualities by calling people out. Through interviews with hip-hop and rap artists, black listeners, white listeners male and female, aspiring artists, and record executives, Hurt exposes his viewers to the how these scapegoats work as a hegemony, that in turn power what he calls a “vicious cycle” of assumptions. When asked, how do you feel about rap artists calling women bitches and hoe’s, a young black women answered “It’s not directed to you personally, It’s just what they say, if you don’t take offense to it, and sex sells.” But it does. Hurt follows by using the counter example; what if George Bush said a speech claiming that all black people were niggers, what justice would we people of color (in that order) be to claim that he wasn’t talking about us. It’s the mentality of “it could never or it won’t ever happen to me” (which is an assumption) that allows the hegemony to stand, because we dismiss it, like some sick and twisted inside joke. (Bryon Hurt. “Hip-Hop: Beyond Beats & Rhymes”)
The film proceeds to discuss and illustrate how rap artists have to maintain a kind of duel personality, where they play a part acting out what they feel the public wants to see, and hear, as well as stay true to who they are and their own private morals which they assume the general public doesn’t care to know about.
“We have trusted the media and the corporations to define what hip-hop is…back in the day when it first came out if “ABC” did a story on hip-hop you’d be like I know they bull shitin’, but now you see it on the news, you see it on “BET”…It’s because they call themselves hip-hop now. It’s like now “HOT 97” is where hip-hop lives, you know, and we hear that, and we don’t understand that it’s owned by some corporation that doesn’t have anything to do with hip-hop, We just tryin’ to cash in.”
-Talib Kweli.
The interesting thing about the film is it still holds it self at the surface of the issue, plausibly because Hurt feels that opening the discussion is a baby step to a bigger problem, or because he to failed to openly acknowledge the magnitude of the current social situation. It’s one thing to talk about a collaboration of issues such as sexism and misogyny or manhood and sexism, but it’s the assumptions that we the people make that are the driving forces behind this vicious cycle. Both Hooks, and Hurt reference social assumptions, but then continue to talk about specifics that ultimately are products of assumptions.
Hooks, expresses incidences within her essay where people made assumptions about her, and that when they later realized that their assumptions were false they then were disappointed. Ultimately it could be said that theses radio Dj’s who were hoping to get a heated banter with hooks, made an assumption about the kind of person she was because she calls herself a feminist, and because they desired the argument. If we were to generalize this scenario it could be argued that, we under the umbrella of mass social context make assumptions because we desire something, our assumptions are a means to an end. Gangsta rap artists assume that making music that illustrates violence and sexist attitude is the only way to be successful. We the general public, assume based on the lyrics of gangsta rap composed by primarily black male artists that misogyny is in a “black male thing.” They then can rule themselves out with a “clear” example of what demographic of people can, and will take the fall for this little thing known as misogyny. Radio D.J’s assumed they are going to get into a heated banter with Hooks, because she identifies herself as a feminist, in hopes of perhaps raising their ratings. Hooks assumes that gangster rap is ultimately the product and even a window into the moral/ intensions of the white power hierarchy, known as “capitalist patriarchy.”
We as a people need to examine the many assumptions that we impose on others, which in turn govern our now natural, and social behaviors/ beliefs. It’s a shame because based on the idea that assumptions are a means to an end, many if not all of our assumptions can in a way be morally validated. Gangster rap artists under the impression that portraying a sexist lifestyle, is the only way to success in the music industry, is understandable if you consider the act a means in which to accomplish their desire to be successful. We have no right to hold their actions as demonizing, when put into those contexts; the same goes for the radio D.j’s who desire higher ratings/ more listeners. In regards to the general public, consumers, and those that hooks calls the “white-supremacist capitalist patriarchy”, I believe that it is safe to say that we believe that sexism and misogyny are of a negative nature, and if you could be persuaded that their reasoning for attempting to pointing the finger at a group of people was to keep from being themselves a people of negative nature, then it almost seems validated, sick and cowardly, but understandable. The product of our assumptions is a vicious cycle where we can hide our faults, and imperfections behind a social glass of half truths, and vague information. Assumptions are the parents of the elephant in the living room that nobody wants to talk about. The solution however is first and foremost like with any addiction to sincerely admit that there is a problem and try as hard as we have to keep this hegemony, in our attempts to cleanse ourselves from it.
Bell Hooks essay, is not only a discussion about how we as a people must reevaluate the way we identify/ recognize sexism and misogyny in what is known as gangsta rap. The paper also stands as a window into common social behavioral trait/ act of the masses, our group assumptions. It has at least led one reader to consider the mass awareness of things and the assumptions made on and directed toward different groups of people, could be said as a means to rationalize our imperfections, an a way to not have to deal with them, when we really need to. It not only demonizes the group of people who thusly take the fall for a human trait of negative nature, but it demonizes us as well for pointing the finger when we know that we are as much to blame as they are. It’s one of those civil social wars that has been fought for so long that we don’t even know why we are fighting, and we don’t even recognize it as a battle-it’s normal.
[Mos Def]
Yo, I'm sure that everbody out listenin agree
That everything you see ain't really how it be
A lot of jokers out runnin in place, chasin the style
Be a lot goin on beneath the empty smile
Most cats in my area be lovin the hysteria
Synthesized surface conceals the interior
America, land of opportunity, mirages and camoflauges
More than usually -- speakin loudly, sayin nothin
You confusin me, you losin me
Your game is twisted, want me enlisted -- in your usary
Foolishly, most men join the ranks cluelessly
Buffoonishly accept the deception, believe the perception
Reflection rarely seen across the surface of the lookin glass
Walkin the street, wonderin who they be lookin past
Lookin gassed with them imported designer shades on
Stars shine bright, but the light -- rarely stays on
Same song, just remixed, different arrangement
Put you on a yacht but they won't call it a slaveship
Strangeness, you don't control this, you barely hold this
Screamin brand new, when they just sanitized the old shit
Suppose it's, just another clever Jedi mind trick
That they been runnin across stars through all the time with
I find it's distressin, there's never no in-between
We either niggaz or Kings
We either bitches or Queens
The deadly ritual seems immersed, in the perverse
Full of short attention spans, short tempers, and short skirts
Long barrel automatics released in short bursts
The length of black life is treated with short worth
Get yours first, them other niggaz secondary
That type of illin that be fillin up the cemetary
This life is temporary but the soul is eternal
Separate the real from the lie, let me learn you
Not strong, only aggressive, cause the power ain't directed
That's why, we are subjected to the will of the oppressive
Not free, we only licensed
Not live, we just excitin
Cause the captors.. own the masters.. to what we writin
Not compassionate, only polite, we well trained
Our sincerity's rehearsed in stage, it's just a game
Not good, but well behaved cause the ca-me-ra survey
most of the things that we think, do, or say
We chasin after death just to call ourselves brave
But everyday, next man meet with the grave
I give a damn if any fam' recall my legacy
I'm tryin to live life in the sight of God's memory
Like that y'all
[Mos Def]
A lot of people don't understand the true criteria of things
Can't just accept the appearance
Have to get the true essence
[Talib Kweli]
They ain't lookin around
[M.D.] Not strong
[T.K.] Only aggressive
[M.D.] Not free
[T.K.] We only licensed
[M.D.] Not compassioniate, only polite
[T.K.] Now who the nicest?
[M.D.] Not good but well behaved
[T.K.] Chasin after death
so we can call ourselves brave?
[M.D.] Still livin like mental slaves
[both] Hidin like thieves in the night from life
Illusions of oasis makin you look twice
[both] Hidin like thieves in the night from life
Illusions of oasis makin you look twice
[both] Hidin like thieves in the night from life
Illusions of oasis makin you look twice
[both] Hidin like thieves in the night from life
Illusions of oasis makin you look twice
(Mos Def & Talib Kweli “Theives in the Night)
April/ 13/ 2008
Seth Parker
English 112 assignment #3
Assume: The “Ass” of “U” & “Me”.
There is something to be said about the social consciences of a thing. In regards to the masses, it would seem that individuals are intelligent but groups of people are stupid. Be it political, religious, art related or mere unspoken social behavioral attitudes, it’s the executive decision produced by the masses that seem to indicate the way we respond, act, and even think. It’s these assumptions about the many facets of our lives that tend to trap entire demographics of people into what would presumably be cultural differences. In a sense the assumptions we make toward one another as groups are the product of shards of scattered information that then are vaguely shared, thusly producing a general consensus that is often incorrect, far too general to even acknowledge or it keeps individuals from occupying there own opinion.
Bell Hooks essay Sexism and Misogyny: Who take the Rap? on the surface is a discussion about the sexism and hatred towards women portrayed in “gangsta rap.” Hooks, however does not point the finger solely at the artists themselves, but at the cooperate system that helps maintain such a successful tradition amongst performers. More specifically The “White-supremacist capitalist patriarchy” and the “white dominated mass media” are at the center of her discussion regarding misogyny and sexism as portrayed in gangsta rap. However under her rough feminist exterior Hooks, also manages to expose the social views of the masses.
It is generally the case that when asked about sexism in reference to this generations pop culture, that Hip hop and gangsta rap are demonized for illustrating women as objects for black men to use; this, hooks says, generally is the end of the discussion and that the artists of such music are to blame for the misogyny in theses pieces, generally black men. In turn, assuming that is all there is to be said about gansta rap, it is inherently reasonable to point the finger at artists of this specific genre of music- again, primarily black men.
“To see gangsta rap as a reflection of dominate values in our culture rather than as an aberrant “pathological” standpoint does not mean that a rigorous feminist critique of sexism and misogyny expressed in this music is not needed. Without a doubt black males, young and old, must be held politically accountable for their sexism. Yet this critique must always be contextualized or we risk making it appear that the behaviors this thing supports and condones –rape, male violence against women, etc.-is a black male thing.”
(bell hooks, Sexism and Misogny: Who takes the Rap?, pg 416)
There are more factors to the situation, more influences, and many other ways to view gangsta rap, that don’t rationalize the way rap artists illustrate sexist situations, but rather expose other forms of social assumptions and institutions that are also to blame for sexism in the music industry.
The interesting thing is the argument illustrated by Hooks is not completely ground breaking. On an individual level, it has been argued that black artists are not the only people to blame for the sexism in rap music. It’s not necessarily innovative to sight the consumers, and the corporate music producers that are both primarily composed of white men. What is intriguing about the situation then is that though this is almost common knowledge that it still stands as the general view on who is to blame for the artistic choices/ aspects of the work.
Byron Hurt, director of the film Hip-Hop: Beyond Beats & Rhymes, set out on a mission similar to bell hooks, in his film. Hurt, discusses the cultural influences on Hip- Hop artists, in regards to both the misogynistic, and representational aspects regarding manhood and masculinity. The film talks about the culture of hip-hop through an anthropological lens, focusing on things such as manhood and mans desire for power. He paints a picture where hip-hops misogynistic qualities are merely part of a vicious cycle where black male artists are convinced/ programmed like robots to illustrate these violent and sexists situations, while “70% of mainstream Hip-Hip is consumed by young white-men. “ It’s an art form/ genre of music that like all other art forms is influenced by, and influence the world around it.
“Hip- Hop Culture is not separate from the rest of American culture, objectified female bodies, those images are everywhere… The real negative thing about music videos and advertisements, is that is the only way women are presented.”
-Sut Jhallly, founder of the Media Education Foundation.
In Hurt’s film he indirectly acknowledges the assumptions of the general publics views on hip-hop in regards to the misogynistic, and violent qualities by calling people out. Through interviews with hip-hop and rap artists, black listeners, white listeners male and female, aspiring artists, and record executives, Hurt exposes his viewers to the how these scapegoats work as a hegemony, that in turn power what he calls a “vicious cycle” of assumptions. When asked, how do you feel about rap artists calling women bitches and hoe’s, a young black women answered “It’s not directed to you personally, It’s just what they say, if you don’t take offense to it, and sex sells.” But it does. Hurt follows by using the counter example; what if George Bush said a speech claiming that all black people were niggers, what justice would we people of color (in that order) be to claim that he wasn’t talking about us. It’s the mentality of “it could never or it won’t ever happen to me” (which is an assumption) that allows the hegemony to stand, because we dismiss it, like some sick and twisted inside joke. (Bryon Hurt. “Hip-Hop: Beyond Beats & Rhymes”)
The film proceeds to discuss and illustrate how rap artists have to maintain a kind of duel personality, where they play a part acting out what they feel the public wants to see, and hear, as well as stay true to who they are and their own private morals which they assume the general public doesn’t care to know about.
“We have trusted the media and the corporations to define what hip-hop is…back in the day when it first came out if “ABC” did a story on hip-hop you’d be like I know they bull shitin’, but now you see it on the news, you see it on “BET”…It’s because they call themselves hip-hop now. It’s like now “HOT 97” is where hip-hop lives, you know, and we hear that, and we don’t understand that it’s owned by some corporation that doesn’t have anything to do with hip-hop, We just tryin’ to cash in.”
-Talib Kweli.
The interesting thing about the film is it still holds it self at the surface of the issue, plausibly because Hurt feels that opening the discussion is a baby step to a bigger problem, or because he to failed to openly acknowledge the magnitude of the current social situation. It’s one thing to talk about a collaboration of issues such as sexism and misogyny or manhood and sexism, but it’s the assumptions that we the people make that are the driving forces behind this vicious cycle. Both Hooks, and Hurt reference social assumptions, but then continue to talk about specifics that ultimately are products of assumptions.
Hooks, expresses incidences within her essay where people made assumptions about her, and that when they later realized that their assumptions were false they then were disappointed. Ultimately it could be said that theses radio Dj’s who were hoping to get a heated banter with hooks, made an assumption about the kind of person she was because she calls herself a feminist, and because they desired the argument. If we were to generalize this scenario it could be argued that, we under the umbrella of mass social context make assumptions because we desire something, our assumptions are a means to an end. Gangsta rap artists assume that making music that illustrates violence and sexist attitude is the only way to be successful. We the general public, assume based on the lyrics of gangsta rap composed by primarily black male artists that misogyny is in a “black male thing.” They then can rule themselves out with a “clear” example of what demographic of people can, and will take the fall for this little thing known as misogyny. Radio D.J’s assumed they are going to get into a heated banter with Hooks, because she identifies herself as a feminist, in hopes of perhaps raising their ratings. Hooks assumes that gangster rap is ultimately the product and even a window into the moral/ intensions of the white power hierarchy, known as “capitalist patriarchy.”
We as a people need to examine the many assumptions that we impose on others, which in turn govern our now natural, and social behaviors/ beliefs. It’s a shame because based on the idea that assumptions are a means to an end, many if not all of our assumptions can in a way be morally validated. Gangster rap artists under the impression that portraying a sexist lifestyle, is the only way to success in the music industry, is understandable if you consider the act a means in which to accomplish their desire to be successful. We have no right to hold their actions as demonizing, when put into those contexts; the same goes for the radio D.j’s who desire higher ratings/ more listeners. In regards to the general public, consumers, and those that hooks calls the “white-supremacist capitalist patriarchy”, I believe that it is safe to say that we believe that sexism and misogyny are of a negative nature, and if you could be persuaded that their reasoning for attempting to pointing the finger at a group of people was to keep from being themselves a people of negative nature, then it almost seems validated, sick and cowardly, but understandable. The product of our assumptions is a vicious cycle where we can hide our faults, and imperfections behind a social glass of half truths, and vague information. Assumptions are the parents of the elephant in the living room that nobody wants to talk about. The solution however is first and foremost like with any addiction to sincerely admit that there is a problem and try as hard as we have to keep this hegemony, in our attempts to cleanse ourselves from it.
Bell Hooks essay, is not only a discussion about how we as a people must reevaluate the way we identify/ recognize sexism and misogyny in what is known as gangsta rap. The paper also stands as a window into common social behavioral trait/ act of the masses, our group assumptions. It has at least led one reader to consider the mass awareness of things and the assumptions made on and directed toward different groups of people, could be said as a means to rationalize our imperfections, an a way to not have to deal with them, when we really need to. It not only demonizes the group of people who thusly take the fall for a human trait of negative nature, but it demonizes us as well for pointing the finger when we know that we are as much to blame as they are. It’s one of those civil social wars that has been fought for so long that we don’t even know why we are fighting, and we don’t even recognize it as a battle-it’s normal.
[Mos Def]
Yo, I'm sure that everbody out listenin agree
That everything you see ain't really how it be
A lot of jokers out runnin in place, chasin the style
Be a lot goin on beneath the empty smile
Most cats in my area be lovin the hysteria
Synthesized surface conceals the interior
America, land of opportunity, mirages and camoflauges
More than usually -- speakin loudly, sayin nothin
You confusin me, you losin me
Your game is twisted, want me enlisted -- in your usary
Foolishly, most men join the ranks cluelessly
Buffoonishly accept the deception, believe the perception
Reflection rarely seen across the surface of the lookin glass
Walkin the street, wonderin who they be lookin past
Lookin gassed with them imported designer shades on
Stars shine bright, but the light -- rarely stays on
Same song, just remixed, different arrangement
Put you on a yacht but they won't call it a slaveship
Strangeness, you don't control this, you barely hold this
Screamin brand new, when they just sanitized the old shit
Suppose it's, just another clever Jedi mind trick
That they been runnin across stars through all the time with
I find it's distressin, there's never no in-between
We either niggaz or Kings
We either bitches or Queens
The deadly ritual seems immersed, in the perverse
Full of short attention spans, short tempers, and short skirts
Long barrel automatics released in short bursts
The length of black life is treated with short worth
Get yours first, them other niggaz secondary
That type of illin that be fillin up the cemetary
This life is temporary but the soul is eternal
Separate the real from the lie, let me learn you
Not strong, only aggressive, cause the power ain't directed
That's why, we are subjected to the will of the oppressive
Not free, we only licensed
Not live, we just excitin
Cause the captors.. own the masters.. to what we writin
Not compassionate, only polite, we well trained
Our sincerity's rehearsed in stage, it's just a game
Not good, but well behaved cause the ca-me-ra survey
most of the things that we think, do, or say
We chasin after death just to call ourselves brave
But everyday, next man meet with the grave
I give a damn if any fam' recall my legacy
I'm tryin to live life in the sight of God's memory
Like that y'all
[Mos Def]
A lot of people don't understand the true criteria of things
Can't just accept the appearance
Have to get the true essence
[Talib Kweli]
They ain't lookin around
[M.D.] Not strong
[T.K.] Only aggressive
[M.D.] Not free
[T.K.] We only licensed
[M.D.] Not compassioniate, only polite
[T.K.] Now who the nicest?
[M.D.] Not good but well behaved
[T.K.] Chasin after death
so we can call ourselves brave?
[M.D.] Still livin like mental slaves
[both] Hidin like thieves in the night from life
Illusions of oasis makin you look twice
[both] Hidin like thieves in the night from life
Illusions of oasis makin you look twice
[both] Hidin like thieves in the night from life
Illusions of oasis makin you look twice
[both] Hidin like thieves in the night from life
Illusions of oasis makin you look twice
(Mos Def & Talib Kweli “Theives in the Night)
Monday, April 21, 2008
You ‘re Beautiful by R. Masseo Davis
You ‘re Beautiful
By (Robert) Masseo Davis
Characters:
Lauren
Celeste
David James
PART A.
Introduction:
-Outside it’s late, and it’s raining.
Lauren is alone in her home dressed in a dinner gowned, she is dressing a dinner table for two, and she lights two candles. While dressing the dinner table she is dancing around the room completely comfortable in her environment.
Music:
Bach Prelude Cello Suite, Performed by Classical Guitar.
(There’s a knock at the door.)
(Enter Celeste)
Celeste:
(Shivering) Hello. Do you know David James.
Lauren:
Yeah, come in!!!
Celeste:
(Looks at Lauren and starts crying)
… You’re really beautiful.
Lauren:
Let me get you a towel. Please have
a seat.
Celeste:
(Sits at table still shivering)
Lauren:
Here you are. (Gives Celeste towel)
What were you doing out there?
(Sits on other end of the table)
Celeste:
…ahh-
Lauren:
- Are you okay?
Celeste:
(Shakes her head, starts tearing up)
Lauren:
What’s the matter is there anything
I can do?
Celeste:
… Do you know a David?
David James?
Lauren:
Yeah, my husband’s name is
David James.
Celeste:
… um… ah… yeah that’s him.
Lauren:
… Who are you?
Celeste:
Celeste… My name is Celeste…
You’re beautiful… like really, really beautiful.
Lauren:
… Thank you… How do you know
my husband?
(Celeste and Lauren exchange looks
and all is known)
Lauren:
How long have you and David been..?
Celeste:
(Shrugs, still crying)
Lauren:
That long?
Celeste:
(nods)
Lauren:
(Sighs) (Gets up and makes two
drinks takes gun out of dresser, and gives a
drink to Celeste) Here
Celeste:
I’m really sorry... I... I
didn’t know he was married… if I did-
Lauren:
It’s okay…
Celeste:
... Do you have any kids?
Lauren:
- no…
Celeste:
… How long have the two of you
been married?
Lauren:
… (sigh) five years. How did the two
of you meet?
Celeste:
… Work.
Lauren:
You work together?!
Celeste:
No… I was working and- At the time I was-
I do work at um… Friday’s and he came in and said
“hi”… (Small laugh)
Lauren:
… That’s it you fell for some strange man who
walked into your Mc Donald’s, and said “Hi”?
Celeste:
Well no we went out that night and we hit it off…
The thing is he picked me up straight out of work,
in my gross, greasy, French fry smelling uniform,
and we just went for this really long sweat walk.
I kept telling him how uncomfortable I was in the
uniform… He just kept kissing me and telling me
I looked beautiful… He really made me feel good,
even with all my imperfections…
… (Celeste notices twin lobsters on the table for dinner)
… Uumm, heh, twins.
Lauren:
(Quietly) What!? (She clenches her stomach),
Celeste:
Lobsters, twin lobsters, I love lobster.
Lauren:
(Starts crying) Oh my god, oh my god!
Why me, this can’t, no no no!
Celeste:
I’m sorry, I had to come here tonight,
I had to tell you, I didn’t want it to be true,
I love him! And I-
Lauren:
-Celeste… did David tell you I’m pregnant?
Celeste:
(Shakes her head)
Lauren:
Of course not cause I haven’ t told him yet, that’s
what this dinner was all about… I’m glad
you recognized the symbolism with the twin lobsters
… I’m having twins…
Celeste:
I’m so sorr-
Lauren:
-Get out, he’s yours, I won’t have him back…
Celeste:
No please-
Lauren:
-Celeste, (Gets up and opens door for Celeste)
please don’t pretend like this isn’t what you wanted…
Celeste:
(Exit Celeste)
Lauren:
(Closes door and falls to her knees with
her back leaning up against the door, and starts crying)
… No.
----------TAKE BLACK---------
PART B.
Introduction (Repeated only in fast motion):
-Outside it’s late, and it’s raining.
Lauren is alone in her home dressed in a dinner gowned, she is dressing a dinner table for two, and she lights two candles. While dressing the dinner table she is dancing around the room completely comfortable in her environment.
Music:
Smokey Robinson’s – Quiet Storm
(There’s a knock at the door.)
(Enter Celeste)
Celeste:
(Shivering) Hello
Lauren:
Oh my God, come in!!!
Celeste:
(Looks at Lauren and starts crying)…
You’re really beautiful.
Lauren:
Let me get you a towel.
Please have a seat.
Celeste:
(Sits at table still shivering)
Lauren:
Here you are. (Gives Celeste towel)
What were you doing out there?
(Sits on other end of the table)
Celeste:
…ahh-
Lauren:
- Are you okay?
Celeste:
(Shakes her head, starts tearing up)
Lauren:
What’s the matter is there anything I can do?
Celeste:
… Do you know a David? David James?
Lauren:
Yeah, my husband’s name is David James.
Celeste:
… um… ah… yeah that’s him.
Lauren:
… Who are you?
Celeste:
Celeste… My name is Celeste… You’re beautiful
… like really, really beautiful.
Lauren:
… Thank you… How do you know
my husband?
Celeste:
…I’m… I’m his mistress.
Lauren:
Excuse me? What do you mean?
Celeste:
(Silent)
Lauren:
What do you mean mistress?!!! Do you clean up
after him when he make a mess?!
Celeste:
No!
Lauren:
Oh! Okay, you see, that’s why I asked?
Please be clear about what you say.
What do you mean when you say you’re his mistress?
Celeste:
…I…We-
Lauren:
Do you fuck him!?
Celeste:
What!?
Lauren:
You heard me, do you fucking,
fuck my husband!!!?
Celeste:
Yes! I mean-
Lauren:
Fuck You!
(Lauren starts throwing things at Celeste and eventually attacks her.)
Lauren: Celeste:
-I can’t believe you did this! -I’m sorry!
-You ruined my life! -Please stop
-Get out of my house you bitch!
-Of all nights why tonight. -I had to tell you!
-I’m carrying his children -Pease!
I’m carrying his children!!
Celeste:
(Celeste takes knife from table as Lauren is attacking her and accidentally kills Lauren).
(Celeste, kneels over Lauren crying as Lauren is gasping for her last breaths.)
--------------TAKE BLACK------------
PART C.
(Lauren is sleeping on couch and is woken by knocks at the door. She opens it to see her husband standing there.)
David James:
Hey honey. (Kisses her on the forehead)
Wow you’re beautiful, what’s all this about?
… oh and baby I have to talk to you about something…
(Reveals dinner table and lobster settings waiting to be eaten)
Lauren:
(Shocked)!!!
By (Robert) Masseo Davis
Characters:
Lauren
Celeste
David James
PART A.
Introduction:
-Outside it’s late, and it’s raining.
Lauren is alone in her home dressed in a dinner gowned, she is dressing a dinner table for two, and she lights two candles. While dressing the dinner table she is dancing around the room completely comfortable in her environment.
Music:
Bach Prelude Cello Suite, Performed by Classical Guitar.
(There’s a knock at the door.)
(Enter Celeste)
Celeste:
(Shivering) Hello. Do you know David James.
Lauren:
Yeah, come in!!!
Celeste:
(Looks at Lauren and starts crying)
… You’re really beautiful.
Lauren:
Let me get you a towel. Please have
a seat.
Celeste:
(Sits at table still shivering)
Lauren:
Here you are. (Gives Celeste towel)
What were you doing out there?
(Sits on other end of the table)
Celeste:
…ahh-
Lauren:
- Are you okay?
Celeste:
(Shakes her head, starts tearing up)
Lauren:
What’s the matter is there anything
I can do?
Celeste:
… Do you know a David?
David James?
Lauren:
Yeah, my husband’s name is
David James.
Celeste:
… um… ah… yeah that’s him.
Lauren:
… Who are you?
Celeste:
Celeste… My name is Celeste…
You’re beautiful… like really, really beautiful.
Lauren:
… Thank you… How do you know
my husband?
(Celeste and Lauren exchange looks
and all is known)
Lauren:
How long have you and David been..?
Celeste:
(Shrugs, still crying)
Lauren:
That long?
Celeste:
(nods)
Lauren:
(Sighs) (Gets up and makes two
drinks takes gun out of dresser, and gives a
drink to Celeste) Here
Celeste:
I’m really sorry... I... I
didn’t know he was married… if I did-
Lauren:
It’s okay…
Celeste:
... Do you have any kids?
Lauren:
- no…
Celeste:
… How long have the two of you
been married?
Lauren:
… (sigh) five years. How did the two
of you meet?
Celeste:
… Work.
Lauren:
You work together?!
Celeste:
No… I was working and- At the time I was-
I do work at um… Friday’s and he came in and said
“hi”… (Small laugh)
Lauren:
… That’s it you fell for some strange man who
walked into your Mc Donald’s, and said “Hi”?
Celeste:
Well no we went out that night and we hit it off…
The thing is he picked me up straight out of work,
in my gross, greasy, French fry smelling uniform,
and we just went for this really long sweat walk.
I kept telling him how uncomfortable I was in the
uniform… He just kept kissing me and telling me
I looked beautiful… He really made me feel good,
even with all my imperfections…
… (Celeste notices twin lobsters on the table for dinner)
… Uumm, heh, twins.
Lauren:
(Quietly) What!? (She clenches her stomach),
Celeste:
Lobsters, twin lobsters, I love lobster.
Lauren:
(Starts crying) Oh my god, oh my god!
Why me, this can’t, no no no!
Celeste:
I’m sorry, I had to come here tonight,
I had to tell you, I didn’t want it to be true,
I love him! And I-
Lauren:
-Celeste… did David tell you I’m pregnant?
Celeste:
(Shakes her head)
Lauren:
Of course not cause I haven’ t told him yet, that’s
what this dinner was all about… I’m glad
you recognized the symbolism with the twin lobsters
… I’m having twins…
Celeste:
I’m so sorr-
Lauren:
-Get out, he’s yours, I won’t have him back…
Celeste:
No please-
Lauren:
-Celeste, (Gets up and opens door for Celeste)
please don’t pretend like this isn’t what you wanted…
Celeste:
(Exit Celeste)
Lauren:
(Closes door and falls to her knees with
her back leaning up against the door, and starts crying)
… No.
----------TAKE BLACK---------
PART B.
Introduction (Repeated only in fast motion):
-Outside it’s late, and it’s raining.
Lauren is alone in her home dressed in a dinner gowned, she is dressing a dinner table for two, and she lights two candles. While dressing the dinner table she is dancing around the room completely comfortable in her environment.
Music:
Smokey Robinson’s – Quiet Storm
(There’s a knock at the door.)
(Enter Celeste)
Celeste:
(Shivering) Hello
Lauren:
Oh my God, come in!!!
Celeste:
(Looks at Lauren and starts crying)…
You’re really beautiful.
Lauren:
Let me get you a towel.
Please have a seat.
Celeste:
(Sits at table still shivering)
Lauren:
Here you are. (Gives Celeste towel)
What were you doing out there?
(Sits on other end of the table)
Celeste:
…ahh-
Lauren:
- Are you okay?
Celeste:
(Shakes her head, starts tearing up)
Lauren:
What’s the matter is there anything I can do?
Celeste:
… Do you know a David? David James?
Lauren:
Yeah, my husband’s name is David James.
Celeste:
… um… ah… yeah that’s him.
Lauren:
… Who are you?
Celeste:
Celeste… My name is Celeste… You’re beautiful
… like really, really beautiful.
Lauren:
… Thank you… How do you know
my husband?
Celeste:
…I’m… I’m his mistress.
Lauren:
Excuse me? What do you mean?
Celeste:
(Silent)
Lauren:
What do you mean mistress?!!! Do you clean up
after him when he make a mess?!
Celeste:
No!
Lauren:
Oh! Okay, you see, that’s why I asked?
Please be clear about what you say.
What do you mean when you say you’re his mistress?
Celeste:
…I…We-
Lauren:
Do you fuck him!?
Celeste:
What!?
Lauren:
You heard me, do you fucking,
fuck my husband!!!?
Celeste:
Yes! I mean-
Lauren:
Fuck You!
(Lauren starts throwing things at Celeste and eventually attacks her.)
Lauren: Celeste:
-I can’t believe you did this! -I’m sorry!
-You ruined my life! -Please stop
-Get out of my house you bitch!
-Of all nights why tonight. -I had to tell you!
-I’m carrying his children -Pease!
I’m carrying his children!!
Celeste:
(Celeste takes knife from table as Lauren is attacking her and accidentally kills Lauren).
(Celeste, kneels over Lauren crying as Lauren is gasping for her last breaths.)
--------------TAKE BLACK------------
PART C.
(Lauren is sleeping on couch and is woken by knocks at the door. She opens it to see her husband standing there.)
David James:
Hey honey. (Kisses her on the forehead)
Wow you’re beautiful, what’s all this about?
… oh and baby I have to talk to you about something…
(Reveals dinner table and lobster settings waiting to be eaten)
Lauren:
(Shocked)!!!
Monday, April 7, 2008
Smith College Spring College
(Robert) Masseo Davis April/ 1/ 2008
Smith Dance Concert
Smith College Spring Concert.
Opening night at any concert for a fellow performer is always exiting, for you can feel the nerves flowing from behind the wings. Seated in your seat you quietly listen to your fellow audience members chattering before the shows starts, you reminisce as the murmuring of the audience is as familiar as the orchestra warming up prior to your entrance. It’s nice moment of anticipation awaiting the show to come.
As a solo audience member at Smith Colleges Spring Dance Concert 2008, the experience prior to curtain was as illustrated. The performances program consisted of both student works as well as guest choreographers. Performers in the show ranged from a variety of dancers from almost all of the five-college dance community.
My initially reactions to the show on the whole was that it was surprisingly enjoyable. I usually expect to go to dance concerts on the BFA level to see pretentious choreography that has been over thought or is completely incomprehensible as an attempt to be innovative. Many times artists, and even more often aspiring artists tend to over work their own material and confuse what they perceive to be thought provoking, and even revolutionary with what simply is awkward. This didn’t seem to be the case with Smith College’s performance this evening in early April. The show consisted of some very comedic moments that didn’t even regard the choreography in the program. When the audience was being asked to turn off their cell phones, the request was announced to us over a loud intercom; however the vice requesting that we don’t use flash photography, and to simply be a respectable audience the voice was that of a very young child or a girl who had consumed an entire tank of helium. Thusly the following vibes in the room were pleasant.
Upon looking back on the evening’s proceedings I came to the sad conclusion that on the whole the show was merely a mediocre demonstration of artistry. While returning to my own thoughts of the show I could only genuinely remember 4 of the 7 dances. Well that’s more than half one might say, and this is true however I only enjoyed 2 of those 4 presentations. How could an audience member ever leave a concert of any kind, and feel that the show was even remotely enjoyable when they ultimately only like 2 dances in a performance of 7? I suppose that those two dances where merely memorable to the highest level, it would seem that I as an audience member never left the place that the piece had brought me, regardless of the fact that the program had moved on. I had to in a sense be awakened by another dance of equal or higher impact, which ended up being the evening’s final dance.
“GROW…UP”, choreography by Meleta Buckstaff, was a solo performed by herself. (I actually didn’t realize that until just now as I am writing this response) The moment was an illustration of my favorite kind of dancing, where the attack of the movement was what made the piece enjoyable. Her dance was listed as a solo in the program, but it really was a quartet or perhaps a series of 3 duets with here and 3 balloons. The dance consisted with some tender moment that where at times so sweat that they could only be described with noise (mmmm…).
I watched the rest of the show and have some memories of other dances however it wasn’t until the evenings finally did I truly make the transition form “GROW…UP” to any other piece of choreography. “THILLANA”, choreographed by Rita Lakshimi Iyer was the solo following “GROW...UP” and it was a decent performance however it merely seemed out of place, for two reasons. First of all it was weird to a solo followed by another solo, they may have figured it was an appropriate choice because they were vastly different. “THILLANA”, was a traditional Indian solo and the theme was simply drastically out of place. The dance didn’t fit in the show, as a whole for it was the only traditional and socially acceptable ethic dance in show.
“YELLOW EGG”, choreography by Ariel Gonzalez Cohen was another solo later in the evening and this dance was in this humble critics opinion the kind that he had anticipated in seeing for the duration of the evening. It seemed to enjoy the smell of it’s own farts. The choreography however oddly enough accumulated one of the loudest applause upon its completion. This was more so a statement on the public awareness of the performance and the choreographers prior to seeing the show.
“Ariel Gonzalez Chon ( MFA Smith, Dance, Smith College, 2007) dances in her own works and in the dances she makes with her c0-director Kellie Lynch in their dance company, Slipperyfish Dance. She also freelances in works of others locally, nationally, and internationally. Currently she is a company member of Wire Monkey Dance and is busy creating the next slipperyfish dance show for April 24, 25 and 26 at East St. Theater Hadley, Mass. In addition to performing she teaches dance within the five Colleges and local area schools. She would like to thank her husband Tomas for his love.”
-Program Bio.
The audience’s reaction to Ariel’s choreography was comparable to the publics views on films by famous directors, before even seeing the film they know they will enjoy it. This is in no way a reflection on the choreographer as a person those aspects of the complete situation are irrelevant.
In conclusion, the performance concluded with a ballet titled “IN SPIRIT”, choreographed by Megan Bonneau McCool, This was the first time that I can honestly say that I was not in some sense still involved with “GROW …UP”. The dance was an ensemble dance that was beautiful, very Balanchine inspired, which made sense considering that Megan Bonneau McCool was a dancer with the acclaimed New York City Ballet. The choreography was very mature in amongst student work including “GROW...UP”. Considering that the ballet technique is so set in stone many make the claim/ assumption that when choreographing a ballet it’s really more like arranging as apposed to creating, and even if that were true “IN SPIRIT”, was a dance that was musically aware, visually stimulating/ pleasing, and stood as any good finale should. It was like blowing bubbles and watching them float gently in all their splendor to the to the ground. The piece finished with a rush of girls running off stage and a single girl remaining waving her arm as if to turn of the lights and end the show. The final glimmering bubble concluding the show…Pop…
Smith Dance Concert
Smith College Spring Concert.
Opening night at any concert for a fellow performer is always exiting, for you can feel the nerves flowing from behind the wings. Seated in your seat you quietly listen to your fellow audience members chattering before the shows starts, you reminisce as the murmuring of the audience is as familiar as the orchestra warming up prior to your entrance. It’s nice moment of anticipation awaiting the show to come.
As a solo audience member at Smith Colleges Spring Dance Concert 2008, the experience prior to curtain was as illustrated. The performances program consisted of both student works as well as guest choreographers. Performers in the show ranged from a variety of dancers from almost all of the five-college dance community.
My initially reactions to the show on the whole was that it was surprisingly enjoyable. I usually expect to go to dance concerts on the BFA level to see pretentious choreography that has been over thought or is completely incomprehensible as an attempt to be innovative. Many times artists, and even more often aspiring artists tend to over work their own material and confuse what they perceive to be thought provoking, and even revolutionary with what simply is awkward. This didn’t seem to be the case with Smith College’s performance this evening in early April. The show consisted of some very comedic moments that didn’t even regard the choreography in the program. When the audience was being asked to turn off their cell phones, the request was announced to us over a loud intercom; however the vice requesting that we don’t use flash photography, and to simply be a respectable audience the voice was that of a very young child or a girl who had consumed an entire tank of helium. Thusly the following vibes in the room were pleasant.
Upon looking back on the evening’s proceedings I came to the sad conclusion that on the whole the show was merely a mediocre demonstration of artistry. While returning to my own thoughts of the show I could only genuinely remember 4 of the 7 dances. Well that’s more than half one might say, and this is true however I only enjoyed 2 of those 4 presentations. How could an audience member ever leave a concert of any kind, and feel that the show was even remotely enjoyable when they ultimately only like 2 dances in a performance of 7? I suppose that those two dances where merely memorable to the highest level, it would seem that I as an audience member never left the place that the piece had brought me, regardless of the fact that the program had moved on. I had to in a sense be awakened by another dance of equal or higher impact, which ended up being the evening’s final dance.
“GROW…UP”, choreography by Meleta Buckstaff, was a solo performed by herself. (I actually didn’t realize that until just now as I am writing this response) The moment was an illustration of my favorite kind of dancing, where the attack of the movement was what made the piece enjoyable. Her dance was listed as a solo in the program, but it really was a quartet or perhaps a series of 3 duets with here and 3 balloons. The dance consisted with some tender moment that where at times so sweat that they could only be described with noise (mmmm…).
I watched the rest of the show and have some memories of other dances however it wasn’t until the evenings finally did I truly make the transition form “GROW…UP” to any other piece of choreography. “THILLANA”, choreographed by Rita Lakshimi Iyer was the solo following “GROW...UP” and it was a decent performance however it merely seemed out of place, for two reasons. First of all it was weird to a solo followed by another solo, they may have figured it was an appropriate choice because they were vastly different. “THILLANA”, was a traditional Indian solo and the theme was simply drastically out of place. The dance didn’t fit in the show, as a whole for it was the only traditional and socially acceptable ethic dance in show.
“YELLOW EGG”, choreography by Ariel Gonzalez Cohen was another solo later in the evening and this dance was in this humble critics opinion the kind that he had anticipated in seeing for the duration of the evening. It seemed to enjoy the smell of it’s own farts. The choreography however oddly enough accumulated one of the loudest applause upon its completion. This was more so a statement on the public awareness of the performance and the choreographers prior to seeing the show.
“Ariel Gonzalez Chon ( MFA Smith, Dance, Smith College, 2007) dances in her own works and in the dances she makes with her c0-director Kellie Lynch in their dance company, Slipperyfish Dance. She also freelances in works of others locally, nationally, and internationally. Currently she is a company member of Wire Monkey Dance and is busy creating the next slipperyfish dance show for April 24, 25 and 26 at East St. Theater Hadley, Mass. In addition to performing she teaches dance within the five Colleges and local area schools. She would like to thank her husband Tomas for his love.”
-Program Bio.
The audience’s reaction to Ariel’s choreography was comparable to the publics views on films by famous directors, before even seeing the film they know they will enjoy it. This is in no way a reflection on the choreographer as a person those aspects of the complete situation are irrelevant.
In conclusion, the performance concluded with a ballet titled “IN SPIRIT”, choreographed by Megan Bonneau McCool, This was the first time that I can honestly say that I was not in some sense still involved with “GROW …UP”. The dance was an ensemble dance that was beautiful, very Balanchine inspired, which made sense considering that Megan Bonneau McCool was a dancer with the acclaimed New York City Ballet. The choreography was very mature in amongst student work including “GROW...UP”. Considering that the ballet technique is so set in stone many make the claim/ assumption that when choreographing a ballet it’s really more like arranging as apposed to creating, and even if that were true “IN SPIRIT”, was a dance that was musically aware, visually stimulating/ pleasing, and stood as any good finale should. It was like blowing bubbles and watching them float gently in all their splendor to the to the ground. The piece finished with a rush of girls running off stage and a single girl remaining waving her arm as if to turn of the lights and end the show. The final glimmering bubble concluding the show…Pop…
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