Prom Night: A Litany of Sexy Lovers at the Prom

Prom Night: A Litany of Sexy Lovers at the Prom

Prom Night is a wild, high-energy eight-minute narrative short film by director/performer/choreographer Celia Rowlson-Hall, which premiered at SXSW last year. Rowlson-Hall stars as a/the/your prom-date in this beautiful, surreal, reference-laden piece. The film takes a very simple concept, a look at the cultural trappings that come with dream girls and trips to the prom, and knocks it out of the park.

Hall, who stars in the film, looks straight into the camera and takes the viewer through a dance in an empty school gymnasium decorated for the prom. While The Ronettes’ Be My Little Baby plays, through a series of wardrobe alterations and spontaneous costume and hairstyle changes, Hall leads the viewer through a litany of archetypal lovers: from the holy virginal, to Lolita, to Carrie. Prom Night is such an engrossing dance/performance short film that you won’t dare take your eyes off of it.

Prom Night: A Litany of Sexy Lovers at the Prom

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Girl Walk // All Day: An Amazing Musical Dance Video of Epic Proportions

Girl Walk // All Day: An Amazing Musical Dance Video of Epic Proportions

Girl Walk // All Day is a musical dance video directed by aspiring art photographer Jacob Krupnick, a collaboration by Krupnick and high-intensity freestyle dancer Anne Marsen. In mid-December, Krupnick and Marsen were on the early-morning Staten Island Ferry, along with two other dancers and Krupnick’s wife, carrying boomboxes and cameras and ducking security guards, shooting a guerrilla-style trailer for Girl Walk //All Day, which Krupnick describes as “an epic, 71-minute-long dance-music video” in which Marsen will dance her way through the entire Girl Talk album and up the entire island of Manhattan.

It is no surprise that people are going crazy about the trailer. It is both weird and joyous, popping with youthful energy. At first, Marsen looks more like an enthusiastic and slightly dorky amateur than the trained dance professional that she really is. Marsen wears regular tennis shoes and worn gray cords and an oversize, multicolored jacket, and at one point she falls off the railing of an escalator. It’s not until a minute or so in, as she twirls and gyrates through the ferry’s upper level, staring down the camera with a sly smile on her face as sleepy commuters pretend not to notice, that you begin to suspect you’re watching something that’s more than a little magical.

Girl Walk // All Day: An Amazing Musical Dance Video of Epic Proportions

You can read more about Girl Walk // All Day in The New York Times here.

And there are more videos of Anne Marsen’s dancing here.

All music from the album All Day by Girl Talk is available free for download here.

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Isadora Duncan: A Dance Prodigy or Ridiculous Charlatan?

Isadora Duncan: A Dance Prodigy or Ridiculous Charlatan?

The Melodramatic Isadora Duncan: From International Celebrity to Poverty

Isadora Duncan was born in1878 in San Francisco (CA) and died on September 14, 1927, in Nice, France. As a young girl, Isadora rejected the formal rigidity of classic ballet and based her dancing on more natural rhythms and movements. Her earliest public performances in Chicago and New York City met with little success, and at the age of 21 she left the United States to seek recognition abroad. With her meager savings she sailed on a cattle boat for England. Duncan was soon invited to perform at the private receptions and salons of London’s leading hostesses, where her dancing, distinguished by a complete freedom of movement, completely enthralled those who were familiar only with the conventional forms of ballet, which at that time was in a period of decay. Soon the phenomenon of Isadora Duncan dancing barefoot and scantily clad as a woodland nymph, brought large crowds to theaters and concert halls throughout Europe. Duncan toured widely and at one time or another she founded dance schools in Germany, Russia, and the United States, although none of them survived.

Duncan’s private life, quite as much as her dancing, kept her name in newspaper headlines owing to her constant disregard of social taboos. The father of her first child, Deirdre, was the stage designer Gordon Craig, who shared her abhorrence of marriage; the father of her second child, Patrick, was Paris Singer, the heir to a sewing machine fortune and a prominent art patron. In 1913 a tragedy occurred from which Duncan never really recovered: the car in which her two children and their nurse were riding in Paris rolled into the Seine River and all three were drowned. Her subsequent tours in South America, Germany, and France were less successful than before, but in 1920 she was invited to establish a school of her own in Moscow. There she met Sergei Esenin, a poet 17 years younger than she, whose work had won him a considerable reputation. Her marriage to Esenin was a disaster, and his drinking and increasing mental instability turned him against her. He returned alone to the Soviet Union and, in 1925, committed suicide. During the last years of her life, Isadora Duncan was a somewhat pathetic figure, living precariously with little money in Nice on the French Riviera, where she met with a fatal accident: her legendary long scarf became entangled in the rear wheel of the car in which she was riding, and she was strangled.

Isadora Duncan: Dance Prodigy or Ridiculous Charlatan

In the early 1900s, fat, middle-aged, highly sexed women weren’t supposed to dance, bare their breasts, or take lovers half their age. But Isadora Duncan did all of that and more while she was leading her free-range, tragic, melodramatic life 90 years ago. Could this woman really have been a dance genius? In 1921, when Duncan was 44 years-old, fat and notorious, a 17-year-old English boy bought a ticket to see her perform at London’s Prince of Wales Theater. “I didn’t think I’d like it but I was absolutely captivated,” he recalled many years later. “I suppose she was rather blowsy, and the first impact of her gave me a shock, but that soon passed. I find that people now stress this appalling life that she led, and the sexual side, but I didn’t get that impression at all. She had the most extraordinary quality of repose. She would stand for what seemed quite a long time doing nothing, and then make a very small gesture that seemed full of meaning.”

That boy, Frederick Ashton, would grow up to become Britain’s foremost ballet choreographer, and he was not the only creative figure to be enchanted by the alternative dancing that Isadora Duncan performed. Auguste Rodin, the acclaimed sculptor, said that she was his greatest inspiration; Konstantin Stanislavsky, Moscow’s radical theater director, was fascinated; George Bernard Shaw was impressed, despite himself; and the pivotal figures of 20th-century Russian ballet, Sergei Diaghilev, Anna Pavlova and Michel Fokine unreservedly admired her. But while half the dance world marveled at Duncan’s magical ability to pluck dance from the air without apparent preparation or technique, the other half was totally dismissing of her as nothing but a sensationalist. The strongly held diametrically opposed opinions of Isadora ranged from those who adored Duncan and described her work as spectacular, to those who flatly described her as rubbish. But one can’t ignore the fact that Duncan was outside of her time, and very bravely, too; she knocked a lot of conventions on their head. She was also a widely-known celebrity figure, honored in theaters throughout Europe and pulled through the streets in carriages surrounded by adoring throngs. During her onstage performances, Duncan would give little talks that embraced Communism, attacked the rich and harangued her audiences.

The very short video presented below is footage from an outdoor recital given by Isadora Duncan. In the opening section, Isadora adjusts the robe on her shoulder, and then the dance continues beyond that. It is the only known piece of film showing her dancing.

Isadora Duncan: A Dance Performance in the Forest

Photo-Gallery: The Melodramatic Isadora Duncan

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Photo of the Day: The Shadow Dancer’s Finale

Photo of the Day: The Shadow Dancer’s Finale

Photography by: C. Ray Dancer

The shadow dancer is swathed in the mystery of darkness. She is forever fixed in mid-passage, as are the gestures of all the men around her whom she never really sees. Forever rooted in place, a frozen metaphor, she’s a burlesque dancer rehearsing her routines that we can only behold in our imaginations.

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Hot, Sexy Babes Return for Their Smashing Pole Dance Routines!!

Ouch!! This One’s Going to Hurt. A Lot.

Hot, Sexy Babes Return for Their Smashing Pole Dance Routine!!

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Thoth: The Soul-Stirring Muse of Central Park

Thoth: The Soul-Stirring Muse of Central Park

Thoth: One Man’s Painful Search for Self-Identity

People can hardly ever forget the first time they witness, or rather experience, S. K. Thoth performing in the tunnel at Bethesda Terrace in Central Park, directly across from the “Angel” Fountain. Costumed like an ancient Greek superhero, complete with golden loincloth and a red feathered headdress, Thoth is truly a striking sight to behold.

Then he opens his mouth and begins to sing in his three range operatic voice, with a violin on his shoulder, dancing like a man possessed by something otherworldly, stomping rhythms with his heeled sandals and belled ankles making an indelible impression in your mind. Many of the people in his audiences have no idea what they’re watching, nor do they understand what it could possibly mean. Nevertheless, viewers are often moved to tears, with an experience that they describe as beautiful, soul-stirring and transporting. Mesmerizing in the truest sense of the term.

Thoth calls this expression his “prayformance” in which he presents his “solopera,” a multi-disciplined and multi-media performance piece, drawing on an imaginary mythological world that he created in childhood, and which he’s been writing about ever since.

The story of his life was made into an Oscar-winning documentary film, Thoth. So powerful is this street artist’s work that it captured the rapt attention of award-winning documentary film director Sarah Kernochan, and the film that emerged from her collaboration with Thoth won the 2002 Academy Award for Best Documentary Short Film.

Thoth: One Man’s Painful Search for Self-Identity

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Now Here’s One Really, Really Fierce Tranny Mess!!

So You Think You Can Dance: Tranny Mess Betty (a.k.a. Jason) Loony

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