YouTube Censorship

August 25th, 2007 § 2

While working on some WordPress plugins, I found some unbelievable news about abuse of copyright over on YouTube. From the world’s biggest pirate, YouTube has become an unbearable censor of personal expression and free communication.

Chris Pederson’s private videos of motor racing were taken down – and he got some nasty legal notifications.

However, in the last year I have had three videos removed by YouTube for copyright infringement under the DMCA.


The three videos are all of outdoor sporting events filmed as a spectator: two of motor racing at Brands Hatch in England and one of the Red Bull Air Race over San Francisco. I have uploaded the three videos to Vimeo for reference, although I do not know how long they will last before being asked to be removed.

It’s hard to believe, but it looks like the corporate mass are getting ready to take the internet to slaughter. Finally person to people communication is possible and it will be shut down.

As individuals, we’ll have to fight back – putting videos up on our own servers - but it’s difficult as ISP’s are pretty much obliged to take anything down on first notice.

ImPulsTanz Photo Animation: Nina at DanceWeb Party

August 19th, 2007 § 0

I’ve been working on some photo animations from my photos from ImPulsTanz with the help of my good friend director Lucas Czjzek.

Here is one of from the DanceWeb closing party 11 August. DanceWebber Nina Kurtela from Croatia was on a real riff:

Click photo to open animation in full post

ImPulsTanz Photo Animation: Nina at DanceWeb Party Continues »

ImPulsTanz: Amjad – La La Human Steps

August 10th, 2007 § 1

When watching Edouard Lock’s work, one leaves the ordinary world behind.

There are no dishes to wash, no cellphones, no laundry no bills to pay except dues of the heart.

This otherworldliness can be disconcerting. Suddenly we have walked into a nineteenth century romantic poem. Only beauty and overwhelming sentiment.

The dancing in Amjad is exceptional. It is quick and lithe. Expressive and mysterious at the same time.

The lighting of Amjad is high contrast spots against an entirely darkened stage. Pools of light in shadows. Each dancer is clad in strict black, their costumes as elegant as if they came from a Dior Haute Couture collection. The astringent black and white costumes did recall in a curious way Marie Chouinard’s bODY_rEMIX from 2005 – credit in both cases to Vulcan who gave up fashion to serve dance instead.

We are seeing properly schooled dancers, with enormous natural talent, working at the peak of their abilities in original choreography. With La La Human Steps, we are a long, long way from the youngsters who have decided to stop taking class and boycott movement on the dance stages of Vienna and Paris. The road up Parnassus is long and hard – and Edouard Lock and La La Human Steps have made that long trek.

Amjad is what they have brought back for us.

A frames from the Amjad film (Lock and Turpin)

ImPulsTanz: Amjad - La La Human Steps Continues »

ImPulsTanz: Snow White – Ann Liv Young

August 5th, 2007 § 2

Ann Liv Young is back in town.

And she’s just as dissatisfied as ever with whatever it is that bothers her.

What has she brought with her?

A bellyful – literally – of surprises.

Where to start?

Somewhere in the middle.

Snow White (ceramic mask) sings Beyoncé naked, pregnant, with an untended bramblelike snatch and unshaved armpits to match, while wearing golfing gloves to hold her wireless mike. The Black Queen accompanies her on a tin drum while flaunting and gyrating her uncut dark cock.

Enormous flying boobs from the back up vocalist dancing go-go. All enclosed in a hermetic great white box. Red ribbons fly everywhere.

This is Ann Liv Young’s world – one of full of the absurdity and emptiness of pop culture.

She drops in and out of character, stopping the show to rant about the audio, blue eyes flashing Celtic rage:

“I don’t hear her. Not again. All night, last night I couldn’t hear her.”

Her prima donna swagger and complaining voice remind one of the outtakes of the Madonna backstage films. Deliberate, I think.


When the show starts Ann Liv Young is in a white leotard with her dark nipples visible through the white cloth and with an enormous pregnant belly. I was sure it was a prosthetic cushion to simulate pregnancy. Until she takes off the leotard and the belly is still there, larger than every. The woman is eight months pregnant if a day pregnant.

The show makes much of her pregnant form.

Was the show made for a woman in at least the sixth month of pregnancy to the eight month of pregnancy? Pretty narrow casting/performance criteria. No. The show was conceived before Ann Liv Young got pregnant. The show I saw in Vienna was very different from the shows three months ago or six months ago. In the earlier versions, there was a lot more dancing. But the show has adapted and changed with Ann Liv Young’s physical state.

There are a lot of choices throughout the show of which voices to take or which songs to play. Ann Liv Young seems to play her Snow White environment like a jazz score. She knows where it’s going, but the riffs can be different each night.

What else did you miss if you weren’t at Snow White in the week of August 3, 4 or 5 in Vienna?

Someone singing singing “Babe I’m leaving” from Styx in a Barry Manilow mask. Marquis de Sade like dialogues between Snow White and the prince in French about sex. He intent on violating the garce, Snow White intent on claiming his love. Apparently Ann Liv Young wrote the French herself while on an extended séjour in Montpellier. Snow White is stark naked doggy style on the stage while the Prince takes her from behind.

You missed an eight month pregnant woman lathering a huge yellow strap on dildo with baby oil and penetrating herself against it (really!). You missed plastic horses

You missed a Christian radio show bestrewn with live musical performance and obscene call ins.

You missed small plastic horses across the stage with a wooden toy castle – the world of fairy tales.

Once again I wasn’t bored for one moment of Ann Liv Young’s Snow White. But again I struggle to make sense of it. What does Ann Liv Young want to say with all the wanton, unhappy sexuality, casual perversion and upside down pop culture?

I’m back to my review of Melissa is a bitch – her work has something in common with the organised senselessness of Da-Da.

Snow White is a truly horrid experience. But fascinating.

What will you see if you go to Snow White? I don’t know. Snow White changes all the time.

One could argue that the whole construction only holds together on the insane charisma of Ann Liv Young.


But I will still be back in the audience next time she comes to town. And I recommend the same to you if Ann Liv Young comes anywhere near your city on one of her extended tours.

My Polish dancer friend was also left speechless by Snow White. She couldn’t find anything bad to say about it.

There’s a must read interview with Ann Liv Young about Snow White in Timeout New York. I found it after I wrote this review. She’s even worse (better) than you thought.

There’s a rather crappy video of Ann Liv Young’s Snow White on the ImPulsTanz site. This video shot from the side does not to the performance any justice, but does give some idea of the set. I wish I had had picture permission for Saturday night as Sania and I were on stage front cushions in the center with my Canon 20D with me and could have done a fantastic set of Snow White pictures.

ImPulsTanz: Cat in a deep freeze – Saskia Hölbling/Dans.Kias

August 1st, 2007 § 0

The premise of Cat in a deep freeze is simple enough. A person lays down in the ice and fades away to death. Saskia Hölbling would like to take us on this journey. The piece opens and closes with beautifully spoken texts on mortality written by the artist inciting us to “melt the ice of power”.

In the cold, one’s head finally clears. Peace at last. The body contracts into what is most necessary. The heart beats tangibly. The breath is short and shallow. Something starts to move and leaves the body behind to its pleasant paralysis.

Cat in a deep freeze – Saskia Hölbling/Dans.Kias

Hölbling’s own interest in death by freezing arose when she learned last year that its eponym: “the sweet death”. Apparently one gradually fades away with no pain, just feeling slowly disappearing from the body and the breath growing fainter. Having spent a lot of time snowshoeing in cold climates like Manitoba, I’ll agree that this is probably how it happens. The real danger with death by freezing is belated rescue. If you don’t finish the job, you’ll end up with hands and feet cut off on account of the frost bite.

A full fading away in the cold is what Cat in a deep freeze investigates. It’s a curious enough premise for a dance piece. It has nothing to do with human interaction. The piece mirrors a biological transformation. Cold is the opposite of dance. One is generally moved to dance by the heat.

People dance more in summer. People dance more in hot climates. People dance more in hot night clubs.

Unsurprisingly given the chill theme, movement in Cat in a deep freeze is minimalist, at least for the first two thirds of the piece. For minutes at a time, a single foot circumscribes the air. Yet there is a tension in the movement. Saskia Hölbling describes the movement throughout the piece as intense. And so it is.

ImPulsTanz: Cat in a deep freeze - Saskia Hölbling/Dans.Kias Continues »