Jump to:
1.  From the Lungs of Central Asia
2.  Between Political and Folk Narrative
3.  Transcending Place
4.  Music as the Frequency of Spiritual Experience
5.  Continuing Exploration and Growth

Alash River, Tuva Republic. Photography by Konstantin Mikhailov

From the Lungs of Central Asia

In the way that opera paints legends of human emotions and trials, Tuva’s palette of throat singing can vividly portray the drama of the earth. The movement of each sound and the strength with which it is delivered is often a creative interpretation of animals, elements, and landscapes, acting as a human continuation of nature. These symbolic imitations however, are not always necessary or intentional.

Choduraa Tumat, of Tuva’s only all-female throat singing band, Tyva Kyzy, draws the natural parallels between throat singing and its worldly inspiration.

“Not only [in] khoomei, but some further vocal techniques of other cultures have originated in ancient times from the search and imitation by humans of the sounds of nature: the gusts of the wind, rivers, the songs of birds, the babbling of a brook,” she says. These symbolic imitations however, are not always necessary or intentional.

“Throat singing is a mimesis in the sense that the styles and sounds can be associated with a particular type of landscape [like] ‘Mountain Kargyraa’, but they are not necessarily a direct imitation of a particular sound in nature,” say members of the Alash Ensemble, an internationally-acclaimed traditional Tuvan band.

Beyond the physical imagery, there is also a much deeper connection that is directed by the passion of performers.

“For Tuvans, I would say, khoomei expresses thought within the field of sound,” Tumat explains. “And that is why, for the majority of Tuvans — even those who do not sing but only listen — it evokes associations with the sounds of nature, while for the performers, as they sing, it would be native lands, mountains, steppe, taiga, and so on.”

While Tuvan throat singing was traditionally performed solo and often in pastoral settings, contemporary performance has evolved to emphasize bands, audiences, and a stage.

“I think that in the present time, the power and technique of a performer relies on how much they can control their emotions and nerves while performing in a new context, on a stage in front of other people and not in nature, not for one’s self or for close ones,” Tumat says, pointing out the challenges of stage performance. “In order to overcome my nerves during performance, I, and maybe even other performers, visualize nature [and] listen to my own voice, painting in my mind the mountains and steppe. And it is because of this that sadness, nostalgia, pride, and joy are all present in song.”

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Tuva’s Meridian of Musicality, Spirituality, and Cross-Cultural Place: A Primer On Tuvan Throat Singing

(17 IMAGES TOTAL)

What circumstances led you to the not Natasha project?

What triggered my work was purely finding out what sex trafficking really means.

At the time, there was not much visual coverage of the illegal trade. Sex trafficking is the most profitable illegal business since the 1989 fall of the Soviet Union; it’s a form of violence against women from my society. Little do people realise what this illegal trade is and how big and profitable it has become. So I decided to try and get a closer look at sex trafficking and record what it means for the women to survive sexual slavery. I chose to have a glimpse of their souls — which at the time seemed very difficult to do, but that is what I was most interested in. After having heard their stories, I wanted to look at their traces — at what women who had disappeared for years and who are believed to be trafficked and sexually enslaved leave behind. This became essential angle and part of the narrative.

After being involved with this project I realised that its beginnings might have been triggered by my interest and knowledge of the woman’s position in societies like the one I was born in. I acknowledge this story as a way of standing up against the societies that know what happens to their women and hide it without even doing anything about it.

It must have been difficult to deal with such a delicate situation. Did you have training in communicating with these woman or face any difficulty? What were some solutions that you employed, and do you have any advice for those who are hoping to speak with a woman who has undergone sexual trauma?

The most pleasant part of the learning process was when I spent time at one of the shelters that offered them psychological assistance and accommodation for a month or so. I had spent two weeks with girls that just escaped sexual slavery. They were spinning stories about their ordeals every evening. This is what actually helped me frame the story and urged me to continue it at a later stage. The women accepted me in their lives, some for three weeks, some only for a few hours, depending where I’d meet them. They all understood immediately that I was not going to harm them in any way. It was not hard to explain the reasons of my work.

I did not have an official training in communicating with the women I photographed and interviewed. I acted instinctively, seeing their dignity, their strength and delicacy at the same time, their sense of respect for other human beings even after surviving such ordeals. Also, that hidden hope that lived in each one of them. I used to share long walks in the park with the girls at the shelter. They love the Saturday morning walks when they can watch the brides of the day. They just secretly hoped one day they can return to normal life. I was both discreet and protective, respectful to their wishes, and always asking for their consent.

One of the best pieces of advice that I had received in regards to portraying survivors and which I would say in my turn was to approach them with respect, to firstly see and show their humanity and dignity through my photography. Also, to have patience, something that I needed a lot in this long-term and slow-making project.

Are there any experiences from the women that you would like to share?

The women in these photographs are among seventeen I met, interviewed and photographed them. Some of them were too fragile; some very strong, trying to leave behind a hated past while still coming to term with profound emotional distress. At the beginning, they shocked me with horrific details about the rape and violence they had survived. They talked about the Odessa boat which later on I went on, too, about the brothels or rooms they were locked in, some for weeks, other for months or even for a year, about the way they escaped.

Aurelia, a girl from Ukraine, shouted at me, “My story, do you want to hear my story? You have heard it — over and over again.” Clearly distraught, she told me how, a year after she came back from the Czech Republic, the police came to the door and started to question her. Then her husband and her mother-in-law chased her away from home. They had not known she was sold as a sex slave by a good friend. Her life was destroyed, she said.

Dalia, 20-years-old, always dragging along her two-year-old daughter, was the first one I encountered at the shelter. Dalia was sold by her husband-to-be. This was a trafficker that acted on his own in Moldova and was dating girls from different parts of the country; after a considerate amount of time, he would invite them to meet his family in Turkey and get married. Clarisa was sold by her best friend and Elena by the old lady living across the road in her village. Svetlana by a woman at the market that she thought she knew very well and some others by relatives. In many cases, the girls and women sold as cattle on the black market are approached by somebody that they know and trust. Larisa had been trafficked into Albania; on her way to Italy, she fell in love with her pimp who fathered her twins. She escaped after three years.

In London, I met Svetlana, a young Moldovan who was sex trafficked into the UK. She showed me windows of particular Soho flats: the one with a cracked window was a “stinky” place; the one with a red light was a bit trendier. I later on entered five cribs with working girls. I met two Romanians on this occasion. One was wearing tiny white socks and a pink robe thrown over a black spandex costume. She was from a city two hours from my native town.

These women did not opt to become sex workers; they were locked in all sorts of locations, from flats and houses to brothels, threatened, beaten up and raped, put on drugs and alcohol and forced into it. When I researched my subject, it was shown that women from Moldova had been sent to as many as 42 destinations.

I am still in touch with a few of the women I met in this journey and in more often contact with a couple of them. As a reaction, they were interested to see my work. One of them decided to help me continue my visual work on sex trafficking as much as she could and another one looked on the book dummy with curiosity, since she had been very much part of the project both as a survivor and a great help in translating and making the liaison with other girls at the shelter. When she reached the end of the book, she closed it and said, “Okay, from now on, we won’t be talking about this anymore.” We still keep in touch.

How much responsibility do you feel as an artist to contribute to the world in a positive way or to bring attention to misdeeds in the world? Do you ever create without a narrative or mission in mind?

The same responsibility one feels as a person searching for virtue, which it’s probably a very innate human characteristic. But it doesn’t mean I ask myself that question when I look at one of my pictures — does it contribute to the world? It’d be a scary question and I wouldn’t know how to answer it. To answer the other question, I usually have a pretty good idea of what I want to do before start shooting — I wouldn’t call it a mission or narrative — which obviously can mutate throughout the process.

Ω

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Dana Popa Artist Interview: Uncovering The Intimate Details of Sex Trafficking

Lansè Kòd (The Rope Throwers) 1996

Madanm Lasirèn (Madame Mermaid) 2003

Madanm Lasiren
Andre Ferner, 59 years

Lasiren is a spirit that lives under the sea and does mystical work there, she is a Vodou spirit, I dream of Lasiren all the time. That is the reason I do Lasiren for Mardi Gras. I chose Lasiren because my grandmother, father and mother all served the spirits, I love her & honour her. The baby that I carry in my arms is the child of Lasiren who is called Marie Rose. When I walk the streets I sing her song which goes ‘ I am Lasiren and I cry for Lasiren, when I work mystically in the night bad luck can come my way’.

I prepare for Lasiren by putting on a hat, a mask and carrying an umbrella. I put on a necklace and gloves. This necklace is called Mambo Welcome, it is a fetish. Because Lasiren is a fish she has to disguise herself as a woman to be at Mardi Gras. My mask and hat cover her fish’s head. And the dress she wears covers her fish’s tail. The chain I wear is a sacred chain. Each year I change the disguise and fashion a new baby. In order to get inspiration I go to the place where the big beasts live and they instruct me how to do Mardi Gras. I have been doing this for 18 years. Before that I did another Mardi Gras call Patoko. This was a group of men who were dressed as women, with a nice dresses and high heeled shoes. We did a marriage between men and woman on the street. After that we had a group called the duck who carried brushes in their hands wearing blue trousers, white t-shirts, new sandles and a scarf around our waists. We swept the streets of Jacmel. I have always found a way of doing a Mardi Gras.

(12 IMAGES TOTAL)

Esklav Yo (The Slaves) 2001

Jij (Judge) 1995

Gordon’s introduction to her series, Kanaval:

“Haiti seems to be on a fault line of history. Whilst much of the rest of the world seems to have efficiently papered over any cracks where history could accidentally seep, bubble or explode with a veneer of consumerism and wage slavery. Haitian culture is a potent vessel for this history, continually transmitting, telling, retelling and reinterpreting Haitian history. Though school fees are excessive for the majority of the Haitian people, and the education standards poor, you will be hard pushed to find a Haitian who doesn’t know the vast and intimate details of their own history.

Haiti’s history is not an easy one, but it is a significant and important one. It is the history of the decimation of the indigenous Taino Indians by the Spanish invaders. Subsequently it is the history of the most profitable, and correspondingly brutal, French colonial plantation system in the Caribbean, which was fuelled by the Transatlantic slave trade. The intensity of French barbarity in the pursuit of profit, coupled with whispers and rumours of the French Revolution in Europe, led to the Haitian revolution. This was an uprising of African and Creole ¹ slaves against the white plantation owners. By the late 18th century dissent was rife amongst the slave population. In 1791 the dissent came to a head and turned into a rebellion which led to a 13 year struggle for the freedom from slavery and finally independence.

Vodou was both the inspiration and precipitation of the long fight for Haiti’s independence. On 23rd August 1791 ², a Vodou priest called Boukman performed a ceremony at Bwa Kayman, in the north of Haiti. Slaves and maroons ³ gathered from all over the region. Boukman sacrificed a black pig for the African ancestors, and in its blood wrote the words ‘liberty or death’. Inspired and invigorated the slaves returned to their plantations and spread the message of rebellion. Within days the fertile plains of cash crops were burning with a passion for freedom that did not dampen until independence in 1804.

May 1803, former slave and rebel leader Jean-Jacques Dessalines dramatically created the flag of the black insurgents at the Congress of Arcahaie. He took the French tricolour of blue, white and red, and ripping the white out of it, declared he was ripping the white man out of the country. The red and blue were stitched together, the initials RF (Republique Française) were replaced by Liberté ou la Mort, ‘Liberty or Death’, and Haiti’s flag was born. Time was finally running out for the French rulers.

The diffusion and transmission of Haitian history uses the drums, songs, dances and possessive ritual of the Vodou religion. It uses the improvisational songs of Twobadou groups and the collective melodies and rhythms of Rara bands. Haitian history uses the words and poems of its great literary tradition and the unique visions of its painters, sculptors and flag makers. Haitian history, and not only the revolutionary history, is also replayed through the masks, costumes and narratives of the carnival in Jacmel.

Each year, Jacmel, a coastal town in Southern Haiti, holds pre-Lenten Mardi Gras festivities. Troupes of performers act out mythological and political tales in a whorish theatre of the absurd that courses the streets, rarely shackled by traditional parade. Whatever the carnival lacks in glitz and spectacle, it makes up for in home-grown surrealism and poetic metaphor. The characters and costume partially betray their roots in medieval European carnival, but the Jacmellien masquerades are also a fusion of clandestine Vodou, ancestral memory, political satire and personal revelation. The lives of the indigenous Taino Indians, the slave’s revolt and more recently state corruption, are all played out using drama and costume on Jacmel’s streets. There have been many times that the future of Jacmel’s carnival has appeared unstable, but it continues to struggle and survive. Haitian culture is tough and resilient, as it needs to be. It is a vibrant, living avatar for not only Haitian history, but for all our histories. Carnival is dead, long live Kanaval.

***************************************************************************************

This introduction was written two weeks before the dreadful earthquake in Haiti. I have been haunted by the almost prophetic first line. I decided I didn’t want to change it. The suffering on the human level and devestation on the material level in Port au Prince is hard to contemplate. All the churches have fallen and all the morgues are still standing. Many of the houses have fallen but all the tombs in the cemetery are standing. It is as if Death has won its bet against Man and God. The beautiful old town of Jacmel, where all these photographs have been taken, has been decimated. As I numbly traipse along what remains of the historic Grand Rue in downtown Port au Prince I realise that architecture has always been another avatar for history. In Haiti the material was always transient and weak, and now feels almost none existent, but the imaginative and creative is fierce. If there is a positive side, perhaps it is this, that people will sit up finally and really take notice of Haiti’s creativity. Haiti has so much to give and we really should be grateful that such a genuinely unique place exists. Kanaval is not Dead. Long Live Kanaval

¹ Caribbean born of African descent.
² Named International Day for the Remembrance of the Slave Trade and its Abolition by UNESCO.
³ Runaway slaves living in remote mountainous areas in close-knit communities.”

Kouvrefe (Curfew) 2009

Bounda Pa Bounda (Cheek by Arse) 2003

Chaloska (Charles Oscar) 1998

Chaloska (Charles Oscar)
Eugene Lamour a.k.a. Boss Cota, 61 years

The Chief Charles Oscar was a military commandant in charge of the police in Jacmel. He died here in 1912. He was tall and strong with big feet and teeth and feared by all. At a time when there was political instability in Port-au-Prince, when President Sam had just been assassinated, Charles Oscar took his chance to take 500 prisoners from the local jail and kill them all. There was so much blood it made a river of death. The population was so angry that that revolted and tore the police chief to pieces in the street and burned him down. He was killed in the same violent way that he had treated the people.

This story has always been very striking to me, and in 1962, I decided to create the character of Chaloska for Carnival. I designed the military uniform and made the big false teeth with bull’s teeth bought from the market. Each year I change the costume a little by designing a different hat for the group to wear.

When I created Chaloska I also wanted to create some other characters to go along with him. I created Master Richard and Doctor Calypso. Master Richard is a rich man with a big bag full of money and a huge fat stomach. He walks with the group of Chaloska buying justice and paying the judges. He represents the impunity and corruption that hides behind Chaloska and is the real chief of the city. Doctor Calypso is an old hunch back with a black suit and a stick in his hand. He works for Chaloska and checks on the health of the prisoners, always reporting that they are healthy when they are dying.

These characters are still here in Haitian society so it is good to parade them on the street. It is a message to all future Oscars that you will end up this way. The group goes to different places in town threatening the people. The boss Chaloska always finally dies, and the others call for mercy as they are cowards, but then another Chaloska immediately replaces him. This is to show the infinite replication of Chaloska which continue to produce the same system. There will be Chaloska until the end of the world. They started with the beginning and will not end until the end.

Pa Wowo (The Way of Wowo) 2004

Pa Wowo (The dance steps of Roro)
Edmond Paul, 30 years

Pa Wowo is a Mardi Gras that I’ve been doing for a long time. It is part playing around and part theatre on the streets of Jacmel. We try to create an ambiance of festivity. Pa Wowo has created a character, a role he plays scenes just like theatre, as it’s an ancient Mardi Gras. He has a pipe because in the past all peasants had pipes in their mouths. He has a skirt of leaves because it is part of his disguise. The skirt is a symbol and the skirt means everything. It is the best symbolic costume for the Pa Wowo because he doesn’t have any family, he doesn’t have any thing, no-one to help him, not even the possibility of his own clothes to wear. So Pa Wowo represents someone who has nothing, no-one, nowhere to stay and no money. Truly people understand my message, which is if you have something you must help those with nothing. I have done this Mardi Gras for 15 years. I decided to do it to give continuity when the last person that used to do it died. I’m not sure it will continue after I am gone but I am always fighting to do it whilst I still can. Over the years Mardi Gras has a lot of sections missing and I’m doing Pa Wowo to make sure that carnival has a good power and to make sure that Jacmel shows a good face to the world. Because firstly I am a Jacmellian. But you know exactly if we keep trying perhaps Jacmel carnival is the best in the world. We feel that carnival in Jacmel is important for the face of Haiti in the world but it is always a fight as the government never supports us.

Zèl Maturin (The Wings of Maturin) 1995

Zel Maturin (The Wings of Mathurin: character from the St. Michel Mardi Gras)
Ronald Bellevue, 40 years

We did not invent this story. It came from older people, but we are keeping the tradition going. As a child I was scared to death of the Zel Maturin but the very next thing I wanted to see was to see them again. My favorite Zel Maturin is the red devil as he is always the strongest, most resistant and goes on until the end of the play.

The play is a fight between good and evil. The first scene has people with suits, ties, tuille masks and bibles all kneeling and praying. In the second scene St Michel the Archangel come from heaven to give them protection. With him are other angels in pink satin dresses and a small angel in blue and white. Then the Zel Maturin arrive to steal the angels.

There is a long procession of Zel Maturin but St Michel kills them by using his mighty sword. The strongest devil, the red devil, myself, arrives. This devil fights much harder but after a long struggle he is finally killed. All the devils lie dead on the street conquered by St Michel the Archangel. But then the black devil arrives. He is bigger than the others and wearing chains. He is chained mystically because his mystic powers are so strong that he must be restrained. He carries a skull and presents it to the four cardinal points and hits the red devil three times. Once the red devil is revived all the other devils leap awake. The black devil is a Vodou devil whereas the other devils are just Christian devils. The Vodou devil has greater forces than the Christian devils. As you can see from the masks on the wall I am not exactly a bible person, well you don’t play the part if you don’t like the part.

Gason Bo Kote Lanmè-a (Boy by the Sea) 2000

Nèg ak Konk (Man with Conch Shell Horn) 2001

Fantonm (The Phantom) 2009

All photographs are shot on black and white film on a Roleiicord 2 ¼ sq camera and are 95cm sq Giclee Prints on Hahnemuhle Fine Art Paper mounted onto di-bond aluminium.

Gordon’s book, Kanaval: Vodou, Politics and Revolution on the Streets of Haiti is also available for purchase on Amazon.

Ω

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music art film review - REDEFINE magazine

Leah Gordon’s Kanaval Takes A Photographic Look At Haiti’s Carnival Via Mythology, History & Oral Traditions

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1. Jay Park – “Come On Over” // 박재범 – 놀러와

    

    

   Turn off your phone, girl. Listen up. It’s Jay Park. Think of him as a 25-year-old Korean evocation of Usher, if you like, or even the solution to Frank Ocean’s inability to read Hangul. Ultimately, there’s little need to situate him, though; Park is truly a singular talent. He actually writes the bulk of his own material, and in the context of K-Pop, that rather lends him the carriage of a polar bear walking through a tropical rainforest. He’s also American, hailing from Seattle. Allen Huang of SSG Music and JKPOP! told me he was a childhood friend. One day his mother asked, “Whatever happened to your friend Jay?” He’d skipped town and become a star.
   
   www.jaypark.com + www.instagram.com/jparkitrighthere

    

2. Jay Park – “Turn Off Your Phone” // 박재범 – 전화기를 꺼놔
   

    

3. BigBang – “Bad Boy” / 빅뱅 – “Bad Boy”

    

    

    

   Naughty or nice, five-guy supergroup BigBang have certainly been the K-Boys of the year. The NYTimes called them the “true wild heart of K-Pop,” and Alive made it on fuse’s top 40 albums of 2012. “Bad Boy” is a masterpiece. Sure, “Fantastic Baby” will keep folks on the floor, and it’s perfect for rudely awaking your roomies, but it can be a bit much in your headphones. “Bad Boy” is truly a jam for all seasons. The MV is already a classic. It finds the boys in Williamsburg trying to kick it, albeit to no avail, with what looks like a choice selection of Russian supermodels. (Really, it’s only one instance of this hyper-urban-industrial MV style that YG Entertainment has been harping on lately. The “Blue” MV, for instance, is essentially the same idea. No sense in arguing over which is better. Your choice. Drop it on me.)
   
   ygfamily.com

    

4. EXO – “What Is Love”

    

    

    

    

    

    

    

   EXO is S.M. Entertainment‘s newest project, a prototype pitch at taking Chairman Lee Soo-man‘s theory of ,cultural technology’ to the next level. EXO actually conssts of two distinct detachments: EXO-K, which is the Korean contingent, and EXO-M, which is the Mandarin export, each made up of a specific set of six members. This shotgun method enables SM to tailor the same material to linguistically disparate markets with the utmost precision. It’s a novel strategy, even brilliant. (It’s also all you need to take your table tennis game to the next level, btw: a Chinese offense and a Korean defense.) That isn’t to say, however, that both versions of this track are equally successful; I do think the song works much better in Korean. The two iterations intimate something of the substantive phonetic unity of music and language. Just as in poetry, the identity of any lyrical-melodic idea in vocal music is inextricable from the language in which it is articulated: the phoneme, well before the word itself, is as much a part of the thought as its pitch and rhythmic placement. I suspect that this song was written first in Korean and later translated, which might be why the Mandarin sounds rather forced at times. That said, you gotta love the wushu-style moves in the Chinese edition of the video. For me it’s really been a toss-up between this and “Bad Boy,” and I’m leaning towards EXO.
   
   exo-k.smtown.com + exo-m.smtown.com

    

5. TVXQ! – “Destiny” // 동방신기 – “Destiny”

    

    

   Since their debut circa 2004, TVXQ (aka DongBangShinGi or “Rising Gods of the East”) have proven to be one of SM’s soundest investments. “Destiny” is one of the under-plugged standouts on their latest full-length Catch Me, and not least because of that kick and snare. It straddles the line between a true jam and pure balladry, weaving seamlessly from one idiom to the other. To be honest, when I put on Catch Me, I generally skip the title track/single and head straight for this and the other chiller (filler) spots on the record. It gives me the feeling that Chairman Lee hasn’t been playing his best mens’ strongest hand, though “Humanoids” might be enough to shut me up on that score.
   
   tvxq.smtown.com + dbskconfessions.tumblr.com

    

6. BtoB – “U&I” // 비투비 – “U&I”

   BtoB (Born to Beat) are Cube Entertainment‘s latest offering, “U&I” being one of my favorites off their second mini-album Press Play. K-Pop has managed to safeguard the delectable kind of acoustic guitar stylings that flourished in the peak years of ’90s pop and R&B, which have lamentably fallen into disuse. Wonder Girls’ “Girlfriend” (below) is another great example.
   
   btobofficial.com

    

7. Super Junior – “From U” // 슈퍼주니어 – “너로부터”

    

   I caught my first glimpse of K-Pop unwittingly, on a billboard in Seoul. It was an epic hi-def composite of a troop of model-level dudes with unrealistically well-did hair, accompanied by the moniker ‘Super Junior’ (a lot like this only bigger, better, and not a desktop wallpaper made by a Filipina Fangirl). I hadn’t the slightest idea what it referred to: a fashion label? a hair salon? a lifestyle? The answer came later while I was flipping channels at my hotel and stumbled upon a music network. There it was again. (If memory serves, it was “Mr. Simple” video. I was glued to the tube for at least two hours thereafter, and I’ve been addicted to the stuff ever since.)
   
   superjunior.smtown.com

    

8. Girls’ Generation – “Love Sick” // 소녀시대 – “Love Sick”

   I initially conceived this as an all-K-Boy mix, but those hits at 1:08 virtually kicked the wind out of my musical chauvinism — with heels. I can’t get over those greasy gospel guitar gestures à la maniere d’Angelo. Girls’ Generation (aka SNSD) are bonafide K-Girl royalty. They figure heavily in The New Yorker’s article on K-Pop by John Seabrook.
   
   www.girlsgenerationusa.com

    
9. Ailee – “My Love” (Feat. Swings) // 에일리 – “My Love” (feat. 스윙스)”

   While rookie of the year Ailee’s debut single “Heaven” sounded something like K-Perry/K-Clarkson, “My Love” is a hidden gem that takes K-Girl R&B nearly to the point of period accuracy (i.e. Aileeyah) without sounding too ‘dated.’ The synth-bass and e-piano on this track are almost too good to be heard, Swings featured verse is right in the pocket, and Ailee’s delivery is absolutely exquisite. This is pure K–R&B gold.
   
   www.facebook.com + www.ymcent.com

    
10. G.NA – “(Drop It (Cut It Off))” // 최지나 – “때려 쳐”

     

    If I didn’t know any better I’d think this was Jay Park before the vocals came in. (The opener on Bloom does feature Jay, after all, so I suppose I wouldn’t be too off base.) G.NA is effectively his female counterpart, being Canadian-born–raised just across the border in Vancouver, BC — and those common roots show. Both betray a palpably new-world sensibility in their work. I wonder if they’d ever date (publicly). The global netizenry would soil itself.
    
    www.playgna.com

     

11. Wonder Girls – “Girlfriend” // 원더걸스 – “Girlfriend”]

     

    Perhaps no other K-Pop group has been as fiercely marketed in the States as Park Jin-young‘s flagship Wonder Girls. His dreams of crossover success have seen them on tour with the Jonas Bros, on a bill with Bieber, starring in Disney made-for-TV movie, and featuring Akon on a recent single (right). “Girlfriend” is one of the big hooks on their latest release Wonder Party, the smoother correlate to the dance-ready single “Like This”. The Girls are currently on an extended hiatus. Perhaps they’ll be back Stateside after the dust has settled from the BigBang (but by then things might look a whole lot different around here).
    
    www.wondergirlsworld.com

     
12. miss A – “If I Were a Boy” // 미쓰에이 – “남자 없이 잘 살아”

    “If I were a boy it wouldn’t be this hard / If I’m over you I’d laugh after remembering nothing.” Hey girl, That’s sexist. Don’t sell yourself short. If you were a boy you’d be a shy girl, and I really mean that as a compliment. Besides, you’re an independent lady: you don’t need a man. All the same I’ve been thinking… Coffee some time? Also, are you really into Beyonce?
    
    www.missaworld.com

     

1. Parenthetical Girls – “The Pornographer” Music Video
2. Girls Names – “Bury Me” Music Video
3. Religious Girls – “Oscar Grant” Into The Woods Live Video

music art film review - REDEFINE magazine

Shy Boys Fly Girls K-Pop Mixtape (#24) + “Fantastic Baby”, A Music Video Screening and Panel Discussion

Part One: Hot Pepper

Three office temps sit around the table. Cue music — and it is revealed that these three office temps are in charge of organizing a coworker Erika’s farewell party. These three workers are organizing Erika’s farewell party. As they discuss organizing Erika’s farewell party in a roundabout fashion, they are offering very little information as they are speaking in circles. They are hardly saying anything at all despite spewing out many words, and while they speak, they are moving around the stage with exceptionally awkward gestures and positions. Their movements are completely erratic and unpredictable, quite unlike the words they are saying, which are constantly repeating the same themes in every short segment. Every few minutes is punctuated by awkward movements and repetitive text which says nothing but is humorous in its ability to say almost nothing despite their extended duration. Though the office workers spend an exorbitant amount of time talking about the same things ad nauseum, they entertain the audience with their body movements, which are much more erratic. Everything about their movements is stiff and intense, governed by no rhyme or reason, and all of the words they say harp on the same topic. Myriads of words are exchanged but little is said, just like in this paragraph.

Everything about part one of Cheltfisch is about form and format and less about content. Movements follow a pattern of stilted spontaneity and words beat horses to pulpy, bruised death. Discussions about farewell parties, free monthly magazines called Hot Pepper, and motsu hot pot (“Motsunabe (もつ鍋?) is a type of nabemono in Japanese cuisine, which is made from beef or pork offal.”, according to Wikipedia, which the performance itself in fact cites), offer little information, but somehow, part one never seems to stop being interesting.

SEE FULL PERFORMANCE REVIEW

Part Two: Air Conditioner

Air Conditioner, on the other hand, rambles on for a bit too long — but it also happens to be the segment with the most humorous moments and the most challenging social dynamics. A seemingly shy female office worker is complaining to her male superior about the frigid temperature in the office building and how its 23′C temperature makes her so miserable she wants to quit her job. All the while, she is smiling politely, and undertones of male perversion take form in the male superior. Half-listening and nodding dumbly, he makes generalized statements about women’s bodies being more prone to poor circulation than those of males, and even kneels down and peers up the woman’s skirt on occasion. The movements in Air Conditioner seem to be set on loop, repeating like the words repeated in Hot Pepper — but again, they are less important than the segment’s general intent and form, which seems to comment on office politics and the tendencies of workers to deliver shallow pleasantries in the most unconfrontational ways possible. Smiling and nodding individuals face one another as though blindly reacting to one another, as negative complaints contrast directly with overly friendly body language.

Part Three: Farewell Party

In the third and final part, every worker that has been thus far introduced is present — yet the segment is essentially pared down to a monologue from Erika, the worker who is leaving the company. As she celebrates her departure, she begins with a few repetitive lines about how she has been at the office for just under two years. One instantly begins to worry that part three will be another 20-minute segment with very little content, made even more daunting by its focus on one person rather than multiple. But here the format changes dramatically. Erika charges full speed ahead with tales: tales about missing elevators; tales about how her black shoes remind her of talking penguins; and so on. In her fictional farewell speech, Erika shows off her quirkiness as one of the only characters in the entire performance who seems to only minorly care about what other people think. Unfortunately, the entire last segment drags on for far too long, and ends on a low note, despite its apparent message.

C’est la bizarre office politics vie.

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Related posts:

1. TBA Festival 2012: Ant Hampton & Tim Etchells – The Quiet Volume Performance Review
2. TBA Festival 2012: The Love Song Of R. Buckminster Fuller Live Documentary Performance Review
3. TBA Festival 2012: Previews & Picks

music art film review - REDEFINE magazine

TBA Festival 2012: Cheltfisch – Hot Pepper, Air Conditioner, And The Farewell Speech Performance Review

SEE FULL REVIEW

Like its namesake, the film was not entirely one thing, but fully engaging as a combination of several features: live storytelling, illustrative media, and apt, adept scoring. Green’s charismatic personality made for a magnetic narration – funny, quick-witted, with an underlying poignancy that he’s undoubtedly developed over his own career that’s spanned a roster of documentaries like the Oscar-nominated chronicle of the radical late ‘60s group, The Weather Underground, as well as a similarly-scoped “live documentary” called Utopia in Four Movements, that was performed at the 2010 Sundance Film Festival.

The dreamy noise-pop of band Yo La Tengo was a perfect blanket for the audience to lay on and marvel at the film’s figure and his on-screen ephemera. The trio is no stranger to scores, having provided soundtracks to works like the undersea landscapes of surrealist French director Jean Painlevé. The jump seems only natural, to move from sonic illustrations of alien waters to adding color and dimension to quirky relics from Fuller’s abundant life. Their Mark Mothersbaugh-esque melody for the documentary’s opening sequence – images of a geodesic dome in flight – laid the sweet-but-slightly-kooky groundwork for the touching, strange, and extraordinary voyage that the audience is led through for the duration of the film.

We were introduced to Fuller’s incredible “Dymaxion Chronofile” – the largest collection of personal files belonging to any human being in history. Dymaxion is a Fuller vocabulary favorite, a combination of “dynamic”, “maximum”, and “tension”, and what a better way to describe a painstaking collection of every document that the man had ever come in contact with over the course of 63 years? The cycling through of these artifacts, comprised of notes, sketches, bills, film reels, clippings, etc., made the presentation more like a PowerPoint or TED talk, rather than a simple theater outing. It’s worth saying that the program itself was short — less than an hour — which stands in contrast to Fuller’s tendency to speak for hours on end (he once delivered a 42-hour lecture, humbly titled “Everything I Know”). In that time, we see the origin of Fuller’s quest to enact change (sparked by the tragic loss of his young daughter), the boom and bust of his various innovative endeavors, and his rise to relative fame for his uncomplicated but salient vision of almost utopian, sustainable living. Green led the audience through a timeline of various ups and downs, including moments of doubt in which Fuller doesn’t appear to be as iconoclastic as one might hope. Green scans through the files, the film, and plays some archival footage alongside some interviews that create a loose sketch of the figure that is Fuller.

But perhaps the most remarkable thing about Fuller is that he didn’t “achieve” much by common standards. He is mostly known for the design of the geodesic dome, which has well contributed to the field of architectural design but did not have the far-reaching effects that he had hoped for. We’re not all shacked up in domes, and our skylines are still primarily straight lines to the heavens. He was, however, a creature intensely convicted that an individual could enact palpable change in the world, and become indefatigable exemplification of the human spirit and willpower. The myth of the man was not necessarily in his actions (and in fact his resume includes a number of fantastic failures and near or total disasters), but in his ideas for sustainability and service that continue to have relevance in our world today – and that in itself is an accomplishment. It’s hard to imagine not being somewhat seduced by the mythos surrounding Fuller after his story was filtered through the thoughtful, affecting handling of Green and his musical collaborators. The tender oeuvre, in itss brief but touching run, was an elating practice in examining the extraordinary life of a man and the potential of his ideas.

Radio Documentary Series

The Green World Of R. Buckminster Fuller Film Trailer

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Related posts:

1. TBA Festival 2012: Previews & Picks
2. TBA Festival 2012: Terrifying Women Live Performance Review
3. TBA Festival 2012: Ant Hampton & Tim Etchells – The Quiet Volume Performance Review

music art film review - REDEFINE magazine

TBA Festival 2012: The Love Song Of R. Buckminster Fuller Live Documentary Performance Review

SEE FULL PERFORMANCE REVIEW

Individual auditory aspects of our environment rise to the fore as his voice ushers each one in; the breathes and coughs, the electric hum of the room, the turning of pages, the zipping of bags. His rhythm and cadence render the ambient noise an orchestrated whole. He prompts us to observe the people around us, the texts before us, the blood in our fingers, the skin of our hands. We follow instructions to touch particular words. He takes us through miscellaneous paragraphs at varying speeds. We engage in conceptual literary battle; pressing on a page until our hands shake and fighting with voices that read against us in our ears. We hold the book upside down and try to make sense of it, remembering the overwhelming difficulty of learning how to read.

I lose my way, my mind fatigued from focusing. I get disoriented in the blur of sound happening around me mixed with the audio coming through the headphones. Are all of those pages really being turned right now or is that recorded?

I do my best to follow everything because I am accountable to my partner, responsible for his experience. We move together through the intertwining choreography of complementary instructions playing through our respective headphones. I am told to point to a word and hold my finger frozen on the page. He appears to be instructed to switch out the the book that lies below my hand. We build the experience together, each a performer and audience for the other, wavering in and out of presence and awareness, like normal life but more.

In retrospect, it is the moment after we pretended to read upside down that I keep coming back to — the part when we turned the books right-side up again and attempted to see the letters in an abstract way, not as symbols that convey meaning. It’s mysterious just how impossible it would be to divorce ourselves from the ability to understand text. Quiet Volume makes you consider how deeply ingrained the visual marks of letters are in our minds.

Multnomah County Central Library
801 SW 10th Avenue, Portland, OR 97205
$8 Members / $10 General / All Ages

Wednesday, September 12th, 11:20-7:40pm (Starts every 20 minutes.)
Thursday, September 13th, 11:20-3:40pm (Starts every 20 minutes.)
Friday, September 14th, 11:20-3:40pm (Starts every 20 minutes.)
Saturday, September 15th, 11:20-3:40pm (Starts every 20 minutes.)
Sunday, September 16th, 12:20-3:40pm (Starts every 20 minutes.)

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Related posts:

1. TBA Festival 2012: Previews & Picks
2. TBA Festival 2012: Andrew Dickson’s Life Coach Performance Review
3. TBA Festival 2012: Cheltfisch – Hot Pepper, Air Conditioner, And The Farewell Speech Performance Review

music art film review - REDEFINE magazine

TBA Festival 2012: Ant Hampton & Tim Etchells – The Quiet Volume Performance Review

SEE FULL PERFORMANCE REVIEW

To build the project, Dickson invited anyone interested in receiving coaching to email him about the challenges they face. The very real subjects he works with in these public sessions were selected from the emails. Both subjects at the two sessions I attended were relatable women with issues that TBA audience members are probably not unfamiliar with: how to balance the need for creative fulfillment with paid employment, figuring out where they are going with their creative work, and feeling validated as an artist. Dickson acknowledges the vulnerability and courage required to open oneself in front of an audience. Before the coaching begins, he protectively requests that any reviews or blog posts about the sessions stick to only him and his project and not the people he works with.

The subsequent communal vibe of his project is not unlike a support group, with plenty of time is set aside for the audience’s personal reflection. Attendees have an opportunity to speak candidly about their own life issues with each other before coaching begins. Dickson’s method involves asking open-ended, leading questions that move the subject forward in their own thought processes. What would be the most helpful thing you could get out of this session today? What are some actionable steps you could take to make that goal happen?

PERFORMANCE REVIEW CONTINUED BELOW – CLICK ON GRAPHIC FOR FULL TBA FESTIVAL 2012 COVERAGE

Nothing earth-shattering is revealed, yet certain moments stand out as sharply honest. At times, the coaching feels too private to be watched. I wonder if Dickson may have bitten off more than he could chew. He may make a sympathetic and supportive ear, but public life coaching as an art performance could lead to an oversimplification of a person’s private issues. Dickson had to attempt to wrap everything up with a tight bow in order to end the show. At the close of one session, he asked the subject if the plan they made for the next steps in her life sounded good. “They sound scary.” she responded. She and Dickson ended the show with a hug.

It’s complicated to consider where a social practice project like this one begins and ends. What is the responsibility of the artist and audience in a piece that requires such public openness of its participants? Dickson set himself up for a very real challenge, to create a public spectacle while also being a meaningful guide for real people looking for help with real life problems. Its difficult to guess what the lasting impact of the coaching will be for Dickson’s subjects and audiences, but I know that I benefited from this opportunity to hear universal issues that artists face from another perspective.

Saturday, September 15th, 1:30-2:30pm Saturday, September 15th, 3:30-4:30pm
Sunday, September 16th, 1:30-2:30pm Sunday, September 16th, 3:30-4:30pm

The Mark Spencer Hotel Ballroom
409 SW 11th Avenue, Portland, OR 97205
Free Admission / All Ages

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Related posts:

1. TBA Festival 2012: Previews & Picks
2. TBA Festival 2012: Ant Hampton & Tim Etchells – The Quiet Volume Performance Review
3. TBA Festival 2012: The Love Song Of R. Buckminster Fuller Live Documentary Performance Review

music art film review - REDEFINE magazine

TBA Festival 2012: Andrew Dickson’s Life Coach Performance Review

Sam Green & Yo La Tengo – The Love Song Of R. Buckminster Fuller

Wednesday, September 12th @ 6:30pm and 8:30pm
@ Washington High School (SE Stark, Between 12th and 14th, Portland, OR 97214)
$20 Members / $25 General

Filmmaker Sam Green executes a “live documentary” witha live score by Yo La Tengo, as Green cues images and narrates a film that explores the utopian ethos of theorist and idea-weaver R. Buckminster Fuller. - VIVIAN HUA

See all PERFORMANCE-related picks

Nora Chipumire – Miriam

Friday, September 7th, 8:30pm
Saturday, September 8th, 8:30pm
Portland State University: Lincoln Performance Hall (1620 SW Park, Portland, OR 97201)
$20 Members / $25 General

Zimbabwe-born choreographer Nora Chipaumire and dancer Okwui Okpokwasili explore what it is to be feminine, personally and in society. Chipaumire’s style is both rigid and delicate, befitting of true feminine ideals. - VIVIAN HUA

See all DANCE-related picks

Brainstorm / Sahel Sounds – Global And Mobile Pop

Monday, September 10th @ 10:30pm
@ Washington High School (SE Stark, Between 12th and 14th, Portland, OR 97214)
$5 Members / $7 General

Local hyperpop band Brainstorm and African-inspired label Sahel Sounds curate an evening of projections, media, music performances, and more in a diverse celebration of cultural influences.This comes after Sahel Sounds and Brainstorm’s collaboration and 7″, where Brainstorm covered the music of Mdou Moctar. - VIVIAN HUA

See all MUSIC-related picks

DANCE (cont’d)

Ten Tiny Dances

Saturday, September 8th @ 10:30pm
$10 Members / $15 General (Advance tickets with guaranteed seats available.)
This one-time event is an eternal favorite of TBA Festival. International, national, and local dancers perform intricate dances on a 4×4 foot stage, guaranteeing a sold out show every time. - VIVIAN HUA

Kota Yamazaki / Fluid Hug-Hug – (glowing)

Sunday, September 9th @ 8:30pm
Portland State University: Lincoln Performance Hall (1620 SW Park, Portland, OR 97201)
$20 Members / $25 General
This exploration of Japanese dancer Kota Yamazaki’s butoh training brings together six dancers from around the world to bring together, without words, avant-garde and traditional ideas. Also follows with an amazing workshop in butoh, which takes place at Conduit Dance on Friday, September 7th at 10:00am. - VIVIAN HUA

Faustin Linyekula / Studios Kabako – Le Cargo

Thursday, September 13th @ 6:30pm
Friday, September 14th @ 6:30pm
Saturday, September 15th @ 6:30pm
@ Winningstad Theatre Portland Center For The Performing Arts
$20 Members / $25 General
Congolese dancer Faustin Linyekula channels the deep-rooted hurt of his native country and turns them into hopeful movements with Le Cargo, his first solo dance performance. - VIVIAN HUA

Chelfitsch – Hot Pepper, Air Conditioner, and the Farewell Speech

Friday, September 14th @ 6:30pm
Saturday, September 15th @ 6:30pm
@ Washington High School (SE Stark, Between 12th and 14th, Portland, OR 97214)
$20 Members / $25 General / All Ages
In this uniquely Japanese theatre performance, Chelfitsch uses three vignettes to explore the underpinnings of daily work life in Japan. Abdurdist humor and bizarre body movements abound in this 65-minute feature. - VIVIAN HUA

PERFORMANCE (cont’d)

Ant Hampton & Tim Etchells – The Quiet Volume

Thursday, September 6th, 11:20-3:40pm (Starts every 20 minutes.)
Friday, September 7th, 11:20-3:40pm (Starts every 20 minutes.)
Saturday, September 8th, 11:20-3:40pm (Starts every 20 minutes.)
Sunday, September 9th, 12:20-3:40pm (Starts every 20 minutes.)
Tuesday, September 11th, 11:20-7:40pm (Starts every 20 minutes.)
Wednesday, September 12th, 11:20-7:40pm (Starts every 20 minutes.)
Thursday, September 13th, 11:20-3:40pm (Starts every 20 minutes.)
Friday, September 14th, 11:20-3:40pm (Starts every 20 minutes.)
Saturday, September 15th, 11:20-3:40pm (Starts every 20 minutes.)
Sunday, September 16th, 12:20-3:40pm (Starts every 20 minutes.)
@ Multnomah County Library (801 SW 10th Avenue, Portland, OR 97205)
$8 Members / $10 General / All Ages

Quiet Volume explores “the strange magic at the heart of reading” through an internal
experience at Multnomah County Library. It’s hard to imagine what Hampton and
Etchells have in store for their two-person-at-a-time audiences. - JAMIE WAECHLI

Andrew Dickson – Life Coach

Saturday, September 8th, 1:30-2:30pm
Saturday, September 8th, 3:30-4:30pm
Sunday, September 9th, 1:30-2:30pm
Sunday, September 9th, 3:30-4:30pm
Saturday, September 15th, 1:30-2:30pm
Saturday, September 15th, 3:30-4:30pm
Sunday, September 16th, 1:30-2:30pm
Sunday, September 16th, 3:30-4:30pm
@ The Mark Spencer Hotel Ballroom (409 SW 11th Avenue, Portland, OR 97205)
FREE / All Ages

Nowadays, who wouldn’t benefit from a little life coaching? Andrew Dickson offers a series of free public one-on-one coaching sessions. Anyone looking for guidance can apply to be one of Dickson’s subjects. Interested parties should email tbalifecoach@gmail.com. - JAMIE WAECHLI

Biljana Kosmogina, Petra Kovacic, East Rodeo – Perforations

Monday, September 10th, 8:30-10:30pm
Tuesday, September 11th, 8:30-10:30pm
@ Washington High School (SE Stark, Between 12th and 14th, Portland, OR 97214)
$15 Members / $20 General / All Ages (Pass holder reservations required.)
Perforations offers the unique opportunity to see contemporary Serbian and Croatian
artists engage in a trio of site-specific performances. - JAMIE WAECHLI

Keith Hennessy/Circo Zero – Turbulence (a dance about the economy)

Tuesday, September 11th, 8:30-9:45pm
Wednesday, September 12th, 8:30-9:45pm
Thursday, September 13th, 8:30-9:45pm
Friday, September 14th, 8:30-9:45pm
@ Imago Theatre (17 SE 8th Ave., Portland, OR 97214)
$20 Members / $25 General / All Ages
It’s not everyday that relevant political issues are explored through dance. Don’t miss
your chance to see the financial crisis embodied through Keith Hennessy’s Circo Zero. - JAMIE WAECHLI

Gob Squad – Gob Squad’s Kitchen (You’ve Never Had it So Good)

Thursday, September 13th, 8:30-10:30pm
Friday, September 14th, 8:30-10:30pm
Saturday, September 15th, 8:30-10:30pm
Portland State University: Lincoln Performance Hall (1620 SW Park, Portland, OR 97201)
$25 Members / $30 General / All Ages
Watch the Berlin based performers of Gob Squad question authenticity and incite audience participation through their re-creation of Andy Warhol’s 1965 film Kitchen. - JAMIE WAECHLI

Thu Tran – The Yes And No of Blacklight Food

Friday, September 14th @ 10:30pm
@ Washington High School (SE Stark, Between 12th and 14th, Portland, OR 97214)
$5 Members / $7 Genera
Host of the bizarre hyper-colored cooking show on IFC, FOOD PARTY, Thu Tran decided recently to hold everything she ate under blacklight. See the results via cooking demonstrations and dizzying documentation of her findings. - VIVIAN HUA

Laurie Anderson – Dirtday!

Sunday, September 16th, 7:30-9pm
Arlene Schnitzer Concert Hall: Portland Center for the Performing Arts (1037 SW Broadway, Portland, OR 97205)
$15-75 / All Ages
Celebrate TBA’s tenth anniversary at the closing event of the festival with the sounds and stories of internationally recognized performance artist Laurie Anderson. - JAMIE WAECHLI

MUSIC (cont’d)

Parenthetical Girls, Et Al. – (((GRRRLS)))

Wednesday, September 12th @ 10:30pm
@ Washington High School (SE Stark, Between 12th and 14th, Portland, OR 97214)
$5 Members / $7 General
Experimental pop musicians Parenthetical Girls pull in choreographer Allie Hankins, musicians Golden Retriever, and artist Jherek Bischoff in this large-scale interdisciplinary piece that pulls some ideas from a recent video shoot. Anything most likely goes. - VIVIAN HUA

Claudia Meza – Listening to Space: Sonic City PDX

Saturday, September 15th @ 5:30pm
Water Avenue Project Lot
FREE
Local musician Claudia Meza (Explode Into Colors, Japanther) brings together local musicians and sound artists in an audio tour of naturally-occurring sounds in Portland. This ten-day installation, based off QR codes, ends with a live outdoor performance featuring music by local ambient, experimental, and electronic artists like Daniel Menche, Luke Wyland of AU, Matt Carlson of Golden Retriever, Eric Mast (E*Rock), and more, including Meza herself. - VIVIAN HUA

Voices And Echoes – Akio Suzuki, Gozo Yoshimasu, and Otomo Yoshihide

Sunday, September 16th @ 5:00pm
Portland State University: Lincoln Performance Hall (1620 SW Park, Portland, OR 97201)
$15 Members / $20 General
Japanese experimental artists explore experiences in a bizarre cross of genres and artistic disciplines. Poet Gozo Yoshimasu reads his work alongside contemporary noise artist Otomo Yoshihide and Akio Suzuki performs solo on arcane instruments. - VIVIAN HUA

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Related posts:

1. TBA Festival 2012: Ant Hampton & Tim Etchells – The Quiet Volume Performance Review
2. TBA Festival 2012: Andrew Dickson’s Life Coach Performance Review
3. TBA Festival 2011 : Rude Mechs – The Method Gun

music art film review - REDEFINE magazine

TBA Festival 2012: Previews & Picks

Directed by Nabil

This title track comes from Cut The World, Antony’s new track which will be released on August 8th on Secretly Canadian. It is also one of many of Antony’s songs to be featured in The Life and Death of Marina Abramovic, a performance production centered around Abramovic’s death. (Antony himself, william Dafoe, Marina Abramovic, and Robert Wilson were all involved in this performance. You can see photos from it HERE.)

“Future Feminism”, the opening track on Cut The World, is not a song, but a straight-forward monologue from Antony about sexuality, politics, spirituality, and how it all relates to one another.

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Related posts:

1. Attenberg Film Review (Greece)
2. CocoRosie – “We Are On Fire” Music Video, “Tearz For Animals” Featuring Antony Hegarty MP3
3. Young Widows – “Future Hearts” Music Video

music art film review - REDEFINE magazine

Antony And The Johnsons – Cut The World / Future Feminism Music Videos (ft. William Dafoe, Marina Abramovic)