Project Description

This Dancerie: The Paris Project
A collaboration project by Tony Whitfield, Sebastiano d'Ayala Valva, Klaus Fruchtnis, Thierry Micouin, Nils Nusens, Patricio Sarmiento and Andrew Alden


This Dancerie is a multi-event, multi-site, multi-media work that explores the ways in which gay men have created public expressions of desire despite mainstream prohibitions of manifestations of those aspects of their lives in the context of Paris as a complex historical cultural arena for this exploration.

The pretext of This Dancerie is urbanization as a prerequisite for homosexual subculture and the understanding that despite the absence of “gay ghettos, ” gay men developed and carried on forbidden lives in public it cities around the world. This Dancerie focuses on Paris as a cross-road of queer life in which, although, technically, homosexuality was legal since 1791, decency was legislated and under surveillance.

This Dancerie will create a series of foci on Paris as a site of refuge for queer men and the environments they historically frequented. Particular attention will be placed on developing narratives that include a range of differing intersections of class, race, creeds, ethnicities and gender the collaborators will develop a movement based-work for male groupings drawing upon culturally specific traditions. The role immigration plays in these narratives will also be underscored.

This Dancerie is a multi-event, multimedia collaborative work under the artistic direction of Tony Whitfield. This project will be a collaboration between Whitfield, as Executive Producer and Artistic Director, Thierry Micouin as Director of Choreography, media artist Klaus Fruchtnis as Technical Director, fashion designer Patricio Sarmiento, filmmaker Sebastiano d’Ayala Valva and composer/musician Nils Nussen, all from France and composer/ musician Andrew Alden, and filmmakers Joe Lumbroso and Dyana Winkler, from the United States. Eight to ten sites across the City where same sex desire has created a shifting landscape of criminalized activity, class-complicated entanglements, immigrant freedom, forbidden commerce, transgressive beauty and encoded seduction will be the context for short filmed dance/movement based narratives since 1870. Each three to five minute films will begin with a cruising ritual and be filmed in those spaces. For several evenings the films will be presented in situ as projected images activated by passersby movement. Ideally these installations would be debuted as part of Paris’ La Nuit Blanche in 2017.

These films would then be brought together into a single space to produce an additional evening long performance or “dance party” that would be digitally randomized and improvisationally scored for classical ensemble and world pop musicians. Ideally the space would be situated in a cultural center and include a live performance component that involved local gay residents. Various forms of social media will be employed to augment and reveal aspects of the project's narrative content during the culminating dance party and its scatter site installations.

Several aspects of this project should move it beyond the context of performance based works that explore cultural identity and history. They include: the site specific nature of the public installation that will seek to revive unknown queer histories in ways that immerse the audience in the projected work; the creation of apps that will allow the participant to access deeper know of the history behind the narrative they have stumbled into as well as information about the artwork itself and other components of the work at other sites across Paris as well as multifaceted entries into the "dance party."

It is anticipated that audiences for This Dancerie will include: post modern dance, experimental music, expanded cinema, public art and contemporary performing arts audiences. In addition general public members who are attending events associated with Paris' La Nuit Blanche 2017 and local commmunities adjacent to the various sites in which This Danceries' short constituent works will be situated.This project will seek to engage LGBTQI populations including scholars, artists, performers and youth. Social media, print and electronic media associated with La Nuit Blanche and the venue that will host the culminating event will be drawn upon in addition to apps established specifically for This Dancerie.

The primary goal is to reveal the queer past and present of Paris as an urban geography that has been multifaceted, ethnically, economically, and culturally diverse while also revealing those aspects of queer life that defy normalization, concealment behind closed doors challenge notions of "decency" are tied to desire and find expression despite histories of policing and surveillance. In addition this work will seek to engage collaborative, improvisational and interactive structures and technologies to create social points of entry and discussion among various queer communities across Paris and beyond as a means of expanding current discussions about same sex desire.


Thursday, March 26, 2015

Food For Thought: Gay and Muslim in Paris

Straight in Dakar, gay in Paris

 BRENT MEERSMAN
"I felt I had a white man's disease," he said. As everyone knows, there are no local cures for white men's diseases.
Being openly gay can be a death sentence in many countries, so it often remains in the public closet.
Musa grew up in Dakar, where his parents lived. They were Wolof, and from an even more elite minority within the Wolof: they were property developers. His parents were moneyed, socially well positioned and Muslim. To have un pédé [a faggot] for a son would be a catastrophic disgrace. Even his mother didn’t know, not even in that “not knowing but knowing” way mothers of gay children acquire. Besides, it was against the law in Senegal.
He went to a privileged boys-only school, but his childhood was lonely. He learned to hide his feelings. He lived in terror of exposure.
“I felt I had a white man’s disease,” he explained. It was deeply wrong, woundingly shameful. And as everyone knows, there are no local cures for white men’s diseases. Panic-stricken, Musa started having girlfriends.
But the fantasies about men returned. He couldn’t help feeling aroused, rubbing shoulders at sports, at football in the changing rooms, noticing handsome strangers passing on the street, catching an eye here and there.
He fell quietly in love with one of his uncles. He had erotic dreams at night.
Yet trying to actually picture himself physically with another boy was awkward. He couldn’t figure out how exactly men could copulate. Thinking about it frightened him. He put the idea away. Perhaps he was cured.
After schooling, he went to Paris to complete his economic studies, attending Sorbonne Nouvelle University. One day, a classmate, a white French boy, made his sexuality public by giving a male friend a lingering, exhibitionist kiss in front of everyone in the canteen. At first Musa shunned him, then he became curious. He furtively arranged to meet the boy for a drink. That night turned out to be the first time.
Soon, Musa was having a lot of sex with men. He met all kinds of people. Today, he knows scores of gay people, also through his business, which brings him to Paris regularly.
His parents export African cloth to France. They keep a stall at the Porte de Clignancourt market. He lives close to it, in the 18th arrondissement, a colourful and cosmopolitan area that includes Pigalle’s Moulin Rouge and the red-light district.
I asked Musa if he has met other gay black Africans while in Paris. He said he has indeed, and it does make him feel better about himself. Many of them have opted for a completely gay lifestyle and are what people call “coconut queens”. Some of the less educated even use Dax hair pomade, and he knows of at least two men who use Tenovate cream for skin lightening, though they claim it is to hide blemishes.
Musa’s life in Paris is irreconcilable with how he sees himself when living in Dakar. He knows of one or two closeted cafés in his home city where homosexual men go but, he said, he’d never think of setting foot in such dens. He is not gay, he is “un homme qui a le sexe avec les hommes, you understand?” A man who has sex with men. Gay is some white thing; it isn’t even particularly French. I got the impression he slightly looks down on “gays”.
We had finished our falafel. I hoped this wasn’t goodbye. “You know,” he said, “I have never told my story before. Not like that, from how I came here.”
I asked him if he wanted to meet up again that night; we could go to one of the big clubs on the Champs-Elysées – my treat. “Only if I can fuck you proper, comme animal.” He chuckled wickedly.
In Dakar, he is straight; in Paris, he is gay. In both worlds, I suspect he is as yet unfulfilled. As a successful, erudite young man with international connections, he is immune from family suspicion.
I wondered, silently, if this double life fragmented his personality – made him Jekyll and Hyde. Is his straight life in Dakar more than an elaborate deception? Could it really in fairness be described as a lie? Or is it simply we who are confused?
As we left the restaurant, he said: “You know, I am thinking of going into politics.”
His family is well connected, and he has a good education with a university degree. Doubtless he even knows some political people in Paris.
“But that means public life. Media scrutiny,” I pointed out. “And enemies without principles.”
Musa was smiling.
“You know, you should come to Dakar, to my wedding. It is next month.”
Brent Meersman is a food writer and novelist. This is an extract from his latest book, 80 Gays Around the World, published by Missing Ink

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