Intimate Visualities: Intimacy as Social Critique and Radical Possibility in Kyle Abraham and Carrie Schneider's Dance Response Project's I am Sold and Blood on the Leaves

Stephanie Leigh Batiste

doi:10.18061/ijsd.v9i0.6400

Abstract

Choreographer and dancer Kyle Abraham and photographer and filmmaker Carrie Schneider position intimacy in screen dance as an affective hailing to viewers. The intimate visualities they achieve serve as an opportunity to critically hypothesize ways of being in community and understanding black visual relationships to subjectivity. In both explorations of meaning a production of close relationships to others, to notions of selfhood, and to blackness animate a radical love of others and of self. Their collaborations, the Dance Response Project, subtly, but powerfully tap persistent modes of black being and of theorizing the social new to creative discourse.

Highlights

Choreographer and dancer Kyle Abraham and photographer and filmmaker Carrie Schneider position intimacy in screen dance as an affective hailing to viewers. The intimate visualities they achieve serve as an opportunity to critically hypothesize ways of being in community and understanding black visual relationships to subjectivity
Kyle Abraham’s and Carrie Schneider’s I am Sold and Blood on The Leaves turn an intimacy of feeling in cultural production towards a reconsideration of social history and possibility
In a manner consistent within Abraham’s concert choreography, Blood on The Leaves carries its concern with violence across eras, forms, and media

Summary

Introduction

Choreographer and dancer Kyle Abraham and photographer and filmmaker Carrie Schneider position intimacy in screen dance as an affective hailing to viewers. Intimate Visualities: Intimacy as Social Critique and Radical Possibility in Kyle Abraham and Carrie Schneider’s Dance Response Project’s I am Sold and Blood on the Leaves

Results

Conclusion