michael j. morris


Purple Wedding to the Mountains Video

The Love Art Laboratory just posted the video from the Purple Wedding to the Appalachian Mountains. You can view it on their website, or here:

The Purple Wedding to the Appalachian Mountains was produced on 6 November in the Galbreath Chapel at Ohio University. As part of the wedding, I premiered my solo “Re-Membering the Mountains” (which I’ve written about here, and portions of which can be seen in the LAL video). I will be performing iterations of this solo at the Battleground States conference at Bowling Green University the weekend of February 25-26, and again in the OSU Department of Dance Winter Concert March 3-5.

Watching this video I am filled with love and ecosexual enthusiasm. I’m hopefully taking a drive down to Athens next weekend, for various reasons, but with an excitement to be situated once again in that landscape, to be ensconced in the mountains that I married that stretch up into Ohio.

Enjoy the video. Love the mountains and the earth.

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Recent and forthcoming work

Where to begin? My dear friend Mara commented to me the other day how long it has been since I’ve posted things here. Partly, if I’m honest, it’s that I have a difficult time right now spending any more time in front of a computer than I have to. But there’s also something to do with the scope of ideas. I feel like my ideas of too big at the moment, and the bundle of threads knotting them together feels just out of reach. I wrote another term paper this autumn quarter exploring/theorizing ecosexuality, this time drawing correlations between my previous explorations of a theory of ecosexuality, Tantric philosophy, eroticism (as discussed by Georges Bataille), and Butoh. It was a culminating point in one sense, in that I finally articulated how these ideas/lines of inquiry live in and alongside one another in my thinking/understanding. But it was also a big start of something, of finally putting these various paradigms in the context of one another to really see what it is I’m getting at. I don’t know if the paper itself is entirely successful, but I do want to share it here:

pulsing through and between, I am that

I’m not sure what the next steps for these ideas will be. I do know that the next quarter is going to be intense in its creative/research output, and I feel certain that those projects will be related to these ideas.

I am performing my solo “Re-Membering the Mountains” twice more in the months to come: In February, I have submitted this piece to the Annual Battleground States Conference at Bowling Green University. The conference is entitled “Collapsing Cultures and Darkened Dreamscapes: Societies and Imaginations in a State of Disorder,” February 25-26, 2011. I am presenting the piece as part of a panel address the Purple Wedding to the Mountains and performative ecosexuality. I was invited to present on this panel by two colleagues who also performed as part of the Purple Wedding, Erin Paun and Jp Staszel:

Erin and Jp at the Purple Wedding to the Mountains

I  will also be performing that solo as part of OSU’s Winter Concert (details forthcoming).

Another performance project with which I am involved is a solo entitled “Marriage,” originally choreographed and performed by Mair Culbreth in 2005. Mair Culbreth and Nicole Bauguss are having a month-long exhibit at the Urban Arts Space entitled “domestic matters: a performing installation.”

domestic matters: a performing installation

More details for this project will come later (I hope to write a bit about the process from the inside of the choreographic/rehearsal practice). The dates for the show are March 1-31, with performances throughout. Already I find the process fascinating: Mair and I spent time discussing the original context and content of the solo, then together devised a score for the piece based on the original. From this score, I choreographed movement to function within it. We will begin to rehearse/revise/edit/etc. in the new year. I’ll keep you posted.

I am also rehearsing my own reconstruction during the winter quarter, a piece entitled “Sketches of Shame” that I choreographed in 2007 with myself and Clara Underwood. The new version will retain the intention and some vocabulary from the original, reworked and recontextualized in my current situation  and research. You can see the original vocabulary from which I’ll be working here:

I will be working with Daniel Holt, reconstructing this original material, and developing additional material exploring the corporeal situation of shame within a context of sexuality and sexual expression. Again, more details will be forthcoming, but that will hopefully offer a sense of the spectrum of what I’ll be working on.

I have also submitted a paper I wrote last year entitled “The Phenomenal Conflation of Dance/Dancer/Author/Reader/Text/Trio A/and Me” to the 27th Biennial International Council of Kinetography Laban/Labanotation Conference being held at the Institute for Musicology, Budapest, Hungary August 1-6, 2011. I will hopefully find out in January or February if the proposal is accepted.

That is a sampling of work that is both recently completed and forthcoming. I think I might make a separate post sharing some other ideas/inspirations that I am considering right now.



Purple Wedding/Re-Membering the Mountains/S(he) Sylph

What a week of work. I hardly have time to be writing this (I am certain it is tedious how frequently I start blog posts by saying that I don’t have time to be blogging), but I don’t know how to go on to other projects without giving (at least some) attention to these.

Yesterday was the Love Art Laboratory’s Purple Wedding to the Mountains. I participated in various capacities: I performed a new solo entitled “Re-Membering the Mountains Ritual” (see previous post and below), I was a member of Beth Stephens’ bridal party, and I carried an Ecosexual Pride Flag in the procession. I had the opportunity to meet so many amazing people (artists, academics, activists, people who make their home in the Appalachians, eco-chaplains, sex workers, curators, videographers, photographers, etc. etc. etc.). The wedding was a beautiful event held in the Galbreath Chapel on the Ohio University campus. It is my hope that the web will soon begin to flourish with documentation traces from the work; there were always so much cameras (video and photo) running.

Beth Stephens, Joseph Kramer, and Annie Sprinkle; photo by Sarah Stolar (who also made the costumes for Beth and Annie)

Having written about Love Art Lab, Annie and Beth, Sexecology/Ecosexuality so much for so long, it was a profound shift for me to be inside of the work. Several brief thoughts spring to mind:
-the absolutely collaborative nature of the wedding(s). Beth and Annie have spoken about this so much, and although it is evident in the wedding documentation/ephemera, it was a arching theme in my experience this weekend. The event really lives from/between the contributions of many many individuals.
-the unique diversity of the community constructed surrounding the event. I was struck by the range of backgrounds/experiences represented in the wedding, both as performers and as witnesses, and the reality that many of those individuals would have no reason or opportunity to function as a community otherwise. It felt like an ideal demonstration of coalitional politics and communities of affinity: there was no shared essence or pervasive common denominator in those present. There were simply common concerns (primarily for the Appalachians and environmental politics) that established this [fluid] community.
-the generative creative chaos leading up to the event. There were amazing facilitators and organizers involved, but with something of this scale, we were soon behind schedule and I wasn’t sure how the wedding would happen/start on time. And then it did. And it suggested a different way of approaching work/art, a more spontaneous method for creative convergence.

My solo (discussed more extensively in my previous post) was very well received.  There was a lot of documentation happening, so hopefully there will be a video/more photos soon.
I made a few new discoveries as I was dancing. The score expanded. It was certainly an incorporation of environmental melancholy, and a practice of experiencing grief for the destruction of the mountains (and the lives that depend on the mountains), but in a very queer ecofeminist way, it became an incorporation of a deep sorrow for other apparatuses of oppression: the abjection of queer lives as unlivable, the exploitation of women, the earth, and all those who suffer as “others.” I experienced a deep grief that I did not foresee, and my melancholia was for so many things that go ungrieved in our culture. I was brought again to Catriona Sandilands words: “how does one mourn in the midst of a culture that finds it almost impossible to recognize the value of what has been lost?”  In a culture that does not recognize the loss of livability, whether that be for queer people or the inhabitants of the Appalachian mountains, how can we grieve? [this was made even more palpable having read Foucault on biopolitics and Agamben on bare life last week] Unlike what I had prepared, I do not think I reached a state of mourning–if mourning is distinguished from melancholia, the latter being an inability to let go of that which is lost, the former being an act of moving through/letting go. Against so much of my yogic/Tantric philosophy, I did not let go. I incorporated the violence/terrorism of these un-grieved (the mountains, etc.) to carry them with/in/as me. I “re-membered” the mountain, I ended drawing myself up into Tadasana, but it was not an uncompromised form: the mountains cannot ever be what they were before the onslaught of human violence, and we now live in a world of wounds [“One of the penalties of an ecological education is that one lives alone in a world of wounds.” –Aldo Leopold]. We live in/from/as wounded mountains, and oppressed peoples, despite whatever liberties they attain, carry the history of oppression, of abjection. For me, in the wedding yesterday, there was no “letting go.” There was in incorporation of “the other,” a recognition that it (the mountains, the other, etc.) is NEVER NOT myself. In the ecological/Tantric sense, if all things are One, then that violence, that terrorism, that world is the world in which I live, which is (phenomenologically) the world of my body.

Photo by Elizabeth Linares

Lastly, I feel the need to write something about Courtney Harris’ new work that premiered this week, S(he) Sylph. To be transparent, I am close to this work. I designed and constructed the costumes, I have seen it grow and evolve throughout the rehearsal process, and I live with Courtney. But I saw this work as a great (even radical) work on so many levels, and before another week begins, it was important for me to articulate why.

To begin with, S(he) Sylph was “a contemporary re-imagination of the 1832 ballet, La Sylphide.” The press release goes on to describe it as an investigation of “the complexities of narrative and character development through modern movement vocabularies grounded in a classical idiom. Joined by members of the Royal Renegades, Central Ohio’s premiere drag king troupe, Harris and cast reinvigorate this Romantic-era production to explore gender transgression, queer identity, and feminist perspectives.” Although I feel that the piece stands bolding and beautifully on its own, this context adds something to what I consider to be its radicalness. Contemporary creative reconstructions are a growing interest in the field of dance. I view them as a practice concerned with “doing history,” potentially revisionist, reflexive of the field/form, and depending on the relationship of the choreographer enacting the reconstruction to the “original,” a practice of recuperative autoethongraphy. In Harris’ case, this is a familiar historical ballet. She has danced the “original,” and it lives as an artifact of a particular epoch within her particular [dancing life] history. To revisit, reprocess, revise, and recreate this work functions as more than just an exercise in reconstruction or historicity; it is–in my estimation–a radical act of exploring/generating divergent (deviant?) perspectives and conclusions to one’s own history, as well as the history of the particular ballet. This is part of the context in which I have viewed the work.

In this feminist/queer re-engagement with the Sylph, issues that had to be confronted were primarily in the narrative and character definition, although movement vocabulary, setting/situation, and music were reconsidered as well. The figures of S(he) Sylph are more abstracted than those of La Sylphide. The narrative as I experience it is the presentation of “James” within the context of hyper-masculine men in which he does not quite fit [this hyper-masculinity itself becomes subverted/displaced as the piece progresses, and this gang of guys are revealed as drag kings. I saw this an amazing demonstration of gender as performed, and even the most masculine of men, the standard in this context, become revealed as not essentially that which they perform. This functions for me more as a symbolic plot supporting the more foregrounded narrative of the “James” character] [As the costumer, I want to to comment on how “James” is presented alongside the kings: they are in suits with shoes. He is in a black military jacket trimmed in gold (suggestive of the gold throne around which the kings congregate–for me a symbol of a masculine grounding, and the field of hanging gold frame–for me a symbol of that which must be crossed over/transgressed; it hopefully alludes to a military history of domination, Orientialism, Western superiority, patriarchal occupation, and “othering”) and a kilt, suggestive of the Scottish “James” of La Sylphide, but also functioning to distinguish his performance of masculinity within the context of the men he is alongside. We see hints of dark purple chiffon at the cuffs, collar, and tail of the jacket, suggestive of some additional content]. With the departure of the group of guys, “James” trailing behind them, a mysterious woman (“Madge”)–who has been standing in observation for the opening of the piece–enters the space. Her vocabulary echoes aspects of the first movement with the drag kings and foreshadows the vocabulary of the “Sylph.” She is serpentine and sinuous, and I feel her strength into the floor and through the air like the coil of a boa constrictor. She is regal in her carriage, but her regality is not the flawless linearity of the court ballet. [Again, as the costumer, I want to comment on the presentation of “Madge”: for me, she is the cyborg/composite/queer figure; she wears a black military jacket, reminiscent of the jacket worn by “James” with similar trimmings attaching her to the gold elements of the set and the implications of its military elements, but her jacket is trimmed in ruffles, subverting the design and function of a military jacket (a possible allusion to the feminization of the military persona, the threat implied by “Don’t Ask, Don’t Tell,” etc.); she wears men’s Calvin Klein briefs, an inhabitation of an intimately male attire/position, and possibly engaging with a discourse of having/being the “phallus;” beneath her jacket is a hint of black lace; and her jacket is bustled with various colors of chiffon, tassels, lace, and chains, a foreshadowing of a relationship with the materials of the “Sylph;” She is never only one thing; she is internally inconsistent, contradictory in her demeanor and design] Perhaps most importantly to me, she is a figure of mystery: we know that this figure watches/observes much of the action on stage, and there are moments in which she participates in the action between “James” and the “Sylph,” but her role is never perfectly clear, and this ambiguity is another facet of how I read her character as potentially queer. The “Sylph” enters, and we see her move in synch with “Madge;” we are shown/given the opportunity to read a correlation in these figures/characters. Some scholars have suggested various configurations of relationship between “Madge” and the “Sylph” in La Sylphide, and I feel as if this suggestion of relationship continues in this speculation. There are obvious similarities and disparities between these two [again, as costumer: with the “Sylph,” we are confronted with what might superficially be identified as simultaneously the archetypal feminine and the exoticised “other” (calling up suggestions of Latin or show hall dancers). She is a veritable cloud of purple chiffon ruffles, bouncing, drifting, and rippling through the air. Yet my own feminism is at play in the design: her figure is partially obscured. The dress design is taken from a 1930s frock, more of a sheath with a flounce, not accentuating her curves or immediately revealing her body, but provoking the viewer to go looking for her form amidst the ruffles (amidst the expectations of her form?), and perhaps in doing do reveal to the viewer his own attention to and participation in the economy of desire surrounding the female form]. Her movement is easily the most balletic, making reference to yet another history of feminine ideals. In a duet between “James” and the “Sylph,” he chases behind her, looking after her but never directly laying eyes on her, moving through suggestions of her movement as if tracing her traces in the air. The relationship between “James” and the “Sylph” is perhaps the most radical departure from La Sylphide. In Sylphide, James’ desire for the Sylph drew him outside of his engagement to be married, outside of his community (it functioned in some ways as a morality tale, warning against the wiles of the exotic); yet in S(he) Sylph we are shown not specifically a trajectory of desire, but something more like identification or inhabitation. “James” traces the “Sylph” in the air not in an effort to acquire or attain her as an object of desire, but to suggest her form as himself.

In the middle section of the piece, the trio of “Madge,” “James,” and the “Sylph” dance together, “Madge” seeming to mediate the nature of contact between the other two, moving them through space and inhabiting the space between them (again, this “between-ness” can function as a significant factor in considering the figure/character of “Madge”). The “Sylph” exits once more (beyond the frames: the frames function as some kind of divide, accentuated further in the following section. Madge and the Sylph initially emerge from beyond the frame, from an “other” place, and this is to me significant), and now the piece becomes even more interesting.

Erik Abbott-Main as "James," Jessica Zeller as "Sylph" and Veronica Dittman Stanich as "Madge," set pieces by Nicole Bauguss, costumes by Michael J. Morris

Behind the frames enter the drag kings, now in various states of undress, situated liminally between the recognizably female and the recognizably male (I might suggest here Butler’s account of the subversive potential of drag in the destabilization of sedimented gender roles; I might also suggest the spatial/symbolic consistency of the undressed drag kings being situated beyond the frames). “Madge” removed “James'” kilt, and the kings, reaching through the frame, assist in removing his belted jacket. A new version of “James” is revealed: flowing purple chiffon blouse (yes, the same chiffon from the Sylph’s dress and Madge’s bustle) and black men’s Calvin Klein briefs (yes, the same cut as those worn by “Madge;” it is my hope that the correlation not only draws a connection between “James” and the bricolaged condition of “Madge,” but might also raise question of how he inhabits this intimate ‘masculine’ space, one which has been demonstratively inhabited already by “Madge;” what does it do for him to now also inhabit that space?). The “Sylph” reenters and he dances alongside her, now finding a consistency with her movement that he did not find alongside the kings in the opening scene. He dances alongside her, and even when they partner (briefly) it is not is the idiom of the pas de deux; it is along trajectories of sameness and shared vocabularies. “James” is now performed/demonstrated in the terms of the “Sylph,” becoming (rather than desiring/acquiring) those tropes of “otherness” established in the figure of the “Sylph.” His kilt and jacket disguarded (now hanging from the gold throne), he passes through the frames, following in the traces of the “Sylph” as the light come go down. Our last image is “Madge” atop the throne, what I choose to read as an enthronement of ambiguous, liminal, even queer [gender] identity atop/above/against the masculinist paradigm.

So much of this explication has to do with what/how the piece means for me, which says very little of the strength of the dancers (Erik Abbott-Main as “James,” Veronica Dittman Stanich as “Madge,” and Jessica Zeller as the “Sylph”), nor the exceptional craftsmanship of the choreography. Nor the excellent performances/participations of the Royal Renegades as the drag kings in the piece. But as this piece has marked a significant investment of my time, energy, and attention over the last few months, I wanted to contribute my own reading of the work to whatever other dialogues emerge around/about it. I don’t take my reading as authoritative in any way, nor does it necessarily represent Courtney’s reading of her work. It is simply how and what the piece means to me as a designer and spectator.