CHORUS GIRLS is a deep dive into choreographed movement for large groups of women, across different decades and eras. It's an exploration of time, genre, and gesture. And, of course, history. This project comes from an on-going curiosity regarding the very narrow spaces that have been created for female excellence, specifically physically. This is highlighted in familiar moments, ex. the difference in how female and male gymnasts fill time differently with gesture. For this Studio Week, I'm less interested in how this appears in the individual (like the gymnasts), and most eager to dive into the work of groups of women with distinct physical vocabularies The Rockettes, Beyonce's back-up dancers, 1950's airline flight attendants, etc.).
This week In exploring Chorus Girls alongside workshop prep for Helen., I keep coming to the question: How do the histories of female unison movement live in our familiar spaces? Seeking out surprising moments of group strength in unexpected places, which often seem tied to collective (rather than individual), spaces where the building is collaborative rather than competitive. What are the different rules of sharing space in some of these locations? Which histories are alive and visible in how we share outdoor city spaces?
Violeta Picayo
