At top: an image of Bill T. Jones and Arnie Zane who co-founded the Bill T. Jones/Arnie Zane Company. In 1988 Arnie Zane passed away and his death inspired Bill T. Jones to create the survival workshops and his great work, Still/There.
At middle: The Incredulity of Saint Thomas by Caravaggio features "doubting Thomas'" response to Jesus Christ's resurrection, as narrated in the New Testament of the Christian Bible.
At bottom: a panel from Fun Home, subtitled A Family Tragicomic, which is a 2006 graphic memoir by writer Alison Bechdel, author of the comic strip Dykes to Watch Out For. Her website, Dykes to Watch Out For is here.
Class featured artists who identified as members of the LGBTQ+ community.
In 1983, Bill T. Jones and Arnie Zane first formed their dance company, which is still in performance today. However, in 1988, Arnie Zane passed away. At that time, Bill T. Jones decided to work with the survivors of illnesses. In so doing, Bill took the stories of these performers and used them and their movement for the basis of the dances in this production. Some critics found this piece to be incredibly moving, others called it victim art and claimed Bill T. Jones was taken advantage of others pain. How do you perceive the use of people's personal stories of grief and pain for art? Is the utilization of their stories paying tribute to or objectifying their pain?
In class, we took a close look at The Incredulity of Saint Thomas by Caravaggio. As explained by Professor Solomon, the Baroque period featured some passionate artwork. How does this artwork exhibit the passion and identity of the subjects within the painting?
Fun Home is the title of Alison Bechdel's orignial "graphic memoir," and the adaptation of her book as a musical; both are autobiographical in nature. We looked at fragments of Bechdel's life as seen in a few comic style panels and in the song "Ring of Keys". In "Ring of Keys", Alison realizes she is not 'broken,' and is relieved to realize that there are other people like her in the world. Do you recall a moment when you realized something pivotal or fundamental about your own identity? How has that moment affected who you are today?
The comic panels viewed in class featured language by an 'adult' voice reflecting back on a childhood memory. The musical adaptation however, featured the child version of Alison's voice. How were they different? Did you find the comic or the musical more effective? Why?
As shown in all three components in today's class, non-verbal cues or gestures convey a great deal about our identity and personal expression. In your personal life, can you remember a specific gesture another person exhibited that shaped your identity as a person or had great meaning to you. What was the gesture and what was it's significance in your personal life and identity?
What about the content of today's class did you especially appreciate and why? In what way were the stories told in class today either similar or different from those heard in previous classes?
This post is open to Group D, last names Sj-Z and will remain open until 10pm on Saturday.