Terminal

Often times, people have a difficult time coping with really sensitive topics and raw emotions. Still/Here, a show by Bill T. Jones, was violently criticized by Arlene Croce in her 1994 New Yorker review. Still/Here features terminally ill patients who have a myriad of ailments varying from AIDS to severe cancers. A clip of the show that was posted on the page features an emotional production that uses multi-media to relay certain messages and emotions to the audience. For example, the woman talking about how she was going to fight her disease and the man drifting in and out of consciousness shows the audience how challenging and life-consuming a serious disease could be.

It is unfair that Croce considers this as “victim art”. The categorization of certain works of art as “victim art” is unfair and unjust. It is coincidental that what we are talking about now relates to The Death of Klinghoffer. The opera would have to be considered victim art by Croce as well because an innocent, handicapped man who was murdered in cold blood would have to evoke feelings of sympathy for the audience. As we were discussing earlier in the year, art could be defined as many things. Some people may view it as a lie, but others may view it as controversial. It is naive to think that art cannot be controversial or perceived as victim art when it could be very well based on current events or social problems.

Bill T. Jones made a bold move by producing Still/Here. Of course there is a fine line and a great risk when making art works that may be seen as controversial to viewers, but Jones delivers a loud and clear voice in his show. Just from the clip, viewers could see that the dancers are truly captivating and effectively show feelings and thoughts that words alone cannot express. Croce falsely identifies the dance as “victim art” but it deserves much more recognition than a simple categorization. Still/Here delivers a powerful and emotional message that effectively gives its feelings of sorrow and suffering to the audience through the dance’s imagery.