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Cassandra Tribe began translating her poetry into a visual medium in 2007. Her spoken word videos showcase not only her talent as a performance poet, but also her skill as a film-maker. Her latest video, Filemon, based on her companion poems "Baucis and Philemon" from her book The Greedy Heart, has led her visual work to be compared to that of Maya Deren. Filemon (2008 spanish w/english subtitles) < ------- Filmed in Albuquerque, New Mexico "the Rest of the World" is a synthesis of two separate works by Tribe. The short film opens against a backdrop of rescue tapes from 9/11 and then begins with "Quiet my Soul". "Soul" is spoken by the character of War and Tribe films the piece in a strange green format reminiscent of the Scud Missile films of the Gulf War. From there, she brings out her cast of characters and performs "the Rest of the World". Backed with a driving dance tune, her characters ask "What story will be ours to tell?" Her performance in "World" has been called mesmerizing and the content of the film, haunting and disturbing. ------ "Ugly Diamonds" marks the first spoken word video in which Tribe began to use masques to delineate the characters of her story. Popular with audiences worldwide, this strange tale of the ugly duckling has gone viral throughout Asia and been featured on a variety of sites.
------ "The Cradle, The Lamb" is a slow revelation of grief and hope. Filmed entirely within the small RV Tribe lives in, the swinging frames capture the moment's of a woman's prayer to God for strength through all she does not understand. This video has been featured on several sites dealing with infant mortality and been used in grief counseling groups. | ee |
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Filemon (spanish w/english subtitles, 2008)
part I
part II
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Roselee Goldberg states in Performance Art: From Futurism to the Present: "Performance has been a way of appealing directly to a large public, as well as shocking audiences into reassessing their own notions of art and its relation to culture. Conversely, public interest in the medium, especially in the 1980s, stems from an apparent desire of that public to gain access to the art world, to be a spectator of its ritual and its distinct community, and to be surprised by the unexpected, always unorthodox presentations that the artists devise. The work may be presented solo or with a group, with lighting, music or visuals made by the performance artist him or herself, or in collaboration, and performed in places ranging from an art gallery or museum to an "alternative space", a theatre, cafe, bar or street corner. Unlike theatre, the performer is the artist, seldom a character like an actor, and the content rarely follows a traditional plot or narrative. The performance might be a series of intimate gestures or large-scale visual theatre, lasting from a few minutes to many hours; it might be performed only once or repeated several times, with or without a prepared script, spontaneously improvised, or rehearsed over many months." |
the cradle, the lamb (2007)