Xavier Le Roy’s work gained recognition in contemporary, international dance circles after he finished a Ph.D. in Molecular Biology — which may explain the rigor and experimental focus of the work. His Retrospective, a three-month installation at MoMA PS1 in Long Island City, emerges as a loop of discrete personal narratives textured by traces of his and each individual dancer’s past endeavors. – G.G.
La Francofolle: You said about Retrospective that Le Roy “…pulled it off.” How do you mean? One dancer, in fact, pulled off a sweatshirt during his dance-talk, then wriggled back into it. Could that be a reference to ambivalence about his revelations?
Gregory Grube: Le Roy turned on its head the notion of a culminating look at an oeuvre, he turned it — upside down and inside out — as one of the performers sang to us. This allusion to Diana Ross demonstrates how many plot twists the provocative Retrospective can produce. Sherwood Chen, the dancer who sang a snippet of the disco hit, also spoke eloquently about his own work on Min Tanaka’s farm, studying with Anna Halprin on September 11, 2001, and about the breakup that caused his departure from the U.S. to study court dance in Java.
Chen also showed us contemporary Senegalese choreographers’ work, and the piece by Le Roy with the sweatshirt, Self-Unfinished, where the dancer’s body is transformed into something animal or alien by simply taking a garment and using it strangely. Through this interplay, form becomes about otherness, unfixing the sign to catalytically release some locked up energy. In the end, Chen’s monologue risks hardly being a retrospective at all, but a global performance collage that each viewer is invited to frame on their own.
Ff: In France, “le rétro” is in. But what’s French about this Le Roy dance direction?
Gregory Grube: In the US, the ballet tradition and modern dance traditions were the dominant poles that provided ground for a revolt in the post-modern era. In France, propensities for philosophical debate and political insurrection, combined with knowledge of our artistic coups in the 1960s, perhaps opened an avenue for making performances that manage to be both idiosyncratic and poignant conceptually, deconstructing how dance can Continue reading