'TWO DANCING FIGURES'

[untitled] 1989, Painted Aluminum sculptures by Haring displayed in Lower Manhattan. 

Source: NYClovesNYC

NO EVIL

Ignorance=Fear,Silence=Death  Haring, 1989

As briefly mentioned within the introduction into Haring’s work, Haring featured many political and social commentaries within his work. This ranges from the election of President Ronald Reagan to a light hearted campaign ‘gays against facial hair’ (in which he is said to have stencilled this slogan upon buildings across New York).

Throughout his career Haring’s work featured issues such as the use of drugs, sex, life, death, pollution, war and the AIDS epidemic. 

Particularly after Haring’s diagnosis of the AIDS virus his work  built upon creating an awareness for the public to the issues surrounding HIV and AIDS. Working alongside ACT-UP the AIDS activism group, Haring created the slogan and logo “Ignorance = Fear, Silence = Death” (above) featuring three figures; one covering eyes, the second ears, and the third the mouth referring to the well known ancient Japanese proverb of the three wise monkeys who "see no evil, hear no evil, speak no evil". Within his interpretation of this ancient proverb Haring refers to Western culture's interpretation which widely is used as means of referring to those who may deal with evil or impropriety by not acknowledging it or feigning ignorance.
This same interpretation of the proverb of the three wise monkeys shall be used within the final film Radiant Baby Manifest through the exploration of semiotics.

The study of semiotics (or semiosis) is the science and theory of signs and symbolism and the analysis of systems of communication such as language and gestures,  Professor Gary Shank of  Duquesne University defines semiosis as the process of rendering our world as meaningful and significant (Shank, G., 1995).

Within this particular medium of dance the language used being a non-verbal form instantly falls into a question of interpretation and semantics. Therefore a clear, calculated methodology in creating movement vocabulary should be used in order to communicate clearly the intended theme of ignorance in relation to the proverb of the three wise monkeys.

Gestural movements featuring the dancers covering their eyes, ears and mouths for example create a strong image that holds clear relation to the proverb. However it shall be the movement surrounding these gestures that shall create force in interpreting the overall theme of the film. 

Whilst viewing dance and art the audience is enabled to make an informed interpretation of the contents or meaning of the work due to the display of vocabulary of the language used (whether this be textual or physical). This usually is displayed through the use of a repeated gesture/movement/word and through it's repetition becomes significant and holds stronger meaning. 

Within the choreography the motifs used in which dancers cover the eyes, ears and mouth shall be repeated and developed in order to hold the strong symbolism of the proverb of the three wise monkeys and Haring's Ignorance=Fear. 

Sources:

• figure1: Haring, K. 1989. Ignorance=Fear [Poster] Available at: http://www.haring.com/cgi-bin/art_lrg.cgi?date=1989&genre=Editions&id=00253  [Accessed 22 January 2011] 

UNIFYING THE ARTS

"The Music, Dance, Theatre, and the Visual Arts, the forms of expression, the arts of hope. This is where I think I fit in." 

- Keith Haring (date unknown)

Each art form is now more commonly used as a commentary on the World that surrounds us, and the issues that as both individuals and collective we face rather than beautifying and self-worshipping.

As a youth Haring's daily paper-round exposed him to politics and other issues that graced the front pages of his local newspaper, this ultimately had an effect on him and the issues he chose to confront within his work.

Like Haring and his work, this project looks to everything as a possible source of inspiration particularly influence coming from a broadness of interest within the arts.

Haring performing 'neo-dada' poems at Club 57, NY (date unknown)

Haring used the idea of unifying the arts and experimented with this particularly within his time spent at 'Club 57' and later curating the rotating gallery at the 'Mudd Club'.

Club 57 and the Mudd Club were nightclubs in New York (opening the late 1970's-1980's) where artists, musicians and dancers came together to not only have a good time but also to showcase their work, and work together as artists. 

Haring regularly performed at the Wednesday night poetry readings and performed inside a false-television set and read his neo-dada poems and curated the Black Light Show in Club 57 and the Rotating Gallery at the Mudd Club.

Haring regularly put on shows with his friends (that were often completely surreal and obtuse) including a collaboration with dancer and choreographer Bill T Jones entitled "Long Distance" (performed at The Kitchen-another arts gallery/centre based in New York) in which Haring painted at the rear of the stage allowing the sounds of his paintbrush against his board to be the accompaniment for the dance.

The Mudd Club and Club 57 soon became a great fixture on the underground music, fashion, art and counter-culture scene, The Kitchen still continues to be an active Centre for video, music, dance, performance, film, and literature.

Bill T Jones & Keith Haring performing Long Distance at The Kitchen, NY (date unkown)

At the time when Haring was sharing his work with his friends at the Mudd Club, Haring was attending the School of Visual Arts in New York. Where he experimented with performance pieces and film.

Films included both Haring himself and his friends and family as the subjects. One of the most notable being his film (and later live performance) depicting Haring speaking in Morse Code (Title Unknown).

(Haring was later expelled from the School of Visual Arts for using the interior of an SVA building as a canvas for graffiti in a project with Jean-Michel Basquiat)

Author's Note

Haring naturally collaborated and explored various art forms, this is something that I aim to achieve through this project and hope to do this as seamlessly as he did.

Given Haring's work as an example I challenge anyone who questions that a merge or unity within the arts cannot be achieved.

Sources:

• information retrieved from haring.com and The Universe of Keith Haring., 2008. [DVD]

•  figure 1 & 2: Screen-captures taken from The Universe of Keith Haring., 2008. [DVD]