For over seven months now, Jose and I have been working on Holocene Overkill (Phase 1) in semi-secrecy. Like most Antibody Dance projects, there is a sense that we are working in shadow. Whether the shadow is cast by the authorities and corporate bodies that are unfriendly to our work (by consuming a great portion of our time), or whether it is a cloud that we ourselves are shaping into a storm, it is ambiguous.
This will be the last antibody dance. After this performance of Phase 1, the company will assume the name of Antibody Corporation. The company itself and our bodies are in a process of becoming_cyborg, which will be completed in November when we present Phase 2.
In a way, this is the last human performance by Antibody. The title Holocene Overkill stands for the dominance of the human species over every other species on the planet. However, at this apex of humanity’s triumph, the fragile hold that the individual human has on our collective reality begins to slip. The question now is “what next?” Or even more bluntly, Mother Earth has issued this question as a command: “NEXT!” The human is about to mutate into something other. We are being roughly prodded and pushed forward by nature, and it is our own choice as individuals to either jump off the cliff with humankind or take our chances with whatever biological escape plan we manage to scrap together.
Dance, as a form dealing directly with the body, is uniquely situated to respond to this crisis.
Dance and Performance Art are means of epigenetic mutation; that is their purpose and justification. The rational world of business and entertainment generally dismiss the need for more experimental art forms, yet this appears merely to hide the fact that they are pressing their own epigenetic mutational program on us in the form of an interlocking network of corporate cultural products. For our performance we’ve personally selected some of the finest resources that the global economy has to offer and incorporated them into a tasteful assemblage. These include the screams of various endangered species, African drum samples supplied by a digital drum machine, fresh coca leaves from Peru, and of course, our bodies, which are robed in specially designed costumes inspired by the essences of the desert landscape. The stage will be a cage, as it always has been, and we begin as zoo animals; not doing much, barely moving. Yet this is merely a preparation for the entertaining ritual that is to follow.