VIDEOS:

 

Clara Gibson Maxwell Plays Shakuhachi at Daitoku-Ji Monastery (2018)

 

Soul Kitchen (French Postal Museum Commission) (2014; bande annonce/trailer)

 

Soul Kitchen (French Postal Museum Commission) (2014; contact modafrance@compuserve.com for password)

Bande-annonce : Encuentro-Encuentro (FR) (2011)

 

Encuentro-Encuentro (FR) (2011; contactez modafrance@compuserve.com pour le mot de passe)

 

Encuentro-Encuentro (EN) (2011; contact modafrance@compuserve.com for the password)

The Banquet at Taliesin West (2001; download only)

Promotional Tape (2000)


Le Corps-Éros (1997; commission for the first Festival de l'Imaginaire)


Corpus (texte/text: Marc Le Bot, Les noms propres des dieux [Paris: Fata Morgana1989]) (1998)


Corpsensus - Trinity (1999; Théâtre du Renard)


Corpsensus - l'Aimable (1999; Théâtre du Renard)


Le Projet Noir (1997; download only)*


Images du stage de la Technique Alexander/danse classique Wayne Byars/Luigia Riva, film de Clara Gibson Maxwell
(2010)

*This video is an excerpt from Le Projet Noir Quartet (music: Pancrace Royer), a 1997 "Chantiers en cours" performance at the Atelier Artesonado (Paris). Formally, the choreography explores darkness and light, interior and exterior, and thus questions the transition into as well as the boundaries of a traditional and traditionally-lit performance space and a traditionally-conceived performance time. At the suggestion of our make-up artist, black body paint was fittingly employed for this quartet of young female dancers given a chance to perform in a semi-improvised dance within a showcase setting. At no time was a thematic of minstrelsy either contemplated or evoked, nor were the dancers' gestures in any respect racialized. In fact, a main underlying thematic-gestural element was, rather, that of "Bond Girls" taking over, the black body paint and clothing allowing stark emergent contrasts outside as well as within the performance space while breaking down the traditional separation between "pre-performance" and performance proper. If however, this video (low-quality, given the technical possibilities at the time for both equipment and digitalization) is in any way perceived as an affront by anyone, please feel free to contact us and we will take it down.