because the personal is cultural
She then unzips the door of a black tent just big enough for one upright person and makes her way in, standing behind a podium that takes up most of the space. In a surprising display of thriftiness, she uses the clips from a hanger for pants to keep the door open. “Butter!” she blurts out into the microphone, apparently still on her dairy rant. Uncanny Valley Stuff becomes hilarious as stereotypes become confused, slide into each other, and such importance is unexpectedly bestowed upon something as trifling as butter. She takes it even further by sliding white gloves on and holding her hands up to the heavens, recalling a preacher and his faithful churchgoers as she implores, “Come, milkshake, come!”
Throughout the twenty-minute piece, Michel is making subtle but clever use of sound. When she is kneading dough, a microphone is lying by her side so that the unnecessarily heightened sound of a flour sifter becomes strangely funny in and of itself. By building on these images to the point where they bleed into one another, Michel reveals the absurdity of stereotypes as they coexist and contradict themselves, showing us that the lens through which we view the world is nothing more than a fun house mirror.
October 24 & 25 at 7:30pm
has an MA in Film Studies and works in contemporary dance. His fiction has appeared in Headlight Anthology, Cactus Heart, and Birkensnake.
s.verstricht [at] gmail [dot] com