Several things i enjoy about this video:
- The sincerity of his performance and the sincerity of the audience's enjoyment of it. No money's changing hands here - he's enjoying performing for them, this dance he's worked on, and they're enjoying the fruits of that.
- the beginning of the video establishes his relationship to the audience - he gets song demands shouted at him, his shrug asserts so little in return. Nonetheless his asides make the crowd laugh with him - sort of an equal with them; "he's one of theirs". I think this makes their very vocal enjoyment of the dance all the more satisfying - and i would think that they would know what they were getting, but they still sound stunned (sss) and astonished at a few moments in the performance.
- Reminded me of a David Byrne quote m'grandpappeh told meh...
What I took away from the whole Talking Heads experience was the idea that if you know the kinds of restrictions you have to work within - budgetary restrictions, or creative restrictions or whatever - that can be great, that can even be a spur to creativity. That old idea of, 'Oh, I don't want anybody telling me what to do', or 'I want my creative freedom' - that's bullshit. What you need is to be told clearly what the parameters are. Because, if you allow them to do anything, most people will just waffle about.M'boy here is using the constraints that he's gotta deal with. He's "making the work work for him". I'm sure he can do some of these moves when he's not playing the game, but its workin' on hittin' them pads thats keeping the dance grounded - he creates around that. He glows at points.
PS - i realized this may be video from a competition/event...the mix of the crowd's familiarity with the dancer and their enjoyment of the performance is still enjoyable, though they may not be as close knit as i first construed. "construed." yeah ill run with that