Abstract:

Following the cancellation of influential contemporary choreographer Bill T. Jones's highly anticipated return to the stage in spring 2020, Jones reflected that COVID-19 was his "second plague." In referencing the AIDS epidemic that upended his career and personal life, Jones located methods of enduring not in the "unprecedented" present, but in the past. This essay considers the irreverent and buoyant Secret Pastures (1984), a work that reemerged as streaming media during the pandemic, as part of Jones's AIDS repertory. I describe how Secret Pastures' artistic and social archives, and the collaboration and friendship among Jones, Arnie Zane, Keith Haring, Peter Gordon, and Willi Smith documented therein, contain crucial practices of queer survival, particularly that of "alongsidedness." The essay argues that contexts for endurance can be found in the allegedly frivolous, glamorous, playful, humorous, and excessive aesthetics of Secret Pastures as much as they can be identified in, and more typically are ascribed to, more formalist, austere, and tonally serious works like D-Man in the Waters (1989) and Still/Here (1994). Modeling a toolkit of perseverance and flourishing, Secret Pastures reorients popular and academic views of minoritarian, particularly Black, and queer art and life as structured through trauma and scarcity. Secret Pastures shows how the onstage performance serves as a context for offstage friendships. Amid the ongoing hostilities of government abandonment, homophobia, white supremacy, and viral attack, art-making functions as a laboratory for modes of relationality that can endure.

摘要：

在取消了颇具影响力的当代编舞家比尔·琼斯 (Bill T. Jones) 备受期待的 2020 年春季重返舞台后，琼斯表示 COVID-19 是他的“第二场瘟疫”。在提到颠覆了他的职业生涯和个人生活的艾滋病流行病时，琼斯找到了忍耐的方法，而不是在“前所未有的”现在，而是在过去。这篇文章考虑了不敬而活泼的 Secret Pastures (1984)，这是一部在大流行期间作为流媒体重新出现的作品，作为琼斯的艾滋病剧目的一部分。我描述了 Secret Pastures 的艺术和社会档案，以及其中记录的琼斯、阿尼赞恩、基思哈林、彼得戈登和威利史密斯之间的合作和友谊，如何包含酷儿生存的重要实践，尤其是“陪伴”。这篇文章认为，耐力的背景可以在秘密牧场所谓的轻浮、迷人、俏皮、幽默和过度的美学中找到，就像它们可以被识别出来的那样，更典型地归因于，更形式主义的、朴素的和调性的严肃的作品，如 D-Man in the Waters (1989) 和 Still/Here (1994)。Secret Pastures 以坚持不懈和繁荣为榜样，重新定位了流行和学术上对少数民族（尤其是黑人）以及酷儿艺术和生活的看法，这些观点是由创伤和稀缺构成的。Secret Pastures 展示了台上表演如何成为台下友谊的背景。在政府遗弃、恐同症、白人至上主义和病毒攻击等持续不断的敌对行动中，艺术创作充当了可以持久的关系模式的实验室。