Backstage workouts at the MET last year... #abt #met #a_dancers_life #in_the_wings #behind_the_curtain #newyork #rehearsal #studio_style
On March 12, 2012 at 01:12PM via Instagram
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It doesn't matter if you just go round in circles; the important thing is to feel that you're on the move. Moving is synonymous with being alive. Coming to a halt as a result of achieving perfection is tantamount to dying. I suppose it would be a good thing to have a perfect death, but it all boils down to the fact that we really don't know what perfection is anyway. We haven't a clue.
I am a geek. People who define themselves as geeks do so with utmost confidence. As the scholar Joshua Blu Buhs, who writes on topics related to popular culture, argues, we see ourselves as the modern cowboys, as the “wildmen of the cyberfrontier” (70). We use it as a “term of pride as self-reference,” (Dictionary.com). We embrace our way of life, our predispositions, our love for technology, and our way of thinking. Complex systems and abstractions from reality tend to fascinate us.
As with many geeks, throughout my life, I have embraced the characteristics of obsession. We geeks are “identifiable by a singular obsessivity about the things they love, both work and play.” (Blu Buhs 68)
In my childhood, I often indulged in intense infatuations, whether it was the latest computer game or a collection of trading cards. No matter what the endeavor, I wholeheartedly devoted myself to mastering the current task, whether it was having the biggest collection of trading cards in my school class or mastering a computer game completely. I took no prisoners with my inner geek.
One of these obsessions happened to be a deep interest in Japanese animation, also called anime. In their original conceptions, anime and manga, which is the book form of the same art work, differed in their style and themes from western animations, but not anymore.
Of the shift, Steven Brown, who writes frequently on anime, says:
Instead of being defined as a pale reflection of national cinema, anime is repositioned along a continuum of visual production mapped in relation to the intersecting and multidirectional lines of transnational movement out of which political, economic, social, technological, ethnic, and aesthetic flows emerge, coalesce, enter into conflict, and take flight. (Brown 1)
I was especially involved with one particular series called Dragon Ball and its sequels Dragon Ball Z and Dragon Ball GT. This series told the tale of an ape-like alien, Son-Goku, who is sent from his home planet, due to its impending destruction by a mass-destructive alien. It seems (at least at first) that he is the lone survivor of his race. He lands on earth as a child, and, during the first moments on the planet, he hits his head and suffers from amnesia. He forgets everything he knew about his home world and why he is on earth. He embarks on a far-reaching adventure to find the seven “Dragon Balls,” which, if located and brought together, can grant him one wish. Several times during the story, the whole world is at stake, and, together with his archetypal allies, Son-Goku has to fight many enemies in order to save the world. He marries and has sons. His enemies become his allies. He dies and comes back to live, through a wish from his friends.
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