A Quote by Boris Kodjoe
Secular artists see themselves with performance; they are more self involved, presentational.
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The Southern Baptist Church is a specific culture in itself. So, I had to study, talk to people, watch tape and go to performances to see how Gospel artists move compared to secular artists.
I don't see many artists who are not trying to bring their work to the public - -to the contrary I see artists nearly desperate to get attention for their art and, failing that, often for themselves.
Once you recognize that all documentaries are performance, it's not a matter of 'if' they should be performance. They are performance, and they are performance precisely where people are playing themselves.
Ballet dancers are a self-chosen elite. To survive and surmount years of disciplinary preparation and seasons of even more arduous performance requires rigid determination and almost mindless self-abnegation. One other factor is difficult to predetermine: without a certain admixture of hysteria - sometimes masking as self-obsession, sometimes even counterfeiting incipient madness - performers, at once acrobats, artists, and animals, make little public impression.
As I get older and more tuned in to a community or an area, I see myself getting more involved. Not that I see myself running for office, but more involved in local issues.
Where we see self esteem, we see self acceptance. High self esteem individual tend to avoid falling into an adversarial relationship with themselves.
At a festival, a lot of people came to see other artists, so you have to put on a signature set and performance: 'This is what I do, this is why I'm here.' At solo gigs, I'm a DJ - I'll play two-and-a-half hours, and not just my own music, also my favorite songs by other artists.
In the industry, artists of of color struggle the most. Caucasian artists have really solidified themselves in the industry, and with African Americans now we see directors and producers who vow to only produce work that shines a light on African American artists. But everybody in the middle gets lost.
Internet sexuality shows that we're becoming more and more self-involved. I'm talking about self-sex.
It's interesting how some songs really lend themselves to performance in a big public venue and performance by a band and so on, and so they're even more successful in that context than they were on the record.
I would love to see more dialogue around the "responsibilities" of art consumers - how can audiences better financially support artists we love, artists who are doing the work, so that artists have a more solid foundation upon which to make art?
In many parts of the Islamic world, secular forces, where they exist, tend to be so unsure of themselves, so lacking in self-confidence, that in many cases they line themselves up fairly squarely behind the imperial project and that then creates a big vacuum in which the Islamists become the dominant power because they are the only ones then who are seen as resisting.
People who underestimate their capabilities also bear costs, although, as already noted, these are more likely to take self-limiting rather than aversive forms. By failing to cultivate personal potentialities and constricting their activities, such persons cut themselves off from many rewarding experiences. Should they attempt tasks having evaluative significance, they create internal obstacles to effective performance by approaching them with unnerving self-doubts
Written poetry is different. Best thing is to see it in performance first, then read it. Performance is more provocative.
Talking to actors is the same as talking to any other artists; it's getting into the moment for them, and making sure they can lose themselves in the performance!
The confidence you need is belief in your potential. If you see world-class potential in yourself, you'll put in the effort. If you don't see the potential, you won't put in the effort and you'll wait for the performance, and the performance always follows the belief in self.
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