Chronicles the gravity defying life of Bill Shannon, an internationally…
Phoenix Dance
- Description
- Reviews
- Citation
- Cataloging
- Transcript
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A heroic journey of transformation and healing, Phoenix Dance challenges our expectations of what it means to be 'disabled.' In March, 2001, renowned dancer Homer Avila discovered that the pain in his hip was cancer. A month later, his right leg and most of his hip were amputated.
Through interviews, studio rehearsals, and performances, Phoenix Dance follows the evolution of Pas, a pas de deux created for Avila by choreographer Alonzo King. In a deeply moving and intimate collaboration with dancer Andrea Flores, Avila creates a new unity a beautiful creature with three legs and four arms in which traditional roles are reversed: the man's vulnerability and the woman's strength sweetly complement each other, and their solo outbursts develop themes of interdependence, trust, and strength.
'For me,' Alonzo King says in the film, 'a pas de deux is a microscopic look into relationship, and relationship could mean you with yourself...It could mean a part of you that's dying. It could be you and your God, you and nature... wherever there is two negotiating or becoming one, or struggling.'
When his cancer recurred, Homer told only a few friends that he was going to forego treatment in order to continue the life he loved dancing.
'Deeply inspirational.' - The New York Times
'This extraordinary film draws a wonderful portrait of the late, great Homer Avila, an icon of American contemporary dance.' - Toronto Globe and Mail
'One of those rare poignant films that touches the very depths of the soul and dwells within.' - Hot Springs Documentary Film Festival
'Unsentimental and deeply moving. Reveals Avila's unwavering strength, as well as his tender and playful nature, in the face of reinventing himself.' - Dance Magazine
'I was blown away. Not only is it an amazing story but the dancing, filming and editing are gorgeous.' - Deirdre McGrath, Community Resources for Independence
'Not a lamentation or a ploy to evoke sympathy from the audience, the film transcends Avila's story and speaks to the meaning of true artistry.' - eclpse.livejournal.com
Citation
Main credits
Epperlein, Karina (Producer)
Epperlein, Karina (Director)
Epperlein, Karina (Cinematographer)
Epperlein, Karina (Film editor)
Knoop, John (Cinematographer)
Leibrecht, Gina (Film editor)
Avila, Homer (dnc)
Flores, Andrea (dnc)
King, Alonzo (chr)
Other credits
Photographed by Karina Epperlein, John Knoop; edited by Karina Epperlein, Gina Leibrecht.
Distributor subjects
Cancer; Dance; Disabilities; Disabilities and the Arts; Fanlight Collection; Healthcare; Oncology; Physical Disabilities; Physical TherapyKeywords
documentary; captioned video ; film; DVd; dance; dancer; modern dance; ballet; choreograph; choreography; choreographer; oscar; academy award; homer avila; andrea flores; alonzo king; pas de deux; cancer; chondrosarcoma; amputation; amputee; amputate; axis dance company; one-legged; one legged; body image; disability; disabilities; disabled; crippled; handicap; handicapped; challenged; accessible; accessibility; physical rehabilitation; ; "Phoenix Dance"; The Fanlight Collection; ,doc,art,bio; shod
WEBVTT
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[AMBIENT MUSIC PLAYING]
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No matter what happens to us,
how it may appear, whether
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it\'s sweet or sour, whether
it\'s praise or blame,
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it\'s all for good.
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It\'s molding.
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It\'s reshaping.
00:00:31.930 --> 00:00:33.940 align:middle line:90%
Its training.
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You never leave training.
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And in the end, it\'s beauty.
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[AMBIENT MUSIC PLAYING]
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I\'m Homer Avila.
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I\'m a dancer and
choreographer.
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And I started dancing
professionally at 20.
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Two years ago, I had an
amputation of the right leg
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and hip due to cancer.
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00:03:07.568 --> 00:03:10.280 align:middle line:84%
In pursuing my dance,
I put my body
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through a lot of stresses.
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And especially when you\'re
performing and on tour, there
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are a lot of aches
and pains that
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you\'re continually feeling.
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At the end of a difficult
season, I had a very sharp
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pain in my right leg.
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I learned about the
cancer in March.
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And April 12--
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three weeks later,
essentially--
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is when I had my surgery.
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It\'s like walking
through fire.
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You come out on the other end,
and the first thing you
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address is seeing what\'s there
of you that\'s left.
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As I started to get out of the
bed, out of the wheelchair,
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and out on my own, I was
embracing the dance of life.
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My experiences in dance had
been very instrumental in
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reintegrating myself, because in
that training, we\'re always
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dealing with aspects of
the limitations and
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capacities of the body.
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And whether you have two legs or
one let or no legs, there\'s
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still that incredibly unknown
potential that our body minds
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have for us.
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That I do stand on my leg
without the crutches and can
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be fully balanced is really--
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I never would have considered
that I could have done it.
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I realize that my body was ready
for more information.
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Homer was inquiring
about a workshop.
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He had his leg amputated three
months before our phone call.
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This is really a challenging,
intensive for bipeds.
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And I just don\'t know
how it would work.
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And he said, I\'m not looking
for sympathy.
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You will not have to alter
your course for me.
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I\'m used to obstacles.
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I\'ve confronted them
my entire life.
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This is just one more.
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And I feel that I could learn
from that environment and that
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I could also contribute to it.
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So with that kind of maturity
and conviction, I
00:05:47.700 --> 00:05:50.530 align:middle line:90%
said, well, come on.
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He was amazing, and taught
us all a lot.
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I have nothing but the highest
respect for Alonzo.
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He\'s a master, beyond
the arts.
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Though I\'d lost a limb, it
didn\'t mean that I could not
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continue growing as an artist.
00:06:07.870 --> 00:06:10.380 align:middle line:90%
00:06:10.380 --> 00:06:17.660 align:middle line:84%
And I think that first day,
people were alarmed to see a
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man with one leg in
the workshop.
00:06:20.370 --> 00:06:23.100 align:middle line:84%
And it made people
uncomfortable.
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And that was interesting
to see.
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And that went away like that.
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Homer\'s not thinking about it.
00:06:36.770 --> 00:06:41.850 align:middle line:84%
And he was just about being
there and doing the work.
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And in some of the problems
making solutions to exercises
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that were given, and the
improvisation, and all kinds
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of things, he was
just brilliant.
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And people recognized that.
00:06:53.740 --> 00:06:59.970 align:middle line:90%
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Ultimately it\'s beyond the body,
what we\'re working on.
00:07:03.770 --> 00:07:05.460 align:middle line:90%
It\'s way beyond the body.
00:07:05.460 --> 00:07:08.320 align:middle line:90%
The body is an instrument.
00:07:08.320 --> 00:07:11.510 align:middle line:84%
It\'s the mind that\'s really
doing the work.
00:07:11.510 --> 00:07:14.510 align:middle line:84%
And the body is the result
of that mental sculpting.
00:07:14.510 --> 00:07:32.180 align:middle line:90%
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The final task of the workshop
is that you create your dance.
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00:08:01.050 --> 00:08:02.636 align:middle line:90%
The music ended.
00:08:02.636 --> 00:08:05.680 align:middle line:84%
I\'d become independent
of the crutches.
00:08:05.680 --> 00:08:08.740 align:middle line:90%
That was a revelation for me.
00:08:08.740 --> 00:08:11.300 align:middle line:84%
At some point, he said, it
would you like to create
00:08:11.300 --> 00:08:13.670 align:middle line:90%
something on me.
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I said, I think it should
be a pas de deux.
00:08:16.740 --> 00:08:18.310 align:middle line:90%
My name is Andrea Flores.
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I\'ve been dancing since I was
five years old, and I\'ve been
00:08:21.430 --> 00:08:23.735 align:middle line:84%
working professionally for
the past six years.
00:08:23.735 --> 00:08:27.070 align:middle line:90%
00:08:27.070 --> 00:08:30.880 align:middle line:84%
With Homer, I had to get used
to the fact I didn\'t have to
00:08:30.880 --> 00:08:33.210 align:middle line:84%
be careful with him,
because he was very
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much fine by himself.
00:08:35.500 --> 00:08:38.520 align:middle line:84%
But then the opposite
of that is that he
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did need me for something.
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It\'s especially intense on a
day like that where we know
00:08:44.970 --> 00:08:46.130 align:middle line:90%
that we only have two hours.
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We haven\'t touched the
pas in six months.
00:08:48.880 --> 00:08:50.140 align:middle line:90%
And there\'s a lot to get done.
00:08:50.140 --> 00:08:52.891 align:middle line:90%
And it\'s really a push.
00:08:52.891 --> 00:08:54.760 align:middle line:90%
Yeah, so those two things.
00:08:54.760 --> 00:08:56.950 align:middle line:90%
One was here, and yes.
00:08:56.950 --> 00:08:58.340 align:middle line:90%
The next one-- right.
00:08:58.340 --> 00:09:02.380 align:middle line:84%
So those are clear that you\'re
manipulating the space, that
00:09:02.380 --> 00:09:04.255 align:middle line:90%
you\'re resculpting the space.
00:09:04.255 --> 00:09:08.270 align:middle line:84%
But I need you to be the mother
who\'s providing and
00:09:08.270 --> 00:09:09.910 align:middle line:90%
changing things.
00:09:09.910 --> 00:09:11.475 align:middle line:90%
So go to the deep place.
00:09:11.475 --> 00:09:21.960 align:middle line:90%
00:09:21.960 --> 00:09:22.710 align:middle line:90%
It\'s heavy.
00:09:22.710 --> 00:09:23.500 align:middle line:90%
It\'s mission.
00:09:23.500 --> 00:09:25.660 align:middle line:84%
This is what you were
created for.
00:09:25.660 --> 00:09:27.960 align:middle line:84%
Through all of these movements,
you want to show
00:09:27.960 --> 00:09:30.800 align:middle line:90%
how big your love is.
00:09:30.800 --> 00:09:32.050 align:middle line:90%
You\'re a storyteller.
00:09:32.050 --> 00:09:35.080 align:middle line:90%
00:09:35.080 --> 00:09:37.160 align:middle line:90%
It\'s much better, much better.
00:09:37.160 --> 00:09:40.560 align:middle line:84%
In another sense, it\'s like
preparing the ground.
00:09:40.560 --> 00:09:43.210 align:middle line:84%
It\'s like someone who prepares
the altar before
00:09:43.210 --> 00:09:44.790 align:middle line:90%
we begin the service.
00:09:44.790 --> 00:09:49.560 align:middle line:84%
It\'s like preparing
for change.
00:09:49.560 --> 00:09:51.560 align:middle line:90%
You ready, Homer?
00:09:51.560 --> 00:09:54.780 align:middle line:84%
Andrea, this place where you are
you\'re taking and you\'re
00:09:54.780 --> 00:09:59.710 align:middle line:84%
doing this, it\'s like
testing something.
00:09:59.710 --> 00:10:02.780 align:middle line:84%
So that it\'s like if something
has to get
00:10:02.780 --> 00:10:06.400 align:middle line:90%
strong, giving strength.
00:10:06.400 --> 00:10:08.340 align:middle line:84%
Although it looks like
this may be kind of a
00:10:08.340 --> 00:10:09.320 align:middle line:90%
cruel thing it\'s not.
00:10:09.320 --> 00:10:11.540 align:middle line:90%
It\'s about strength building.
00:10:11.540 --> 00:10:13.410 align:middle line:84%
It\'s about
[MAKES SPUTTERING SOUND].
00:10:13.410 --> 00:10:21.960 align:middle line:84%
This stoniness becomes and turns
into-- like, ice melts.
00:10:21.960 --> 00:10:24.460 align:middle line:90%
So what was hard becomes soft.
00:10:24.460 --> 00:10:27.600 align:middle line:90%
And then it reaffirms itself.
00:10:27.600 --> 00:10:29.270 align:middle line:90%
And then it reaffirms itself.
00:10:29.270 --> 00:10:31.480 align:middle line:84%
And then even from the moment
I touch you, there has to be
00:10:31.480 --> 00:10:33.050 align:middle line:90%
some response.
00:10:33.050 --> 00:10:35.080 align:middle line:90%
Just feel.
00:10:35.080 --> 00:10:35.940 align:middle line:90%
I don\'t even what you do it.
00:10:35.940 --> 00:10:36.890 align:middle line:90%
Close your eyes.
00:10:36.890 --> 00:10:39.780 align:middle line:84%
Close your eyes,
and just feel.
00:10:39.780 --> 00:10:41.090 align:middle line:90%
That was better.
00:10:41.090 --> 00:10:42.770 align:middle line:90%
That was better.
00:10:42.770 --> 00:10:46.010 align:middle line:84%
These obstacles that come to us,
they\'re not to destroy us,
00:10:46.010 --> 00:10:50.490 align:middle line:84%
but it\'s to say, do you
realize who you are?
00:10:50.490 --> 00:10:52.235 align:middle line:84%
You\'re more powerful
than you think.
00:10:52.235 --> 00:10:56.025 align:middle line:90%
00:10:56.025 --> 00:10:58.542 align:middle line:90%
Now if that hurts.
00:10:58.542 --> 00:10:59.792 align:middle line:90%
It\'s a lot of down and ups.
00:10:59.792 --> 00:11:02.230 align:middle line:90%
00:11:02.230 --> 00:11:03.260 align:middle line:90%
Talk plainly to me.
00:11:03.260 --> 00:11:04.530 align:middle line:84%
Say, OK Alonzo, I\'ve done
enough of that.
00:11:04.530 --> 00:11:05.415 align:middle line:90%
I can\'t do any more.
00:11:05.415 --> 00:11:06.620 align:middle line:90%
We could do a little bit more.
00:11:06.620 --> 00:11:44.880 align:middle line:90%
[CHORAL MUSIC PLAYING]
00:11:44.880 --> 00:11:48.860 align:middle line:84%
For me, a pas de deux is
a microscopic look into
00:11:48.860 --> 00:11:50.110 align:middle line:90%
relationship.
00:11:50.110 --> 00:11:52.010 align:middle line:90%
00:11:52.010 --> 00:11:55.280 align:middle line:84%
And relationship could mean
you with yourself.
00:11:55.280 --> 00:11:58.510 align:middle line:90%
00:11:58.510 --> 00:12:01.410 align:middle line:84%
It could be you and your god,
you and your mother, father,
00:12:01.410 --> 00:12:08.510 align:middle line:84%
sister, brother, you and nature,
but wherever there is
00:12:08.510 --> 00:12:13.970 align:middle line:84%
two negotiating, or becoming
one, or struggling.
00:12:13.970 --> 00:12:15.570 align:middle line:84%
So it\'s the idea of
relationship.
00:12:15.570 --> 00:12:23.168 align:middle line:90%
00:12:23.168 --> 00:12:24.142 align:middle line:90%
Nice.
00:12:24.142 --> 00:12:25.620 align:middle line:90%
And stop.
00:12:25.620 --> 00:12:27.210 align:middle line:90%
I No, that\'s nice.
00:12:27.210 --> 00:12:29.300 align:middle line:90%
It\'s scary, because--
00:12:29.300 --> 00:12:33.330 align:middle line:84%
and that ingredient is the
whole pas de deux trust.
00:12:33.330 --> 00:12:35.310 align:middle line:84%
That\'s the thing that
I\'m looking for--
00:12:35.310 --> 00:12:36.560 align:middle line:90%
trust.
00:12:36.560 --> 00:12:38.890 align:middle line:90%
00:12:38.890 --> 00:12:39.876 align:middle line:90%
Much better.
00:12:39.876 --> 00:13:10.460 align:middle line:90%
[CHORAL MUSIC PLAYING]
00:13:10.460 --> 00:13:15.170 align:middle line:84%
When pas de deux is at its
best, two become one.
00:13:15.170 --> 00:13:17.050 align:middle line:90%
And so there\'s no separation.
00:13:17.050 --> 00:13:21.830 align:middle line:84%
And what she is experiencing,
you are experiencing.
00:13:21.830 --> 00:13:24.970 align:middle line:84%
So from this place that\'s
coming up, this is a
00:13:24.970 --> 00:13:29.200 align:middle line:90%
listening, and then it\'s you.
00:13:29.200 --> 00:13:30.660 align:middle line:84%
And then when you go
into this embrace--
00:13:30.660 --> 00:13:32.990 align:middle line:90%
I won\'t do that to you.
00:13:32.990 --> 00:13:35.490 align:middle line:90%
But it has--
00:13:35.490 --> 00:13:39.560 align:middle line:84%
it has a query, but
also a tenderness.
00:13:39.560 --> 00:13:40.340 align:middle line:90%
You know what I mean?
00:13:40.340 --> 00:13:42.640 align:middle line:84%
So it has that, and this is that
line that we play with
00:13:42.640 --> 00:13:43.350 align:middle line:90%
again and again.
00:13:43.350 --> 00:13:46.870 align:middle line:84%
That angle is throughout this
whole ballet, over and over
00:13:46.870 --> 00:13:48.400 align:middle line:90%
and over and over and over.
00:13:48.400 --> 00:13:54.340 align:middle line:90%
00:13:54.340 --> 00:13:58.900 align:middle line:84%
That\'s such a big deal, to come
straight, go into that
00:13:58.900 --> 00:14:01.460 align:middle line:90%
angle, and to listen.
00:14:01.460 --> 00:14:04.620 align:middle line:84%
It\'s back to who\'s talking
and who\'s listening.
00:14:04.620 --> 00:14:08.085 align:middle line:84%
So it becomes a real intimate
conversation.
00:14:08.085 --> 00:14:09.335 align:middle line:90%
Are you clicking?
00:14:09.335 --> 00:14:33.115 align:middle line:90%
00:14:33.115 --> 00:15:30.001 align:middle line:90%
[AMBIENT MUSIC PLAYING]
00:15:30.001 --> 00:15:31.498 align:middle line:90%
And stop.
00:15:31.498 --> 00:15:33.520 align:middle line:90%
That\'s what I\'m interested in.
00:15:33.520 --> 00:15:38.070 align:middle line:84%
I need to see that inner story
and that inner body working.
00:15:38.070 --> 00:15:40.050 align:middle line:84%
Inner body works
the outer body.
00:15:40.050 --> 00:15:42.120 align:middle line:90%
Are you guys with me?
00:15:42.120 --> 00:15:43.450 align:middle line:90%
Are you resenting me?
00:15:43.450 --> 00:15:46.930 align:middle line:90%
[LAUGHS]
00:15:46.930 --> 00:15:51.270 align:middle line:84%
We\'ve got to get it back
to what it was,
00:15:51.270 --> 00:15:54.048 align:middle line:90%
today, in 20 more minutes.
00:15:54.048 --> 00:16:11.582 align:middle line:90%
[CHORAL MUSIC PLAYING]
00:16:11.582 --> 00:16:14.970 align:middle line:84%
That sense of surrender
is so important.
00:16:14.970 --> 00:16:26.400 align:middle line:90%
00:16:26.400 --> 00:16:30.080 align:middle line:84%
It\'s often when these challenges
come and these
00:16:30.080 --> 00:16:34.630 align:middle line:84%
obstacles come that you
have to reveal to
00:16:34.630 --> 00:16:37.870 align:middle line:90%
yourself who you are.
00:16:37.870 --> 00:16:41.320 align:middle line:90%
00:16:41.320 --> 00:16:44.600 align:middle line:84%
Who you are is forced
to come forth.
00:16:44.600 --> 00:17:05.795 align:middle line:90%
00:17:05.795 --> 00:17:11.695 align:middle line:84%
I owe it hugely to Alonzo, that
this body had potential
00:17:11.695 --> 00:17:15.880 align:middle line:84%
that I would have thought
impossible previously.
00:17:15.880 --> 00:18:52.845 align:middle line:90%
[CHORAL MUSIC PLAYING]
00:18:52.845 --> 00:18:54.095 align:middle line:90%
Whoo.
00:18:54.095 --> 00:19:00.797 align:middle line:90%
00:19:00.797 --> 00:19:02.710 align:middle line:90%
This used to scare me so much.
00:19:02.710 --> 00:19:06.225 align:middle line:90%
00:19:06.225 --> 00:19:09.410 align:middle line:84%
My physical therapist would have
a heart attack if he saw
00:19:09.410 --> 00:19:10.660 align:middle line:90%
me doing this.
00:19:10.660 --> 00:19:14.520 align:middle line:90%
00:19:14.520 --> 00:19:17.550 align:middle line:90%
I love watching toddlers.
00:19:17.550 --> 00:19:19.110 align:middle line:84%
They don\'t know what they\'re
doing, but they\'re
00:19:19.110 --> 00:19:21.170 align:middle line:84%
challenging, they\'re learning,
they\'re feeling it.
00:19:21.170 --> 00:19:26.470 align:middle line:84%
And it just comes out with
this bubbling joy.
00:19:26.470 --> 00:19:29.430 align:middle line:84%
I feel like that a lot, that
when I\'m playing on stage or
00:19:29.430 --> 00:19:32.060 align:middle line:84%
in the studio, and there\'s
such a delight that
00:19:32.060 --> 00:19:36.490 align:middle line:84%
challenging limitations
allows me.
00:19:36.490 --> 00:19:37.829 align:middle line:90%
I love the sky.
00:19:37.829 --> 00:20:50.060 align:middle line:90%
00:20:50.060 --> 00:22:21.649 align:middle line:90%
[MUSIC PLAYING]
Distributor: The Fanlight Collection
Length: 22 minutes
Date: 2006
Genre: Expository
Language: English
Grade: 9-12, College, Adult
Color/BW:
Closed Captioning: Available
Interactive Transcript: Available
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