Are you open to the idea of otherworldly beings moving amongst us, benign but unseen?
Director Gökalp Gönen seems to be in the above video for jazz innovator Ilhan Ersahin’s “Hurri-Mitanni” (Good News).
Things kick off in a decidedly low key manner—a young woman sets off for a nighttime stroll through the streets of Istanbul, her face deliberately obscured by a snugly tied black and white cloth.
Turning a corner, she passes an anonymous figure, wrapped head to toe in similar stripes.
Does this unexpected sight elicit any discernible reaction?
Our guess is no, but we can’t say for sure, as the camera loses interest in the young woman, opting to linger with the svelte and exuberant mummy, who’s dancing like no one is watching.
Elsewhere, other increasingly colorful beings perform variations on the mummy’s box step, alone or in groups.
As their outfits become more fanciful, Gönen employs CGI and 3D animation to unhitch them from the laws of physics and familiar boundaries of human anatomy.
They pixellate, sprout extra legs, project rays reminiscent of string art, appear more vegetable than animal….
Some grow to Godzilla-like proportions, shedding little humanoid forms and bounding across the Bosporus.
A small spiky version ignores the paws of a curious kitten.
These fantastical, faceless beings are invisible to passerby. Only one, performing on an outdoor stage, seems eager for interaction. None of them seen to mean any harm.
They just wanna boogie…
…or do they?
The director’s statement is not easily parsed in translation:
A group of anonymous wandering the streets. Everywhere is very crowded but identities are very few. Trying to be someone is as difficult as writing your name on the waves left by this fast-moving giant ship. Everyone is everyone and everyone is nobody anymore. This silence could only exist through glowing screens, even if it found itself nooks. On those loud screens, they reminded who actually had the power by entering the places that were said to be inaccessible. But they didn’t even care about this power. The areas where we had passionate conversations about it for days were a “now like this” place for us, but they looked like this to say “no, it was actually like that” but they did not speak much. They had the charm of a cat. When they said, “Look, it was like this,” they became part of everything that made it “like this” and became unnoticeable like paving stones. They just wanted to have a little fun, to be able to live a few years without worry. In five minutes, fifteen seconds at most, they existed and left.
A few creatures who got left on the cutting room floor can be seen dancing on Gönen’s Instagram profile.
via Colossal
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The Dance Theatre of Harlem Dances Through the Streets of NYC: A Sight to Behold
Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.
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