Voyeur

Voyeur

Most writers and artists are voyeurs of a kind.  A Voyeur is a noun referring to

a person who gets pleasure from secretly watching the private lives of others:

both the intimate situations and the problems.

  

<Oxford’s Learner’s Dictionary>

A Gentle Review by Ibukun Ojo:

Phillip Chbeeb’s expertise, gained over his twelve plus years of experience in the dance industry, has yet to fail him as he produces yet another incredibly powerful piece – Voyeur. He allowed his short film to be vague – forcing audience members to determine their own import behind every movement and artistic choice – while creating specificity surrounding aspects of passion (or, rather, lost passion) within a relationship. Chbeeb’s piece has elements which are intellectually challenging enough to entice lovers and critics of art while overwhelmingly beautiful enough to appeal to the general public. Those willing to seek meaning beyond the visual feast presented are sure to be met with a multitude of questions about human nature as a whole and about oneself specifically.

 

The most evident point of interpretive freedom (or control, depending on perception) is found within the title: Voyeur. Due to the multiple definitions of voyeurism, Chbeeb immediately forces informed audience members to decide how they’re going to partake in the video. Regardless of if one watches as a voyeur seeking sexual pleasure or somewhat sadistically watching issues unfold, there is no question that audience members are looking into a private aspect of a life that is not their own. Chbeeb and Joe Friedman’s spectacular manipulation of light controlled where eyes were drawn, leaving whatever privacy remaining for the shadows. Moreover, the minimal lighting and costume choice perpetuated an eery mood throughout the duration of the film feeding into the guilt audience members felt with their pleasure.

 

Regarding the pair’s passion for each other, be it in argument, lust, or otherwise, Chbeeb is able to create many moments throughout the piece where audience members are left feeling somewhat perverted to take part in – as is the nature of voyeurism. A prime example of this would be as Makenzie Dustman’s character appears in the light for the first time and is gently lowered into Chbeeb’s lap; this graceful moment is followed by lifts and lowers by the pair – the intertwining of their bodies creating imagery as provocative as the title desires. The use of extreme closeness between the bodies of the two characters and highlighting times of skin-on-skin contact while dancing made it all the more difficult for audience members to peel their eyes off the screen.

 

Dustman, dressed in a champagne coloured slip, is worthy of accolades as she exemplifies the gentleness of female sexuality and feminity whilst displaying incredible strength; she brings critics to shame as she proves dance is capable of being soft while powerful. Furthermore, Chbeeb never sexualizes Dustman’s character outright through the choreography nor does Jerel Mascarinas’ (JmOcak) cinematographic choices going to further support Dustman’s performance capabilities.

 

After moments of intense winding and unwinding between the two characters, they both have brief solos (displaying their keen musicality) followed by the reaching for her hand. This was one of the most intense moments in the film as the audience of voyeurs anxiously sit on the edge of their seats waiting to be allowed to see more. To be allowed to find more pleasure in the relationship between the two characters. It was at this moment that I was forced to realize how far my journey of voyeurism had come: I needed more.

 

The piece is able to create a sickening mixture of pleasure and uncertainty as we are forced to realize that we are all voyeurs. Taking pleasure in watching intimate moments of people’s lives. Curiosity? Jealousy? Violation of privacy? I’m quite unsure. Be it wanting to live vicariously through them or finding relief in the fact that their lives are not our own, we are all voyeurs in some capacity – terrifying and thrilling. 

 

This speaks volumes to Chbeeb’s incredible direction as even those without a keen understanding of the technicalities of dance, like myself, were left craving the intricacies of it. He began by hooking his audience with the manipulation of light and the symbolism behind it but was able to keep them drawn through his creation of imagery and displays of incredible strength. So much so that when that was taken away viewers were left squirming in anticipation of a climax which did not disappoint. It is for this very reason that I believe this is one of Chbeeb’s best pieces to date.

 

Elliot Moss’ music combined with Mascarinas’ cinematography, Chbeeb’s choreography, and the assistance of the many other artists on set, allowed for many elements of art to come together to create something truly magnificent.Though it may not have the most views of his videos – a conventional measure of success of a platform as such – it developed an entire narrative arch and converted innocent viewers into blemished voyeurs itching for more.

 

Just wow.


Dearest Mr. Chbeeb,

If you ever find yourself reading my review, I would like to thank you for the contributions you have made to the international dance community and to my own love for the art. You have been consistently one of my favourites artists due to your meticulous efforts regarding lighting, setting, music and (of course) dance – I am always left in awe! I, an outspoken young woman, frequently find myself speechless in the face of your work, a feat not easily accomplished. In an era of instant gratification, your work consistently forces me to think; be it about the intricacies of your every step or of the imagery you create, or of the story as a whole, your artistry has yet to disappoint me.

You’re incredibly skilled and have continually inspired me for as long as I can remember.

Thank you Mr. Chbeeb, thank you.


Artists Involved:

Philip Chbeeb 

Makenzie Dustman

Jerel Mascarinas 

Elliot Moss; http://www.elliotmoss.com/

Marques Mallare

 Joe Friedman




More of Chbeeb’s work that I’m fond of:

More of Moss’ work I’m fond of:

(I really love the entire Highspeeds album)



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