Voguing and the House Ballroom Scene of New York City 1989-92

Regnault, Chantal (PHT); Lawrence, Tim (CON); Baker, Stuart (EDT)

ISBN 10: 0955481767 / ISBN 13: 9780955481765

Edité par Soul Jazz Books, 2011

A propos de cet article

N° de réf. du vendeur 12619337-n

Détails bibliographiques

• Titre: Voguing and the House Ballroom Scene of New York City 1989-92
• Éditeur: Soul Jazz Books
• Date de parution: 2011
• Langue: anglais
• ISBN à 10 chiffres: 0955481767
• ISBN à 13 chiffres: 9780955481765
• Reliure: Couverture souple
• État de l'article: New

A propos de ce titre

Synopsis

Harlem's gay ball subculture of the late 1980s is superbly documented in this trove of previously unseen photographs.

In 1989, Malcolm McLaren had his only number one hit with a single called Deep in Vogue. Early the next year, Madonna had one of the biggest hits of her career, with the single Vogue, and when Jennie Livingston's film Paris Is Burning arrived in cinemas the same year, winning the Grand Jury Prize at the Sundance Film Festival, the mainstream got hip to New York City's extraordinary ball culture, from which the film and McLaren and Madonna's songs had arisen. Paris Is Burning documented a gay ballroom scene that emerged in Harlem in the mid-1980s, which drew African American and Latino gay and transgender communities to compete against one another for their dancing skills, the verisimilitude of their drag and their ability to walk on the runway. Photographer Chantal Regnault spent many years recording this scene, from which the dance style known as voguing arose. A visual riot of fashion, polysexuality and subversive style, Voguing and the Ballroom Scene of New York 1989-1992 is also an extraordinary document on sexuality and race. The wild years of voguing are vividly captured in hundreds of Regnault's amazing, previously unpublished photographs. The book also features interviews with key figures from the movement, essays, flyers and ephemera.
Photographer and documentarist Chantal Regnault was born in France. She left Paris after the 1968 uprisings and lived in New York for the next 15 years. At the end of the 1980s she became immersed in Harlem's voguing scene. Also around this time, Regnault developed an interest in Haitian voodoo culture and began to divide her time between Haiti and New York. Her widely published photographs have appeared in major magazines and newspapers, including Vanity Fair and the New York Times.

--Mark Holgate "Vogue"

Présentation de l'éditeur

Voguing came dut of the extraordinary house ballroom scene that emerged in Harlem, New Yark in the 1980s in which African-American and Latino gay and transgender communities competed against one another for their dancing skills, the verisimilitude of their drag and their ability to walk down the runway like a model. Voguing erupted into the mainstream in 1990 when Madonna's song Vogue became number one in over 30 countries. The year before ex-Sex Pistols' svengali Malcolm McClaren first brought voguing into the cultural milieu with his song Deep in Vogue, which featured the dancer Willi Ninja. In 1990 Jennie Livingstone's film Paris is Buming documented the house ballroom scene in its ascendant, the filma runaway success grossing over $4,000,000. As voguing entered into the mainstream the house ballrooms of Harlem came downtown, mixing with the fashion crowd of Manhattan, before the onslaught of the Aids epidemic ravaged the ballroom community. These wild years of voguing and the house ballroom scene are vividly captured at its height in hundreds of amazing, previously unpublished photographs. A visual riot of fashion, gender, polysexuality and subversive style, Voguing and the House Ballroom Scene of New York 1989-92 is also a fascinating document on sexuality and race. Photographer Chantal Regnault captured the scene at its height. The legendary houses: House of LaBeija, House of Xtravaganza, House of Pendavis, House of Dupree; and their legendary 'mothers': Peppa LaBeija, Avis Pendavis, Angie Xtravaganza, Dorian Corey and Paris Dupree. Twenty years afterwards Regnault revisited the ballroom community to interview veterans of a scene that continues to evolve, mutate and redefine itself in the 21st century.