She also collaborated with an editor, Britt Kubat; together, they paid homage to the look of the colors and credits of Jean-Luc Godard films. (One of Ms. Tanowitz’s loves is the French New Wave.) But mainly Ms. Tanowitz sees the video as a marker of the time we’re in. “There’s so much sadness and alienation right now,” she said. “I just wanted to make something that felt good for a second.”
While Ms. Tanowitz’s video is meant to work as a balm, Ms. Walsh’s, “Loneliness,” contemplates sadness and responds to Ms. Okshteyn’s prompt in a surprising way. For her piece she chose, arbitrarily, a video of Britney Spears dancing. Ms. Spears, whose career is under the guidance of a conservatorship that restricts her freedom, frequently uploads videos of herself dancing.
“Strangely, and maybe embarrassingly,” Ms. Walsh said, “a large portion of the choreography we’ve used in rehearsal in the past eight years has been taken from her Instagram. We’ve been learning Britney material for a long time.”
Ms. Walsh, who considers Ms. Spears “one of the most iconic dancers of her generation,” is drawn to slow, carefully articulated movement. Her score instructs participants to: “Learn any 10 to 15 seconds of this Britney video slowed down to 1 minute (or more.) Take a moment to slow your breath before you begin. Close your eyes and feel your interior processes as you move slowly.”
She also provides instructions in case you find yourself at the beach: “Your feet should be in the wet sand or shallow water,” Ms. Walsh says in her score. “Feel the largeness of the sky, the largeness of the ocean, the ground beneath you.”
The main point is to take your time, to dance inside of stillness and to contemplate Ms. Spears’s state of mind — and others’. “I spend so much time thinking of the loneliness and the journey of a dancer,” Ms. Walsh said, “and what that is particularly in this country and in this place, where there’s not very much possibility financially or otherwise.”