Shot by Mary Curtis Ratclif at the O.K. Harris Gallery on Prince and Green Streets, New York, this tape focuses on performer “Ricky Jay” as he performs card tricks at his magic table for an enthusiastic audience.

Polished obsidian mirrors, tezcatl, were once used in ancient Mexico for divination, to traverse into the worlds of the gods and ancestors.

Through the obsidian mirror, the solar and lunar ritual used to be a celestial dance. In Ritual, suns and moons whirl around, glowing brighter as their paths cross.

“Animists are people who recognise that the world is full of persons, some of whom are human, and that life is always lived in relationship with others.”

-- Graham Harvey, Animism

Trance dance and water implosion, a kino-line drawn between secular freak-outs and religious phenomena. Filmed in a single take at a sacred site on the Upper Suriname River, the minor secrets of a Saramaccan animist's everyday are revealed as time itself is undone. Rites are the new Trypps -- embodiment is our eternal everything.

Inspired in part by the cover of "Megatron Man," Patrick Cowley's archetypal 80s disco album, Robot Love is a celebration of the playful, synthetic, party-driven, disposable culture of disco. The video is playful and opulent, presenting a night at the disco as a mind-expanding trip to an alternate universe.

Inspired in part by the cover of "Megatron Man," Patrick Cowley's archetypal 80s disco album, Robot Love is a celebration of the playful, synthetic, party-driven, disposable culture of disco. The video is playful and opulent, presenting a night at the disco as a mind-expanding trip to an alternate universe.

Filmed during a trip sponsored by UCLA CAPS in 2019.

Camera by Alexis Moh.
Edited by Eiko Otake.

Rust was commissioned by the American Dance Festival and performed on chain-link fences hung vertically in the center of the stage. Performed nude in silence.

On September 11, 2021, Eiko Otake performed at 7am and 6pm at Belvedere Plaza in Battery Park City by the Hudson River, directly west of where the Twin Towers once stood. This video work is from the 6pm performance. 

(tell me why): The Epistemology of Disco is an often humorous, at times sarcastic and poignant look at the role that disco music has played in the formation of gay male identity.

Commissioned by Lower Manhattan Cultural Council (LMCC) for the occasion of Eiko receiving the Sam Miller Performing Arts Award. Premiered at LMCC’s A Toast to Downtown on December 9, 2020. Shot at LMCC’s Arts Center at Governors Island.

Performer Eiko Otake.
Director/Editor Liz Sargent.
DP Minos Papas.
Production by Cyprian Films, New York.

The End of Time is a choreography for two lovers, enacted by three figures. It looks at the birth and the vanishing of desire as an endless chain with successive beginnings and endings.

"The End of Time (2012), is a choreography enacted by three figures exchanging between dominant and fragile roles. In each of the three chapters of the film, two men interpret the falling in and falling out of love, playing attraction and repulsion, taking off clothes and putting them on in what seems an eternal fable about love and separation."

Based on a tale by Charles Perrault, Tom Rubnitz's The Fairies comes complete with frogs, princes, kind fairies, and evil stepsisters—all costumed à la Rubnitz. Featuring Sister Dimension as the fairy godmother, Michael Clark, and others, the tape playfully illustrates a familiar fairytale moral, as each person gets what they deserve. The evil girl spits up toads, while flowers and jewels emerge from the mouth of Matilda the Good, and a dancing prince carries her away. 

Their first longer piece entirely in silence. The backdrop and floor were painted with a burned flour paste which crumbled down as they moved. In bright light, Eiko & Koma became thirstier as the four sections progressed, seeking both water and intimacy in an extreme setting.

Forti uses the camera as a research tool to record the movements of three grizzly bears pacing anxiously behind the bars of their cage in the Brooklyn Zoo. The collected visual information becomes part of the basis for Forti's movements in Solo No. 1.

A dance, performed by A.K. Burns and Lanka Tattersall

This title is also available on A.K. Burns: Early Videoworks

These are the dancing bodies in an agitated rapture: prelude to trance, invocation of the gods, consecration of intermittence. Here our point of view sparkles under the spell and trance of things gathered, fallen, yielding, pluvial, Mesoamerican wind, goddess breath, breeze of sticks. percussive woods.

In Tree Song, Eiko & Koma continue their exploration of the body as a part of the landscape and the landscape as an extension of the body. Trees have been symbols of resilience, rebirth and portals through which spirits pass. Tree Song honors the iconography of trees and the primal mysteries of landscape and the human body.

I worked on Trio A alone for six months in 1965. The dance consisted initially of a 5-minute sequence of movement that would eventually be presented as The Mind is a Muscle, Part I at Judson Church on January 10, 1966. There it was performed by me, David Gordon, and Steve Paxton simultaneously but not in unison. In an interim version of The Mind is a Muscle (Judson Church, May 22, 1966), it was performed by William Davis, David Gordon, and Steve Paxton. In the final section, called Lecture, Peter Saul executed a balletic solo version, i.e.

The final film in Friedland’s Movement Exercises trilogy, Trust Exercises is a hybrid experimental dance film which explores the tension between the poetics of group movement and its instrumentalization for capitalist management. Amending the choreography of team-building and the visual grammars of corporate video, Trust Exercises braids together movement from three work spaces: a fictional start-up retreat, a body work session as interview, and a dance rehearsal.

This is Eiko & Koma's second collaboration with videographer James Byrne. Since Lament had extensive editing, this work was created with the intention of using longer takes to better capture the nuances of movement. Byrne shot the entire work from the top of a ladder looking down on Eiko & Koma. Lighting was constructed so that naked Eiko & Koma are seen moving as if floating in a black void. Music by Ushio Torikai. Filmed in August 1988 at Jersey City (NJ) State College.

Filmed entirely in Sweden, VIEWFINDER is a surreal sound-film that entangles gestures of place, belonging, and monument. Informed by archival research, oral history, and folk stories, the film focuses on Black immigrants who have recently migrated to Sweden. These performers enact dance-like choreographies in critical sites across the coastal town of Varberg, generated in response to an absence of Black life found in the municipal archives.

Wake is a cinematic dance collaboratively created by Eiko & Koma and James Byrne. It was filmed in special sessions during the premiere run of the living installation Naked, at Walker Art Center, November 2-30, 2010. James's body held camera moves with Eiko & Koma through a primal landscapes.

Adapted from their performance work Fur Seal (1977), this video is the first and only outdoor work Eiko & Koma created for video. The piece was filmed at Pt. Reyes, California in November 1983. Eiko & Koma were very cold because of the water and wind–so were the film crew! Eiko edited the piece with the help of Jeff Bush.

This work was originally designed with no sound and was 19 minutes long but in this shorter version, Eiko added the sound of sea waves.

Shot with my students at the San Francisco Art Institute, this colorful drama with song and dance numbers (plus burlesque acts) follows the libidinous poisoning of Vatican personnel by an otherworldly intruder. The cast is mostly young and vibrant and the songs staged as opulently as possible on a $400 budget. Anyone interested in these collaborative productions will find a lot to gawk at in this backstage romance with pagan overtures galore.

Commissioned by and performed at the 2000 Brooklyn Academy Music Next Wave Festival, When Nights Were Dark is a full evening-length collaboration with Joseph Jennings and the Praise Choir. The work was created during a Lower Manhattan Cultural Council residency which allowed Eiko & Koma the full time use of the studio on the 91st floor of the World Trade Center North Tower throughout 2000. The décor of The Caravan Project was hugely expanded for this work and placed on a slowly turning wheel.