TY - JOUR
AU - Wooden, Isaiah Matthew
AB - Jefferson Pinder and the Art of Black Endurance Isaiah Matthew Wooden t is an early spring night in 2012, within of one of the long, column-filled stretches of Washington D.C.’s now-shuttered Corcoran Gallery of Art. A man Idressed in starched slacks, a crisp white buttoned down shirt, and a silver- clip-fastened black tie stands behind a deejay coffin housing two turntables. A vision of black respectability, he moves his hands eagerly and expertly between two red records, scratching them in opportune moments to fill the museum’s reverberant halls with sounds and rhythms that call to mind the pulse of hip hop while registering as sonically unique. Before the man sits a long, elevated runway with a seemingly simple but rather intricate apparatus affixed to the top of it. The complexity of the contraption, which is composed of, among other things, wood, metal, plastic, and water and includes multiple spots for sitting, doesn’t become fully apparent until six additional men clad in uniforms that copy the deejay’s march one by one toward the runway and position themselves atop the device. Hailing from various parts of the D.C. area, the men each strap their feet to the apparatus before grabbing ahold 
TI - Jefferson Pinder and the Art of Black Endurance
JF - PAJ: A Journal of Performance and Art
DO - 10.1162/PAJJ_a_00403
DA - 2018-01-01
UR - https://www.deepdyve.com/lp/mit-press/jefferson-pinder-and-the-art-of-black-endurance-eavgx67GsC
SP - 74
EP - 82
VL - 40
IS - 1
DP - DeepDyve
ER -