VIDEO: Sanford Biggers
What constitutes a classic? Who gets to decide? Why not me? So, as a lover of the b-boy uprock danced to a classic b-boy cut, I declare Sanford Biggers’, Mandala of the B-Bodhisattva II video work, made in 2000, a classic. What are the parameters for this particular classic, the supreme weaving of the spiritual nature of breakdancing (exquisitely explored in the current film Planet B-Boy), with the Mandala, a diagram that serves as a collection point for universal forces. (Watch the video!)
(Sanford Biggers, Mandala of the B-Bodhisattva II (2000), video still, 16ftx 16ft hand-carved colored rubber tiles, Formica backing. Battle of the Boroughs breakdance competition.)
The sacred circle where the community gets down and individuals merge with divine oneness and the eternal moment, once again found itself in the dance ciphers of early hip-hop culture, and subsequently became a global phenomenon known as breakdancing. What Biggers so eloquently puts down here, in video form, is a contemporary cultural manifestation of a centuries old global tradition. Not only is this video work a sublimely layered riff on perspective and transculturalism, it highlights the symbiotic relationship between the individual, the group and the cosmos. While the volume is loud the message is clear, one love, one aim, one destiny – union with the ultimate - whether you’re a b-boy, b-girl, Buddhist or otherwise.
(Sanford Biggers, Creation/Dissipation (2002), colored sand poured unfixed to floor and realtime projection of the performance shot from an overhead camera and projected on an adjacent wall.)
As a group, there are a handful of Biggers’ video works that suggest a fascination with the dance between the cosmic or metaphysical and the day to day movements of human beings. Creation/Dissipation (2002), Hip Hop Ni Sasagu (In Fond Memory of Hip Hop) (2004) and Cosmic Conundrum (2006) all show an appreciation for what could be described as movement between the polarities of energy and matter. Spatial relationships between music and dance, silence and sound, the individual and the group, light and dark, the intimate and the infinite, converge into moments of contemplation filled with the residue of the familiar and the possibility of the unknown.
(Sanford Biggers, Lotus (2007), 7ft diameter, hand etched glass, steel and LEDs. The image etched onto the glass is based on drawings of the cargo hold of an 18th century slave vessel.)
Many of Biggers’ video pieces are accompanied by installations, objects and performances that also speak to his transcultural/transcosmic inquiries. Keep an eye out for Biggers’ participation in the following shows in 2008: US Biennial: Prospect 1. (curated by Dan Cameron) New Orleans, LA; Neo HooDoo: Art For A Forgotten Faith. (curated by Franklin Sirmans and traveling to PS1, New York) The Menil Collection, Houston, TX; and, (Yet Untitled). Brooklyn Museum, Brooklyn, New York. Also on tap in 2009, The Cartographer’s Conundrum (funded by Creative Capital), an installation, film and website inspired by artist, scholar and Afro-futurist John Biggers. A cousin of his subject, Sanford Biggers’s goal is to both study and expand the emerging genre of Afro-futurism, which engages science-fiction, cosmology and technology to create a new folklore of the African Diaspora.
