Dec 1, 2016
When Richard Move first owned a copy of Autobiography of an Androgyne, he couldn’t keep it in the house. The life story of Ralph Werther a.k.a Jennie June a.k.a Earl Lind, was published in 1918, marking the first telling of a transgender life in the underworld of New York City.
According to Werther/June/Lind, being “third sex” at the turn of the century, one had to encounter men of the “ultra-virile,” sort, enduring the worst violent crimes; rape, robbery, beating, and blackmail; to survive such a life. For Move, the gender fluid fatale, most known for his performances of Martha Graham with 20 years of the touring show Martha@..., the story of this life was all too real. But while researching for his Ph.D. in Performance Studies, with an emphasis in Dance and Gender Studies at New York University, the need to explore this autobiography and the survival of this queer predecessor became undeniable.
In his new work, XXYY, Move along with decades-long collaborators, Katherine Crockett and Catherine Cabeen, traces anecdotes of Werther/June/Lind while joining these stories with songs by Alessandro Moreschi, the only castrato to make solo recordings. With masks and costumes by Alba Clemente, Move channels these turn-of-the-century third sex beings as an offering, in parts homage and haunting.
In the two hours I spent observing Move, Crockett, and Cabeen, I time-traveled through their bodies into my own gender fantasies. Crockett and Cabeen, as mirror images and twin jesters, like a two-headed gender Janus, lifted one another and turned each other both toward and away from the tragic narratives they recited. Move entered in patent leather platform boots, loose pants, and shirt, and swayed deftly to Moreshci.
I felt myself at once subsumed in the atmosphere of the dance like a child. I was taken up by Move as if I was sitting in the lap of a world-weary aunt with a book of gruesome fairytales.
It was a couple days after the election. I was shaking the entire train ride to the wind-blown doors of BAC. My body felt newly and at the same time familiarly unwelcome in this world. Something between the delicate steps and hand gestures of Move combined with the violent, lonely, imploring text of Werther/June/Lind felt like a séance, a recollection of a beloved faerie goddess who had not been known to me until that moment.
I spoke of this night in the early aughts when I had watched Move put on make-up in Lucy Sexton’s loft on Hudson. In my early years in New York, Move’s gender non-conformity left me star-struck, worshipping at the altar of the fem and femme. I could exalt without shame.
As I confessed this, we got on the topic of sacrifice and martyrdom, how both Werther/June/Lind and Moreshci offered up their bodies and voices for the betterment of humanity. Move feels intertwined with this sense of devotion to the lives of gender non-conforming people and the desire to touch the sacred with his work.
“Gender identity disorder wasn’t removed as a pathology from the DSM until a few years ago,” he said. “While there might be a feeling of hope about homosexuality with the legalization of same-sex marriage, gender non-conforming and non-binary people are still marginalized outsiders. The lives that were on the line more than century ago are still on the line. The bloom is off the rose! But that’s why these stories are more resonant than ever.”