In this article, Madison Moore discusses the work of choreographer Trajal Harrell, which critically crosses the downtown pedestrianism of postmodern dance with the high-fashion spectacle of uptown Harlem drag balls. By considering the social contexts of these apparently disparate scenes, Moore highlights the stylistic affinities and cultural clashes between postmodern dance and voguing in Harrell’s sweeping cycle of dance pieces titled Twenty Looks or Paris Is Burning at the Judson Church.

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