Dad Rock

Dad Rock is a solo performance with poems, movement, and video collage that contemplates the relationships between American masculinity, nationhood, and remote violence through the lens of “Classic Rock”, a DJ-created radio genre that emerged on American stations nationwide in the late 80s (the genre looks nostalgically on the pop music of the late 60s-80s).

The second in a triptych of works from Antigravity and Lead Artist poet-performer Kyle Dacuyan, this hybrid performance piece fuses dance, performance monologue, video collage, and drone music to contemplate the ways that our daily lives and comfort are inflected with realities of unseen violence in the name of national safety and security – and specifically how vastly torture and drone violence abroad are engrained in the architecture of American notions of truth, information and self-justification.

We’re thinking about “Dad Rock”, and the many archetypes of specifically American masculinity we might draw into this genre: someone on a highway, someone returning from war, someone with swagger. What is swagger? Some combination of appetite and claim – and this brings us back to freedom. The one who swaggers is loose and uninhibited; he knows how to get what he wants.

“Dad Rock” is a texture in the piece – musically, sonically, choreographically – because we’re interested in its seemingly benign manner; and in the space of performance, we look to queer this texture by reconsidering the layers of buddy-buddy, militaristic machismo we perceive as deeply connected to these ideas. We consider “Dad Rock” to be an essentialized subgenre of “Classic Rock”; a subgenre that is decidedly male, Anglo, and American in spirit, featuring musicians from 1969-1989.

Kyle Dacuyan – Lead Artist, Poet and Performer

Michael T. Williams – Director

Kate Liebman – Video Designer

Michael Costagliola – Sound Designer and Composer

Phoebe Osborne – Choreography Consultant

Antigravity Performance Project – Producer

The development of Dad Rock is made possible through a creative research grant from Georgetown University’s Office of the Provost, awarded to director Michael T. Williams.