Brian Hornfeldt

Staff Writer/Social Media Manager

It can often be difficult to perceive ourselves as anything aside from what we define as normal. It is inherent in the notion of culture—not just American culture—to view ourselves and our cultural perspectives as the standard and those outside our bubble as the other. As with many things in our society, concepts of the norm and the other are constructs that help maintain a majority’s status quo. As sociologist Dr. Zuleyka Zevallos said about this concept, “This is because the representation of different groups within any given society is controlled by groups that have greater political power.”

In her interactive exhibit, Encroachment, artist, dancer, and educator Lisa Hines represents and distinguishes the distinction between concepts of otherness and normalcy.

Encroachment sought to “[present] the ‘other,’ not only as a single manifestation of race, ethnicity, or gender…as any position that discriminates or encroaches upon a person or their culture, religion, or beliefs. The exhibit examines misconceptions and maladaptive practices people have in viewing and engaging with worlds other than their own.” 

The exhibit involved participants walking through a series of rooms where dancers would perform. Prints by artist and collaborator Zaire Miles-Moultrie, music, and a tactile element of varying terrain for participant interaction enhanced the performances. To get the most from this experience, participants removed their shoes, and once dancers completed the initial performances, the audience could interact with the display however they chose. However, once the exhibition began, there was no verbal communication from the staff, participants, or dancers.

The beauty of this exhibition was in the many ways to receive and perceive the message. As I made my way through the various scenes on display, I felt distant from what I observed. The many props, prints, body paints, and other objects were initially separated, but it seemed natural to want to explore these topical points of interest once the barrier was removed. However, that was an act of encroachment upon the performance space. 

There is also the concept of the other to consider. Was I, the viewer, meant to see the performers as the other? I came to believe that, in reality, it was I who was meant to be the other in the exhibition. I entered their world and tried to make sense of the pieces they presented concerning my preconceived notion of normalcy. The entire installation and performance combined made quite a powerful and thought-provoking piece.

Traversing sandy flooring and pools of water helped to further the participants’ otherness. It felt peculiar on all fronts, from removing our footwear to the lack of spoken language and tactile changes, contributing to the isolating feelings generated between the participants.

This detachment from the crowd was the most unique part of the experience, and I still wondered about it afterward. Perhaps I had overthought our respective mindsets regarding the instructions of “interact with the exhibit however you please,” but I found it interesting and isolating to see our varying responses. It was difficult to interact with the scenes once we had access. Was I afraid of being disrespectful to the space I was entering? Did I succumb to my preconceived notions of not being allowed to touch art? It was likely a combination of the two and other reasons I haven’t fully grasped that led to me experiencing the exhibit’s different areas with an observer’s rather than a participator’s mindset.

Others embraced the instructions fully and started moving props from the scenes and examining the actors’ clothes and body paints. Was I doing it wrong, or simply differently? My experience fit the overall theme that Encroachment explored. At what point does an observer’s involvement become encroachment? The artists created a concept of encroachment in a relatively small and controlled environment, but what could it tell us about the concept on a larger scale?

I left the exhibit with a newfound understanding of how otherness and normalcy can be quickly inverted and that these ideas are deeply embedded within our cultural landscape. Still, there are always opportunities to learn more about your presence in the world around you and better yourself.

I thank Lisa Hines, Zaire Miles-Moultrie, and all associated with Encroachment for creating such a wonderful exhibit.