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A list of Films on Haiti and some comments on them

By Bob Corbett (bcorbett@crl2.crl.com), 1995

Below is a list of films about Haiti which I know about. The films that have ** after the title are films which are in my library. Any without the ** are NOT in my library and I'd love to get a copy if anyone knows where I could do it, or, better, if any out there could donate a copy, well, I'd love it!

What follows below is quite long. Anyone wishing a shorter version that deletes the reviews and only has three or four lines a film, just let me know and I can sent that out too.

Almost all of these films are avaialble on video. In most cases if I know WHERE to get the films I have incuded it.

	A mystery story which involves a great deal of New Orleans 
	Voodoo. Nothing directly to do with Haiti.
	1982, Mark Mamalakis.  
	Shows how Haiti attracted international attention and recognition 
	with a dynamic art movement created by unschooled painters. 
	Interviews with artists.  26 minutes.
	My own view:  The film is rather uninteresting, except as a history 
	of the art movement itself.  It is slow moving.  Not much connection
	between Voodoo and art is really there.
	Dist. by Haitian Arts Project
	    P.O. Box 57850
	    Chicago, IL  60657
	1983, Haiti Films.  
	Illustrates the semi-feudal economic system in Haiti todays.  
	75 minutes.
	1978, Robin Lloyd and Doreen Kraft. Brilliantly colorful, animated 
	film using Haitian art to portray the revolution which made Haiti a 
	free country.  20 minutes.
	Bob Corbett's comments:
	"We got independence so long ago and we are still not free." 
	This quote taken from the uplifting, animated documentary 
	Black Dawn is one of the many important statements this film 
	explores for all those fortunate enough to see it.
	The delightful story begins with the two classic 		
	Haitian folk characters, Bouki and Ti Malice  who are travelling 
	to the market along with their very stubborn mule.  When the mule, 
	on its own accord, refuses to move another inch, the two men, 
	each at opposite ends, try to push or pull the animal in opposite 
	directions, hoping it would move.  After several unsuccessful 
	attempts, they sit in the shade of a nearby mango tree and begin
	to talk of the history of the Haitian people, beginning with the
	merciless removal from their African homeland where "the 
	animals and the people lived happily."
	Ti Malice continues, next describing the role of the lwa 
	(spirits) in the lives of the Haitian people. While in the middle 
	passage from Africa to Haiti, 	Erzuli, an Earth mother figure, 
	hovered over the ship singing while the passengers wept.  And it 
	was Erzuli who wept at the sight of the young Haitian boys being
 	whipped by their white masters. Also, Ougan, the warrior spirit, 
	came to give the slaves determination to fight with Toussaint 
	Louverture.  As one Toussaint said when he was being carried 
	away to France,  "In capturing me, you are only cutting the trunk 
	of the tree of liberty, but it will flourish again for its roots are strong 
	and deep."  
	Through their own story Bouki and Ti Malice see the importance 
	of uniting against the forces which have oppressed the Haitian
	people for so long: slavery, poverty, injustice. The strong desire 
	and hope for a united and growing country is also seen through 
	the conversation of these two comical characters.  Despite the 
	cruelty and hatred of the Haitian people throughout the centuries, 
	a seed for a better way of life still exists, and it is the combined 
	strength of every Haitian which will allow it to grow and to
	flourish. The Haitians hold on to this belief and it is this belief 
	that keeps many of them alive in the hardest of times.
	Black Dawn is a truly wonderful film which is clear enough 
	for a child to understand, narrated well enough for an adult to 
	be involved in the story, and animated beautifully so that every-
	one of all ages is entertained. This is definitly a film anyone 
	who 	wants to be educated about Haiti in an entertaining way 
	should watch.

	BLACK SUGAR.  1989, Michael Regnier.  Study of the batays, 
	the cane cutting camps for Haitians in the Dominican Republic.  
	Indiana University Audio Visual Center
    	Bloomington, IN  47405-5901
    	Sale:  $200.00      Rent:   $50.00

    	58 minutes, color.
	Bob Corbett's comments:  
	This is purportedly an insiders view of the bateys (worker camps 
	for Haitians) inside the Dominican Republic, most of which are 
	run by the Dominican Republic State Sugar Council.
	The footage tries to reveal the squalor, disease, hunger, 
	hopelessness and anger of the Haitian workers, most of whom 
	were either lured to the Dominican Republic with false promises, 
	or simply captured at taken by force.
	Once the workers are on the plantations they have virtually 
	no hope.  Their papers, if they ever had any, are confiscated and
	destroyed.  The surrounding areas are simply miles and miles of
	cane fields--escape is extremely difficult and dangerous.  They
	live under conditions which are in many senses worse than those of 
	their ancestors under French slavery.
	The film proceeds by means of interviews, background
	information and footage of the camps and cane cutting work.
	However, the film is not very well shot. Often the black faces of the 	
	workers are invisible in the overexposed shots taken in the sun.  
	Further, much footage is simply facial close ups of those
	being interviewed.  The film would have been much improved a 
	greater variety of footage were used with voice/interviews going 
	on over the scenes being shown.  Nonetheless, one learns a 
	great deal about the situation of the Haitian cutters in the 
	Dominican Republic, and the film evokes a feeling and sense 
	of the sadness, hopelessness and intolerableness of their life
	This film would be useful for groups of all ages, and even 
	those who are informed concerning the facts of this situation 
	will find the moving immediacy of the filmed reality to bring a 
	useful emotive sense to one's knowledge.
	This film was made by The National Film Board of Canada 
	working in conjunction with the Indiana University Audio-Visual
COMEDIANS, THE. ** 1967, Peter Glenville.  
	Based on Graham Greene's novel of life under Papa Doc.  
	Stars Richard Burton, Liz Taylor, Cicily B. Tyson, James Earl 
	Jones, Alec Guiness and Peter Ustinov.  
	160 minutes.
	This film has an all star cast, but Burton and Taylor are
	at their worst and it is very slow.  
DEATH OF THE DREAM.  **  Jonathan Demme's follow up film to 
	the film discussed next.  It is in the same high quality of both
	form and content of all Jonathan's work, though a significant
	portion of the footage is repeat footage from Dreams of 
DREAMS OF DEMOCRACY. ** 1988, Jonathan Demme.  
	Filmed around the first anniversary of Duvalier's overthrow, 
	Demme captures the hope of the moment.  
	Extraordinary music.  52 minutes.
	Review from The New York Sunday Times
	In early 1987, the people of Haiti toppled the corrupt 
	dictatorship of "Baby Doc" Duvalier. There has now been a
	referendum on a new constitution and elections are promised.  
	One of the USA's most outstanding feature film directors, 
	Jonathan Demme--whose SOMETHING WILD has just 
	been acclaimed in its UK release--co-operated with 
	experienced British TV current affairs director Jo Menell 
	for this highly original impressionistic report on the 
	Caribbean island, as its six million inhabitants celebrated 
	the first anniversary of the overthrow of the Duvalier regime 
	on 7 February 	1987.
	Throughout the programme, the common people of Haiti 
	convey their desire for greater democracy and the wide-
	spread feeling that the uprooting of the old order has not
	finished--this year's referendum on the constitution offered 
	many of them their first opportunity to vote in a lifetime of 
	corrupt dictators, most recently the Duvaliers, Papa Doc 
	and his son Baby Doc and their lawless enforces, the Ton
	Tons Macoutes.  But while outlining the country's economic
	problems--80% of the people are unemployed, 87% have
	no access to drinkable water and the average daily income 
	is around 	L1.50--the programme is far from a conventional 
	current affairs documentary.  There is no commentary, and 
	the programme is crammed with popular music and current 
	songs that reflect the way in which Haiti's distinctive culture--
	the most African of the Caribbean islands--meets the political
	realities of this struggling, unique country. The music reflects 
	the central importance of Voodoo, which some of its expo-
	nents claim has been wrongly criticised as something strange 
	and sinister.  And it also reflects the importance of radio in a 
	country where--with 85% illiteracy--it is the main medium of 
	public information.
	The programme is as informative as it is entertaining, for 
	Demme's uninhibited use of music carries much of the 
	weight of the expression of popular political hopes.  After 
	writing, producing and directing films with Roger Corman, 
	Demme became best known 	for CITIZENS BAND (1976) 
	and MELVIN AND HOWARD (1980), and demonstrated a 
	particular skill with popular music in his unusual perfor-
	mance with the Talking Heads band, STOP MAKING 
	SENSE in 1984, and in his latest feature, SOMETHING 
DIVINE HORSEMEN, THE. ** 1951, Maya Deren.  
	Classic film on Haitian Voodoo and possession.  
	60 minutes.
	Bob Corbett comments:
	This black and white film, from footage shot in the late 1940s
	and early 1950s is simply wonderful.  It focuses on possession,
	but it works thorough the major spirits of Voodoo.  A must
	for anyone who wants to see footage of Haitian Voodoo.
	1986, 20/20 Program, with Barbara Walters interviewing 
	Jean-Claude and Michele Duvalier.  Astonishing comments 
	by the Duvaliers.  40 minutes.
FRANCOIS DUVALIER...A VIE.  	1968, Swiss television.  
	A rare interview with Papa Doc, who explains his theories 
	and 	strategies for Haiti.  French, no subtitiles.  30 minutes.
GRANDE SALINE. ** 1985, The National Film Board of Canada.  
	A documentary about an OXFAM-Quebec desalination project.  
	26 minutes.
 	(See information on Black Sugar. This film is also 	
	distributed by Indiana University.)
	Sale:  $160.00    Rent:   $30.00
	26 minutes, color.
	Grande Saline is a village on the sea near where the 	
	Artibonite River empties into the Gulf of Gonave.  This 
	film documents a small desalination project supported 
	by OXFAM- Quebec from its conception until a point 
	where it is nearly finished, and refreshingly for this sort 
	of documentary, not quite successfully. The middling 
	success of the project lends a credibility to the film.
	Grande Saline is also made The National Film Board of 
	Canada and suffers some of the same filming defects which 
	plague Black Sugar.  The black faces of people being 
	interviewed are often only black sillohettes in the bright 
	sun of Haiti.  One would think an organization of its stature 
	would have camera people who could film black people!  
	On the other hand this film is much more colorfully and 
	actively filmed than Black Sugar.  Rather than long moments 
	of filming people being interviewed, the camera roams 
	around the village giving up a great sense of the life in 
	small town Haiti.  While interviews or explanations are 
	given in the voice, the camera takes us to children at play, 
	dancing women at a festival, a market scene and other daily 	
	activities.  Another refreshing aspect of the film is that Creole 	
	interviews are often recorded for 10-15 seconds before
	translations begin, giving one a nice ring of this beautiful 
	Haitian language and rhythms before the English cuts in.
	This documentary is useful for those involved in development 
	work in Haiti.  It demonstrates how one can work with Haitian 
	people, giving them an important leadership in doing their own 
	development.  At the same time it helps the foreign developers
	develop a sense of patience and willingness to adapt to local 
	conditions and environments.
HAITI.  1938, Rudy Burckhardt.  
	Rare, early footage of everyday life in Port-au-Prince, interwoven 
	into an elegant experimental B/W film.  
	16 minutes.
HAITI, A FORGOTTEN NATION. ** By the Lutheran World Federation.
 	An overview of Haiti with concentration on liberating development
	30 minutes.
     Produced by the Lutheran World Federation
	30 min., color
	Bob Corbett's comments:
	For several years I have wanted PEOPLE TO PEOPLE to have a 
	film like this one tries to be.  There is a need for an overview film 
	for the uninitiated which first presents Haiti, her reality and her 
	need, then goes on to show how a volunteer organization might
	operate in Haiti.
	This is exactly the format of the Lutheran World Federation film, 
	and some parts of the task they do quite well.  Much of the filming 
	is quite nice:  bright colors, interesting scenes done to 
	a voice-over which gives some background on the history and
	current status of the nation.
	Unfortunately this section tries to do too much and ends up 
	being a very choppy treatment of themes.  At the same time it 
	does to little, since the text is slow and drags on.
	After the overview the film begins to focus on the work of the 
	Luthern World Federation in Haiti, and it is impressive, not only 
	in the work itself, but in the approach--a liberating development
	which tries to help Haitians become free from the need for aid.
	This is primarily a fund-raising film and would best be used 
	by those who would like to motivate its audience to support 
	the work of the Lutheran World Federation, or work like it.
HAITIAN SONG. ** 1982, Karen Kramer.  
	A lyrical portrait of daily life in a small community, interwoven 
	with songs and informative commentary.  50 minutes.
	A Review by Brent Dean Robbins and Bob Corbett
	"This film is a portrait of daily life in a small Haitian 
	village," begins Karen Kramer's Haitian Song, "A way of life 
	which is based upon a dependence on the land."
	Kramer's Haitian Song, a slow-moving yet graceful film, 
	focuses on the all-encompassing agricultural lifestyle of a 
	typical rural Haitian village; a place where land is passed 
	down generation after generation, the soil itself a vital 
	element in the family legacy.
	From the beginning, the film creates a sombre mood, the 
	camera following a woman delicately balancing a pot of water 
	on her head. From scenes where farmers, the sun glistening 
	off of their wet, muscular backs, sow the land with crude 
	gardening tools, to the joyous outbursts where song and dance
	provide relief from the pain of labor, one can't help feeling a 
	strange kinship with these people, so unlike our American 
	selves, born and bred in the technological age. In Haiti, it 
	seems, time has stood still.  "The way we work is with our 
	hands," explains one man, "We don't have money to buy 
	machines to do it."
	There's no mistaking a sense of angry pride in his voice, 
	and yet Haiti's soil grows less fertile with each passing year. 
	It is becoming more and more difficult for the people to live 
	off of the land, and, for this reason, many Haitians are forced 
	to leave their homes in order to survive.
	Each segment of the film focuses on a different aspect of
	a typical day in Haitian life, but, in all its modesty, the film 
	makes a much deeper and resonant impact.  Kramer captures 
	the fall from grace of the beautiful lands of Haiti, its once rich 
	soil now depleted, and a people struggling to keep alive a 
	way of life from which they know none other.
	Haitian Song, below the surface of its dark, earthy tones, 
	depicts an ancient struggle between man and nature, culture 
	and change, and, most importantly, the triumphant faith of a 
	people in their own heroic will power to continue in the face 
	of an unknown future. 
HAITI, JE M'SOUVIENS.  1983, Patrice Bolte.  
	Collage of visual images set to haunting Haitian music.  
	Contrasts real life and art in order to create a mosaic of 
	Haiti life.  12 minutes.
HAITI QUEBEC.  1986,Tahani Rached.  
	A look at the racism facing Haitians in Quebec.  
	57 minutes.
HAITI:  THE STRUGGLE CONTINUES. ** 1990, Pax Christi, USA.  
	An introductory film for those who know little about Haiti. The 
	film tries to move people for concern for political and social 
	30 minutes.
    Pax Christi USA
    National Catholic Peace Movement
    348 East Tenth Street
    Erie, PA  16503  
    (814) 453-4955
    Purchase:  $30.00    Rental:    $15.00
    30 minute, color.
	This video was filmed during September, 1989 when Pax 
	Christi sent a delegation to Haiti.  It is a beginners film, one 
	that unabashedly tries to move the viewer to concern for and 
	action on Haiti's behalf.  There is a need for this sort of film to
	introduce people Haiti who know little or nothing of her.  The 
	film has a job to do.  It does not concentrate on or much 
	mention the attractive features of Haiti.  It sets out to show 
	and analyze Haiti's misery.  This it does.
	There is interesting footage of Haiti's poverty, both rural and 
	urban in this video, yet, despite the intent, it lacks vibrancy.  
	There is some nice Haitian music sofly in the background, 
	but the narration is slow and tends to drag at times.

	There is a great need for such a film.  Few people know much 
	about Haiti.  There are often opportunities to visit schools or 
	church groups to begin to develop awareness of Haiti.  I've long 
	dreamed of finding or making such a film for PEOPLE TO
	 PEOPLE'S use.  
	This film is useful for that purpose, but still not my 
	ideal.  I was constantly aware those in the film were white 
	people getting a quick overview of Haiti's poverty, history and 
	politics while on an initial visit.   PEOPLE TO PEOPLE also 
	takes many many people for their first visits to Haiti.  It is a 
	powerfulexperience.  Most people come reeling away, 
	shocked, disturbed, frustrated by the misery in which so 
	many millions live.  Yet there is a danger in rushing from 
	such peak emotional experiences to pronouncements 
	about this complex and long-suffering land. 
	From the opening few sentences when we are misinformed 
	that Haiti achieved her independence in 1840, to the constant
	intrusion of the foreign white people through out the film, I 
	sensed the limits.  In one rather unfortunate text, just as this 
	group of white folks are getting into their fancy private bus, 
	the narrator tells us they are here to see Haiti the way the 
	people see it.  Riding around in a rented vehicle is certainly 
	not the perspective of the common folk. 
	The film is certainly sincere.  There is a concentration on 
	showing us the misery of Haiti, and this is done well.  
	However, the whole film is marred by technical difficulties--
	filming out of the bus window, dragging text etc.
	Nonetheless this film is a good place to begin. The video 
	seems to be for those who want to get some sense of 
	modern Haiti, and, especially to focus on the role of Roman 
	Catholicism and the United States in that reality. Within 
	these limits it is a useful film for those who've never been 
	to Haiti, and those whose primary contacts with Haiti have 
	been the lurid and sensationalist news accounts of Haiti's 
	latest governmental outrage.   The price of purchase--$30.00 
	is ample evidence that Pax Christi is interested in educating 
	people about its view of Haiti and not out to make profits on 
	the film.  That's a reassuring sign!
	Hollywood feature film.  A terrible horror film, which 
	presents a simply silly view of Haitian Voodoo and zombies.

LEGACY OF THE SPIRITS. ** 1985, Karen Kramer.  
	An in-depth study of Voodoo.  52 minutes.
	Reviewed by Bridget Hengen, Webster University student.
	Karen Kramer's fifty-two minute documentary The Legacy of 
	the Spirits is a fascinating and thorough view of Haitian Voodoo, 
	particularily its transformation from Haiti to Brooklyn, New York.  
	In this film Kramer explores in great depth the personalities and 
	symbols of the spirits (lwa), traditions within a Voodoo ceremony, 
	the importance of keeping the Voodoo religion and its heritige 
	within the family, and Voodoo's culturally rich background. 
	A woman Kramer interviews states that "religion involves 
	a complex belief system and rituals in association with family
	gods." These gods, which were brought with the slaves from
	Africa include, Legba, who controls the gates to the spirit world,
	Dumballah the snake, Erzulie, the beautiful woman who weeps 
	at the thought of human's present condition and the destruction 
	of the world, and Ghede, the crude but lovable baron of death.  
	Each spirit is different, with different symbols, and each must 
	be served accordingly.  Kramer does an excellent job of dis-
	playing the preparation for the ceremonies, possession by the 
	spirits, traditional sacrifices, and initiation of new members.
	Through her film, Kramer stresses that Voodoo is a family 
	religion. This is extremely interesting in The Legacy of the 
	Spirits wherein Haitian families are attempting to bring up 
	their children in a completely different culture while en-
	culturating in them an appreciation of and devotion to their 
	Haitian culture and religion.  One woman says "...That's the 
	way our culture survives -- the way 	our tradition continues...
	They have to keep the story alive. They have to know their 
	Karan Kramer explores the adaptation of a new culture and 
	the continuation of old traditions by revealing a cab driver, a 
	housewife, and a chemistry teacher, among others, who continue
	their Voodoo practices and beliefs in the United States.  The
	chemistry teacher explains: "Both worlds are real to me".  
	Kramer also shows a white woman who says "We're not all 
	Haitian, but in the eyes of the lwa that doesn't matter because 
	we are all one."
	Kramer also explores past and present oppression and
	misconception of the Voodoo religion; from early Haiti when 
	the ears of Voodoo practicing Haitians were cut off for 
	punishment, to present times when headlines like "My Life 
	As a Zombie Slave" are not uncommon.  As to Voodoo dolls, 
	one man says "I wish there were Voodoo dolls sometimes, 
	but I've never seen one. It must be Hollywood."   
	Kramer shows another side of this religion;  a personal side
	from the view of the participant, not just the observer. This allows  
	misconceptions such as those listed above less glorified than they 
	would be had we not been exposed to the realism which Kramer 
	offers/ to us.
	Karen Kramer does outstanding work in The Legacy of the 
	Spirits. It is entertaining and extremely educational. I belive if 
	everyone had a chance to watch this film, the outlandish untruths 
	of Voodoo would not exist.  She shows us that Voodoo is more
	than a religion; it is a way of life. As one woman says "The impact 
	it has had on my life is so grand ... I can't find a word to tell 
	you" . 
	One might also note the incredible similarity of the themes in 
	Kramer's film and of the book MAMA LOLA.  We used MAMA 
	LOLA as a text in our course in Haitian Voodoo this semester, 
	and were surprised at the similarities of the book and this film.
	They'd make nice companion pieces.
	Hollywood feature film.  Story of a woman caught in the 
	Haitian Revolution.  Based on a novel of the same name 
	by Kenneth Roberts.
MAJOR LEAGUE.  Hollywood feature film.
MICHELE. ** 1986, 60 Minutes Program.  A portrait of Michele 
	Duvalier and her role in hastening the overthrow of her 
	About 30 minutes.
NORTH-SOUTH MONOLOGUE.  1982, Jacques Godbout.  A sharp
	analysis of the inequalities of Haiti's economic and industrial
	relationship with the U.S. and Canada.  57 minutes.
NOUS LA.  1988, Tahani Rached.  Chronicles the events leading 
	up to the elections of Nov. 1987.  French, no subtitles.  
	30 minutes.
	Cine Soleil film by David Korb.  
	Approx. 52 min.  
	Cine Soleil, 648 Broadway # 502, Ny, NY, 10012  
	phone (212) 505-1731  fax:  (212) 533-7173
	In recommending the film to me, Leslie Desmangles wrote:
	David Korb's excellent film is entitled "The Other Haiti". 
	It deals strictly with the formation and operation of grassroots 
	peasant movements in Haiti. As you know these movements 
	dealt with the agricultural use of peasant land, agricultural 
	reforms, and a whole set of social and political issues that 
	were striclty opposed by the Haitian elite, and by the United 
	States as well. They operated openly during the years in 
	which "the other Aristide" was president of Haiti, and gained 
	his support. The popular support that these groups earned 
	during those years might have been reponsible inpart for his
	Bob Corbett's comments:
	Powerful and informative film centering on the MPP, 
	Movement Peyesan Papaye, a ti legliz group just to the 
	east of Hinche.  The film covers ti legliz meetings, larger 
	regional meetings, co-operative farm work, and provides 
	a general sense of the popular movement in Haiti.  It is 
	especially important since it demonstrates that the popular
	movement in Haiti is much bigger that the leadership of
	Jean-Bertrand Aristide.
	The film follows the peasant movement up until mid-1992.
PLAINE DU NORD.  Jean-Francois Chalut.  
	The annual Voodoo ceremony in northern Haiti. A look at
	 the ritual mud bathing.  French with no subtitles.  
	30 minutes.
RA-RA, A HAITIAN FESTIVAL.  1978, Gail Pellet.  
	Depicts the annual 	Ra-Ra festival.  18 minutes.	
SAINT-SOLEIL PROJECT.  1976, Marilyn Rifkin.  
	Portrays a small rural community that uses various art forms 
	as vehicles for development.  
	18 minutes.
	Horror film loosely based on Wade Davis' book of the same 
	title.  Extremly inaccurate portrait of Haiti and Voodoo.  	
	About 180 minutes.
SEVENTH SIGN, THE.  Hollywood feature film.
SOUL OF THE ISLANDS.  1988, Alain d'Aix.  A poetic docu-drama.  	
	Singer Toto Bissainthe recounts Haiti's past in song.
	 30 minutes.
TAXI SANS DETOUR.  1988, Mireille Landry and Gary Beitel.  
	Follows several Haitian taxi drivers in Montreal as they deal 
	with racism.  
	French, no subtitles.  57 minutes.
TO SERVE THE GODS. ** 1982, Karen Kramer and Ira Lowenthal.  
	A peasant family honors its ancestors in a Voodoo service.  
	30 minutes.
	A weak attempt to portray the interrelationship between 
	Voodoo and Roman Catholicism.  The film does root 
	Voodoo in the history of the country and emphasizes its 
	origins in the lives of the maroons, the runaway slaves.  
	The history is good, and we learn of the role of Voodoo 
	in the revolution.
	But where is Voodoo today, and what is its connection to 
	the Roman Catholic Church in Haiti?  At this point the film 
	is silent.
	The filming is often choppy, purposely so, looking ever so 
	like a Charlie Chaplin movie.  I found this treatment of Voodoo 
	dance quite disturbing.  My images of Voodoo dance, from a 
	great deal of personal experience, is of a slow moving, grace-
	fulness which 	conveys a sense of the intensely sensual, but 
	sacred as well.  The quick moving, choppy dancing of the video
	destroy the grace and beauty of the dancing.