For decades now, Austin has constantly boasted about the interesting cultural partnerships it has nurtured since hippies and cowboys came together in what was once a sleepy college town. To some extent, Austin has always had dance performances revolving around sanitation workers along with their equipment. But to modernize such a performance was considered strange. Trash Dance by Andrew Garrison, makes sense of the project and delves into something everyone in the city can appreciate. City of Austin volunteers could do without the pretense, and so, was happy to collaborate. This spirit of nonelites is sure to make the documentary a big hit. It surely deserves a chance somewhere outside of niche reservations and could provide sanitation workers in other cities some entertainment if a way is found to capture their interest.
Because of her disinterest in the traditional arts sphere, Orr, an eager choreographer looking to rope in people like firefighters and gondoliers, has to start all her projects with a singular piece formless puzzle that traditional dance companies can’t help her with. Within modern art, there is a gap where sculptors can only focus on lowering the number of possible candidates to a single winner. Instead of waiting for their time, the hopeful sculptors have to take the first step and find something to salvage within a giant pile of indifferent humanity.
It seems that she is just the right kind of person for the job – polite, down to earth, enthusiastic yet gentle. We see her invite an audience to not only do as they’re told, but to actively take part in the creative process by explaining her ideas using her warm twang accent. Her first few meetings held with the sanitation employees are fascinating.
In order to gain employees’ confidence and recruit suitable body language, Orr exploits a few tricks, such as accompanying teams, getting a taste of life in a dump truck, performing overnight shifts, and cleaning after drunk people on Sixth Street. While doing so, she uncovers some of the unknown skills of her coworkers. One of her colleagues raps, while another one plays the harmonica, and the last one does some breakdance style “jam skating.”
Garrison does not stop there, as he speaks to people whose roles most people would classify as gross or distasteful. He learns that some are working below the sustenance level, which leads to many individuals having secondary employment. While they are quick to mention that educated people in these professional jobs do indeed throw out waste, the cover is not entirely rosy. There is enough implication of hardship to lead to pondering why there are not more documentaries focused around waste gatherers.
The use began with the true performance documentation, which featured some 16 large vehicles in combination with nearly twenty sanitation workers, and which are held to the end of the film. There is no questioning the success of the show, yet its size which is of the order of parking lots, does not always reflect utilizing the space efficiently on screen. The zenith is a calm scene wherein one operator, Don Anderson, executes intimidating elegance as he maneuvers a giant crane with surgical precision. Viewing that moment may be the one instant when a viewer may actually want to be a garbageman, if only for a day.
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