Five Elizabeths
A film by Jasmine Dreame Wagner
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An experimental dance film.

Filmed on the shore of Fishers Island, New York, Five Elizabeths uses moving image, movement, and music to explore five female archetypes passed down through Wagner's family.

Director's statement.

At the end of the nineteenth century, my grandfather’s grandfather emigrated from Norway to Canada to join the fur trade in Manitoba. According to my family history, he had five wives, each of whom he renamed Elizabeth on their wedding day. Three of the Elizabeths were registered with the Canadian census; two of the Elizabeths are untraceable, remembered only in stories and in pencil sketches labeled by first name on an old drawing of my family tree. The women’s maiden names have been lost to history.

My grandfather, a WWII veteran, named my mother after these five wives: she, too, is an Elizabeth. My mother grew up on Grosse Ile, an island in the Detroit River, knowing few details of her family history. From the erasure of her great-grandmothers' maiden names to the unspoken life of her own mother, an immigrant who preferred silence to storytelling, women in my family often sought to ease or prevent the transmission of trauma through denial, cultural assimilation or repression. In creating Five Elizabeths, I wanted to make visible and audible the matrilineal archetypes embodied and handed down through my family:

THE FIVE ELIZABETHS. The first Elizabeth is a woman of leisure. A woman who sleeps doesn't mind her identity fusing with her body’s object. Is she medicated or is she tired? The second Elizabeth is a girl who loses her name – a woman who sacrifices her maiden name to gain her husband’s, who sheds her girlhood identity to assume the identity of a wife. She sacrifices her ambitions. This Elizabeth is a servant to the domestic, and she is also a dead girl. In my family legend, there is no way to know the substance of the five wives’ lives, why they were married in quick succession – did they each pass from an illness, or was it something darker? The disappearing girl archetype suggests the disposable woman, an object in a capitalist system, a slasher film character trope. The third Elizabeth is a warrior Elizabeth. In one version of the story of my family's Five Elizabeths, the brides were renamed in honor of the British Queen. Queen Elizabeth the First was a military strategist and a favorite of her father, Henry the Eighth, a paranoiac who beheaded two of his wives. She was a respected military leader. Her archetype strategizes, retains a victorious posture; she is representative of expanding empire, of trade itself, which is a slow form of war. The fourth archetype is the Elizabeth who watches the war. She is both a pacifist who won't fight and a soldier who is barred from enlisting on account of her gender. She is a woman who watches her brothers and husbands depart for service. She is also a woman who watches herself as she watches, the other war being a woman's struggle against her image. The fifth Elizabeth is the woman who walks away; she turns from idealized visions of herself, from her prescribed roles. She decides what to remember and what to forget. This Elizabeth embodies the problem of memory and forgetting. How much memorialization is necessary so that history doesn’t repeat itself; how much historical knowledge is necessary to integrate, to reclaim, and forget, so that healing can begin. This Elizabeth holds the tension of history in her body. She moves forward.

It was important for me to film on an island and to incorporate movement into my work. My mother’s childhood stories center around learning to dance as a child on an island, watching ships from the shore of the Detroit River. When her teacher passed away, she discontinued her studies. When I was young, I shied from dance, intuiting her grief, preferring to escape into my head, writing poems, remaining cerebral rather than embodied. These silences, from my mother’s inability to dance to my reluctance to explore movement, felt oppressive. Inspired by films such as Maya Deren's At Land, Cecelia Condit's Not a Jealous Bone, and Chris Marker's Sans Soleil, along with Andy Goldsworthy's land art, Isabella Rossellini's short performance pieces, and the self-portraiture of Francesca Woodman, I documented myself and the Elizabeths (as descendant and daughter, I inherited their image) as I moved on the shoreline. The boulders at the edge of the naval base reminded me that human history flows over and through the Earth's geologic patterning. Movement is an antidote to grief. It's also a form of memory.

Five Elizabeths film and film score performed by:

Jasmine Dreame Wagner - director/composer
Pat Gubler - harp
Amy Rebecca Klein - electric guitar
Meghan Mercier - cello
Matt Sargent - lap steel guitar, Moog, Serge synthesizer
Maeve Schallert - violin
Adriana Tampasis - flute
Sugar Vendil - grand piano, midi-mapped keyboards
Killian Venman - percussion

Film score recorded at Bard College Conservatory of Music
Engineered and mixed by Matt Sargent
Mastered by Scott Hull at Masterdisk

Filmed by Jasmine Dreame Wagner at Fort H. G. Wright and
Isabella Beach on Fisher's Island, NY

Thanks to The Lighthouse Works and The Millay Colony for the Arts

Official Festival Selections and Screenings:

Luna Loba at The Wilbury Theatre Group, Providence, RI
MIT Program in Art, Culture, and Technology, Cambridge, MA
Black Mountain Experimental Film & Music Festival, Asheville, NC
Monadnock International Film Festival (MONIFF), Keene, NH
New York State International Film Festival (NYSIFF), Albany, NY
International Fine Arts Film Festival, Santa Barbara, CA
New Faces New Voices, New York, NY
Time & Space Limited, Hudson NY

Live Score Workshop Performance:

Tod Williams Billie Tsien Architects, Fisher's Island, NY
Presented by The Lighthouse Works

Five Elizabeths. Film stills.

Jasmine Dreame Wagner, Five Elizabeths

Jasmine Dreame Wagner, Five Elizabeths

Jasmine Dreame Wagner, Five Elizabeths

Jasmine Dreame Wagner, Five Elizabeths

Jasmine Dreame Wagner, Five Elizabeths

Jasmine Dreame Wagner, Five Elizabeths

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