Whitney Houston, in a silver, sleeveless minidress and matching arm bands, walks down the hallway of a paint splattered office building. Dancers pop out from the rooms and she moves to get out of their way.
She puts her hands on the multi-colored splashed walls and fluffs her hair. She opens a door and a young man hugs her. In the next room, male and female dancers, dressed in black, perform a routine. She stays by a wall, singing.
A male dancer brushes the wall. Three dancers hold each other as they move back and forth. She walks into another room and looks into the fun house mirrors. A male dancers surprises her from behind.
The dancers move through the walls at high-speed. Some cling to the wall as they dance. She walks through several rooms as the dancers pirouette and kick around her. She stops at one wall and grins at one male dancer’s silhouette behind a wall. She watches a male dancer, who is wearing a half tuxedo, half wedding gown outfit, perform. He disappears after the final turn.
Male dancers touch her the metal on the ladder as she climbs. She sings through a circle cut through the ceiling. A choir, wearing a single extended robe, fold their hands and move their heads. The dancers perform in shadow in a collage of the various rooms.
She closes a pink door and then opens the third one, painted in orange. She smiles at the two men who greet her. She heads for another door and laughs over her shoulder at the man next to her. Two doors over, she and the man hug. All the men join her in the room. A man plays saxophone in a one of the rooms.
Whitney points to a television, which shows Aretha Franklin singing in black-and-white. Female dancers hand her phones. She runs into a male dancer and then leaves the building.
The eclectic office building, painted in vibrant yellows, pinks and blues, had been a local attraction. The artist, Whitney Houston, had once worked in one of the offices and wanted to revitalize the suffering city.
Over the course of a year, she and some apprentices had mapped out the design and then began to work on it. Her goal was to have an interactive dance performance in an otherwise once professional environment.
For her, the office had once represented crushed dreams and needless social politics. However, it now sparked talk and was becoming a movement. She was being commissioned to do the same in other cities. In the corner office, people were often asked to write their dreams on the wall. Some people came back, saying they had been inspired and had started their own companies or made an important move.
Director: Brian Grant Year: 1985