Galás is known for being a fiercely confrontational avant-garde performer and is noted for her wailing, four-octave vocal range. Galás was the daughter of Greek Orthodox parents and her singing was roundly discouraged, although her prowess as a classical pianist was nurtured; ultimately, her strict upbringing resulted in a reckless, drug-fueled youth prior to her entrance into the University of California's music and visual arts program. Galás made her performing debut in 1979 at France's Festival d'Avignon, which led to an invitation to assume the lead role in composer Vinko Globokar's politically charged opera Un Jour Comme un Autre. In subsequent solo performance art pieces like Wild Women with Steak Knives and Tragouthia Apo to Aima Exon Fonos, Galás further honed her unique, shattering vocal style, inspired by the Schrei ("shriek") opera of German expressionism (a form employing a system of four microphones and a series of echoes and delays).
She worked with many avant-garde composers including Phillip Glass, Terry Riley, John Zorn, Iannis Xenakis and Vinko Globokar. She made her performance debut at the Festival d'Avignon in France as the lead in Globokar's opera, Un Jour Comme Une Autre which deals with the death by torture of a Turkish woman. The work was sponsored by Amnesty International. She also contributed her voice to Francis Ford Coppola's film Dracula (1992) and appeared on the film's soundtrack.
Her work first garnered widespread attention with the controversial 1991 live recording of the album "Plague Mass" in the Cathedral of Saint John the Divine in New York. With it, Galás attacked the Catholic Church for its indifference to AIDS using biblical texts. In the words of Terrorizor Magazine, "The church was made to burn with sound, not fire." Plague Mass was a live rendition of excerpts from her same-titled trilogy which began as a response/homage/indictment to the multitudinous effects of AIDS upon the silent class - of which her brother was a member. During the period of these recordings, Galás had "We are all HIV+" tattooed upon her knuckles; an artistic expression of disillusionment and disgust with the ignorance and apathy surrounding the AIDS epidemic. Her brother, who died during the trilogy's final production, reportedly appreciated her efforts.
Susan McClary (1991) writes that Galás, "heralds a new moment in the history of musical representation," after describing her thus: "Galás emerged within the post-modern performance art scene in the seventies...protesting...the treatment of victims of the junta, attitudes towards victims of AIDS...Her pieces are constructed from the ululation of traditional Mediterranean keening...whispers, shrieks, and moans."
In 1994, Galás collaborated with Led Zeppelin bass guitarist John Paul Jones. The resultant record, "The Sporting Life", while containing much of Galás's trademark vocal gymnastics, is probably the closest she has ever come to rock music.
Galás also performs as a blues artist interpreting a wide range of songs into her unique piano and vocal styles. This aspect of her work is perhaps best represented by her 1992 album, "The Singer" where she covered the likes of Willie Dixon, Roy Acuff, and Screamin' Jay Hawkins while accompaning herself on piano. For that album, she also recorded several traditional songs as well as the rarely heard Desmond Carter-penned version of Gloomy Sunday. Many of her selections both within and outside of blues repertoire have sometimes been categorized as 'homicidal love songs'. She also focuses on the death penalty. One program of songs, "Frenzy", has been dedicated to Aileen Wuornos and features the work of Phil Ochs and Hank Williams Sr.
Her latest song cycle is an interpretation of songs by Edith Piaf and Marlene Dietrich.
Official Myspace: http://www.myspace.com/songsofexile
Dancing in the Dark
Diamanda Galás Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
We're dancing in the dark and it soon ends
We're waltzing in the wonder of why we're here
Time hurries by, we're here and we're gone
Looking for the light of a new love
To brighten up the night, I have you love
And we can face the music together
Dancing in the dark
What - though song is old
Through them we can be young
Hear this heart of mine
Wailin' all the time
Dear one, tell me that we're one
Looking for the light of a new love
To brighten up the night, I have you love
And we can face the music together
Dancing in the dark, dancing in the dark
Dancing in the dark
The lyrics of Diamanda Galás's "Dancing in the Dark" evoke a sense of fleetingness and transience, as well as the beauty found in impermanence. The act of dancing in the dark until the tune ends is a hauntingly poetic analogy for the way in which life passes us by. The immediacy of the present moment is emphasized by the urgency of time hurrying by, and the desire to savor every moment before it fades away. The lines "Looking for the light of a new love/To brighten up the night, I have you love/And we can face the music together" speak to the idea that finding someone to share life's fleeting moments with can provide a source of light and meaning.
The repetition of the lines "What - though love is old/What - though song is old/Through them we can be young" highlights the idea that love and music can transcend time and age, and that they have the power to make us feel young and alive, even in the face of mortality. The final lines "Dancing in the dark, dancing in the dark/Dancing in the dark" drive home the idea that even in the darkness of the unknown, we can find moments of beauty and joy by dancing through life.
Overall, the lyrics of "Dancing in the Dark" are a poignant reminder to savor every moment of our lives, to find beauty in transience, and to cherish the people and things that bring light into our lives.
Line by Line Meaning
Dancing in the dark 'til the tune ends
We are enjoying life to the fullest until it comes to an end
We're waltzing in the wonder of why we're here
We are living life pondering why we exist
Time hurries by, we're here and we're gone
Life passes quickly and we are only here for a short time
Looking for the light of a new love, to brighten up the night, I have you love
Searching for a new spark in life, but grateful for the love that is already present
And we can face the music together, dancing in the dark
We can handle anything as long as we face it together
What- though love is old, what- though song is old, through them we can be young
Even though love and music are timeless, they keep us feeling youthful
Hear this heart of mine, wailin' all the time, dear one, tell me that we're one
My heart is constantly yearning for love and connection, assure me that we are united
Dancing in the dark
Embracing the mystery of life and enjoying it to the fullest
Contributed by Anthony F. Suggest a correction in the comments below.