Comparing Dancing Apples and Oranges from Similar Trees
I was directed to watch two videos, then analyze both dances and the dancers who performed them.
Here are my thoughts
If a tree falls in the woods, and no one is
around to hear it, does it make a sound? This is a question many people are
familiar with, yet the question is rarely explored, at great lengths or depths,
outside of a philosophy class. Interestingly, this is the first question that
came to my mind while viewing and analyzing the two video clips that were presented
in the Dance in Performance Challenge by Exam Assignment. To address the task
of writing about the two video clips with a critical eye, with as much
consideration as a philosophy student is asked to ponder the tree in the woods
question, requires equal analysis of perception as well as knowledge about what
is being scrutinized. The following is an exploration of each dance and the
dancers performing in each clip, and how music, movement, and facial
expressions influence the similarities and differences, therefore impacting the
viewer’s experience.
The clips presented have many similarities
which can best be demonstrated upon analysis of the dancers. There is no doubt,
after watching both videos that the technical prowess each dancer possesses
lends itself to years of dance training with a strong ballet emphasis. The confidence
each female dancer has in her male dance partner, and the intuitive symbiotic
physical awareness that each male and female dancer have for each other, during
the execution of each lift, is evident. The lifts-or tricks, depending upon a
viewer’s knowledge and perception-are demonstrative of the type of trust
between partners that is usually cultivated during many hours of rehearsals and
performances extensively focused on pas
des deux. While the video clips show that each couple equally displays
great skill, confidence, and mastery of their choreography, and demonstrate each
couple’s ability to maintain respect for musicality, without sacrificing their
individual artistry, the clips also highlight the stark differences between
each pair of dancers.
The first video link presents two dancers in
sleek body suits; a male and female, engaged in a riveting choreographic
display of movement, in what appears to be a dance or rehearsal room from the
late 1970s or early 1980s. The movements of the two dancers are accompanied by
music which may be classified as ambient by today’s musical standards or
described as something similar to that would accompany a modern dance
performance by chorographer Merce Cunningham. The dancers’ movements are fluid,
seamless, and effortlessly executed, and the dancers maintain a physical point
of contact at almost all times throughout the two-minute video clip, which is
slightly reminiscent of the philosophies of the Judson Era Contact Improv of
the 1970s. Though the dancers appear to be expressionless, void of passion and
excitement-there is even a point at 0:36 in the clip where the female dancer
comes up from the floor into a gloriously graceful developpe a la seconde with her hand covering her face-the lack of
emotion coming from the two dancers does not detract from the excitement that
their movements produce. The lack of
facial expression paired with the stark room and synergy of music and movement
creates an atmosphere of voyeuristic opportunity-anyone with the good fortune
to stumble upon them would feel as if they were allowed to witness a beautiful
secret, or something akin to stumbling upon a sweet woodland creature that you
would not want to disturb for fear the beautiful creature would flee. The video
clip lends the opportunity for the movements to take center stage and claim all
focus yet at the same time, the viewer is not unaware of the relationship
between the music, the dancers, and the stark atmosphere.
The second video showcases acrobatic adagio
couple, James and Kathy Taylor, performing one of their signature acrobatic
adagio routines on the hit 1980s television show, Star Search. The choreography
James and Kathy are performing in the second video clip happens to be the same
choreography from one of the numbers James and Kathy performed, as The Taylors, while we were performers in
the Andy Williams Show in 1996. Though the second video clip does not show how
the piece of choreography begins, I can assure you, that unlike the couple in
the first video-who appeared to be expressionless and unconcerned with having
an audience from the moment their choreography begins-both James and Kathy are
completely aware and invested in their audience from the moment they set foot
on the stage. The video clip with The
Taylors is representative of what 1980s television audiences desired-to be
thrilled, surprised, delighted, and appreciated-to be entertained. Much like
Disco Dancing of the 1970s, and the popularity of ice skating thanks to the
1984 Olympics, the choreography of The Taylors
allowed time between the lifts and tricks for a poses, applause, and
a moment of acknowledgement of their audience. At 0:23 you can see an excellent
example of how the choreography allows the audience the time to process, appreciate,
and acknowledge what has been presented. Also at 0:23 in the video, and at other
spots throughout, such as at 1:01 there are obvious build-ups in the music
where the audience is alerted to anticipate the next trick or lift. The
calculated head-nods, choreographed smiles, flourishing arm, hand and wrist
gestures, even the choice of using the Oscar Nominated song, Through the Eyes of Love, from the movie
Ice Castles, lend to The Taylor’s ability to engage with
their audience, and are representative of much of what was valued by an
audience and lent to a performer’s artistic merit and popularity during the
1980s.
Prior to receiving the video links, I had
never seen the first one and I am still completely unfamiliar with the dancers,
the music, the intent of the piece, and the era from which it was conceived.
The second video I instantly recognized as James and Kathy Taylor, and I was
thrilled to have the opportunity to challenge my perception of each piece’s
value against the other. Each video highlighted the technical and artistic
skills of the dancers, and were excellent examples of how artistic choices made
to manipulate similar movements in relation to music can inspire divergent
reactions depending upon the audience of intent. A person’s preference for
either video can possibly be determined by the knowledge and exposure to both
styles of dance. Some would prefer the first video because their perception may
be that if a performance is presented in a serious manner, it lends itself more
artistic value. Whereas others may prefer the second video because they value
the amount of attention the performers are paying to them as an appreciative
audience member. Regardless of one’s preference for one or the other, it is
important to realize that until an audience has had the opportunity to view
both, it is impossible to come to a conclusion of preference. I however, have
been fortunate to have observed both, and I have found that both pieces are
truly a work of art-creative works inspiring exploration, and worthy of
consideration.
Here are the two videos.
I would love to know your thoughts on each.
Video Number 1
Video Number 2
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