Thank you to Martha Graham for the inspiration to write this column.
Contemporarily, the word “dance” is attached to the comparative athleticism of competition, moving quickly through space, time, and energy, bobbing heads to rhythmical, meaningless shouters, like the recent boy-bands and sex-addicted teen girls. Dance, in its purity, has lost its greatest meaning because the human nature is to compete or conform. In order to appropriately articulate the importance of this art form, the name of this art must be eliminated from the remainder of this column.
The music, type is irrelevant, begins: The performer is the interpreter of the music notes, her new friends. She is also a conductor, pushing the music in the direction of her will, presenting it to the audience in the way she wishes to represent them. The addition of the final instrument, the performer’s body, more than a masterpiece is created; the combination creates abstractness and concrete sensual perfection, tapping every part of the audience.
Unfortunately, this phenomenal process is clouded by contemporary prideful and materialistic worry of appearance instead of sensation, story telling, and emotion. The extinction of individual style, interpretation, and the love to emote at an audience is nearing with the conforming of music artists and a lack of contemporary choices for a choreographer to choose from, resulting in too similar of themes, universally.
It is outraging and frustrating for the performer. Her only wish is to touch the inside of every individual spectator from a distance of more than fifty feet from her.
The answer to the never-ending definition of such an abstract art exists only in the individual relationship between each performer, her music, and how she emotes with you, the audience. An athletic moment through space and time is an inadequate and unjust explanation. Furthermore, if the spiritual portion is left off any explanation, then the explanation is completely inaccurate in every aspect. In performing, motion is nothing without an emotionally driven impulses. Without the desire to move a movement, we might as well have a hologram or a machine.
It is desire to move that flavors dance to taste like a man’s noble soul.