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Page 21 text:
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B l i R Nvi HI ■ ; s i To dance: to move in rhythm. There are no standard definitions which produce immediate understanding. A dancer moves in rhythm — to what? To music sometimes, to other bodies, to personal body — happenings: heartbeat, breath. Dance is reaching the awareness of growing numbers of people. And, as with any other valuable phenomenon in the public eye, its foundations are questioned, changed, remolded. There are those who argue that traditional European dance is the ultimate in achievement, while others claim that we are only now cracking the surface to discover the limits (if they exist) of the dance experience. But, for all the abstraction, dance is always a personal experience — it ' s personal for the viewer as well as for the dancer. There ' s something that often happens in situations which require some amount of concentration and it ' s particularly noticeable when the person concerned is trying hard not to concentrate: the monologue. It invariably seems to present itself in choreography. There are decisions to be made and the
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Page 20 text:
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dance aesthetics. In our culture, dance has broken from the unified system of training and terminology to new approaches, many of them unsystematic. The dancer finds the theory with which both his mind and body are most at home, and then commits herself to It. Dance ' s double nature — the dancer as both creator and work of art — makes it the most in- tensely expressive and personal of all the arts. The dancer can do very little to alter the struc- ture of her body or the patterns of movement and gesture ingrained since childhood. Traditionally it has been a woman ' s art form, more subjective than objective as with most avenues of expression frequented by women. Whereas me have always dealt with the same themes on a grander scale, in both life and in art, women have been constrained by their some what limited roles and ex- periences. However, as there is no female counterpart for Dostoyevsky, there is no male match for Isadora. But the situation is chang- ing. The ideal woman is no longer ethereal and untouchable: neither is the ideal man merely her support. In the social sense, movement is indicative of one ' s attitude toward self and others. This aspect has carried over into the isolation of movement in dance. Dance is a social art, re- quiring awareness of and sensitivity to other dancers. Dance is one art form which can never become devoid of humanity. Deborah Jowitt has emphasized this: The seemingly tireless boys and girls spin- ning and leaping and taunting gravity are perhaps more vital to our spiritual defense than a standing army to our military de- fense. In all but the most morbidly sexy modern ballets, people dance optimistical- ly, openly, and with graciousness and trust toward each other. This is far from a trivial matter. HBD
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