In “Necessary Beauty”, choreographed by Bebe Miller and performed by Angie Hauser
(https://www.youtube.com/watch?v=l6Xtu6r3MPY), Miller illustrates the human psyche and its
emotional reaction to memories through the dance’s pauses and its change in power and
energy of movements.
Bebe Miller was born in New York in 1950 (Lihs 164). With her dance company, the Bebe Miller Dance Company, she states that her “...choreographic work is rooted in exploring the human condition” and seeks to illustrate it through movement (http://bebemillercompany.org/about/bebe-miller/). Performed by a single dancer, Angie Hauser, “Necessary Beauty” is a Millennial piece choreographed in 2008. The dance tells an unconventional story by painting a physical picture
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of the human mind’s inner workings through Bebe Miller’s unique style. Throughout the performance the dancer, and possibly even the audience, is questioned: the narrator asks about distant memories, causing the dancer to “react”. Bebe Miller’s style is, as described by Roslyn Solcas in the New York Times, “...scrappy, almost careless looking” and “[is] so natural looking that it’s only after a while that you understand how much Ms. Miller asks of her dancers in quick changes of weight and tone, the extreme precision of the disconnected movement and its innate musical nuance” (http://www.nytimes.com/2008/11/13/arts/dance/13bebe.html?_r=0). The stories that Miller strives to tell necessitate this type of “disjoint” movement, in that she is exploring the complicated and ever-changing human mind. Hauser’s solo is a personal state of reflection. At 00:13, she steps backward with her right foot, and her entire body stretches into a star shape, then she slightly sinks back into herself, arching backwards, bending her arms parallel to each other at torso-level, and bending her right knee low to the ground behind her. She makes another large step forward with her previously bent leg and again extends into a star, reaching far upward with her right hand, leaps onto her right leg, and points her left toe behind her, reaching now with her left hand. Hauser sinks with her left knee on the ground and her right knee up, her arms falling beside her in an earnest, attentive and childlike pose. Most striking about this movement phase is that she is looking up the entire time, as if searching for something in her memory. The little leaps and bends seem to be representations of the pulses in the brain when it is thinking. This phrase starts off the dance in a curious, nostalgic tone. Prompted by a question from the narrator (who asks for two items of her mother’s and father’s clothing), the dancer slowly rises at 00:28, bringing her arms up at shoulder height in front of her, and easing her legs into a triangle with her right foot pointing forward on the ground and her left perpendicular to it. She spreads her arms so that her right hand reaches toward her right foot and her left arm reaches up, palms forward. She then bends her right leg and extends her left leg back (into a yoga pose, Warrior 2) with her arms stretched in front and back of her, then sweeps her left hand forward while sliding her pointed left foot and leg forward to almost meet her right leg. Her arms are at eye level around her head and she looks down to conceal her face within them. Her right arm and right leg sweep in a half circle to her right and back, her left hand follows, and she brings all of her limbs back together and her feet into fourth position on her tiptoes, with her arms reaching up. She recedes, bending all her limbs and leaning backwards, then pushes out with her entire body. The rise and fall of her movements represent the initial cogs turning in her mind when these memories flood her consciousness: she goes one way in her head, then turns the other, she accepts the emotions she is experiencing, then she pushes the pain away. This phrase looked like Bebe Miller’s image of contemplation and quiet reflection. The movements were graceful most of the time, but experienced small bursts of energy. At 00:43, Hauser pauses in second position with her right shoulder scrunched up to her ear, her arms reaching forward. She bends her arms in toward her slightly with her palms facing out, and steps forward with her left foot turned so outward that the side rests on the ground as she bends her torso to the left as well. She bends even further to the left so that the top of her head rests on the ground, her palms down, and her knees bent in towards her with her legs still crossed. This pose is also very childlike, a pose one would often see a baby in. She eases her knees down so that her legs uncross and rest on the ground beside her head and arms, then lifts her torso up just to bring the right side of her face down to the floor. Again, she is in a yoga pose called “Child’s Pose”: her legs are bent under her torso, her torso parallel to the floor, and her head rests on the ground with her arms resting at her sides. She seems to be resting or listening. In this phrase of movement, it is as if the dancer’s mind has reverted back to it’s childlike ways, such as when one says they “felt like a child again” when remembering something from their youth. The onlooker gets to experience through Miller’s choreography not only the complexities of emotions and the mind, but also the simplicity of it: the mind in its childlike state. From her position lying in a ball on the floor, at 1:00, the dancer leaps up quickly, first almost resting on all fours, then bouncing her body up so that her right leg is down and her left leg is raised behind her with her toes pointed and arms pointing out in front of her.
She bounces again in a pulsing motion, aligning her spine, kicking up her right leg, and extending her right arm far in front of her and left arm far behind her in a defensive pose. She pauses here for a second before bringing her right foot down to kick her left foot up and raise her arms in a “V” above her head. She then contemplates her right foot, dangling from her bent right leg, reaches her hands down to grab it, then releases her arms in a tossing motion. She comes back to a standing position, with her right leg raised slightly so that her foot is only a few inches off of the ground. The movements expressed in these few seconds were clearly more sudden and powerful than any of those aforementioned. This section demonstrates the anger and rejection of memories. Her swift leaps and pulsations showed the audience the reactionary side of the human psyche: the pain, the rejection, and the frustration. One can only fill in the backstory when watching “the mind” (the dancer) at work: maybe there were unpleasant memories associated with the items that the narrator was talking about. Despite what the circumstances may be, the audience is undoubtedly being shown the more angry and reactionary side of the …show more content…
mind. At 1:25, the dancer pauses with her feet flat on the ground and pointing outward in second position and her arms pointing in the same direction as her feet. She stays this way for a couple seconds, only pulsing her right arm, moving it outward a little more every time. She brings her arm back to its original position, then her whole torso moves to the right, as if being pulled. She sways slightly, bringing her right hand up near her face, her arm bent at the elbow and close to her body. She again moves as if she is being pulled, letting her bent arm lead her upstage and to the right, just walking. She extends her leading arm out and points her left toe and brings her leg up and backwards, as if she is holding a balloon that is flying away. The memory she is experiencing may be a fleeting one, and she is trying not to let go but it is “flying away”. She brings her left arm up to meet her right fist, while her right leg swoops around and bends inward, then she recedes into herself, bringing her right arm around her head in defeat. This phrase seemed more melancholy and sad. The dancer seemed to have less energy and there were more slow movements. By this time in the dance excerpt, one may be able to see that the pauses represent a shift in perspective or a change in emotion. Bebe Miller’s unique style is expressed in this piece through the seemingly haphazard pathways and vast variation of power and energy.
The tone of the dance ebbs and flows, shifting quickly from exciting to sad with just a pause in between phrases. By choosing Angie Hauser–who has a slim, flexible physique–Miller can better express the childlike and sometimes adolescent-like inner workings of the mind, as the dancer is a physical representation of the psyche. While Miller choreographed during the Modern/Millennial era, which her piece clearly fits into with its less traditional and restrictive movements, she also seems to incorporate elements from Ballet–such as the pointed toes and positions–and Dance Theatre–such as narration. She evokes the emotions felt so deeply in 21st century America: the feelings of nostalgia and the happiness, sadness, and anger that come from memories. The 2000’s were an era of reflection, as it was a new century. Her pieces reflect this collective burden: the human
condition. Through her changes in tone by the alteration of the quickness and lightness of movements, Bebe Miller effectively paints a picture of the human condition and the mind’s reaction to memories. She demonstrates different emotions such as anger through swift bursts, sadness through slow, small movements, and happiness and nostalgia through childlike poses. Bebe Miller is a unique choreographer of the Millennial time period and continues to choreograph innovative and meaningful pieces to this day.
Upon the dancer’s departure, “the dancer, who though older was still languid and full of grace, reached out and tapped me with two fingers on the cheek, turned, and walked away” (185). Krauss uses this odd gesture by the dancer helps reinforce the strange quirks of the dancer and the author’s thought of the gesture containing “something condescending in it, even meant to humiliate” (185). The use of the words, “languid and full of grace” continues to strengthen the narrator’s fascination in the dancers beauty but also how the narrator feels uncomfortable with her interactions with the dancer. After the narrator’s encounter with the dancer, she walks by a crowded park “until a cry rang out, pained and terrified, an agonizing child’s cry that tore into[her] as if it were an appeal to [her] alone” (186). The author’s use of the painful and terrifying cry reintroduces the theme of a screaming child from the first passage which reinforces the author’s incapability to manager her guilt. The use of the word “agonizing” in this context suggests the overwhelming amount of guilt the author contains but in form as a youthful shrilling scream. Towards the end of the short story, the agonizing
I had the pleasure of being in Western Kentucky University Dance Department’s concert, An Evening of Dance. The performance took place on April 29th through May 2nd in Russel Miller Theatre. It consisted of many works from faculty and guest artists. I felt like the concert was a success and that the choreography was all unique in its own way. I enjoyed the pieces that I performed, and the ones that my fellow company members were in. Through the analysis of “Petrichor”, I found that each production and chorographic element plays a large part in the successful outcome of a dance and emotional responses can be evoked by the simplest ideas.
Every dance that is created by a choreographer has a meaning and or purpose behind it. The dance choreographed could be used to send a political, emotional, or a social message. Regardless of the message being sent, each dance created possesses a unique cultural and human significance. This essay will examine and analyze two dance works from history and give an insight into what each dance work provided to the society of its time.
The dancers begin in unison in a large clump. They dance together with slow movements; reaching up with their arms straight and palms open. It is to be noted that when they stretch their arms up, they tilt their head and look up as well. Throughout the piece the dancers repeat this movement, which represents reaching and praying to God. The dancers are constantly reaching up, embodying their despair and their yearning for help. As the dance progresses, the dancers repeatedly break out of the clump in the center and do different movements and their own sequences. After this, they always go back to their clump and do synchronized movement. Their constant breaking away from the group symbolizes their continual want to be free, as well as their persistency. On the other hand, their constant going back to the group shows how African-Americans will always be joined together by their culture, prayer, and hardships. Additionally during the piece, multiple dancers will run up to another dancer and jump or hold onto them, and then they do a couple of movements together. This shows how they are reliant and dependent on each other, and how they need each other throughout their suffering. Lastly, Much of the movement in this section possesses the downward energy characteristic of African dance, which symbolizes a connection to the earth. The choices Ailey made choreographically communicates all
Learning about Dance: Dance as an Art Form and Entertainment provides visions into the many features of dance and inspires scholars to keep an open mind and think critically about the stimulating, bold, ever-changing and active world of dance. Learning about Dance is particularly useful for those who do not have a wide and diverse dance contextual, such as students in a preliminary level or survey dance course. This book consists of twelve chapters. Chapter one dance as an art form focuses on the basic structures of dance. Dance is displayed through the human body, it has the control to communicate and induce reactions. Dance can be found in many different places, it enables the participants and seekers to touch and knowledge the joy of movement. Dance is discovered as being one of the oldest art forms worldwide. Dance existed in early cultures was recognized in a sequence of rock paintings portrayed dance. Since this discovery of rock paintings, several other forms of art have been found that depict dance. People used rituals in order to worship the gods and believed that the rituals held magical and spiritual powers. During the ancient period civilizations sentient decisions began to be made with regard to dance. Other periods that had an impact on dance were the medieval period, the renaissance period, and the contemporary period. Chapter two the choreographer, the choreographer is a person who comes up with the movements created into a dance routine. The choreographer expresses themselves through choreography because this is their way of communicating with the audience. In order to be a choreographer you must have a passion for dance. Each choreographer has their own approaches and ways of making up a routine. Choreographers ...
Dance is an ever evolving form of art; in much the same way that one can categorize and differentiate between eras and styles of architecture one can also do so with dance. These eras at times have sharp delineations separating them from their antecedents, other times the distinction is far more subtle. Traditional forms of dance were challenged by choreographers attempting to expand the breadth and increase the depth of performance; preeminent among such visionaries was Seattle born dancer and choreographer Mark Morris. Mark Morris' began as one of the millions of hopeful individuals attempting to simply make a career in dance; he not only succeeded but managed to have a lasting effect on the entire landscape of dance.
In the dance world a staggering number of choreographers have made a lasting impact on the way dance is seen to its audience. Alonzo King’s exceptional oeuvre of work includes him in this great history of significant choreographers. He not only created the link between modern and ballet in the twentieth century, but he bridged the ...
Her goal was to move, not dance. She challenged the notions of what a quote on quote “female dancer” was and could do. Dance to her was an exploration, a celebration of life, and religious calling that required an absolute devotion (pg. 11, Freedman). She considered her dancers “acrobats of God”. An example of a dance which symbolized the “essentialized” body was Martha Graham’s Lamentation, choreographed in 1930, which served as an expression of what person’s grief, with Graham as the solo dancer in the piece. The costume, a tube-like stretchy piece of fabric, only allowed her face, hands, and feet to be seen, and, as Graham stated, “The garment that is worn is just a tube of material, but it is as though you were stretching inside your own skin.” In the beginning of the piece, she started out by sitting on a bench with her legs wide spread and arms held tight. Her head was going back and forth as if she was feeling sadness or maybe replaying thoughts in her head. By the way she was holding her hands so tight and close to her body, it symbolized the deep pain within her––the essence of her piece was grief, and she danced it from inside out. Russel Freedman, the author of Martha Graham A Dancers Life, stated, “She did not dance about grief, but sought “the thing itself”- the very embodiment of grief (p. 61).” Graham, dancing with strength and power, was encapsulated with her movement and was completely surrendered
Steve Paxton: Speaking of Dance – Conversations with Contemporary Masters of American Modern Dance. Academic Internet Video. Directed by Douglas Rosenberg. Oregon: Alexander Street Press, 1996.
Throughout this analytical essay I will discuss, analyse and conclude the work of two contemporary modern dance pioneers, Alvin Ailey and Katherine Dunham. I will pay particular attention to the era 1935-1980 and focus on socio elements of this time period, using relevant literature to support my findings.
Through her cultural influence on dance, as well as her impact on reinventing dance itself, Anna Sokolow has gone down in history as one of the great modern dancers. Her Jewish roots were a huge basis for the dances she would perform and the messages that she would try to get across, which is significant to me and my own similar religious views. It was important for dancers and choreographers to speak up for what they believe in and disseminate their message throughout the world of the arts, and Sokolow was one of those who did this with great success. Through her unique style of movement, her eye-opening piece Rooms, and her own personal connection to Judaism, Anna Sokolow’s inspirations and works come together to address a powerful issue in Jewish society and culture during her time.
In the beginning, the dancers start on the ground and in the motions of the music and essentially “slipping” through the past there was this rise and sink motion that was fluid. Both dancers arced, spoked and carved. Renee made lots of lines with her entire body as he held her straight (horizontally) in his arms and she also arced as she put her arms around him to hang on to him and as she let go of him she continued to make circle with her feet. In addition, in the beginning of the video, they created an infinity symbol with their legs and feet to an extent signify the past as always being a part of your life even after you slip through and let go.
Ramsay, B. (2000). Dance theory, sociology, and aesthetics. Dance Research Journal, 32(1), 125-131. Retrieved from http://www.jstor.org/stable/1478286
Contemporary 20th century choreographer Paul Taylor used the components of dance -space, time and energy to explore the struggle of an individual versus the conformity of the masses in his dance Esplanade. In addition, Taylor intertwined the principles of contrast, repetition, and resolution throughout Esplanade to portray the emotion, which accompanied this isolation. This esplanade (a long, open, level area usually by the sea) represented the journey of an independent women’s movement against the societal norm of heterosexual couples within the masses.
The work ‘Ghost Dances’ by Christopher Bruce was viewed on 26th August, 2011 to the Year 12 Dance class. The individual interpretation of the social/political or world issue/ comment the piece is attempting to make. Using direct examples from the performance, the use the choreographer has made of the movement and the non-movement components have been identified. Also the effectiveness of this piece has been evaluated.