Told to funnel my energy into one discipline (dance), time spent in other pursuits was highly criticized. I was reproached time and again for learning arts outside the staid prescription of what a dancer is or is not.
In Europe, I got a taste for moving from a more human center point. All aspects of embodiment as radii allow for a full experience of the circumference. Finished work goes behind the visceral image to the internal life of a thing. Abstraction and clarity aren’t lost when an artist comes in contact with interdisciplinary works; instead the experience becomes textured. The experience, the performer, and the observer are acknowledged as representations of the multifaceted complexities of being.
Out West I found the playground for which I’d been hoping. Bodies of all shapes, sizes, orientations, and migrations dance in places unexpected. Architecture, diegetic sounds, improvisation, and interaction are all integral considerations in making work, blurring the lines of giving and receiving. Tenderness in this approach allows artists to explore without being didactic because there is space left for the great exchange, the unknown. Focused awareness from dancers is required, even reactions to the unknown are related to the work score, the moment. Bodies in motion here are radiant not from the pursuit of fame or beauty, but from powerful exploration of themselves and their truths, and devotion to that expression.
Immanuel Kant said that some things are beautiful because we see they’re beautiful, and some
things are sublime because they demand an intellectual response. To me, the relation between the beautiful and the sublime is the dance of the New West.