“ If the choreographic art exists, so it must make so as more than a vehicle for the performing artist, no affair how virtuosic, stylistically pure, or finely honedaˆ¦ And, if it existsaˆ¦ it must last altering gustatory sensations, altering proficient preparation, and alterations in the oculus of the perceiver. “ – Muriel Topaz
Dance is normally regarded as one of the most egocentric art signifiers created as it uses the motion of the human organic structure as the tool of self-expression and communicating, in which the homo organic structure itself is considered as extremely alone ( Yu and Johnson ) . Besides, as dances are made up of sequences of motions that are derived from images, thoughts and feelings put in certain orders that are of significance, it reflects the human spirit and civilization of the clip ( Anonymous: 2009 ) .
As Graffiti of the Celeste is an original piece created by Choreographer Angela Liong, this essay hence aims to research the stage dancing and aesthetic thoughts of the dance through my positions entirely as a “ stage dancing -watcher ” ( Anderson: 1987 ) .
Dance as a Medium
As dance is a gestural medium, it does non tie in itself with ideas and thoughts straight, but instead is concerned with how feelings, relationships, images, signifiers and forms can be conveyed through the senses of sight and hearing ( Turner: 1971 ) . It relies on motor logic- ” the sense of the articulation and ordination of motion guided by neuromuscular accomplishment and kinaesthetic consciousness ” due to its noncerebral nature ( Turner: 1971 ) .
Dance Stage dancing
Ever since modern dance began, experts in the field have debated and contemplated about the necessity of modern dance stage dancing ( Turner: 1971 ) as after all, it is “ the material of which dances are made ( Anderson: 1987 ) . ” What makes stage dancing interesting to contemplate upon is the manner that choreographers employ clip, infinite and motion to show their single aesthetic thoughts and look so that each dance transforms into a “ small universe of its ain ( Anderson: 1987 ) . ” The motions they select which they feel that is most appropriate for the work is influenced by factors such as their personal gustatory sensation to the public penchant of that clip ( Anderson: 1987 ) .
An increasing figure of modern choreographers of this century have created figurative dances-works that are dramatic in a figurative mode and lack conventional narrations but are presented with such intense emotions that are non classified as “ abstract ” ( Anderson: 1987 ) . Graffiti of the Celeste is one such piece that reflects the nature of a figurative dance.
Review of Graffiti of the Celeste
Merely as it name suggests, Graffiti of the Celeste is a manifestation of nature ‘s infiltration onto semisynthetic constructions as it explores the deteriorating environment. Historic constructions like the Angkor Wat which are covered by “ wrestle ” overgrown flora reflect the bing tenseness between adult male and nature.
The dance, made up of organic and sign motions ( Tan: 2010 ) performed by six terpsichoreans is doubtless a figurative choreographed dance- the art of motion and gesture ( Turner: 1971 ) . The motions, filled with energy, emotions and looks were modern-day in manner. The hour-long public presentation was divided into six sections in which each of them reflecting different scenarios.
The chief costumes which suggested street funk and reflected both eastern and western influences ( Burridge: 2010 ) molded and gave definition to the characters while the lightning became a point of interaction between the terpsichoreans. The scene which suggested historic edifices helped put the topographic point and temper for Angela ‘s piece.
The motions created in the dance included hand-woven gestures at the beginning and later motions which involved human interaction such as gesturing. The choreographed dance motions through the public presentation explored the subject ( Anderson: 1987 ) of climatic alteration, tried to convey forth imaginations that evoke thoughts and emotions of the subject ( Anderson: 1987 ) .
Harmonizing to Kant ‘s theory of aesthetics, the perceptual experience of beauty which “ involves the head, oculus and perceptual experience of the perceiver every bit good as in the object itself ( Osborne and Sturgis: 2006 ) ” , requires imaginativeness and apprehension. Aesthetic judgements which are made are “ purposive without intent ” are disinterested- taking pleasance in something as an single finds it beautiful ( Osborne and Sturgis: 2006 ) . Dance in this mode, creates an aesthetic experience through “ a series of motional semblances ( Turner: 1971 ) . ”
Although the motions of the dance were dynamic, the images produced were non aesthetically delighting from my perceptual experience. The stage dancing which played with the thought of forms and repeat ( Tan: 2010 ) failed to derive pleasance from watching, and understanding as it did non try to convey forth the motivational thought behind the motion ( Fraleigh: 1996 ) . The aesthetic impact of the dance came across weak as it failed to convey forth the semblance of subject and did small to arouse imaginativeness to the subject and the significance of thoughts that the dance had tried to convey ( Turner: 1971 ) . There was small geographic expedition in the subject and hence, the public presentation held small significance for me.
I did non exhaustively enjoyed nor appreciate the aesthetic thoughts and stage dancing of Graffiti of the Celeste as the whole sequence of the stage dancing felt awkward and which left me perplexed, happening neither solution nor closing to inquiries that were left unreciprocated. What started out as a piece filled with aspiration and potency for Angela Liong ‘s reading of climatic alteration, ended disappointedly with small development of the geographic expedition of the capable affair. Alternatively, inquiries of brushs of unusual manifestations and the repeat of fagot ritualistic organic structure gestures surfaced and persisted throughout the whole dance experience. Although the energies and dynamic were felt strongly throughout the public presentation through the terpsichoreans, the thoughts that they tried to convey came across as vague and puzzling.
However, there were applaudable minutes such as the gap scene which evoked the imagination and energies of the crawling flora onto the ruins of Angkor Wat through hand-woven motions and gestures created by the terpsichoreans that were hidden between panels, helped put the scene for the stage dancing.
The employment of theatrical devices such as the costumes, puting and lightning were applaudable every bit good as they helped to prolong the public presentation despite the stage dancing joging on in topographic points.
Of class my position of perceptual experience of beauty on Graffiti on the Celeste comes across every bit limited as it lacks understanding- in the signifier of cognition of dance as a medium of look every bit good as the aesthetic positions of the choreographer harmonizing to Kant ‘s aesthetic theory ( Osborne and Sturgis ) . Possibly if I come to grok Angela ‘s artistic and aesthetic doctrine from her personal point of view and seen her other plant, my positions of Graffiti of the Celeste based on her vision may take a different perceptual experience and mentality wholly.
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