Good Music and Politics: A Review of “Political Mother”

I viewed the performance of Political Mother at the Brooklyn Academy of Music on several levels. Though the title of the piece caused me to immediately try to find meaning in the movements of the dancers, I was also simultaneously able to appreciate the pure aesthetic form of both the dance and the music. The music was a loud rock with a hint of oriental Middle Eastern music, the two genres I favor. I would have thoroughly enjoyed the performance with my eyes closed just because of the awesome music. The dancing was well put together and synchronized, though there were some movements, such as the zombie-like hand shaking, I might have (as I shamefully admit) chuckled at.  And the lighting and other effects provided for an overall mesmerizing experience.

The performance alone would have been sufficiently entertaining and fulfilling for me without a title or purpose to back it up. The title, however, immediately caused me to try interpreting the performance, further engaging me and adding another layer to my appreciation of the performance as a whole.

Though I don’t have a specific interpretation of the overall message of the performance, I remember relating several portions of it to political and historical events. Much of the performance reminded me of Hitler and other infamous dictators, and the struggles of the civilian population to escape their brainwashing. As an active supporter of resistance movements throughout the world, this concept provided me with a way to relate to the performance. The small comic relief provided by the line “where there is pressure, there is folkdance,” eased the tension of the topic, making the performance even more enjoyable. Thus, the performance was, holistically, a wonderful experience. It was aesthetically pleasing, thought-engaging, and relatable in the modern day.