In an article by Gia Kourlas, readers are informed about Cecilia Bengolea’s and François Chaignaud’s “Sylphides”, a piece presented at the Danspace Project (New York) last weekend. Please make note that this is not an ordinary dance recital, nor is it anything like we’ve seen in our Arts in New York class so far; the bold work presents an intellectual consideration of art – perceiving the performer. Can an object be a performer, and vice versa?
“Sylphides” is an avant-garde representation of the circle of life. In the performance, a dancer approaches three inflated body bags, and removes the air to reveal the forms of human bodies inside. The poses are stiff, and appear completely lifeless; however, observers can clearly see the performers’ chests respiring. The latex-covered dancers slowly come to life as they become accustomed to moving their bodies again. When the first dancer puts the figures on a cart and fills them with air again, the bodies in the bags make larger movements, and their activity becomes more animated. The bags are later opened and reveal the beautiful women concealed inside. As the Sylphides dance with a relieving joy, “Viva Forever” by the Spice Girls is heard in the background. I personally find this highly amusing, but I can understand its significance in the performance.
Does this example open new possibilities in the world of dance? Consider inanimate objects – if a performance were to contain a lifeless object as the piece’s central theme, could it ever be referred to as a “performer?” Personally, I suppose that is it possible. Art is becoming very abstract in all fields, and is redefining previous traditions at the same time. I wouldn’t be completely surprised if the definition of a performer were to be changed as well.
Below is an example of the choreography in “Sylphides”:
Having deflated body bags as costumes is an interesting concept, albeit scary. I wonder how they can breath and see in those bags? But with the bags, you are more aware of the shape and the restricted movements of the body. Their arms are kind of trapped in that pose in the deflated body bags.
Not sure if this is dance, or how to categorize it. But it is certainly an interesting use of form, movement, the human body, etc. Makes me think about the “restrictions” of classical ballet as a positive attribute.
I was just about to post about this very article when Doron told me that you had beat me to it! No worries, I’ll add my own 2 cents right here.
In this article another choreographed dance piece was mentioned performed by François Chaignaud and Cecilia Bangolea. This dance, titled “Paquerette”, is connected to the “Sylphides” piece through the theme of sensations. “Sylphides” portrayed the meaning of life through the performers “lifeless” bodies, making us question the idea of whether an inanimate object can be considered a performer. However, it also evoked a feeling of fear among audience members as they watched the air be vacuumed out of the performer’s body bags. The fear is mainly based on the thought of suffocation, or to be without sensation. “Paquerette”, on the other hand, was a visual display of sensations – as Chaignaud and Bangolea performed what appeared to be the act of sexual intercourse. Kourlas writes, however, that the performance was not erotic; it was more a portrayal of sexual politics and the idea of sensations.
I think that is an important point to make when considering the works of Chignaud and Bangolea on the Danspace Project as a whole. The dance is meant to symbolize these two themes, and thus they are equally important.