Pina Bausch’s “…como el musguito en la piedra. ay si, si, si…” is not post-modern dance, as the concept of the dance is opposing with the ideas in post-modern dances. “…como el musguito en la piedra. ay si, si, si…” is about sexuality and the relationships between men and women. She portrays this concept through humor, but most see grains of truth within the segments of the show. For instance, when one of the men is sitting in a seat on the stage, flattering every woman who walks past him as if she is the only woman around, one after another. This is performed in a humorous manner, exaggerated and repetitive in the action, but the audience recognizes some honesty in the scene. The concept of the dance focused on the body ad sexuality as central parts of our world. In post-modern dance, the focus is on movement. It is about movement for movement’s sake, often times, while this is about the body that is moving. This is about the person who is moving.
Pina Bausch was known for asking the dancers questions about memories they have from there lives. They would use these memories to build scenes and dances which evoked the emotions of real life. This technique is all about bringing the world and emotion into dance by using real human emotions to create the dances. “…como el musguito en la piedra. ay si, si, si…” most likely came from such techniques, as there are so many different legitimate emotions toward the topic of sexuality, love, and relationships.
In Pina Bausch’s dance had elements of post-modern dance, such as the moment when the girl in the loose white dress danced around in fluid, natural motions. Her segment was one of my favorites, and it has elements of post-modern dance, but the piece was theatrical rather than post-modern style. The girl was set on the stage in a similar position to a dog, but she reminded me of a horse. She posed quietly, peacefully in the corner, only to be approached by two men. When picked up, she screamed, and they were shocked and needed to set her down to calm her. They repeatedly made the mistake of picking up this girl, who I saw as a wild horse. Ultimately, the wild horse is trained so that she will trot in circles at a safe distance, separated from the men by a pole. When she is freed, she moves naturally and beautifully. This piece contains the simplicity in her motions of a post-modern dance performance, featuring minimal lighting changes and basic costumes. But she the dance is quite theatrical and poetic, which does not jive with the ideas of post-modern dance. As Pina Bausch said, she was “not interested in how people move but in what moves them.” This idea is prevalent throughout “…como el musguito en la piedra. ay si, si, si…”
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