Jerome Bel and Theater Hora “Disabled Theater” challenged my preexisting notions of dance, and while I found the performance to be moving and insightful, I felt that much of the piece strayed from the physicality of dance and resembled a speaking platform to vocalize the plight of those with learning disabilities. I recognized the structure Jerome Bel used, which was similar to what was used in “Véronique Doisneau”. There was a narrative that facilitated the flow of the piece: in “Disabled Theater,” the narrative was by the multiple actors, but also translated to English. Initially I thought this language barrier would further distance the audience from the actors, but by the end of the performance, I realized that, having acclimatized to the delay in comprehension, this was not the case.

By the end of the performance, I felt that I had gained much on a humanistic level by understanding the performers as individuals, and not merely people with learning disabilities. I felt that the performers themselves, and not so much their actions, were imbued with the message of the piece. Their personalities and expression through taste of music and dance, which are very personal, showcased who they were aside from their disabilities, However, through the perspective of a student in an arts course, I felt that the performance was more a platform to express the plight of disabled individuals than a dance performance. This is not to undermine the performance’s profundity. Rather, I felt that the dance aspects of the piece (which were powerful in their autonomy) were eclipsed by the series of question and answer sessions that dominated the piece. In fact, the performers were referred to as actors, as oppose to performers or dancers.

I was particularly moved when one of the actors brought up the idea that the performance was like a freak show that was exploiting their disabilities. I completely understood this point. I feel that if the purpose was to showcase that people with learning disabilities are just like anyone else, they should not be isolated in a group where all members have a learning disability, but rather incorporated into a group where individuals without any learning disabilities are also present. In the end, however, it seemed that the actors sincerely enjoyed their time on stage, which to me made it seem successful.

I feel that Jerome Bel has a responsibility to the actors of Theater Hora beyond the performance if he truly believes in the message I conjectured the piece was about. As I am an amateur to the institution of dance, I do not know if there are any obligations a choreographer has to his or her performers after a show. Yet on a humanistic level, if Bel’s motive behind the piece was to empower those with learning disabilities, his work should not end with the performance. If it did, I would see the performance as exploitation of the actors. If not, I would view the performance as an outlet that will catalyze the growth and expression of the actors.

~Prima (Blog B)

A man stood on stage, alone and in the dark. A dimly lit stage cast an eerie glow on him as he projected a series of notes. He was eventually accompanied by the rest of the dancers, as they remained in this dark setting. Thus, the performance began.

Anne Teresa De Keersmaeker’s “Cesena” was a piece that utilized setting as a fundamental aspect of the dance performance. The piece was also greatly reliant on the musical score that was present for the majority of the performance. These two elements greatly enhanced the piece. Overall, I was impressed by the skills of the dancers and felt that the dance was skillfully intertwined with the music. However, I also felt that something was lacking. Perhaps this is because I am a novice to the dance world, yet I felt that there was a sense of restraint in movement, as the dancers were often moving at an either slow pace, or would remain in one position or location on the stage for a period of time. Occasional, transient outbursts of movement were fleeting.

One aspect of setting was a white, circular formation. It appeared to be a sand-like substance, and was an integral part of the piece. As the circle was in center stage, much of the dance revolved around, within, or outside of this constructed boundary. By the end of the performance, the powder had transformed from a neatly arranged circle to a ragged, uneven outline, having been kicked over, rolled into, and brushed along. Initially, the sand seemed to confine the dancers, as the beginning of the dance consisted of the movement of the dancers towards the audience then back into the unlit portion of the stage, all within the bounds of the drawn circle. As the dance progressed, movement was not limited to this region, and the circle rather became a transition region where dancers would pass. Perhaps the circle was a physical manifestation of the commonalities that unite all human beings. In fact, it was within and around this circle where most interactions between the dancers occurred.

Another aspect of setting that had a powerful effect was the lighting. The initial lighting seemed reminiscent of moonlight, evoking a sense of mystery and wonder. This seemed to be fitting and made the piece more accessible in way, as this sense of wonder paralleled what usually accompanies an audience at the start of a performance. The lighting was gradually brightened (at one point it may have been the result of an audience member who shouted to turn up the lights). The initial light setting that only illuminated a small region of the stage gave the impression that there was a wide expanse of space beyond the light. Yet as the lights were turned on, the stage resembled a dance studio, with the exposed ceiling pipes and walls. This transition to a more concrete setting seemed to run in line with the dance. Both seemed to suggest a graduation to the commonalities of human nature.

A final aspect of the setting was the musical score, which was a strength of the piece. The music was very intricately blended in with the movements of the dancers as a collective whole, and added to the flow of the piece. The ethereal nature of the score added to the initial sense of wonder that was first introduced by the minimal light setting.

The dancers seemed to use techniques similar to those from a rehearsal of John Jasperse’s we were privileged to see. For example, when two dancers were performing together, while their movements were not identical, at certain points, their positions or angles would align immaculately. There was a combination of intimacy and polarization of the dancers. There was a segment where one dancer was clearly being ostracized by the others, yet this was followed by a segment when all the performers clustered together into one unit and moved as one. This was very powerful for me and seemed to send a message of optimism and hope for peace. It seemed to convey that despite differences and clashes in ideologies, working together as one being is still possible.

Overall, as a result of the light setting, music, and locality of the dancers, the dance imbued a message of encouragement and optimism for the unity of humanity.

~Prima (Blog B)

André Kertész’s “Wandering Violinist” is an excellent illustration of the concept of the Golden Ratio through the Rule of Thirds. It demonstrates the effects good composition can have. I was drawn to this photo due to both the composition and movement evident in the piece.

The violinist, the main subject of the photo, is on the far-right third region. This resulted in, as suggested by the readings on photography we read, space for the person to move into. The violinist is walking towards the left of the picture, which is spacious due to the placement of the him on the far-right. This movement, along with the proximity to the individual, gives the viewer the sense that they are part of the scene. There were two cases of movement in this picture: one of the violinist walking towards the left, the second is of the winding dirt path that leads to a vanishing point.

This is something that I was attracted to. The dynamic established by the complexity in the flow of movements gave the photo a sense of vivacity and life. The movement created by the path that creates an off-center vanishing point creates a sense of retrospect, especially since the photograph is in black-and-white. The small child that is walking toward the viewer from the vanishing point in blurred, which adds to this sense of movement. The fact that the violinist is crossing the path of the small child/the path of the vanishing point suggests that he is in some way contemptuous of establishments at the time. I was intrigued by how much composition can affect one’s understanding of the same situation. Had the vanishing point not been included, the photograph would have a very different message.

The reading, along with this brief analysis of André Kertész’s “Wandering Violinist” both emphasized the Rule of Thirds. Thus, I plan on using an off center effect to create a more visually appealing piece. Movement (which can be displayed by vanishing points and objects along that path, for example) and creating space in the picture for movement are also strategies I will use to take my picture. Perhaps I will use a vanishing point as well but create movement that aligns with that flow in a parallel manner. I may also use a single focus to call attention to as Kertész did with his photograph. Yet in doing so, as the readings have suggested, I will be conscious of the background I will use to make sure it does not mitigate the effect of the individual or create distractions (such as a line formation behind a person’s head).

~Prima (Blog B)

Dance is an intimate glimpse into the psyche of choreographers and dancers; dance rehearsals are even more revealing. John Jasperse’s rehearsal revealed the backbone of his dance performances by illustrating the thought processes that materialize into dance, and the meticulous and time-consuming work that goes into the creation and perfection of dance pieces.

John Jasperse’s rehearsal consisted of a working session between him and two dancers. Jasperse at one point following the rehearsal referred to himself as being “didactic”. This was apparent in his meticulous corrections of the dancers, from the angle of their limbs to the pace of one dancer in relation to the other. This conveyed the importance of accuracy in dance. It suggests that dance is an art form. There is specificity, and each facet of it is very much intentional. Thus, this focus on the aesthetics of dance conveys to the audience the power of the visual significance of dance. Each element of the dance is meant to be appreciated. While the viewer is prone to have his or her own personal view of the piece, it is not to say that the dance itself is not presented without a message.

Jasperse was open to having an open dialogue with the dancers about the philosophy behind the dance. One of the dancers questioned a certain dance movement, conveying his disconnect to the idea of the piece. He felt that it did not align with the message they were trying to send. While we as the audience were not aware of what exactly the message was, we at least became aware that it was an integral part of the dance. What resulted was a slight change in the movement, and a much more confidant dancer. This revealed two things. Firstly, because dancers are the presenters of dance performances, they must be emotionally behind the piece. Secondly, that dance is a continually evolving work that parallels the changing mind of its creators and executioners. This further relates dance to art in that it is a projection of an individuals (or individuals’) thoughts and ideas into an accessible form.

From Jasperse’s rehearsal, we were able to see how this art form can be created and refined. The technicalities proved to be essential in the execution of the piece, while the message behind the piece served as the foundation for both the decisions in choreography and possible adjustments to make.

-Prima (Blog B)

Analytic Post-Modern Dance is an art form that centers dance on the individual. This liberates dance from the constraining standards that dictated earlier dance forms both physically and philosophically. This was done by making dance more about functionality. The individual became the main subject of the piece, and became an expression of dance, rather than the dance performed by the individual to be an expression of some idea. The movement placed an emphasis on the elements of dance itself by exposing raw aspects of it, and glorified the human body by making it a form of expression rather than an instrument of expression. For instance, “actual time” was used: movements were timed to the amount needed to physically carry out the activity as opposed to the standardized timing that dictated earlier forms of dance. Banes describes this new style of choreography to be illustrating “a theory of dance”. The Judson Church performances by the dance group Steve Paxton, Yvonne Rainer, Robert Rauschenberg formed consisted of artists, composers, and writers, not trained dancers. This was a clear indication of the divergence their dance would take from the more traditional forms of dance. For example, there was an emphasis on spontaneity and the process of dance rather than the finished product. Monotone techniques and repetition were emphasized over craftsmanship. By the 1970s, Analytic Post-Modern dance had established a more concrete style. It was minimalistic, scientific, and humble. It was also influenced by non-Western philosophies.

As briefly alluded to earlier, Steve Paxton was an integral part in the formation and growth of post-modern dance. Paxton started off in a workshop taught by Robert Dunn in Merce Cunningham’s studio. The “freedom from evaluation” was something the students (trained dancers) had not been exposed to and was a relatively new concept at the time as well. As their techniques developed, Steve Paxton co-founded a group that performed at the Judson Church, a significant platform for post-modern dance. The group was later invited by the Washington Art Gallery of Modern Art to give a concert. Paxton went on to create the Surplus Dance Theater series at Stage 73, and the First New York Rally. The post-modern dance movement also reflected the political turmoil brought on by the war at the time. Steve Paxton responded to this atmosphere through Intravenous Lecture, Beautiful Lecture, and Collaboration with Wintersoldier, which tackled issues of censorship, the war and political corruption.

http://www.nytimes.com/2013/09/23/arts/dance/john-j-zullo-dance-raw-movement-delves-into-the-past.html?_r=0&adxnnl=1&ref=dance&adxnnlx=1380077009-iPL3Yom4aag0NO/XX9QZyQ

Gia Kourlas’ dance review “Total Recall: Reconstructing Memory, for Better or Worse” was one that reflected the general guidelines in Wendy Oliver’s chapter on Dance Critiques while also showcasing a sense of personal expression through the review itself. The review  included the recommended parts such as the date and location of the performance, and elements of the Feldman Model of Criticism (description, analysis, interpretation, evaluation). Oliver emphasizes that the description the writer gives is imperative to the rest of the piece in that it sets the foundation-it serves as a quasi-performance that hopefully aids the reader in understanding the writer’s message.

In the dance review, I noticed that there was not a clear distinction between the aspects of Feldman’s model. Oliver did mention that the style of the writing could be largely determined by the author. This review was a clear example. The description, while vivid and  specific, was merged with evaluation, analysis, and interpretation all at once. For example, Kourlas says

“They ducked under the fabric — Mr. Zullo’s visual design obscured bodies in the most irritating way — and gathered beneath a spotlight. Shifting from side to side, dancers pressed their palms together, raised their arms overhead and smacked their upper backs. This random act of self-flagellation came up several times throughout the piece, as well as forward falls that ended in stumbles, and heavy, two-footed landings from jumps. It felt as if we were being force-fed, and the food was emphatic movement.”

Here there is a description of the visual setting (the fabric and concealment of the performers). Yet this description is coupled with an interpretation (assuming the smacking of backs was “random”), analysis (the use of metaphor in saying that “the food was emphatic movement”), and evaluation (“in the most irritating way. . . it felt as if we were being force-fed”). In using this method of critique, the writer seems to be sending a message that at the very least, one’s perception of the piece is hard to separate from one’s own understanding of the piece.

-Prima (Blog B)

Jocelyn’s self portrait proved that emotions can define a person. Her use of poignant events from her life made me connect on a personal level. In recognizing these emotional connections, I could better understand who she was based on this vicarious experience. Our experiences in our lives define who we are- not in the events themselves but rather in the way we react to such events. Thus, the use of grief and sorrow and the strength that developed gave me a strong sense of who she is. Jocelyn expressed much of her pain through the loss of others. This, along with the heart that eventually ripped told me that she is very attached to others in her life. By mentioning other people in her self-portrait, she is possibly suggesting that others make her whole and fulfill her to some degree. Seeing Jocelyn’s progression from refusing to talk to opening up significantly showed her personal growth. The stages of her self-portrait was something I found to be similar to my own self-portrait. I started my self-portrait by cutting a figure out from a drawn image, then cut out the pieces of the puzzle that made up the face, then arranged the pieces back together to reconstruct the face. In doing so, I also strived to show progression.

The dismantlement of the face was my way of illustrating my introspection in knowing who I myself am. When I was contemplating how I should convey myself through a portrait, I could not help but acknowledge that in our modern day society, one cannot help but be influenced by mainstream ideas. Often, unconsciously, we see ourselves through lens constructed by mainstream media. Labels come up that may be irrelevant to identity, yet society may deem it to be so. Thus, my rearrangement of the puzzle pieces was my way of reflecting that my own sense of who I really am has been developing as I look past these external influences. My portrait differed from Jocelyn’s in that hers focused on life experience and the way it has shaped her, while mine focused on my current state of mind and how it reflects my inner psyche. Both, however, displayed a development that had a hopeful and positive ending.

~Prima (Blog B)

The MOMA, the Museum of Modern Art, is a self-proclaimed collection of modern works of art. Yet what does this very title (and consequent institution) convey to us, the viewers, about what modern art is? The name of the museum already impresses upon us the idea that the works it houses are of relevance in today’s world, or at least were produced in a recent time. Furthermore, it suggests that the selections on display are, in fact, art. The authority of such an institution of art in making these claims is something to be critical of. Not in a cynical way, but rather in an analytical way. We must decide for ourselves what we consider is relevant, or meaningful, or simply what is even art. In most cases, the works in the museum will prove to be significant in one way or another. Yet we should make this judgment for ourselves, and not assume this simply because it is in a well-renowned art museum.

What I have learned from “Ways of Seeing” by John Berger and “A Short Guide to Writing About Art” by Sylva Barnet suggests that this setting itself poses challenges and insights into how we may view these works of art.

Barnet suggests that museums decontextualize art (p.30) by removing works of art from their original settings (p.30). While galleries may isolate a piece to allow a clearer viewing, it may deprive the piece of some of its meaning. Thus, when I view the exhibitions at the MOMA, I will strive to look deeper into the piece as a part of culture, and society. Perhaps by reading the description or other material I will be able to further understand the piece as it may have meant to be. However, Berger brings up the possibility that captions or other writing that accompanies art may shape our understanding of the piece (p.28).

Using an example in the book by presenting an image with and without a caption, Berger makes a point about how “the image now illustrates the sentence” (p.28). As the setting for these works will be in an art museum, it is likely that the caption may be biased in its perspective as being part of an art collection rather than a setting the work may originally have been intended to be in. Or, the accompanying text may send subliminal messages that are conveying ideas about power and modern society. Berger noted that “. . . art makes inequality seem noble and hierarchies seem thrilling. . .” (p.29).

Aside from the setting of the art pieces, Berger and Barnet’s texts have also influenced the way I plan on viewing the exhibitions at the MOMA by making me attune to the significance of all the decisions the artist made in making the work of art. From the choice of material to the subject matter to the specific details included. Through this analytical observation, one is able to look past the work as an aesthetic piece, and as a reflection of not only the historical time period, but also of the individual artist’s life (which may provide some insight into the cultural attitudes of the time). In this way, we can for ourselves judge the value of a piece for ourselves based on its insights into what we consider to be important (i.e. insights on cultural attitudes, historical accuracies), and not so much on the market value of the piece which is already implied by its position in the MOMA. Berger provides an example of how one may go about this process by illustrating the process of “mystification” (p.15).

He brings up Hals, “a destitute old painter who has lost his reputation and lives off public charity” (p.16). Hals’ paintings of the Governors and the Governesses of an Alms House is analyzed not so much through an aesthetic lens, but through an anthropological lens. Berger notes how the painting may be distorted due to the relationship between the sitters and the painter. Thus, in viewing works at the MOMA, it will be insightful to consider what aesthetic choices suggest about the artist, society, and culture at the time. In viewing artwork in this way, we can relive that period of time. Through this vicarious experience, we can better understand the rhetorical argument made by the artist and appreciate the art as an insight into humanity rather than just an aesthetic work.