Chair Dance: Expressionism, Post Modernism, and Popular Culture

[Cyclopea]

Originally Posted by Passionaria

Cyclopea,
Interesting questions. This is the first chair dance I have watched outside of Demi Moore in Striptease(which was stunning), but I would be happy to share regarding this video.

From experiencing this piece I think the popularity may come from the dancer having an inanimate object to relate to, emotionally. In the first video rather than relating to open space he could play off the chair, which asks nothing in return, as another dancer would demand. So his emotions are amplified, yet it's all about what the dancer is feeling. Great tool if you ask me. It adds another layer of concrete space, to play with.This man is a classically trained dancer, and he used the chair to tell his story. His technique is beautiful, especially his fluidity, that is what made the dance. His ability to express what he was feeling juxtaposed against the audiences preconceived notions of the chair brought clarity in my opinion. As a phenomenon???? I don't get it, it's a prop.

I agree that the young man appears to have some classical training (as all trained dancers do). And I am glad that you enjoyed the Chair Dance, as did I. I highlighted a few of your statements above because they touch on the enormous implications of the presence of the chair in the Chair Dance. Or perhaps more properly the "seat": When one choreographs oneself while sitting in the confines of one's automobile for example, is that still a "Chair Dance"? I think the argument can be made.

The relationship between the dancer and the chair is not fixed. As you brought to light above, the audience's "notion" of the chair (as well as the dancer's) lends weight to the narrative of the dance. The impact of the audience's and the performer's projections on the chair's dramatic role and interaction should not be minimized.

Also, the possibility of the chair's notion of itself. I'm not anthropomorphizing here, merely speculating on the individuality of a particular chair. In other words, does a chair have a "soul"? Does a chair that comes brand new from the store have the same essence as a chair that someone's grandmother sat in every night for thirty years? I'm inclined to think such specific history in the life of the chair lends it a certain "selfness". (Or it could just be the antihistamine I am taking.)

Finally, the type of chair or "seat" has unquantifiable influence over not only the dramatic narrative and emotional tone of the performance but places an active role in the choreographical potentiality itself.
Anna Brady Nuse of "greatdance.com" states: "office chairs are too much fun not to think about. The wheels and levers give you so many more choreographic choices than just the standard issue wooden chair. Plus the choreography immediately becomes a statement about work and office culture (hip and unemotive) rather than the cliche topics of lost lovers, or fathers that abandoned us, which normal run-of-the-mill chair dances are about."

And what of the ottomans? The rockers? The Adirondacks, Beanbags and EZboys?

When I watch a dancer, any dancer even in clubs, I want to see what they are feeling. To me dance is a language of non verbal communication. So can they communicate? Do they believe in what they are saying? I can overlook technique if these qualities are present. If there is music can they let it into their soul and use their body as an expression of what they feel? Or are they just moving their body in dictated choreography and style? I can watch a dancer that has impeccable technique, and feel nothing other than appreciation of their training. And another, that may have no training at all, and get very excited about their dance. A good example to me is the movie Dance with me (I think) with Cheyanne and Vanessa Williams. She has impeccable technique and feeling, yet Cheyanne is a much better dancer in my opinion, because she never let's go and gives herself completely, so I feel cheated by her performance. When all the elements come together with impeccable technique, that is magic, and it has nothing to do with props.

I hear that you resonate more with free dancing and expressionism, and appreciate your personal preferences. But your repeated statements claiming Chair Dancing is just dance "with a prop" is belied by the Chair Dance's status as the most widespread and populous form of dancing worldwide. Why not mop dancing? Cane dancing? Hat dancing? And before you bring up the ubiquity of chairs as the reason: Hair dancing? What could be more ubiquitous than hair?

Even Neitzche, the godfather of postmodernism stated: "And we should consider every day lost on which we have not (chair)danced at least once."

What specific qualities contained in the Chair Dancing genre contribute to its status as a treasured art as well as a popular amateur pastime?

I don''t mean to be offensive, but I can't see this form of dance as a "treasured art", any more than clip art can be compared to Raphael.They both are born of line and pen, but their place place in reality is worlds apart. Maybe that is your point?????

Interesting subject Cyclopea, I appreciate the opportunity to have some intellectual repartee on line! Thanks.

Passionaria

Thank you for your thoughts Passionaria.
You made me smile!

[ame="http://www.youtube.com/watch?v=CmfC5gpKYNI"]YouTube- The Swivel Chair - Dance @ Work[/ame]