Backstage Article
by Lisa Jo Sagolla
Regarding the questions: I have really only 3 questions, but they are very broad. What is the “up side” of all of this emphasis on pushing the body physically –
Q: how is it helping or advancing the art form?
Dance as an idiom has been evolving in this direction for some time now. New technically demanding movement which tests dancers physical limits is a natural extension and progression of the art form. This new paradigm of high technical proficiency coupled with increased rigor from a physical perspective is a response to an over emphasis on extreme lines, virtuosic technical displays, hyper flexibility and unconventional means by which to distort the body. Choreographers are constantly searching for bold and inventive physical language to express new ideas through movement. This kind of physical evolution aesthetically happens with each generation. The upside is that the body is an incredible instrument, very resilient and capable of doing amazing things. It is very exciting time for dance and choreographers and dancers are finding exciting and innovative vocabulary along with new modalities for physical expression that keep pushing the envelope.
Q: And then what is the “down side”
The down side to rigorous physical movement that tests the physical limits of the body is it puts dancers at risk and jeopardizes longevity of careers.Young dancers as a whole come pre-loaded with freer facilities (180 degree turn out, super flexible backs and feet, etc ) and are hard wired with a grab bag of technical tricks. This is par for the course but doesn’t necessarily correspond to proper training, good dancing, talent or art. Unfortunately, some choreographers can’t help but exploit those talents and skills from dancers who can deliver that aesthetic. Over time, that extreme aesthetic becomes the norm that younger dancers aspired to achieve and choreographers expect or demand. Dancers sometimes don’t have enough training, physical information or knowledge of the body to avoid and prevent injuries. Many young dancers don’t work/dance bio-mechanically sound in class or rehearsals. The training of young dancers is not as comprehensives as it was twenty or thirty years ago. In our So You Think You Can Dance mentality, preparing a routine for performance or competition trumps diligent training. Young dancers don’t completely learn a particular style or technique these days, but they learn just enough to get through the audition. Young bodies are not strong enough to handle these new strenuous physical demands. Dancers and choreographers alike would be wise truly study a know at least one technique and follow the adage that sometimes less is more. Don’t be a jack of all trades and a master of none!
Q: what problems is it causing, artistically for choreographers and/or physically for the dancers?
I think that a lot of the hurling and trusting the entire to the floor or descending to the floor on the knee/s will result in a wave of future back and knee problems. In my era the focus was on speed, hyper flexibility and hyper rotation which resulted in contributing to many dancers needing hip replacements later on in their careers.
Q: And thirdly, what “safety” recommendations might you have for dancers today entering into this world where they might be asked to push their physical limits – how can they work safely, yet effectively and competitively in this environment?
The best thing dancers can do is to first and foremost learn about their bodies, be savvy about their training and know how to decipher movement and physical information correctly. Dancers should always maintain an organic approach to the physical interpretation of any movement, style or technique. Dance is an art form but there is a science to it and a healthier way to approach all movement. Supplementing physical intensity with somatic practices such as Yoga, Floor Barre / Barre-a-Terre, Gyrotonics or Pilates method would be very beneficial. Find a ballet and contemporary instructor who works from a very holistic mind/body point of view and who also understands the bodies capabilities and limitations. It is imperative dancers develop a daily personal practice that will prepare them for the grueling physical demands placed on the body. Young dancers must also incorporate a therapeutic and restorative components to their daily personal practice as well after a long day of intense physical activity.