{"id":331,"date":"2020-02-16T15:30:34","date_gmt":"2020-02-16T14:30:34","guid":{"rendered":"https:\/\/www.leti.lt\/wordpress\/?p=331"},"modified":"2022-06-14T08:38:21","modified_gmt":"2022-06-14T06:38:21","slug":"perso-crossingtheriver","status":"publish","type":"post","link":"https:\/\/www.leti.lt\/wordpress\/perso-crossingtheriver\/","title":{"rendered":"Crossing the River"},"content":{"rendered":"\n

Per\u00adso<\/a> \u2192 Andr\u00e9ine Bel<\/a> \u2192 Articles<\/a>

Andr\u00e9ine Bel

Dance Now, Sum\u00admer 1993, p. 64\u200a\u2013\u200a70.<\/i>

In a world of the increa\u00adsing migra\u00adtion and cir\u00adcu\u00adla\u00adtion of a pro\u00adfu\u00adsion of people, images and ideas, French dan\u00adcer and cho\u00adreo\u00adgra\u00adpher Andr\u00e9ine Bel takes a per\u00adso\u00adnal look at issues invol\u00adved in cros\u00adsing cultu\u00adral borders.<\/b><\/p>\n\n\n

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\"La<\/figure>\n<\/div>\n\n\n

I was fas\u00adci\u00adna\u00adted with Malkovsky\u2019s idea of\u2019laws of natu\u00adral move\u00adment\u2019 based on the obser\u00adva\u00adtion of nature\u2026 Here, a move\u00adment of the sea in my cho\u00adreo\u00adgra\u00adphy on Debussy\u2019s La Cath\u00e9\u00addrale Englou\u00adtie<\/i> (1978).<\/p>\n\n\n\n

I star\u00adted stu\u00addying clas\u00adsi\u00adcal bal\u00adlet at the age of 5 ; it was bal\u00adlet, since there was only one school in the small city I lived in. At the age of 18 I deci\u00added to devote my life to dance, loo\u00adking for an edu\u00adca\u00adtio\u00adnal sys\u00adtem com\u00adpa\u00adtible with the idea of \u2019ins\u00adtinc\u00adtive\u2019 move\u00adment. An inten\u00adsive prac\u00adtise of Yoga had not given me the expec\u00adted insight into the roots of human movement.<\/p>\n\n\n\n

The stri\u00adking expe\u00adrience came from Kat\u00adsu\u00adgen undo<\/i> (a sort of phy\u00adsi\u00adcal trai\u00adning in which the body invents move\u00adment by inter\u00adrup\u00adting volun\u00adta\u00adry control), taught by Itsuo Tsu\u00adda, an expert of the Sei\u00adtai<\/i> school in Japan. (1) Tsu\u00adda was also an actor in Noh theatre and a dis\u00adciple of Mori\u00adta\u00adka Ueshi\u00adba, the inven\u00adtor of A\u00efki\u00addo. Although spe\u00adci\u00adfic to Japa\u00adnese culture, his example made it clear to me that it was pos\u00adsible to concile the awa\u00adke\u00adning of ins\u00adtinc\u00adtive move\u00adment with tech\u00adni\u00adcal trai\u00adning and artis\u00adtic achievement.<\/p>\n\n\n\n

Later I met Fran\u00ad\u00e7ois Mal\u00adkovs\u00adky and spent a year with him, doing his house work and atten\u00adding pri\u00advate les\u00adsons. He was a pupil of Ray\u00admond Dun\u00adcan (Isadora\u2019s bro\u00adther). I was fas\u00adci\u00adna\u00adted with his idea of \u2019laws of natu\u00adral move\u00adment\u2019 based on the obser\u00adva\u00adtion of nature : the natu\u00adral ele\u00adments, ani\u00admals, chil\u00addren and crafts\u00admen. (2) To find natu\u00adral move\u00adment you had to look for mini\u00admum effort rather than repro\u00adduce models. An ele\u00adphant and a tiger do not walk the same way, but both fol\u00adlow the same need for effi\u00adcien\u00adcy<\/b>, here mea\u00adning an opti\u00admum adap\u00adta\u00adtion of a living being to its environment.<\/p>\n\n\n\n

At the age of 84 Mal\u00adkovs\u00adky had redis\u00adco\u00adve\u00adred the fun\u00adda\u00admen\u00adtal prin\u00adciple of ki, whose mea\u00adnings include ener\u00adgy, res\u00adpi\u00adra\u00adtion, intui\u00adtion, pre\u00admo\u00adni\u00adtion, a concept dee\u00adply roo\u00adted in Japa\u00adnese lan\u00adguage and culture. (3) He used to demons\u00adtrate it by dan\u00adcing with that see\u00admin\u00adgly lack of tech\u00adnique cha\u00adrac\u00adte\u00adris\u00adtic of mas\u00adter\u00adship in the art. Unfor\u00adtu\u00adna\u00adte\u00adly, many stu\u00addents per\u00adcei\u00adved it as a han\u00addi\u00adcap due to his advan\u00adced age !<\/p>\n\n\n\n

Eve\u00adry\u00adthing I learnt or dis\u00adco\u00adve\u00adred after my stay with Mal\u00adkovs\u00adky was an ela\u00adbo\u00adra\u00adtion of his sys\u00adtem. This may not be obvious because the dance I do now looks dif\u00adferent from (in my view, impo\u00adve\u00adri\u00adshed) remi\u00adnis\u00adcences of Isadora\u2019s dance, and my unders\u00adtan\u00adding of move\u00adment has chan\u00adged a great deal.<\/p>\n\n\n\n

As for clas\u00adsi\u00adcal dance, I did not reject it but I felt I had been taught the wrong way. The rigi\u00addi\u00adty valued by many wes\u00adtern dan\u00adcers has been inhe\u00adri\u00adted from the 19th<\/sup> cen\u00adtu\u00adry and goes along with the image of human body as a mecha\u00adni\u00adcal slave. When asked to cho\u00adreo\u00adgraph a French 17th<\/sup> cen\u00adtu\u00adry court dance, I loo\u00adked at por\u00adtraits of people who lived in that time : there was no stiff\u00adness in their head posi\u00adtions and body pos\u00adtures, and I found it more impor\u00adtant to express the deli\u00adca\u00adcy and accu\u00adra\u00adcy of their atti\u00adtudes than to imi\u00adtate cur\u00adrent recons\u00adtruc\u00adtions of ancient choreography.<\/p>\n\n\n\n

Correctness<\/h4>\n\n\n\n

In fact there is no such thing like a \u2019natu\u00adral\u2019 move\u00adment or body. These concepts are deter\u00admi\u00adned by cultu\u00adral fac\u00adtors. Eve\u00adry dance (inclu\u00adding Isadora\u2019s) is arti\u00adfi\u00adcial, we should say \u2019desi\u00adgned\u2019. Effi\u00adcien\u00adcy itself is not a uni\u00adver\u00adsal concept, but all dance tech\u00adniques refer\u00adring to effi\u00adcien\u00adcy (through the meta\u00adphor of nature) are actual\u00adly aiming at cor\u00adrect\u00adness<\/b>.<\/p>\n\n\n\n

A move\u00adment is dee\u00admed \u2019cor\u00adrect\u2019 in the same way we judge a musi\u00adcian to be sin\u00adging in a \u2019tune\u00adful\u2019 man\u00adner. This relates to an inner sen\u00adsa\u00adtion<\/b> rather than an expli\u00adcit model. Since that inner sen\u00adsa\u00adtion is acqui\u00adred by trai\u00adning, Pyg\u00admy, Eski\u00admo and English musi\u00adcians for example, focu\u00adsing on dif\u00adferent aspects of sound, will play dif\u00adferent \u2019natu\u00adral\u2019 pitch inter\u00advals. Simi\u00adlar\u00adly, abo\u00adri\u00adgi\u00adnal Aus\u00adtra\u00adlians may per\u00adform enti\u00adre\u00adly dif\u00adferent move\u00adments from Bali\u00adnese dan\u00adcers\u200a\u2014\u200ato the point, I was told, that they may not reco\u00adgnize the lat\u00adter as \u2019dan\u00adcers\u2019.<\/p>\n\n\n\n

In spite of its cultu\u00adral depen\u00adden\u00adcy, whe\u00adne\u00adver this sen\u00adsa\u00adtion of cor\u00adrect\u00adness is expe\u00adrien\u00adced the cor\u00adres\u00adpon\u00adding move\u00adment, sound or pos\u00adture becomes \u2019part of the per\u00adfor\u00admer\u2019. It is an inten\u00adsive emo\u00adtio\u00adnal expe\u00adrience which is fore\u00adver engra\u00adved in the body\u2019s memo\u00adry, and reco\u00adgni\u00adzed by the tre\u00admen\u00addous flow of ener\u00adgy it libe\u00adrates, sha\u00adking the whole being. This inner sen\u00adsa\u00adtion is the only one in which I have full confi\u00addence, as a guide for lear\u00adning and com\u00adpo\u00adsing cho\u00adreo\u00adgra\u00adphic works.<\/p>\n\n\n\n

Training<\/h4>\n\n\n\n

Most dan\u00adcers reduce trai\u00adning to the acqui\u00adsi\u00adtion of a tech\u00adnique and reper\u00adto\u00adry. I have seen very few tea\u00adchers who do not teach by imi\u00adta\u00adtion, whe\u00adther they say \u2019I\u2019ll show you what to do\u2019 or \u2019Find it by your\u00adself\u2019. In both cases you must fol\u00adlow someone, whe\u00adther it is your tea\u00adcher or advan\u00adced stu\u00addents ges\u00adti\u00adcu\u00adla\u00adting in the first row. But trai\u00adning implies a gra\u00addual, irre\u00adver\u00adsible change in the per\u00adcep\u00adtive field (of sounds, shapes, move\u00adments, body, space, time) deman\u00adding tre\u00admen\u00addous concen\u00adtra\u00adtion and intelligence.<\/p>\n\n\n\n

A good tea\u00adcher, stage direc\u00adtor or cho\u00adreo\u00adgra\u00adpher is aware that the pro\u00adper move\u00adment or body atti\u00adtude is part of eve\u00adry performer\u2019s poten\u00adtial. It is a mat\u00adter of expe\u00adrience, patience and ins\u00adpi\u00adra\u00adtion to make it flou\u00adrish. Pan\u00addit Bir\u00adju Maha\u00adraj, my cur\u00adrent tea\u00adcher, calls him\u00adself a \u2019sculp\u00adtor\u2019. He knows his stu\u00addents are sha\u00adpe\u00adless stones, but his chi\u00adsel will be gui\u00added by the resis\u00adtance of the mate\u00adrial, our \u2019inner forces\u2019\u2026 Deve\u00adlo\u00adping a dancer\u2019s inner sen\u00adsa\u00adtion of move\u00adment is very close to expe\u00adrien\u00adcing the level of pre-expres\u00adsi\u00advi\u00adty<\/b> in acting, an idea which has been inves\u00adti\u00adga\u00adted by theatre anthropology.(4)<\/p>\n\n\n\n

Going East<\/h4>\n\n\n\n

After staying with Mal\u00adkovs\u00adky I wor\u00adked on my own for about six years. My first inten\u00adtion was to expand the musi\u00adcal reper\u00adto\u00adry on which his dance was based. During that time I loo\u00adked for move\u00adments in per\u00adfect concord with music, wor\u00adking with musi\u00adcians and com\u00adpa\u00adring musi\u00adcal interpretations.<\/p>\n\n\n\n

In my jour\u00adney through wes\u00adtern music I came across chal\u00adlen\u00adging works, nota\u00adbly Alb\u00e9\u00adniz\u2019 Astu\u00adrias<\/em>, based on a rhyth\u00admic sys\u00adtem I found very hard. This gave me the urge to deve\u00adlop aspects of dance left unin\u00adves\u00adti\u00adga\u00adted by Isadora\u2019s fol\u00adlo\u00adwers : contact with the ground, rhythm, hand move\u00adments, facial expres\u00adsions\u2026 Long time before stum\u00adbling on Astu\u00adrias<\/em> I had seen a per\u00adfor\u00admance of Kathak dan\u00adcer Uma Shar\u00adma in Del\u00adhi. In the slow move\u00adments I had reco\u00adgni\u00adzed an appli\u00adca\u00adtion of the very laws taught by Mal\u00adkovs\u00adky, nota\u00adbly the use of spine as the \u2019tree of life\u2019 of movement.<\/p>\n\n\n\n

So, after seve\u00adral years of pre\u00adpa\u00adra\u00adtion, in 1978 I left for India to stu\u00addy with famous Kathak mas\u00adter Pan\u00addit Bir\u00adju Maha\u00adraj. Ini\u00adtial\u00adly I hoped a couple of months might be enough to unders\u00adtand the basic sys\u00adtem and make it part of my own research. In rea\u00adli\u00adty, 6 months later my main achie\u00adve\u00adment was to have learnt how to bind the ghungh\u00adrus<\/em> (bells) so that they would not hurt my ankles ! In the end I spent 6 years in Kathak Ken\u00addra and later retur\u00adned seve\u00adral times for shor\u00adter stays.<\/p>\n\n\n\n

Maha\u00adra\u00adji is one of the very few Indian artists who were taught in a tra\u00addi\u00adtio\u00adnal way and who then became inqui\u00adsi\u00adtive about their heri\u00adtage : why is it that I do this move\u00adment in such and such way ? With him I got the insight that trai\u00adning is basi\u00adcal\u00adly a mat\u00adter of expan\u00adding one\u2019s per\u00adcep\u00adtive field. For ins\u00adtance, my awa\u00adre\u00adness of time evol\u00adved until I was able to reco\u00adgnize the intri\u00adca\u00adcy of flows of ener\u00adgy, and almost unno\u00adti\u00adceable but essen\u00adtial move\u00adments at very fast tem\u00adpo. The laws I had been taught were still valid, but they had been expan\u00added throu\u00adghout cen\u00adtu\u00adries. \u2019Unin\u00adter\u00adrup\u00adted research\u2019 is per\u00adhaps the dee\u00adpest mea\u00adning of \u2019tra\u00addi\u00adtion\u2019 in India. The ques\u00adtion of a fixed reper\u00adto\u00adry is only mea\u00adning\u00adful to imitators.<\/p>\n\n\n\n

Across the river<\/h4>\n\n\n\n

Being trai\u00adned in India was not without conflicts. For ins\u00adtance, Mal\u00adkovs\u00adky used to say \u2019the eye must pre\u00adcede the hand move\u00adment\u2019, whe\u00adreas in Indian pure dance (nrit\u00adta<\/em>) the eye must \u2019fol\u00adlow\u2019 the hand. It took me years to rea\u00adlise that Indian dan\u00adcers obey the first law in nar\u00adra\u00adtive dance and the second one in abs\u00adtract move\u00adments\u2026 So, this expe\u00adrience which I call bicul\u00adtu\u00adra\u00adli\u00adty in dance<\/b> is an unen\u00adding dia\u00adlec\u00adti\u00adcal lear\u00adning pro\u00adcess by which conflic\u00adting situa\u00adtions lead us to higher levels of unders\u00adtan\u00adding. Edgar Morin calls it \u2019com\u00adplex thin\u00adking\u2019, beau\u00adti\u00adful\u00adly defi\u00adned as \u2019a per\u00adma\u00adnent ten\u00adsion bet\u00adween aspi\u00adring towards non-com\u00adpart\u00admen\u00adta\u00adli\u00adsed, non-par\u00adti\u00adtio\u00adned, non-reduc\u00adtive lear\u00adning, and reco\u00adgni\u00adsing the par\u00adtial, incom\u00adplete nature of all know\u00adledge\u2019. (5)<\/p>\n\n\n\n

Bicul\u00adtu\u00adra\u00adli\u00adty is neces\u00adsa\u00adry to teach a \u2019forei\u00adgn\u2019 tech\u00adnique. I have seen too many disas\u00adtrous work\u00adshops in the West direc\u00adted by eas\u00adtern artists who are never\u00adthe\u00adless excellent tea\u00adchers in their own coun\u00adtry. You can\u00adnot just tell some\u00adbo\u00addy \u2019jump across the river\u2019 when it is so wide. If you know which rocks are reliable and which are not you must guide your student along the foot\u00adpath. Too many wes\u00adter\u00adners believe that the day they enter the class of a great tea\u00adcher some\u00adthing magi\u00adcal must hap\u00adpen : they are going to fly in the air and land smooth\u00adly on the other bank of the river. This is self-delu\u00adsion. Fer\u00addi\u00adnan\u00addo Tavia\u00adni has put it correctly :<\/p>\n\n\n\n

Some people think that in order to make a per\u00adfor\u00admance which says inter\u00ades\u00adting things it is \u2019neces\u00adsa\u00adry to have some\u00adthing inter\u00ades\u00adting to say\u2019. The\u00adre\u00adfore, ins\u00adtead of concer\u00adning them\u00adselves with \u2019mate\u00adrial\u2019 things \u2026 they devote them\u00adselves to pro\u00adfound and spi\u00adri\u00adtual research in order to immerse them\u00adselves in a crea\u00adtive situa\u00adtion. This is a bit like the fol\u00adlo\u00adwing sto\u00adry. A group of people are living in an arid area. Some of the people turn their atten\u00adtion to the earth, to rocks and cement, they make dikes and cis\u00adterns. Others can think of nothing but water and per\u00adform rain dances. (6)<\/p><\/blockquote>\n\n\n\n

Back in Europe<\/h4>\n\n\n\n

A rea\u00adson for stu\u00addying Kathak was that it is the only clas\u00adsi\u00adcal dance in India encou\u00adra\u00adging stage impro\u00advi\u00adsa\u00adtion, thus stres\u00adsing the impor\u00adtance of cho\u00adreo\u00adgra\u00adphic and musi\u00adcal com\u00adpo\u00adsi\u00adtion. When I came back in 1985, I was loo\u00adking for col\u00adla\u00adbo\u00adra\u00adtion with musi\u00adcians and was intro\u00addu\u00adced to French com\u00adpo\u00adser Andr\u00e9 Mou\u00adret who had a tho\u00adrough expe\u00adrience of inter\u00adcul\u00adtu\u00adral contem\u00adpo\u00adra\u00adry music.<\/p>\n\n\n\n

Some\u00adtimes Mouret\u2019s rhyth\u00admic pat\u00adterns are so com\u00adplex that even edu\u00adca\u00adted lis\u00adte\u00adners are unable to reco\u00adgnise connec\u00adtions bet\u00adween ins\u00adtru\u00adments and voices. This effect of confu\u00adsing the metri\u00adcal arran\u00adge\u00adment of events is cal\u00adled poly\u00adchro\u00adni\u00adci\u00adty<\/b>, (7) some\u00adthing like the awa\u00adre\u00adness of \u2019mul\u00adti\u00addi\u00admen\u00adsio\u00adnal time\u2019. I view its appli\u00adca\u00adtion to dance as the mis\u00adsing link bet\u00adween two oppo\u00adsite concep\u00adtions : dance as an illus\u00adtra\u00adtion of music, and dance as an auto\u00adno\u00admous art form in which music would be mere\u00adly an optio\u00adnal addi\u00adtio\u00adnal ele\u00adment. (8)<\/p>\n\n\n\n

My contri\u00adbu\u00adtion to this research has been poly\u00adchro\u00adni\u00adci\u00adty in solo dance. The first time I attemp\u00adted it was with Zin\u00adde\u00adgi<\/em>, an evo\u00adca\u00adtion of the life of a Pakis\u00adta\u00adni woman who was both a poet and a dis\u00adtres\u00adsed, seclu\u00added per\u00adson. I found that wor\u00adking on mul\u00adtiple dimen\u00adsions of time was be the pro\u00adper way to express her conflic\u00adting states of conscious\u00adness. (9)<\/p>\n\n\n\n

\u2019Fusion\u2019 dance<\/h4>\n\n\n\n

We use the word \u2019fusion\u2019 to desi\u00adgnate inter\u00adcul\u00adtu\u00adral approaches in which artists may attempt to merge, oppose or \u2019decons\u00adtruct\u2019 tech\u00adni\u00adcal and aes\u00adthe\u00adtic know\u00adledge at their dis\u00adpo\u00adsal. Some wes\u00adtern dan\u00adcers who visi\u00adted India have inven\u00adted inter\u00adcul\u00adtu\u00adral styles in which they pre\u00adserve refe\u00adrences to Hin\u00addu phi\u00adlo\u00adso\u00adphy that they hold to be the \u2019essence\u2019 of Indian dance. They com\u00adbine the \u2019Indian\u00adness\u2019 of Indian dance with the \u2019Euro\u00adpean\u00adness\u2019 of modern dance. In my own view the essence of any dance is its artis\u00adtic dimen\u00adsion, not its claims to stress or deny cultu\u00adral boun\u00adde\u00adries. Spi\u00adri\u00adtua\u00adli\u00adty belongs to your inti\u00admate dai\u00adly life ; it may also be a col\u00adlec\u00adtive year\u00adning for a bet\u00adter world, but cer\u00adtain\u00adly not the mat\u00adter of a show.<\/p>\n\n\n\n

Today there is an increa\u00adsing dis\u00adsa\u00adtis\u00adfac\u00adtion among artists who were trai\u00adned in an imi\u00adta\u00adtive way. They reject a tra\u00addi\u00adtion in which they see an obs\u00adtruc\u00adtion to crea\u00adti\u00advi\u00adty. For ins\u00adtance they say it has become mea\u00adnin\u00adgless, in modern life, to enact Radha (Krishna\u2019s lover) stir\u00adring milk to make but\u00adter. Howe\u00adver, unless they have been given access to com\u00adpo\u00adsi\u00adtio\u00adnal know\u00adledge they can only pick up ideas from the West. I thing this is hope\u00adless because wes\u00adtern contem\u00adpo\u00adra\u00adry dance is also, to a large extent, self-imitative.<\/p>\n\n\n\n

So, what to sug\u00adgest to dan\u00adcers pre\u00adser\u00adving or rejec\u00adting the Indian\u00adness of Indian dance ? I do not look at the ges\u00adture of stir\u00adring milk in refe\u00adrence to the Kri\u00adsh\u00adna cult or vil\u00adlage life in India. It has a very deep phi\u00adlo\u00adso\u00adphi\u00adcal signi\u00adfi\u00adca\u00adtion of which few dan\u00adcers are still aware : in Vedic mytho\u00adlo\u00adgy, stir\u00adring the ocean of milk yiel\u00added the Uni\u00adverse. The\u00adre\u00adfore Radha\u2019s ges\u00adture relates to an old intui\u00adtion of ener\u00adgy being \u2019twis\u00adted\u2019 to set our galaxy (the \u2019mil\u00adky way\u2019) into move\u00adment. In the cho\u00adreo\u00adgra\u00adphic work Okea\u00adnos<\/em> I did not want to bor\u00adrow this ges\u00adture (and cultu\u00adral conno\u00adta\u00adtion) from Indian dance. There are intui\u00adtive asso\u00adcia\u00adtions of pri\u00admor\u00addial ener\u00adgy with long hair in wes\u00adtern mythi\u00adcal sto\u00adries. The\u00adre\u00adfore I felt that twis\u00adting my own hair would evoke the same myth in a more abs\u00adtract way.<\/p>\n\n\n\n

Poe\u00adtic dis\u00adtan\u00adcing from lite\u00adral inter\u00adpre\u00adta\u00adtion of images is an impor\u00adtant aspect of my cho\u00adreo\u00adgra\u00adphic approach : dance as visual poe\u00adtry is not a com\u00adpi\u00adla\u00adtion of enco\u00added ges\u00adtures \u2019read\u2019 by edu\u00adca\u00adted spec\u00adta\u00adtors in a unique man\u00adner. Even though eve\u00adry nar\u00adra\u00adtive dance pos\u00adsesses a rich voca\u00adbu\u00adla\u00adry to por\u00adtray the moon, a poet-dan\u00adcer may pre\u00adfer to evoke the face of a per\u00adson sta\u00adring at the night sky. The art of sug\u00adges\u00adtive expres\u00adsion, which was culti\u00adva\u00adted by Kathak dan\u00adcers throu\u00adghout seve\u00adral cen\u00adtu\u00adries, is pro\u00adba\u00adbly the most ela\u00adbo\u00adra\u00adted spe\u00adci\u00adfic form of com\u00adpo\u00adsi\u00adtio\u00adnal know\u00adledge that India has to offer to wes\u00adtern dancers.<\/p>\n\n\n\n

Other intercultural dances<\/h4>\n\n\n\n

Butoh is an exemple of fusion dance which ori\u00adgi\u00adna\u00adted in the late 1960s as an inter\u00adac\u00adtion bet\u00adween Japa\u00adnese \u2019body tech\u00adniques\u2019 and wes\u00adtern ideas on modern aes\u00adthe\u00adtics. Ger\u00admaine Aco\u00adgny, in France, and Peter Bade\u00adjo in the UK have deve\u00adlo\u00adped suc\u00adcess\u00adful inter\u00adcul\u00adtu\u00adral forms of modern Afri\u00adcan dance. Indian cho\u00adreo\u00adgra\u00adpher Astad Deboo who stu\u00addied Katha\u00adka\u00adli, Kathak and seve\u00adral wes\u00adtern dances (Mar\u00adtha Gra\u00adham, Jazz, Pina Bausch), is an ima\u00adgi\u00adna\u00adtive artist with a mul\u00adti-facet\u00adted style using an impres\u00adsive num\u00adber of know\u00adledge resources. These examples high\u00adlight the extra\u00ador\u00addi\u00adna\u00adry diver\u00adsi\u00adty of approaches.<\/p>\n\n\n\n

In my ARRC group (Ate\u00adlier de Recherche Ryth\u00admique et Cho\u00adr\u00e9\u00adgra\u00adphique<\/em>) I trai\u00adned a num\u00adber of gif\u00adted young people, but for various rea\u00adsons (main\u00adly lack of finan\u00adcial sup\u00adport) they could not remain long. I feel very indeb\u00adted to Fabienne Brioudes, a tea\u00adcher of wes\u00adtern contem\u00adpo\u00adra\u00adry dance, and Oli\u00advier Rivoi\u00adrard who made the dream pos\u00adsible. Our col\u00adla\u00adbo\u00adra\u00adtion on Okea\u00adnos<\/em> was based on the same prin\u00adciple of non-imi\u00adta\u00adtion. We first tried to explore and deve\u00adlop com\u00admon per\u00adcep\u00adtions of music, move\u00adment and the theme of the per\u00adfor\u00admance. I paid much atten\u00adtion to the way they were construc\u00adting their own move\u00adments, direc\u00adting them pre\u00adci\u00adse\u00adly on stage loca\u00adtions, eye direc\u00adtions, and so on. I also sho\u00adwed them basic Kathak foot\u00adwork and Mouret\u2019s rhyth\u00admic sys\u00adtem. When it became clear that dan\u00adcers should be lif\u00adted, Fabienne taught us the basic por\u00adt\u00e9 tech\u00adniques in contem\u00adpo\u00adra\u00adry dance. So we lear\u00adned a great deal from each other and in the end we adap\u00adted these tech\u00adniques to dif\u00adferent sec\u00adtions of the piece.<\/p>\n\n\n\n

I think that crea\u00adti\u00advi\u00adty is not a bliss\u00adful state of mind ; it implies a per\u00adma\u00adnent struggle against the ste\u00adreo\u00adty\u00adped atti\u00adtudes often culti\u00adva\u00adted as \u2019recog\u00adni\u00adtion signs\u2019 by groups of dan\u00adcers, whe\u00adther they belong to tra\u00addi\u00adtio\u00adnal circles or the so-cal\u00adled avant-garde.<\/p>\n\n\n\n

Limitations<\/h4>\n\n\n\n

Unlike bilin\u00adguism, bicul\u00adtu\u00adra\u00adli\u00adty in dance does not make it easy to hop from one style to the next. Dance is not a lan\u00adguage, so each river you cross has its par\u00adti\u00adcu\u00adlar foot\u00adpath. When I look at a Japa\u00adnese or Afri\u00adcan dance I may be able to map obser\u00adva\u00adtions with per\u00adso\u00adnal expe\u00adrience and expec\u00adta\u00adtions, which will make it enjoyable, but at the same time I am cer\u00adtain to miss signi\u00adfi\u00adcant fea\u00adtures (as I did 12 years ago with like those fast move\u00adments in Kathak) because of my limi\u00adted know\u00adledge of the style.<\/p>\n\n\n\n

Conclusion<\/h4>\n\n\n\n

In loo\u00adking at the past we tend to gloss over hesi\u00adta\u00adtions, decep\u00adtions and dif\u00adfi\u00adcul\u00adties\u2026 So I stress that my unders\u00adtan\u00adding of dance evol\u00adved consi\u00adde\u00adra\u00adbly through the dif\u00adfe\u00adrences bet\u00adween my tea\u00adchers, and a diver\u00adsi\u00adty of cultu\u00adral contexts. I think that most per\u00adfor\u00adming artists would bene\u00adfit from deve\u00adlo\u00adping insights into the diver\u00adsi\u00adty and rich\u00adness of dif\u00adferent cultures ins\u00adtead of just intro\u00addu\u00adcing \u2019exo\u00adtic\u2019 ingre\u00addients in res\u00adponse to fashions.<\/p>\n\n\n\n

We need radi\u00adcal changes in the way we look at non-wes\u00adtern per\u00adfor\u00adming arts. Evi\u00addent\u00adly \u2019tra\u00addi\u00adtio\u00adnal\u2019 forms should be pre\u00adser\u00adved from wes\u00adtern cultu\u00adral and com\u00admer\u00adcial domi\u00adna\u00adtion, although pre\u00adser\u00adva\u00adtion itself is not the ulti\u00admate step : mul\u00adti\u00adcul\u00adtu\u00adral per\u00adfor\u00admances in the West might qui\u00adck\u00adly turn into a sort of cir\u00adcus exhi\u00adbi\u00adtion in which spe\u00adci\u00admen of \u2019authen\u00adtic tra\u00addi\u00adtio\u00adnal\u2019 art forms are dis\u00adplayed to admi\u00adra\u00adtive (or bored) audiences. In addi\u00adtion, a nar\u00adrow (Euro\u00adcen\u00adtric) concep\u00adtion of \u2019moder\u00adni\u00adty\u2019 may obs\u00adcure the fact that com\u00adpo\u00adsi\u00adtio\u00adnal know\u00adledge is found in many dif\u00adferent forms of music and dance, inclu\u00adding those belon\u00adging to socie\u00adties in which \u2019com\u00adpo\u00adsers\u2019 and \u2019cho\u00adreo\u00adgra\u00adphers\u2019 are not dis\u00adtin\u00adgui\u00adshed from high-stan\u00addard per\u00adfor\u00admers. (10)<\/p>\n\n\n\n

Conver\u00adse\u00adly, it is impor\u00adtant to dis\u00adco\u00adver the \u2019eth\u00adni\u00adci\u00adty\u2019 of wes\u00adtern contem\u00adpo\u00adra\u00adry art forms\u2026 This new vision will grow up by pro\u00admo\u00adting inter\u00adcul\u00adtu\u00adral expe\u00adri\u00adments in which crea\u00adtive artists and scho\u00adlars from many parts of the world deal with the human cultu\u00adral heri\u00adtage as mul\u00adtiple \u2019sources of know\u00adledge\u2019 having their own rele\u00advance to contem\u00adpo\u00adra\u00adry art production.<\/p>\n\n\n\n

\n\n\n\n

References<\/h4>\n\n\n\n
  1. Tsu\u00adda, I. The Not-Doing<\/b>. Paris : Arju\u00adna Publi\u00adca\u00adtions, 1984.<\/li>
  2. Bel, A. East-West Encoun\u00adter : did Isa\u00addo\u00adra have the right ans\u00adwers?\u2019 in ISTAR News\u00adlet\u00adter<\/b>, 2. New Del\u00adhi : Inter\u00adna\u00adtio\u00adnal Socie\u00adty for Tra\u00addi\u00adtio\u00adnal Arts Research, 1984.<\/li>
  3. Tsu\u00adda, I. op.cit.<\/li>
  4. Bar\u00adba, E., & Sava\u00adrese, N., (eds). The Dic\u00adtio\u00adna\u00adry of Theatre Anthro\u00adpo\u00adlo\u00adgy : the Secret Art of the Per\u00adfor\u00admer.<\/b> Lon\u00addon : Rout\u00adledge, 1991.<\/li>
  5. Morin, E. Intro\u00adduc\u00adtion \u00e0 la pen\u00ads\u00e9e com\u00adplexe<\/b>. Paris : ESF, 1990, pp 11\u200a\u2013\u200a12.<\/li>
  6. Tavia\u00adni, F. Views of the Per\u00adfor\u00admer and the Spec\u00adta\u00adtor<\/b>, in Bar\u00adba & Sava\u00adrese, op.cit. p 261.<\/li>
  7. Hall, E.T. The Dance of Life<\/b>. New York : Dou\u00adble\u00adday, 1983.<\/li>
  8. Bel, A. & B. Poly\u00adchro\u00adni\u00adci\u00adt\u00e9 \u2013 une approche nou\u00advelle du tra\u00advail cho\u00adr\u00e9\u00adgra\u00adphique et des inter\u00adac\u00adtions danse-musique, in Actes du Col\u00adloque Inter\u00adna\u00adtio\u00adnal pour la Danse et la Recherche Cho\u00adr\u00e9\u00adgra\u00adphique Contem\u00adpo\u00adraines<\/b>. Paris : GERMS, 1994.<\/li>
  9. Bel, B. & A. \u00ab Fusion \u00bb Per\u00adfor\u00adming Arts : a Plea for Diver\u00adsi\u00adty, in Inter\u00adface<\/b>, 21, 3\u200a\u2013\u200a4. Amster\u00addam : Swets & Zeit\u00adlin\u00adger, 1992.<\/li>
  10. Bla\u00adcking, J. Chal\u00adlen\u00adging the myth of \u2018eth\u00adnic\u2019 music : first per\u00adfor\u00admances of a new song in an Afri\u00adcan oral tra\u00addi\u00adtion, 1961, in Year\u00adbook for Tra\u00addi\u00adtio\u00adnal Music<\/b>, 21. New York : Inter\u00adna\u00adtio\u00adnal Coun\u00adcil for Tra\u00addi\u00adtio\u00adnal Music, 1989, pp 17\u200a\u2013\u200a24.<\/li><\/ol>\n

    Article cr\u00e9\u00e9 le 16\/02\/2020 \u2013 modi\u00adfi\u00e9 le 14\/06\/2022<\/p>","protected":false},"excerpt":{"rendered":"

    In a world of the increa\u00adsing migra\u00adtion and cir\u00adcu\u00adla\u00adtion of a pro\u00adfu\u00adsion of people, images and ideas, French dan\u00adcer and cho\u00adreo\u00adgra\u00adpher Andr\u00e9ine Bel takes a per\u00adso\u00adnal look at issues invol\u00adved in cros\u00adsing cultu\u00adral borders.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"wp_typography_post_enhancements_disabled":false,"footnotes":""},"categories":[78],"tags":[167],"class_list":["post-331","post","type-post","status-publish","format-standard","hentry","category-andreine_bel","tag-perso_andreine"],"yoast_head":"\nCrossing the River - Le TILT<\/title>\n<meta name=\"description\" content=\"In a world of the increasing migration and circulation of a profusion of people, images and ideas, French dancer and choreographer Andr\u00e9ine Bel takes a personal look at issues involved in crossing cultural borders.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.leti.lt\/wordpress\/perso-crossingtheriver\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Crossing the River - 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