Watching Dance

The Stephen Petronio Company

As long as there is life, there will be dance. ~~ Margaret N. H’Doubler

OF ALL THE ART FORMS, dance is the oldest. Before people could speak, they could dance. It was how early men and women comprehended the world around them—how they imagined their gods were controlling Nature and circumstances.

As language and music developed, dance gradually became more structured and compartmentalized: such as how a tribe would celebrate hunting, planting, rites of passage, and war. Today, of course, we are far from the basic function of dance. It is deemed good or bad art, a form of communication, or mere entertainment. Is it ballet, jazz, or modern—and most importantly, do I understand it?

We have a personal reaction to dance because it is human bodies moving without words. Our interest is almost immediately piqued or repulsed. We can listen to music and be moved, see a painting and appreciate it’s beauty, or attend theater that tells a story with beginning, middle, and end that makes us happy or sad. But with dance, it’s not always clear what is happening and how we are supposed to feel.

Merce Cunningham

Dance is a song of the body. Either of joy or pain. ~~ Martha Graham

A common complaint—especially when it comes to contemporary ballet and modern dance—is, “I don’t understand it!” We generally agree on what the Nutcracker is about and even what Swan Lake is about, although the program notes sure help. But a fairy tale is a fairy tale!

It’s very different—and more intimidating—when you’re watching the live work of an avant-garde choreographer, and you’re squirming in your seat wondering what it all means and when it will be over.

If this sounds familiar, here are some guidelines that might help the next time you watch a performance:

• First of all, relax and stay open minded. Put your judgment aside and just let the dancing happen. Watch the movement, listen to the music, try to appreciate what your fellow humans are doing as they invest themselves in whatever it may be.
• Realize that you are not accountable for analyzing the work. If something reminds you of a story you’ve read or a person you know, notice this. If it makes you feel a certain way—happy, sad, love, hate—these are all viable emotions. There are no wrong answers.
• Read the program or preview in the newspaper beforehand. Often the artist wants you to have as much information as you can so you don’t feel left out of the experience. Many choreographers are interested in educating their audience as well as entertaining and challenging them. Knowing where the work is coming from can help.
• Talk about it afterward. If you’ve seen it with someone else, ask how they felt—usually their opinion will be very different from yours. If you liked or did not like it, try to say why. Quick value judgments tossed back and forth don’t make for a good discussion.

Eclipse, San Jose Cleveland Ballet

Dance is fun! It lifts the spirit, strengthens the body, and stimulates the mind… ~~ Wayne Sleep

Next time you watch a dance that is not immediately recognizable, step back and let yourself see what the artists are trying to do. If you like it, great! If you don’t like what you see, remember that all performances are not the same and that the next one will likely be altogether different. ¶

Read Eliza Ingle’s bio here

WHITE TEXT

Acknowledgments
photo of Eclipse by Bob Shomler
copyright © San Jose Cleveland Ballet
used here for educational purposes only

A Spiritual Retreat in Myrtle Beach

For many South Carolinians, the initials M.B. bring to mind Myrtle Beach. But for a dedicated few, they mean Meher Baba, the Indian spiritual teacher who, as it happens, developed a spiritual retreat in Myrtle Beach.

This is not a tourist spot. Although open to visitors, it is a private retreat intended for those sincerely interested in Meher Baba, his teaching, and their own inner quest.

Located between South and North Myrtle Beach, the Meher Center comprises 500 beachfront acres that have remain unspoiled by commercial development. It is a serene complex of virgin forest, fresh water lakes, and simple cabins within walking distance to the beach. An idyllic setting for meditation, quiet, and seclusion from daily life.

Baba devotees from around the world, especially along the eastern seaboard, visit here frequently to volunteer their time and labor, to spend time with each other, and, above all, to renew themselves in silence.

Visitors stay in small cabins and share two communal kitchens. Time is typically spent walking trails on the property, reading in the center library, attending talks and videos about Meher Baba, enjoying the beach, and meeting other guests. The atmosphere is contemplative, friendly, and supportive.

Meher Baba was born in India in 1894. He established a colony called Meherabad intended for spiritual training, where there was also a free hospital and dispensary and shelters for the poor. He taught his disciples—who were of different castes and creeds—moral discipline, love for God, spiritual understanding, and selfless service.

In 1925, Meher Baba went into silence which he maintained until his death in 1969. For 44 years, he dictated his spiritual discourses and messages on an alphabet board, and eventually communicated with just hand gestures. He traveled to America six times, beginning in 1931. His last visit was in 1958.

Meher Baba

One of his most pragmatic sayings is, “Don’t worry, be happy, make efforts” (the last two words of which are often not quoted).

Learn more about the Meher Center.

Learn more about the history of Meher Baba’s life.

Learn more about Meher Baba’s teaching.

Piercing the Fog

Its pristine design is classically symmetrical and abstractly modern at the same time. It is a visual marvel; an always new spectacle as the light and elements swirl around it, move through it, embrace it. All the while it stands impervious, upright, bold—with a magnificence that rivals Nature. When architecture reaches such a point of grandeur, it emanates an other-worldliness that inspires—in this case, with its webbed spires.

The Ravenel Bridge in morning fog

~ ~ ~

I mark’d where on a little promontory it stood isolated,
Mark’d how to explore the vacant, vast surrounding,
It launch’d forth filament, filament, filament, out of itself,
Ever unreeling them, ever tirelessly speeding them.
And you, O my Soul, where you stand,
Surrounded, detached, in measureless oceans of space,
Ceaselessly musing, venturing, throwing, seeking the spheres to connect them,
Till the bridge you will need be form’d, till the ductile anchor hold,
Till the gossamer thread you fling catch somewhere, O my Soul.

A Noiseless, Patient Spider • by Walt Whitman

~ ~ ~

Sparks from Cinderella

It’s Sunday. My wife is nursing a cold. My five-year-old daughter keeps giving me pleading looks. What to do but go see Cinderella (and get a picture with the prima ballerina)?

Pastel by Degas

That would be Melody Staples who made a charming Cinderella, not only with her bright-eyed demeanor, but because of her ability to combine story-telling with dancing. She nicely captured, while underplaying, the innocence of a fairy-tale princess. (You can read her talking about the character here.)

According to my daughter, however (and she’s an expert when it comes to this story), the bad sisters were “too much.” When I asked her what she meant—and without her realizing that the dancers were male—she said they were too “silly.” In her experience, of course, the sisters are bad, not silly. And what makes them bad (I know because I’ve read her the story umpteen times) is their selfishness and jealousy and resulting cruelty.

It’s not easy to convey that combination of emotions in an adult drama, much less in a children’s ballet. It’s even more arduous for male dancers in drag to strike just the right vein of catty vituperation. Almost the only way to go about it is with humor, which, as my daughter perceived, renders it silly. Nevertheless, Steven Hammell and Stephen Gabriel as the sisters did silly very well. Mr. Gabriel in particular was a commanding presence. It’s always nice when you can’t take your eyes off a performer because you don’t want to miss anything he does. Mr. Gabriel also made comic look easy, which is difficult to do.

Dance-wise, the brightest spot of the day for me was Alexander Collen who played the jester. Regardless of his late start in professional ballet—a nice story to read about on choreographer Jill Eathorne Bahr’s blog—Mr. Collen is a rare breed who combines musicality, perfect timing, and seamless grace in his ability to manage not only the right movements, but all the transitions between them. He’s a pure dancer and fun to watch.

You might also enjoy George Hubbard’s review at PostandCourier.com.

Charleston Ballet Theatre
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Swedish students on deck

On a sunny, windy afternoon, I had the good luck to speak with Swedish student-sailor, Filip Robertson, one of the members aboard the T/S Gunilla, shown here at the Charleston Maritime Center with the Yorktown in the background.

Filip explained that the 35–40 member crew—accompanied by 12 officers—are high school students from Sweden. A small group of them on ‘watch’ were leisurely doing maintenance and (unofficially) welcoming visitors aboard. Most of them seemed very relaxed or very tired, as befits high school students.

Gunilla in port at Charleston

Imagine the opportunity as a teenager to cross the Atlantic in a 160-foot “square-rigged barque”—sailing, studying, and visiting beautiful places. What a way to spend your Spring semester. In the video below you can see some of the ship close up and hear Filip talk about his experience.

Thanks to TheDigitel for pointing out the T/S Gunilla’s visit to Charleston. To learn more about the ship, visit www.theDigitel.com.