Pilobolus @ TED2008

Unlike most other things, I appreciate dance for itself more than dance in itself. The reason being, dance, while elegant is not necessarily efficient. It’s dramatic, over the top. It’s acting with the whole body, not just the face. So practically dance has no practical use [pray, enlighten if you disagree], but as a bona fide art form, it is truly a marvel to watch any school of human contortions.
So interpretive dance is sort of a moot point. It’s treated as an art form, but the actions are meant to metaphorically mean something while apparently being something else…blah, it gets hard to keep up.

So in the rare few occasions that call for it, I prefer to view interpretive dance on a case by case basis. Treating it as novelty each time rather than a genre in itself. I wuldn’t call myself a fan of Interpretive dance. If I see it, I’ll see if I like it. In that spirit, while watching this particular dance, this divine performance, I just felt the need to masturbate [intellectually] because that’s how good it is. And it’s that thought-provoking. In all fairness, I’m sure the whole ritual of movement meant something that this mind cannot grasp [help?], but I’ll tell you what occurred to me in a parallel vein.

The vid made me cry. The near-nakedness was certainly a factor; I daresay it was less of a aesthetic decision and more of a calculated move to elicit a reaction, if not jealousy alone.
Firstly, shape. The shape and musculature of the human body as a organic sculpture in itself. Do you realise how disgusting we are, naked? Compared to most animals at least. There are so many features that feel tacked on, we stick out like a sore thumb when we’re truly happy, not necessarily because no one else is naked.
From what I understand of nature, after efficiency, next on the list is elegance [helps in the mating game right?]. That just gives you the sudden glimmer of hope that we are still larvae, and we have much to grow into, and with that hope, comes the promise that we will yet learn much about ourselves and everything around us.

Secondly, the flexibility and coordination. These particular human beings are in perfect shape, yessiree. These are not the disgustingly oversized maxed-out seemingly-spent bodies of bodybuilders. These bodies [allow me to sound sterile] have purpose. They are the way they are for a reason. They border on perfection and one wonders, if the road to perfection were broken down into steps, physical perfection would be one of the vertical challenges. And yet, once conquered there is this freedom of being able to do at least what is humanly possible as a bare minimum. It’s liberating I presume, and when on a quest to be perfect, there should be no compromises.
And if two people can be equally agile in thought and action and they complement each other beautifully without even trying, would that not be preferable or even more productive than the machine without losing the creative edge?

Thirdly, the music. This is gripping music. Hinting at everpresent danger at every turn, the dancers walk on the tightrope of missteps, thanks to the ambience of the music.

And finally, but most importantly, the jealousy. I shed a tear. I kinda lost focus more than once only realising there was more to the dance than just choreographed movement when I noticed expressions on their faces. Why jealousy? Because the dance is interpretive. Because these are two unrelated people who may care for each other [outside the job so to speak], but for the purposes of the dance, just fulfilling the function of physical story-telling [I’m loath to using the phrase “doing their job” here. It’s not a job if you’re in the business of advancing culture]
I’m jealous because these two individuals can share a physical intimacy that is so sensual yet sterile, not erotic nor crass. The cold hard comfort in their own skin and within each other’s. Imagine you had a bond like that someone, even mentally, especially mentally.
Fact is, you wont. Because the reasons we like people are the same reasons we hate them for later on. What we look for in traditional compatibility are always familiar traits, but the familiarity creates redundance. Too much of the same in one place. Not complementary enough to truly be self sufficient as a unit.

Amazing performance.

And if you think I didn’t comment on the “message” of the dance itself, that’s because I DON’T know the message of the dance. I’m half-dead that way…can’t get fundamental “feeling” stuff even when I try. Help appreciated [interpreting the dance].

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