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One of the strangest things I've ever seen on a dance stage is a tap dancer performing to Balinese music. It's startling because tap has a language all its own, and I guess my Western ears and eyes just have lots of trouble accepting the melding. She mostly danced to a single drummer playing on a traditional Balinese instrument, but still... She's the girl on the R getting her white linen shroud fitted and reflecting the dot projections:

And during the informal photo-op following the curtain call, someone cracked a joke in English which she got and her companions did not:

She grew up here in Holland and learned some Balinese dance movements involving her torso and arms. I just think she was so much more effective when she wasn't performing her tap routine.

Since the lighting and projections had so much to do with the messages, I wondered how effective they would be without them. Then I stumbled across a TV film of an interview-partial performance they did in Amsterdam before the full concerts here in den Haag. (With only part of the orchestra and no tap.) Here's what that set looked like, complete with a 2010 train visible out the window of the ""studio"" they filmed in:

Of course when you're taking screencaps of the film, you get to see as the TV camera does, from its position, which sometimes is awesome. Here are the four girls working close in to each other, and their movements are just as effective as they had been in the theatre:

And the building across the street hazily looks like it's emerging from the L elbow of one soloist:

When the sorcerer/sorceress danced out with her headpiece on, it was almost as scary under the flat fluorescent lighting of the studio as it was with full eerie effects last week:

And I thought this was cool: the only light on their faces is from the windows and overhead flourescents, which modeled them in a way simply missing in the full production:

***** ***

There also were other concerts. One was called Indo Rock, which was mournful, mainly because the lead "singer" was totally high and slurred his words more and more as the hour wore on, and embarrassed the other band members. But there was a touching short dance within the piece, about a baby who does not live. I managed to take this between the legs of one of the keyboard instruments:

And another, when the two women are grieving without words, just body language:

*** **** **

How you keep on dancing at the edge of life might use ideas from both faith and superstition... that's the message of all this in my view. Perhaps no one faith or set of beliefs in the non-material world/worlds has all the answers. Perhaps your own personal growth is better served by making your own way through all the contradictions.

Maybe growth from one world into the next requires movement... and lots of colors, and new views of things you haven't seen before. So you can decide where your own comfort is, and where your path lies.

Blessings Be.


kiota too late for the stars
Moonfire Marion Bridge / Brad

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