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Letter, 10-14: Critics Cornered, 2
By Tere O'Connor
Copyright 2005 Tere O'Connor
In the August 8 &
15, 2005 issue of the New Yorker, Joan Acocella wrote an article entitled: Mystery Theater:
Downtown surrealists. I sent this letter to the editor on August
26. I doubt it will get published so I want to circulate it. I hope
it will spark some discussion about the unfortunate state of dance
writing. Best to you all. Tere
Joan Acocella had better
check her "sell by" date because her article entitled "Mystery Theater:
Downtown surrealists" in the Aug 8 & 15, 2005 issue has the distinct
odor of irrelevance. Her musings on my work and on that of the others
mentioned are so badly observed and so off track that I have to
speak up. Through her lack of understanding and her inability to
reach out and get information from artists, she joins a group of
critics whom I will call "the literalists." These critics do not
know how to read dances created outside the restricted confines
of the narrative or musical frameworks from past centuries. What's
more, they don't do the work of finding out what is actually going
on in the minds of artists or what are the contexts in which these
works are created. They have reduced dance criticism to an explanatory,
superficial, retelling of events steering the documentation of contemporary
dance into an impenetrable forest, dark and mistaken. When she called
me to fact check, Joan intimated that there was really nothing going
on downtown. I don't know what is more maddening -- the dismissive,
erroneous idea that nothing is happening in contemporary dance or
her anachronistic insistence on an uptown/downtown dichotomy. Her
bloated, oracular tone is classic. It is born out of a reluctance
to say: "I don't know what this is."
In my 23 years of dance-making,
I have committed myself to examining choreographic thought and making
it frontal in my work. I am attempting to detach from narrative
and work with dance as a form that documents the sub-linguistic
underpinnings of thought. I incorporate parenthetical structures,
elliptical time, multi-layered reference, memory play and the dynamics
of situation to create temporal renderings of human experience.
By temporal I mean passing through time. Certainly, narrative scraps
float through the works but it is the nature of the floating that
interests me. I welcome the viewer's projection of his/her own stories
onto the images in my work, the attempt to identify topical elements
is crucial, yet it is the trajectory of their disappearance -- their
subsequent return or absence that creates the dance work. I am trying
to look at a multitude of disparate elements in close proximity
and find the specific music of their relativity. My references come
from contemporary culture, pop culture, history, global events and
personal history and obsession. I am not trying to create narrative
sense out of these. For me dance is its own form of intelligence
processing the information of the world in an inimitable way. It
sheds light on multiplicity. It doesn't need a protagonist, doesn't
search to resolve polarities and doesn't thrive on theme and variation.
It isn't a Rorschach test to determine what story is hidden in its
abstraction. It doesn't need to be translated or validated through
preexisting ideologies. To penetrate the "mystery," Joan searches
for an explanatory correlate in art history. She latches on to surrealism
yet her attempt to draw a comparison is intellectually porous. The
surrealists were rebelling and they were referring to art history,
making statements against the status quo. That is not what I am
doing. She only sees it this way because it is so far out of her
limited world of dance that it looks like rebellion to her.
Joan and the other literalists
are crippled by their love of ballet with its addiction to depicting,
whether through mimetic platitudes or "abstractions" of themes.
It is through this dusty filter that they view all dance. When dance
works do not adhere to the clean structures of music or when there
is no good/bad paradigm to use relative to virtuosic technical performances,
the tone of the writing starts to become pompous and they start
pulling out words like abstract, improv, downtown, idiosyncratic
and my favorite, post-modern. For a historical moment so thin and
mutable in definition it certainly is turning out to be a long period
with ever expanding characteristics. Many artists and myself are
not interested in creating pastiche. We have detached from dance
history -- NOT as a rebellion but out of the natural realization
that contemporary culture is changing constantly and that dance
is an excellent form to reflect on its vastness and complexity.
What is really interesting about contemporary artists working in
dance is how hybrid they are.
Joan's quaint grouping
of the four artists in this article is so haphazard it borders on
insulting. Why don't we get our own articles? Is it because of the
caste system that Joan and the New Yorker are so committed to? Or
is it because we exist outside the limits of her understanding that
we are ghettoized inside of a structure built with idiotic bricks.
Oh, look at the time!!
My melting clock says
I must go.
Before I go, may I suggest
that you get an additional writer for your magazine, one that isn't
so perplexed by new ideas in dance. One who doesn't find cacophonous
any music that exists outside of the Bach to Stravinsky continuum
and who understands that the theatrical space being created by contemporary
choreographers is crying out for someone who is interested in cultivating
a new language to go with it.
So tighten Joan's corset,
give her a candle, send her back into her beloved centuries and
let her write endless, numbingly boring articles about how many
turns Alexis Whoever did or how skinny she looks or how well Mark
Morris followed the score this time.
The rest of us will
swim, now, in this.
Editor's Note: According to its website, the New Yorker has yet
to publish this letter, which the author has been circulating among
the community and which we publish here in the public interest.
The headlines are ours, not the author's. For a response from Paul
Ben-Itzak, please click here.
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