CHRIS THURMAN: ‘Getting’ the language of dance
Conceptually rich ‘autoplay’ explores what it means to be human in the age of AI, while ‘SALT’ is a triple-bill of inspiring new ballets
Long-time readers of this column will know that, in the beautiful Babel of the arts, the language in which I am least fluent is dance. Sometimes, watching a performance, I feel as if I am catching fascinating snippets of a conversation with a choreographer or dancer, even though for me they lack coherence. Sometimes it seems that I am barely conversant in the language, like an eager but inept Duolingo beginner, impatient to understand.
Perhaps this linguistic analogy is flawed. After all, dance is supposed to be a universal language: the language of the body. Maybe it is better simply to say that I haven’t watched enough dance to be an aficionado — I haven’t educated myself sufficiently in its forms, particularly modern and contemporary dance. I know the thrill of seeing bodies in poetic motion, from jazz and hip hop to ballroom and ballet; I can admire their strength, control, rhythm and grace. But when there is something to “get”, particularly in concept-driven work, I of...
Would you like to comment on this article?
Sign up (it's quick and free) or sign in now.
Please read our Comment Policy before commenting.
Subscribe now to unlock this article.
Support BusinessLIVE’s award-winning journalism for R129 per month (digital access only).
There’s never been a more important time to support independent journalism in SA. Our subscription packages now offer an ad-free experience for readers.
Cancel anytime.
Questions? Email helpdesk@businesslive.co.za or call 0860 52 52 00. Got a subscription voucher? Redeem it now.