Lately, I have been obsessed with the origins of certain words. I feel like unraveling their history is deciphering a key element in understanding my relationships to them, especially when examining my interaction with aesthetic experiences.
Yesterday, I treated myself, my better half, and my neighbors to Dance Houston's City Wide Dance Festival. Kudos to Executive Director Andrea Cody for putting together such a diverse, energizing, and sublime (my word du jour) roaster of spectacular and colorful companies that presented folk, ballroom, contemporary, cultural, classical, and urban styles. I believe anyone who is exposed to this art form at one point says to themselves "I want to do just that," or perhaps "I want to fit in that fabulous outfit."
For me, it did something more than just entertain. It allowed me to examine my reactions to each of the fourteen companies and genre's presented. Without prior knowledge of most of these companies, I carefully noted my involvement level. It was easy to be captured by the delicious colorful costumes of Compania Folklorica Alegria Mexicana and their peasant like zapateado, the exotic, angular and expressive hand gestures of the Sreepadam School of Arts with their exquisite cultural outfits, the deep, thoughtful and programmatic narrative by Urban Souls Dance Company and the overwhelming energy of each and every dancer of Wyld Styl. Each group's work was unique, accessible and I could go on for ages. In the interest of your interest, go next year.
There was one group that went beyond taking my breath away and that was Houston Ballet II performing "Den III" choreographed by Garrett Smith. I was captured by their simple and graceful lines, intriguing shapes, the dramatic yet uncomplicated use of light, shadows, mirroring and repetition. The work was hypnotic with powerful minimal costumes in red and black, accompanied by medieval like music that featured a constant drum not dissimilar to a heartbeat. I was bewitched by the four dancers' ability to use and fill the stage. They appeared larger than life-like.
I was surprised that Houston Ballet II's performance would have such an effect. After all, I salivate at the idea of Indian cultural dance, sexy tango, and high energy samba and ballroom moves. I learned that my eye is drawn to the formalized movements that are associated with the art, especially when sprinkled with other dance elements.
I researched the etymology of dance and found:
I associate stretching and extend with the beautiful formalized lines demanded by classical ballet. As a musician, I always enjoyed the challenge of bringing creativity, color and life within established parameters of the stylized and accepted form of the baroque, classical and romantic periods. I rationalize that I was mesmerized by "Den III" for similar attributes.
