THE BODY AS SUBJECT AND OBJECT OF CHOREOGRAPHIC DESIGN IN DANCE

Abstract

Dance is one of the most popular forms of artistic expression defined by its unique deployment of human body movement. Existing studies have largely investigated the social contexts, significations, social functions and cultural implications of dance, with inadequate attention to the instrumentality of the moving body as an affective vehicle for choreographic (kinetic and visual)design. This study is therefore designed to examine the instrumentality of the body with the aim of underscoring its function as a moving subject as well as object or canvas in dance.

Sheets-Johnson’s Phenomenology of Dance,Gadamer’s Notion of Hermeneutic Circle and Heskett’s theory of design are adopted as theoretical frameworks. Three choreographic works are purposively selected for analysis. These are ‘Jellicle Songs for Jellicle Cats’ from the Broadway musical, Cats; ‘The Venda Snake Dance’ from the South African stage performance, Umoja;and the ‘Museum Mob Sequence’ from Step Up: Revolution, a dance movie. The choice of these works is informed by theirconsummate use of the moving body as vehicle in choreographic design as each of the works deploy the body as subject and object of design in diverse degrees. Data was collected through the review of dance videos on DVD and YouTube. These were subjected to performance analysis.

The deployment of the body as subject and object of choreographic design is germane to all the case studies. Cats explores the body more as object of design through its exploration of diverse movement structures and spatial design in relation to effort, weight, rhythm, dimension and direction executed by the performers. It also explores the body as subject of design through the utilization of closely fitted costumes and visually affective body painting. Step Uputilizes the body more consummately as object of design through the use of costumes and vibrant body art. Properties (props) are skillfully used as body extensions. Creative lighting, some of which are attached to the bodies of the dancers, was also executed. As subject, the body is designed based on the characteristics of the dance style being performed in the work. Umoja employs a balance of the two categories of design where the bodies of the performers create intricate patterns which are both aesthetic and signifying, and also utilizes indigenous body arts and detailed costumes which are all enhanced by colourful lighting. For the three case studies, the body is revealed to have agency as object, and as subject it serves as a design canvas.

The valency of the moving body is exemplified in dance performances wherein it functions creatively as subject and object of choreographic design In this manner the kinetic essence of the three dimensional body in motion merges with the visual essence of body art for a highly aesthetic experience.