Conceptual dance, at its core, often prioritizes ideas and concepts over elaborate physical movements. It’s a realm of experimental dance where the driving force is a narrative, an emotion, or an abstract notion, rather than sheer technical prowess. While some conceptual pieces demand exceptional technical skill, many others intentionally lean towards simpler movements. However, the misconception that simpler choreography equates to less demanding performance is a critical oversight, especially when considering the power of dancers to elevate a piece – what we might call “Star Power Dance”.
Some conceptual dance performances captivate, others fall flat, and many reside in a perplexing middle ground. This ambiguity often arises because the performers lack the stage presence or charisma to effectively communicate the concept. The common justification for underwhelming experimental work – “it’s about the idea, not the performance” – is fundamentally flawed. Performers are intrinsic to the concept itself. They are not merely interchangeable bodies; their ability (or inability) to embody and project the core idea determines whether the concept truly resonates. A brilliant concept alone isn’t enough to create compelling art; effective conveyance through performance is essential to bridge the gap between idea and audience impact, and this is where “star power dance” becomes crucial.
The evolution of video projections in performing arts offers a parallel. Decades ago, the novelty of incorporating video was often enough, even if the video quality was amateurish. The mere presence of video was considered avant-garde. However, audiences quickly became discerning. Today, sophisticated and artistically integrated video projections are commonplace, enhancing the audience’s experience and understanding of experimental works. This shift highlights a crucial lesson: artistic mediums within a performance must be executed with quality to effectively support the conceptual framework. Similarly, in conceptual dance, if technically weak or uncharismatic dancers populate the stage, their lack of “star power dance” can become a significant barrier, overshadowing even the most innovative concepts. Mediocre performance quality creates a distraction, preventing the audience from fully engaging with the intended artistic message.
Just as a sour relationship can taint every action of a person, a dancer lacking charisma can negatively impact the entire performance. Their actions, even simple ones, can become irritating and detract from the intended experience. This underscores the importance of “star power dance” – that inherent magnetism and stage presence that draws the audience in and commands attention, regardless of the complexity of the choreography.
Securing exceptional dancers is, admittedly, a challenge. Numerous logistical and financial hurdles exist in bringing a production to fruition – budgets, casting, rehearsals, and administration all play a role. However, prioritizing dancer quality, particularly in conceptual dance, is paramount. Many talented dancers might be less attracted to conceptual work if it doesn’t offer opportunities to showcase their technical skills or provide “star turns.” They often seek roles that offer financial stability, leading them towards more commercially viable projects.
Within dance communities, collaborative networks exist, but relying solely on choreographer-dancer exchanges can also present challenges. While choreographers possess a deep intellectual understanding of dance concepts, they may not always embody the physical dynamism needed for captivating live performance. This highlights a crucial point: “star power dance” is not solely about technical skill; it’s about stage presence, charisma, and the ability to command attention and convey meaning through movement.
There are no simple solutions, but prioritizing the recruitment and development of strong dancers is essential for all dance performances, especially conceptual ones. Just as investment in high-quality video has become standard, a similar commitment to nurturing “star power dance” is needed. A collective effort within the dance community – choreographers, producers, funding organizations – is necessary to expand the talent pool and enhance training opportunities. For dance companies with limited resources, this means actively advocating for dancer support initiatives and proactively recruiting young talent through accessible, low-cost classes that cultivate the specific skills and techniques relevant to their artistic vision. Investing in the long-term development of the dance community is an investment in the future success and artistic depth of conceptual dance itself. Time will inevitably pass; directing some of that time towards fostering “star power dance” within the community will yield significant artistic returns.
Published by the Philadelphia Performing Arts Authority.
