The dance represents a spectacular art of bodily movements and symbolic communication about the human experience. The art of dancing is closely intertwined with the symphonic musical accompaniment and, as a rule, with the lyrical background. In this essay, I will analyze three dances that vary in style, tile of creation, modernity, and audience-orientation.
Sergei Polunin in “Take Me to Church” by Hozier, directed by David LaChapelle
The first dance is a modern piece created by the Ukrainian-born ballet dancer Sergei Polunin in one of the most known music videos by Hozier. David LaChapelle directed the entire choreographic performance. This piece falls under the category of Modern/Ballet dance, which intended to demonstrate the inner torment through his dance movements. As stated by Polunin himself, this dance was a complete yet highly skillful improvisation, which makes the dance even more fascinating to watch. In my opinion, it is a highly proficient and talented combination of dancing movements that I enjoyed witnessing. Moreover, the dancer managed to convey the broad spectrum of emotions and inner agony without any additional decoration, costumes, background dancers, or even vivid scenery. Also, the general impression was enhanced by the musical score masterly performed on the same artistic level.
A large number of tattoos on the ballet dancer’s body brought an intriguing addition to the narrative. Furthermore, the location of the dancing art heavily stands out as the narrative identity is developing. In the beginning, Polunin is gradually and softly swaying side to side until the song includes the word “heavens,” when the dancer makes his first large movement. Such an impetuous action of reaching above seems endless and, thus, can be perceived in a literal sense as the dancer is reaching towards the heavens or something he strongly desires far above. The word “heaven” makes Polunin dance at a higher plane through leaps and jumps. At the end of the dance, Polunin completely leaves the floor in an expressive but clean jump and grand jete.
As the lyrics reflect on the brokenness of the human soul, the piece includes rapidly altering movements from high and low levels to extremely controlled and disengaged angsty moves. The location appears to remind the church settings with the nature in the background and the lack of windows, which provides natural light into the dancing space. By wearing only the nude bottoms and revealing his tattoos, the dancer embodies a sense of purity in the soul. It can be argued that the lighting serves as a guiding light for the dancer. Altogether, the skillful combination of both the dance and the additional external elements create the opportunity for mutual empathy and connection with the dancer throughout the piece.
Mikhail Baryshnikov Solo “Don Quixote”
On the contrary, the second piece represents a more traditional and conservative Ballet dance performed by one of the most prominent classical dancers and choreographers, Mikhail Baryshnikov. Such a choice of a more classical and conventional vision of the ballet helps better understand its modern interpretation compared to the first dance by Polunin. Baryshnikov’s memorable performance is defined with excellent technical command, confidence, and dynamic stage presence. I am more eager for the contemporary representation of the classic ballet dance, however, I believe that this is a masterpiece of the classic theatrical performance accompanied by detailed and splendid decorations and costumes.
Baryshnikov’s variation of Don Quixote is the Basil’s Act II playful solo first performed in 1983. The dancer’s first ingenious step is a spectacular and dramatic movement, as Baryshnikov expressively jumps in a clean and sharp tour jeté. It demonstrates the dancer’s ability and creative approach to link several movements in a thoughtful manner. The mechanics of the dancer’s steps include a skillful continuation of each segment. As he rotates in the air, the piece creates momentum with the help of the dynamic complementary arm movements. Baryshnikov is well-known for his leaping skills, speed, and precision. In the end, as his character throws empty glasses of wine, the dancer showcases his stellar technique with a comedic touch. The group of other dancers involved in the performance stand steadily, thus, creating an illusion of the endless time loop during the solo, in which a dancer demonstrates his sharp sense of musicality.
Beyoncé’s “Single Ladies” Video Choreography
“Single Ladies” is one of the most recognized music videos of the past decade and is characterized by the incredible choreography performed by the singer herself and two background dancers. The piece choreographed by Frank Gatson refers to the J-setting southern dance style associated with high-energy dance moves is acknowledged as the most iconic choreography in the pop culture. The choreography is accompanied by a plain background and contrasting lighting, switching from white to black. In general, the choreography consists of Beyoncé jolting around on every beat in an extremely dynamic manner. This dance is a well-balanced and energetic combination of dynamic arms moves, symbolizing the proposal, as well as hips and legs dancing. With the interplay of the hips moving side to side, leg kicks, body twisting, iconic pump walk, feminine and strong movements with the entire body, the piece managed to preserve the J-setting authenticity. In my opinion, it is a remarkable dance due to its salient dance move with pointing on a figure with an engagement purpose.