Der nachfolgende Text ist von Wendy Allen, meine Gedanken dazu findet ihr darunter:
„We know the steps, we know the transitions, we know the muscles and bones that make the movements work.
„What is the ‚right‘ way?“, people often ask.
If you look at the dancers of FatChanceBellyDance®, we are all quite different, physically, personally, and stylistically. Each of us has our own following of people who like our style. So, at what point does it become ‚right‘ or ‚wrong‘? Do we keep some of that personal style of each dancer that is different, yet works together, or do we squash that and try to make everyone look exactly the same?
There are some things that have to be allowed for. Body types. The shape of our bones dictates how much we can extend our arms. You can increase your range of motion through stretching, but there is a point where it is compression of the bone joint in the socket. It will only go so far.
For instance, take the difference between Anita and I doing the body wave. Anita is tall, with a longer torso than me, and the outer portion of her vertebra are rounder than mine. I am shorter in the torso, with a blockier spine. Anita’s body waves are much deeper than mine. I have increased mine through strengthening and stretching, but they will never be exactly like Anita’s. So, which one is right, which one is wrong? As long as we accommodate our movement to our bodies, and still keep the integrity of the posture and movement, they are both right. Mine is right for my body, Anita’s is right for hers.
ATS differs from other dance forms in that the dancers are not all the same, uniform body type. I think that is part of the appeal. It’s supposed to be more organic, we’re not a drill team.
Experience-the amount of time one has put in influences one’s style. Those of us in the troupe who have been around for awhile have a wisdom that can only come with time. We may lack the enthusiasm of the younger dancer, but you can’t discount the wisdom that comes from experience. Both are ‚right‘.
Musicality-Do we only have one ‚right‘ way of responding to the music?
We all hear the music differently, and interpret it differently. I would often like to think that my way of interpreting it is the ‚right‘ way, but in reality, if everyone interpreted the music the same way I do, that would get old really fast. Each dancer brings their own unique take on the music. That keeps it interesting and fresh.
Here’s the deal. You can have the movement of ATS, the costuming, the music, but without the artistry of the dancer being allowed in (in a way that harmonizes, not stands out), ATS won’t have soul. And then it becomes the criticism we all hear of it. It’s boring. They just do the same thing over and over.
We don’t want to be robots. We want to be artists.
Believe me, I respect and admire every dancer who has made ATS her life. I appreciate the respect everyone has for this dance form, and the hard work you all put in to maintain the integrity of it.
If you are going to make it into an art, at some point, you have to stop clutching the rule book so tightly. That doesn’t mean let everything go to hell and start making things up. You are still sticking to the movements and the concepts, but there’s a point where you have to stop worrying about your technique, and start listening to the music, start letting yourself respond to it. And you have to stop being so much of a perfectionist. Remember that phrase, ‚In the flow‘? If you are so worried about doing everything exactly right, you lose the flow. And you lose the art. There is a balance between maintaining the integrity of the movements, and being able to be in the flow. There’s a point where you have to let yourself go and jump into that flow. It’s a trust fall.
I am the sum of all of my teachers. In learning from them, I was influenced by what spoke to me from each of them, and what worked on my body. I have some of each of them in my dancing. They all had/have difference versions of ‚right‘.“ Link zum gesamten Text
Ich sehe in dem Text mehrere Dinge, die mich interessieren. Zum einen ist da die Verbindung zu den Gedanken aus meinem Blogbeitrag Von Monstern und Marionetten, dass jene, die jahrelang hart daran arbeiten, ihre offiziellen Bewegungen zu perfektionieren, es nicht gerne hören werden, dass auch Anders okay ist. Zugegeben, das ist nicht der Punkt.
Im Grunde sagt mir der Text, arbeite an sauberen Bewegungen, an Cues, die deine Mittänzer eindeutig verstehen können. Wenn du das geschafft hast, arbeite daran, die Bewegungen für deinen Körper zu adaptieren – ohne die Lesbarkeit zu gefährden. Dann bring den Rest deiner Persönlichkeit ein, dann wird es richtig gut!
Im übertragenen Sinne: sorgfältiges Üben ist ein Muss, festklammern an Perfektion und Erstarren in Perfektion wird dich aber nicht zwangsläufig nach ganz vorne bringen.
Foto: Gudrun Herold