Merce Cunningham: Symbolism in Dance

Merce Cunningham is one of the pioneers in neuro-scientific party and choreography. He previously been a mentor to most of the choreographers who have now become major names today. In addition, there are specific body moves and symbolism in his dance techniques that produce him a distinctive pioneer in choreography; also, there are numerous choreographic pieces by Merce Cunningham that remain being imitated by many choreographers of our own present time. Most importantly, I have examined the dance techniques, music, outfits, and movements in certain dancing items by Merce Cunningham. The choreographic items that I've analyzed for this purpose are "Changing Steps, " "Deli Commedia, " and "Beach Birds for Camera. "

The choreography part "Changing Steps" profoundly displays the real geometrical dancing manner of Merce Cunningham. As per my research, Merce Cunningham possessed made use of steps and body gestures by means of dance to represent movement. I detected that Merce Cunningham has been successful in highlighting that subtle and weightless footwork has been used to create the dancer's movements. Additionally, when the dancers change their body gestures quickly, that remaining the feeling of light weighted foot stepping. Additionally, I have also witnessed that in order to generate extensions to the motions of the body, special emphasis has been made on certain activities, including the physical contact among the list of dancers through the sequence (Merce Cunnigham Dance Company).

In my view, the high light of the party sequence is that it's another successful collaboration of music and choreography by John Cage and Merce Cunningham respectively. The work done by the co-operation of both invites the spectators to see something that hasn't been focused on before; which is the way the collaboration had provided joy and flexibility through the framework of the dance steps of the dancers. I think that the cooperation of John Cage and Cunningham is the success factor as the dancing vocabulary of Cunningham is independent, but somehow John Cage's music is irreplaceable. I also think that John Cage's music in the dancing part works as a catalyst. Furthermore, I would also prefer to speak about that the wider acclaim to the boogie series "Changing Steps" is increased as a result of three-dimensional gesture stepping. Three-dimensional gesture moving means that three dancers collaborate and make body actions that together constitute a three-dimensional good posture (Copeland).

Furthermore, the halloween costumes used in the choreography series have been designed by Make Lancaster. The colors of the outfits are single toned and darker colors. The outfits in the three-dimensional stepping had been used in a way that two of the dancers wear the same coloured costume while the third dancer wears another color (Merce Cunnigham Party Company).

My experience with the party sequence "Varying Steps" has been full of delight. The boogie sequence greatly displays an entirely new idea and form of dance. The utilization of the subject flawlessly suits the dancing sequence, so that seen in the series, changing in steps has been quite swift, thus, the name also elaborates the same idea. Also, the movement of stepping in the dance sequence of "Changing Steps" is so powerful that the spectator would believe that they're actually dancing with the dancers. I discovered that in the very beginning of the dance sequence the choreography has been done in a way that makes a rectangular pack and further varieties a curved framework of stepping and also to me, the setting were something that I did so not expect in a dance. In addition, I feel that the union of dancers after each three-dimensional stepping of ft appeared to be amazingly productive and fresh.

Moving on to another great part by Merce Cunningham entitled "Deli Commedia. " "Deli Commedia" is another effectively choreographed part that symbolizes the legacy of his contributions to the party. He contributed in the field of dance by adding the concept of geometry in his party sequences. For instance, I have witnessed the ideas of geometry when one dancer stood perpendicularly while other dancers made curves through molding their body into an arch-like structure. Moreover, the outfits which have been found in the dance collection were rather multi-colored, which exactly matched up the theme of the level. The use of colors such as blue, yellowish, inexperienced, magenta etc. is catchy which creates a differentiation every time a fresh fragmentation is made while dancing. "Deli Commedia" displays the collaboration of the musician, John Cage as the music performed during the collection holds beats in a synthesized manner (Ib50ib50 Route). "Deli Commedia" were able to impress me as the party sequence was filled up with fragmentation and quick body moves, and I also liked the brilliant halloween costumes of the dancers which used the level distinctively.

Last however, not least, the choreography sequence of "Beach Birds for Camera" illustrates the movements of coastal areas. The enthusiasm that I acquired from such a dance piece is freedom because the stepping of the feet and side gestures are more bird-like activities. Birds usually symbolize freedom and the basic intrigue that you might get by making use of the dance gestures as with "Beach Birds for Camera" clarifies the Eastern boogie themes or templates. I also noticed that the theme of Eastern party is apparent from Cunningham's boogie collection because Eastern dancers perform in a way that is apparently similar compared to that of dancers of Beach Birds. A lot of the Eastern dances are specially choreographed in outdoor locations reflecting dynamics (Copeland). The idea of moving that illustrates the circumstance of beach birds provides joyful awakening in the field of the dance. "Beach Birds for Camera" is another victorious teamwork between Merce Cunningham and John Cage. Relating to my perspective, the music and choreography got complimented the theme of the sea as the dancers use fragments imitating the effect of drinking water, also the music of the party sequence appears like rainwater drops, or drops of drinking water (Ib50ib50 Route).

If I compare "Beach Birds for Camera" and other party sequences by Merce Cunningham, I've observed here that the fragmentation is used reduced in this sequence, and the layering of the body gestures is most visible, which is something that I have liked, and what I mean about the layering of the body gestures is within conditions of the postures the dancers take where they come in contact with other dancers through lower leg touch, or again touch. Also, the change in directions is more apparent than in virtually any other dance sequence making the spectators navigate towards dance steps more (Merce Cunningham Party).

Moreover, the halloween costumes created by Marsha Skinner are in line with the theme of the boogie sequence. The costumes are especially made dark-colored and white to be able to reflect the colour of coastal birds; also, the use of dark-colored and white enhances the body gestures used in the fragmentation manner (Daly). I think that costumes greatly suited the main theme of the party sequence.

Through my examination of the three dance sequences by the collaboration of Merce Cunningham, the choreographer, and John Cage, the musician, it involves my knowing that the field of dance had been made wide because of the legendary collaboration. In addition, being a spectator of such party sequences helped me take notice of the development that has occurred in conditions of the dance. I'd also say that the development which possessed taken place in dance by the arrival of geometrical party sequences by Merce Cunningham in 1956; also, making Merce Cunningham a legendary figure in making use of fragmentation, body gestures in a layering manner, and ft. stepping. Overall, my connection with watching dance collection by Merce Cunningham was joyful and completely entertaining.

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