Performing Arts: Dance
January 30, 2012
Eye on Dance, celebrating 30 years of fascinating interviews chronicling the world of dance in America, was part of the Dance on Camera series at Lincoln Center. Celia Ipiotis and Jeff Bush were heralded by Deirdre Towers, festival curator, for bringing awareness of the process of dance to a wide audience.

Eye on Dance, first aired in 1981 on PBS, was an opportunity for scholars, historians, dancers, choreographers and many other artists to discuss their work and philosophies. With the innovation of portable video equipment, a whole new generation of videographers was inspired to open up worlds usually closed to the public.

EYE ON DANCE dared to explore dance, from ballet to hip-hop, passing through an era identified by the "dance boom," "culture wars of the 80's," "gender politics," "multi-culturalism," ballet and modern mash-ups and so much more. These interviews were captured on film and are an incredible window to the kind of creativity that was so prevalent. Informative conversations were interspersed with performance footage and it was the only program of its kind at the time -- and to this day. Ms. Ipiotis and Mr. Bush are raising funds to preserve and process the complete EYE ON DANCE archive. This archive will be invaluable to anyone studying the history of dance or simply interested in the subject of these videos.

An interview from 1986 with Moses Pendleton and Jonathan Wolken had the audience of the Walter Reade Theater laughing at the hilarious interaction of these two founders of Pilobolus. Having not spoken since their public break-up in 1983, it was clear that they were conflicted over being reunited and definitely in "high spirits" as Ms. Ipiotis called it! The interaction of Mr. Pendleton and Mr. Wolken, with Ms. Ipiotis trying to stay in command, is a perfect example of the kind of innovative, thought provoking interviews that make up the Eye On Dance library.

Before this gem from Eye on Dance was a film by Philippe Baylaucq, called "ORA". Choreographed by Jose Navas and using high definition thermographic infrared cameras, the dancers were filmed so that one can view their heat producing bodies as they move trough the dance. It was like watching biological light. The form began like a cell and appeared to divide, then looked like pickles curving toward and away from one another.

Eventually the dancers forms became more visible, at times looking like they were moving against a rock wall or a reflective floor. Neither the choreography nor the music was very compelling, so the innovation in film making was the most interesting element.

Supposedly the cameras were only used previously for US military assignments, so this was definitely a much better application.
EYE ON THE ARTS, NY --Deborah Wingert

©2001 Eye and Dance and the Arts | All Rights Reserved