|
|
|
November 17, 2001 - April 14, 2002 |
|
Bjorn
Amelan |
|
Bjorn Amelan is
a sculptor and set designer. He moved to the United States in 1993
and began to collaborate with Bill T. Jones. He has designed sets for
several works of Jones including Green and Blue for the Lyon
Opera Ballet; We Set Out Early… Visibility Was Poor,
The Breathing Show, and You Walk? for the Bill T. Jones/Arnie
Zane Dance Company and How! Do! We! Do! for Bill T. Jones and
Jessye Norman in conjunction with the Lincoln Center's Great Performers
New Visions series.
Bill
T. Jones
Bill T. Jones
is a choreographer. He attended the State University of New York
at Binghamton, where he studied classical ballet and modern dance.
In 1973 he co-founded the American Dance Asylum and in 1982 he and
his partner Arnie Zane formed the Bill T. Jones/Arnie Zane Dance
Company. Jones has created dances for Alvin Ailey American Dance
Theater, Boston Ballet, Lyon Opera Ballet, Berkshire Ballet, and
Berlin Opera Ballet and, over 50 works for his own company, including
premieres for the Next Wave Festival at the Brooklyn Academy of
Music and for St. Luke's Chamber Orchestra. His collaboration with
Jessye Norman, How! Do! We! Do! premiered at New York's City
Center in 1999. Jones' television credits are numerous. In 1992,
a documentary on Bill T. Jones' Last Supper at Uncle Tom's Cabin/The
Promised Land was aired on Dance in America as part of PBS's
Great Performances and Still/Here with Gretchen Bender. Jones
has received several prestigious awards and honors including a MacArthur
Fellowship.
Selected
Objects
|
|
|
|
|
|
|
Female Figure
Cambodia
Angkor period Baphuon style, early 11th century
Sandstone
H. 38 in. (96.5 cm); 1979.65
|
When I observe the
"performance in stone" that is the early eleventh-century Baphuon-style
female figure, I wonder what was the artist's intent. If this is in fact
the goddess Parvati, I struggle with the tension generated between this
work's idealized abstraction and its mastery in eliciting from stone the
most sensual supremely human aspects of a living body.
What is the function
of this work?
If this goddess
in meditative repose is intended to elicit the same in her follower, she
is simultaneously a feast of suggested volumes, crevices, and lines that
in fact titillate and arouse. Below the ample smoothness of her breasts
and belly, there is the maddening promise of movement in her sarong as
it slips downward past the swell of her hips. An austere cascade of line
representing the garment's folds plunges past her sex, reserving the privilege
of a flirtation in its airy fluting. Does this fluting "fishtail" catch
a bit of breeze like the playful tie of her belt as it reveals the delicious
recess of her navel?
|
|
|
Buddha
India, probably Bihar
late 6th century
Copper alloy
H. 27 in. (68.6 cm); 1979.8 |
To engage the late
sixth-century Bihar Buddha is to experience sound. Hands, face, body,
and garment convey this impression.
First the hands, slightly
exaggerated in size, obviously composed according to a prescribed vocabulary
of holy mudras, give the impression that this personage has been caught
up short, in surprise at some sudden sound. The elegant right hand is
at once a salutation, "Behold!" and a command, "Listen!"
The sensitive scowl
of the face does suggest trance-like introspection. However, the sage
seems to be listening as well. Is it to a sound from within or to some
other, detected by his aristocratic ears with their divinely elongated
earlobes? Maybe both?
And Buddha's garment,
a film of otherworldly transparency and lightness, responds like a pool
of water to a breeze or some strong vibration. The navel, like a bright
stone beneath the surface, seems to be its origin.
His lithe inert body
could have been moving a moment before, but has been immobilized now by
that sudden awesome sound that was just released like a bell, a clap of
thunder, or a scream.
|
|
|
Figure
of a Man
Japan, Ibaraki Prefecture
Tumulus period, 6th-7th century
Earthenware with traces of pigment
H. 56 in. (142.2 cm); 1979.199
|
The haniwa figure
of a man from the sixth or seventh century, Japan's Tumulus period, standing
precariously on a cylinder of clay with outstretched arms-as if to balance-is
as mysterious in its representation of human anatomy as is the culture
that produced him.
This is not a celebratory
dancing figure. Tight faced with piercing gaze and tiny arms, it is obviously
intended to project an aura of stasis and power. Conditioned as we are
to read power and authority in muscular strength, we are bewildered by
the "lack of body" and the emphasis placed on the inflated trousers and
sharp, funneled skirt covering them. If power and authority are suggested
here, they are undermined by the spindly, childlike arms in awkward, frozen
reach and the doll's feet, turned inward, barely holding the curved surface
of the base.
And yet the figure
has command. There is an urgency and aloofness in the expression that
seem to imply that the possible destab-ilization below has been taken
into account and mastered. The intense reserve of the face is epitomized
by tiny eyes, like slits that allow nothing out, but take everything in.
In this face there is such confidence that we can imagine this warrior/priest,
springing down from his perch, or flying away. The world he commands is
represented in fragile clay, suggesting politics, intrigue, and/or natural
disaster, but the face speaks of cool assessment, unabating ambition,
and determination.
|
|
|
(Kalyahimarddka
Krishna)
Krishna Dancing on Kaliya
India, Tamil Nadu
Chola period, late 10th-early 11th century
Copper alloy
H. 34 1/2 in. (87.6 cm); 1979.22
|
In the entire pantheon
of Hindu deities, Vishnu, in his incarnation as the avatar Krishna, most
flamboyantly represents divine charm and attractiveness. Be he the adorably
mischievous tyke stealing his mother's clarified butter, the supreme lover
capable of engaging every woman-married or not-in his village, or as he
is represented here, Kaliyahimarddaka dancing on one of the heads of a
monstrous, poisonous serpent-he personifies the childlike glee, sensuality,
and charismatic accessibility of all great performers.
In this Chola-period
rendering of the avatar, every element lends itself to seduction. His
moon-shaped face, framed by divine ears, though somewhat mask-like, possesses
full, pouty lips that are slightly parted with delight in his dancing.
Flawless skin covers his broad shouldered torso. His dance on Kaliya's
head is obviously rhythmical, sprightly, brimming with that insouciance
and wit that star performers use to capture and hold their audience. His
right foot, gracefully pointed as it leaves the serpent's head, produces
a provocative lifting of his hip and an eye catching bunching of the soft
flesh round his middle. This divine entertainer is male/female, child
and man. His impudent little penis keeps its own time in stark contrast
to the muscular sinuous rhythm of the snake's tail held elegantly as if
it were a musical instrument.
Hindu tradition has
it that even the most hideous monster is gratified to be chastised or
killed by the seductive god as its soul is immediately freed from the
endless cycle of birth and death and achieves cosmic consciousness. Witnessing
this performance, one can only envy the vanquished snake.
|
|
|
Parvati
India, Tamil Nadu
Chola period, early 11th century
Copper alloy
H. 35 in. (88.9 cm); 1979.19
|
Confidence--that is
the overriding impression given by this particular eleventh-century Chola-period
Parvati. As she was certainly an attendant figure in an ensemble that
featured her divine consort, Shiva, performing his dance of bliss, Parvati
here embodies her role of showgirl with supreme confidence.
Her large, wide eyes
and subtle smile suggest contentment and approval at the spectacle of
her husband's dancing. Sturdy strength enlivens her amazing anatomy.Her
boyish shoulders soften into firm shapely arms that taper into elongated
gestures of grace.
The copper alloy out
of which the goddess is fashioned embues the gravity defying perfection
of her breasts with the power of two vibrating cymbals. The nipples mesmerize
with their intense focus projected outwards like a pair of all seeing
eyes. For all their wonder, the breasts cannot hold the giddy descend
of our gaze as it travels down the coastline of her impossibly fine waist
delivering us to the plush expanse of her undulating hips.
With languor and sway,
Pavati is marking time-both musical and cosmic-with her magnificent hips
and ass. She is confident in her role as spiritual complement to one of
the pantheon's most complex deities-Shiva-an entity who, when not immersed
in an eons- long trance of introspection, is performing a fearsome dance
that signals the destruction of the universe. This delectable showgirl
with the calm smile, elegant demeanor, and swaying hips is completely
secure. She knows the nature of form and its transformation. Within her
comely incarnation, there are many others. One of these is Kali, the monstrous
witch, wearing a belt of sculls, whose womb spits out life even as her
hideous tongue drips blood and her jaws chomp human flesh.
But here, this beauty
projects a confidant, dangerous allure. "Come dance with me, with us"--she
seems to say--"if you dare."
|
|
|
Ganesha
India, Uttar Pradesh
8th century
Sandstone
H. 49 1/2 in. (125.7 cm); 1979.13
|
In the world of the
Hindu gods, body shape and mass are of no concern when it comes to the
mastery of gesture and the outrageous undulating placement/displacement
of skel-eton and flesh that we recognize as grace. This eighth-century
Ganesha from Uttar Pradesh makes a convincing case.
One can only marvel
at the understanding of anatomy, the visceral sense of movement and rhythm,
and the choreographic skill of the artist who produced this performance
in stone. This multi-armed, squat little figure with dimpled paunch, thick
legs, sensitive hands and feet, has the head of an elephant. He is in
fact a dancing elephant, presaging Walt Disney's Fantasia by roughly twelve
hundred years.
Ganesha is caught
in an ecstatic off- centered swirl of movement. Yet there is nothing frantic
or out of control here.
The alert attentiveness
of his large ears make palpable his celestial accompaniment. The elegant
placement of his many hands-all performing effortlessly complex mudras-are
in sophisticated counterpoint to the graceful rhythm of his belt and swaying
trunk.
This is a suave and
elegant dancer who throws out his left hip with sensual-I dare say sexy-finesse
while observing us with aloof tiny eyes, as if to say, "Jump on in! Let's
see what you can do! I dare you."
|
|
|