Showing posts with label performer. Show all posts
Showing posts with label performer. Show all posts

Tuesday, June 10, 2008

Does a Desire for Dance Denote a Decade of Depression?

There has been a very interesting phenomenon taking place in the last few years which is both encouraging and disturbing. I’m speaking of the reemergence of dance into our national psyche. With a slew of shows, from the ever-tacky and totally addictible “Dancing with the Stars” to the more exciting “So You Think You Can Dance” to the horribly dull “Dance Wars: Carrie Ann vs. Bruno” (should have been renamed “Dance Bores”), America has been lapping up dance shows with a hunger I’ve never witnessed before.

When I was a child, I loved to dance. I would put on my records and dance around the living room as if I were Gene Kelly or Fred Astaire. It wasn’t until later, when I tried dancing around my first grade classroom that I discovered this was not acceptable behavior for a boy. The unfortunate consequences I experienced later on the playground further solidified my realization that dance was something best left to the girls. Of course, when I was in college and started going out to clubs, dancing was an acceptable part of the dating ritual. (Though I also learned you should never look like you’re enjoying it too much. Just bob your head and move your body, and keep a slight grimace on your face. That was acceptable dance protocol in my neck of the woods.)

But now dancing has come back with a vengeance, with unlikely support from macho sport stars like Emmet Smith and Helio Castroneves. It almost feels like “opposite day,” because even ballroom dancing has become “cool” again. But why is this phenomenon occurring now? Why are Americans so thirsty for talent, and entertainment, and a good pirouette? Could it be that the last four or five years have been so stressful, and the current state of the economy so scary, that we are harkening back to the days of the Great Depression when big Hollywood musicals were the best escape from the harsh reality of life?

Seems plausible. Only this time it’s different, because there appears to be a new respect for dancing, fueled by wild new moves of energetic street performers and new dance forms like crumping and hip hop. So though I am very happy that dancing has become “cool” again, I’m afraid it points to a much bigger problem. Depression. When people are depressed, or when there is a depressed economy, people naturally turn to something that is out of the norm. They gravitate towards fantasy or romance stories, and find comfort in the energy and talent they observe in extraordinary individuals. No wonder talent competitions of all kinds have emerged over the last few years. We need someone to root for. Someone to throw our support behind. Someone who will ultimately unify as a country. How appropriate that we turn to an art form that is the ultimate expression of man’s strength and versatility, of his creative and emotional capacity, of his triumph over challenges and difficulty. If only our country’s leaders had a little more of those qualities, we might not be in the current state we’re in.

Even Paul Abdul, not the brightest lightbulb in the lamp, seems to have hit upon the current collective thought with her appropriately titled "I Want to Dance Like There's No Tomorrow." I'm hoping the song isn't also prophetic as well.

But that’s just me. What do you think of the current dance craze?

Tuesday, December 4, 2007

The Strange Facial Contortions of Celine Dion

I was watching Celine Dion perform on the Rockefeller Center Christmas Tree Lighting last week, and was shocked to find that her strange mannerisms (once thought to be eccentric) were now getting severely out of control. As Ms. Dion sang her two lip-synched numbers, she raised and lowered her eyebrows, pursed her lips, bulged her eyes in and out, and generally overplayed every facial muscle she had. The result was an oddly entertaining performance that made me wonder if Celine Dion is actually the first documented case of living animation. There simply is no other explanation for the fluidity of movement from one bizarre expression to another.

Perhaps because she was lip-synching her songs rather than actually singing them, she felt the need to do more with her face. Or perhaps she just doesn’t understand the concept of “less is more” when it comes to interpreting the lyrics of a song. For example, you don’t actually have to act like a snowflake when you say the word “snowflake.” Although the word flake probably would apply very well here.

I’m not saying anything about Ms. Dion’s vocal abilities, because they are undeniably exceptional. She has an incredible range. But to watch her actually performing a song has become almost painful. Her over-the-top facial orchestrations are beginning to remind me of a young Norma Desmond. Or an old Dakota Fanning. It just didn’t seem like her expressions were connected to anything going on inside her head. If in fact there was anything going on at all.

Not only was Celine’s contribution to the show lip-synched, but it was probably also taped days earlier. After all, Celine sang LIVE on “Dancing with the Stars” the night before. It’s doubtful she would take a red-eye all the way back to NYC, when she’d already been there the week before. And why she decided to sing dull songs, I don’t know, but they certainly put a damper on the otherwise peppy proceedings. (With the possible exception of Taylor Swift’s uneven deconstruction of “Silent Night.”) Maybe Celine was afraid to lip-synch to a faster song because she couldn’t methodically construct that many expressions in enough time to fill the space.

But that’s just my opinion. What’s your opinion of Celine’s mannerisms?