Bryttni Pugh

Tucker

DANC 2218

22 February 2016

Charlotte Ballets Innovative Works

The dancer spotlight piece titled #HATEHURTS resonated with me due to its relatability,

truthfulness, and ability to evoke feelings of depression. Although no program notes were given

and no video was shown, unlike the other pieces, to discuss the creation and its plausible meanings,

the story and message conveyed through the touching choreography and musical choice were quite

straightforward. The work incorporated two dancers, Sarah Lapointe and Ben Ingel, who took on

the roles of teenagers that have been cyberbullied, and they displayed its effects, including

frustration and thoughts of suicide. Bringing awareness to bullying and its damage seemed to be

the purpose of the piece; many may be unaware of how the negative behavior has extended into

technology.

The choreography of Sarah Haynes Harkins began with the two teenagers seated on the

floor in opposite corners, looking at their laptops on their desks. Voices emerged instead of typical

music and said harsh comments such as go kill yourself and you are worthless, as if they were

reading negative remarks on their social media. Sounds of incoming messages went back and forth

between the dancers with each sound initiating one or the other to move. They reacted by making

audible noises like pounding the table and screaming, contracting like they are in pain, and laying

down to appear hopeless or frustrated. Eventually they closed their laptops and crawled backward

to meet back-to-back in the middle of the stage. They danced together with sad facial expressions

and used movements of trust until the man carried the limp woman on his shoulder and stared into
the audience. Voices emerged again saying how parents dont know what goes on online, you can

make a difference by being nice, life will get better, and you can be the one to end a chain of

bullying if you indulge in that behavior.

The movement supported the title, #HATEHURTS, because the man and woman had

powerful and sad reactions to incoming messages, showing that hateful comments can hurt ones

feelings and self-esteem. Additionally, the woman appeared to have given up when she was

slumped over the mans shoulder; she could have been hurt to the point of going in a deep

depressive state or to the point of committing suicide. Horton technique was not evident within the

choreography. There were some contractions and standing in parallel, but there were more falls,

catches, fluidity, and emotion. The movement was less sharp, less balanced, and less upbeat than

the classroom material, possibly influenced by the subject matter.

The choice of using sounds made by a cell phone and social media captivated my attention

because I hear those noises constantly; so, I was able to connect with the pieces atmosphere. The

phrases heard at the beginning and end of the performance are also, unfortunately, heard and seen

on a daily basis. I felt as if I could validate the statements as being true to reality because I often

nodded my head as I heard shocking, cruel comments. The music throughout the piece was

sorrowful and included the ticking of a clock, perhaps signifying ongoing cyberbullying, a life

coming to an end, or waiting for the negativity to stop.

#HATEHURTS contrasted with the other pieces in the performance because no typical

music was played, the subject was sensitive, and the mood was depressing. I discovered a new

perspective on an everyday event cyberbullying. I have been bullied in middle school but not

cyberbullied, so I was able to relate to the emotions and actions portrayed within the movement

for a different reason. I saw the effects of the hatred from an outside perspective instead of
experiencing the effects internally, and I realized that having a support system can be highly

beneficial. The woman often attempted to fall, and the man always held onto her. I also discovered

by observing the work that cyberbullying is rather hidden and not as visible to the people

surrounding us.