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Bryttni Pugh

Tucker

Modern 2B

18 April 2016

Spring Dance Concert: One Hundred Random Specific Points

The literal and physical interpretations within Sybil Huskeys One Hundred Random

Specific Points captured my attention due to its distinctive movement style. A short clip of an

artist, Sol LeWitt, creating a wall drawing with numerous lines was shown in silence. Although

the video was sped up and fast paced, a couple of dancers slowly emerged from each corner at

different times. Forwards and backwards, they walked along a diagonal strip of white light with a

steady step and tap until they were all spaced evenly across the stage. Once the dancers stopped

at a point on stage, they curved one arm laterally. The first part of an a cappella score titled Partita

broke the intense silence and initiated sharp and quick movement. Multiple sequences were

translated physically from the literal instructions of the lyrics, and the performers walked off the

stage in the same manner they walked on when the music ended.

The costumes were black and gray, like the artists graphite and ink, and had black lines

on the tops. The use of a few strands of black cloth as props added to the main concept of the piece,

and the performers danced with them, bringing the wall drawing alive. One dancer, for example,

executed a penche on one of the 3D lines as if moving through the space the lines have created or

as if creating an additional line to the artwork.

Similar to the Horton technique, the movement was quite sharp and linear. The sharpness

could be seen in the middle of the piece as the voices within the song overlapped. Not all dancers

were moving to the same sequence, but the quality was similar. One could perhaps compare it to
the precise motion in the percussive stroke study or the contraction series. Horton connects both

ends of the body through fortifications, preludes, and movements such as laterals, contractions,

and flat backs. The head and tail connection sculpts the body into various lines horizontal,

vertical, diagonal, elongated, etc. Huskeys choreography demonstrated linear elements with

pointing, moving along lines instead of in a circle, and moving the appendicular skeleton in

specific directions that correlated with the song. These movements support the title of the piece,

placing several random points onto the stage with each gesticulation; the points were specific to

each phrase said, including the detail of the pattern is movement and through the middle.

The song was made purely with voices and was not one that I was expecting. The lyrics

were written instructions inspired by LeWitt, and, often, chaotic ahs were sung in unison. The

musical choice was not pleasant in my experience, but I became rather attentive. I wanted to look

closely at each movement because the voices were intense, loud, and irksome. The piece evoked

untypical emotions unlike the others; I was not happy, sad, or excited, but anxious, tense, and

hurried. The moments of silence at the beginning and end made for an intimate atmosphere because

the audiences eyes automatically fixated on the performers instead of wandering whilst listening

to the music or watching the lighting design.

The program notes were as straightforward as the choreography, stating that the

interpretations were inspired by LeWitts artwork. Perhaps they helped me better understand that

all of the art involved within One Hundred Random Specific Points had a structured relationship.

They noted that the dancers interpreted the textual and musical images, not only Huskey, the

facilitator and director. The sequences I looked upon were various interpretations of simple

phrases, and that makes me realize that every person holds unique thoughts and perceptions that

are still widely understood. I discovered that choreography does not always have to have a hidden
meaning or story; series of movements and pedestrian movement can be literal and hold just as

much beauty and power.

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