Caught

Over 100 hard, athletic jumps in a little over 5 minutes, an average of about 1 every 3 seconds—though 90% of them are packed into the last 3 minutes of David Parson’s dance piece “Caught.”  That’s probably one reason Nora Fitzgerald, writing for the Washington Post on November 1, 2013, describes the dancer as “a little on edge.”

“One man stands on the stage, in the spotlight, alone and perhaps a little on edge. His dance begins slowly, with single bold movements and a few quirky gestures.

“Suddenly, he takes flight. The audience, thrilled, alternately gasps and cheers as he walks, floats and dances on air. He doesn’t land until the dance ends. Choreographed by David Parsons in 1982, ‘Caught’ was a modern dance sensation so buoyantly accessible that men who don’t like dance much recommended the piece to other men who like dance even less.”

The VIDEO below show about 3 minutes of “Caught,” one of modern dance’s most spectacular, crowd-pleasing pieces.  But videos of “Caught” barely capture the experience.  “I’m proud to say,” Parsons himself has said, “you have to see ‘Caught’ live.’  Seeing things live.  The phrase resonates powerfully as we hope we’re coming close to the end of our pandemic.  We hope.  A little like the dancer, we’ve felt suspended, everything up in the air.

It’s not quite true, though, that the dancer in “Caught” doesn’t land til the dance ends.  Here’s part of Eileen Sondak’s LA Times review, written nearly a quarter century earlier (November 1989), when David Parsons himself was dancing his own creation.

“Sunday night in San Diego, under blinking strobe lights that created a marvelous illusion of flight, Parsons awed the crowd in ‘Caught,’ his most-celebrated solo. The whistles and screams of approval began as soon as the dancer took flight on this exciting airborne romp across the Mandeville Auditorium stage.

“Parsons came down to earth regularly during the course of the dance, but you couldn’t prove it by what you saw on stage. Every time the lights flashed on to capture the nimble dancer in action, he was hurtling through space in gravity-defying, mid-air maneuvers.”

I’d say, in fact, that those moments when we see the dancer firmly set down on earth, breathing hard but standing still, are the most thrilling moments of “Caught,” the ooh’s and aah’s of the audience turning into the most thunderous applause.

  For more on the arts, including dance, go to the ARTS Main Page

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Inside Dance

It may be my favorite piece of dance:  Turning Tides, created and choreographed by Randy Duncan, with music by Sam Harris, Gavin Dillard, and Bruce Roberts.  It’s in two parts, beginning with “Adrift,” a solo dance, and then “The Storm,” danced by the whole company to Harris’ powerful song “Suffer the Innocents.”  I first saw it on my birthday (January 14th) in 1992, performed by Joseph Holmes Chicago Dance Theatre as part of a finale dance concert capping a two-day North Central College conference called “Inside Dance: A Choreographer’s Showcase.”  It was suggested by my friend Don McVicker of the anthropology department, and shepherded by him and by me, as chair of the Visiting Lecturer/Cultural Events Committee.  Below is the flyer I created for the event.  “We need some neat graphic,” said the head of the college’s Print Shop, so I quickly free-handed the figure you see below.  It was neat enough, I guess, though all Becky said was, “Let’s do it in red.”

Below is a 5-minute VIDEO of excerpts from Turning Tides, the first two parts of it from an open rehearsal of The River North Dance Company.  The third part is from a formal concert done by an all-female dance company.  I’m afraid I don’t know its name, but I found it on the YouTube channel of Gina Wrolstad, who might be one of the dancers.  This version, staged by Mari Jo Irbe, was presented at Artifacts of Self, Loyola Chicago’s Annual Dance Concert in 2018. Mari Jo Irbe was in the Joseph Holmes Chicago Dance Theatre and danced in the ensemble the night I saw it the first time more than 25 years earlier.

Linda and I enjoy going to see dance more than going to see just about anything else.  It’s total immersion: a feast for the eyes and ears and your sense of self in time and space.  It’s a perfect hybrid of improvisation and strict form—spontaneous fluidity and the strict disciplines of the dancer’s art.  The creativity of ideas and music and bodies in motion is dazzling.  The ideas behind “Suffer the Innocents” and “Save the Children” breathe hard and live with more passion here than anywhere else l know, except maybe in the world beyond the concert hall where people actually save children and embrace—or suffer—innocents.  Turning Tides can inspire and nourish this suffering, this saving.

I’m thinking, too, of Robert Greenleaf.  His pamphlet The Servant as Leader started the field of Servant Leadership studies, and in it he writes, “The prudent man is he who constantly thinks of  ‘now’ as the moving concept in which past, present moment, and future are one organic unity.  And this requires living by a sort of rhythm that encourages a high level of intuitive insight….”  In “Art, Rhythm, Intuition, and Social Change” I focus on how art can teach us and sensitize us to rhythm and patterns of rhythm that can build in leaders a deeper intuition about the directions we could be going, the opportunities we could be seizing, the places we could be taking a stand.  For me, dance does this more intensely than any other art.

After watching the VIDEO below:

  Go to the Lead Post in a series on Greenleaf’s important Servant Leader pamphlet.
  Go to Cultural Events at North Central College: a Personal History, for links to articles about conferences and speakers, such as Maya Angelou, Dick Gregory, and Eyes on the Prize: Reclaiming Our Civil Rights Heritage.

  Go to the ARTS main page.

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How Good of a Democracy Are We Anyway?

This post presents highlights from The Economist Intelligence Unit’s (EUI) Democracy Index 2020, its 13th annual index which began in 2006 and surveys the health of democracy around world.

The Index classifies countries into four categories: Full Democracies, Flawed Democracies, Hybrid Regimes, and Authoritarian Regimes, and ranks them from #1 (the first country in the Full Democracy category) to #167 (the last country in the Authoritarian category).

Before diving in for more background and detail, I’ll cut to the chase and say the U.S. isn’t at the top of the list when it comes to healthy democracies.  It isn’t even in the Full Democracy category.  It’s the second country in the Flawed Democracy category and comes in at #25 overall.  You can see the whole Index 2020 HERE, including the rankings chart on pages 8 to 13.  By the way, Norway ranks #1 with an overall Democracy Score of 9.81 out of 10.  North Korean, at #167, is dead last with a 1.08 score.  The U.S. score is 7.92.

Hey, I’m just reporting.  And let’s can the “America, Love it of leave it” attitude.  It’s always good to take as objective a look at yourself as possible.  Americans are heavily inclined to think of themselves as the greatest, and this perspective is so strong it’s a doctrine with a name: American Exceptionalism.  And we are exceptional and the greatest in many positive respects, but not all.  Which is why, for example, we incarcerate more people than anyone in the world, why racism—a problem in many countries, of course—remains so stubbornly entrenched here, and why with less than 5% of the world’s population, the U.S. has accounted for more than 20% of global deaths during this pandemic.  No one’s saying they don’t love America, just that we can do better.  Part of doing better is putting that exceptionalism attitude in its place.  When you think you’re pretty close to perfect, that lessens the drive to fix things that need fixing.  Looking seriously at the 2020 Index might be a good form of tough love.

The Economist is a weekly newspaper head-quartered in London and printed in magazine format.  It began in 1843 and styles itself as “a global thought leader but [not] part of the establishment.” It’s audience (in the millions) “is guided by our objectivity and insight on issues as wide-ranging as cryptocurrencies to gay marriage,” it says of itself.  And, indeed, most, if not all, organizations tracking media bias rate The Economist very high in unbiased, factual reporting.  The Economist Intelligence Unit (The EIU), which produces the Democracy Index report, is the research and analysis division of The Economist Group, the sister company to The Economist. Created in 1946, it has over 70 years’ experience helping businesses, financial firms and governments understand how the world is changing and how that creates opportunities to be seized and risks to be managed.

The Democracy Index focuses on five categories: electoral process and pluralism, the functioning of government, political participation, political culture, and civil liberties. Based on its scores on a range of indicators within these categories, each country is then itself classified as one of four types mentioned above: Full, Flawed, Hybrid, or Authoritarian. A large, 18-page Appendix details the definitions, the resources, and the methodology the EIU uses to arrive at its rankings. The main focus of the 2020 report is the impact of the coronavirus pandemic on democracy and freedom around the world, as well as the state of U.S. democracy after a tumultuous year dominated by the pandemic, the Black Lives Matter movement, and a hotly contested presidential election deeply.

Among the report’s highlight findings are that:

  There’s been a shift eastward, towards Asia, in the global balance of power
  U.S. democracy continues to be under pressure from rising polarization and declining social cohesion
  The biggest democracy winner is Taiwan
  Mali and Togo are the biggest losers in a dire year for African democracy
  Western Europe loses two “full democracies” (France and Portugal)
  Democratic backsliding continues under the cover of Covid-19 in Eastern Europe and Latin America
   The Middle East and North Africa retain the lowest democracy index score, while North America (in large part because of Canada) retain the highest score.

On the Covid-19 pandemic, the focus of the 2020 Index, there was deep criticism of its handling and “big downgrades of Index scores for civil liberties and functioning of government.”  One key paragraph was this:  “Was there another way? There was no obvious alternative to the social distancing, quarantining and lockdown policies pursued by governments and, in itself, this did not signal a turn towards authoritarianism in the world’s democracies. However, governments’ approach to the management of the pandemic did reveal a dismissive attitude towards the idea of popular participation and engagement with the single most important issue of the day. Even though they were pressed for time while tackling an urgent public health catastrophe, governments could have treated the public like grown-ups and asked for their consent and involvement in combating the coronavirus epidemic.”

Of the U.S. in particular, though race and the Black Lives Matter movement gained early mention, there was little more devoted directly to these, a disappointing omission in my view. The focus, instead, was on our country’s tremendous polarization.  Has race, a perennial U.S. sore point, exacerbated our polarization, or is it bringing a strange and surprising kind of unity?  Certainly, the rise of white supremacists groups would indicate a further shredding of our social fabric, yet there is significant social backlash against such groups, especially after the January 6th storming of the U.S. Capitol, and more and more people seem to want to face racism, white privilege, and systemic racism in a more serious way than perhaps any other time in U.S. history.  Still, it’s understandable that our spectacular polarization should garner the Index’s most aggressive statements.  For example:  “Despite…positive developments, the US’s overall performance is held back by a number of weaknesses, including extremely low levels of trust in institutions and political parties; deep dysfunction in the functioning of government; increasing threats to freedom of expression; and a degree of societal polarisation that makes consensus on any issue almost impossible to achieve….While pluralism and competing alternatives are essential for a functioning democracy, differences of opinion in the US have hardened into political sectarianism and institutional gridlock. This trend has long compromised the functioning of government, and the US score for this category fell to a new low of 6.79 in 2020.

“More worrying, public trust in the democratic process was dealt a further blow in 2020 by the refusal of the outgoing president to accept the election result. Mr Trump and his allies continued to allege voter fraud long after the election was over, without producing reasonable evidence to substantiate their claims and in the face of court rulings finding against them. Through his unfounded allegations and intemperate language, Mr Trump called into question the reliability of the democratic process and further undermined public faith in democracy.”

  A link to the Democracy Index 2019 is in my article “Voter Suppression 21st Century Style.”

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