Those who remember my post about the “lyrical waltz” and the fuzzy meaning of the term “lyrical” as applied to dance generally, will be delighted to know that there is a wonderful article by Jennifer Fisher on lyrical dance. The title was enough to confirm for me that it must be a gem: “When Good Adjectives Go Bad: The Case of So-called Lyrical Dance.”
There are a thousand articles like this yet to be written, ones which take the terms we are used to hearing in everyday life in the dance world, and putting some conceptual flesh on them based on research out there among the leotards, sequins and competitions. There is much that is quotable and interesting, but I particularly love her analysis of articles in Dance Spirit magazine, which includes this observation:
Contradictions sometimes arise in these articles that resound with “how-to” advice. “It’s not how high you can kick,” one competition judge and choreographer advises, “it’s [about] telling the story through your face and emoting with your upper body.” But if you watch much dance labeled “lyrical,” you will see that it is also about how high you can kick, because kicks are rarely anything but high as can be. (Fisher, 2014, p. 328)
It’s funny but also a bit depressing that you could say much about the ballet world: for all the stuff about “ballet is more than acrobatics,” it’s hard, much of the time, to see what the “more than” consists of, and to what degree.