When does a dancer make us cry?

Surely everyone noticed that there are dancers who perform technically at a high level, but whose performance does not touch one’s emotions. It may be that the dancer impresses the audience with spectacular interludes, but there is hardly any communication between the artist and the audience.

But there are also dancers who you can clearly feel that have the attention of the entire audience when they simply step on the stage. They don’t have to do anything to catch their audience’s attention. Sometimes they “just” stand there and look into the audience and everyone is with them. These are the dancers who can make us cry.

The magic happens between the movement and the audience

More specifically, the magic doesn’t happen between the dancer and the audience, but between the movement and the audience. The dancer’s consciousness is part of the intermediate space where the magic happens.

Put the ego aside

The dancer is a medium, that mediates between the movement and the audience. The dancer is an observer of what is happening. The performer’s task is to be aware of the audience’s presents and to give the flow of movement its energy and body to express itself. But the dancer doesn’t make any decisions.

The Listening

The more consciously the dancer perceives his own flow of movement, the more consciously the audience perceives it too. The dancer can practice paying great attention to small movements. The performer can make the movements very small while the audience’s attention is high, although the dancer does not seem to be doing anything on stage. A good dancer makes the audience breathe with him.

A good performer is a medium, a channel. He has the ability to completely push his ego aside and place his consciousness in the empty space between his audience and the expression. The performing person is not on stage. He is transparent and his task is to surrender completely to the flow of expression and to give it his body and his breath.

Communicate your movements towards something.

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