3, 2, 1, go.
Beyoncé ‘borrows’ moves from the Belgian choreographer Anne Teresa De Keersmaeker. She duplicates De Keersmaeker’s Rosas Danst Rosas (1983) in her 2011 clip Countdown. It isn’t plagiarism; it’s homage, it’s a tribute, darling. Besides, what’s original anyway?
Revamped. Resampled. Reconfigured. Influenced by. What’s mine is yours. Following in the footsteps of the dance pioneers. Patti Smith rolls her head back, looks direct to camera: ‘anything is possible.’ History, it’s in my veins. Who’s following whom? Who founded what? Origin or original? Hey, what does it matter anyway?
DADA gave birth to the Situationist International gave birth to punk. No, Valeska Gert gave birth to punk. She did, didn’t she? She who danced “traffic jams, car accidents, slow movie cuts, boxers, babies, orgasms, and most radically, nothing. . . . [She who] managed to put conceptual brackets around “nothing” some thirty years before John Cage would compose his “groundbreaking” silent piece, “4’33.”” She was proto punk, born in 1892.
Modern dance is constantly evolving, absorbing what came before it, moulding what is present and pushing towards what is to come. An exploration of the self, of humanity itself, perhaps its only link is that it feels essential to the dancers, choreographers, and the audience, to the makers and the watchers.