Should Period Piece Choreography Be Banished

 A work that is strongly reminiscent of an earlier historical period is a basic definition of period piece. Even aside from works that are strictly created around a time in history, choreographic pieces that challenged the way audiences perceive white and black bodies intertwined in beauty and grace on stage is not a new concept. My favorite example of this is the work of art that is Agon. Diana Adams and Arthur Mitchell did the unthinkable at the expanded mind of George Balanchine. Presenting a white woman on stage with a black man; making intimate discoveries through proximity and innovative choreography, the team of three made a statement. Has dance evolved from December 1, 1957?

Period pieces can take the form of an entire work, involving everything from costuming to re-telling the account in it's entirety or smaller sections within a large work that presents imagery through costume pieces giving indications of the times or dancers who resemble the physical characteristics of a certain people or a single person. Should that be a thing? Should choreographers have the right to cast and create based on their vision, to the extent of which they decide to build their work of art?

Dance is an art of vulnerability and pliability, in its expressive nature demanding truthfulness. Connecting to what you are wanting to express is truthful. Portraying characters is vulnerability and moving through process with different roles is pliability. In mostly every work there is a character being portrayed. Tapping into that takes a same level of commitment. That is part of dance— its profession.

This understanding also follows pieces and choreography that stands to tell the story of or bring representation of a certain people, person, place or thing. So far I have danced the role of a mother or mother figure throughout my career. From undergrad to professional work this role has followed me. Apparently I carry a motherly feel or mature essence. This is the same idea with period pieces and specific concepts. Choreographers reserve the right to choose who and what they think fits their work. The process should be truthful above all. If that includes a certain period in history or the life of a person or people, those details are needed for authenticity. 

While there is room for diversity in casting, the same is true for liberty in casting. These decisions should strictly be to honor and serve the work.