The dancers who said ‘no’ to postmodernism

It all started in 1971, when a group of physically and artistically talented youngsters decided to create a dance company and call it Pilobolus, after a fungus. Not unlike this barnyard micro-organism, which ‘propels its spores with extraordinary speed and accuracy’, the company was soon propelled to international success. But it was not an easy time to make ‘new dance’ in the US. On the one hand, living monuments such as Martha Graham, Merce Cunningham and Paul Taylor were still in full creative mode and dominated modern dance. On the other hand, the innovators of postmodern dance had given new meanings and directions to the art. Pilobolus took something from both. Theirs was the ‘other dance’, which explored the almost infinite possibilities offered by the human body and at times pushed it to the limits of its abilities. This ‘other dance’ drew upon an innovative combination of circus acrobatics, contortionism, mime, gymnastics and diverse choreographic idioms. Pilobolus’ creations stood out for their visual impact, and for the dramatic tension it produced, even when it was just a matter of sheer fun. It thus reproposed the notion of ‘spectacle’ at a time when the postmodernists had just said ‘no to spectacle’ — as stated in Yvonne Rainer’s famous ‘no’ manifesto.

I am pleased to say that spectacle is still at the core of its creations, and so are many of its original characteristics. Shadowland is a 90-minute narrative piece, in which the ancient art of shadow play is revisited through Pilobolus’ unique aesthetic. It was in 2007 that the company first engaged publicly with playing with shadows, to entertain audiences watching the 79th Academy Awards. One year later, its take on this ancient art was seen by millions, thanks to Sesame Street.