Aesthetics of Aerial Dance

An Academic and Personal Reflection of Aerial Dance Through My Own Creative and Artistic Practice

Introduction

Aerial dance has always been an art form that has captivated me like no other art form has before, due to the way that aerialists and circus artists perform on their apparatus’ and the intricate moves that they display to their audience all while making it look easy. Sonya Smith (2013) in Aesthetics of Aerial Dance and Aerial Circus says that “In performance, the use of an apparatus to make it appear that actors or dancers can fly has long been used to heighten dramatic impact” (Smith 2013, 4). The best way that I can describe aerial dance aesthetics is that it showcases a combination of both fluidness and athleticism through graceful movement which tests what we know of gravity.

As I reflect on the aesthetics of aerial dance, I can recall moments in my personal practice where I would have to have an awareness of how I was performing; how did my lines look? Were my toes pointed? Were my legs straight? Was my extension good? All of these contribute to having well-rounded aesthetics in aerial dance; when I think of aesthetics in aerial dance, I think of gravity-defying movement, fluidness, and athleticism. ‘Aesthetics of Aerial Dance’ is a critical aspect of aerial dance that I have learned throughout my two years of experience in the art form and it is something that I am interested in continuing to explore to further improve my practice both as a dancer and outside of dance.

Gravity Defying Movement

Aerial dance is a dance practice of dancing with both the use of the floor and being in the air on an apparatus of some sort, whether that be vertical silks, a hoop, a trapeze, or more. Kate Lawrence (2010) in Hanging from Knowledge: Vertical Dance as Spatial Fieldwork states that aerial dance is a “dance practice that takes place in mid-air” (Lawrence 2010, 46). This act of dancing in the air and playing with the laws of gravity showcases a sensational effect that promotes the aerial dance aesthetic.

If I were to view aerial dance aesthetics from an outside perspective as someone who has never done aerial dance before, I would be immediately drawn to being suspended in the air with no other support for the performer other than their apparatus. Something that I have learned throughout my training in aerial dance is being able to acknowledge the space in which you are dancing in, which in the case of aerial dance is the air; it is important to be able to understand what you can do in your performance space while working with your apparatus. Aerialists often perform dance sequences and a variety of sets of unique tricks while suspended in the air on their apparatus, where many of these tricks tend to stay traditional to common dance moves that would be seen in other dance genres such as ballet or contemporary dance. Aerial dance also showcases many forms of artistic improvised and interpretive movement while in the air, which contributes to the overall aesthetic of aerial dance as a whole.

Grace and Fluidity

The act of aerial dance comes with having to showcase movements with a sense of fluidity and gracefulness. Circling back to the aspect of aerial dance drawing from traditional dance moves from other genres, I resonate with Jayne Bernasconi and Nancy Smith (2008) in Aerial Dance where they explain that aerial dance is “an emphasis on transitional movement and a corresponding lack of emphasis on any specific trick” (Bernasconi & Smith 2008, 23).

As I reflect on dancing with fluidness and grace in my own aerial dance practice to aerial dance aesthetics, I think back to a time when I received positive feedback after performing my sequence; the response to my performance was that it was lovely to watch because I was comfortable in the space that I was dancing in, that if I am calm performing in the air, then my audience will be calm watching me. Throughout my aerial training, I have had to learn the art of being graceful when dancing in the air. I love the term “effortless” that Bernasconi and Smith use when referring to the aesthetics of aerial dance (Bernasconi & Smith 2008, 24). Aerial comes with pain, so pushing through that pain and embracing the elegance that aerial portrays is a skill I have had to develop.

Physicality of Aerial Dance

Another aspect that has also drawn me to aerial dance is the athleticism that aerialists portray through their performances and the overall physicality that performers must have in aerial dance. Sonya Smith (2013) states that aerial demonstrates “exhibitions of virtuosic strength and flexibility” (Smith 2013, 4). Peta Tait (2005) in Circus Bodies: Cultural Identity in Aerial Performance describes aerial performance as “physical art created with the body” (Tait 2005, 1). Both of these sources, each explained in their own definitions by terms of flexibility, physical strength, and the use of the human body, help to further contribute to the physical aesthetics of aerial dance.

It is not unknown to many that aerial dance requires physical fitness in muscular upper bodies to perform difficult movements and tricks both on the floor and in the air. This portrayal of a muscular figure as an aerial performer “delivers a unique aesthetic that blends athleticism and artistic expression” (Tait 2005, 2). My physicality throughout my aerial training has most definitely been a journey of its own, having to train many muscle groups that I had never previously used before. I believe that the physicality and athleticism of aerial dance promote a great spectacle to aerial dance aesthetics.

Conclusions

Aesthetics in aerial dance is a broad term, but after reflecting on my own artistic practice in aerial dance, I have come to see aerial dance aesthetics as the act of gravity-defying movement being suspended in the air on an apparatus, as well as movement on the floor, the portraying of movement in the air gracefully and fluidly, and the overall physical aspects that come with being an aerial dancer.

References

Smith, S. (2013) ‘Aesthetics of Aerial Dance and Aerial Circus,’ Journal of Emerging Dance Scholarship, 1-26, University of Colorado: Boulder

Lawrence, K. (2010) ‘Hanging from Knowledge: Vertical Dance as Spatial Fieldwork,’ Performance Research, 15(4), 49-58, DOI: 10.1080/13528165.2010.539879

Bernasconi, J. C., & Smith, N. E. (2008) Aerial Dance, Champaign: Human Kinetics

Tait, P. (2005) Circus Bodies: Cultural Identity in Aerial Performance, New York: Routledge