Technology has been a part of enriching and presenting western dance since, well, I will not be so bold as to put a place and/or date on the beginning of the relationship between humanity's ingenuity and humanity's expression through movement in the west. A compelling early indicator that technology and dance were getting along is found in the work of Loie Fuller during the late 1800's and early 1900's. Loie Fuller is considered a pioneer of modern dance as well as theatrical lighting techniques and married both of these in her choreography. This film of Danse Serpentine (seen here) represents with hand coloring an impression of the interaction between Fuller's colored lights and her dancing.
Though the movement stands beautifully by itself without the influence of color, the lights must have transformed this piece, adding another element and layer to the dancing.
Choreographer Merce Cunnigham is a more recent pioneer in weaving technology and dance together, also in such a way to enrich both fields. Beginning in 1991, Merce Cunningham choreographed all of the pieces for his company (Merce Cunningham Dance Company) with the use of a computer program he inspired called DanceForms. DanceForms allows you to use virtual representations of dancers to plot out choreography on individual bodies or groups of people.
At one point Cunningham used this to randomly manipulate parts of a virtual body, creating different positions; he then would give these positions to his dancers and ask them to navigate from one position to the next.
In Synchronous Objects for One Flat Thing, choreographer William Forsythe takes collaboration between computers and dance to the next level, allowing for interaction on part of the viewer. In fact, through this ensemble piece's website, you can right now where you sit take part in creating a unique experience of the dance for yourself. The site gives you different options for viewing position (front view, top view, close up), graphic overlays, score, and you can even watch the piece without the dancers (instead their movements are represented by streaks of color).
Co-founder of PearsonWidrig Dance Theater, Patrik Widrig lists here many ways that his mentor Alwin Nikolais (1910-1993) used technology in his creative expression. This list includes the creation of soundscores (some using one of the first moog synthesizers) and use of slides during a dance, both of which are seen in Nikolais' Liturgies below (for added experience, please listen to Patrik in the audio file while simultaneously viewing Liturgies in the video below).
Many modern choreographers have followed suit in their use of technology to create a desired environment onstage, including Widrig who favors video as a helpful tool.
While technology has indeed far expanded the horizons of dance, there is a sense among choreographers that it is important to remember its role as a tool. Widrig "is not interested in technology for technology's sake," but rather uses it only when it is organic to the wholistic vision of a piece.
Dancer and choreographer Shannon Dooling echoes this as well, stressing that one needs to "listen to the piece" in order to determine if technology is right for expression. Dooling is now working on a piece which employs an overhead projector to introduce series of written letters behind her choreographed movement. This process has necessitated many crucial artistic decisions about when, where, and how technology should be involved in order to facilitate the desired experience for the audience.
This has been a difficult journey at times, but Dooling concludes that it is worth it for the sake of the piece.
