Another publication related to Vesna’s Fall: “More than Meets the Ear: An Account of the Shared (Ac)counts of Cage and Stravinsky” written by Kay Festa has been published in TDR (MIT Press). This paper is based on a collective research we did on Stravinsky and Nijinsky when making our dance piece. On the surface it investigates two topics of concern for the modernist dance-music nexus:
(1) The secret connection between Cage and Stravinsky. Despite Cage’s pronounced preference for Schoenberg over Stravinsky, the procedure the latter used to create RoS in 1913 was surprisingly similar to the method of rhythmic structure Cage would develop thirty years later. Both were based on the act of “counting” structures devoid of content, a similarity derived from the two composers’ concern to account for dance.
(2) The not-so-secret repression of dance (choreographers) by music (composers). The standard discourse of modernism, fabricated mostly through the eloquence of composers like Stravinsky or Cage, has tended to silence the decisive role dance/choreography played in its formulation. There is thus a conflict between the composers’ system of counts and their accounts.
But actually the paper wants to be a sort of disguised credo for what we did in Vesna’s Fall.