(Im)Perfect Congruence: On Dancing To Music
by Thomas Brett
There’s a funny and almost disturbing video on YouTube that shows a couple apparently dancing to the angular beats of Autechre. The video is funny and strangely compelling because of its unlikely pairing. On the one hand, the video looks to be from the 1970s or 80s–some kind of European (Greek?) television program featuring a couple demonstrating basic “disco” dance moves. The couple glide in easy unison around the stage, even going into slow-motion at times (1:02), and are eventually joined by a bunch of other dancers near the end of the three-minute clip. The music, on the other hand, is of more recent vintage: specifically, it’s the track “Cfern” from Autechre’s album Confield (2001). So of course, the couple never actually heard Autechre and certainly weren’t dancing to it. Yet somehow the dancing and the music work well together. Who ever thought about assembling such a video? (Oh the weird intelligences YouTube catches in its net . . .)
The YouTube viewer comments include this one: “movements are perfectly congruent to the music, AE themselves couldn’t dance better to their own stuff. Just psychedelic trance disco.”
What we’re laughing at, I think, is the same thing as what keeps us watching. First, there’s the odd contrast between the dated video and the cold, digital sounds. Notice too the moving gaze of the camera (focusing on the woman’s face at 2:45 and the man’s feet at 2:56) that makes us feel like voyeurs, the close-ups and the music working to reveal what feels like the inner lives of the dancers. Next, there’s all those smooth synchronies where footwork glides perfectly into marked beats: it looks like so much fun! Finally, but equally important, are the strange ruptures between the dance moves and the music. The ruptures are those spaces where body and sound don’t quite match up–those points where you wonder “How did they come up with that move to this sound?” And this is precisely what gets you thinking about how strangely dance and music mutually reinforce one another: one a visible trajectory in space that requires a soundtrack to add emotion to its narrative, the other a presence heard but always in need of bodily representation.
Sometimes audio-video remixes allow us to glimpse juxtapositions that we wouldn’t otherwise have had the opportunity to experience. And if we let them, pastiche videos like this one spur us to imagine alternative–and yet unrealized–worlds where the collision of music and body sensibilities make for new ways of dancing free and strange.