I didn't think that 'Steptext' and 'Still Life at the Penguin Cafe' were choreographed by the same person, but I'm bemused by the funny arm gestures that seem to crop up in both. (Rapid, jerky movements of the forearm, alternately forming right-angles and parallels. Looks a bit like the dancers are challenging an invisible opponent to fisticuffs....)

What do these movements signify, and are they part of an established vocabulary that is used elsewhere?

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Interesting question. I haven't seen "Still Life" for years and don't especially remember the arms (and I think there's more than one ballet called "Steptext," so I don't know which one you mean) but my guess is that they don't "mean" anything -- not boxing But perhaps they fit in with the theme or mood of the piece? Using nonstandard (nonclassical) arm movements has been going on for awhile.

Sorry not to be able to be more specific. I hope those who've seen the ballets have comments.

In general, I'd say that there are choreographers, like Nijinska, Ashton and Balanchine, who use arm movements borrowed from modern dance, social dance, or cigarette posters -- but make them look classical. And there are others who never get past the cigarette poster.

I'm afraid, like Alexandra, I only have partial knowledge - but it's the Bintley work I haven't seen; I'm assuming you mean William Forsythe's Steptext, which I know.

The arm movements used in the Forsythe are from outside of an established canon. Steptext is an early work, but at this point, a lot of his movements are now derived from improvisation. I may be misremembering, but I do recall reading that the arm movements in some of his dances occasionally had very surprising origins (ie "Make the letters of the alphabet with your arms") but as I recall, reading the origins of the movement after seeing the dances didn't change the works at all for me. It wasn't necessary information.

I think you've encountered yet another example of the contemporary exhortation, "Let's all be different, all the same way!"

i am reasonably familiar with 'penguin cafe' but not with 'steptext'. i would have to put on the video, though, to recall what you are talking about - probably it will be in the back of my mind all day, and this afternoon on a bus, or tonight in a class, i will all of a sudden SEE, like mental video, the exact segment which shows this up, the best!!! for now, all i can suggest is that, inasmuch as penguin cafe is based on animal movements, to depict or at least suggest animals, maybe that is the origin of the type of arm movement...certainly, as has been suggested above, this is no set ballet position in any syllabus!!!;)

Interesting you say that, Leigh. While I have to admit I really don't 'get' Forsythe's Steptext at all, I thoroughly enjoyed a piece that was choreographed for a TV show over here in the UK - based on forming the letters of the greek alphabet. I think there's a brief clip of it on

Dancers Body Website ('Bodyscript'?)

The motive (or motif?) for the piece was an inscription around an ancient vase.

I must say I didn't know there was more than one 'Steptext'! I wonder why. Maybe someone saw the first one and thought "****! I can do better than that!" Should've called it 'Steptypo' instead. ;)

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