Jezzy - June 07, - Report this comment. WOW I loved this doll. ADA - August 27, - Report this comment. I think mine is still in the basement at my parents!! It was one of my favourites!!! Erin T. Aardvark - January 10, - Report this comment. I never had this doll when I was younger, but her commercial had been burned in my mind since Unfortunately, the tape the commercial was on bit the dust in , and I had been looking for the darn thing for a long time.
I finally managed to find the darn commercial, and the doll on Ebay! Erica J Spector - March 08, - Report this comment. Sabrina B - March 19, - Report this comment. My sister and I both had one of these Wish one of us still had them I think mine stopped putting her leg up at one point Jeanie - April 16, - Report this comment. Val - May 31, - Report this comment. Jan - November 19, - Report this comment. My daughter went on and on and on about this, I bought her one and she loved it - bring back the Dream Dancer!!!
Bethany - February 26, - Report this comment. For me, dance is a global phenomenon, the most sacred and purest art, only matched perhaps by music, poetry, and fine art. The rest is derivative, like the branches of a large spreading tree grown from just one seed. Dance is pure inspiration born in the center of the Universe, expressible through numerous artistic forms and manifestations. Dance is visual music and non-corporeal emotion on a material level; it is spiritual energy creating all existence.
This is how I have seen it since my childhood, in the form of feelings, and I will try to explain all this in words. Why did the title refer to dancing and not singing or music? Bejart is a French choreographer, and the greatest personality in the modern ballet. He is an innovator, a philosopher, and an acknowledged genius in the field of dance.
Thus, Bejart grew up in an environment where human thought was valued, and from childhood he was surrounded by books and scientific works. Bejart declared dance the art of the 20th Century.
Dance was turned into a second-rate, decorative, and entertaining art. I mean dance in the West, of course. It is no mere coincidence that dance found itself in such a position in the West, because it was not just dance alone that was turned into a travesty here. I have taken dance seriously because I believe dance is a religious phenomenon.
It is also a social phenomenon, but first of all, dance is religious. When dance is considered as a rite, both sacred and human, it fulfills its function. But if turned into a form of amusement, it stops existing, leaving only fireworks, or a parade of uniform-clad girls, or electric pinball games — but not dance in its essence. Speaking about this in the 80s is like banging into an open door, but in the 50s that door was firmly locked.
Away from religion, dance acquired good breeding in the worst meaning of the word. But where has the ritual gone? The need to receive the Sacrament in both dimensions: vertical and horizontal, sacred and social? The appearance of Diaghilev with his Russian ballets in the beginning of the century was revolutionary. But this revolution was aesthetic. Meanwhile, the dance needed ethical revolution, but even aesthetic revolution was a big step forward!
Great musicians, such as Stravinsky, finally began composing music for dancing. Great artists — Picasso, Derain, Braque — worked on stage designs and costumes. The world also saw incredible stage designer Leon Bakst. Yearning for unity, youngsters search for new rituals in rock, pop music, or disco — and they are right.
Each era has to create its own rituals.
The rites of our parents have necrotized and lost meaning. Novelty in dance is not an aesthetic problem anymore. We feel a much deeper need to address social matters and our perception of the world. Since my childhood, dance has been a sort of religion for me, if not purely religion. Any art in essence performs the role of a cult, the role of a spiritual advisor, and other roles that bring it close to being a religion, to varying degrees for each art.
But dance has a special role in this case. Its initial role was spiritual and sacred and not simply decorative, as Maurice Bejart rightly stated. When people watch Michael Jackson in awe, a miracle happens. They experience a moment when dance offers them something exciting and incomparable. To me, the legions of Michael Jackson impersonators imitating his dance moves are pure profanation. His bodily presence and emotional expression on stage cannot be copied. He is recognizable by the tiniest nuance, not to mention his one-of-a-kind energy. Their dancing always looks more interesting, alive, and skillful than an attempt to precisely replicate his movements, which is practically impossible in dancing.
Jackson cannot be repeated, copied, or imitated — just like any famous dancer cannot be duplicated. So what makes Michael unique?
Why are there ongoing disputes, for example, that his dancing contains so many sexual moves yet they never make him look vulgar — a vulgarity that can be seen in so many other performers? Why are his contributions to the art of dance considered so invaluable that this pop star can be placed alongside the great masters of ballet or folk dancing?
First of all, I would say that the body and motor functions of every dancer are unique. These minute details and particulars make the performing manner of each person his or her own. Some demonstrate less individuality, while others emit it from their first steps across the stage. Science has invented cloning, but not even a clone can be a perfect copy of the original, just like twins are not identical people.
So there is no way an existing person could become a clone of another person. Differences would arise at some stage, even if the impersonator were spiritually close to the original performer. Perfectly copying individual peculiarities within a dance to create the illusion of a match is a utopian venture. Here I shall stop talking about uniqueness within nature and turn to my main topic, which I find more interesting: artistic uniqueness. Let me return to the beginning of the conversation and say that, like any truly brilliant dancer, Michael stands out for his spiritual essence and spiritual approach to dancing.
His dance reflects the very religious component mentioned earlier — not in the sense of expressing any religious doctrine or belief, but in the sense of his spiritual and emotional approach. First, Michael is not just a performer. He is the creator of his dance. Even when his dance is carefully choreographed, he remains the creator: his dance comes from within, not from other people, regardless of who he collaborated with during preparation. Lots of choreographers and dancers participated in his projects, but the dance team and Michael are altogether different, although his dancers are always professional and excellent.
Still, he invariably stands out, through both his manner of dancing and his inner feeling of the dance. He dances in the flow of free creation. It should be noted that even the moves he performs on stage over and over again are not mechanically repeated like a stuck record. No, he can continue any of his dances by free improvisation at any moment. And it never looks out of sync with his personal style; instead, it opens new facets of his fathomless inner creator.
This is what no impersonator can do. Only the creator of the dance can update and renew his dance naturally and improvise freely, and still be himself. No one else can plunge into his sacrament. This is his personal domain, just like every person has his or her own body and his or her own place on Earth. Michael Jackson stands out among all stage performers of his generation and those that followed.
It is often said that many pop entertainers draw on Michael because he created a standard. Still, many seem to draw on the wrong things. Michael was notable for his absolute belief in what he was doing. He always had a sincere and sparkling artistry, while contemporary pop performers mostly look like beautifully designed clockwork dolls and not charismatic entertainers.
There is nothing that can shock or surprise us anymore — all revolutions are past. That is the overall feeling. A product and not a creator, even a small one. It is strange that the industry keeps dictating this kind of taste and selecting this kind of material for its star factory. But after all, a genius is only a genius if it is rare. The second, and perhaps the more interesting factor, is that fundamentally, Michael Jackson is not a pop figure. I would even say this was his tragedy, of which he was not guilty, of course.
The Dream Dancer | Leslie Hachtel
The pop culture framework, on the one hand, allowed him to break all possible sales records and reach out to millions of people with simple and inspiring ideas. The image of a pop singer prevented some people from taking him seriously. The blame lies with the narrow-mindedness of society. His figure had too many contradictions for people to perceive him adequately. He combined traits of antipodal conventional types ingrained in popular mythology, and this eventually brought harsh trials and a tragic end upon him.
When Michael Jackson hit the stage, he danced in ecstasy. All the best dancers and musicians enter a peculiar state of mind when they create. Art in its highest form is impossible without the ability to work with the subconscious, and without using altered states of awareness and intuition. The first professional dancer on Earth was a shaman and a priest. He was the pioneer of many other arts as well. The dance was born of communication between a human being and the supreme forces and spirits of our ancestors. Rhythmic beats of tambourines or drums helped the early shaman fall into a trance, and helped co-participants of the ritual immerse into the same trance to some degree.
The music was built on a clear rhythmic base because it kept the listeners enchanted. The same can be noted in the classic Indian temple dance, where the behavior of the dancer is calmer compared to that of the shaman and the moves are thoroughly learned and precisely executed, but the rhythmic base and meditative nature of the dance remain the same.
It is important to note that in Indian mythology, the gods themselves were dancers. Therefore, dance had a highly spiritual role. In Christian Europe, the situation was different. The Christian design of holidays and rituals has historical roots in paganism and ancient times — symbols, attributes, and traditions were simply interpreted and presented in a new way. This was how the new world searched for compromise with the old world. Still, Christian culture rejected dance and excluded it from the church, designating it as a kind of fleshy decorative art — the kind Bejart mentioned in his book.
In those times, with dance known to have African and Indian cultural influences, accepting dance into the church was out of the question. Dance had a certain spiritual influence, but it was confined to a secular framework. As I said at the beginning, I see dance and music as sparks from the divine energy that rules the universe. If the heartbeat is arrhythmic, it is usually a sign of a serious disease.
Musical rhythm helps us feel the harmony of the universe and feel better. Various rhythms create different moods, but each rhythm reflects our nature. The quintessential manifestations of the rhythm in biological life of humans are sex and pregnancy. They have the same basic elements: a lively rhythm, an audience in a frenzy, and once again, the main character at the center is an ecstatic dancer.
Michael Jackson added one more important component: a spiritual message.
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The ecstasy of his performance is most striking during songs such as Man in the Mirror , where the goal is to encourage people to discover their own inner power for positive change. Such absolute belief in the power of art to change consciousness, and such complete devotion to the execution of his art can perform miracles with thousands of people. This is what sets Michael apart from other dancing entertainers.
For example, his song Will You Be There is a prayer, accompanied by a gospel choir. A gospel choir always moves during performances, but Michael went even further in his show and added a corps de ballet and a winged angel coming down to the stage from above. This is a church mystery translated into the language of spectacle, the language of the stage. Unlike Man in the Mirror, where deep emotion is demonstrated by a frenzied splash of energy, here we see an awed and tearful address to God — a pure religious ecstasy. His art was secular, religious, and social at the same time.
The only thing I am sure of is that his talents had an ancient nature that I might even call the gift of a shaman. Or call it the gift of a magician, if you prefer. Michael had all these talents not by chance. He inherited these features from the African culture, and there was American Indian blood in him also. The blood of African Americans and American Indians bore the same ancient roots: rhythm and spirituality of the dance were central to the culture of both.
A hundred years ago, any American Indian could be called a mystic and a healer because it was an integral part of their everyday and spiritual life. Michael was a man of enormous spiritual potential, which he used to the fullest extent possible. Many of his own stories about himself as well as observations by people who knew him say as much. The energy pouring out of him and shining in his eyes is a clear sign of a man possessing huge spiritual power.
It left a lasting impression on people and made them feel like they were looking at an angel who fell on Earth; although in reality he was a human being of flesh and blood with many conflicting aspects to his personality. No doubt his numerous humanitarian activities and extensive altruism solidified his reputation as a saint, but it was his amazing energy that made him appear an otherworldly miracle to people. Some are still surprised that a mere pop singer has been declared the greatest entertainer of our time. I can say that he, like no one else, is worthy of this title, for the true role of an entertainer is to pass divine ecstasy to people, to change their state of mind, to astound them with his own example, and to touch many hearts by finding dramatic artistic forms for achieving all of the above.
A true entertainer combines natural artistry, outstanding personality, passion, creativity, and devotion. No performer was able to embody all this to the same degree as Michael Jackson, with his distinctive originality. We could argue about the artistic merit of his songs or technique, but no such critique would reflect the importance of his personality on the history of art: his individuality, the perfected and memorable image he created, and his creative and human charisma manifested in the exceptional love of his numerous fans.
Even scandals and mass media frenzy did not turn millions of people away from this miracle. Rather, this man totally gave himself up to the stage and the people, working until he could work no more, and distributing his energy. His devotion gave rise to the same devotion in return. We must realize that advertising and promotion play no role in this. Advertising only works until you remain one on one with the audience.
How long would you last if you were not capable of anything? Hence the endless line of short-lived bands and stars who shine only on the paper of long-gone posters. Michael had the skill to draw the attention of crowds, and he had this skill even in his early childhood when there was no advertising. According to legend, there is a spirit, the Duende, which descends upon the performer and enters his or her body while singing or dancing. Whether we believe in the existence of the real Duende or not, the meaning of the legend is instructive. A certain force enters the dancer from the outside, just as shaman rituals often stipulated penetration of an evil spirit able to bring illnesses and cause damage to a person.
The aim of the shaman was to come to terms with the spirit, pacify it, fight and overcome its evil effects, and ultimately achieve catharsis and spiritual renewal. The heritage of those beliefs on stage stipulates that the power that suddenly enters flamenco dancers can torture them, make them suffer or cry, but they still fight against it.
The dancer is not a passive figure in relation to the wild spirit. Instead, the dancer interacts with it, pouring out all accumulated emotions and achieving catharsis, opening himself or herself. In demonstration of heart-rending rage, the dancer pours out the pain that makes him suffer, fights it, and his final goal is positive, although the road towards it might be frightening and even cruel at times.
Of course, it was just a stage version, but it illustrates the spirituality of ancient traditional forms of dance. Katherine Dunham consulted anthropologic research when creating these stage works. The passion and frenzy of ritual dance illustrate the origin of expressive manifestations of emotion common for modern black culture.
Once all this was a part of a mystical worldview. Dance was not a means to demonstrate a beautiful body, skills, or sexuality; it was communication with the world of mysterious spirits who directly participated in the lives of humans. Their emotional manifestations in dance were so wild because people danced not just for themselves but to communicate with the beyond. It is not always understandable for a modern person, but it is an organic part of the spiritual essence of dance as part of folklore.
I saw Black or White for the first time in its full version in the early s, when the video had just been released. I was very young and far from mass culture.
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However, the second half of Black or White , commonly called the panther dance, shocked me. It is an absolutely unique case in contemporary pop culture of true, passionate, and spiritual dance; it cannot be seen anywhere else in this sphere. In most instances all we see is gymnastics or vulgar hip swaying, while the elegant tap of dancers like Fred Astaire has become a thing of the past. Real, pure ecstasy is virtually absent from the pop stage. In just a few minutes this man, the only person in the pop sphere who possessed this primordial sincerity, did something vitally important that had not been done by any stage performer with international fame.
He placed ecstatic improvisation in the spotlight, featuring it in the video that apparently had no relation to it and was built on positive themes such as boyish jokes and uniting nations. The contrast was striking and even wild, incomprehensible for the common viewer, causing wide controversy and even hostility. Perhaps such a contrast and the contradictory design of the short film were created by Michael intuitively. Perhaps he hoped that his stream of consciousness would once again shock the public.
In fact, many rock musicians routinely smashed their guitars or even set them on fire at the end of their concerts. Michael simply produced a mix of his usual repertoire, starting with elements of classic tap dance and ending with his famous waves and crotch grabs. Remove the mood from the video and you are left with a set of rather silly body movements, half of which focus your attention on the crotch area.
Many people still see it that way. They are more attracted to the fact that Michael overturns a trash bin and zips up the fly. The content is different. I think he loved teasing the public I would love to, certainly, if I were in his place but all this is more neutral than people think. See you next year on my Broome-time visit! It is really special and I am wearing it today. I am thrilled Bev — Perth Your customer service has been impeccable. Steve definitely chose the right jewellers. Thank you for all your help and communication.
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