Well, Azlan.....hmmm. Quarry....uh. First I'll kind of disqualify myself. My expertise is in clay, a plastic form, not stone. And I'm not drawn to abstract sculpture emotionally, although I may find some of it interesting or decorative. <BR>I am a visual person, and as a dance, I would want to see the dancers. I think we would agree that quality of dance, whatever the form can make or break a performance. Let's assume these dancers are accomplished, as is the sculptor. With that in mind I think the performance would be interesting, but I couldn't comment on if I would be moved enough to talk about it for days. I couldn't say if I would have that subtly changed feeling that I get when I see a really good performance of something. I can't get that from a written description, no matter how good it is.<P>In terms of an idea, I congratulate the vision and creativity of Liss Fain. I don't quite understand the purpose of the internet connection, however, unless it's another "screen venue" for dancers and choreographers to present their work. I also feel that since she apparently is working on a large scale, some of that "visceral impact" that is talked about would be lost if not seen live on location.<P>If we were to just discuss the collaborative idea between dancers/choreographers and sculptors, certain types of "sculpture" lend themselves well to the marriage. Isamu Noguchi is probably the best known of these partnerships for his work with Martha Graham. His pieses designed for her worked beautifully as set and costume, and blended with the dances seamlessly.<P>[This message has been edited by Maggie (edited July 07, 2000).]<p>[This message has been edited by Maggie (edited July 07, 2000).]

maggie, why don't you tell that story about noguchi's sculpture of the graham dancer here.......

Glad to Grace. A former male dancer with the Graham company, now 79, told me this story. Isamu Noguchi, who designed sets and props for the company was also a recognized sculptor of abstract works. He asked the dancer to pose for him for a sculpture. He was careful to create a good line, and arrange his features and fingers etc, in what he hoped were pleasing presentations. When Noguchi was finished, the dancer looked and saw a totally abstract creation. He wondered why he bothered to pose, or why Noguchi wanted him to.