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TheMoor’sPavane
This Cuesheet is designed to help you enjoy the Limón Dance Company performance for young people.
The dance shoe marks topics for discussion or activities you may want to do with other students, friends, or family.
The Limón Dance Company is a group of modern dancers that performs the works of José Limón. He was an important choreographer—a creator of dances—who lived from 1908 to 1972.
COLOR PHOTOS BY ROSALIE O’CONNOR
José Limón’s avane (pronounced puh-VAHN) is a French word for a slow, stately court dance that noble people and royalty used to perform.
P “I try to compose works that are involved with man’s basic
The Moor’s Pavane is based on an old Italian legend--the same story Shakespeare used for his tragedy, Othello. Othello is a Moor—a man from the North African country of Morocco. The play is a tragedy because Othello’s flaws cause his downfall, and there is no happy ending.
tragedy and the grandeur of his spirit.”
The Story of Othello Othello is an accomplished military man married to the beautiful Desdemona, whom he loves deeply. Iago (ee-AH-go), a lower-ranked officer, is jealous of Othello’s success and his wife, and plots to destroy him. He whispers rumors to Othello, accusing Desdemona of having an affair. Othello becomes suspicious. Iago’s wife, Emilia, is Desdemona’s maid. She finds Desdemona’s handkerchief—one that Othello gave her as a token of his love. The missing handkerchief is used as part of Iago's story to Othello. In a fit of rage and jealousy, Othello kills his innocent wife.
–José Limón
Othello and Desdemona
When you shall these unlucky deeds relate, Speak of me as I am; nothing extenuate, Nor set down aught in malice: then, must you speak Of one that lov'd not wisely but too well; Of one not easily jealous, but, being wrought, Perplex'd in the extreme; of one whose hand, ...threw a pearl away.... —Shakespeare’s Othello
Emilia, Desdemona, and the handkerchief
Elements of Dance in The Moor’s Pavane I n 1949, Limon (Lee-MOAN) created one of his most famous works—The Moor’s Pavane. In it, his choreography clearly shows the elements of dance— space, time, gesture, and energy.
Space Choreographers consider how to use the space—usually a stage—in which the dancers will perform. They may choose to have dancers use only parts of the stage, or move through the whole space. Often, dancers will trace patterns—called floor patterns— as they move through space.
In The Moor’s Pavane, watch how Limón uses circular floor patterns and criss-crossing of the dancing pairs as in a court dance. The floor pattern also looks a bit like a spider’s web—woven by Iago to catch Othello. Choreographers also use levels: • High levels—such as arms reaching up overhead • Low levels—movements close to the floor
Watch for level changes in Desdemona’s death scene in The Moor’s Pavane. In this dance scene, Limón uses falling, or movement that gives into gravity, to represent giving into death. Othello pushes Desdemona to the floor as he gives in to his jealousy and rage.
The death of Desdemona
Time Choreographers use time when they decide how quickly or slowly movement should be performed.
Limón uses the speed of movement to portray the emotional state of his characters in The Moor’s Pavane. At first, the dancing is evenly paced and controlled. After Iago gives Othello Desdemona’s handkerchief, watch how everyone’s movements become fast.
Learning Activity
Dancing the Story
Gesture
Before the performance, think about (and if you like, practice) what gestures, movements, or dance steps the choreographer might use to show the following:
Choreographers often use gestures— movements from everyday life—in their dances.
Othello’s anger at Iago when he suggests his wife has been unfaithful
Watch for the whispering of Iago into Othello’s ear, and Othello’s hitting or whipping arm movements afterwards.
Othello’s reaction to receiving Desdemona’s handkerchief from Iago
Energy
Othello’s grief when he realizes he has killed his innocent wife
Choreographers use energy to vary the way movements are performed. The same movement can be slow and strong, or light and quick.
Watch how Othello’s leg kicks forward quickly and strongly, showing his anger at the idea Desdemona might be unfaithful to him. When he dances with Desdemona, watch for slow, flowing, loving movements.
After the performance, compare your ideas with the choreographer’s.
The Court Dance and the
Choreographer
Limón’s version of Othello hakespeare’s play has 13 characters. To highlight the emotional drama of the story in dance, Limón uses only four characters in The Moor’s Pavane— Othello, Iago, Desdemona, and Emilia. On a bare stage, the four dancers tell the story through movement alone. Limón’s use of the formal court dance— the pavane—suggests that appearances can be deceiving. Although at first the dance seems controlled and formal, strong emotions lie beneath the ceremonial movements.
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José Limón
Choreographer José Limón Limón was born in Mexico and moved to California at age six. The oldest of ten children, he left art school to care for his siblings when his mother died. Years later, he wanted so much to be a painter that he hitchhiked to New York City with only $27 in his pocket. After seeing a dance performance at age 20, Limón decided to change professions. He began studying dance with teacher and choreographer Doris Humphrey. From her, Limón learned the art of choreography and the elements of dance—space, time, gesture, and energy. Limón formed his own dance company in 1946.
Othello and Iago
Stephen A. Schwarzman Chairman Michael M. Kaiser President Darrell M. Ayers Vice President, Education Cuesheets are funded in part through the support of the Butz Foundation; the Carter and Melissa Cafritz Charitable Trust; Chevy Chase Bank; Citigroup Foundation; the D.C. Commission on the Arts and Humanities; Ms. Nancy J. Davis; Fannie Mae Foundation; the Ella Fitzgerald Charitable Foundation; the Kennedy Center Corporate Fund; The Jacob and Charlotte Lehrman Foundation; the Mackintosh Foundation; Newman’s Own; Publix Supermarkets, Inc.; Dr. Deborah Rose and Dr. Jan A. J. Stolwijk; the President’s Advisory Committee on the Arts; Prince Charitable Trusts; the Hattie M. Strong Foundation; and the U.S. Department of Education. The Moor’s Pavane Cuesheet Editor: Rosalind Flynn Writer: Kirsten Bodensteiner Designer: Simmons Design
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