https://www-tandfonline-com.proxyiub.uits.iu.edu/doi/abs/10.1111/j.1531-314X.2008.00190.x

In Ronit Eisenbach’s article “Placing Space: Architecture, Action, Dimension”, dance, and specifically Bebe Miller’s form of dance, is used in an entirely different and interesting way than what I am used to. The research article actually was based on a college course taught at the University of Maryland. The course combined and compared two seemingly unrelated fields: dance and architecture. The purpose of the class and the article was to see the effect that the physical environment has on dance performance projects, and how the construction of space from a movement point of view has on architecture. More simply, it looked into the reciprocal roles that movement and space have on each other’s formation. Most interestingly, Bebe Miller was actually one of the creators of the class.

Roslyn Sulcas’ article “Physical Thinking Out Loud With Animation and Video” in the New York Times provides a critical review of one of Bebe Miller’s works. Sulcas reviewed “Necessary Beauty” when it opened in 2008. She begins her piece with an appreciation for the movements by the dancers. She stated that at first the movement style seems almost careless. However, she said she soon realized how much Bebe Miller asks of her dancers to make these unique movements seem so natural, precise, and elegant. Sulcas details that the entrance of Miller herself in the performance takes the show to a new level. The use of spoken word adds another intriguing element as well, Sulcas says. The performance deals with memory and reflections of the past, but the exact meaning of the show is not disclosed. Sulcas does not give her own interpretation of the meaning, although she states she has many ideas. I like that the author did this because it not only does not ingrain a set idea into the audience’s mind, but it also makes readers want to go see it for themselves.

I believe the X-Factor for Bebe Miller’s long and successful career is her personal motto: “How do I not stop myself?” There are plenty of factors that could have stopped her on her journey, such as her race or gender. From the creation of her dance company, Miller has made sure she always tells her truth. This is how she has not let anything stop her, including herself. She does not leave it to anyone else to tell her what to do or what needs to be done. This way, the only person that can stop her is herself.

One of the most interesting takeaways I found from my research is that Bebe Miller did not want to be perceived as having been waiting to be allowed to speak. She believes that through making dances and observing people, she has learned to speak. This defines how her works continue to improve over the years and show no signs of slowing down. The more she learns about people, the more she is able to articulate in her dances.

Bebe Miller matters to me because she should be an inspiration to anyone regardless of race, gender, political orientation, or even interest in dance. She expresses how we should not be defined and/or limited by how we appear. Even in all of her extraordinary achievements and accomplishments she states she did not do it for the purpose of breaking stereotypes. The purpose of her work has been to explore humanity and what makes us who we are. It has been to let your emotions and imagination be free and never hold yourself back. Miller has been able to do all this in the context of beautiful choreography and production. As a young man approaching life out in the real world, her work resonates with me and I have become a big fan. As a person, she has taught me to shoot for the stars and remain humble at the same time. Her work has taught me to not fear expression, for it is what makes us human.

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 “Miller is a tender visionary, a subtle social and political commentator.”

The Village Voice

Bebe Miller’s choreographic work tends to focus on issues of present-day life. Over the years, her work has covered topics such as feminism, race, and identity politics. However, Miller incorporates these ideas in her performances in a more abstract manner rather than a straightforward one. Instead of simply telling a story from beginning to end, she fragments the ideas and movements. Her work will hint at an idea, and as the audience begins to grasp it, the performance will shift and pull the audience elsewhere. This form of expression allows the audience to form their own interpretations and to incorporate their own thoughts and experiences into the meaning of the performance.

Miller is happy with the advancements made for both women and African Americans in the dance community. She knows being a black woman is part of her identity, but not her entire identity. She has never been looking to directly break stereotypes, rather, she is looking to be curious and express that through her work.

Bebe Miller was born and raised in Brooklyn, New York in 1950. She began taking modern dance classes as young as five years old. She graduated from Earlham College in 1971 with a degree in art and later earned her master’s degree from Ohio State University. Afterwards, she began dancing for the Nina Wiener Dance Company. This ensemble combined repetitive patterns with cool precision, with Wiener’s emotional current relevant throughout. Dancers use limited but very precise movements repetitively in an almost hypnotic manner. Bebe Miller danced with the company for six years before leaving to form her own company. The unique nature of the Nina Wiener Dance Company clearly influenced Miller in her own work.

Miller’s choreographic work has always been based on exploring the human condition. She is interested in all forms of human expression and did not want to limit herself. This led to her developing the Bebe Miller Company, to surround herself around others to learn, explore, and showcase the multiple expressions of humanity.