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new, mean it can stumble on the refined points where more polished forms of dance can succeed. At the same time, it sometimes happens that goodness is the enemy of greatness This is not academic dancing, set forth to be graded on its goodness. In a way, it is not even dance.
It is a way of telling the essence of saga, direct and unembellished. What made the saga unique for its time was the realism of its major characters, men and women like us, addressing fate with our kind of achievements and our kind of flaws. That is the virtue and the most essential characteristic of what Shita does. In a normal, academic sense, they attempt for too much, none of it fitting the refined conventions that academic artists establish to identify themselves as members of a club, deserving exhibitions and grants. Artists like this are not acceptable in academies of dance, of art or of music. But, then, it is not Shita´s business to please academic taste, or even to be good. They do not emerge from that position at all. Their goal is to tell the spirit of saga.
Kierkegaard, Munch or Ibsen rarely benefited from applause. The disdain or lack of interest that often plagued them didn't diminish their contribution to the world. Those fortunate participants who share in Shita's presentations have the opportunity to witness something astonishing: two people who give everything to their work.
For me, that's enough. But I think that one person put it well as he left a Shita concert in Sweden, saying, 'I think we are looking at the birth of something new.'
Shita lacks the polish that heirs to older traditions possess. They come to their work from a new standpoint -even if they can be compared with the heirs of Artaud and of Brecht. What they lack in polish, they possess in the primal energy of artists who explore a new, creative source. That, rather than finesse, has always been the beginning of great art.