A Body Responds in Dance

"The idea of launching your body back, without seeing, is liberating but also terrifying."—Francesca Harper, dancer

Harriet Whitney Frishmuth (American, 1880–1980). The Vine, 1921; revised 1923; this cast 1924. Bronze. The Metropolitan Museum of Art, New York, Rogers Fund, 1927 (27.66). Learn more about this object.

How does the sculpted body communicate? Hear from Met experts, leading authorities, and rising stars, each with a unique viewpoint on the language of gesture, facial expression, and pose.

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Francesca Harper: The extreme nature of that backbend had a very intense quality because the idea of not knowing what's behind you, and launching your body back into the unknown, without seeing, is liberating but also terrifying at the same time.

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