ABSTRACT
In the late 1970s, not only was Bush unusual for the wide range of vocal pitch, barely approached never mind highlighted in regular pop music records, but also the accompanying movements to her singing were drawn,
DANCE AND MUSIC VIDEO
not from conventional disco routines, but from a more experimental expressive base. Her presentation of the song, which earnestly seeks to conjoin word, movement, sound and sentiment, appears perhaps a little too literal for present-day tastes, experienced in reading a multi tude of simultaneous and disjunctive images. Nevertheless, Bush was an innovator of note in her attempt to communicate the concept of a song, to an audience outside the traditional domain of musical theatre, through the personal performance of a visual and aural holistic spectacle.
