Ghost dancers choreographed by Christopher Bruce was created for Ballet Rambert in 1981. It is a performance that represents the political oppression that occurred in 1973. Christopher Bruce agenda was not to create a performance for entertainment but to make the audience moved and feel something for these people who suffered. Movement and non-movement components will be analysed throughout this piece, and through these, it will be evaluated how Christopher Bruce achieved the intent of communicating the Pinochet regime and political oppression. This performance is performed in 7 sections, this essay will be analysing section 1 (Ojos Azules) section 2 (HuajraA ‘folk lament’) and section 5 (Mis Llamitas).
In Section 1 Ojos Azules Christopher
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This section opens with the ghost dancer exiting the stage and three female dancers and three male dancers enter the stage. One female is wearing an old dirty old flowy dress that is ripped up, the second female is wearing a nice frilly red skirt and flowy white top, the third female dancer is wearing a button up grey shirt with a black mid-length skirt. As for the male dancer, one male is wearing a grey suit, the second male is wearing a nice business shirt and pants. The last male dancer is wearing an old long white t-shirt with baggy pants. These costumes represent how everyone was affected by the Pinochet regime and it wasn’t just the poor who suffered. They used folk lament which is a very happy upbeat song. They use space and levels in this section, space and levels gave structure and interest to the section. The ghost dancer return and violently grab the male dancers and throw them to the ground, and take their place in the partner work. The female dancer and male dancer are moving in unison, they run down the stage to either left or right. They then begin to do their motif, which is where they swing their shoulder forwards and backwards, and they then jump and turn around and began walking slowly in the other direction. The ghost dancers return at the end of section and repeat their motif, this motif represents victimisation (Jane Pritchard, 2000, Ghost Dances Study
Alfredo Corchado — is the author of the book named " Midnight in Mexico:A Reporter's Journey through a Country's Descent into Darkness”. We are, probably, all interested in finding out the facts, news, and gossips about Mexico. This country was always associated with something mysterious. For me personally, the title of the book seemed to be very gripping, I was interested in revealing the secrets of life in Mexico, thus I decided to read this book. I was really curious, what can Alfredo Corchado tell me about the life in this country, the country, where the constant massacre is the picture, people used to see. In his book, the author tells the reader about the real situations, which took place in Mexico, reveals the secrets of the people’s lives and tells the story from the “inside”. He describes the way he lives his life, and does his work. The " Midnight in Mexico: A Reporter's Journey through a Country's Descent into Darkness” is a memoir. Author tries to transform his own experience into the story line. Corchado shows the reader the darkest episodes of Mexican society, while relying on his own experience.
Derby Lauren, The Dictator's Seduction: Gender and State Spectacle during the Trujillo Regime, Callaloo 23.3. Summer 2000, pp. 1112-1146.
Around the time of the Massacre in Mexico, there were a number of books written based on the brutal killings. Three popular books that were written by Mexican writers and addressed the movement of Mexican students, during that era, were Massacre in Mexico (by Elena Poniatowska), ’68 (by Paco Ignacio Taibo II), and Palinuro of Mexico (by Fernando de Paso). Their literature presented a disturbing look into a student movement, which culminated in hundreds of student protestors being massacred on October 2, 1968, in the Plaza de las Tres Culturas/Tlatelolco of Mexico City. This event led Pablo Ignacio Taibo II to write in the preface of his book ’68, “There are no countries without fairy tales lurking in their shadows.” His book is a collection of fragments that records what took place during that infamous year. And when Taibo addresses countries having fairy tales, it has nothing to do with a happy ending. Instead, he points out how countries present a positive, false image to cover up the negativity that continues to exist.
I also expected to hear woodwind (the Flutes, Bassoons, Oboes etc…) being played because the poem line “The Winter wind whistles and the Lime-trees moan”, made me think of woodwind instruments because Woodwind is associated with blowing in order to produce the instrument’s sound. When I actually heard Dance Macabre it was similar to how I imagined it to sound like. The piece was firstly introduced by the Strings being played (Harp + Violin ) then the Timpani was played to represent the heels tapping the tomb stones. Towards the middle of the piece Woodwind was used to symbolise the Winter wind whistling. When the Skeletons were introduced I was expecting to hear the Double Bass being played as it would of created a creeping up on you effect.
In 1930 a man named Rafael Leónidas Trujillo was elected, he was known for his dictatorship. During his Campaign he had it arranged with a secret police force called SIM “Servicio de Inteligencia Militar” (Military Intelligence Service) so that his opponent would get killed. In 1950, Trujillo tried to find reasons to put the three sisters “in their place”. Trujillo felt threatened by the sisters, not only did they oppose him secretly but publicly as well.
Valle’s most significant contribution to the Spanish theatre is his invention of the literary style of esperpento, which is best represented in one of his most famous plays, Luces de Bohemia. Valle created esperpento with the aim of representing the harsh realities of Spanish twentieth century society through the concave lens of grotesque deformation, so that he could present the lives of the Spaniards in the light of mockery and absurdity. During his writing of Luces de Bohemia, the Spanish society has been brought to a halt, along with the lack of political progress and social improvement, therefore this concerning political situation has influenced and steered Valle towards his literary evolution, the exaggerated grotesque, which he though was the only suitable way to represent the shocking reality and problems of Spain. In this way, he could alarm the people to terminate their complacent acceptance of this reality and he could also produce a distancing effect which renders the reader immune to the play’s purpose, thus making the artistic experience more tolerable. His experience in the killing fields was what made him t...
it is unmistakable that life situations inspired Juan Rulfo to write this story. He like no other person had a greater understanding of how to portray the theme of family especially missing a father as a role model, death, survival and revenge. Moreover, through the use of local Mexican language it furthermore developed the society in which peasants had to live during the post-revolution. Additionally Juan Rulfo tries to add all five senses in the story forming magical realism and a vivid picture that the readers can understand. Overall, the readers learn a lot about peasant’s approach to life after revolution that the main drive was
It is interpreted solely by the choreographer Christopher Bruce who incorporated meaningful and powerful movement to portray the intended story. It is a magnificent work dedicated to the Chilean Human Rights Committee, may they all rest in peace. Works Cited www.curriculumsupport.education.nsw.gov.au/dance7.../ghostdances/.../...
Each one, despite being fiction, is a painting of his experiences, and the cultures of Buenos Aires. Among his themes are myths passed down through the families in his country. I thought that the stories that were contained in this collection were very educational. When finally taking a minute to analyze, and find deeper meaning to the tales, I discovered that they all posses what he has known in his life. He is easily distinguishable in his works.
They’ve set a shining example of how the will to make a difference can have drastic and incredible results effective or not to the immediate situation at hand, it encourages the surrounding people to question the value of their freedom. After the dictatorship fell, the trial of the murderers was on T.V. for a month, and they admitted to killing the Mirabal sisters and Rufino by strangulation. Although they died however, their sacrifice had not gone unnoticed. The memory of their sacrifice is honored today, by a national holiday and monuments, and through these closure is found, but their story is not lost. “Las Mariposas” leave an important legacy that enforces the ever existing
The dancers did not seem defeated, but slightly emotionally disconnected. I felt like this signified the exhaustion that comes while waiting for the rain. There were several positions that were held in the first part of the dance. I also noticed that flicking motions were a motif in the dance, whether that be from their wrists or their ankles. Morgan Moore first showed this motif as she held her leg up in a tilted position and stared down at the sheet below her. She began to flick her wrists which not only reminded me of one who is flicking the rain off their fingertips, but it looked like a begging
`La Tierra de Alvargonzález' is similar to the old ballads in its content of crime and violence. Machado leaves much of the background o...
The story explores many vital concepts accompanied by beautiful illustrations. I felt a strong sense of cultural understanding, spirituality and connection to family and land as though I was on this journey too. I could sense an underlying meaning in each dance, holding great importance to Bertie’s family and a strong connection to their culture. Pryor has attempted to fuse the then and now, by speaking of changes in the land, from a once spiritual gathering place, to a now busy town street where through food, they keep the culture alive (Pryor, 2010).
The 1985 Argentine film La Historia Oficial, directed by Luis Puenzo, is truly deserving of its academy award. The film is set in Argentina in the 1980s, during the last years of a military dictatorship that killed and tortured thousands of its own people who did not agree with their radical polices. The film has many underlying themes especially regarding government-sponsored terrorism, classroom politics and the authority of certain texts. However, one theme is represented again and again throughout the film. The theme that “machismo” will reign supreme in the relationship between males and females, and males in political aspect in the country of Argentina. Men had to hold all the authority in the household and all aspects of life, including
The setting was in a subway station underground. The set did affect the way the dancers moved. Most of the time they would advance toward each other, conveying a message of being intimate, not really were they ever apart from one another. Although they never really retreated from each other, the viewer does get a sense of push and pull from the dancers. The idea of “slip” was to find a way to slip through the pain and let go of the past that can damage