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Art as a catalyst for social change
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Different Dance Styles by Doris Humphrey and Maud Allen that Presented New Dances that Displayed Innovative Movements. Analyzing each personal dancer I am detailing the differences of each artist dance styles first starting with, Maud Allen, dance style used impressionism emotions through her movement at the time of her performance telling the story based on her movements and own emotions (Aloff). Based on feelings within that depicted the way she moved within the performance and displayed to the audience watching. Maud Allen was famous for the dance of Salome a story told in biblical text about the beheading of john the Baptist a prophet, captured by Herod because he denounced the right to marry his wife’s name Herodias due to being his half-brothers …show more content…
They both where famous for the concept of dancing through the depression to life the spirits of the people in a psychological sense. As well as her own attributes with in the style and movement when performing her artistry. With Doris Humphreys personal love of teaching dance she was one of the first to creatively write the concrete fully articulated chorographic method of modern dance-makers, Humphrey’s 1958 book, The Art of Making Dances, was the first book of its kind and remains an important document for choreographers and dancers today (University of …show more content…
Researching Maud Allen finding her real name is Beulah Maude Durrant born in Toronto, Canada. She changed her name in order redefine herself after her brother was convicted and sentenced to death for murdering two woman. Had been executed for the murders of two young women whose nude bodies had been discovered in the belfry of a church; Allan 's perverted tendencies were encoded in her blood (Aloff). Also later in her career Maud Allen was found in a public libel case against her based on morality during the time of the process of World War I (Aloff). This life experience may have the effect in which she performed within the movements on stage, every experience makes who we are today wither for better or worse. She faced a lot of scrutiny during her career but was pioneering in the sense of originally with expression as an artist. Doris Humphrey was born in Oak Park IL he parents where well respected among the local community. Her mother was a pianist encouraging her talents to dance, her father was a journalist as well as a onetime hotel manager his lineage followed back to the first settlers from mayflower 1690 (Barzel). She had a well-rounded family defining what was fitting in the American Standard of a woman and entertainer. With My Red Fires,” a portrayal
Haskins, James. "Geoffrey Holder and Carmen De Lavallade." Black Dance in America. N.p.: n.p., 1990. 130-37. Print.
The next work of the program, Courtly Airs and Dances, is a multi-movement work composed by Ron Nelson. The piece is split into six movements: Intrada, Basse Danse, Pavane, Saltarello, Sarabande, and Allemande. Each of these present distinct characteristics that separate it from each other movement, yet all are united by being a style of dance. The first movement, Intrada, presents a fanfare-like opening to the multi-movement work. The trumpets and brass section as a whole lead this, as they create a sense of nobility. The key is major and the tempo is one that could be described as allegretto—it is not a fast tempo, yet more brisk than an andante pace. The texture is homophonic, as there are different parts being performed by different
Katherine Dunham died on May 21, 2006. (Katherine) “As artist, educator, anthropologist, and activist, Katherine Dunham transformed the field of the twentieth-century dance” (Das
Her goal was to move, not dance. She challenged the notions of what a quote on quote “female dancer” was and could do. Dance to her was an exploration, a celebration of life, and religious calling that required an absolute devotion (pg. 11, Freedman). She considered her dancers “acrobats of God”. An example of a dance which symbolized the “essentialized” body was Martha Graham’s Lamentation, choreographed in 1930, which served as an expression of what person’s grief, with Graham as the solo dancer in the piece. The costume, a tube-like stretchy piece of fabric, only allowed her face, hands, and feet to be seen, and, as Graham stated, “The garment that is worn is just a tube of material, but it is as though you were stretching inside your own skin.” In the beginning of the piece, she started out by sitting on a bench with her legs wide spread and arms held tight. Her head was going back and forth as if she was feeling sadness or maybe replaying thoughts in her head. By the way she was holding her hands so tight and close to her body, it symbolized the deep pain within her––the essence of her piece was grief, and she danced it from inside out. Russel Freedman, the author of Martha Graham A Dancers Life, stated, “She did not dance about grief, but sought “the thing itself”- the very embodiment of grief (p. 61).” Graham, dancing with strength and power, was encapsulated with her movement and was completely surrendered
Trisha Brown is considered to be one of the most pivotal choreographers of the 1960’s as her work and practice shifted away from historically considered “appropriate” movement for choreography. This ideology references the modern era of choreographers, moving away from the aesthetics of Martha Graham and Merce Cunningham who worked with codified techniques, virtuosity and expressionism, whereas Brown saw dance as being of greater importance to the physical and mental process of the performer. Born in Aberdeen, Washington and studying dance at Mills College in California, Brown took improvisational workshops with Anna Halprin, discovering the concept of task orientated work. This knowledge would become central to her later experiments and work. She then shifted her life to New York to study composition with Robert Dunn to further her knowledge of movement and choreography. Physical research that was undertaken in these classes became publically presented programs, eventually leading to the evolvement of Judson Dance Theatre. In the late 1960’s, Brown constructed experiments to play with the dynamics and stability of gravity, using props such as ropes and harnesses to extend the dancers past their physical limitations. These experiments went on to become a working method for the work she created throughout her career and with her company which she founded in the 1970’s.
In 1911, or at the age of eight, Ms. Tamiris began studying dance at the Henry Street Settlement with Irene Lewisohn. After that she studied with the children’s chorus at the Metropolitan Opera Company, where she learned Italian ballet techniques. Although she studied strict ballet techniques, she began to study modern dance at the Neighborhood Playhouse. She also studied natural dancing but soon grew restless of it; thus, she quickly left the studios to develop her own sort of dance.
The fine art of modern dance is like many other fields in that it is based on the actions and deeds of those who were pioneers in the field. These pioneers helped to mold modern dance into what it is today. Of the many people who are partially responsible for this accomplishment is Isadora Duncan. Duncan, often referred to as the “mother of modern dance,” inspired many other dancers to the extent that the art of dance would not be the same today without her many contributions.
“Dance is the hidden language of the soul.” With this quote Martha Graham opines that the body says what words cannot. Martha Graham was a significant American dancer, teacher, and choreographer of modern dance in American history. Graham was a person who never thought about being “different” from anyone else, but she certainly was. Graham employed the psychological concepts of Freud and Jung into her dances. Graham also sought to give “visible substance to things felt”, which was a phrase that became a metaphor central to her art form. Among many things Graham was also a huge advocate of expressionism, a form of art in which an artist seeks to express emotional experience rather than impressions of the external world into their work, and her revolutionary vision and artistic mastery has had a deep and lasting impact on American art and culture.
New Dance is described as a developing art form; this dance was articulated in the early 20th century. According to Chapter 8 in History of Dance book, “the new dance emerged as a response to the ballet that populated the variety shows and music halls, which had a rigid formula of steps and poses” (Kassing). The New Dance was a product of several strands that interlaced together dancers’ studies and backgrounds; these strands and others were woven together in a historical, political, and societal framework. For instance, one strand of New Dance consisted of the concepts, techniques, costumes, and stage settings from around the world. These strands influenced major dancers and choreographers, such as, Isadora Duncan, Loie Fuller, Ruth St. Denis, and Ted Shawn.
Martha Graham was born in 1894 in Pennsylvania. Her father was a doctor who specialized in nervous disorders; he was also very interested in diagnosing the disorders through watching movement. Graham's desire to dance was sparked by the body being able to express its internal senses. Later in life, Martha repeated her father's words, “Movement never lies.” After watching a ballet in 1911, Martha, inspired by the performance, enrolled in a junior college that was centered around the arts. Afterwards she attended Denishawn school, where she studied under Ted Shawn. Shawn made a dance for her, “Xochital” in which Martha portrayed an attacked Azte...
Many Historians say that Isadora Duncan was the first dancer to present “modern dancing” to the public. Duncan felt that the pointe shoes and costumes that ballerinas wore were to restrictive. She began to dance in a way that seemed to be more natural to her. Her inspirations came from the movements of the tress, the ocean and other forms from nature. Her techniques included hopping, swaying, skipping and running. She felt these type of movements were natural and expressive. Also, the history of the Greeks
During the early 20th century, dance underwent a major revolution. Previously, dance, specifically ballet, was very rigid and structured. With the turn of the century though, many choreographers began experimenting with techniques and styles that transcended the traditional norms of dance at the time such as the legendary Merce Cunningham. Known for works such as Variations and Nearly Ninety, Merce Cunningham left his impact on the modern dance world with his use of chance operations, his collaboration with various artist and musicians, and later in his life, technology. An apprentice of Martha Graham, Merce went on to teach famous dancers, such as Paul Taylor, who would go on to leave their own footprint in the history of dance.
“Sex and the Social Dance” was a streaming video which examined the sexuality of social dances around the world. Regardless of geographical location or decade of popularity, dance conveyed social values. In particular, the sexuality was expressed through physical contact or lack thereof, in the gender roles of the dance, and in the purpose of the dance.
Dancing has always been my passion, even though dancing was not an innate gift. Although this may be true, I have seen dancing as an interpretation of thoughts, feelings and more. In the case of Charlie Chaplin he used his performances on all his films, in my opinion, as a communication contrivance to show the reality of the hardships life can bring. Chaplin’s movements and filmmaking experience allow the audience to not only is a visual spectator but also to feel and understand Chaplin’s standpoint on the interpreted meaning of his films. As I prepared to construct my Video Project, I found myself flashbacking on what does each of Charlie Chaplin’s films made me sensed with each scene. For instance City Lights gave me the feeling that a kindhearted
“Dance, the art of precise, expressive, and graceful human movement, traditionally, but not necessarily, performed in accord with musical accompaniment. Dancing developed as a natural expression of united feeling and action.”