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History of dance
Dance history and importance
History of ballet 2 page research paper
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In the chapter "Dance under Louis XIV and XV: Some implications for the musician”, Meredith Ellis Little talks about the elegance and power of dance in the French court, the French style of dance, and the efforts toward recreating the French style of dance. Initially, aristocratic dance became a dominant form during the Baroque era. It was forged under King Louis XIV to enhance his prestige and bring glory to France in the form of elaborate ballets and grand ceremonial balls. Ballets were humorous or grotesque lavish theatrical presentations, portraying characters from gladiators and hunters to fairies and rejected lovers; whereas, ceremonial balls required a simpler yet elegant sequence of steps. Secondly, the subliminal attitude towards the
Each movement of the work corresponds accordingly to a different country in Europe at the time known for a particular style of dance. The Intrada would be the opening of the program, followed by the French Basse Dance, the English Pavane, the Italian Saltarello, the Spanish Sarabande, and finally concluding with the German Allemande. Even though the work was performed by a modern ensemble, where many instruments had not even been invented when music of this type was originally composed, the instrumentation of the brass section versus the woodwind section and the artistry of the musicians performing are able to recreate a much older style. Overall, the piece Courtly Airs and Dances, is an emulation of a style dating back to the Renaissance period of music, with each movement reflecting a particular style of dance characteristic to the culture of individual European
“La Fille Mal Gardee” was a comic ballet choreographed by Jean Deuberval, and premiered in Bordeaux, France on July 1st, 1789. The ballet was a Ballet d’ action, and was very important because it was the first ballet choreographed to be about regular citizens, and not just about the monarchy. In many ways, the ballet was a representation of the growing dissatisfaction that regular citizens were really feeling towards the rich in France. Turns out that
Learning about Dance: Dance as an Art Form and Entertainment provides visions into the many features of dance and inspires scholars to keep an open mind and think critically about the stimulating, bold, ever-changing and active world of dance. Learning about Dance is particularly useful for those who do not have a wide and diverse dance contextual, such as students in a preliminary level or survey dance course. This book consists of twelve chapters. Chapter one dance as an art form focuses on the basic structures of dance. Dance is displayed through the human body, it has the control to communicate and induce reactions. Dance can be found in many different places, it enables the participants and seekers to touch and knowledge the joy of movement. Dance is discovered as being one of the oldest art forms worldwide. Dance existed in early cultures was recognized in a sequence of rock paintings portrayed dance. Since this discovery of rock paintings, several other forms of art have been found that depict dance. People used rituals in order to worship the gods and believed that the rituals held magical and spiritual powers. During the ancient period civilizations sentient decisions began to be made with regard to dance. Other periods that had an impact on dance were the medieval period, the renaissance period, and the contemporary period. Chapter two the choreographer, the choreographer is a person who comes up with the movements created into a dance routine. The choreographer expresses themselves through choreography because this is their way of communicating with the audience. In order to be a choreographer you must have a passion for dance. Each choreographer has their own approaches and ways of making up a routine. Choreographers ...
When José Limón began to choreograph his own pieces, he brought to his work all the abandon of a twenty-year old trying to find out what his body could and could not do. It was a raw style that came quite simply out of the process of his own discovery of dance, before he learned the technical “craft” of dancing; that is, before he learned how to point his feet or straighten his legs in the air. He threw himself into everything he did, without worrying about his balance, shape, or what dancing was supposed to look like - and audiences were enchanted
In the dance world a staggering number of choreographers have made a lasting impact on the way dance is seen to its audience. Alonzo King’s exceptional oeuvre of work includes him in this great history of significant choreographers. He not only created the link between modern and ballet in the twentieth century, but he bridged the ...
There was a dance called the court dance I mentioned in the dance it required a partner like I said once before you were lucky enough to even meet your partner at one point of the dance. All social levels could communicate through dance, but it also was said that upper class and lower classes dance were very different. Upper classes enjoyed more of new and formal dances, rather than lower classes dance to all types of music but not too much formal more of a loud party. With all these different types of music instruments and dances it was a fact that mostly everyone loved this time period. I hope most of my information helped you and other readers about my project on the Elizabethan Era during the 1500’s and 1600’s. Thank You I hope you enjoyed my project.
Nicolas Lancret’s Dance before a Fountain (1730-1735) is currently displayed at The Getty Center in Los Angeles. The oil on canvas painting captures a scene of a party in the early 1700’s. Lancret’s painting, known as a fête galante, a French term referring to an elegant, festive outdoor celebration or some sort of activity usually put on by rich aristocracy in the 18th century. Such paintings were significant at the time because they were apart of the Rococo, or Late Baroque, period in which the European arts focused more on affection, emotion, and luxury rather than the influence and dominance of the church.
Ramsay, B. (2000). Dance theory, sociology, and aesthetics. Dance Research Journal, 32(1), 125-131. Retrieved from http://www.jstor.org/stable/1478286
The stage that hosted the creation of illusion for those attending ballet after 1827 in its “golden age” (Guest, 1) introduced a new world, but one that could not be reached. These illusions were expressed through performance as “moods of Romanticism.” (5) The Romantic period of the early 19th century emphasized the alienation of an individual, the spectacle of that isolation, and the Romantic ideal that perfection remains mysterious and unattainable, as opposed to the late 18th century’s Enlightenment ideals that held rationality and tangible beings most profound. The spectacle of an estranged, supernatural being embodies these elements of Romanticism, as was represented in Romantic ballet. Coralli and Perrot’s 1841 ballet, Giselle, incorporated these Romantic elements into “each one of (the ballet’s) component parts - scenic design…choreography and dance style” (7), as well as with innovations in narrative. These narratives began to project women as powerful representations of the ethereal, supernatural being, as is specifically shown in the character of Giselle in Coralli and Perrot’s ballet. Through the novelties of Romantic visual presentation in scenery, movement, and narrative, the golden age of ballet was able to effectively “(reveal) the unattainable” (7) and supernatural.
Ballet in Louis XIV's court was characterized by extreme ornamentation and gaudiness. The ballet master, Jean Baptiste Lully, sought to show the dignified style of the Sun King. The themes of ballets at court range...
Ballet has been an art form since the late fifteenth century, but society did not truly see the impact of ballet until the nineteenth century. Modern day thinkers possess the idea that ballet began with tutus and pointe shoes, but it wasn’t until the nineteenth century that this opinion was observed. Ballet has come a long way. It has survived the turmoil of many wars and has changed itself by accepting new ideas and impressing the audience with its unique stylistic views.
When one thinks of a ballet they hear soft rhythmic notes and see elegantly dancing ballerinas softly tip-toeing around the stage. This is also what people in early 1900’s expected to see when they planned to attend a ballet. However, a couple of motivated artists in 1913 literally planned to change the design of ballet, music and dance forever. On May 29, 1913 a ballet named The Rite of Spring premiered in Paris, France. The original title as it translates from Russian to French is; Le Sacre du Printemps, meaning the rite of spring, but the literal translation from Russian to English means “Sacred Spring”. The ballet and music were composed by Igor Stravinsky, with the help of Nicholas Roerich, who proposed the general idea behind the ballet to Stravinsky. Roerich wanted to put into motion the ideas behind pagan pre-Christian rituals in Russia. Together the two created the story line behind the ballet; a sacred pagan ritual where a young female dances herself to death and is then offered to the “Gods” of spring to make them happy. The music was composed by Vaslav Nijinsky and the ballet was produced by Sergei Diaghilev for the Russian Ballet. This ballet was so different from what the spectators expected to see that it caused a riot. The Rite of Spring turned the tables of ballet in every sense: the dance, the music and the general idea of ballet was modernized by the group of artists who created and produced it.
The Waltz like some other dances worked its way up from the lowest social levels. No one would have thought that a dance performed by peasants would be performed in royal courts. My topic is The Waltz, and in the subsequent paragraphs, I would explain the origin of Waltz, the influence it had on the country it originated from, the description of the dance movements, the place, and the reason it is performed. In addition to that, I would also state the challenges and threats it faced. When we hear of the Waltz, what comes to mind is the graceful dance which was done in the royal courts in the past and which is still danced in ballrooms till date. The Waltz was not welcomed or appreciated at the time it was introduced into the royal courts. There were lots of controversies about it. It was seen as a vulgar, indecent and immoral dance and was banned in some places like California.
King Louis XIV of France was an enthusiastic dancer who had great influence on the development of Baroque dance. The highest status for a dancer was an amateur. They were the finest dancers in the early Baroque courts and would be featured at many balls. Balls would be held every night in popular places in Europe and no one could leave them until the King or Duchess had left, so they would usually last until dawn. The main style of dancers in the Baroque period were English country dance, French Noble style and theatrical
“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.”