Merce Cunningham choreographed for the “formalized” body by connecting the dance and music at structural points. He used chance methods when choreographing and incorporated certain aspects of ballet and modern vocabulary. Chance methods involved music, movement, and décor where rules were which oversaw different interactions. Chance methods pushed Cunningham’s imagination beyond habit and helped him avoid clichés. He grew inspiration from his musical director John Cage, abstract expressionism, and Zen Buddhism’s eastern philosophy (pg. 57, Aperture). Cunningham and Cage worked side by side in using change procedures, Cage sustained them through the process of realizing a work in performance and Cunningham wished to use chance not in performance …show more content…
As the title insinuates Rain Forest was inspired by Cunningham’s “nature studies”, even though there was no precise portrayal of a natural habitat (pg./ 162). For this piece, there were large silver helium balloons designed by Andy Warhol arrayed around the stage. The piece was highly technical, with jumps, positions, lines, lunges, and pirouettes, and the dancers seemed to be emotionless, while having much power in their movement. This piece had more of kinetic feel with the movement and a theatrical experience with the silver helium balloons. Under the formal structure, the dancers danced as a free vessel for movement and the music allowed for the spontaneity of choices surrounding the silver helium designed …show more content…
During Variations V the dancers moved through a series of electromagnetic fields, triggering bleeps and blurts of electronic sound as they darted in and around antenna poles (41). The dancers could not predict the sound that was created when they stepped into the electromagnetic field giving the different spontaneity in timing of how the “formalized” body would move. Cunningham incorporated film projection and collaborated with Naim June Paik, John Cage, and David Tudor to make this multimedia experience happen. The scene in the film version was continuously changing as different dancers appeared through different camera shots. It looked like some were in a ballet while others appeared in a gym or workout class. Cunningham was close to a work out mat, performing different exercise moves, while other dancers were connected doing different movements. This piece seemed all connected its own unique way by the work giving off a humanistic unemotional feel. Cunningham stated, “What is seen is what it is (38).” He replaced connectedness to operating within a system. His system created intricate exchanges over the sounds, movement, and furnishings. He worked from the formal perspective with his dance sequences being technically demanding and with how the dancers adapted around the vertical metal rods throughout the piece (150).
The last dance work I will talk about that included
Although Atticus is not like every other parent, he shows his love to his kids in his own ways. He does not need to be kissing them, hugging them or buying them things to show his affection for them. His ways are unique ways that show that Atticus is a positive parental figure. Another good piece of evidence that shows that Atticus is a positive parental figure is that he sets a good example for the children. He sets a good example by being honest and telling them why he has to defend Tom Robinson even if that decision jeopardizes his reputation and the family. When Atticus was talking to Scout about defending Tom he said, “The main one is, if I didn’t I couldn’t hold up my head in town, I couldn’t represent this county in the legislature, I couldn’t even tell you or Jem not to do something again” (100). These words show that Atticus values equality and justice and it is setting an excellent example for the kids to follow at such a young age. Atticus defends Tom Robinson, an African American man, because he believes in equality for all. Atticus also mentioned that before he tells the children to do something or follow values he, Atticus, must display them first, and he
Steve Paxton: Speaking of Dance – Conversations with Contemporary Masters of American Modern Dance. Academic Internet Video. Directed by Douglas Rosenberg. Oregon: Alexander Street Press, 1996.
Merce Cunningham was known as a “leader of the American avant-garde whose constant innovation and artistic collaborations expanded the frontiers not only of dance, but also of contemporary visual and performing arts”. His passion and drive to succeed and push boundaries of dance and technology helped him throughout his career and in the building of his own dance establishment, the Merce Cunningham Dance Company. He also worked closely with the composer John Cage, where together they created different, new music. He was one of the most daring choreographers of his time regarding the exploration of technology in dance. He had begun to look into dance film in the 70’s, and further started to choreograph new dances using a computer program named ‘Dance Forms’. He also further created a webcast series where the public were able to view his teaching in the Merce Cunningham Dance Company, and could essentially sit in on the rehearsals
To Kill a Mockingbird by Harper Lee has many topics described in the book. With all t How the kids were affected throughout the story will be the topic of this essay. The children are dynamic characters, they change for the better, when different events take place. (Introduction isn’t finished)
Throughout this analytical essay I will discuss, analyse and conclude the work of two contemporary modern dance pioneers, Alvin Ailey and Katherine Dunham. I will pay particular attention to the era 1935-1980 and focus on socio elements of this time period, using relevant literature to support my findings.
Some may question the parenting style of others and that is just how humans work. They doubt the way others do things because it is not how they themselves would do it. Atticus Finch is a good father because he taught his children bravery through his self-control, he is determined to teach Jem and Scout the value of respecting people, no matter who they are, and he teaches his children that life involves making difficult decisions sometimes. Atticus is one of those people that everybody should look up to and want to be more like him because despite all the racism that happened and disrespect he got, he stood with his head held high and made sure his children did too.
Take a moment to think, what would you do if you didn’t have your parents/guardians? How would you be acting? Where would you be? Adults have a big part in a child’s life not only because they are there to support them but being role models to show them how they should be acting and maturing over time. The novel “To Kill a Mockingbird written by Harper Lee” takes place in a small town named Maycomb and it has a great deal to do with children maturing over time and how adults come into place as role models. The 3 main role models in this story are: The father Atticus Finch, The house keeper Calpurnia, And the neighbour across the street Miss Maudie. In this essay you will be reading about how the novel “To Kill a Mockingbird” illustrates how adult role-models directly influence the maturation of children.
The novel "To Kill a Mockingbird" by Harper Lee is a simplistic view of life in the Deep South of America in the 1930s. An innocent but humorous stance in the story is through the eyes of Scout and Jem Finch. Scout is a young adolescent who is growing up with the controversy that surrounds her fathers lawsuit. Her father, Atticus Finch is a lawyer who is defending a black man, Tom Robinson, with the charge of raping a white girl. The lives of the characters are changed by racism and this is the force that develops during the course of the narrative.
...heme of maturation in Harper Lee’s To Kill a Mockingbird, is conveyed through the characters of Scout and Jem, in conjunction with the assistance of their virtuous father Atticus Finch. Early in the novel, Atticus ascertains himself as a major facilitator in the maturation process of Scout and Jem by incessantly providing mature solutions to his children’s predicaments. Moreover, Scout, a major benefactor of the Boo Radley incident and Atticus’ wisdom, has helped her develop into a very tolerant and mature individual. Undeniably, Jem’s remarkable development into a broadminded and compassionate character can be directly attributed to Atticus’ kindness and Jem’s exposure to the Tom Robinson trial. In synopsis, it is evident that the individuals and social circumstances that surround an individual play a major role in defining the type of individual one will become.
The dance cannot exist with music alone; the choreography helps complete the dance. Choreography often involves learning dance from other dancers, or learning a new type of dance to make the existing one more exciting. Going beyond the normal boundary increases the chance that the dance will effectively intertwine the music and choreography, so the dance will go beyond the original idea. Shadowing neurosurgeon Dr. Norgran in high school and pulmonologist Dr. Yaeger in college, has given me a new perspective on going into a career in medicine. These people helped me to see that I would have to be willing to alter the music of my life in order to finish the dance of a medical career.
In dance, contrast is the side by side comparison of space, time and energy, in order to identify differences. This contrast was best exemplified by the stark difference in tempo which was alternated from allegro to adagio in each sequential Part. The tempo changes enabled the dancers’ to vary their use of space and energy. Throughout the allegro movements, space and energy were maximized. In contrast, as the tempo slowed to adagio, the utilization of space and output of energy decreased. Taylor expanded contrast in Esplanade to include the costumes. The female apparel consisted of pastel flowing short skirts, which differed from the male’s neutral tight fitting costumes. Although the free flowing costume complimented the allegro tempo, it contradicted the slow, confined movements throughout the adagio tempos. Repetition or the duplication of movement created a cohesiveness of the mass dancers and established the individual as an outsider. Whether in the slow paced repeated walking movements in Parts 2 and 4 or the sequential lifts and leaps in Parts 1, 3, and 5, repetition established unity. The isolation of the woman was also established by her repeated unsuccessful efforts to interact with the mass dancers by running and circling each dancer in Part 1. The repetition of walking steps throughout the dance created continuity,
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.
32-81), presents itself as a wild array of freeform shapes. Arches and crescents, lines and circles, all splattered across the canvas. Free flowing unstructured geometric and biomorphic shapes alike can be found in black, white, gray and brown. Though covered from edge to edge in what looks to be an unrestrained painting free-for-all, a distinct bordering edge is undeniably visible. Within the piece, the dripping, and splattered lines seem to thin and become increasingly sparse as they come closer to the edge of the canvas. Further balance is achieved within the composition with the accumulation of the densest points coming together towards the center of the canvas. The entire piece strikes one as almost being alive with its nonstop motion. It creates a sense of organized chaos. When viewing Autumn Rhythm (Number 30) (Fig. 32-81), I feel as though it has captured the view of the world while in motion, more particularly the view of the world while dancing. The rhythmic movement from one side to the next, sweeping across the floor, the freedom of movement as the body turns and spins and the world blurs around. The title suits the piece perfectly as it is easy to envision how the winds carry the autumn leaves, similarly as though they are dancing in the air. Wild and free, yet contained and controlled by the gusting of the wind. The movement within this piece evokes the feeling of being energized and alive. Not necessarily a
Growing up happens during the magical times of freedom given to children in their early years. Wise parents discern when freedom is necessary for their children, are very clear about their expectations, and determine fitting consequences for actions out of line. Harper Lee personifies this role of a wise and caring parent in the father figure of her novel To Kill a Mockingbird. Atticus Finch, a character made to mirror the author’s own father, is a lawyer and a well-respected citizen of his Southern Alabama town. Through Atticus, Harper Lee establishes a standard of good and evil, developing the theme of morality during his interactions. Atticus establishes right from wrong in most every relationship, especially with his children, his friends and family, and his occupational ties. These relationships come to the reader filtered through the childlike lens of Scout Finch, Atticus’s young daughter, as she begins to encounter the weighty topics of the adult world.
“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.”