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Social media and its effects on body image
Social media and its effects on body image
Social medias effect on body image
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At Dixie State University’s Dance Program’s Student Concert, there was a variety of different styles of dancing used as well as a variety of themes portrayed through the dances. Each dance brought brought to life a new and distinct use of movement, performance quality, and themes on stage. I am choosing to discuss two dances that dealt with a sort of realness that I easily related to, Before You Go, by Shellie Warr, and You Are, by Lindsay Peterson. These two pieces are centered around real life scenarios or feelings and can be easily related to by any audience member. I will look at the movement vocabulary, choreographic structures of the piece, production elements, performance quality, the use of time, space, and energy and of course the …show more content…
Five dancers in white dresses and black masks flooded the stage using a variety of personal movement in a modern style but we're all connected by their breath and smooth fluid movement all around the stage. The dancers came together in certain moments to create this group connectivity moment that was very powerful. This piece used the instrumental and spoken word as music, the poem recited over the instrumental music talked about the demands on us as individuals to fit into these ridiculous beauty standards and expectations brought on by social media and celebrities. It focused on our worth as human beings and how it's absurd for us to judge our worth based on our looks or in comparison to the likes of others. One by one, each dancer took off their mask and began to accept themselves, one mask still remained but with help from the other dancers and a light within the last dancer was able to accept herself. In the end every dancer had rid themselves of their masks, or insecurities, and their unrealistic standards and learned to accept themselves for who they really were. This piece is very relatable, everyone has felt worthless, at least once in their lives, every person has felt like they just aren't good enough, and every person has wanted to change themselves because of the ludicrous beauty standards placed on us starting at such a young age. We need to create a society where we are taught to love and accept ourselves for who we are, the theme of this piece is clearly a dig at our society and how it needs to change. We need to learn to accept diversity and individualism, if we are ever going to be able to fully accept ourselves and those around
I had the pleasure of being in Western Kentucky University Dance Department’s concert, An Evening of Dance. The performance took place on April 29th through May 2nd in Russel Miller Theatre. It consisted of many works from faculty and guest artists. I felt like the concert was a success and that the choreography was all unique in its own way. I enjoyed the pieces that I performed, and the ones that my fellow company members were in. Through the analysis of “Petrichor”, I found that each production and chorographic element plays a large part in the successful outcome of a dance and emotional responses can be evoked by the simplest ideas.
Every dance that is created by a choreographer has a meaning and or purpose behind it. The dance choreographed could be used to send a political, emotional, or a social message. Regardless of the message being sent, each dance created possesses a unique cultural and human significance. This essay will examine and analyze two dance works from history and give an insight into what each dance work provided to the society of its time.
... social dance. Many people in today’s society enjoy social; dancing. Chapter eleven dance concert, properly planning and establishing a dance concert is of the utmost importance. The partnership with the lighting designer usually takes priority over all other factors. One of the most important issues concerning customers has to do with mobility. The dancer must be able to move comfortably in the costume. The task of producing a dance concert is an overwhelming and tiring one. Chapter twelve dance in education and career in dance, many dance educators present the argument that teaching and learning dance as an art form is obviously absent from the American student education. There has always been and always will be people who have a love, desire, and passion to instruct and learn the art of dance, will ensure an important place for dance in higher education.
Dance is an ever evolving form of art; in much the same way that one can categorize and differentiate between eras and styles of architecture one can also do so with dance. These eras at times have sharp delineations separating them from their antecedents, other times the distinction is far more subtle. Traditional forms of dance were challenged by choreographers attempting to expand the breadth and increase the depth of performance; preeminent among such visionaries was Seattle born dancer and choreographer Mark Morris. Mark Morris' began as one of the millions of hopeful individuals attempting to simply make a career in dance; he not only succeeded but managed to have a lasting effect on the entire landscape of dance.
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
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.
Throughout the years, America has pursued the performing arts in a large variety of ways. Theatre plays a dramatic and major role in the arts of our society today, and it takes great effort in all aspects. Musical Theatre, specifically, involves a concentration and strength in dance, acting, and singing. This is the base that Musical Theatre is built upon. For my Senior Project, I helped choreograph multiple scenes in a community musical “Thoroughly Modern Millie”. Choreography is a way of expressing oneself, but it has not always been thought of for that purpose. Agnes de Mille’s expressive talent has drastically affected how people see choreography today. Agnes de Mille’s influence in the world of dance has left a lasting impact in the Performing Arts Department, and her revolutionary works are still known today for their wit, lyricism, emotion, and charm.
As a society, we are constantly pairing things together in hopes of enhancing them: apple pie and ice cream, Indians and cowboys, and most relevant to this paper, music and dance. In an art form like ballet, it seems as though music and dance complement each other equally. Truly, it is hard to picture, or perform, a dance without music. However, this may not be the case for music, even if that music is composed specifically for a dance routine. The compilation of the music and the dancing from a scene in the American cowboy ballet Rodeo will be examined to ultimately help us understand they way in which they serve each other as a unit and their ability to function independently.
Ramsay, B. (2000). Dance theory, sociology, and aesthetics. Dance Research Journal, 32(1), 125-131. Retrieved from http://www.jstor.org/stable/1478286
The dance that I will be focusing on is entitled: thinking sensing standing feeling object of attention. The dance, to me, symbolizes the socialization of persons in Western civilization concerning gender roles. In the beginning there are gestures that are separated from emotion and full-embodiment, but as the dance progresses the gestures become more meaningful and recognizable. The lighting starts out very specific and narrow, then the light encompasses the entire stage, and eventually the dancers are silhouetted as they return to a familiar movement motif in the end. The music is mainly instrumental with occasional soft female vocals, and the lyrics suggest emotion, which is interesting because the dancers do not convey emotion until the end of the dance. Also, the showing of emotion is directly proportional to how much clothing the dancers have on at specific points in the dance.
The work ‘Ghost Dances’ by Christopher Bruce was viewed on 26th August, 2011 to the Year 12 Dance class. The individual interpretation of the social/political or world issue/ comment the piece is attempting to make. Using direct examples from the performance, the use the choreographer has made of the movement and the non-movement components have been identified. Also the effectiveness of this piece has been evaluated.
[6] Cohen, Selma Jeanne. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. New York: Oxford UP, 1998. Print.
Over Halloween weekend, Dance TCU in concert, performed at Ed Landreth Hall on the TCU campus, was a mid term showcase performed by the students in the TCU School for Classical and Contemporary Dance. The overall mood was very professional. These college level dancers performed various pieces from Giselle to video edited versions of dance to contemporary dances inspired by swing dancing. Each piece was unique and whether the style was classical or contemporary, the execution was very good. The quality of the performance was spectacular and showed all the work that everyone involved in the production has put out to perfect all the aspects of the show come together. While there were some minor technique errors, the staging, costume design, lighting,
Jessica Lange’s mission is to immerse audiences in the beauty of music and movement. Her dance aesthetic is very clear and full of volume and fluidity. Her uses of unforeseen props, lighting, music quality and the emotion of her dancers set her apart from many today’s choreographers. To do my research I decided to focus on six of Jessica’s pieces. The pieces I chose were Thousand Yard Stare (2016), Tesseracts of Time (2015), The Wanderer (2014), Lines Cubed (2012), Her Road (2017), and i.n.k.
In the essay, “Beauty When the Other Dancer is the Self,” Alice Walker shows the readers a clear visual of her character many times to reflect on how much she enjoys showing off her beauty, and how she valued her appearance with an exceptional description. As a child she describes herself as an extremely cute kid who was smart, sassy, and had an enormous amount of self confidence, and liked to stare. Until one day her brother accidentally shot her in the eye leaving her to feel unpretty. As a child before the accident she describes herself in the text as, ”Whirling happily in my starchy frock, showing off my biscuit-polished patent-leather shoes and lavender socks, tossing my head in a way that makes my ribbons bounce” (69). Walker has high confidence as she tosses her hair, and strut.