Danny Grossman was born in San Francisco in 1942. He established the dance company called ‘Danny Grossman Dance Company’ in 1997 in Toronto, Canada. The company has created a repertoire of more than 40 works, which have been toured and performed across Canada and internationally.
Although Grossman’s choreography and style was influenced by Paul Taylor, there were features that were uniquely his own. The core of his works is based on a thematic approach in stage productions. For example, in 1975 in one of his productions called ‘Higher’, the thematic approach was the expression of “sexual relationships in relation to the spirit, and the spirituality of sex” . In this piece he explores sexual relationships and in the manner that he has stated that could not be expressed intellectually . He said in an interview that he used the Karma Sutra, a book of sexual positions to help him and it played a big part in helping him with his work.
Unlike most of his contemporaries, Grossman’s dance movements vary from one production to another. In the 1975 production ‘Higher’ the dance movements were mainly using the whole body. The piece went for 15 minutes and was explicit in its design so that the audience could clearly see and understand the intended message/s. This piece received many awards and is what got Grossman noticed and brought into the dancing world.
Another feature in his works was simplicity. For example, in 1977, in one of his productions called ‘Curious Schools of Theatrical Dancing: Part 1.’ This is reflected in costume, props and choice of music. He did not use any props but the production was effective in the choice of costume being a simple black and white unitard with big stripes going diagonally over his body. In this p...
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...’s work. Although dancing Taylor’s choreography, Grossman was allowed the freedom to experiment and this factor allowed him to develop as a performer. Grossman has admitted that he had some fear in dancing in Taylor’s Company; however he has further added that in doing so his fears were gradually diffused and he in fact reached “a sense of peace or calm”.
“I did lead an emotional and even a spiritual life and dancing I learned how to rid myself of my demons as a performer and find ecstasy.” (Page, 142, dance masters) Grossman loved Pauls work and he felt as if he was born to do them. Paul and Grossman were very close as Grossman said in an interview that he became family in a sense when he was in the company. The experience of the 10 years with Paul Taylor greatly influenced Grossman’s profession development to the extent that he left it as a seasoned performer.
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.
... 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.
Alvin was born during the Great Depression to two working class parents in Rogers, Texas. His father abandoned the family when Alvin was a mere six months old, leaving him and his mother with the struggle of fending for themselves. The inability for Alvin’s mother to find work led to their move to California in 1942, where Alvin was introduced by a classmate to the most influential person that would be the foundation for his future successful career in modern dance, Lester Horton (DeFrantz 1). Alvin was captivated by Lester’s work, which focuses on building a strong body, and made the executive decision to start his dance training in 1949 when he was eighteen years old. Because Lester Horton’s dance company embraced diversity, and accepted dancers of all ethnicities and backgrounds, Alvin was given the opportunity to do something great with his
As the first African-American to create a multicultural, international concert dance company, Alvin Ailey’s dance company has been dubbed the “cultural ambassador of the world” (Gorman 36). Through his Alvin Ailey Dance Company, he addressed the racism and injustice faced by ethnic minorities across the globe. Ailey clearly revolutionized African American participation in 20th century concert dance as well as revived interest in modern dance. As an extremely talented dancer and choreographer, Ailey’s success is attributed to his dedication and passion for expression through dance, but what is often overlooked is his resilience to the hardships he faced, the mentors he had, and the opportunities
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.
While a student in the dance program at Detroit High School for the Fine and Performing A...
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.
Berkeley’s creations were not meant to focus on dance. He envisioned an overall moving pattern, which he created by using moving bodies. He made the art of choreography a technique of design and visual mathematics, and combined this with his knowledge of film to bring his vision to life on the big screen. The skill of this multi-talented man brought Hollywood musicals to their full potential, creating a high demand for dance in films.
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.
Contemporary 20th century choreographer Paul Taylor used the components of dance -space, time and energy to explore the struggle of an individual versus the conformity of the masses in his dance Esplanade. In addition, Taylor intertwined the principles of contrast, repetition, and resolution throughout Esplanade to portray the emotion, which accompanied this isolation. This esplanade (a long, open, level area usually by the sea) represented the journey of an independent women’s movement against the societal norm of heterosexual couples within the masses.
Paul Taylor Paul Taylor was born on July 29th, 1930 in Wilkinsburg, Pennsylvania, about a year after the stock market crashed that led to the Great Depression. Paul Taylor had a lonely childhood because he and his parents were often separated. He grew up around Washington D.C, and went to Syracuse University on a swimming scholarship, at the university he discovered dance through the library's books. Dance became his passion and he transferred to The Juilliard School ( a performing arts school). In the 1950’s, Mr. Taylor started bringing modern dance to many American college campuses, small towns, and larger cultural centers.
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.
Putman, D. (1990). THE AESTHETIC RELATION OF MUSICAL PERFORMER AND AUDIENCE. British Journal of Aesthetics. 30 (4), 1-2.
He always had an unusual and imaginative dance routine floating around in his head. “I don’t really know why I clicked, I didn’t want to be a dancer, and I just did it to work my way through college. But I was always an athlete and gymnast, so it came naturally,” stated Kelly. Also stated by Kelly, “In the 1930’s, when I started, Martha Graham was the only dancer doing anything modern but she did it all to classical music. I couldn’t see myself doing Swan Lake every night, and I wanted to develop a truly American Style”