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Different cultural beliefs about dancing
Essays on the different types of dance
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There are thousands of people who do not let disabilities get in their way. With determination and drive, they work endlessly to achieve their goals. I watched numerous videos of disabled dancers for this project to see how their disabilities affect their movement. I witnessed unyielding determination on their part. Their success is a demonstration of how important it is to have dynamic, relaxed posture.
The first performance that I watched was a dance called “Hand in Hand”. It is performed by Li Ma and Xiaowei Zhei. Both dancers in the piece lost a limb. The Xiaowei lost his leg when he was a child and the Li Ma lost her arm in a car accident. The dance is a love story. The movements in the piece evoke a feeling of love, tenderness
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He is extremely well-balanced. He does lean forward a few at times during his dance, but not as much as Evan did in his video. “Peg Leg’s” posture was mostly upright and relaxed. He performed jumps with ease and even balanced on his “peg”. Again, this demonstrates that he needs dynamic posture to accommodate for the shifts in balance. His execution was more polished than Evan’s, however; he had been practicing and perfecting his dance for longer than Evan. Also, Clayton’s prosthesis is wider where is attaches to his leg, providing a broader base for weight …show more content…
Amy demonstrates amazing balance on her prosthetic legs. This type of balance requires a very strong core. She also demonstrates outstanding flexibility. She has a controlled yet relaxed stance throughout the dance.
There are definitely some risky moves in this dance. There is a move where Derek lifts her over his shoulder. This move could result in a shoulder injury for him if done incorrectly. There are also several times during the dance when Amy bends backward over her Derek’s arm. This could result in a possible back injury if done improperly.
The last video I watched is truly amazing. The dance takes place in India on one of their talent shows. The performer is a girl who had one of her legs amputated. The entire dance is a risk because she does the entire performance balancing on one leg without any prosthetic or crutches to support her. The movements in the dance are with her arms and her hips. She remains balanced throughout the entire song. Her core has to be extremely strong and supple to support her in this manner. If she did not have dynamic posture, she would surely fall over. The hip-joint and the ligaments on her right side must be extremely stable. The one thing that concerns me is that she will eventually suffer from overuse of her right leg and end up
I considered myself a performer, and after years training as a classical ballerina I expanded into stunting and tumbling. While on tour, I developed friendships and bonds with dancers strengthened by a mutual love for dance, a commonality over the pain our bodies endured daily, and conversations on bruised and broken toes.
What comes into one’s mind when they are asked to consider physical disabilities? Pity and embarrassment, or hope and encouragement? Perhaps a mix between the two contrasting emotions? The average, able-bodied person must have a different perspective than a handicapped person, on the quality of life of a physically disabled person. Nancy Mairs, Andre Dubus, and Harriet McBryde Johnson are three authors who shared their experiences as physically handicapped adults. Although the three authors wrote different pieces, all three essays demonstrate the frustrations, struggles, contemplations, and triumphs from a disabled person’s point of view and are aimed at a reader with no physical disability.
Although this may make the dancers leg possibly go hire, the dancer would not be executing proper technique for a battement. Thirdly a dancer would not be able to properly rise up on releve if he or she was susceptible to anterior pelvic tilt. Not only is releve a stance in dance that calls for balance, it is also a move that leads up to bigger things like turns or leaps. Going into anterior pelvic tilt when in releve would seriously make the dancer off balance, decreasing the amount of time she could remain on releve. As a dancer, I think about my pelvis as a bowl of soup. If the bowl is sitting up right, nothing is spoiling out. However if a dancer allows her pelvis (bowl of soup) to lean into anterior pelvic tilt the soup will spill all over the floor. The second cue I like to think about it head
The typical idea of a dancer is that they are tall, slender, full of energy, and lucky because they dance with all of the “stars”. Much of this is true, however, what many people do not think of are the many hardships that a dancer goes through in order to achieve their high status in the dance world. It takes much hard work and determination along with good direction to become a dancer. However, nothing good comes without a price. Dancers often times have many pressures put on them which can lead to physical and emotional damages. These damages occur through the pressures from the media, parents, teammates, and the stereotype that society has placed on dancers.
Growing up, one of my priorities was dance. I started dancing at age five at the City Performing Arts Academy and at fifteen I began taking classes at Elite Dance Academy. From early on in my dance career, I aspired to be just like the older dancers at my studio. They were such beautiful dancers and I dreamed of growing up to be as talented as they were. I remember in one of my classes we were given the opportunity to watch the advanced ballet class dance. This was the first time I ever saw dancers en pointe. I was utterly awestruck. I could not wrap my head around how these girls could so gracefully and seemingly effortlessly dance on their toes; however, I knew from that moment that I wanted nothing more than to dance en pointe. Soon, I realized
Have you ever been in so much pain but have to smile and work your way through it while keeping your posture upright,or love something so much that even if the teachers seem like military sergeants you still want to go and do that one specific thing; ballet dancers go through that everyday just to come out on top.
Howse, J & McCormack, M 2009, Anatomy, Dance Technique & Injury Prevention, A & C Publishers Ltd, London.
In “Harrison Bergeron” the ballerinas were no better at dancing than anyone else. The reason for the ballerinas dancing is they had had been handicapped, so no one would feel jealous. Since they were no different, it would not cause any problems
I would like to look closely at the article written by Elias et al., 2008. What I found worthy of note is the prevalence and the incidence of stress fractures commonly seen in ballet dancers (Smith, et al., 2015). Growing up, I have enjoyed dancing and even entered local and national competitions. Of all the dances that I have been partial to, ballet was never my cup of tea. I enjoy watching ladies dancing gracefully en pointe but if I would be tasked to perform the said dance, I would opt out straight away. Training in ballet is a rigorous practice. The gracefulness is not without a physical cost. So, I would just slip back as a spectator on this one.
I, like so many little girls at age four, donned the tulle and canvas slippers of a ballerina to pirouette and sashay across various studios and stages in search of happiness. Within a year, I had begun to immerse myself entirely in the art. I learned the production history of all of the canonical ballets; I mastered the French pronunciation of every position, ballet master, and dance step; I spent at least twenty hours per week in the studio and invested countless hours in ballet classes, competitions, and auditions. Dance became an integral, primary part of my identity and lifestyle, the one constant through the tumult of my adolescence. By my middle school years, dance was as large a commitment as school. Nonetheless, I was happy dancing and I took pride in the work ethic dance had instilled in me. Ballet demanded that I learned to handle immense pressure at a young age and I was made to understand the importance of self-motivation and responsibility.
Martha Graham once said “the body is your instrument in dance, but your art is outside that creature, the body.” Before Saturday, I always assumed that the body was responsible for portraying the art. Some misconceptions of dance that I had was that it must have emotion to be captivating and if it doesn’t then it’s the fault of the dancer for not engaging the crowd. However, referring back to Graham, it isn’t the facial expression that illustrates the message but the use of space itself. Because of the various forms of choreographies and theatric methods used, Groundworks Theatre greatly broadened my perception of what contemporary dance is and how I can improve as a performer.
The new leg, and encouragement from her family boosted Shifali’s confidence, and allowed her to focus on her dance. She stayed motivated, and self-disciplined throughout the tough training classes. She never wavered from her goal of becoming a talented dancer. Every day was an improvement over the day before.
Considering the embodied experience of a researcher who is a dancer, I will be able to contribute to the development of empirical research methods, with the perspective of not measuring other dancer's perceptions, but to include his/her background and previous experiences including my own insights as an insider in the dance field. This method will privilege both perceived experiences from dancer's experiences at these three ballet companies as well experiences of the researcher as a dancer. This way, this investigation will value the kinesthetic proprioceptive awareness from the dancer explaining their experience of the movement (Roses Thema, 2007).
As I started falling to the ground during my bad leg side leap, I remembered what my sister had told me when we first learned our dance.
Ballet, to some a beautiful and graceful dance, to me an utter nightmare. All through my life I, along with my 2 older sisters, my mother had forced us to take ballet.As a former professional ballerina, my mother had expected us to inherit her genius, my sisters, Britney and Elena, fit this mold with ease while I, on the contrary, did not. No matter how hard I tried, my dance, if you could even call it that, just ended up getting worse and worse. My mother, who just couldn’t believe the ballet gene had skipped me, blamed the teachers and hired a new one every time I so much as tripped. The teachers, instead of helping me, progressively got more and more malicious, due to their desperation to avoid my mother’s wrath. Finally, I decided enough