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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.
After Christopher Bruce received a letter from a widow of a Chilean folk singer who had been murdered the very inspirational and symbolic ‘Ghost Dances’ work came about. In 1981 Bruce obtained Rambert’s trust and knowledge that he can create dance movements of a high quality and very symbolic to scenarios. Rambert asked Bruce to compile a work for the Chilean Human Rights Committee; who gave him South American styled music which he immediately adored. The tragic place in South America where dreadful situations affect the poor: father figures being pulled away from their loving families and tortured to death, friends murdered and the children taken away. Knowing of all these horrid acts stirred Bruce to be overwhelmingly sympathetic towards the causes and people who faced these unnecessary killings among their homes and neighborhood. Bruce incorporates many dance techniques and elements to portray and recognize the difference between good and evil, heaven and hell. A major aspect of this work is the characters involved and what they do to rule power and domination.
A major aspect within ‘Ghost Dances’ is the characters and how they reflect the meaning of the story and what they resemble. There are two different groups of characters within this work, the Ghost Dancers and the Peasant Villagers. Each group acts o...
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...ures of death. The Ghost Dancers show evilness, power and control among all; always winning and never giving up or letting anyone stand in their way. This dance choreographed by Bruce educates audiences about the South American political battles in history, but more about the lives lost so uncaringly and unnecessary within their country. Overall it has a positive effect and outcome from creating this work.
This work is a very influential and educates people on the social and political battles within South America and the world’s issues. It is interpreted solely by the choreographer Christopher Bruce who incorporated meaningful and powerful movement to portray the intended story. It is a magnificent work dedicated to the Chilean Human Rights Committee, may they all rest in peace.
Works Cited
www.curriculumsupport.education.nsw.gov.au/dance7.../ghostdances/.../...
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.
“The secret of happiness is freedom, and the secret of freedom is courage.” In America, Americans are blessed to have the right to freedom. Unlike other unfortunate countries, their freedom is limited. In many Latin American countries, the government’s leader has all power of the Country. Citizens have no rights to freedom, they are trapped in a cruel country where innocent people are killed each day. Civilians fear to speak out to the regime of leader; However, there were a few courageous citizens enough to speak out against the government. For example, “The Censors” by Luisa Valenzuela and the historical fictionalized account, “In The Time Of The Butterflies” by Julia Alvarez reveal individual 's role in overcoming oppression.
...teenth century in South America. His articulation of the disastrous and catastrophic event was detailed, strong, and emotionally invoking. It compelled me to think about how things could have been. What if the viceroy had fully succeeded? What if he had never tried to change Lima’s political, social, or architectural structure? And how might that have affected such a cultural epicenter of that time period? He gives the audience an opportunity to nearly relive the event, but also experience a part of the event aside from the natural disasters that were just as effective to the people of Lima, their future, and the future of their city.
The story explores many vital concepts accompanied by beautiful illustrations. I felt a strong sense of cultural understanding, spirituality and connection to family and land as though I was on this journey too. I could sense an underlying meaning in each dance, holding great importance to Bertie’s family and a strong connection to their culture. Pryor has attempted to fuse the then and now, by speaking of changes in the land, from a once spiritual gathering place, to a now busy town street where through food, they keep the culture alive (Pryor, 2010).
The next theme used by the author to inspire a feeling of despair in this story is the randomness of persecution. By making the villagers draw these slips of paper once a year would provoke a feeling of hopelessness. Because they know that no matter what they do one day they may be subjected to this brutal death. And it woul...
Peña, Manuel H. "Ritual Structure in a Chicano Dance." University of Texas Press: Latin American Music Review Spring- Summer 1980 1.1 (1980): 47-73. Print.
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.
Ronald Reagan once said, “We fought a war on poverty, and poverty won.” I read the book, Dancing in the dark by Morris Dickstein. This book was about the great depression, and the impacts it had on American life. The traditional thought of poverty, people dying of hunger and people lying in the roads, has been erased. America has abolished poverty by the traditional standards but the thought of poverty and what it is has changed. In America we consider poverty to be spending all your money on bills, so you have no money left for food to feed your family. We consider poverty to be just being poor. One-Third of our population makes less than $38,000. This is not enough to be able to be above the poverty line. Anything below this “line” is considered being poverty. How do they decide this line? They take the cost of a very basic diet, and they multiply it by three, for a family of three. That being said, One-half of the jobs in America pay below $38,000 a year, so no wonder we are losing the war on poverty.
The Ghost Dance; Ethnohistory and Revitalization. Chicago: Holt, Rinehart and Winston Inc, 1989. Lawrence, Elizabeth Atwood. “Sun Dance.”
Danse Macarbre by French composer Camille Saint-Saëns and Symphony Fantastique by Hector Berlioz are two such compositions that revolve around the central concept of the supernatural. The pieces contrast in their musical representation and programmatic portrayal of death and the supernatural. Where as March to the Scaffold by Berlioz presents the matter as a serious, dark and sinister experience, Danse Macarbe, although still dark and fear-inspiring, is much more jovial and rambunctious in it’s portrayal of the supernatural.
The mass of almost one hundred thousand is edgy. The night is hot, humid, and alive with a feeling in the air so palpable you can almost trace it with your finger. The bleachers are filled to maximum capacity, along a mile-long stretch of paved roadway adjacent to an old brewery. People from all races, classes, and countries are celebrating together at the culmination of the orgiastic, pre-Lenten, hedonistic festival of Carnival. Soon, the first marchers proceed down the corridor to the booming cacophony of bass, snare, and friction drums. The rattling of tambourines, bells, and scrapers add flavor and accent. Like a bird set free, the singing cavaquinho (ukulele) emits its high pitched cries, adding to the frenzy. The marchers and dancers, with their quick, physical movements, undulating hips and heel steps, embody the living sound. It is time for the annual celebration once again in Brazil, time for Carnival, a time once again for the ultimate physical expression of joy: Samba.
Originating from the streets of Harlem comes a song that, initially, did not gain much fan fair, but went viral on the internet after comedian, Filthy Frank, made a ridiculous dance video of it (Knopper, 2013). Thousands of copycats created different version in unexpected environments such as skydiving or underwater(Allencastre, 2013). The song is called Harlem Shake by DJ producer, Bauuer. These videos popularized a underground, electronic, dance music (EDM) genre known as “trap”. A genre that attempts to bridge popular EDM synths with southern hip hop influences. Baauer evolves this genres by bringing a much more electric element to the sound so hip hop may not be a genre that comes to mind when listening to the track. This short essay will attempt to analyze this piece of music from an instrumental point of view by naming the different instruments used, discussing pitch. The paper will also discuss duration, tempo, timbre, dynamics, texture and silences at different parts of the song. Through its structure and mood, I will attempt to create a story and give meaning to this music. Indeed, overall, this music is a story that represents the prolonging, desensitized, gang warfare that infested the Harlem district of New York during the 1920s.
Shakespeare’s Macbeth is not only one of the most tragic, but also one of the most violent and uncanny plays. It is a story about war and treachery, blind ambition and murder. From the beginning, the story is governed by a brutal war between Scotland and Norway, which soon claimes its first live of Thane of Cawdor. However, it is not only this violence that creates a dark and heavy mood over the play, but also the use of black magic. The introduction of the Weïrd Sisters in the very first scene set the uncanny mood for the following actions. Their wicked atmosphere is additionally underlined by a mostly nightly setting in uncanny woods or cold castles. As a result, their evil presence dominates the mood throughout the play, even though they only occur three times (1.1, 1.3, 4.1) in Macbeth. Despite their corrupting influence on the play, their figures are difficult to define. Many critics have analysed their characteristics and compared them to several mythological beings (Z). However, the Weïrd Sisters features are so unique that they cannot fit to a single mythological figure. Similarly to their mythological background, their function within the play is controversial, too. Whereas some critics argue that they symbolize the evil itself, others think that they also act as a comic relief by using ironic statements and ambiguous spells (Z). Either way, Walter Clyde Curry states rightly that the Weïrd Sisters are „immensel complex and therefore the more stimulating, compounded out of many contradictory elements, assimilated and fused by the artistic imagination into a unified whole (Curry 396). Therefore, it is also essential to analyse their various power and their diverse influence on Macb...
The poem 'Homecoming' originates from Bruce Dawe. Its journey depicts the aspects of war and its devastations upon human individuals. Using mainly the Vietnam War as a demonstration for its destructions.
...atin American popular idioms. Sonia Possetti is a leading contemporary tango artist that has formed a sextet including the unusual addition of a trombone. POssetti is receptive to the possibility of assimilating outside influences, as she is fully aware of the political implications of creating and performing tango in a country controlled by globalized economic and cultural interests. She uses the standard percussion with djembe, cymbals, bongo, and wood block. Possetti’s “Bullanguera” is based on a milonga rhythm that first sounded in the djembe, a large African hand drum. She layers a salsa clave pattern in the percussion over the milonga foundation. Jazz techniques, improvised solos and sixteen bar progressions add new dimensions to the piece. Her conception remains true to the roots of the tango, yet engages with a sophisticated range of current popular musics.