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Essay about dance expression
Essay about dance expression
Essay about dance expression
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German born, Hanya Holm, is categorized as one of the pioneers of modern dance. From a young age, she took a special interest in modern dance and very soon joined Mary Wigman’s school in Dresden, Germany. There, Holm became a principal instructor of dance and soon became a master of Wigman’s ideology of modern dance. This ideology was highly focused on the emotional aspect so wildly acclaimed in modern dance (Ambrosio 94; Encyclopædia Britannica). Following Holm’s great success in Wigman’s dance school, in 1931 she was sent to the United States by Wigman to establish the Mary Wigman School in New York City. Later in 1936 this school became Hanya Holm Studio, where she focused her teachings upon both the technical aspect and the expression
I actually did not start this reflection as how I suppose my other peers indeed did. This meaning that I did not in fact pick a singular person and commence with my researching from there. But instead I started out by searching “modern dance poses” in the search bar of Google. From there I was encaptivated by this charismatic woman and found not only her background but also her successful legacy incredibly interesting. Another thing that intrigued me about Hanya Holm was that she choreographed for Broadway musicals. And as a fan of both Broadway and of musicals, I knew my decision to research about a woman who inspired my own dancing from a young age was completely warranted. The dance sequence that was very prevalent in my childhood was from Kiss me Kate and it surprised me that I never knew who choreographed my favorite childhood dance sequence. This woman not only inspired me from her choreography, but she was the first of her kind to advance choreography not only for the dance art form but also for musical theater during the revolution known as the modern
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.
Katherine Dunham died on May 21, 2006. (Katherine) “As artist, educator, anthropologist, and activist, Katherine Dunham transformed the field of the twentieth-century dance” (Das
Learning about Dance: Dance as an Art Form and Entertainment provides visions into the many features of dance and inspires scholars to keep an open mind and think critically about the stimulating, bold, ever-changing and active world of dance. Learning about Dance is particularly useful for those who do not have a wide and diverse dance contextual, such as students in a preliminary level or survey dance course. This book consists of twelve chapters. Chapter one dance as an art form focuses on the basic structures of dance. Dance is displayed through the human body, it has the control to communicate and induce reactions. Dance can be found in many different places, it enables the participants and seekers to touch and knowledge the joy of movement. Dance is discovered as being one of the oldest art forms worldwide. Dance existed in early cultures was recognized in a sequence of rock paintings portrayed dance. Since this discovery of rock paintings, several other forms of art have been found that depict dance. People used rituals in order to worship the gods and believed that the rituals held magical and spiritual powers. During the ancient period civilizations sentient decisions began to be made with regard to dance. Other periods that had an impact on dance were the medieval period, the renaissance period, and the contemporary period. Chapter two the choreographer, the choreographer is a person who comes up with the movements created into a dance routine. The choreographer expresses themselves through choreography because this is their way of communicating with the audience. In order to be a choreographer you must have a passion for dance. Each choreographer has their own approaches and ways of making up a routine. Choreographers ...
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.
Overall, a legendary woman of many traits had known for her many remarkable achievements throughout her life. Changed and impressed the world for over fifty years with her fabulous work choreographed over ninety pieces. Exposed the world to the awareness of different fusions of cultures, mainly African culture though her amazingchoreographies. Revolutionized modern dance by recreating a whole new dance form. Katherine brought innovation to the world of dance. Her love for the art of dance was really shown by her ideals and terrific ways of creating. Katherine Believe that dance was much more dance just movements, one must know that roots of those movements to truly express the
In the dance world a staggering number of choreographers have made a lasting impact on the way dance is seen to its audience. Alonzo King’s exceptional oeuvre of work includes him in this great history of significant choreographers. He not only created the link between modern and ballet in the twentieth century, but he bridged the ...
Katherine Dunham led a rich and full life not only as a dancer, but as someone who studied the people she loved, wrote extensively, and stood for causes that meant so much to her. Her legacy lives on not only in the great anthropological studies she did or the important political and social stances she took, but in the modern dance of today. Modern dance, or dance in general for that matter, wouldn’t be what it is today without her studies and influence.
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
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.
She was a very shy kid, so her mother enrolled her in dance lessons. Eleanor took ballet and acrobatic lessons. Surprisingly enough, she didn’t take tap lessons until a bit later in her life, around the mid-1920’s.
The fine art of modern dance is like many other fields in that it is based on the actions and deeds of those who were pioneers in the field. These pioneers helped to mold modern dance into what it is today. Of the many people who are partially responsible for this accomplishment is Isadora Duncan. Duncan, often referred to as the “mother of modern dance,” inspired many other dancers to the extent that the art of dance would not be the same today without her many contributions.
Ramsay, B. (2000). Dance theory, sociology, and aesthetics. Dance Research Journal, 32(1), 125-131. Retrieved from http://www.jstor.org/stable/1478286
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.
Jonas, Gerald. Dancing: The Pleasure, Power, and Art of Movement. New York: Abrams, 1992. Print.
At the end of the 19th century, ballet was the most prominent form of dance. However, to Isadora Duncan, "ballet was the old order that needed to be overthrown, an embodied symbol of all that was wrong with oversymbolized 19th century living" (Daly 26). Duncan believed that the over-technical, over-standardization of ballet was not what dance should be about. Her vision of dance was one of emotions, ideas, social betterment, and the complete involvement of the body, mind, and soul (26). With these ideas in mind, she began to create a new form of dance; what she referred to as the "new dance" (23), and what is now known as modern dance. In creating this new dance, she was inspired by composers such as Beethoven, Nietzsche, and Wagner, writers like Walt Whitman, scientists Darwin and Haeckel, her Irish grandmother, and ancient Greek culture, as well as the spirit of America and its people (Duncan 48, 54). It was a combination of these influences that helped her to create the most expressive, soulful dance known today.