This essay will analyse key features from Christopher Bruce’s Little Red Rooster (1991) using the framework created by Rudolph Laban (1897-1958). By using Laban’s method of exploring body, effort, shape and relationship of human movement there may be as Moore and Yamamoto suggest, the opportunity to gain a greater understanding of the meaning of the movement (58)
Little Red Rooster (1991) commences with a male dancer in an asymmetric and angular posture of stillness facing stage left. Through muscular tension, stillness and direct focus the impression is that of strength and control. The limbs are close to the torso, arms angled in opposition and one knee flexed; the front and back of the kinesphere are entered. The emphasis is on the vertical
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This is communicated with a bound and stiff walk appearing to be initiated distally from the head which isolates sagittally. When in fact the lower body initiates the sequential locomotion of the body along the sagittal axis and plane smoothly, dragging the rear leg behind with equal length strides. Arms and wrists remain angled in close proximity to the body giving the impression of wings.
The dancer who, like the rooster, asserts his dominance and presence over others, by standing centre stage with his body facing downstage, other performers who seem uninterested in the principal dancer, are in postures of stillness and are positioned upstage.Two of the performers are within each others kinesphere, making physical contact, their relaxed postures giving the impression of being at ease in this close proximity.
Once he is in a position of authority and has asserted his territory the characterisation of the rooster becomes more ostentatious, accelerating suddenly and becoming sharper. The control decreases with an inverted and flexed gesture of the leg, that traces the horizontal plane in a simultaneous and angular action. The arms remain in close proximity to the torso and also trace the horizontal plane. The movement initiates distally from the
In the piece the dancer is very distinctive and powerful in his movements. He often holds positions in an asymmetry stance which is a quality that comes from balancing ephebism. Ephebism is one of the five African aesthetics that applies vitality, power, flexibility, drive, and attack in its movements. The holding of the various positions requires great strength and demonstrates a stamina that is similar to the strength and stamina needed for the long hours that African dances are held for. Granted, the stamina and strength for African dances requires a much longer building period, however, training one’s body to hold and sustain an unnatural position is no small feat. In addition to this one characteristic of ephebism, the dancer’s arm movements throughout the piece adhere to an attack like jolting or sharp movement and further enhance the component of ephebism by creating the youthful movements that word ephebism correlates to. The flexibility in this dance piece is seen dramati...
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.
It is in gaining a sense of our identity that we find a place to belong. This is presented in Episode 4, Stand Up, of the television series Redfern Now, directed by Rachael Perkins.
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.
The dancers begin in unison in a large clump. They dance together with slow movements; reaching up with their arms straight and palms open. It is to be noted that when they stretch their arms up, they tilt their head and look up as well. Throughout the piece the dancers repeat this movement, which represents reaching and praying to God. The dancers are constantly reaching up, embodying their despair and their yearning for help. As the dance progresses, the dancers repeatedly break out of the clump in the center and do different movements and their own sequences. After this, they always go back to their clump and do synchronized movement. Their constant breaking away from the group symbolizes their continual want to be free, as well as their persistency. On the other hand, their constant going back to the group shows how African-Americans will always be joined together by their culture, prayer, and hardships. Additionally during the piece, multiple dancers will run up to another dancer and jump or hold onto them, and then they do a couple of movements together. This shows how they are reliant and dependent on each other, and how they need each other throughout their suffering. Lastly, Much of the movement in this section possesses the downward energy characteristic of African dance, which symbolizes a connection to the earth. The choices Ailey made choreographically communicates all
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).
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 ...
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 ...
Australian films are usually criticised for their poor cinematography, weak storyline and terrible stereotypical actors. However, this is not the case for the superb all age 2011 film entitled ‘Red Dog’. Based on the true Australian legend, Red Dog is loved by many Australians; he roamed the outback in search for his owner John. This emotional movie amazed the whole of Australia, finding his way into the hearts of everyone he meets. The film portrays a positive picture of Australia’s national identity as many of the landscapes and Australian spirit can still be found across Australia nowadays, which is why Red Dog should enter the ‘Cannes Film Festival’. The portrayal of the setting, characters and language have all played
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.
Jonas, Gerald. Dancing: The Pleasure, Power, and Art of Movement. New York: Abrams, 1992. Print.
In the beginning the dancers start out standing completely still and gradually sit down in a chair, with their heads facing down, which brings their upper bodies into a hunched over position. A few seconds later they quickly fling their upper bodies up into the air, taking them out of their seats, and then gently sit back down. When the dancers are on their chairs, their bodies tense up and with their heads facing down as if gravity and pressure weigh down the dancers, restricting them. The dancers free themselves as they break through confinement and jolt their bodies up out
Vaslov Nijinsky was the choreographer for this ballet. He was considered the greatest male dancer of the 20th century and his works were known for their controversy. In this ballet Nijinsky’s choreography far exceeded the limits of traditional ballet. And for the first time the audience was experiencing th...
With the encouragement of John Cage, a composer, Cunningham left Martha Graham?s Dance Company in 1945 to pursue a fulltime partnership with Cage. The two men would go on to have a very storied career. On the night of April 6, 1944, at the Humphrey Weidman Studio, Cunningham and Cage performed their first solo recital. In attendance that night was acclaimed dance critic, Edwin Denby. ?When he was actively reviewing, Edwin Denby was this country?s most respected critic of the dance?(Klosty 215). Cunningham?s first performance captured Denby from the very beginning with Cunningham?s amazing steps, runs, and knee bends and he described them as ?brilliant in lightness and speed.? Denby was also impressed by Cunningham?s gifts as a lyric dancer. Denby?s first review of Cunningham helped launch his career forward. Denby ended his review of Cunningham?s first solo performance by saying ?I have never seen a first solo recital that combined such taste, such technical finish, such originality of dance material, and so sure a manner of presentation.?