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Critical analysis contemporary dance
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My favorite dance on this episode was the contemporary routine performed by stage dancers Derek and Alexia and street dancer Jaja. The dance, as choreographer Stacey Tookey explained, explored the many facets and forms of bravery. This was done so by assigning a character to each dancer: Derek played a veteran, Jaja portrayed a woman leaving an abusive relationship, and Alexia took on the role of a single mother. I thoroughly enjoyed the dance because of the story it was trying to convey. Each dancer dove into character and brought out complex emotions through their movements. They connected profoundly with each of their roles, even though they were portraying people that they could not directly relate to. The performers had to put themselves in the shoes of their characters and depict things that they had never personally experienced themselves. Through their dynamic performance, they showed the strengths of the characters along with their weaknesses and that they were vulnerable yet bold. The dancers also bared soulful emotions in their faces to express their character. Each performer’s hard work and dedication to the piece came through. It was an honest performance, it was not showy or overly dramatic, it was simply raw and full of emotion and passion. Another reason I appreciated this …show more content…
The song, All Waters by Perfume Genius, is slow but intense, like the choreography. The elongated, stretching movements of the dancers reflected the melodies in the music. The music itself was sweeping and lengthy which gave the performers something to work off of. The piece would not have been the same without the accompanying music. The dance was also timed well with the music, none of the dancers’ actions seemed awkward or out of place; there was a harmony between the dance and the background music. The musicality of the dancers was completely in the foreground in this
The next work of the program, Courtly Airs and Dances, is a multi-movement work composed by Ron Nelson. The piece is split into six movements: Intrada, Basse Danse, Pavane, Saltarello, Sarabande, and Allemande. Each of these present distinct characteristics that separate it from each other movement, yet all are united by being a style of dance. The first movement, Intrada, presents a fanfare-like opening to the multi-movement work. The trumpets and brass section as a whole lead this, as they create a sense of nobility. The key is major and the tempo is one that could be described as allegretto—it is not a fast tempo, yet more brisk than an andante pace. The texture is homophonic, as there are different parts being performed by different
Hope, desperation, relief, and joy were the emotional aspects that I grasped onto during the piece. While there was not a literal story, it was relatable and real. The dance was visually beautiful, because the lighting, costumes, silk, and choreography worked together to create a picture of water. Yet, the music and idea behind the dance gave the intense and emotional aspect. Each of these elements worked together to create a piece that was mesmerizing and light
Feelings can twist reality in the most peculiar ways. Emotions push the mind to the most stunning conclusions, and stir within the soul the strangest storms. In fact, senses reach their peak in David Wagoner’s poetic work “The Best Slow Dancer”. In the poem, Wagoner brings out the height of sentiment through the eyes of a teenage boy at a school dance, who overcomes the teenage social hierarchy and his own fear to share in the longed-for dance with one special girl. All the while Wagoner takes his readers into depths of wafting dreaminess, romance, and intimacy they are projected through an unbroken flow of words uninterrupted by punctuation, rhythm, or strict lines.
They would dance contemporary to Holiday’s slower jazz songs, which were also her songs with the most serious stories told in them. Performing this style of dance helped to tell the story of hers songs. The dance truly helped to accentuate the message of the song “Strange Fruit.” This song describes the horrific lynchings that took place in the Jim Crow South. The contemporary choreography to this song showed the sadness and confusion that many people felt towards the lynchings. The dancers would come onto the stage in small groups of two or three, and I noticed many of them would do a slow, controlled grand battement followed by dropping their torsos to their feet when they brought their legs back down. They would then proceed to exit the stage, and be followed by the next group of dancers. When I watched this, I felt as though the dancers were showing the pain and despair that people felt before lynchings, and how they next lynching would happen soon
On May 29, 1913 when Diaghilev’s masterpiece debuted at the Theatre des Champs-Elysees, the response of the audience was overwhelming in their shock at the erotic and unconventional nature of the dance. What made this performance different then what anyone in Western Europe had ever seen before was its jarring and sexual nature. Rather than the music and choreography be one, flowing, coherent unit, it was instead rather choppy and dissonant which most likely caught the naive audience off guard. The nature of this ballet is described many times t...
Dancing with the Stars kicked off its 16th season on March 18th with a new all star cast of celebrity partners and just like the last 15 seasons there can only be one winner. Week by week partner teams were dismissed from the competition. The fresh face of a country singer, Kellie Pickler, and her professional partner, Derek Hough, preformed their way into the semi-finales with the approach to the quality of a dance and not quantity. All in a chance to entitle themselves with the coveted mirror ball trophy. Taped live in Beverly Blvd, Hollywood, CA, week 10’s performance show, before the final winner was announced, aired on May 20, 2013. The finale challenge was the judges choice of dance for each of the remaining contestants. Among those remanning teams, the duo of Kellie and Derek stunned in their judges choice of the quickstep to the track “Peppy and George”- Ludovic Bource. This performance was successful from the way the partners embodied the theme, to the costumes and lighting, and how the overall piece was performed best to the competitions guidelines for a quickstep. The main theme, consisting of the roaring 20’s, was consistently portrayed through out the dance.
Overall time helped demonstrated the masses’ movement unity as they moved with the time and the individual’s struggle as she moved contrary to the group’s time. The dance began with a lively Bach movement, which created a feeling of excitement as the mass of dancers moved with increasing speed. The short duration needed to complete movements, regularity of the music, and repetition of dance patterns of the group established their synchronization with time. In contrast, this allegro tempo created a nervous, rushed feeling for the individual woman, which established her contradiction to the groups perception of time. The sharp, sudden adagio tempo change in Part 2 created an uneasy mood, while establishing distrust and tension between the individual woman and the masses. The stillness of the mass dancers in response to the woman in Part 2 exemplified this segregation. As the tempo slowed in Part 4, an element of sadness and isolation was apparent in the individual woman’s movement. In contrast, this tempo change for the group created an intimacy between the individual heterosexual couples. This intimacy further isolated the individual women and demonstrated her movement against groups perception of time. The changes in tempo of music and dance movement complimented the third element of dance, dynamics or
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.
Irish dance is known all around the world for its music, style, and costumes. What once started as a cultural folkloric dance has now turned into a worldwide phenomenon because of many contextual factors on the three defining characteristics. In this paper I will attempt to show how the Gaelic League, An Coimisiún, and Riverdance influenced and changed the posture, movement, and appearance of the dance form. The story of Irish dance thus far is one of a constant changing dance that reflects the influences around it. Each of the changes in the style, costuming, and meaning of the dance has molded it into the globally accepted and loved dance form seen today.
In addition, the dance portrays a combination of operetta, musical hall and happenings. While watching the performance the viewer wonders where the rain comes from. This is a perfect portrayal of a natural happening outside the performance hall. The dancers are actually not confined within the studio as the outside world is transformed into a natural studio. The overall effect on the performance is a lively dance that keeps the audience glued to the last minute. In this regard, Bausch’s choreography is ‘life’ as she works on what moves the audience without largely concentrating on the movement of her dancer
Dance is a part of every culture. Whether it is the fire dances of the native Hawaiians, or the Tango from Spain, dance is a part of every culture. This event is not an event I would usually attend. I am not into art of any kind except music. At first, there were two reasons I went to this performance.
On the night of the DancePlus performance, I saw numerous little performances. There were six of them in total and the one I had most reactions and favors to is the last one of the first half, which is called Swampin. It was choreographed by John Evans with additional material by Oluwadamilare Ayoride, Jennifer Payan and surprisingly, the dancers. Usually what I would expect from a piece of dance performance is choreographers dominating the process of being creative on the grounds o f coming up dance moves. However, this time, it is nice to see how the dancer actually participating first hand in the creating process of the whole performance which would definitely benefit the quality of the dance, since the dancers would their own choreography
The Northern Territory is known for its culturally diverse population and some would say it is the ‘multicultural hub’ of Australia. With all of these cultures comes distinctive customs and traditions. Throughout history dance has been used to help people develop a sense of identity, the younger generations are also taught social patterns and values through the different dances. The significance of these traditional dances was to reinforce and celebrate cultural law and practices including the celebration of the passage from child to adulthood or spiritual worship. The predominantly Western culture in Australia often causes minority groups to struggle for recognition regarding their beliefs and traditions. This is parallel to the Australian dance industry, where many cultural dance groups feel they have to justify who they are and are often
“Dance, the art of precise, expressive, and graceful human movement, traditionally, but not necessarily, performed in accord with musical accompaniment. Dancing developed as a natural expression of united feeling and action.”
“A dream doesn’t become reality through magic; it takes sweat, determination and hard work.”- Colin Powell