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Analysis of dance
Analysis of a dance performance
Analysis of dance
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Martha Graham is an American dancer and choreographer who is famous for embodying lamentation in her work. Lamentation means to express grief or sorrow passionately and that is what Graham expressed in her dances. She showed it very effectively through her facial expressions, costume and movement.
Graham embodies grief by using facial expression that look as if she is extremely upset about something. She doesn’t show any signs of happiness, the whole time her facial expressions have a sense of negativity and sadness. Throughout the video she makes you feel sympathetic and sorrowful towards her. At one point in the video she scrunches up her face while frowning and looking up with her hands together as if she is begging to someone or begging for something. In the beginning her face is still and neutral then it slowly starts to express more grief and look more miserable, symbolizing that as time goes on many people become more depressed about the unhappy feeling they feel. They start to feel guilty at some stages so they might beg for the pain of being so depressed to go away. A lot of people
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Her movements a very angular and repeated. She continuously rocked from side to side and had very sudden, sporadic movements. Grief isn’t an easy thing to experience so making her movements like that had a purpose. The movements play a big role in making people feel sadness and grief. The movements are very unusual and abnormal, people don’t think of Lamentation when they hear the word “dance”, dance usually flows beautifully but this dance doesn’t. The angular shapes create an uncomfortable feeling just like grief does. At one point in the dance she has her hands pressed together as she looks up as if she is begging, then she suddenly drops her weight towards the ground just an inch as if she is weak and can’t hold herself up. The feeling you get when this happens makes you feel the grief she
Upon the dancer’s departure, “the dancer, who though older was still languid and full of grace, reached out and tapped me with two fingers on the cheek, turned, and walked away” (185). Krauss uses this odd gesture by the dancer helps reinforce the strange quirks of the dancer and the author’s thought of the gesture containing “something condescending in it, even meant to humiliate” (185). The use of the words, “languid and full of grace” continues to strengthen the narrator’s fascination in the dancers beauty but also how the narrator feels uncomfortable with her interactions with the dancer. After the narrator’s encounter with the dancer, she walks by a crowded park “until a cry rang out, pained and terrified, an agonizing child’s cry that tore into[her] as if it were an appeal to [her] alone” (186). The author’s use of the painful and terrifying cry reintroduces the theme of a screaming child from the first passage which reinforces the author’s incapability to manager her guilt. The use of the word “agonizing” in this context suggests the overwhelming amount of guilt the author contains but in form as a youthful shrilling scream. Towards the end of the short story, the agonizing
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
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
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
She starts by using words like “lost, sunk” which shows the lack of understanding as she looks towards Tinker Creek. All of a sudden, she sees what looks “like a Martian spaceship”. She uses simile to compare what she sees as otherworldly or magical because a Martian spaceship is not from this world. She describes that “it flashed borrowed light like a propeller”. So as the object is coming down, it brings with it “light” or a revelation. Then she goes on to portray it as “pirouetting and twirling”, words which are often associated with the dance, ballet and is
Her goal was to move, not dance. She challenged the notions of what a quote on quote “female dancer” was and could do. Dance to her was an exploration, a celebration of life, and religious calling that required an absolute devotion (pg. 11, Freedman). She considered her dancers “acrobats of God”. An example of a dance which symbolized the “essentialized” body was Martha Graham’s Lamentation, choreographed in 1930, which served as an expression of what person’s grief, with Graham as the solo dancer in the piece. The costume, a tube-like stretchy piece of fabric, only allowed her face, hands, and feet to be seen, and, as Graham stated, “The garment that is worn is just a tube of material, but it is as though you were stretching inside your own skin.” In the beginning of the piece, she started out by sitting on a bench with her legs wide spread and arms held tight. Her head was going back and forth as if she was feeling sadness or maybe replaying thoughts in her head. By the way she was holding her hands so tight and close to her body, it symbolized the deep pain within her––the essence of her piece was grief, and she danced it from inside out. Russel Freedman, the author of Martha Graham A Dancers Life, stated, “She did not dance about grief, but sought “the thing itself”- the very embodiment of grief (p. 61).” Graham, dancing with strength and power, was encapsulated with her movement and was completely surrendered
Tim O’ Brien is famous for his novel The Things They Carried. Tim talks about his experiences in the Vietnam War by telling short war stories. The women Martha, Mary Anne, and Linda are discussed in this story, and all have very important roles and represent different pieces.
They both where famous for the concept of dancing through the depression to life the spirits of the people in a psychological sense. As well as her own attributes with in the style and movement when performing her artistry. With Doris Humphreys personal love of teaching dance she was one of the first to creatively write the concrete fully articulated chorographic method of modern dance-makers, Humphrey’s 1958 book, The Art of Making Dances, was the first book of its kind and remains an important document for choreographers and dancers today (University of
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
In 1930 Martha Graham formed her own dance company dismissing the classical form of modern dance and and replaced it with sharp, angular and sexually charged aesthetics. Her inspiration usually came from greek mythology, history, art or social commentary. (Martha Graham’s Legacy in Modern Dance History, 2011) Graham’s philosophy was to reveal the mans inner core, "I wanted to begin," she said, "not with characters or ideas but with movement…. I wanted significant movement. I did not want it to be beautiful or fluid. I wanted it to be fraught with inner meaning, with excitement and surge.” (Martha Graham, n.d.).Martha Graham uses unique and symbolic contemporary to manipulate elements of the contemporary dance. Through her technique it helps to communicate the the mans inner core, one being Jocosta in Night Journey. Night Journey choreographed by Martha Graham in 1894 explores and portrays the strength and struggles of female characters. In Night Journey rather than telling the story of Oedipus, the main male character, as written by Sophocles, Graham focused on the female perspective of Jocasta, mother, Queen and wife of Oedipus.(Dodge, 2007). Graham focuses on Jocasta the main protagonist who finds out that she has married her son, Oedipus. The dance begins at the moment of Jocasta’s suicide as she stand motionless on stage holding a thin rope between her hands. Night Journey becomes even more complex following her memories that haunt her whig inevitably lead her to her death. Martha Graham has skilfully choreographed symbolic representations and motifs to convey Jocasta's emotions of desperation, grief, pain, love and loss while also conveying the impending doom that is to become of Jocasta. She also ...
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.
Martha Graham is one of the most well-known pioneers of modern dance. Modern dance wouldn't be what it is today without her and her teachings. She had a very different approach to movement and dance. “I wanted to begin not with characters or ideas, but with movements.... I wanted significant movement. I did not want it to be beautiful or fluid. I wanted it to be fraught with inner meaning, with excitement and surge.”
Martha Graham was born May 11, 1894 in Allegheny City, Pennsylvania. Her father George Graham was an "alienist", a practitioner of an early form of psychiatry. He was a third generation American of Irish descent. Mother Jane Beers was second generation American of Irish and Scots-Irish descent. Martha was seen as one of the most influential American dancers and choreographers of her time and of the modern day. She passed away April 1, 1991 in New York.
The man feels abandoned in a corner and he drinks for the sadness he feels. While drinking, he tells himself I do not understand why you left me, if I know she loved me, so if you ever regret your decision he will be waiting for you. Basically, the man feels broken emotionally because the women he loved, left him for no reason. This song to me is not a dancing song, however the song is more about remembering your ex-wife, ex-girlfriend or ex husband and ex-boyfriend. For me personally, this song reminds me of drinking, the title literally means bitter shots of liquor. The way the song shares the hurt the man feels by the women that left him. I could almost picture a man sitting at a bar drinking to his ex saying, “I’m drinking because of you, you caused this”. I could picture that scene in my head because I have seen my friends in Mexico and my cousins in Mexico do
The song accomplishes such a thing by taking the approach of a man who knows he is dying, and who takes a nice approach to it. Before the man dies and gets to experience the beauty of heaven, he explains to his loved ones that he doesn't want them to cry for him when he is gone but rather be happy for him. Images of different seasons of the year to explain the process of growing older. Images that depict the fading of light in a persons soul transforming into darkness. Images that the reader can perceive as vivid actions.