The Russian ballet, The Firebird, was first performed in 1910 by the Ballets Russes company. The music was composed by Igor Stravinsky, and the piece was choreographed by Michel Fokine. The performers in the video from class are Exaterina Kondaurove and Ilya Kuzentsov. My first reaction to this piece regards the tempo of the music and difficulty in counting the music. This particular song is one that you learn to dance to mostly based off the cues in the music. Since this particular song is difficult to count, the performer should be familiar with the music, so they can memorize the music cues. The first character shown in the clip is the bird, and her choreography represented similar movements to that of an actual bird. Her arms gracefully extended several times like the wings of a bird, and her legs moved rapidly mimicking the jumpy, quick nature of a birds walk. Her facings and points of focus switched several times between devant, derrière, and à la seconde. Her choreography also included repetition of 8-count sequences. …show more content…
One of the first things the male did was hold the woman’s waist and move her body while she held still. He then proceeded to lift her while she jumped across the stage. To the audience it looked as though the male was doing all the work by moving her body and lifting her up, but the woman had to make sure she kept her core tight to maintain balance and bends her knees to get up higher in the air for the jump. While her character, the bird, continued at attempting to escape from the male character, he closely followed behind her keeping her close by so she would not be able to escape until she helped
Each movement of the work corresponds accordingly to a different country in Europe at the time known for a particular style of dance. The Intrada would be the opening of the program, followed by the French Basse Dance, the English Pavane, the Italian Saltarello, the Spanish Sarabande, and finally concluding with the German Allemande. Even though the work was performed by a modern ensemble, where many instruments had not even been invented when music of this type was originally composed, the instrumentation of the brass section versus the woodwind section and the artistry of the musicians performing are able to recreate a much older style. Overall, the piece Courtly Airs and Dances, is an emulation of a style dating back to the Renaissance period of music, with each movement reflecting a particular style of dance characteristic to the culture of individual European
In many different scenes, dances were created to capture how each character felt in the scene that they were in. For example, when the crow was being bullied while he was tied up on the cross, Fatima created a dance to show him finding his inner courage and no longer having fear of the birds. I loved when Dorothy and Scarecrow sang walking down the yellow brick road because the dance gave the sensibility of people uniquely living the spirit of expression. The dance looked fun and vibrant like many of the jazz dances we see today. One of the styles of jazz that were engaged in the film was bebop. Bebop is characterized during the 1940s as having a fast tempo and improvisation based on the structures of a situation that inspired the movement. I noticed that bebop was displayed well when Ne-Yo danced because of its complex technique, fast tempo, and improvisation while singing at the same time. This style of jazz was suitable for the presentation of the film because it kept me as an audience engaged in every dance that was choreographed. With the tempo being very fast, it allowed for the movement to be big and easily
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
There are these two video examples representative of their respective ballet eras are twenty. A presentation of dance, Contemporary Ballet. The show still had basics skill and the traditional dances are also included. These two video still have basics move like classical ballet. The dancer begins in a Classical Ballet 5th position of the feet, but her arms, instead of a soft, rounded shape, are dangling limply at her side like we studied in this chapter;
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
In, “I Ain’t Scared of You Motherfuckers,” Bernie Mac begins the routine walking onto stage with the DJ playing an old Hip-Hop music beat that Mac dances in to, thrusting his hips, lifting his legs, and bobbing his head to the catchy beat. The beat is so intriguing that the audience members can be seen moving along to its sounds and I found myself moving along with Mac’s movements in addition. Righto off the bat, Mac has the attention of both myself that the audience present in the video because he has intrigued us with happy rhythms which in turn prepare us ...
In the 20th century, ballet started to experiment and movement. It was due to its Russian
Fantasia sees the world as very colorful place where everything has a purpose. The evidence for this is in their interpretive animations in the series of music pieced together to create the nutcracker suite. All the animations in the song are utilized to their max potential. For example, the seaweed in the Arabian dance is used as a curtain of sorts to the fishes cave.
She has the desire, the want, to fly away and leave the cage, but cannot. Mademoiselle warns Edna, “The bird that would soar above the level of tradition and prejudice must have strong wings. It is a sad spectacle to see the weaklings bruised, exhausted, fluttering back to earth." (82) Mademoiselle is telling Edna that her leaving could result in failure. Once more, Edna wants to be that bird to get away from everyone, to fly away from the society she lives in.... ...
In January 1889, Wavoka, a Paiute Indian, had a revelation during a total eclipse of the sun. It was the genesis of a religious movement that would become known as the Ghost Dance. It was this dance that the Indians believed would reunite them with friends and relatives in the ghost world. The legend states that after prayer and ceremony, the earth would shatter and let forth a great flood that would drown all the whites and enemy Indians, leaving the earth untouched and as it was before the settlers came to America. The religion prophesied the peaceful end of the westward expansion of whites and a return of the land to the Native Americans.
All Indians must dance, everywhere, keep on dancing. Pretty soon in next spring Great Spirit come. He bring back all game of every kind…all dead Indians come back and live again. They all be strong just like young men, be young again. Old blind Indian see again and get young and have fine time. When Great Spirit comes this way, than all the Indians go to mountains, high up away from whites. Whites can't hurt Indians then. Then while Indians way up high, big flood like water and all white people die, get drowned! After that, water go way and then nobody but Indians everywhere and game all kinds thick… (Wovoka, The Paiute Messiah qtd. In Brown 416).
D”. This use of sound is also seen in pantomime 2 where he asks the
In the beginning, the dancers start this arrangement by slowly sitting down, hunched over in their chairs and then hurl their upper bodies into the air, only to gradually sit back down. After a few moments, the dancers suddenly wind their arms off to the right side and hastily throw them to the other side and then repeat the steps they did before. Throughout the piece, they add on to the sequence and eventually go on to reverse it before they finally break free at the end.
Alex Karigan Farrior choreographed, filmed, and edited the material for this piece. He also was responsible for the costume design and execution as well as the lighting. A surprising aspect of this piece is that it was a video. The music was composed by Bert Kaempfert and his Orchestra, Ornella Vanoni, Rosemary Clooney, Piero Umiliani, Édith Piaf and Louis Armstrong. The mood of this piece started out almost comical with the expressions of the faces and the use of frames to use three different frames and making one face from three persons smaller section of his or her face. The overall mood seemed energetic and One part that I enjoyed was when it was a frame of one person’s face and the other two people would be touching the face. This piece was unlike anything I had seen before at a dance concert. Eventually the audience is able to see bigger parts or even the full body of each dancer performing steps and the directed choreography. The technique from these the parts when dancing was more visible seemed very good. The technique and execution of the choreography was hard to notice due to the transitions between multiple frames and I thought that the editing of the video was genius and really made the audience pay attention to what was going on all over the screen. Even though it was a video that was spliced and edit until the final product was achieved, it was still a very interesting and powerful
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.