Preview

Michael Klein

Satisfactory Essays
Open Document
Open Document
815 Words
Grammar
Grammar
Plagiarism
Plagiarism
Writing
Writing
Score
Score
Michael Klein
DANC 500 Heather White Hagar
Graduate Seminar
Instructor, Cari Coble – ccoble@ju.edu
Summer II Term 2013

A Personal Reflection of Guest Artist Michael Kliën
I am a choreographer… dance is my medium
Michael Klien is more than a choreographer; he is a dance radical, dance philosopher, and keeper of the light for future dance generations. Through his liberal methodology, evolution and conservatism are materializing. He observes the world in broad terms, choosing to search out interconnectivity.

Patterns are everywhere. Patterns are flexible and fluid constellations, appearing and disappearing, crystallizing and dissolving, being born and dying. They are an ongoing dance of creation and de-creation in the world where we have our being, enabling our very own subtle frame of flight, our living. In this dance lies a world full of interaction, relationships, constellations, dependencies, arrangements and ecologies.

Michael began our weeklong journey by introducing his philosophy of patterns, frameworks, and social arrangements within our society. He feels that artists are used by the system to beautify. He wants to find ways to create a counter culture, where dance is cultivated from the inside out. Validity of dance in the art world is of utmost importance.
Michael offers common ground for choreographers. The dance space is no longer studio space but instead an excavation site. In a communal setting, choreographers dig to find movement from the inner self. Use all of your superpowers when digging. Strategies are given and we are asked to dig in all directions, to listen to ourselves and to change anything we need to be comfortable. We may move as much as we want, when we want or not move at all. Personally, I thrive in this type of environment. Without any consideration, I have created a similar type of workspace. In this clearing, the choreographer can see and hear again. To explore our space, Michael asks us to smell the ground. We are

You May Also Find These Documents Helpful

  • Powerful Essays

    Graeme Murphy, past artistic director of the Sydney Dance Company is known to be Australia’s greatest and most productive choreographer, of all time. Through the 30 years of being artistic director, Murphy has created outstanding pieces and inspired choreographers around the world to follow his footsteps into the world of dance. His piece Synergy by Synergy, that is a masterpiece for man, muscle and machine inspired by authority and percussion.…

    • 1401 Words
    • 6 Pages
    Powerful Essays
  • Good Essays

    It is obvious that Katherine Dunham transformed American dance in 1930’s. By studying the foundation and roots of black dance and rituals, she was able to transform them into artistic pieces of choreography. She introduced the use of both ethnic and folk dance and is a prominent founder of the anthropological dance movement. At that time, dance was heavily influenced by Europe, but Dunham was able to create an impact in the dance world by bringing Caribbean and African…

    • 598 Words
    • 3 Pages
    Good Essays
  • Good Essays

    In 2011, Canada’s Sun News Network corresponded a live interview with Margie Gillis. Gillis is a interpretive dancer and choreographer whose career spans for forty years. During the interview, financial conversations among Gillis and the journalist consists of, how the grants received by Gillis are used, who awards the grants, and why funding is needed. Also, topics of dance as an art form and dancer’s salaries were discussed. Throughout the interview, I saw some aspects of my own interpretations that were interesting to discover and bring into light.…

    • 930 Words
    • 4 Pages
    Good Essays
  • Satisfactory Essays

    Bruce was asked why a choreographer might include human rights themes in his work, particularly as there is a view that the arts should only be concerned with creating beauty. He replied that, for himself, social and political themes emerge naturally as a reflection of his own concerns, although his aim is always firstly to create a piece of dance, rather than to make a statement. Nevertheless, he does not see a conflict between creating interesting movement and tackling difficult issues. He believes that there is much beauty in Ghost Dances and similar works, just as in the First World War poems of Wilfred Owen. Turning to propaganda pieces, such as the work of filmmaker Leni Riefenstahl for the Nazis, he explained that a touchstone is whether there is some underlying truth behind the piece, inspired by a desire to promote civilised behaviour, rather than just an attempt to shape opinion.…

    • 303 Words
    • 2 Pages
    Satisfactory Essays
  • Powerful Essays

    Throughout the late 1920 's an important theatrical movement developed: The Workers ' Theatre Movement. In the end, it diminished around the middle of the 1930 's, and one of the developments aiding the decline of the Workers ' Theatre Movement, was the creation of the Federal Theatre Project. The Federal Theatre Project was the largest and most motivated effort mounted by the Federal Government to organize and produce theater events. Once the government took on the duty of putting people to work, it was able to consider the movement. The Federal Theatre Project 's purpose was "to provide relief work for theatrical artists that utilized their talents and to make their work widely available to ordinary Americans, thus democratizing high culture." (www.answers.com) Furthermore the FTP tried to present theatre that was relevant socially, politically, and had popular prices, such as free shows. The majority of its famous productions, although not all of them, came out of New York City. New York had many units, such as, a classical unit, Negro unit, units performing vaudeville, children 's plays, puppet shows, caravan productions, and the new plays unit. The Federal Theatre Project was "the only fully government-sponsored theatre ever in the United States". (Witham 16)…

    • 1169 Words
    • 5 Pages
    Powerful Essays
  • Good Essays

    The question of what is and is not discussed in academia has been intensely debated for many years. I specifically want to understand why there exists an extraordinary lack of academic discourse regarding gender-nonconforming bodies in dance. To begin that discussion, it is imperative to examine the exclusion of queer and dance knowledge that leads to the omission of queer dance from academic discourse. When the reason behind these exclusions are understood, it becomes easier to see the roots of the gender-nonconforming bodies that are excluded from the academic dance-world.…

    • 653 Words
    • 3 Pages
    Good Essays
  • Powerful Essays

    Dance Choreography

    • 1487 Words
    • 6 Pages

    Although most scholars simply define it as the art of designing and arranging dance, American ballet icon George Balanchine distinguished dance choreography as “an expression of time and space, using the control of movement and gesture to communicate,” (Anderson 5). This definition puts emphasis on the rigid structure and body control required to successfully produce a piece of choreography, an idea not uncommon in the ballet community (Conoley-Paladino). Like Balanchine, modern dance icon Merce Cunningham defined dance choreography as “an art in space and time.” However, in contrast, he stated that “the object of the dancer is to obliterate” that art, drawing on the importance of…

    • 1487 Words
    • 6 Pages
    Powerful Essays
  • Better Essays

    One of the defining elements of postmodern dance making is the integration of many mediums into an all-encompassing performance, rather than dance being limited to one specific genre or technique; the rule is, there are no rules. World-renowned choreographer Pina Bausch was a pioneer of this medium, and popularized the hybridization of movement and dramaturgy, commonly referred to as “dance theater.” As a prominent figure in the Postmodern Dance Era, Bausch’s presence is an underlying influence in many current works. When watching works by contemporary innovators such as the young company Wang Ramirez, the creative decision making, seamless partner work, and atypical movement impulses can be traced directly back to Bausch.…

    • 1325 Words
    • 6 Pages
    Better Essays
  • Good Essays

    Jiri Kylian’s dances are eclectic, inspired by folk, aboriginal, neo-classical and romantic classical dance, creating a variety of movements. Jiri Kylian’s inspiration from a number of sources results in his dances using dynamics, space and time in a unique way. This style of choreography is carried through all the ‘black and white’ ballets. Sharp percussive movements are followed by smooth elegant lines, which soon morph into a series of twitches, spasms, jerks and vibratory movements. This contrast in movement qualities, creates dynamics which is prominent to Kylian’s choreography. ‘Falling angels’ and ‘No more play’ both…

    • 797 Words
    • 4 Pages
    Good Essays
  • Powerful Essays

    Mats Ek

    • 2355 Words
    • 10 Pages

    In this essay I will present one of the greatest choreographers of the 20th century, Mats Ek. I will describe his specific stylistic characteristics, themes and dance vocabulary bringing as examples some of his most important re-adapted works such as Giselle, Swan Lake and Sleeping Beauty.…

    • 2355 Words
    • 10 Pages
    Powerful Essays
  • Powerful Essays

    "The model for traditional dance pedagogy seems to be the authoritarian father in an individualistic world of every man for himself." (Stinson Pg 27)…

    • 2204 Words
    • 9 Pages
    Powerful Essays
  • Good Essays

    As dance, of all styles, becomes prevalent, an increasing number of people choose to dance for their profession and career. They devotedly train and practice dancing in order to show audiences the best performances. Audiences, as a result, learn to appreciate dance performances as pieces of art works. They become more willing to see how dancers use their bodies to express a special feeling or to tell a distinctive story aesthetically and exquisitely. Nevertheless, they seem to forget about a group of people who have physical defects and cannot dance freely as they wish. Amongst this group, some lost their limbs, whereas the others lost their sense of hearing and sight. Many of them, however, have one thing in common despite their different disabilities, that is, they love to dance as much as the able-bodied. Therefore, several dance companies have stood out to support these disabled dancers and offer them the opportunity for dancing on the stage. Amongst these companies, Candoco Dance Company, consisting of disabled and able-bodied dancers, has the most impact on erasing…

    • 912 Words
    • 4 Pages
    Good Essays
  • Good Essays

    Creativity is inspiration. Recognized international choreographer through history have been inspired by books, paintings, thoughts, objects or issues. For example, in all improvisation exercises people need an inspiration. Therefore a point to support their movement and the quality of dance. In my experience, inspiration has been my first tool to draw forth my personal body movement. I have created numerous choreographies based on real histories about themes that the spectator can identify with. “Challenge,” my last production, interpreted by young dancers, was about how black and white colors divide two…

    • 605 Words
    • 3 Pages
    Good Essays
  • Good Essays

    Mats Ek

    • 632 Words
    • 3 Pages

    Mats Ek is legendary Swedish choreographer who's work is always been outstanding, surprising, extremely emotional and with brilliant choreographic solutions, technique and genial simplicity. He is not only choreographer, but also intelligent psychologist who makes his story very strong and nobody can stay unmoved. His fantasy doesn't have borders, he doesn't repeat, there are always something new some fantastic genial movements what makes his style so unique so it's not possible to mingle him with other choreographers.His work is truly delight for dancelover. Thats why I choose to write about him , because he is my inspiration and I want to read more and study his way of thinking and working. For to discover this special artist we start with his life path from beginning. He was born in Malmö in 1945, the son of the Royal Dramatic Theatre actor Anders Ek (one of Ingmar Bergman’s favourite actors) and famous choreographer, founder of Cullberg Ballet Birgit Cullberg. His parents were giving him perfect environment to develop his talents, although as a kid he didn't feel attraction to dance art, at age of eight he danced with his twin sister in their mother’s ballet Medea, but this was his only (childhood) experience of the medium. As a young man, Ek initially trained in dance with Lilian Karina and Donya Feuer, but shifted to drama, which he studied at the Marieborg Folks College. He began his career in the theatre, directing the Marionett Theatre and the Royal Dramatic Theatre (Stockholm) between 1966 and 1973. In-between he decided to go back to dance, joining the Cullberg Ballet in 1972 where he learned choreography from Maurice Béjart and Jirí Kylián. In 1975 he began an engagement as a dancer at Ballett der Deutschen Oper am Rhein in Düsseldorf. He created his first choreography for the Cullberg Ballet in 1976, entitled The Officer’s Servant. He also produces Soweto and St. George and the Dragon, in which he dances the main role.In 1978 is Ek’s major…

    • 632 Words
    • 3 Pages
    Good Essays
  • Good Essays

    He approaches choreography in context of both his dancers and musicians, in order to achieve a marriage between text, music, and movement…

    • 833 Words
    • 4 Pages
    Good Essays

Related Topics