The collaborative dance piece is a creative fusion of Stephen Page and Bernadette Walong’s traditional and contemporary movements. The traditional Aboriginal movements are overtly shown throughout the piece and are evident when the women appear to be dancing with a broken leg. This movement is shown where the foot is flexed and the knee is bent representing the animalistic nature of Aboriginal culture. Throughout the section ‘Black’ the symbolism of heroism and authority of the male spirit are represented by the instinctive hunting style of the man and the movement of wiping of ochres across the forehead. Additionally the contemporary technique is represented in the section ‘Red’ by the use of parallel feet and contractions and release, used throughout the entire piece of Ochres. To this day, the unique fusion of…
During his time owning Limón Dance Company, José Limón choreographed some of the most recognisable masterpieces of the time, including his signature piece The Moor’s Pavane (1949) and Ode to the Dance (1954). The Limón Dance Company soon became a ‘landmark of American Dance’ and their dances were considered modern dance…
In “‘Tarantella’ from August Bournonville’s Napoli” the graceful movements of the dancers portrayed the story of people courting their lovers. The dancers extended their legs with pointed toes, progressing forward with every step; they landed in a fast, fluid motion. The partners engaged in old fashioned partner dances, circling around each other. They separated,…
What He Called Himself: Issues of identity in Early Dances Gay Morris is a dance and art critic, historian, and an author of many articles and books. “What He Called Himself: Issues of identity in Early Dances by Bill T. Jones” is an excerpt from one of her many books called A Game for Dancers: Performing Modernism in the Postwar Years, 1945-1960. This specific book previously won the de la Torre Bueno Prize by the Society of Dance History Scholars. Morris also has contributed to many dance journals as well as edited other dance writings. Morris’ A Game for Dancers: Performing Modernism in the Postwar Years, 1945-1960 was published in 2006.…
The search for an individual’s desired lifestyle is a journey that will lead to many lessons learned, changes made, and experiences lived. Christopher McCandless was a privileged high school graduate who believed an education was a 20th Century fad and not something to aspire to, while Adam Sheppard was an ambitious…
The ‘Waratah Dance Championships’ is also another place used by Luhrmann to highlight the perceptions of belonging. The use of costumes by Luhrmann reflects the artificial nature of ballroom dancing. All the competitors are dressed in bright, extravagant costumes making them stand out to the crowd. This accentuates that the group…
The election is coming up do you know who you side with? I side with Evan McMullin. McMullin was born in Utah on April 2, 1976. He is currently 40 years old. McMullin graduated from Auburn high school. Then he went on to get a bachelors in law and diplomacy at Brigham Young University. Then McMullin went on to get a Master in Business Administration from The Wharton School at the University of Pennsylvania. He also spent time as a Mormon Missionary (“About Evan McMullin”). McMullin also studied for a year in Israel (“Evan McMullin, independent Presidential”).…
The aim of this paper is to research, analyse and assess available information regarding the Sunshine Coast Indigenous Gubbi Gubbi nation, in particular, the ease of access to information; the currency and scope of available information; and to develop a conclusion regarding the validity of examined resources.…
1.1.6 “Encoded in the form (the shapes and colors of the bodies, costumes, and props, the…
The first section of this paper sets out to investigate the movement shifting as the change of the way of body move. This section will determine the differences of technique and the essential of movement in ballet and contemporary dance as the symbol of body shifting by the theory of anthropology, in particular, through an in-depth study of the sense of touch, kinaesthesia and the essential of movement in ballet and contemporary dance to further explain the…
One day while I was dancing to a record in my living room, my mother’s friend who was a Spanish dancer noticed me and encouraged me to start taking dance lessons. So I began taking lessons from a prestigious dancer, Paco Casino who was related to Rita Hayworth. Before I knew it, dancing was changing my life in a blink of an eye and I thoroughly enjoyed every minute of it. As I was turning nine, my phase as a Spanish dancer soon took a shift to staring in dramatic radio shows.…
In most dance forms and styles, references are made from historical dances that people may not even be aware of. Dancing is influenced from all sorts of cultures, based on historical events or the region these countries belong to. Through slavery American dance was influenced by African dance, and in turn the African slaves were influenced by the dances already performed in this country. This can be seen in many dance forms created and altered in the United States. One company in particular that draws many references to the African esthetics of dance, as well as historical events is The Dance Theatre of Harlem.…
Thankfully, we all moved to the United States of American because the musical inclination of our family’s history had tremendously evolved throughout the years. Each generation had a very particular interest in music and dancing that defined each age group. Evidently, the Native Filipinos, Spaniards, Europeans, and Americans had great influence in our…
As the performance commences, an immense yellow sun captures the audience, whilst the rest of the stage remains unlit, revealing the silhouettes of the still dancers, together in the formation of a V shape. As the performance gradually unravels, the dancers rapidly shoot up directly into space, standing with straight arms reaching above their heads, whilst dust is thrown and released into the air. The bodies begin to move in a dramatic however sudden and sharp manner across the stage. They have separated into two groups dancing in opposition and are somewhat symmetrical to each other. Assembled again, the dancers perform direct and strong hand and arm gestures to assist them across the stage, whilst the continuity of what sounds like a ‘pulsating heartbeat’ flows in the background. The movement becomes in more intensity, angular and linear suggesting that this is a dramatic, contemporary/lyrical styled piece. We can potentially recognise a few of Laban’s effort actions throughout the performance, as there are several slashing, gliding and thrusting body…
"The model for traditional dance pedagogy seems to be the authoritarian father in an individualistic world of every man for himself." (Stinson Pg 27)…