Tokumitsu confirms that employees can resist being controlled by companies because “doing what you love” (DWYL) goes directly against corporations (2). By “DWYL” it promotes employees to break away from the company and to do something that makes them happy. Although Tokumitsu says how great it is to “DWYL” she claims that there is a negative side that is destructive to others by saying “DWYL distracts us from the working conditions of others while validating our own choices and relieving us from obligations to all who labor, whether or not they love it” (2). This means that people who “DWYL” become only concerned with themselves being happy and do not care about the other workers who have terrible jobs. The mantra “DWYL” opposes both Hochschild’s and Davies’ views on what takes place within the workplace. Davies and Hochschild claim that employees have either accepted the “emotional labor” placed on them or simply will not show up to work. Neither Hochschild nor Davies have ever discussed whether employees are able to truly “enjoy” working unless management gives workers certain incentives. As a result Tokumitsus shares the views of Hochschild and Davies about how corporations are effecting employees’ emotions but has
“Go within everyday and find the inner strength so that the world will not blow your candle out” (A Quote by Katherine Dunham 1). Once one of the most successful dancers in both American and European theater, Katherine Dunham, a dancer, anthropologist,social activist,and educator, continues to inspire people throughout the world. Named America’s irreplaceable Dance Treasure in 2000. Dunham remains a name heard regularly in dance schools across the world (“Katherine Dunham Biography” 4). She is known for always trying to make a difference and in the process she has become of the world’s greatest humanitarians (Osumare 5). Katherine Dunham’s work in African American rights in the dance world and her creation of new styles of dance makes her an important figure in American dance History.
Maddie Ziegler, born on September 30, 2002 in Pittsburgh Pennsylvania. This amazing dancer started dancing at the ages of 2 and went to Abby Lee Dance Company at the age of four. Later on she made it on the T.V. show dance moms at the age of 8. She was dancing on the reality T.V. show from the years of 2011-2016 as a dancer and actress. A little after starting Dance Moms she got home schooled for her busy schedule.
When she was younger, it wasn’t hard for her to learn the new choreography.She was a natural dancer,but no matter how well of a dancer she was she knew that she could always improve her skills. She also became a local dancer and she performed at rodeos and county fair. One of instructor said “She didn't know learn the basics.” She needed to be taught the basics.
I have been dancing since the age of two. When asked about my career aspirations, there is no hesitation before saying “I want to be a dancer.” Being a dancer means putting all other distractions aside, and focusing on my craft. Currently, I dedicate over forty hours a week to dance, which is a schedule that requires sacrifice. When I am dancing, the rest of the world fades away, slipping out of my mind with relaxed importance. For that moment in time, I am completely free, wholly focused on my goals, letting me know dance is what I’m meant to do. With this realization comes a responsibility to myself and the work I have put into improving my craft thus far, and I know I must seek out the best opportunities for growth and continued learning.
" Feel all your worries leave your body, feel the emotions rush through your arms, and out your fingers." Its amazing how my dance instructor makes all of our dances have a meaning, and have all our worries go. She loves the Lord and teaches us about him. She also inspires many girls all over Ludington to be a caring and loving person to all. She lives in the moment and makes dance so much fun! Mrs. Letha is My Michigan Hero.
Imagine with me, a ballerina who dances in classical ballets with a professional company, and then “retires” to start a ballet school and mentor young dancers in order to give them training in the arts. She and her students are actively involved in serving children in inner cities and poor areas in America, as well as mission trips and providing children in impoverished nations the opportunity to experience dance themselves. This is my dream as a dancer; to not only experience the gift of dance with a professional ballet company, but to give others the chance to experience that gift for themselves. I have been training with Affirmation Ballet Performing Arts for seven years, and dance has grown into more than just a hobby that I enjoy. Dance is one of my most important passions and a way that I worship my Creator. This beautiful art form has become a dream that I hope to pursue for the rest of my life.
For this assignment, I watched an episode of Dance Moms, a Lifetime reality show about a dance team of young girls, their mothers, and their teacher. Earlier on in the program’s years, the show focused more on the life of a dancer, and the commitment the each dancer had to make to compete. However in the most recent episodes, such as the one I watched entitled “Another One Bits the Dust”—the 28th episode in season four, the focus seems to have shifted to more surface level cat fights between the adults. Once one is able to get to know the characters, the drama created from these altercations is absorbing and overpowering to the point where the “reality” part of the show seems overly influenced by the conducts of the show’s producers and directors. With the use of classic character roles, creative filming, and clever scene selections, the creators of Dance Moms tell a manipulated story of competitive dance and all its participants, and direct the way they all are perceived in order to keep the intended audience engaged, excited, and entertained with the show.
Katherine Dunham, an African American dancer from Chicago Illinois had a very successful dance career in American and European theatre in the 20th century. Dunham was a choreographer as well as a dancer. She directed her own dance company for many years before she died May 2006. Dunham was known as the “matriarch and queen mother of black dance” meaning that she was the “head” or “leader” of black dance. Her works and pieces all showed similarity and differences throughout the time in which they were produced. Most of her works were not solos but they were danced with her and her company in which she taught various classes based on her technique.
Secondly, Martha’s another strength was revolutionary choreographing skills. Martha Graham marked her peak in the 1930s when she was creating a unique American style of dance. She wanted to “explore some of the forces that have shaped American culture, expressing through dance what is was like to be an American and what America meant to her” (75). Her first piece, Frontier, was a huge success, and she lasted choreographing to the death. Afterwards, Martha created nearly fifty new dances during the 1930s. In addition, Erick Hawkins, the introduction of male dancers, joined Martha’s company in 1938, and gave a huge impact on both Martha’s dance style and personal life. Before Erick appeared in Martha’s life, there was a limitation on her work. However, Martha was able to “explore love, jealousy, ad sexual passion in her dances” (85) such as Every Soul Is a Circus, Letter to the World, and Punch and the Judy. Overall, Martha’s choreographing skills had created a revolution in 1930s.
I am Shanna Woods, a dancer, mother, life and college student, dance instructor and aspiring choreographer. I have dance before I could walk. I decided I wanted to dance after watching a video of Dance Theatre of Harlem’s Giselle in the 5th grade. At that time, I didn’t know becoming a dancer was a possible career. It was just something we all did in the community; shaking our non-hips, doing the tootsie roll, and whatever we saw on the music videos. I remember making up dances for my friends and forcing my cousins to learn routines for family reunions and other gatherings. You can say, I was always a choreographer at heart. I began serious training at Middle School of the Arts in West Palm Beach, FL. I also studied chorus. I became a dance major at Dreyfoos School of the Arts also in West Palm Beach, FL. Through Dreyfoos I was exposed to Graham with Jan Goetz, contemporary modern with Gina Buntz, ballet with Jeff Satinoff, as well as guest artists like Ben Vereen and Reginald Yates. I also trained at Southern Dance Theatre in Boynton Beach where I studied ballet, jazz, and gained my love for Bob Fosse through Dancer’s Edge Dance Company.
Jaspreana Tobias, a young girl born in the vibrant city of New Orleans, Louisiana, was a child who had grew up around music and rhythm and soul. Born to a family where the last person who was not from New Orleans was born two generations ahead of her, one could assume the rhythm was in her blood. Since she was little and could feel the music, the young Louisianan danced and did so with passion. Though her family loves music and all its counterparts, Jaspreana is the only dancer in the Tobias family tree. In high school, Jaspreana, a determined dancer, tried out for her school’s dance team. Unfortunately she did not make the cut. As any young woman would be, she was disappointed in herself; heart-broken actually. In her mind, she had a great chance at making the team, due to her skillful footwork and elegant grace as a dancer. In her own words, the result of her not making the team was “devastating” as it shook her confidence to the core. On that day, Jaspreana swore she would never try out for another dance team ever again. After months and months of sulking and great disappointment, her love and passion for the art of dancing returned. Not only had it returned, it returned with a new fire which burned deep in her soul. Dancing was her passion and being a professional dancer had been her dream since she could ever even two step to the sound of a simple beat. Jaspreana practiced and practiced. She would dance and think about dancing from the break of dawn until dusk. Finally
At times employees go to work each day knowing they have to complete the daily task of doing so. Some individuals may not like their current job or what occupation they currently hold for one reason or another. At times, it may not be the fact they may not like their job, but the working conditions, policies or even the people they make work with. Job satisfaction and organizational commitment are two of the most important roles people live with each and every day.
In the book GiG Americans Talk About Their Jobs, include 100’s of interviews of different people with different jobs that provide personal achievements, and goals that give these individuals the strive to work. These reasonings of why we should work point out much more than money being the outcome. Each individual interviewee has a different reason for why they work, what makes them strive to work, what makes their job’s worth going to each day. From selected interviews “Wal-Mart Greeter”, “Clutter Consultant”, “Lobbyist”, and “Orthopedic Surgeon” each represented different reasons of work;the four that stood out most to me included: Self-worth, appreciation from clients, political belief goals, and mental fulfillment.