Analysis Of Rudolf Laban's Theory Of Dance

Our lives are remembered by the tempo and rhythms in combinations to give a certain mood. Or as stated by Moore (1984), in life there are tempos and rhythms, within and without we are made up of life’s tempo and rhythm. As explained in class Laban/Bartenieff theories on movement and later refinements of language of movements give teachers, directors and actors a common language to not only describe certain movements but also give concrete ways to explore the way our bodies move to help express an actor’s actions and character. Working with teens that might not have total control of their ever-changing bodies this will be an outstanding way for them to experiment and not feel self-conscious about “dance”. Using the body to express oneself or a character has always been on my short list of first things to teach. It seems so

Dance began as a form of communication and storytelling. Thousands of years ago dancing served as a way for people to tell a story and helped distract themselves of the hardships they faced. Furthermore, dance was a form of storytelling through communication, which then turned into using storytelling through dance as entertainment. According to the History World, many dancers during the BC time danced in front of only a few people to get a story across. That later turned into hundreds of thousands of people as dance was used by many. Today, dance is also a form of entertainment and storytelling, but in a modern sense. However, today perfection and technique are stressed more than they were in the past. Yet, the passion for dance has not changed. Many dancers who share this passion also have many of the same qualities. Among a discourse community of trained dancers, one expects to find individuals who are healthy and active athletes, expect perfection from themselves through competition, and religiously attend dance performances.

The 18th century was an age of brilliant dancers, and both dancers and choreographer felt that dance should convey some meaning to the viewer, which inspired the evolution ballet d'action, which unfolded a story purely in terms of movement.

While watching the performance of the company, I notice how their choreography is displayed into action. The improvisation class that Robert Moses taught gives me an opportunity to really be engaged and focus on my habits to try to find an escape. Even though the Robert Moses Kin dance company is strictly a choreographic work, there are some improvisational components included in the performance, such as mirroring and the use of physical contact. By observing this performance, I am trying to base and look at it from an improvisational perspective.

I chose to write my essay on modern dance about Garth Fagan. I chose to write about him, because of how important he is to modern dance. I also chose him because if you are someone around my age or closer then you should know who he is through his works, you may just not know it. Garth fagan was born on May 3, 1940 in jamaica. Where he lives for most of his life. When it was time for Fagan to attend college he decided to come to the United States and study at Wayne State in Detroit, Michigan. HE graduated with a Bachelor’s in Arts, and upon his graduation he was setting out to be a psychologist.

Modern dance has converted into the contemporary movements that teenagers and adults use to dance when they are in a certain event. But who were some of the pioneers that created this gestures? Throughout this essay I am going to talk about two of them, Martha Graham and Jose Limon who are the 20th century’s innovative artists in our dance culture. Her name is Martha Graham and is considered as “the mother of the modern dance”.

Dance has evolved greatly throughout the centuries. It began with ballet and has led up to contact improvisation. This form of dance begun in the early 1970's and was started by a man named Steve Paxton and a group of postmodern dancers from New York City. Contact improvisation is a partnering form of dance and known as the art of moving spontaneously with a group or another person. This form of dance does not require the exact set of traditional skills of other dance form, it doesn’t have a technique that could be studied, and it is practiced in order to accomplish the highest potential. Contact improvisation came at a great time period, which of course was the 70's. The

When first assigned this final project, two choreographers immediately fled into my mind: Ohad Naharin and Roni Koresh. Since I began dancing, I have always been extremely intrigued by both the Batsheva Dance Company and Koresh Dance Company. Being raised both ethically Israeli and religiously Jewish, these two companies allowed me to feel a deeper connection that went past the movement alone. Since I was recently informed that I have been accepted to train with the Batsheva Dance Company and its founder, Ohad Naharin for a month this summer I decided to choose a different choreographer to study. I wanted to look into a choreographer’s process that I did not know much about, am interested by, and may not have the opportunity or excuse to reach out to them in the near future. I decided to study the creative process of Ronen (Roni) Koresh. I have had the pleasure of seeing multiple Koresh shows. Since I have been to numerous shows, I have begun to notice multiple similarities between his pieces; however, I am also constantly surprised by what is yet to come.

Dancing is a form of visual expression through creative body and space movements as old as the ancient Romans. While it may seem easy to dance, it takes real effort to learn to perform a dance, and its success depends on the use of the five elements of dance. In viewing two dances from the TV series “So you Think you Can Dance”, I got a perspective of how judges would critique dances based on how their use of elements correlated with the type of dance style. I discovered that although I enjoy the open style of jazz dances, Sabra and Neil’s dance to “Sweet Dreams” left me some negative impressions on jazz dances. Instead, Neil and Kent’s dance to “How it Ends” impressed me with how the elements were used to change the face of contemporary art

In the beginning years of Mary Wigman’s dance career she searched for a form of art that had not yet come about. After studying a few different forms of dance, she was referred to Rudolf Laban and began learning and exploring under his methods. Hexentanz, one of her more notable works, was first created while working under Laban and would later evolve into 2 more forms; These works would showcase Wigman’s budding theories behind expressive dance. Hexentanz, in its three separate iterations, represents not only Mary Wigman’s evolving ideologies that become footholds for what is considered today as German Modern Expressionism, or Ausdruckstanz, but also reflects the changing of times, not only in choreography, but costuming

The ethnographic method has been applied by dance scholars, as for example Pickard (2015), Wulff (2008), Aalten (2004), Roncaglia (2008), Salosaari (2001), Stanger (2013), Wainwright, Williams and Turner (2007)and others, to analyse the dancer's perceptions, mainly with the techniques of data collection of participant observation and interviews. Roses Thema (2007) also included groups

Each performance was a contemporary dance piece showing the strength of each dancer’s movements with different props to help express the meaning of each piece. The pieces were independent from each other and had their own flow to them as well as story behind them. The dancers for each piece showed discipline in their performance as well as physical strength; as modern dance is all about having clean-cut movement in order to fully express the story.

In the essay by Cohen Bull, he explores several points of contact improvisation and how the movements are often reflective of our cultural values. At the time contact improvisation began it was an expression of a spontaneous way of life, a reflection of the “ideal” lifestyle during this time period. This was a genre of dance often learned in a social setting and could be performed by anybody.

The following dance elements were used in creating the dance performance. For example, the action element, locomotor, is shown by spinning and stepping to the left and right. Non-locomotor, on the other hand, is demonstrated by lying down, crouching, standing and drawing shapes. Each of the aforementioned actions required the use of the performer’s whole body.

His divergence from typical dance technique has allowed for him to become a worldwide success within the contemporary dance industry, however he does not label himself as a chorographer, but instead as a realiser. “He uses the term ‘realizer rather than choreographer to describe himself. While choreographer, he says, concerns on setting steps and movements into sequences, what he himself does more concerned with ideas and concepts.” (Bremser, M. and Sanders, L. 2011, 42) 1994 saw Bel’s first choreography take to the stage in a work entitled: Nom donné par l’ateur, translating as Name given by the author. His works really mirrored his abstract thought process and uniqueness. Working with the language of movement he is able to preview minimalism on stage without compromising the integrity of his intentions. The way in which he portrays his work to have a simultaneous link between the choreography, performance quality and audience really evokes thought and question on a different plane to which and audience has been subjected to before. “One of the