Analysis Of The Zuni Turkey Dance

Performance. The interactions are viewed as a performance, constantly being shaped by the environment and audience, with the objective of providing others with impressions that are consonant with the desired goals of the actor. Specifically Goffman states as “all the activity of an individual which occurs during a period marked by his continuous presence before a particular set of observers and which has some influence on the observers” (1959, 32). Goffman (1959) uses the

“Audiences today want a real experience in their live performance, because they can get great script based entertainment at home, through various new media sources. Traditional theatre, which appeals on a mental, and hopefully also emotional level, has not been enough to compete with other media, and audiences have been declining. Physical theatre, by contrast appeals to the audience on a physical and emotional level, providing a much more immediate experience than traditional theatre” ~ (Artmedia Publishing in Zen Zen Zo’s “The Tempest” Teacher’s Notes)

In the Native community there are numerous styles such as Grass, Old Time Sioux, Northern Traditional, Prairie Chicken, Fancy, and Straight dance. Each of the dance styles were brought about for their own reason and created by different Native tribes throughout North America. The origins of the Prairie Chicken dance start with the Blackfoot and Cree tribes in the Northern Great Plains. When the tribes arrived in the Great Plains they were amazed by an animal that was called the Prairie Chicken. The Native people were so mesmerized by this bird that they started a brand new dance style to show off the power and confidence of this bird. This style is called the Prairie Chicken dance. In order for the Prairie Chicken dance to be labeled as one the best Native American dancing styles it should be a high energy dancing that draws the audience in to watch, have stunning regalia that catches the eyes of countless people, and have hand items that are stunning.

Performance features of the performances were directed straight to the people. The amount of credit the audience gave the actors, determined the energy of the charcters. For example, if a crowd cheered Arlecchinos antics on, he would play this up by continuing it for a longer period of time. Such was the improvising nature of commedia conventions.

In a post-performance discussion, the three groups were given the opportunity compare and contrast their own performance in an engaging discussion detailing the reasons for their choice in the production, ideas and intended messages given through the performance that had been created and presented. After a second viewing of the performances through a video recording, group one was first to be asked about the creative process that was undertaken including the difference between the week 7 proposal and actual week 12 performance. A common link between each performance was viewed in the expression of everyday performance through the identification of social and cultural issues such as gender, femininity, masculinity and ethnicity. The assessment

Six dancers had a “partner” but one person was left out adding to the dynamic of the dance. This dynamic was creating a story for the audience to follow if they only follow the wave of movement. One group of dancers would float over to the single dancer using ballet and animal-like movements, yet the single dance moved as if in trouble. This single dancer received help from that group, yet everyone on stage would become this single dancer at some point. It created a story of helping others in their time of need, and it was a lovely story to watch unfold.

Perspectives of Performance The idea of performance has existed in human culture throughout history. It has been viewed as a form of expression to oppression and an outlet to social conflicts. When one performs, they are expressing and giving some part of themselves to the whole of what they are trying to convey. This can be seen in the rituals of a church as priests confirm fellow Christians to the church.

The elements used in this concert were videos of a timeline of African-American dances. This was very helpful because it allowed the audience to know what time period they were looking at for a certain dance. There were different varies of costumes. There were costumes from the tribes danes, spiritual dances, 1902' dances as dancers, and etc. The dancers did an excellent job with combine the costumes to the era and it actually looked like pieces from that era. The lighting was very good and it allowed for the mood to be seen in the dances as well. When a dance needed to evoke a spiritual mood, the lighting would evoke that mood by only allowing light on the dancer and no one else. If it needed a joyful feeling, all the lights were on showing

After viewing the segment from the documentary Into the Circle: An Introduction to Native American Pow-wow, I got to know more about this traditional music style. It is more than just a form of celebration for those native people, but showing their unique cultures and history. The pow-wow dance is a way to express the feeling of native Americans, and showing their good result of a day or a certain period of time that they did a good job in hunting for food.

Frequently, religious music consolidates call and reaction designs and spontaneous creation (Stewart, 1998). Spirit ownership ordinarily happens amid a consecrated melody while in the meantime dancing gets to be stupor like. Drums assume a focal role in the both the melody and move. Music reflects the convictions of the community, sends petitions

Secondly, dance is a big part of Native American culture, and thus will be incorporated into my teaching of physical education. Native Americans have used dance as a way to connect with each other and honour longstanding traditions. Dance is an important part of socialization, as well as preservation of fascinating and distinct cultures. Overall, traditional Native American dances reflect cultural beliefs. The dances define their values in life, their environment, and their relationships.

I think that the performer’s ability was appropriate for their location and for their audience because the tone quality of the musicians sounded very rich and clean. When I listened to the performance, I was able to hear all of the different parts of the piece clearly, which has made me much more conscious of the balance and dynamics of each phrase when I play. The texture of the pieces played was very rich and full because an orchestral piece is designed to have a good balance of instruments and good range of frequencies of sound that has lots of different things happening at the same time.

Secular is often seen as the opposite of sacred, and can be defined as literally an attitude, activity, or thing that has no religious or spiritual basis. However, this definition does not include sacred within it. Religious and “sacred” are not synonyms, but they are by no means mutually exclusive, one can exist in tandem with the other. Sacred is the expression while

Goffman was the first to introduce the topic of dramaturgy in his work. Dramaturgy is his idea that life is a play. The people are actors and the every day world around us is our stage. (1959, p.13) He uses the image of a theatre performance to express the behaviour of people in everyday social interactions. Although not always aware of it, every individual in a social situation is assigned a role in the performance. Every individual obtains a role in social interaction and the audience observes and reacts to the performance. Goffman discussed the three different regions of performance as the front stage, the back stage and off stage. Each region has a particular impact on one’s performance.

In these works, there is also evidence of the nature of the technique, the presentation style and the response of the audience”(20).