Contemporary Dance Oklahoma At The University Of Oklahoma University Theater

‘For me, it is important that the work I make finds connection … but at the same time… calls into question our conversations of what dance is’ (Garry Stewart, 2010). Garry Stewart, the Artistic Director of Australian Dance Theatre (ADT) since 1999, began his dance training at the age of twenty, after leaving university studying social work. Through his explosive, energetic and electrifying style, his unique dance pushes drives boundaries empowering his works, which are technically demanding, frightful and exhausting, creating an intriguing performance. In his pieces ‘Birdbrain’ and ‘G’ a combination of classical ballet, contemporary dance and gymnastics is utilized throughout to create a fascinating performance. Stewart’s productions have toured

The Faculty Dance Concert was an entertaining event filled with a variety of dance styles. The show took place on Friday, November 6, 2015, at 7:30 in the evening, and was held in the Fullerton College Campus Theatre. The founding artistic director is Melanie Kay Rosa and the assistant artistic director is Lisa M. Anderson. The dance faculty choreographers are Lisa M. Anderson, Sarah Cashmore, Teresa Jankovic, and Melanie Kay Rosa. The four guest choreographers are Helen Gardea, Robert Laos, Devon Smith and Shawnee Amara Williams. The two student choreographers are Ashely Garcia and Madeline Young.

From kindergarten until high school, I was a member of the Jean Wolfmeyer School of Dance. Up to 5 days per week, I would be at the dance studio taking classes, rehearsing for shows, and helping out in the less advanced classes. Regardless of skill level, Jean never hesitated to speak the brutally honest truth about students’ performances and she never settled for anything less than perfection. Jean would often preach that she is only the instruction manual and she cannot make us good dancers, we had to do that for ourselves. However, it was not her critique or teaching alone that motivated dancers to perform well, it was her relentless work ethic and commitment to her studio. As a 70 year-old women, Jean held classes as much as 7 days per

“What are you even doing here? I have never seen such flawed technique in all my years as a choreographer.” The words echoed throughout the medical college auditorium. Impelled by the admonishment in front of my peers, I persevered in my endeavor to improve upon my dancing prowess and by the final year of medical school was leading the college dance team. The above mentioned undertaking further spawned an interest for the discipline of Latin Ballroom which lead to participation at the national level. The unwavering focus and persistence even in the face of unfavorable odds is more broadly reflective of my approach towards learning, both academic and extracurricular. This has been instrumental in achieving stellar academic outcomes including being ranked nationally in the top 0.0004 percent in the premedical test and the top 0.6 percent in the common aptitude test for management training.

The New York City Ballet conducted a dance performance titled “New Beginnings” on the 57th floor of the Four World Trade Center in New York. The performance took place September 12th, 2013 and was intended to commemorate September 11th, 2001. A tragic event, such as September 11th, tends to leave a bitter taste in one 's mouth. The public is generally heartbroken, angry, and distressed. This performance seeks to influence the general US audience by using dance as a means of changing the perception of the aftermath of disaster. By following a narrative structure, the dance performance begins by setting the scene of New York City. The performance is then followed with analogies through dance designed to provide moments of action, climax, and resolution. The New York City Ballet uses pathos and an instance of logos through movements to enforce their attempt to alter one’s perspective. There is plenty of pathos used throughout the dance performance in order to motivate a change in thinking from the audience. I believe this strategy was extremely effective because by influencing how the audience emotionally reacts to the performance there is more likely to be a change in audience perception. The ballet incorporates inductive reasoning by taking the specific situation of September 11th and implying that, after tragedy, we will ultimately have a “new beginning”. I believe the logical appeal of this implication is effective because the audience is naturally inclined to believe if

Students will gain an understanding of how form in dance and music relate. They will increase their knowledge of movement vocabulary by applying it through choreography. Weekly exposure to new movements

21st of May, California State University of Long Beach held the CSULB Dance In Concert at Martha B. Knoebel Dance Theater with the collaboration and choreography by the CSULB dance faculty such as Colleen Dunagan, Rebecca Lemme, Sophie Monat, Andrew Vaca, and featuring guest Laurel Jenkins and Doug Varone. From the show, the dances represented through various genre such as contemporary, contemporary ballet, and modern dance. The element of contemporary defines as a collaborative style that includes modern, jazz, ballet, and hip hop. All these styles of dances were shown by connections after each intermission. In particular, I will concentrate mostly about contemporary dance out of all the dances in the concert and talk about the effects on three out of six performances. The performances reflects mostly on how we describe life and nature and partially define life to every aspect of the emotion were being introduced by the dancers.

One of my first literacies I learned started as a simple extracurricular activity my mother put me in to keep me out of the house and out of her hair. I started learning a literacy of dance through taking classes. At three years old I start ballet and tap combo class, from there I continued taking more classes in different styles and taking more advanced classes. By dancing for 15 years I learned and acquired extensive knowledge of the art. I started to learn and take class at Marta Jackson School of dance, I continued my training for fifteen years, until my senior year of high school. I danced on my high school dance team, at other studios, in different local productions and even in the Macy’s Thanksgiving Day Parade.

On November 18, 2016, I attended an evening performance in Irmo, South Carolina by Parsons Dance Company at Harbison Theatre at 7:30 p.m. This New York City modern based dance company hosted six commissioning works at the Midland Technical College that were all choreographed by the artistic director David Parsons. The created six works were “Finding Center,” “Hand Dance,” Swing Shift,” Kind of Blue,” “Caught,” and “Nascimento.” Each of David Parsons works showed a distinction of athletic, energized, ensemble works that revealed the style of his choreography. Parsons Dance is renowned for creating and performing contemporary American dance that is accessible and enriching to diverse audiences.

Sally Banes is an American writer and dance historian and critic. She is also a professor of theater history and dance studies at the University of Wisconsin-Madison. Banes has written multiple books and contributed to many documentaries and films. The book Moving History / Dancing Cultures, which Banes contributed to, includes the article “Choreographic Methods of the Judson Dance Theater”. This book was published in 2001.

Sam Houston State University’s performance Masters of Dance featured eight choreographed dance pieces each with their own sound and feel. The show took place on the 5th of April at 8pm in the James and Nancy Gaertner Performing Arts Center. Of the eight dances the one that stood out to were number three, six and seven, Solid Ground, No Name’s Pass, and The Silent Space, respectfully.

One that stands out to me were the dances with props mostly it makes the dances more interesting to look at and what they can do with it to their dances. Along with the chair prop, there were a dancer using two tables, one where a mop was used. How it impacted was how they used it along with choreography. The dance ”schism” is like a nurse helping a patient at a psych ward to me. In conclusion, I would like to see this again at another time for to see if the dances have something unique to them and the fact I like seeing different dance forms coming to life and preserving it for generations to

Dance is an ever evolving form of art; in much the same way that one can categorize and differentiate between eras and styles of architecture one can also do so with dance. These eras at times have sharp delineations separating them from their antecedents, other times the distinction is far more subtle. Traditional forms of dance were challenged by choreographers attempting to expand the breadth and increase the depth of performance; preeminent among such visionaries was Seattle born dancer and choreographer Mark Morris. Mark Morris' began as one of the millions of hopeful individuals attempting to simply make a career in dance; he not only succeeded but managed to have a lasting effect on the entire landscape of dance.

Moreover NYU’s Gallatin Individualized Study MA is truly the most aligned Master’s degree program for a person of my experience, skillsets and professional aspirations. Rather than requiring a re-learning of dance styles I’ve been a practitioner of the last 10 years or supplanting modern dance or Broadway jazz onto my urban dance skills in an attempt to ‘validate’ my artistry; the Gallatin MA permits me to curate a program that builds the skills needed to be as intelligent academically in thought and communication about my art forms as I am artistically. The knowledge and skill sets that I will acquire through this program will reflect those of an urban ethnochoreologist and through the revealed results I sincerely hope to design and implement more holistic approaches to urban dance education and

I attended the Repertory Dance Theater concert on March 5, 2016 at 7:30 PM in the Snow College Theater - Eccles Center for Performing Arts. The concert was held because the Repertory Dance Theater was celebrating their 50th Anniversary. Dancers were touring around Utah and performing in almost every city. Concert consisted of five choreographed dance performances that lasted for about 2 hours. They were performed in this order: Suite from Mazurkas, Jack, Crippled up blues and other tales of Deseret, Begging the question and Pigs and Fishes. Today I am going to be analyzing all of these five dances.