Creative Writing: Aves Hardy Fasion

Martha Graham’s production of Night Journey is a unique and symbolic contemporary dance work. Graham bases many of her dance pieces on Greek myths and this is seen in her work Night Journey. Graham has manipulated elements of contemporary dance to communicate the emotion of the main character, Jocasta. Graham’s previous work focuses on depicting both the power and struggle of female idols in history. Graham has choreographed Night Journey to explore the perspective of Queen Jocasta, the main protagonist in the piece rather than the story of Oedipus. (Mueller, 2007) Graham has skilfully choreographed significant symbols and motifs to convey Jocasta’s emotions of grief, pain confusion and love through the manipulation of motifs and

In conclusion, “Dancer”, by Vikie Sears, utilizes the devices in literature to enhance the effectiveness of the story through symbolism, dialogue, and

While the speaker has succeeded in providing an enhanced image of the performer, the act of assigning meaning to the performance and the representation used holds the capacity to limit the experience. As the speaker continues to reconfigure her strip tease into a “[graceful] and calm” artistic dance, he makes a simultaneous attempt to distance himself from the crowd, making no mention of his gender or race directly (5). However, the speaker’s attempt to portray the dancer from objective eyes falters as his

“After defeating the Cyclops Polyphemus, my men grew exhausted. They grew thirsty from rowing under the beating hot sun. Sweat dripped down their heads and the ship’s deck grew moist from the mix of the salty, seawater and sweat. We stopped by on a nearby island.

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.

In the first section, Desmond focuses on “movement style and meaning” (pg. 31). She explains how movement is learned through our communities. In some locations, some dances may be seen as proper because that is what they learned in their community, but if performed in another community, those people may see their dance as “improper.” Desmond provides the example of how in the nineteenth century the waltz was seen as “too sexually dangerous” when introduced in North America and Europe. Their reasoning

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

Despite these moments of lighthearted fun, there is also a undertone of fear and confusion. The father seems to be in dancing mood because he is drunk, “The whiskey on your breath, Could make a small dizzy” (Roethke, 2138). This tells the reader that the father was more than a little drunk. The smell of his breath make the child want to turn away or get some distance because it is so strong. The mother countenance is also an indicator that something is amiss. Instead of enjoy the father and son’s fun, she is concerned. It is not the pans she is worried about, but rather her son. The father is obviously rough as the son “hung on like death” to his father in order to dance. The father’s description also makes reference to his roughness as his hand “Was battered on one knuckle” possibly from a fight and “a palm caked hard with dirt” for a hard days work.

Dance is explored in a sacred way on the pages of Winton-Henry’s book. This essay identifies the author’s intent for the work as well as summarizes the key points made about the role dance serves in our lives and how to incorporate

The movement started out very literal to the story that was being told. It was characterized by a lot of hand gestures, stillness and walking. In the same way, the dancers’ narration of the conversation between Bill T Jones and Dora was separate from the dancing on the rest of the stage. However, as the story evolved, the movement became for poetic, interpretive and full-bodied. The dancers often uncontrollably shook different parts of their bodies, and stomped around the stage. Yet, there was a sense of awareness among the dancers as they were constantly watching each other. The movement was very gender-neutral especially in lifts and there was a lot of experimenting with the weight of other humans. It is also important to note that language was the majority of the sound score for the performance, and that the dancers began to speak while they moved. The tone of the narration was mostly calm, serene and factual; however, certain phrases would act as a gateway to Dora’s emotion that would explode into music and dance. The contrasting and interwoven simple but complex movement and music served to convey a lot of ideas. The idea of evolution returned through the way the movement evolved from literal to poetic and the narration changed from separate to inside the movement. Essentially, this idea of evolution in costume, props, movement and music allowed to performance to not just tell the story but to become Dora’s story. It seemed to mirror the idea that when someone recalls a memory it is easy to become submerged in the thought and nostalgia for that moment. At the same time, this conveyed how history is still alive, that the past is always part of the present. The narration was not laden with historical stories that often can alienate an audience. It was very personal, which allowed the audience to connect on a human level with Dora’s story. The audience was able to

As section one develops, we see the woman collapsing to the ground before writhing at the foot of the cloth, the pressure pushing down on her, forcing convulsions, binding her to the ground. Exhibiting solely low and medium levels, conjointly with contrasting dynamics of sustained and vibratory or percussive movements, the woman reaches out to the audience, provoking involvement, and emotional attachment. Her determination and longing for freedom is oppressed as the representational movements manifest. The dancer ascends to an erect position, wrapping the cloth around her and stepping on it, binding herself to the ground. These introverted, constrained movements convey to the audience the dancer's struggle, particularly when combined with the myriad of literal and abstracted movements. The audience are shown her struggle against not only the symbolic interpretation of the ground as her work and the pressure placed upon her to work, but also the literal meaning of being bound and specifically the

In this paragraph I will focus on Body, Action and Space of the dance. The dancer’s body’s movement were sharp and consonant throughout the dance. The dancers action they were walking in the begging and sliding to get the different faces to pop up. French decided to space out her dancers on a large-scale. The levels in this dance were from what I can remember mostly high levels because they were all standing up. The general place of this dance was upstage. The relationship between the dancers were at times connected but also at times alone.

Paul Taylor has joined the Martha Graham Dance Company for a long time as a soloist dancer. He is influenced by the technique of contraction and release which is created by Martha Graham. In the “Esplanade-Part 2/5”, there are several movements imitated graham technique, such as bending down and

Before the Earth was a place that animals inhabited, there was a small green planet orbiting around the sun close to Earth called Equis. Grass covered most of the flat planet. The only water to be found was in small pools. Equis was inhabited mostly by horses. The sun horses. The sun birthed the first generation of these horses and were carried on asteroids to Equis. These horses were beautiful, large, and strong. Most were yellow or red like the sun, with white flames for manes and tails. The possessed strong hooves and heavy bodies that made the planet shake when they galloped across it. There was a tribe of people residing on Equis. The moon had birthed them. Some of their skin was pale like the moon in it’s illuminated phase, others had

As a kid, Percy could never complete it as his legs were much too small to keep up with the song’s tempo. Instead, the song was chosen at random. The arrows came at a normal pace, but his movements were slow and tired. He realized just how long he’d been out of practice. Percy’s feet felt like lead and he probably looked like a sumo wrestler playing hop scotch. A thousand missed steps later, he finally found his rhythm. A grin formed on his face as his footing quickened and a warm, manly giddiness rose in his belly. Just as he was about to select his next song, the air next to him shifted and suddenly there was a girl on the dance platform. She was tall and strong, with clever eyes and a certain air of brilliance. She didn’t even spare Percy a glance.