Critical Analysis of Jiri Kylian’s Choreographic Style in His Black and White Ballets

Moving History/Dancing Cultures is a collection of dance related essays and articles by various authors. The book was published in 2001. The article “Searching for Nijinsky’s Sacre” was written by Millicent Hodson. Hodson is a well-known choreographer and lecturer. She has also reconstructed multiple ballets; her most famous being Le Sacre du Printemps, originally choreographed by Nijinsky. As the title suggests, Hodson’s article is about her extensive research of Nijinsky’s Sacre, and the importance of remembering, preserving, and recreating such revolutionary ballets.

As a revolutionary contemporary ballet choreographer, Kings’ dance pieces are often put together without restrictions and the moves are often modern. For example, the dance move at 0:17 to 0:27 consists moves that are traditional and contemporary and conveys a message of struggle and breaking free. The female dancer first bends one of her knees while straightening the other knee while making a big circle with her arms. Then, she straightens up her body while bringing her arms together to her chest with her

Stewart’s choreographic revolution began when he combined movement with rapid and fast rapid techno music which modern audiences relate to. ‘Birdbrian’ has been described by Katy Evans an author as a “heart stopping, eye popping, tempo changing, absorbing one hour and fifteen minutes of pure genius amazement, a truly theatrical and demanding performance that’s funky, fast and furious”. The use of chorographic techniques used, Stewart persuades the audience to not look away. The slow motion, stillness, turns and jumps, cannons, duet works, contractions, high releases, dynamics and zombie like movement all give into gravity and this was shown throw the something floor work. This piece was the first of Stewart’s as Artistic Director to tour internationally. The intensely physical and powerful work represents his trademark modern style, which involves jerking, glitching, abrupt and fast powerful movement making the performance intriguing to watch, the dancers appear to have a sense of power as they come across to be strong. The dull lighting creates suspense and excitement that combined with images projecting over the dancers. The shell of the choreography reveals balletic and classical duet work. The costuming of ‘Birdbrain’ are black legging and simple white T-shirts. In the section where a lady is walking across the stage with point shoes. Is symbolistic of it being a reconstruction of a classical ballet

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

The male dancer only wore pants and bared his upper body. This simple costume design not only made the people who watch the dance to have a clear vision of the dancer, but also better presented a predicament that the character was experiencing at that time. At the first half of the dance, the dancer would leave at least one part of his body on the bench, and tried hard to reach other parts of his body away. This muscular interplay between the dancer and the bench resonated with the audience to experiencing the same struggle feelings as the character. As the performance developed, the dancer started to leave the bench to fully use the space. The dancer had many different movements comparing with sitting on the bench previously. He started to lie down, roll over, stand on the bench and make a turn use only one foot. The level of the dance was no longer limited in the middle but changing from low to high as well. Having such a change, the dancer is converting a more delight and energetic feeling to the audience, in order to demonstrated that the character was recovered through the

In “Stripping the Emperor: The Africanist Presence in American Concert Dance”, Gottschild begins by introducing unique aspects of the Africanist aesthetic including how it embraces differences and instead of the traditional European idea of resolving conflict, Africanist aesthetic presents a question and demonstrates the beauty in accepting conflict. One way in which the Africanist aesthetic differs from European ballet is how they utilize polycentrism, having multiple centers of movement, and polyrhythm, when different body parts keep multiple rhythms. Other ways include the high-affect juxtaposition, changes in mood, movement, or tempo, to the drastically contrasting sharpness and intensity in the movements. Gottschild’s main point in her article is to describe how the Africanist aesthetic is much less strict

With ballet being going from all men to women, it has proven that this dance will continue to change.

Mrs. Farrell’s book is quite technical when it comes to the lengthy descriptions of the dances she rehearses and performs; from a dancer’s view these varied conclusions of the types of movements she was dancing is quite astonishing. In fact, it adds a whole new level to the imagination that can come alive in a person’s thoughts when they read an expressive book. Although the technical explanations will excited, astound, and reveal how much passion and deep meaning ballet had in Suzanne Farrell’s life, but a reader, who may not be involved in the arts will be unfamiliar with the ballet and musical terms in

A post by Eric Underwood ( source H ) challenged Bloche (a major dance wear company) on social media by posting a picture of himself painting his ballet shoes with his skin tone make up. A phenomenon used by most dancers of colour as dance shoes tend to only come in beige ,pink ,white and black. A White Russian dancer replied to Eric Underwoods post with “Why don 't dancers of colour use ordinary black shoes”. This was not the only racially offensive comment made towards the post and is one of many made daily towards dancers of colour. This is what provoked this investigation. An investigation that provides insight into the obstacles/challenges encountered by African American dancers with regards to being successful in the world of dance and key figures that have overcome this struggle.

Jiri Kylian was born in 1947 in Czechoslovakia to a dancer and a banker. He began his training in ballet at the School of National Ballet Prague at the age of nine, and soon after was accepted to the Prague Conservatory, where he first began experimenting with choreography. In 1967, the Royal Ballet School offered him a scholarship, and which led him to his future mentor, John

For the dance piece called "Country Dances". The utilization of space was wide because the dancers were moving around the entire stage. However, they were mostly in the center of the stage so all the audiences in the room could see them better. The timing and rhythm of this piece were perfect. The movements the dancers make were all synchronized along with the music. It was like the song was made for that specific piece. The use of movement qualities and dynamics convey feeling and tone to the audience were smooth. It gives the audience a relaxing and peaceful feeling to watch and enjoy the piece. Not to mention, the production elements such as lights, costumes, and music were important to this piece. The lights were warm and bright which gave the audiences a feeling of the old days where it was peaceful and fun. The costumes were a mixture of warm and cool colors because there are dancers wore light green dress while some other female dancers who wore light orange dress. The music peaceful and matched the mood for the piece

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.

The characteristic of participation of the Jive scene within ‘Burn the Floor’ is clearly seen. The social dance features 12 male and female partners. They are holding hands, smiling and looking at each other in the eyes. The dancers slid away from each other, making a path for the lead dancers. The lead dancers then travelled down the centre of the stage and then performed a duo at the front of the stage. This successfully shows the interaction between the partners. As a result the Jive scene can easily be identified as a social dance. Not only is participation easy to be identified, but the characteristic identification is

Tsar Dancers of the Moon’s primary mission is to provide the world with another distinctive approach to the view of choreography and its renowned elements and properties. We have a strong desire to create a better world for everyone by discontinuing racial discrimination; conveying audiences this message via the use of the two aforementioned dancers, whom came from two different parts of the world i.e. Russian Federation and the Kingdom of Thailand; thus, generating diversity within the choreography. Audiences will undoubtedly have many opportunities to acquire this message while enjoying the dancer’s unique styles, which are unquestionable ubiquitous throughout the lively choreography.

Recently I attended a Dallas Neo-classical ballet dance “Horror Series,” at Sammons theater in Dallas. There were six dances in total starting with Silent Hell, Insanity, and Carrie which was the end for Act I. Act II then kicked off with In Your Sleep, The Quickening, and ended the show with the “main event” of the night Dracula & Mina. The performance was a mixture of both visual art and dancing. The art used in the concert gave dancers the advantage to express their feelings and translated their emotions into visual movements. The melody of this concert is to allow spectators to have a closer sight to the lives of the characters providing the audience with a closer look than usual, thus providing a special technique to embrace dance before sensing the healing power of dancing by showing diverse perspectives of humanity.