Dance and Drama at the Kerala Kathakali Centre in South India

Stephen Page director and choreographer of Bangarra Dance Theatre has choreographed many performances and accomplished several master pieces over the years. Through movement and nonmovement components Stephen Page causes his choreography to reflect his cultural background. Page grew up in the area of Mount Gravatt in Brisbane. He grew up in a large family with many siblings. Being of aboriginal background he always had a strong appreciation and knowledge of his aboriginal heritage. Stephen Page has achieved many things and worked with multiple different companies over the years including the Australian Ballet. In 1991 he was appointed the artistic director of Bangarra dance company ("Stephen Page | Bangarra Dance Theatre", 2016). During his time at Bungarra he has created many impressive dance pieces and received many awards, one if his most well-known and memorable pieces is Ochres. Ochres is a rock

The third Mexican cultural activity that has survived and influenced the development of Chicana cultural practices in the U.S. is the Folklorico dances. These dances can be seen in the U.S. especially when there is a Mexican celebration or event. I personally experienced begin part of a group that danced folklorico. The dresses we used for the dance were inspired by the Yucatan look. We also accessorized with a crown of flowers made with fabric, long earrings, and a necklace of perals. We also combed all our hair back, and used make-up. It took alot of time to learn the three dances, and a lot of practice for the dance to come out good. In the end it was all worth it because I learned how to dance and how the women dress to dance. This cultural

In most ancient civilisations, dance was an important component in temple rites. In ancient Egypt, priest and priestesses would perform stately movements mimicking significant events that had occurred, such as war and famine. Bangarra Dance Theatre’s 2008 original production of Mathinna evokes the calamity, confusion and prejudice experienced by the members of the Stolen Generation. The performance is inspired by the true story of a young Aboriginal girls’ journey between the traditional lives of her ancestors to her western colonial adoption. In response to Bangarra’s production, Dance Critic Neville Wright composed that “Mathinna is a powerful dance work that I believe should be seen by audiences across Australia. It successfully educates and informs modern audiences about the hardships and horror that the Aboriginal people endured during what was a very shameful period of Australian history”. The following report will investigate the validly of this quote by evaluating three separate sections of the performance.

“costume is often coordinated with setting. Since the filmmaker usually wants to emphasize the human figures, setting may provide more or less neutral background, while costume helps pick out the characters. Color design is particularly important here.”

"A Philosophy of Theater « " East of Mina. N.p., n.d. Web. 19 Jan. 2011.

On Saturday, January 14, 2017 the Dance Theatre of Harlem performed for their celebration of Reverend Dr. Martin Luther King, Jr. This took place at New Jersey Performing Arts Center from 8pm to 10pm. The Dance Theatre of Harlem was founded by Arthur Mitchell and Karel Shook. The artistic director of the Dance Theatre of Harlem Virginia Johnson and the executive director is Anna Glass. The ballet masters of the company are Keith Sanders and Kellye A. Saunders. The name of the dancer artists are Lindsey Croop, Chrystyn Fentroy, Lilit Hogtanian, Alicia Mae Holloway, Giorgia Martelloni-Zabriskie, Ingrid Silva, Alison Stroming, Stephanie Rae Williams, Da’Von Doane, Jordan Kindell, Francis Lawrence, Choong Hoon Lee, Sanford Placide, Nicholas Rose, Dylan Santos and Jorge Andres Villarini. The general manager of the Dance Theatre of Harlem is that of Melinda Bloom.

Since I was a little girl I’ve always been part of something. But none of the activities I did really filled me. I became part of a dance academy when I was 13 years old, and it was because my sister wanted to learn to dance for her Quinceañera. It’s kind of ironic how something that would be very important to me started so simple. But I guess that’s just how the best things in life happens.

Galinda, the other main character, wears a costume that includes a great deal of sparkly embellishments. From where I was in the theatre, the details could not be seen, but whenever she was under a spotlight, they reflected the light and gave off a magical effect. This could be seen from quite far back, so to those seated in the stalls it would’ve been even more impressive. That being so, I should use a similar type of decoration in my designs because of it’s success in Galinda’s

The set and costumes weave a visual masterpiece, emulating a natural, yet lively and beautiful theme through the use of brightly patterned fabrics. People in elaborate, intricate costumes acted out each plant and animal, communicating the key theme that all living creatures in the wilderness are connected. Timon, Pumbaa, and Zazu’s costumes were more comic than the rest of the more natural costumes. This was likely done to keep younger audiences interested but ended up disrupting the uniformity of the production’s overall appearance.

When choosing a job to apply to Piagetian theory and sociocultural theory, I chose the position of a dance teacher. Children of all ages join dance companies, and the experiences and interactions from this activity can have a great effect on their development. After dancing for so many years I have first hand experience on how it can influence a developing child. These two theories are important when understanding the ways in which a child develops, and this paper will focus on how a dance teacher can aid the development of their students using some of the information from these theories.

Even though the lack of an elaborate set design focused the audience’s attention solely on the performers, it also detracted from the performance as it created no connection of the audience with the setting or, at least, with the important themes. The set designers could have created some sort of background that resembled the emotions expressed throughout the various individual acts or could have even contributed with better props that enhanced the audience’s connection to the performances. Despite the dynamic colorful projections, there was little relationship between the lighting design with the entire performance. It attempted to evoke complementing emotions to the dancer’s movements and the music by using a variety of colors and shapes and it was also used to mark the beginning and ending of each act. Nonetheless, the message remained very abstract and hard to grasp, which did not help to enhance the vicarious experience. Given that this was more of a dance performance rather than a theatrical one, there was not a lot of room for character transitions on and off the stage, yet the lighting would have contributed effectively to the performance if it had been more integrated with the characters’ movements and not just projected on a screen as a separate act. Finally, the costume design attempted to create the same effect as the lighting and stage design by using colors and patterns that reflected the emotions of the performance on-stage. The costumes of some performances showed more elaboration, such as in the ones in “Belinha,” while others were less sophisticated and around plain clothes. Nonetheless, as was the case in “9:35, 11:10, 12:45, 2:20, 4:10,” using plain clothes did not necessarily detract from the performance as it created a connection with the setting and important

From an audience’s perspective, a performer and their costume merge into one entity (Wilson, 2011). The costume that was the biggest eyesore was Froggy’s military attire. As everything in the show has a rural, old fashioned theme, he brought something totally different to the picture: camouflage fatigues. The costume that I was most impressed by, though, was Ellard’s. His outfit was a physical representation of what people thought of him. He had disheveled hair, dirty overalls half undone, and a messy shirt underneath. Ellard was perceived by those around him as mentally challenged, and his costume conveyed that through his lack of awareness towards his

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.

In Kabuki theatre, everything that is seen on the stage is the result of a meaningful inner dynamic which completes the performance by the coordination of the actors with all the various components of the mise-en-scène and then by the traditions of all the various elements being assembled into an organic whole (Kawatake 1990, 247).

Rituals and theater, which are both cultural performances, have similarities such as serving the purpose of entertaining teaching the audience, belief from audiencce, use of props, use of space, and repesentaion. Since during this time period many commoners did not know how to read, the church had to present these rituals in order to teach them about events in the bible like the Crucification of Jesus Christ. Similaritly, a play will serve the purpose to teach the audience a certain idea that the playwright believes is necessary for the audience members, the audience vary depending on the time this play was written, to learn or understand. Unlike a play, which has no certain time frame to be perform, a ritual is perform during certain time of the liturgical year; for example, the passion of the cross