I Attended University Dance Theatre

They first danced together. This piece was a burst of energy for the production. They used the entire stage and had very drastic movements. The two dancers danced very good with each other; they both had large sweeping gestures. After they performed together, they each had a solo. The guy went first and his dance was a very high energy performance. He had incredible leaps and jumps. He used the entire stage and made sure the crowd did not get bored of watching him. I loved this performance because it was so high energy and I felt that if I looked away for a second I would miss something. The girls’ performance was high in energy as well but more mellow. Her movements were very graceful, fluent, and

The Repertory Dance Company Fall Dance Concert was held at the Mannoni Performing Arts Center. The dancers involved in this dance concert are part of the University of Southern Mississippi Dance Department meaning they are either pursuing a degree in dance or teach dance at a university level. Both students and faculty had the opportunity to present work during adjudication to be chosen to be presented at this concert. I particularly enjoyed this concert because, while all of the dances presented were a part of the broad genre of modern dance, each dance had such a unique aesthetic so the concert still provided a great amount of variety to keep the audience captivated. The two pieces I have chosen to review represent this variety very

All of the performances were beautiful and I loved how they all displayed a different story. The thing about the dances is that they all were very fluid and moved and danced with so much emotion. One performance that stuck out to me was City of Rain. The choreographer is Camille Brown. Camille Brown is a dance educator,director,dancer, and a choreographer. She began her career in Ronald k. Brown’s evidence, A dance company. Her performances and choreography has won her the Bessie nomination for Best Performance. Aside from City of Rain, Camille has created works such as Good & Grown, The Groove to Nobody’s Business, and Mr.TOL E. RAnCE. On Camille Brown’s webpage her mission statement says that her company wants to “present authentic performances that foster dialogue among audiences and local communities to instill a sense of curiosity and appreciation for the live arts experience in a social and aesthetic context”. So

On April 14, 2017, my friend and I visited for the first time Salt Lake City Community College dance company’s annual performance. The show was presented at the Grand Theater at the South City Campus of the college. The performance’s name “Moving Words” imply what the audience was about to experience. “Moving Words” consists of 18 different dances and each of those dances brought a unique feeling to the overall performance. I thought that the dancers and choreographers have done an amazing job. However, after seeing all the different dances there were two that stuck together with me, because of the ideas and the morals these dances introduced.

The seven dances were divided into two parts with an intermission that gave the audience time to stretch their legs. Before that intermission the performance, Playful Musings, took the most unique route in my opinion for the dance. It started out like any of the other dances with a low lighting, but right away the first dancer made his appearance on stage with style and a light-heart personality. It catches the audience right away with laughter, and filling the small concert hall with a totally different vibe compared to the other performances so

My overall response to the dance concert is spectacular because each dance piece was moving, remarkable, and motivational. Each dance had an astounding affect on me and allowed to me repelled into the performance. These impressions came from me analyzing the dance pieces, “A Brief Study of Recent History and “One Heart, Two Worlds”, for the Spring 2016 Studio 115 Dance Concert Series at USM’s Dance and Theatre Building on May 4th. The first performance, “A Brief Study of Recent History” was choreographed by Elizabeth Lentz-Hill and introduced by the dancers Jennifer Alafat, Megan Bradberry, Shaquille Hayes, etc. While the second piece, “One Heart, Two Worlds”, was choreographed by Dejonelle Gleeton and the performers were Brittain Allgood,

Dance is one of the most beautiful, expressive forms of art known to mankind. It expresses joy, love, sorrow, anger, and the list truly goes on for all the possible emotions that it can convey. Dance not only can express how one feels, but it can tell a story or even be used to praise a higher power. Dance has intricately played an important role to every culture over the course of time. Two forms of dance that have not only stood against the test of time but have influenced the development of other various styles of dance is none other than Classical Ballet and Modern Dance.

On Friday October 14, 2016, at the Center for the Arts, George Mason, the “Analogy/Dora: Tramontane,” a dance choreographed by Bill T. Jones with Janet Wong and the Company, the first installment in a trilogy titled “The Analogy Trilogy,” bedazzled audience with an eccentric narration of a conversation between Bill T. Jones and Dora Amelan illustrated in a dance taking audience back into time during the start of World War II. Over the years, the Bill T. Jones/Arnie Zane Company has provided audiences through contemporary dance many creations and performances gaining them the recognition as one of the most innovative and powerful forces in modern dance.

When I say wide variety of dancers I also mean dance types because there were tap dances, upbeat hawaiian dances, upbeat dances, hip hop dances, and many more. My favorite dances were the upbeat dances because it made the audience get hyped up and excited for the festival/concert even more than they were before. I personally believe that every single costume that the performers had worn fit their dances really well. For example, the song “Better When I’m Dancing” was performed by three girls who wore hawaiian style clothing, and it totally fit the music’s beats, lyrics, and personality

Compared to modern jazz today, Bob Fosse's choregraphy is very different. The simple movements and minimal technical tricks really made Fosse's choregraphy stand out from the crowd. It was intriguing to watch the dancers because the audience had to focus on the little detailed movements and the facial expressions of the dancers instead of being overwelhmed with extravagant tricks. These three numbers were very musically choreographed, creating an overall impressive effect with almost every movement hitting a hard accent in the music. The last number was my personal favorite because the dancers movement gave off a energetic and celebratory mood. It made me want to get up and join them! Personally, I could not stop watching the girl with the

For Understanding Dance, we were assigned to go to The University of Oklahoma University Theater School of Dance’s Contemporary Dance Oklahoma. The show contained six different performances with a fifteen-minute intermission after the first three. Each performance featured different choreographers, including our professor Ilya Kozadayev for his part in the performance Lucid. While I did prefer some of the dances better than others, I was able to find things I appreciated in all six dances.

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.

My personal favorite movement of them all was the second one performed on stage. This one was also a more upbeat movement. This uniquely enjoyable work involved two on piano, one to turn the pages. It also included a trombone, as well as someone on the flute. The movement itself seemed to go for more of an uplifting tone, as opposed to the more somber quality that the first work had going for it. Something else I noticed was that it was one of the larger movements, and had more moving parts to keep everything flowing appropriately. The fact that it was larger worked in favor of the material I

Their knees wobbled as a nimble tower made of toothpicks would when a raging wind howls through, their hands shook, and their eyes were downcast. You could see any African American who suffered through critical times throughout our history in each of their faces. You watched them struggle across the stage, dancing like they were just discriminated, or judged. They danced as if they were their ancestors working in the cotton fields and drinking out of a black only drinking fountain. Later, I found that the dancer’s on the stage(in order to get them in the feeling of the Civil Rights Movement) were forced to practice in a small tight studio, or practice in a large, airy studio depending on their ethnicity. This showed the black dancers what African Americans suffered through and gave them mentality of what separation was like, so they could live in the choreography. And the realistic being of this art, of this movement, brought the audience back in time…and it made us cry and wail and

In modern day times, we have reality tv shows such as So You Think You Can Dance and World of Dance, along with dance movies such as Step Up 5: All In, that help capitalize on the new generation of the “entertainment” lifestyle of dance that includes tricks, stunts, or other forms of the “wow” factor (Capristo 5-8). Furthermore, technology can be used in dance as a creative tool through sensors to control music, video sequences, and to bring dance from different geographic regions together for performances. For example, Pauline Brooks, a professor at Liverpool John Moores University in Liverpool, England, began working on a project with Professor Luke Kahlich at Temple University in Philadelphia, Pennsylvania, in order to choreograph a piece together, they use webcam projections in each studio to help both sides learn the material at the same time (Brooks 2). In all, dance through film has created an outlet for stylized movement of entertainment purposes and has provided a connection for dance to communicate across all