Essay on Mats Ek

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.

Dance has come a long way since it first began, and that road has been paved by different styles and choreographers. Modern dance is one of the biggest contributions to dance today. It all began with the rebellion against classical ballet. If it wasn’t for Modern, many aspects and styles of dance would not exist today. Also, without choreographers we would have no dance. One of the most influential Modern choreographers is Twyla Tharp.

This made me perceive myself as if I were subordinate or not enough, later on I found out that was not it; but for a while that was my battle. Daniel Munczek Edelman in his short academic journal also writes about the fear his mother had of him being different and not being able to speak the language (English), “My immigrant mother freaked out when I couldn't speak English at the beginning of nursery school.” (Edelman 59.40). His mother knew how hard it would be for him not knowing the language, how the difference of his culture would and could affect him. This article was written in two-thousand thirteen, it is a recent article proving that the differences in cultures are still relevant. His anecdote is essential because he gives background to what goes on in the differences of culture and examples of how culture has perceptions and how it can shape oneself. “My boss, half African-American and half white herself, jokingly called me "half-caste," insisting that I would one day admit that I wasn't totally white.” (Edelman 59.40) This justifies my point that the way we look does have an influence on the way others view “us”. Daniel Munczek Edelman’s boss did joke about his ethnicity because of the way he looked, he didn’t totally look like his other ethnicities and didn’t really involve himself

Renowned choreographer Alonzo King is the Balanchine of a new style of dance, his style of dance, a style shying away from the expected and catapulting its audience into a state of wonderment. Alonzo King uses sharp lines intertwined with severe movements all engaging a classical technique in order to create movements, unseen to the dance world. King’s impressive résumé includes having trained with a number of world-renowned ballet companies, and setting works on an even more substantial number of companies, along with establishing his own celebrated company: Alonzo King’s LINES Ballet in San Francisco, California.

Classical ballet has been a major part of society especially in France and Italy before it spread to other parts of the world such as Russia and it developed from the court dances which date back to as far back as the 16th century. This essay will discuss and focus on the way in which dance contributed to court balls during the 16th and 17th century, the role King Louis XIV had on ballet and his influence in the art of ballet and lastly it will discuss the decline of ballet in Western Europe and the reason as to why this decline had taken place.

"Dinesen faced despair, disillusionment and debilitating physical illness in her life and her writing shows the importance of facing one's destiny with courage ..."

Ballet has been an art form since the late fifteenth century, but society did not truly see the impact of ballet until the nineteenth century. Modern day thinkers

Jean Georges Noverre was the creator of ballet. He was born in Paris, France April 29, 1727. His birthday is considered as an international dance day. He was a French dancer and choreographer he was also known as the Shakespeare of ballet. He worked for the military before he started doing ballet.

Michael Kamen was born on April 15, 1948 in New York, New York. Kamen, at a very young, tender age was interested in music and could play the piano by the age of two. He later learned how to play the guitar, oboe, and the clarinet. He attended the High School of Music and Art in New York. The environment of this school had the potential to develop and enhance Kamen’s abilities greatly. His teachers saw how talented he was and how diverse his talents could turn out to be with the potential he had. After High School, Kamen went to New York’s famed Juilliard School, where he studied the oboe. He was different from other students because there were few students that were as good as him with Classical music and Bluegrass music, but he still stood

Mime should be used only when the ballet’s style dictates it, in other cases the dancer’s whole body, not only the hands, should be used to communicate.

Initially choreographed by Jean Coralli and Jules Perrot, the present day romanticized making of Giselle was choreographed by Marius Petipa for the Imperial ballet. On the other hand, the 1982 contemporary creation of Giselle was displayed in a totally diverse light by acclaimed Swedish choreographer Mats Eks. The fundamental subject of these two renditions of Giselle, namely Fantasy versus Reality, will be analysed in depth by using the depictions of both movement and non-movement components to adequately assess whether the choreographer’s intents have been successfully conveyed.

In the beginning of the 20th century, a new dance form called “Ausdruckstanz,” promoting a more spontaneous physical expression of emotion, was spearheaded by Rudolf Laban (Au 96). Unlike the contemporary European ballet focusing on “technical virtuosity and visual spectacle,” Ausdruckstanz, also known as expressive dance, emphasizes expression in human movement (Au 87). As professor Bennahum explains, expressionism means “the deepest connection to the soul and to the projection of emotion and emotional states… rage, jealousy, grave on stage.” During this time, Kurt Jooss, the pupil of Laban, attracted public attention. Jooss, who was “considered the founder of an important theater and dance movement and physical movement in

For seventy years Merce Cunningham lead an innovative career that expanded the worlds of dance, visual, and performing arts. With the use of chance procedures in his choreography, and the idea to separate music and dance, Cunningham created a unique repertoire of work for the Merce Cunningham Dance Company. I will be arguing that through the evaluation and analysis of Merce Cunningham’s choreography, he developed an innovative technique based off of the forms and structures of classical ballet. Additionally, Cunningham’s use of traditional gender roles within his choreography, and the increasing use of technology in Cunningham’s work, contributed to a sense of abstraction that supported the maintenance of the homosexual closet. Merce Cunningham

Toshiba Australia, supported by Windows and Intel, issued a unique challenge to renowned Japanese artist Tomokazu Matsuyama. The artist known to his fans as “Matzu” was tasked with creating an entire exhibition using only one Toshiba Ultrabook on a trip from Tokyo to Sydney. The idea behind the campaign from Clemenger BBDO Sydney, is to show off the laptop's industry-busting 17-hour battery life. The “Made in 17 hours” campaign follows Matzu as he undertakes the challenge, demonstrating not only his own unique talents, but the stunning battery life of the Toshiba Portégé Z20t. Matzu began the challenge the second he unplugged the Ultrabook’s power lead in Tokyo. He was then racing against the clock, and the battery life, to complete a cohesive body of work whilst en route to Sydney.

Emanuel Gat was born in Israel in 1969. He discovered dance at the age of 23, after a workshop for amateurs, led by choreographer Nir Ben Gal. He started working at this period with Liat Dror Nir Ben Gal Company, as well as on his own projects. He started working as an independent choreographer in 1994.Emanuel Gat has inspired a new generation of dancers to reconsider their approach and push past the limits of traditional technique. He offers an exciting and potent formula with his distinctive and simple process of choreographing “There are two ways of approaching choreography: inventing and discovering or uncovering,” said Gat in an interview. He looks at things with an acceptance that they are already there.Everything is there within the studio and dancers, Instead of designing a new vision, Gat looks at uncovering the mechanisms, the logic, and the movement that is already there.