Reflection Of Dance : Dance And Dance Performance

When I was four years old I was introduced to a tall, petite, beautiful ballerina who spun around the room with elegance, and effortlessly captured the crowd with her stunning abilities. As a little girl, I sparkled with admiration and was inspired to be all she was, it was from that point on, that I ventured into an unknown world of art, strength and expression. Now being eighteen years old with about fourteen years of experience in the dance world, I have learned and developed the norms, values and practices of the culture, and the conflicting theory within it.

From kindergarten until high school, I was a member of the Jean Wolfmeyer School of Dance. Up to 5 days per week, I would be at the dance studio taking classes, rehearsing for shows, and helping out in the less advanced classes. Regardless of skill level, Jean never hesitated to speak the brutally honest truth about students’ performances and she never settled for anything less than perfection. Jean would often preach that she is only the instruction manual and she cannot make us good dancers, we had to do that for ourselves. However, it was not her critique or teaching alone that motivated dancers to perform well, it was her relentless work ethic and commitment to her studio. As a 70 year-old women, Jean held classes as much as 7 days per

“What are you even doing here? I have never seen such flawed technique in all my years as a choreographer.” The words echoed throughout the medical college auditorium. Impelled by the admonishment in front of my peers, I persevered in my endeavor to improve upon my dancing prowess and by the final year of medical school was leading the college dance team. The above mentioned undertaking further spawned an interest for the discipline of Latin Ballroom which lead to participation at the national level. The unwavering focus and persistence even in the face of unfavorable odds is more broadly reflective of my approach towards learning, both academic and extracurricular. This has been instrumental in achieving stellar academic outcomes including being ranked nationally in the top 0.0004 percent in the premedical test and the top 0.6 percent in the common aptitude test for management training.

For over a decade, I stood at the same barre in front of the same mirror, and I watched myself change. Without my knowledge, ballet began to shape me as a person. Because of the grueling hours spent refining my technique, I developed discipline. Despite the hard days of practice, I never gave up. My body learned as well, and my muscles still contain the leanness of a dancer. Whenever someone compliments me on my ability to tie my hair into a bun on the top of my head, I always smile conspiratorially.

The dancers in the earliest ballets were highly skilled professionals capable of feats of strength and agility.

Modern dance was created as a rebellion against the prevalent dance forms of the time, ballet and Vaudeville. It is a form of theatrical dance, known for its continual fusion of non-western style and ideas, which allows for a fresh source of movement inspiration. Choreographers rejected what they classified as the inflexible and imperialistic nature of ballet, and in order to be taken seriously as artists rather than simple entertainers they created a new art form. Artists Loie Fuller, Isadora Duncan, and Ruth St. Denis are considered to be the pioneers of modern dance in America. Dance is a social institution, recognized as being an important function in civilized life. The following essay will focus on the theory and work of artist Isadora Duncan, while incorporating lecture notes and articles of both authors Sally Bane and Ann Daly to explain the historical situations that culminated in the development of early modern dance. Arising from the 20th century modern dance was a form of cultural collaboration and exploration, as well as a resistance to colonial repression. Modern dance allowed for the experimentation of the new as well as a freer form of dance movement. Choreographers drew on exotic sources, and example of this illustrated in the work of Isadora Duncan with her use of Greek culture as a movement inspiration. Artists act as both the choreographer and performer creating their own conventions, or dance language.

With extended legs and pointed toes, graceful movements seized the stage of Texas Tech University’s Presidential Lecture and Performance Series which presented Complexions Contemporary Ballet on April 1st, 2016. The event took place in the Texas Tech Allen Theatre at 7:00 PM. The founding artistic directors of the dance company are Dwight Rhoden and Desmond Richardson. The dance company consisted of about 13 people, with a mixture of males and females. The entire performance was a contemporary ballet, but included modern dance style as well. The performances were comprised of solos, duets, male or female sections, and a mixture of couple interaction. Before the ballet, the lights were dim and there were only a few lights directed towards the stage. The lighting and set design varied for each performance and used spotlights to bring the audience’s attention to particular dancers. Although the atmosphere was relatively quiet, the audience was respectful, enthusiastic, and seemed to be intrigued by the performances. Complexions Contemporary Ballet projected intense passion into each performance which contributed to an emotion-evoking experience and a sense of synchronization between each dance.

Everyday, I go into the studio and hear a generous hello from a staff member. If the vibrant dance bags, and leather jet black couches do not make you feel at home, then the dancers will. Mallory Flores is an intern and dancer of 15 years at Encore Studio, and thinks Encore’s sense of community is what makes everyone feel at home whenever they step onto the dance floor. Not only does the sense of community keep the dancers going, but it keeps the business running, as Karen Flores stated she loves how “the people she sees come in and out of the studio have a constant positive energy radiating off of them”. Yet, being at the studio for up to fourteen hours a week for some dancers does not keep them from coming in and enjoying the curriculum taught in class. Not only does it drive the dancers to come to class, but it keeps the teachers motivated to continue to put out their best work too. Angelina Gallo thinks that “The dancers at Encore are so passionate, they are kind, they are genuinely good people… I think a lot of this stems from the dance training and the people that they are surrounded by on a daily basis. The students are my family.” which shows why everyone feels the constant state of security within the

Feminism plays a large role in many dance styles in today's society. It is a key tool to use while teaching younger students as proved by the women showcased in the films provided as well as in the articles, “The lens in which I look through everything now is feminist theory and pedagogy” (Jennifer Bolt). Throughout the interview, Bolt touched on how she felt as if she had a loss of voice when it came to fighting for the dance program, it connects back to her learning about how women had to fight for their voice in society when she was just a girl. Claire Wooten explained how she tended to steer away from what she called “The F word” (Wooten) when directing her classes due to how announcing feminist theory right off the bat seemed to put people off. Wooten stated she directed her classes from an emancipatory standpoint, attempting to remove herself from the equation to heighten student experience and self-progression.

The theatre is full of young men and women. The gas lanterns dimly light the room and the silhouette of a figure can be seen in the shadows of the stage. As she emerges, she is like a dream: a tall, elegant body with a form fitting bodice and tutu. She is entrancing on her tiny pointe shoes as she floats across the stage. Love and passion fill the air as she moves in such a way that is almost magical. The Romantic Ballet Period introduced the aspects of theme, costume, and new technique to the dance world and its influences are still seen in contemporary works in ballet.

Dance has been a natural movement form since the beginning of time. The origin of dance is unknown, just as the knowledge of the benefits of dance are unknown to many in our society. Many people do not enjoy dancing and also do not fully understand the positive benefits that come from dancing. Researchers such as Edwards, Duberg, and many more have found countless mental and emotional benefits of dance that originate from movement patterns, brain connections, and even expressions of emotion. Many are aware of the physical benefits of dance, but beyond the physical benefits of dance, there are also emotional and mental benefits that come from dance as well.

Hence, by looking back to the beginning of ballet, it is safe to say that ballet has come a long way from being a foreign art to a dance embraced and loved by Americans. It began with only a few companies in New York, but today there are more than “65 professional, million-dollar-budget ballet companies” in the United States (Legro). Many American girls as young as three years old are taking ballet lessons and dreaming of one day becoming a ballerina in the nation’s top ballet companies. As to why these little girls are deciding to learn this art, a 14 year from California replies, “ I just think it is fun and my mom and my sister also danced ballet when she was younger, so I guess it is just part our family ” (C. Chen, personal communication,

Throughout my early years of dance, I began to learn several styles and techniques in my classes at my studio. Not only was my knowledge of dance increasing, but my love for it was as well.

In one my classes; Dance Appreciation, I had an assignment to view a dance piece on YouTube. The dance that I viewed was called “She without arm, he without leg, Hand in Hand”. The dance was not only informative, but it was enlightening to watch.

On December 1, 2017, in the University Theatre at California State University, Dominguez Hills, I observed the fall dance concert Rise. It was choreographed by Amy Michelle Allen, Marco A, Carreon, Sarah Cashmore, Jeff Hendrix, Erin Landry, Doris Ressl Acosta, and Kenneth Walker, with the long cast of dancers. The production was pleasing, and would not have been believable without the work from production designers, Frederick Depontee and Cheryl Sheldon. Rise is played out in eight different dance routines, which were Xtra Xtra, Scar Tissue, Hart Broken, Things Are A Stirrin’, and the rest are intermissions such as Female Energy, Women, Exotica, Strength In Numbers, and Makina.