Reflection On Improvisation In Dance

Ballet “Cry” simply showed to us real life of all African women. Every single American people know what kind of life they went through. Therefore it touched their heard. Alvin Ailey’s “Cry” presented wonderfully combined movements, technique and emotion. Ms. Donna Wood uses tragic face, a mask of sorrow. It is a face born to cry, but when she smiles it is with an innocent radiance, joyfulness that simple and lovely. She never tries consciously to please an audience. He was not only concentrating in movements and physical performance, but also using flowing white gown

important foundation in understanding the broader scope of how dance can be seen as a

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

Students will improvise and adapt the skills and knowledge they learnt through the example dance to explore their own emotions and display of these.

The piece was trying to convey the idea of freedom. Liberating the soul by expressing what it feels in a form of dance, which is something that can be seen. The movements were free, the performers moved around the stage depicting natural dance movements.

This week's reading's, lectures, along with the live dance session has helped further the little prior knowledge I had on the details and components that are necessary to create a dance performance. In particular, DeFrantz does a great job listing the aspects behind Alvin Ailey's dance performances. The foundation of these performances was predetermined in Ailey's notebook of thematic sketches, descriptions of each individual character, sketches of desired settings and costumes, along with an outline of the counts to the music (DeFrantz 2). Together all of these details help make a dance that reflects a story or message or that allows the audience to formulate their own interpretation based on what they saw. Besides the actual choreography/

I was born in a seaside city where people enjoy the first ray of sunlight of a day. Running and playing on the beach is my favorite routine of my childhood life, and all my friends said that I was good at “dancing.” Frankly, I did not know what dancing was at that moment, but every time I moved my body that made me satisfied to see how it could move and make all those beautiful curves. Noticed that, my parents sent me to an after-school dance class to study when I was five, and I kept studying for seven years during which I got to be more attracted to this form of movements. In 2005, when I was twelve, I started my professional dance study in a local technical secondary school. Then，I realize that “dancing” could be my future and my life.

My aesthetic started to develop during high school and it wasn’t related to the art of dance, at least not at first glance. Growing up as a minority with little diversity in my hometown, I often heard the name-calling and the bullying behind my back. Bullying rose many emotions to the surface that I had never experienced before. It motivated me to use dance as a form of therapy and it also introduced me to vulnerability within my movement. After some time and development I

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.

The chosen elements of music, positive space in bodily contact, and stylistic dance were the aspects of this performance which contributed the most towards his narrative. After shared experiences with students who saw this performance, it seems pertinent to explore the interaction between dance narratives and innate physical somatic reactions towards them that occurred in people’s body. This sensation, will be classified as an “Autonomous sensory meridian response” (or ASMR)2 refers to the onset of tingles that travel up the spine from the back of the head due to various primary sensory triggers. Not everybody has this phenomena occur in their body, and individuals who do have

My impressions of life have always been connected to movement expression. When I was a child, I used to dance Frevo (a Brazilian folk dance), and, since then, the dance has been part of me, and I have not been able to understand life in a different way. During my undergraduate course (BA in Arts Education – Performing Arts) in Brazil,

Throughout all forms of art there are several ways to portray a message to an audience, whether it be through a painting about the meat industry or a song about an unjust legal system, expression can take on many different forms. No matter what the message or motivations of the piece, it is up to the artist how they want it portrayed. Dance is no exception to this rule, in today's world dance is one of the most popular ways to spread a message. From flash mobs to protest art dance is one of the most visible forms of expression people recognize today and these pieces of art are always evolving and changing to fit the wants and needs of the artist.

The improvisation is implied in that certain themes, rhymes and rhythmic patterns, and recurring images ebb and flow throughout Montage- here spelled out in

Dance is still a means of representing and expressing particular emotions or experienes; however, I might add that its applications extend beyond entertainment and can serve a more rigorous agenda.

Finally, the last element is the emphasis on improvisation: the ability to extemporaneously compose on an existing melody. This is often considered as a chance to show off for the performers. Through improvisations and ornaments which were both elaborated by the extemporaneously composition of performers added interest and differences between music and even the same piece of music might sound different.