Stripping The Emperor Poem Analysis

All six dances in the ‘black and white’ ballets are based on sexuality. The male

Alvin Ailey was an accomplished dancer and choreographer whose African-American heritage influenced his works in the 20th century. His successful dance career has gained international recognition and acclaim thus rendering a significant legacy. Ailey’s background as a dancer and choreographer had many strong influences from social, cultural, economic and political aspects during his early life. His African-American heritage has greatly influenced his works. Alvin was the founder of the Alvin Ailey American Dance Theater (1958-), galvanized and stabilized an African American presence in theatrical dance. An outstanding performer, choreographer, company director, and mentor to scores of dance artists, Ailey oversaw the growth of his small, pick-up group of seven dancers into a large, carefully managed, internationally-renowned enterprise including several ensembles of dancers and a thriving school in New York City housed in the largest building devoted to dance in the United States. Along the way, Ailey changed the landscape of modern dance by developing new audiences for its performance through a consistent combination of exceptional artistry and wellcoordinated community outreach programs. In all, Ailey invigorated the art of dance with his distinctive creative imagination, his “blood memories” of cultural formations he witnessed as a child-- including the jook joint and the black church --and the strong survivalist ethic he learned as an African American man born in the

Court Dances explores dance in the royal courts of the world and shows how its function lives on in European ballet, Japanese Bugaku, and the dance of the Asante kings of Ghana (West Africa).

Since the beginning of time, music and dance has been a form of entertainment for millions of people. As audiences across the world prepare for dance performances, they typically expect to see something that is lively, exciting, and unique. However, what most audiences of dance and musical performances neglect to consider is the origins and importance these forms of dance and music have on culture. It is truly astounding how synonymous music and history have been and continue to be. Understanding the history and culture behind a certain piece of music only makes the experience more special than ever. People need to realize the significance music has had on the foundation and progression of each and every culture around the globe.

The Paramount Theatre Houston, Texas. A beautiful theatre with elegant architecture, and well-crafted sculptures, that provides a warm and inviting atmosphere. It has a convenient location with easy navigation in addition to spacious parking. Arriving at this appealing theatre helped set a positive tone about how the evening would go, which was nothing less than I had expected. I watched two performances in which I will be evaluating in this paper. The first one I will discuss is Lord of the Dance: Dangerous Games. It is an Irish step dance that was choreographed by Michael Flatley and performed by the Riverdance Irish Dance Company. The second performance is an African dance choreographed by Etiene Cakpo, Kokou Gbakenou, and Jimu Makurumbandi called the African Journey. This dance was performed by Gan Sango Music and Dance.

Overall, the production’s performances flowed ambitiously; there was never a moment of complete stillness. None of the pieces performed were exactly, traditional modern. The movement in each dance was very technical, but in a very unique way. Staging varied throughout the production. At times the lighting was dark, and gloomy, it created the fearful, isolated awareness. At other times the lighting glowed dimly, creating the feel of freedom and happiness. The production presented itself effectively, each dance connected to humanity in some relatable way.

The interests of the theatrical criticism should involve telling the arts done by dancers, communicating their message, and appraising their arts. The fundamental components of the art of dance are based on the operations that the critic can perform. Some of them include the description of the dance, the feeling, interpretation of the message, as well as the contextual explanation of the dance. The transit space is one of the arts through dance that explores various themes that captures modes of culture in powerful ways. Tuesday, January 27, 2015 on the Eisenhower Auditorium I enjoyed watching Diavolo performance. This paper presents the dance performance critique of the transit space after the Diavolo concert. The paper also presents an analysis

The music also transitions into a more primal sound with the addition of loud, heavy drumming and rhythms. This theme is especially notable given the time period of these ballets. After the premiere of The Rite of Spring, the first world war would begin the following year. In this war, people would begin reverting to their primitive instincts and killing their enemies. Primitive dances, like The Rite of Spring seem to have always been looked down upon, simply because they are not what we consider to be “western dance” (Frosch 251). In our dance school setting in the West, we focus on western dance, leaving out many important and influential styles that have occurred throughout history and throughout the world. This unconscious prejudice is what made The Rite of Spring appear so shocking; no one in the Paris audience had ever studied primitive dances before. Primitive dances are a vital part of our dance history, and the innate human qualities represented in them are vital to our education of humankind. In The Rite of Spring, the ballet ends with a human sacrifice, a shocking ritual to be incorporated into a ballet, and yet an appropriate action considered by the culture it is based upon. We often struggle to realize

In week 2 of lesson 2.5 we have covered vast knowledge of multiple forms of dance, dance moves, and its origins. The vocabulary was a necessary exercise prior to writing the comparison and contrast essay. Researching each vocabulary term exposed me to various publications covering the topics and allowed me to show comprehension by paraphrasing what I have learned. Reviewing the classical, modern, and Disney version of the Dance of Hours was also an experience that if I had done a week ago, would have been in a much different view. Revisiting Disney’s version brought to light many details I missed during the first viewing. Covering native tribal dancing and pow wows brought on a better understanding of what I thought I knew in comparison to

It was influenced by the colonial practices and representations which asserted that non-Western cultures are primitive and insufficiently developed. In addition, Paris of that period was captured by such modern dance practices as the cakewalk, the apache, the grizzly bear, which were considered as mass and undignified. Nevertheless, the connection between the aforementioned dance styles and the Rite of Spring is obvious, as “the choreography for each deployed a kinetic vocabulary that yoked together mechanisation and animal vitality … that not only transgressed conventional definitions of dance but also offered a physical expression of modernity as defined by, and through, the atavistic body of the dancer” (Kennel 23). Therefore, the Rite of Spring with its unfamiliar choreography appeared to be “primitive” to the highbrow audience of the Théâtre des Champs-Élysées. However, it is noted that Nijinsky’s choreography expressed modernity with its tensions in a physical

Over time, revolutionary experiments of a choreographer may be reevaluated. Ruth St. Denis’s introduction of “exotic” culture has turned out to be a vestige of imperialism, as a form

This past weekend, I had the opportunity to see the spring dance concert. Out of all the dance concerts I have seen from UNCC, this concert was definitely not my favorite. The concert was very innovative and diverse within the works that it showcased, but I was not a fan of having to see Niche Faulkner’s piece again in the show. The African dance piece was one of my favorite pieces in the show during the fall concert, but after being in running crew and having to attend this concert, I have seen the piece probably a good 7 times. Therefore, it would have been nice to see a different type of dance in place of Niche’s piece in order to add more variety and a freshness to the show. In general, the performers really embodied all the choreography that they were given, which kept me engaged throughout the whole concert. When thinking about the majority of the elements of the show (costumes, music, lighting, and choreography), I did indeed enjoy the show and if given the chance wouldn’t mind seeing the show again. For this particular paper, I will be focusing on my least favorite piece, my

Seeing it has given me a new view on theatrical structure. The performance was divided into four sections with three intervals were each one of them was a different form contemporary dance performance presented in varying moods. In my opinion the red thread of the performance was the simplicity of the staging props with focus on light-sculpted space along with smoke and music and dance compilation. In this case, the role of technical appliances is just as or even more significant to the staging convention as the performer’s role itself.

The lights dimmed in the 500-seat Bram Goldsmith theatre to reveal the Los Angeles Dance Project, a consolidation between formerly trained ballerinas and unbound contemporary dancers. A medley of old and new conjoined in the sculptural wooden interior. The raw atmosphere enhanced by the vision Benjamin Millepied and dedication of Noé Soulier in their quest for individuality. This mix of movements, seemingly simple costumes, experimental music, and spellbinding themes is showcased in these four mesmerizing dances.

When trying to subsume the postmodern features of contemporary dance, Linda Hutcheon quotes Sally Banes: “(…) in order to include, for instance, the sorts of things which (under the influence, perhaps, of performance art) are considered postmodern in dance: “irony, playfulness, historical reference, the use of vernacular materials, the continuity of cultures, an interest in process over product, breakdowns of boundaries between art forms and between art and life, and new relationships between artist and audience” (Banes 1985: 82).[x]