Summary Of Patricia Beatty's Form Without Formula

Alvin Ailey was a famous choreographer/dancer also founder of his own dance company (AAADT). Inspired by many, (including Katherine Dunham and Horton) he began dancing at the age of 15 where he found his love for dancing. Ballet, jazz and Broadway were the three main dance styles Ailey loved. These styles can also be recognised in nearly all of his choreographies. As choreographic styles identify the constituent features, when it comes to Ailey’s work we can clearly recognise them, through the movement used.

“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.

While watching the performance of the company, I notice how their choreography is displayed into action. The improvisation class that Robert Moses taught gives me an opportunity to really be engaged and focus on my habits to try to find an escape. Even though the Robert Moses Kin dance company is strictly a choreographic work, there are some improvisational components included in the performance, such as mirroring and the use of physical contact. By observing this performance, I am trying to base and look at it from an improvisational perspective.

To learn this art is a challenge in itself. An intense choreography is needed to learn the steps. Without a certified choreographer, one cannot understand

Although it was difficult at times to observe each moment due to the location of our seating, I still saw a little bit of Nicholson’s solo in right corner of the stage. She suspended her legs and toes, with a slow and strong articulation of the feet, and dramatically fell to the ground. Similarly, Cooch suspended her arms forward towards the audience, while doing a demi plié and diminutively curving her spine, and gave a merciful gaze as if she was asking for help. Additionally, one of the male dancers in the vest suspended his right arm forward, fell forward towards downstage and catches himself. In addition to the suspension and the fall movements, the sharp and the angular movements were also prevalent in this piece. Throughout specific parts of the piece, while one dancer danced his or her solo, the others would move and walk downstage and then upstage very angularly in unison, with their feet flexed; almost as if they were robots. I interpreted this as if they were living machines that were the products of the consumer and materialistic culture in the

Dance and creative movement in the classroom are robust teaching tools that ensure students retain and think critically about academic content. “Creative dance has the potential to open up new worlds for…students” (Gilbert p. 3). Incorporating movement into the classroom is simple. First, movement comes naturally to every child born in every culture, according to Jennings (2017). Jennings stated that children naturally move when they hear movement and rhythm. As a mother, I felt it when I

May 5, 2016 was one of the happiest moments of my entire life. That was the day made possible for me to see a live performance. It was my very first time and have to admit I was super exciting entering the auditorium. Marymount Dance Department presented the 2016 Spring Repertoire. I felt so proud walking in as a dancer watching a live performance. The show began and my heart skipped a beat. Marymount’s Dancers At Work presented in a beautiful manner that drove into their movements. There were numerous moves that we did that they presented in their routine. I was most proud when I saw one colored dancer in the piece Regality. She performed incredibly well I began to move along with her. There was uses of high jumps, releve’s, plié’s, pirouette’ and many more. I was not sure what the dancers were doing, but all I Knew was that I needed to be on that stage doing exactly what they did.

The precise nature of the working and decision-making relationships amongst the choreographer and the dancers;

Its arrangement demands the significance of testing our previously established inclinations of what move can, and ought to address. “DV8 Physical Theatre's work is about taking risks, aesthetically and physically, about breaking down the barriers between dance, theatre and personal politics and, above all, communicating ideas and feelings clearly and unpretentiously”( Artsadmin. 2016. DV8 Physical Theatre | Artsadmin. [ONLINE] Available at: https://www.artsadmin.co.uk/artists/dv8-physical-theatre. [Accessed 21 May 2016].)

Each choreographers approach will be shaped from their own personal experiences, however this needs to be amalgamated with the dancers own personal experiences. This amalgamation will then be expressed through the movements. A choreographers personal experience with their choice of movement vocabulary and style helps to deepen their understanding of the choreographic processes manifested in the body and can help to integrate abstract movement processes be it internal or external – effect or action, arranging them to become an essential part of making movements. Experience helps a choreographer see and respond on many levels, giving the opportunity for wider and deeper exploration. (Anon, 2015) Working in both the choreographers and the dancers language to understand from the inside.

While some are called specifically to be artists and are given more talent and/or desire in that area than others, being creative is central to who we all are as humans. The arts play a fundamental role in this, giving us both means parallel with God’s own beauty with which to worship him, and derivative beauty to expand our enjoyment of God’s creation. Francis Schaeffer asserts: “The arts . . . have a place in the Christian life—they are not peripheral. For a Christian . . . the Lordship of Christ should

Art is simple. Art is complex. Art is everything. Take a moment, everyday, to find art in the surrounding world. By doing this simple task, the understanding of art emerges. This

Life of a Leaf, choreographed and directed by Professor Brigitte Rogers, was an aesthetically pleasing performance of the timeline of a leaf’s life displayed through dance. The movements were able to connect with the audience and create an exemplary visual, auditory, and proprioceptive experience. Ideas from The Phenomenology of Dance and Notes Towards a Performative Theory of Assembly can be applied to analyze and develop an argument for the choreographer’s message. Using evidence from the production and interpretations from the different texts, the meaning of the production can be found and discussed.

Movement and Improvisation requires one to articulate his or her thoughts so that anything, no matter whether it's an emotion, an object, a situation, an action, a reaction, or any other thing that comes to mind, can be expressed as a movement, no matter how weird or wonderful the movement turns out to be.

Dance and creative movement in the classroom are robust teaching tools that ensure students retain and think critically about academic content. “Creative dance has the potential to open up new worlds for…students” (Gilbert p. 3). Incorporating movement into the classroom is simple. First, movement comes naturally to every child born in every culture, according to Jennings (2017). Jennings stated that children naturally move when they hear movement and rhythm. As a mother, I felt it when I played fast music and my infant responded in-utero. As an early interventionist and an educator, I see this in my career working with children from birth to high school. Very young children who are just pulling up and cruising along