Summary Of Trisha Brown´s Topping Dance Critique

The two live dance works viewed this year were “Emergence”, performed by Sydney Dance Company, choreographed by Rafael Bonachela, performed at the Princess Theatre and a recorded dance performance titled “Image”, choreographed by Jason Northam and Liesel Link. The two dance performances substantiated were exceedingly diverse and dissimilar. The two performances juxtaposed their intentions and interpreted opposing elements through diversity in movement vocabulary, structural devices and form, performance skills and technical elements.

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

While the speaker has succeeded in providing an enhanced image of the performer, the act of assigning meaning to the performance and the representation used holds the capacity to limit the experience. As the speaker continues to reconfigure her strip tease into a “[graceful] and calm” artistic dance, he makes a simultaneous attempt to distance himself from the crowd, making no mention of his gender or race directly (5). However, the speaker’s attempt to portray the dancer from objective eyes falters as his

“The Moroccan Project” is an articulate dance piece because it is clean, crisp, precise, and contains tribal dance elements. King defines his dance with simple costumes, dim lighting, and a plain backdrop but the dancing speaks volumes with its perfect lines and simple intricate movements. The two dancers Meredith Webster and Corey Scott-Gilbert seem to not miss one single beat here. They are dancing a mix of Ballet, Modern, and Contemporary dance and King mixes in Moroccan culture with tribal dance movements. At :28 in the

As I watched the dance concert I began connecting what I was seeing to what we had already seen and discussed in class. One important connection I noticed heavily in the first half was the resemblance to Doris Humphrey’s technique which focused on the breath while dancing. I noticed this in almost all of the dances in the first half, but especially “Etched Breath” by Kelly Francis. “Separating the Strand” was slightly dissimilar to Martha Graham’s technique because it didn’t seem to utilize the contract and release method and did not include as much of the percussive, sharp movement quality. Because of all I have learned about modern dance this semester, I believe I was better able to appreciate these works of art. I particularly enjoyed “Separating the Strand” because of the beautiful movement quality and energy level as well as the interesting moments of

The space, time and usage of dynamics were powerful yet elegant-elements that added to the overall quality and tone of the work. The solo dancer used her body to perform various movements with specific ranges of motion, showing her ability to control, express and properly connect to the audience through her performance. In this performance, there seems to be a spiritual side when the dancer, Marilyn Banks, sits on the bench and starts to swing her arms in wide semi-circles to show looks of anguish and despair. Ms. Banks also varied movement by quivering her hands-movements such as a shaking or slight trembling with her hands when reaching outwards. She also used a lot of ornamentation or embellishment through her movements. Her body and her path of movement embellished her gestures since she was performing spins across the stage.

The dance that I will be focusing on is entitled: thinking sensing standing feeling object of attention. The dance, to me, symbolizes the socialization of persons in Western civilization concerning gender roles. In the beginning there are gestures that are separated from emotion and full-embodiment, but as the dance progresses the gestures become more meaningful and recognizable. The lighting starts out very specific and narrow, then the light encompasses the entire stage, and eventually the dancers are silhouetted as they return to a familiar movement motif in the end. The music is mainly instrumental with occasional soft female vocals, and the lyrics suggest emotion, which is interesting because the dancers do not convey emotion until

On October twentieth, 2016 at 7:30 p.m. at Harris Center in Folsom Lake College, a dance performance called “Twyla Tharp Dance” was exhibited by The Department of Dance. The dance contained three shorter works with two intermissions. Each of the pieces were completely different from each other because each piece had its own unique style so there was not a particular classification. In any case, there was one particular piece called “Country Dances” choreographed by Twyla Tharp was a fascinating piece in a way that it was there for amusement, as well as bringing back the old dancing style to the audiences to remind them how great the old days were. Each dancer of the piece truly understood their own character and danced to their own heart desires.

On Saturday, March 28, 2015 at 8pm, I took a trip to the Public Playhouse located in Cheverly, Maryland to witness the “World Dance Showcase”. The “World Dance Showcase” was comprised of six different dances. However, I decided to focus solely on the dance titled “Night in an English Village Pub” that was performed by Charm City Rapper Sword Dancers. This dance was performed by Sindee Ernst, Miriam Hack, Jack Hemler, Rhonda Keilholtz, Kappy Laning, Megan Philippi, Laura Robertson, Joe Shelby, Alexandra Sjaardo, and Jerry Stein and accompanied by traditional tunes that were played by Cyd Shelby. The movements stemmed from traditional figures by Laura Robertson and clogging steps by Anna Marley. The Charm City Rapper Sword Dancers are stationed in Baltimore, MD but are based on a ritual English dance company. The swords that they employ in their dance were derived from a coal-mining instrument. In total, there were ten performers all of which who were White Americans, mainly woman, and above the age of 40.

I became a ballet student at the University of North Carolina School of the Arts in 2014. Being a high school student here gave me the opportunity to expand my horizons and take in as much art as I possibly could. During my first fall at UNCSA, I attended the Emerging Choreographers performance and was privileged to see works created by fourth year contemporary majors. These stunning works showed me the possibilities that dance holds to truly convey powerful and meaning messages. One work in particular stood out to me. It was a piece that showcased five dancers all dressed in pedestrian clothing. At first it appeared to be a casual street scene but a the music progressed one girl began making incredible sharp movements as if she was possessed. She made tiny movements of her hands and feet all the while moving a great distance across the stage. The others started going off what she was doing and all moved together as one giant body supporting the girl in the middle. She continued dancing in the most amazing way have many small movements combined with huge movements that made her seem a thousand feet tall. Intrigued I spoke to one of the dancers about the intention of the dance. She told me that the

I chose to write about choreographer Anne Teresa De Keersmaker and her dance “Violin Phase.” Keersmaker “has focused on the relationship between music and dance and also repeatedly ventured into the realms of text and visual art.” “Violin Phase” which is an excerpt from Fase: Four Movements to the Music of Steve Reich (1982) shows Anne dancing on sand using particular movements to create “a large circular drawing on the Atrium floor.” She describes it as “measuring the earth, and the relationships of the amount of space you occupy in a certain amount of time.” Dancing on sand she has to be precise, which brings a huge challenge to this work of art. However, in the video you can see Keersmaker “jumping and turning” in the sand by drawing a circle

For my outside dance critique, I saw Artistic Motion's Friday, December 16th performance of The Snow Queen. Overall, it was a fantastic show, and I enjoyed it very much. Artistic Motion's production differed greatly from other ballets I have seen. In addition to having a dance school, they also have an acting school, so, The Snow Queen, involved both dancing and acting. There would be a few dancing scenes, followed by an acting scene that told the story of The Snow Queen, in an interesting way.

This genre of dance created mixed feelings among conservative members of society and although MSNBC’s Mike Brzeznski calls it “disgusting” and “pathetic” (USA Today, 2013) there is a time and a place when the dance should not take place because of it provocative style. Women are using the dance to get in shape and stay in shape, including it in their exercise regime. Regardless of the negative critiques it receives, it is a different way to express sexual feelings for one of the opposite gender when performing, which is no different than lovemaking choreographed into a piece of a contemporary dance scene and a dance that is protected in the USA through freedom of expression the “very heart of our democracy”

The event I chose from PICA is called, Ten Tiny Dances, also referred as TTD. This event includes a 4x4- foot stage, in which performers perform inventive dance, giving the audience an exhilarating experience. The stage has primarily been like a test for both creation and performance, with over three hundred artist and nine cities. Ten Tiny Dances, was initially simple and frisky, now it is considered as one of Northwest’s most popular performance show. It Challenges artist to make new material that responds to the different possibilities of the space given. Artist like Subashini Ganesan, Keith Hennessy and Amy O’Neal were amongst the artist included in the thirty-seventh edition of Ten Tiny Dances.

The live performance I decided to go and see was called “Celebrating 20 Old New Borrowed Blue.” This production was put up by the Houston Metropolitan Dance Company also known as MET dance. During this production, there were four different choreographic works, “Stirring Simple Gifts in Shades of Blue”, A Tribute to the Jazz Man called “Steven Boyd Tribute,” “Air”, and lastly “New Second Line (2006).” All four of these works were equally great, but the two that significantly stuck out to me were “Air” and the “New Second Line (2006)”. Throughout this paper, I will delve to describe the different type of elements amongst the two different works of art, for example, choreography, music, customs, and lighting.“Air” was uniquely put together; the audience was able to see the choreographer’s concept very clearly. Before this choreographic works were presented, there was a lady that came on the intercom providing us with safety instructions as if we were on a plane getting ready to take off. This signified the attention to which this performance was accorded. Once the curtain opened and the dancers began to enter the stage, everything started to take place. The dancers entered in unison though in a line from a far right entrance to the corner that was open seemingly to give attention to the theme. Though early, I noticed that the exit was different from the entrance as it was on the opposite side somehow in line with the movement of an airplane. The background for this piece was