The Dance At The First Time Salt Lake City Community College Dance Company 's Annual Performance

This chapter takes a broad look at the relationship between human movement, framed as dance, and important identities such as religion, ethnicity, gender, and social status. While not specifically focused on issues of identity in America, this chapter will provide an important foundation in understanding the broader scope of how dance can be seen as a representation of cultural values, which will underlie the remainder of our coursework.

The melody sounds somber and serious and the energy of the dancers suddenly changes. A spoken word takes place and all of the dancer begin to tell their stories of pain and struggle through movements. The spoken word talks about the journey of men and women who overcame social injustice. In the dancer's movements you could clearly see how they correlated together. Movements were powerful and restraint at the same time giving the audience the idea of the women were pushing through something that was bearing them down. There was a lot of expansion in the chest, back, and arms followed by contractions in the body. As soon as the spoken word was finished the mood of the piece change again and the pianist began to play a upbeat tune that brought the dancers back in to a more positive and high spirit. A lot of polyrhythms take place as the dancers jump high and move their arms back and forth moving throughout the space. This happens in unison at first and then solos, trios, and duets happen in this section of the dance. The expression on their faces add charismatic charm to this piece. Their expressions continue to move them into different emotions and feelings that are relatable to everyday

The La Costa Canyon High School Winter Dance Recital was a fun and upbeat, communal experience that allowed the opportunity to watch fellow students excel in their own individual strengths. Each dance was creatively choreographed to portray a message whether slow or fast, happy or sad. The overall experience was enjoyable and definitely repeatable.

Tiana Woods is an ambitious second-year undergraduate student studying Political Science and Dance. She is currently attending Columbia University as a Kluge Scholar. Tiana started her learning journey in the East Orange School System at the Little Ones Preschool. Her Preschool teachers cultivated in her a passion for reading. Ever since then she has loved to tell stories through different art forms. Dance being her favorite platform through which to do so. For Tiana, there is something magical about being able to instantly connect with people of different backgrounds through movement. That's the beauty behind artistry in dance—movement can be interpreted in so many different ways, by so many different people. But it will always inspire. Tiana

21st of May, California State University of Long Beach held the CSULB Dance In Concert at Martha B. Knoebel Dance Theater with the collaboration and choreography by the CSULB dance faculty such as Colleen Dunagan, Rebecca Lemme, Sophie Monat, Andrew Vaca, and featuring guest Laurel Jenkins and Doug Varone. From the show, the dances represented through various genre such as contemporary, contemporary ballet, and modern dance. The element of contemporary defines as a collaborative style that includes modern, jazz, ballet, and hip hop. All these styles of dances were shown by connections after each intermission. In particular, I will concentrate mostly about contemporary dance out of all the dances in the concert and talk about the effects on three out of six performances. The performances reflects mostly on how we describe life and nature and partially define life to every aspect of the emotion were being introduced by the dancers.

It had a visible rhythm. The dancers started with just using the walls and dancing with the walls. They dropped them to the floor, slid them into different spots, let the walls fall on the them, and passed them to each other. Then they started to tell the story. Throughout the dance there was unison dancing, non unison dancing, duets with partnering, trios, and quartets. There was a lot of pedestrian movement especially walking. A lot of the transitioning locomotor movement was walking or running. There was lot of small little movements with the hands and fingers and that was the only body part they were moving. They did movements like opening up the hand slowly, twisting one finger, and tapping one finger. Some of the movements were very literal, and visibly went along with the words in the story. Other movements were not literal; they were very abstract. One literal movement happened during the part in the story when the one daughter died from the failed abortion. One female dancer touched her stomach as if it was in pain. There was also contrasting movement. While one or two dancers were doing more complex movement phrases the other dancers were doing simple movements like walking or were in stillness. The partnering was untraditional and included weight sharing. The females lifted the males sometimes which is unusual. For example, there was one lift where the female dancer lifted the male dancer onto her back while she had the microphone in her hand and was talking. Her voice did not change one bit either. Different choreographic elements were used. One that was used a lot was repetition. The end of the dance had more of a distinct rhythm than the beginning, and was lighter. The first part was more heavy looking due to all the sadness. It ended with the dancers holding their hands in a

always been known for the risky and powerful movements which are often why dancers retire from the company. The dancer’s movements were often very intense and emotive, such as the “throws” across the stage in which the dancers would, almost violently, launch themselves across the stage in different forms (leaps, falls and flips to name a few). Another section where the movements were emotive is where the dancers were thrusting their hips in different positions to perhaps show sexuality in “self”.

The Faculty Dance Concert was an entertaining event filled with a variety of dance styles. The show took place on Friday, November 6, 2015, at 7:30 in the evening, and was held in the Fullerton College Campus Theatre. The founding artistic director is Melanie Kay Rosa and the assistant artistic director is Lisa M. Anderson. The dance faculty choreographers are Lisa M. Anderson, Sarah Cashmore, Teresa Jankovic, and Melanie Kay Rosa. The four guest choreographers are Helen Gardea, Robert Laos, Devon Smith and Shawnee Amara Williams. The two student choreographers are Ashely Garcia and Madeline Young.

The movements were very specific and showed the story of the dance. The partners used many movements that contained many body

The Repertory Dance Company Fall Dance Concert was held at the Mannoni Performing Arts Center. The dancers involved in this dance concert are part of the University of Southern Mississippi Dance Department meaning they are either pursuing a degree in dance or teach dance at a university level. Both students and faculty had the opportunity to present work during adjudication to be chosen to be presented at this concert. I particularly enjoyed this concert because, while all of the dances presented were a part of the broad genre of modern dance, each dance had such a unique aesthetic so the concert still provided a great amount of variety to keep the audience captivated. The two pieces I have chosen to review represent this variety very

I liked the dance piece because the dancers were limited physically in their bodies, but their dancing was beyond limited and astounding. At first, I was a bit doubtful and sceptical before watching the dance because I thought the dancers were going to perform with very minimal and stiff movements. But to my surprise, the dancers moved gracefully on stage. The two dancers used quite a lot of space. The dancers used all levels of space from low to high. For example, the dancers executed amazing leaps, jumps and lifts in their performance that represented as high levels of space. The dancers movements were grand; however, they were also whimsical, sharp, circular, and clean. The dancers utilized most parts of the stage. The pattern of the space that performers used was more curved than linear. There were two dancers in this piece, the male dancer that had only one leg and the female dancer that had only one arm. The genre of dance that was performed was a ballet; though, in my observations the dance seemed to be more contemporary than ballet. For instance, the tempo of the dance was slower and had less rhythm than most classical ballets I’ve observed. Also, there were a couple of pauses and rests during the performance. The dance

The first piece of the performance, “Finding Center”, considered movement of finding the center of gravity. The movement consisted of interweaving through each other with chaîné turns, low runs, and double attitude leaps as six dancers, three females and three males, moved through the space of a small stage. The costumes designed by Naomi Luppescu were grey short dresses and grey t-shirts with dance pants for the men. The music

As a revolutionary contemporary ballet choreographer, Kings’ dance pieces are often put together without restrictions and the moves are often modern. For example, the dance move at 0:17 to 0:27 consists moves that are traditional and contemporary and conveys a message of struggle and breaking free. The female dancer first bends one of her knees while straightening the other knee while making a big circle with her arms. Then, she straightens up her body while bringing her arms together to her chest with her

The 2017 Spring Works Dance Concert, presented by Purdue’s Contemporary Dance Company, displayed various dance pieces that had diverse choreographic structures and appeared to be created from compositional processes that were very similar to the processes we explored in class. All of the choreographers in this concert exhibited their own works through exclusive compositional tools. For example, in the work “Unlocking Energy”, choreographed by Mary Beth Van Dyke, the sustained arm movements initiated throughout her piece appeared to glide from one motion to the next with ease. The arm movements in this piece differed considerably when compared to the hand gestures in “12th Drowned”, choreographed by Kathleen Hickey. The hand gestures in “12th

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