The Diagram Of The Dance Company

Lester Horton was an American dancer, choreographer, and teacher. Born January 23, 1906 in Indianapolis, Indiana and died on November 2, 1953 in Los Angeles, California. Lester Horton was born into a working-class family. He was the son of Iradell and Pollyanna Horton. His passions for dance was aroused by his very own American Indian culture in the wake of watching tribal dances. Lester Horton was one of the few pioneers of modern dance who made sacrifices in order to bring black dancers to the concert stages. Although, he was not black, his choreography and work had a significant influence on artists of the African Diaspora. Lester Horton’s goal was to create a dance technique that was anatomically corrective and utilized the widest

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

From kindergarten until high school, I was a member of the Jean Wolfmeyer School of Dance. Up to 5 days per week, I would be at the dance studio taking classes, rehearsing for shows, and helping out in the less advanced classes. Regardless of skill level, Jean never hesitated to speak the brutally honest truth about students’ performances and she never settled for anything less than perfection. Jean would often preach that she is only the instruction manual and she cannot make us good dancers, we had to do that for ourselves. However, it was not her critique or teaching alone that motivated dancers to perform well, it was her relentless work ethic and commitment to her studio. As a 70 year-old women, Jean held classes as much as 7 days per

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.

In 1969, Ailey established a dance center in New York City. By the late 1970s, his company was one of America’s most popular dance troupes. His members toured all around the world, with the U.S state department behind them. They also were the first modern dancers to visit the Soviet Union since the 1920s. Ailey received many honors for his choreography. For instance, in 1975 he won a Dance Magazine award and the Springarn Medal was given to him by the NAACP in 1979.

On June 21st, 1990, William Arnett, the soloist of Dayton Contemporary Dance Company, restaged Mourner's Bench on the opening night at the American Dance Festival in Durham, North Carolina. Known as the oldest and one of the largest modern dance companies between Chicago and New York, Dayton Contemporary Dance Company restored this performance as a tribute to the greatest and most influential African American choreographers in time, Tally Beatty. It was such a pleasure to see Beatty briefly appeared on the stage at the end of the video. Watching the dance as a whole was such an enjoyment, because it let the audience’s spirit go on a journey and made people feel to be connected to the divine.

In 1958, the same year the company was founded, they had their first performance at the Young Men’s Hebrew Association. At the time Ailey was the principal dancer, choreographer, and artistic director. During that same year Ailey created the “Blue Suites” his first full-scaled piece. The emotional work’s topic was blues. The Station Wagon Tours allowed the group to travel around the country in 1960. They then became the resident company at the Clark Center for Performing Arts. This is where he choreographed Revelations one his most influential and popular works. The company has achieved many accomplishments throughout their history. They toured East Asia and Australia for Kennedy’s “President’s Special International Program for Cultural Presentations.” Later receiving the Kennedy Center Honor for lifetime contribution to American Culture. The Alvin Ailey School was founded in 1969 and is now a member of the National Association of Schools of Dance. One decision that Ailey made changed the history of the company forever. He switched the all black company to a multi-racial group. By doing this he showed how dance was something that we all share and we are all equal in. Sadly Ailey passed away on December 1 1989 due to AIDS. After his death new artistic director Judith Jamison lead the company to even more success and maintained old traditions. From the

Dancing is a historical tradition. Hip-hop dancing has been alive at social functions for centuries, and Popping and Break dancing are the old school days gone by. In recent years, Hip-hop dance has proved its long lasting presence in our lives. It is in our media, our music and day-to-day social functions. It isn't usually taught parent-to-child so people are seeking schools where they can learn. With Dance sport being considered as a medal sport in the next Olympics, more people will be exposed to Social and Hip-hop dance.

On Saturday, October 10, 2015 Bill T. Jones featuring the Bill T. Jones / Arnie Zane Dance Company performed at the Richard and Karen Carpenter Performing Arts Center in Long Beach, California. The title of the piece was “Story / Time” and portrayed Mr. Jones sitting at a desk center stage throughout the show narrating personal stories as the nine dancers danced on the stage around him. The Bill T. Jones / Arnie Zane Dance Company was founded in 1983 by Bill T. Jones and Arnie Zane in New York City. The company is well known, and has performed at various venues across the world. While their performances have ranged over a wide array of subject matters, the company’s ultimate mission is to encourage the collaboration of artists and

Jones rose from being the 10th of 12 children of migrant farm workers to one of the most notable, recognized modern-dance choreographers and directors of our time. Through HIV and AIDS, which

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

Lester Horton has been named, as one of the many founders of modern dance, whose style continues to be used in present day choreography. Although Hortons’ early technique was impacted by his interest in various cultures; his style eventually shifted towards a more theatrical technique. Horton used his versatile dance background and interests to develop the sub genre under modern dance, more formally known as choreodramas. His technique seen in earlier pieces and choreodramas such as “The Beloved” and “Salome” were effective in displaying the purpose of Horton’s style. Horton integrated his background in dance, props, costumes, and choreography to emphasize contemporary ideas and display the new genre of choreodramas.

Sally Banes is an American writer and dance historian and critic. She is also a professor of theater history and dance studies at the University of Wisconsin-Madison. Banes has written multiple books and contributed to many documentaries and films. The book Moving History / Dancing Cultures, which Banes contributed to, includes the article “Choreographic Methods of the Judson Dance Theater”. This book was published in 2001.

William Forsythe was (born Dec thirty, 1949 in big apple City)[1] is associate degree yankee dancer and creator resident in city am Main in Hessen. he's legendary internationally for his work with the Ballet city (1984–2004) and therefore the Forsythe Company (2005–present). Recognized for the mixing of ballet and visual arts, his vision of choreography as associate degree structure apply has impressed him to provide various Installations, Films, and internet primarily based datacreation. Choreography and recreation area unit 2 distinct and extremely completely different practices.

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.