The Interior Of Dance Communication

Our lives are remembered by the tempo and rhythms in combinations to give a certain mood. Or as stated by Moore (1984), in life there are tempos and rhythms, within and without we are made up of life’s tempo and rhythm. As explained in class Laban/Bartenieff theories on movement and later refinements of language of movements give teachers, directors and actors a common language to not only describe certain movements but also give concrete ways to explore the way our bodies move to help express an actor’s actions and character. Working with teens that might not have total control of their ever-changing bodies this will be an outstanding way for them to experiment and not feel self-conscious about “dance”. Using the body to express oneself or a character has always been on my short list of first things to teach. It seems so

Dance began as a form of communication and storytelling. Thousands of years ago dancing served as a way for people to tell a story and helped distract themselves of the hardships they faced. Furthermore, dance was a form of storytelling through communication, which then turned into using storytelling through dance as entertainment. According to the History World, many dancers during the BC time danced in front of only a few people to get a story across. That later turned into hundreds of thousands of people as dance was used by many. Today, dance is also a form of entertainment and storytelling, but in a modern sense. However, today perfection and technique are stressed more than they were in the past. Yet, the passion for dance has not changed. Many dancers who share this passion also have many of the same qualities. Among a discourse community of trained dancers, one expects to find individuals who are healthy and active athletes, expect perfection from themselves through competition, and religiously attend dance performances.

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

Dance is the beginning of the unit and therefore serves as an introduction to mental and emotions.

Since I was a little girl I’ve always been part of something. But none of the activities I did really filled me. I became part of a dance academy when I was 13 years old, and it was because my sister wanted to learn to dance for her Quinceañera. It’s kind of ironic how something that would be very important to me started so simple. But I guess that’s just how the best things in life happens.

Feminism plays a large role in many dance styles in today's society. It is a key tool to use while teaching younger students as proved by the women showcased in the films provided as well as in the articles, “The lens in which I look through everything now is feminist theory and pedagogy” (Jennifer Bolt). Throughout the interview, Bolt touched on how she felt as if she had a loss of voice when it came to fighting for the dance program, it connects back to her learning about how women had to fight for their voice in society when she was just a girl. Claire Wooten explained how she tended to steer away from what she called “The F word” (Wooten) when directing her classes due to how announcing feminist theory right off the bat seemed to put people off. Wooten stated she directed her classes from an emancipatory standpoint, attempting to remove herself from the equation to heighten student experience and self-progression.

If one has ever been fortunate enough to see a live ballet then I’m sure at some point during the performance they found themselves wondering how much time, effort, and skill the dancers devote prior to the performance. While there are many factors contributing to the outcome of the show, as long as the dancer learns the choreography and has a great dress rehearsal, the audience is guaranteed to love the show!

In the documentary “Dance Exchange” by Liz Lerman I did not see any signs of the abundant community at first glance. However, after viewing it a couple more times I started to see some of the characteristics of an abundant community, as described by Peter Block in “The Abundant Community.” The first one that came to my attention was when the group was sharing what certain words meant to them. By doing so, the group should be able to break the ice, open the lines of communication, and establish stronger bonds. The second sign of an abundant community was when they all came together with a common goal, came up with a plan, and executed it. Additionally, I agree with Angela Rodriguez in that the they were not just dancing but that it was art,

Dance has been a natural movement form since the beginning of time. The origin of dance is unknown, just as the knowledge of the benefits of dance are unknown to many in our society. Many people do not enjoy dancing and also do not fully understand the positive benefits that come from dancing. Researchers such as Edwards, Duberg, and many more have found countless mental and emotional benefits of dance that originate from movement patterns, brain connections, and even expressions of emotion. Many are aware of the physical benefits of dance, but beyond the physical benefits of dance, there are also emotional and mental benefits that come from dance as well.

​Choreographing isn’t like most passions. It gives complete artistic freedom to mold thoughts into existence. It gives me joy, challenge and influence. Evidently, dancing is what led me to finding my love for choreography. I’ve been a dancer for fourteen years of my life and now I want to lead the future dance industry in to new places. I want to make dance available for all people. Dance is very subjective so non-dancers become intimidated by the uncertainty on whether their opinions are valid, because they haven’t been exposed to dance since pre-school like many dancers. Overall, I want to make the future of dance

Ryan Heffington’s unconventional style has the public wide-eyed and craving more. From his choreographic work in Sia’s Chandelier and Elastic Heart videos, among many others, Heffington’s name is on the frontier of the commercial dance, film, music, fashion and film industries (“Sir Heffington”). His work parallels the definition of edgy. The public has experienced his work at Walt Disney Concert Hall, Hammer Museum L.A.C.E. gallery, L.A. County Museum of Art, and the Dorothy Chandler Pavilion and the Museum of Contemporary Art. He has choreographed over 10 music videos, reaching success and award nominations both in the U.S. and the U.K. Heffington can be compared to a modern day Jack Cole, as both artists delved into the world of

A dance competition community consists of a group of dancers, who have risen above the average in their ability to execute movement, and have been selected by a choreographer or studio. These dancers will continue to take classes, as per normal, with additional technique classes and rehearsals for the pieces in which they will compete with. This community is the representation of the studio to the public. Oftentimes they will produce a cheer or a competition tradition that is performed at every competition and any social gathering. These things may only seem of importance to the dancers themselves since these are their traditions that they will pass on to the future generations of the competition team. These actions not only reflect on the

For this task I was working with the idea of giving movement an audible musicality. This concept came from my initial research that evolved out of the self-portrait solo task. I continued this investigation by exploring movements with audible qualities in order to create distinguishable rhythms using the floor and the body. I began researching material by looking back at my solo and developing the movement. From this I created 4 phrases, which I used to start building the piece.

The subsidies government provides are not for the preservation of the particular communities, but for documentation. It is acceptable that such communities flourish or die even with funding. The documenting process may be undertaken by one of the community itself, with unregulated bias, in the form of art, cultural symbols, literature, performance. This list is not extensive, more may fall into it, but must all fit the category of tangible. Therefore if its a dance or recipe, it must be recorded in some fashion. A dance may be presented, and with modern day technology with the performers approval, such act could be filmed and posted online. Such methods allow mass viewership, therefore can be used as an educative tool, as well as others can

In one my classes; Dance Appreciation, I had an assignment to view a dance piece on YouTube. The dance that I viewed was called “She without arm, he without leg, Hand in Hand”. The dance was not only informative, but it was enlightening to watch.