The, Performed By Sydney Dance Company, Choreographed By Rafael Bonachela

They first danced together. This piece was a burst of energy for the production. They used the entire stage and had very drastic movements. The two dancers danced very good with each other; they both had large sweeping gestures. After they performed together, they each had a solo. The guy went first and his dance was a very high energy performance. He had incredible leaps and jumps. He used the entire stage and made sure the crowd did not get bored of watching him. I loved this performance because it was so high energy and I felt that if I looked away for a second I would miss something. The girls’ performance was high in energy as well but more mellow. Her movements were very graceful, fluent, and

Graeme Murphy, past artistic director of the Sydney Dance Company is known to be Australia’s greatest and most productive choreographer, of all time. Through the 30 years of being artistic director, Murphy has created outstanding pieces and inspired

The prestigious dance company located on the Manly Wharf, Walsh Bay supports a great following and appreciation of dance. Since 1985 the company has called The Wharf in Sydney’s Walsh Bay home. Being minutes from the city’s iconic Bridge and Opera House it gains a lot of attention by new comers to the city. Its studios can hold the most attending dance students in Australia, with nearly 80,000 attendances annually. An opportunity with a pre-professional course in dance was offered to dancers of the company during 2014. This would offer students the likelihood to gain experience with a number of Australia’s most well-known choreographers.

On the day of October 1, 2016, a few dance friends and I attended Nuit Blanche and our first stop was Asalto Toronto. When approaching the installation, I was open-minded because this was my first experience at Nuit Blanche. When I saw the piece, however, I was unsure of what was happening and what its significance was. I noticed that it was, in fact, pedestrians in the projection, and I initially found their vertical crawling to be slightly off-putting and animalistic. Nontheless, the more I observed and questioned the piece, the deeper my understanding became. I chose Asalto Toronto due to its relation to the community and society, the overall message of overcoming, and the opportunity to view this installation as a form of ethnic dance.

The piece was trying to convey the idea of freedom. Liberating the soul by expressing what it feels in a form of dance, which is something that can be seen. The movements were free, the performers moved around the stage depicting natural dance movements.

This week's reading's, lectures, along with the live dance session has helped further the little prior knowledge I had on the details and components that are necessary to create a dance performance. In particular, DeFrantz does a great job listing the aspects behind Alvin Ailey's dance performances. The foundation of these performances was predetermined in Ailey's notebook of thematic sketches, descriptions of each individual character, sketches of desired settings and costumes, along with an outline of the counts to the music (DeFrantz 2). Together all of these details help make a dance that reflects a story or message or that allows the audience to formulate their own interpretation based on what they saw. Besides the actual choreography/

This year’s edition of The George Washington University’s “Danceworks” directed by Anthony Gongora was a modern variety act that combined components of dance and theatre throughout several individual performances. Among these individual performance, there were acts that were narrated while others told a story just through dance; there were acts that related to particular circumstance of GW students such as “9:35, 11:10, 12:45, 2:20, 4:10”, others that narrated the life stories of a particular character such as “Belinha,” and others that looked into the deeper meaning of human existence such as “Exuviate.” Even though the individual performances generated some interest among the members of the audience, there was chronological sequence among

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

Many people channel their emotions and experiences through the art of dance. In 1970, The WestGate Bridge in Melbourne collapsed. Lucy Guerin and the dancers at Lucy Guerin Inc, performed a piece ‘ Structure and Sadness ‘ in Malt House Theatre Melbourne back in 2006. The main focus of this piece is the movements demonstrated, the dancer motions reflect on the emotions and feelings the workers may have experienced when building the bridge. Throughout the text we will analyse different features in the dance such as the unique movements, lighting, music and props.

Surely, the intense joy and confidence with which Ashley Bouder in Square Dance and Sterling Hyltin in Duo Concertante danced and carried themselves must have radiated on Saturday afternoon handily throughout the theater. Although not surprising, the sheer skill with which both executed their steps was nevertheless astonishing. Taylor Stanley and Robert Fairchild, their partners respectively, were equally outstanding.

The chosen elements of music, positive space in bodily contact, and stylistic dance were the aspects of this performance which contributed the most towards his narrative. After shared experiences with students who saw this performance, it seems pertinent to explore the interaction between dance narratives and innate physical somatic reactions towards them that occurred in people’s body. This sensation, will be classified as an “Autonomous sensory meridian response” (or ASMR)2 refers to the onset of tingles that travel up the spine from the back of the head due to various primary sensory triggers. Not everybody has this phenomena occur in their body, and individuals who do have

Their dancers connect with the dance tradition embodying feelings of existential human anguish and references to specific geographic places, dancing focused on surreal situations, body use and the relationships between stage and

This book is about how one dance comes together, from beginning to end, from choreography to opening night. The author offers paintings and thoughtful placement of words regarding his observations of dancers as they perfect their moves. The book ends with the curtain going up during a performance. This book is ideal for anyone who wants a preview of what goes on behind the scenes of dancing.

This new, post modern style of dance emulates the separation that was created between the original traditional dance form of Ballet, to Graham, and even farther to Cunningham, who separates himself from not just the traditional form and technique, but the narratives and the ‘purpose’ which was set for dance; Cunningham goes so far as to separate his dance from music, literally, practicing and creating a dance with a stop watch, rather than music, only introducing the music in the actual performance. Cunningham would certainly be considered avant-garde in terms of dance, and the traditions of story telling. His choreography shows an evolution and separation from the beginning forms of the art, which is even more ‘modern’ than the modern dance of Graham. Graham’s technique influenced Cunningham’s style and technique in dance, and he took her concept, which was to turn the idea of what dance should be, on its head, and took it to a completely different realm. Graham asked why gravity and body shapes and movements shouldn’t be explored in dance; Cunningham asked why Dance had to be so interconnected to music, why it should be tied to

A recent live performance I saw that left a huge artistic impact on me was Nederlands Dans Theatre’s “Woke Up Blind” at Fall for Dance on Friday, October 7th. The piece was a fifteen minute new work, choreographed by Marco Goecke and set on seven of the first company’s members. The first premiere of the piece took place in The Hague, The Nederlands on February 4th 2016, but the Fall for Dance performance at the New York City Centre was their United States premiere.