The World Of Dance Media

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.

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.

When it comes to speaking or performing in front of an audience, everyone has their own ways of handling the situation, even if they don’t have a fear of a big audience. Some people imagine their audience naked and some imagine themselves somewhere else. This trick to performing is expressed in both “Lost in Motion” and “Lost in Motion 2” These short films depict two professional dancers performing breath-taking moves, all while in perfect elegance. These two short films have both similarities and differences. The comparison of these films can be best categorized by its setting, its mood, and its music

Dance is a very unique entity to study that comes with many benefits. It is a way of connecting to culture. Dance has a sense of history and community being portrayed throughout the movement. Some of the popular dances from the Caribbean include the Merengue, Rumba, and Cha Cha. Not only are these dances upbeat and fun, but they offer the opportunity to embody the culture instead of just learning about it through a passive manner.

Alone at the start of “Pavement,” the choreographer Kyle Abraham establishes the distinctive movement language that’s gained him attention. It’s a style in which the body — and by implication, the psyche — is pulled in multiple directions, out of the ground and into it. Sourced in contemporary dance and the street, twisting together aggressive male posturing with the kind of hip-hop moves that summon comparisons to ballet, it expresses confusion with searching, eloquence.

My life would be incomplete without performing music. I’ve spent time, in concert bands, in bell choirs, in school and church choirs, and singing, playing in music festivals, and in pit bands trying not to laugh my head off at the actors’ improvisations. But the art that truly speaks to my soul does not lie in creating music, it lies in dancing to it.

As I sat enveloped in her story of overcoming conclusions, she taught my heart to embrace each quirky part of myself. I identified with Elle Woods’ need to prove herself. This idea of accepting individuality provided me with the courage to audition for my first show, the Arvada Center’s production of Footloose. Since that first nerve-racking, nail-biting experience, I have come to find myself through each move I dance onstage. Getting my first big role, the Dragon in a production of Shrek, I poured my heart out, knowing the people ready to judge and mock were watching. After the show, the peers who judged my intelligence approached me, saying things like, “I never knew you could sing like that.” Through performing I found myself again. I shifted back to the girl I was, the girl who cared about her morals. I want to perform, hoping to provide audience members with the ability to connect with characters who can offer them a point of realization, as Elle Woods did for me.

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.

KD Lang, a lesbian artist, uses her music to create a space in public where other queer individuals are safe to express their gender and sexuality in a space where community and unity is encouraged. (Valentine 1995, 474). Her music is also critical in repositioning queer identities with politics, encouraging the intersectionality by encouraging discussiong such as food politics, family dynamics, and gender roles in her album Absolute Torch and Twang (Valentine 1995, 475-476). Lang’s music speaks to the lesbian and gay community at large, but wishes to be seen as more than just a “professional lesbian”, though Lang is proud of her own identify, and professes as such in her style of dress and attitude, her desire for her music to transcend labels and exist as a form of expression that any one can enjoy, even heterosexuals (Valentine 1995.

When it comes to contextual analysis and dance history, we can see how dance connects emotions, stories, and new movement creations together. I feel that these aspects are a key concept to understand within this course. This is needed in order to understand how dance is performed and connected. For example, when we view a dance, we can see how the dancers body language emphasize the movements being shown. Also, we can see elements from other dance forms  within other styles of dance. For example, within modern dance, we can see similar foot positions and circular arm structures similar to the style of ballet. Modern dancers take these aspects of ballet by molding them into an emotional story or piece to emphasize a common theme. Through using

Are there different types of dances in the Global village? If so, how are they different from each other? Many contemporary dances reflect on the world events and ethnic dance styles. There has been an increase on choreographers addressing social issues and historical events through dance. Created in 1884, there were a company called, “Urban Bush” where they brought light into the histories of disenfranchised people. They had a fierce African, Caribbean, and black American women who did a spiritual tradition of African diaspora. They choreographed a recollected war through dance and music. Ea Sola had made this dance after she returned to Vietnam in fifteen years to her war-torn homeland.

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

In the 21st century we as citizens have seen the way technology has evolved and is incorporated into our everyday lives, massive impacts such as communication, factories or _______ too much smaller tasks like turning on a light. It’s a surprise that such small things can contribute to one major performance, such as Gideon Obarzanek, Mortal Engine and the Step Up films. Throughout history, dance has been generalised as traditional and usually incorporating very little technical work. Yet, things have drastically evolved. Now a more technical side of modern dance has been incorporated and due to this has attracted a more diverse audience.

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.

On December 1, 2017, in the University Theatre at California State University, Dominguez Hills, I observed the fall dance concert Rise. It was choreographed by Amy Michelle Allen, Marco A, Carreon, Sarah Cashmore, Jeff Hendrix, Erin Landry, Doris Ressl Acosta, and Kenneth Walker, with the long cast of dancers. The production was pleasing, and would not have been believable without the work from production designers, Frederick Depontee and Cheryl Sheldon. Rise is played out in eight different dance routines, which were Xtra Xtra, Scar Tissue, Hart Broken, Things Are A Stirrin’, and the rest are intermissions such as Female Energy, Women, Exotica, Strength In Numbers, and Makina.