Veiled And Beggar

The use of theatrical elements in Jiri Kylian’s dances is a defining characteristic of his style as a choreographer. He chooses to use plain, often nude coloured costumes in all his dances, for example in ‘Sarabanade’ and ‘Petite mort’, the dancers look naked. This is a personal choice and was done to reinforce his views that dance should be about ‘dancing not the costumes’. Also this nude costuming matches the

I can only tell by body language that they want to spread heroism between men and women. The use of marble links the sculpture to the glow and smoothness of the male skin. In this sculpture, it appears to be characterized by imagery aimed at the sense of the marble statue. The standing sculpture appears to be relaxed, while the median line makes an angle. While standing upright, the figure’s feet are place in a certain way that brings a shifting effect or movement and a stable poise.

The choreographic intention of “Emergence” was the exploration of merging diverse elements together to see what comes from it, like the emergence in relation to arrangements and structures made in nature. The choreographic intention expanded from the idea of concealment. This was clearly identified in the beginning trio where the female dancer is shown trying to escape from her hiding place. In appraisal, the choreographic intention of “Image” was a more simplistic interpretation, one that explored identity and how it is made up of personal experiences we endure and that along the way we are influenced and sometimes inveigled, which can make revealing who we really are at the core oppressive. In comparison to “Emergence”, the movement in “Image” was more vague and indefinite in relation to linking movement to the choreographic intention. Through manipulation of structural devices such as groupings, stillness, tempo and dynamics, the

Edgar Degas’ Little Dancer Aged Fourteen is a symbol for all little girls with dreams bigger than themselves. The Little Dancer is a statue of a young girl made from all natural materials, created by the artist Edgar Degas. The Little Dancer has a small head with small features; Degas was not trying to emphasize her face, but her minute features display an expression of hope, almost jovial in a way. The air of her expression conveys the quiet discipline of a dancer and therefore her passion and love for ballet. The legs of the dancer are long compared to her torso, turned out, as a dancers always are. This turnout becomes natural after working strenuously every single day, trying to perfect the dancer’s art; standing parallel feels abnormal.

With the sculpture straight ahead, the audience sees a profile view of the scene; however, the artist created the sculpture with enough space and depth to be able to view the front of the woman’s face from a side angle. The artist created the seated woman with much detail; her nose, chin, slightly opened mouth, pronounced brow line and inset eyes show this. She reaches for the chest with her right arm in a very delicate manner as her left arm lays on the throne for support.

Despite evident differences in the compositional elements of Picasso’s Les Demoiselles and Manet’s A Bar at the Folies-Bergère, both utilise a composition with a shallow plane to distort visual perception in their work. This distortion promotes the spectator to revaluate the way they perceive these female prostitute subjects. Picasso’s treatment of paint and use blocked colours in Les Demoiselles creates the sensation of a flat, two-dimensional image, signifying a radical break from traditional modes of representation. The lack of depth in the painting pushes the figures of female prostitutes on top of each other, layering the stark angles and sharp forms that make up their bodies. In addition, this layering on such a large scale (243.9 cm × 233 cm) creates a feeling that the figures are pushing beyond the boundaries of the work and imposing themselves onto the spectator. Furthermore, the stances of the prostitutes, who are dramatically flaunting their bodies with arms raised and torsos presented openly, fills the frame, refusing the spectator to accesses to other areas of the image. Instead the female figures dominate the attention of the viewer, in some ways empowering these figures who previously lacked representation. These formal elements of composition all come together in Les Demoiselles to challenge the spectator’s ways of viewing the females in the work.

Edgar Degas created hundreds of paintings which captured the harsh realities of 19th-century dancers’ lives and depends on his fascination with how ballet dancer’s bodies react when they dance. Degas focused on the movement of the ballerinas across the space and

Joan Miró’s Danseuse Espagnole, or Spanish Dancer, is a famous Surrealist painting. The painting gives an abstract, formless representation of the titular “Spanish Dancer” and was originally presented as a part of a set of three Spanish themed paintings by Miró in l945. Spanish Dancer shows how deeply Miró was influenced by his Spanish heritage and shows his dedication to destroying the way his art was previously perceived by presenting an almost unrecognizable abstract form of a familiar subject. Being a Spanish artist, Miró was often influenced by Spanish culture. In the case of Spanish Dancer, Miró drew inspiration from flamenco dancers.

This sculpture represents Bodhisattva Maitreya. Bodhisattvas are knowledgeable characters who defer their sanctification to support all sentient individuals (Rambelli, 207). Unlike other Buddha statues the Bodhisattva is an invented character, not a replica of an exact character to Buddha. Bodhisattvas have several of those attributes of Christian benefactors (Gresham and Dunham, 400). They are sympathetic characters who assist congregants. Contrary to saints; nonetheless, they are not affiliated with historical individuals, hagiographies, or suffering.

The sculpture to the far left is from the archaic period. Archaic art is famous for the establishment of the human figure as the central image and the law of frontality. As seen above, archaic sculptures are famous for their “archaic smile” that is present during any occasion. Therefore, pain or sorrow is never depicted. With all sculptures having the same facial expression, it leaves no opportunity for interpretation or individuality. This was a pattern among archaic art because it was meant to represent order.

Each performance was a contemporary dance piece showing the strength of each dancer’s movements with different props to help express the meaning of each piece. The pieces were independent from each other and had their own flow to them as well as story behind them. The dancers for each piece showed discipline in their performance as well as physical strength; as modern dance is all about having clean-cut movement in order to fully express the story.

“Her dances articulate linkages between individual and universal patterns, but seldom can they interject layers of social, political, or moral commentary” (111). Foster blames the fact that “resemblance is no longer a dominant mode of interpretation in our society” (111). Unfortunately, this may be true to the majority of dance viewers. Even if the message is not as obvious as allegorical meaning found in Renaissance pieces, Hay still challenges the audience to interpret it for themselves. Her movement is more innovative and complex than the movement of her predecessors. Maybe her exact intentions for the “bird dance” may not clearly resonate with every viewer, but it is up to dancers and choreographer to engage the community in discussions to help people better view and critique performances. There is also value in the ambiguity of allegorical references in contemporary pieces because it leaves the viewer room to question, reflect, and

Sartre’s idea that “Freedom is what you do with what's been done to you.” is a critical concept in existentialism. This art piece is symbolic of this idea through the portrayal of a hand, composed of Sartre’s negative words, shadowing the dancer, who is in a state of bliss, despite the harshness she has faced in the words behind her.

Indeed, it portrays a transformation of social life into economic life, a theme that the artist exploited in his representation of professional women. Specifically, Degas represented professional women in a way that showed how their bodies were singularly “oppressed” by their work. The Dance Lesson represents a number of women who appear to have been forced to spend long hours working on strenuous and disciplined balletic moves. Particularly the female on the foreground to the left who appears lost in deep thought is in a state of near collapse, sleeping on her crossed elbows. Another lady in pink sits on a chair and looks on others lazily while at the farthest of the plane there is a group of girls, one fanning herself, another leaning on the wall, and another pair appears to be massaging their arching muscles. Kane cites that one can choose to see the lady in the foreground in a red shawl as a “statue of cares and weariness.” Iskin also confirms that “Degas returned to their bodily particularity, their weariness and their shared human predicament.” Most of the young ladies in The Dance Lesson bear the signs of their labour, for some still, maintain their posture that ballet training demands even while slumped in fatigue. This exhibition of their working status at all times reflects a popular theme on the working woman in the late 19th century.

In the other hand a cleaning duster. If the viewer is standing right in front of the sculpture, her gaze seems to be straightforward. Staring right at the observer. There’s also a sense of motion, as if she is going to step right to you. She might have something to say, her voice might want to be heard. She has a hopeless and overworked look on he face. It’s evident that she has been working hard because of the sweat on her body. Her mouth isn’t open while she works she is silent. The sculpture embodies the working class, the people who endure manual labor to serve the wealthy. It’s a social commentary of how the working class is not heard. These people are the 1%. They are what we call “the other”. These people are usually the victims of marginalization. The sculpture represents the American dream. How you can achieve your goals if you work hard enough. But that isn’t always true. Its part of the system. Generally you are born into the