Who Is Vado Diomande Cohesive Dance

always been known for the risky and powerful movements which are often why dancers retire from the company. The dancer’s movements were often very intense and emotive, such as the “throws” across the stage in which the dancers would, almost violently, launch themselves across the stage in different forms (leaps, falls and flips to name a few). Another section where the movements were emotive is where the dancers were thrusting their hips in different positions to perhaps show sexuality in “self”.

In “Stripping the Emperor: The Africanist Presence in American Concert Dance”, Gottschild begins by introducing unique aspects of the Africanist aesthetic including how it embraces differences and instead of the tradition European idea of resolving conflict, Africanist aesthetic presents a question and demonstrates the beauty in accepting conflict. One way in which the Africanist aesthetic differs from European ballet is how they utilize polycentrism, having multiple centers of movement, and polyrhythm, when different body parts keep multiple rhythms. Other ways include the high-affect juxtaposition, changes in mood, movement, or tempo, to the drastically contrasting sharpness and intensity in the movements. Gottschild’s main point in

The dance is recognized as the only space of coexistence between men and women. A symbolic representation of the relationship between the sexes where their communication compasses their feet, body and arms. The world was danzon, the dance, not the desire to walk with men. It is consistently recognized that the three activities that devotes her life in Mexico City are totally full of guidelines and rules. Julia’s movements follow a pre-established routine, and danzon, like dancing, is the best example of this pre-established order - the discipline and the inability to improvise. It is a dance, like most, where women must go with your partner, where Carmelo puts his hand on her waist and Julia follows his lead.

Another common feature of all the dances is that the music is an irregular rhythm, creating suspense and standing out as individual. Kylian’s choreography uses the ability to isolate and coordinate different body parts as well as the use of hands to communicate meaning in all of his dances. Humor is often created as a result in over the top facial expressions like in ‘six dances’. Kylian as a contemporary choreographer uses stillness as a choreographic device in all of his dances. Another unique element to his dance style is the entrances and exits of the performers. He explores space’s limitations and capabilities making the entrances and exits part of the dance. In all of Jiri Kylian’s dances, the dancers enter and exit the stage into darkness rather than through wings. The dancers in all Jiri Kylian’s Black and white ballets, dance predominately in a large group, with individuals or pairs breaking off to do their individual movements before soon joining back in with the group.

There are many different “worlds” on this planet we live on called Earth. Everyone alive lives in some kind of little “world” of their own. There is the celebrity world, the “Disney” World, “Wally-world”, lots of different sports worlds, scholastic worlds, and so many others. There is a particular world that some live in, and that is the World of Dance. When you are a part of that world, you literally live and breathe it. Every aspect of the dance culture is wrapped up in that world. To those looking in from the outside it is beautiful, filled with lights, lovely costumes, mesmerizing music, and graceful movements.

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.

Given that this “visit” was more like a virtual experience, I was still able to access a couple of my senses, just as if I was at the actual exhibition. Through the use of anecdotes and detailed images, I am able to see all of the personal experiences an individual had while practicing a particular dance and what it meant to them. In this exhibition, there are ten different dances displayed, including the: Yup´ik Yurapiaq and the Quyana (Thank You) Song Dance, Yakama Girl’s Fancy Shawl Dance, Cubeo Óyne Dance, Yoreme Pajko’ora Dance, Mapuche Mütrüm Purun, Tlingit Ku.éex ' Entrance Dance, Lakota Men’s Northern Traditional Dance, Seminole Stomp Dance, Hopi Butterfly Dance, and finally, Quechua Danza de Tijeras (Scissor Dance). All parts of the exhibit were insightful, but the two that sparked my interest the most were the Yup´ik Yurapiaq and the Quyana (Thank You) Song Dance and the Quechua Danza de Tijeras (Scissor Dance).

“Discuss in choreographic terms the use of space in Jardi Tancat. In your answer, refer to the variety of configurations or groupings of dancers.”

In “Stripping the Emperor: The Africanist Presence in American Concert Dance”, Gottschild begins by introducing unique aspects of the Africanist aesthetic including how it embraces differences and instead of the traditional European idea of resolving conflict, Africanist aesthetic presents a question and demonstrates the beauty in accepting conflict. One way in which the Africanist aesthetic differs from European ballet is how they utilize polycentrism, having multiple centers of movement, and polyrhythm, when different body parts keep multiple rhythms. Other ways include the high-affect juxtaposition, changes in mood, movement, or tempo, to the drastically contrasting sharpness and intensity in the movements. Gottschild’s main point in her article is to describe how the Africanist aesthetic is much less strict

Watching a video of a dance piece called “The Moroccan Project,” choreographed by Alonzo King was quite impressive. Living in San Francisco and taking dance classes brought me to Lines Ballet which is King’s dance studio. I have seen a great deal of different types of dance at the studio waiting for my Ballet classes and there are some great dancers. It comes as no surprise that Alonzo would have such great dancers. It appears that Alonzo King is exploring different cultures in dance in Contemporary Ballet. His near-perfect choreography is articulate, passionate, and graceful- he brings diversity in dance to San Francisco and other parts of the world. This piece articulates the expression of the two dancers coming together yet dancing apart at times- it is a fusion of several different types of dances into one using video editing to create a story about the coming together of two individuals.

The influence behind the dance company is what makes them so “widely acclaimed” when they perform internationally, for their distinct and unique music, choreography, movements and costume designs. The choreographers inspire the dance pieces, by the traditional stories and movements of various Australian Indigenous communities. Some of their best works include the performance productions of Ochres, Skin and Our Land People Stories.

Firstly, three of the dancers gave a short story about their history, some can trace their ancestry back to foreign countries, some just to the slave trade and some just know that their parents moved from one state over. Their statements all dealt very personal and added to the communal aspect of this particular multi-generational dance.

The video Latin Music USA, relates to our class watching the video I am able to say I can do some of the moves they do! Our class relates to this video because they talk a lot about community and being able to connect to another, I think our class connects us to others we generally would not associate with. They talk about when the Fania All Stars would perform the energy from both the stage and the audience was tremendous and people did not want to sit, I think this relates to our class because before the class even starts people are dancing trying to further perfect the way they dance.

The San Diego Trolley Dances took place on October 3rd 2015. An assortment of dance pieces all come together to furnish the city with dance in non-traditional and often unexpected settings. A program that has been established for fourteen years, the annual Trolley Dances traveled from downtown San Diego to Balboa Park. However modern or classical the pieces may in Trolley Dances appear to be, the combination of observation and research can provide a different perspective. Africanist Aesthetics are principles in the qualities of African dance, as well as other African art forms. The aesthetic of the cool is one of five Africanist Aesthetics. It embraces the principle of a contrast between bodily movements and facial presentation and expression. This aesthetic also has a large component of visual values; dancers are confident of their performance and offer themselves as such. Three moments within the collection of pieces presented in Trolley Dances excellently embody the Africanist Aesthetic of the aesthetic of the cool, in the penumbras of potential danger, physical strain, and unexpected collisions.

Unlike most types of music and dance, breakdancing has a relatively short history. In fact, the generation consisting of today’s youth is the first generation to not know a world without hip-hop or breakdancing. Breakdancing is thought to have been heavily influenced by a Russian folk-dance in Brazil known as the Frevo, which was a combination of martial arts and marching. It is believed that this dance was invented 500 years ago by African slaves working in Brazil. What made this dance so attractive to the African slaves was that it allowed the participants to get away with fighting. The Frevo, which later became known as the Capoeira, would in essence, be a battle between dancers, however when a guard came near the performance it would