Scott has changed a lot since the beginning of the film (Strictly Ballroom directed by Baz Luhrmann), from his beliefs; his actions and the way he thinks. He started off following “the only way to dance”/ the Federation way and throughout the film he slowly (gradually gains more confidence and realises….) becomes more and more confident and realises what his heart wants to do, not want his head does. Scott changed because he was under the influence of others and if the people who had a negative influence on him; I think his actions would have been slightly different. His confidence and ego would have been bigger than what it was in the end because his ego wouldn't have been knocked down quite as much. The film helped me understand that Scott is the sort of person to take a leap of faith and is not a follower because the way his emotions are shown …show more content…
Barry repetitively says “Well, of course, you can dance any steps you like! But that doesn’t mean you’ll .. win...win.” He says this to show he has power over everyone and the whole competition, even though Scott believes that you can dance any way you like and still win.
In the beginning Scott went against the Federation during one his performances (the Waratah Championships) using his “crowd-pleasing steps”, everyone in some form of power thought he was a disgrace to the dancing world and because of that his partner Liz left him she said, “I’m not dancing with you, alright? I’m not dancing with you ‘til you dance like you're supposed to!”
When the movie picked up, he was influenced by some people like Shirley and Barry; showing what people say or do can really change the thoughts and actions that come with it. After everybody pestering him about whether he should dance Federation or
...’s work. Although dancing Taylor’s choreography, Grossman was allowed the freedom to experiment and this factor allowed him to develop as a performer. Grossman has admitted that he had some fear in dancing in Taylor’s Company; however he has further added that in doing so his fears were gradually diffused and he in fact reached “a sense of peace or calm”.
In many different scenes, dances were created to capture how each character felt in the scene that they were in. For example, when the crow was being bullied while he was tied up on the cross, Fatima created a dance to show him finding his inner courage and no longer having fear of the birds. I loved when Dorothy and Scarecrow sang walking down the yellow brick road because the dance gave the sensibility of people uniquely living the spirit of expression. The dance looked fun and vibrant like many of the jazz dances we see today. One of the styles of jazz that were engaged in the film was bebop. Bebop is characterized during the 1940s as having a fast tempo and improvisation based on the structures of a situation that inspired the movement. I noticed that bebop was displayed well when Ne-Yo danced because of its complex technique, fast tempo, and improvisation while singing at the same time. This style of jazz was suitable for the presentation of the film because it kept me as an audience engaged in every dance that was choreographed. With the tempo being very fast, it allowed for the movement to be big and easily
The story starts off with Scott saying, “we plunged toward the future without a clue. Tonight, we were four sweat guys heading home from a day spent shooting hoops. Tomorrow, I couldn’t even guess what would happen. All I knew for sure was that our live were about to change” (3). Scott was indeed right, his life was about to change when he entered high school. This clearly ties in with the theme of growing up, because entering high school and going through major changes is all part of growing up, and growing up is inevitable. Scott has to grow up no matter what so he has to somehow learn to deal with the changes he will be faced with. It is clear that Scott knows he has some growing up to do when he states, “Freshmen? Unbelievable. Fresh? Definitely. Men? Not a clue” (4). This shows how Scott starts off the year knowing that he has a lot of maturing to do, because high school is not at all like middle school, it is way harder. Lastly, by the end of the book, Scott wrote in his journal, that he plans on giving to his baby brother, “And, wow, I’m not a freshman anymore. I’m a sophomore. Imagine that. ‘Flux rox,’ Scott said, conclusively” (279). This demonstrates how Scott recognizes that changes will still be happening, but he can do nothing than to make the best of those changes and go along with it. Overall, it is clear to see
An example was through the performance when he had two people from the audience to join on the stage doing Corroboree dances.
Alvin was born during the Great Depression to two working class parents in Rogers, Texas. His father abandoned the family when Alvin was a mere six months old, leaving him and his mother with the struggle of fending for themselves. The inability for Alvin’s mother to find work led to their move to California in 1942, where Alvin was introduced by a classmate to the most influential person that would be the foundation for his future successful career in modern dance, Lester Horton (DeFrantz 1). Alvin was captivated by Lester’s work, which focuses on building a strong body, and made the executive decision to start his dance training in 1949 when he was eighteen years old. Because Lester Horton’s dance company embraced diversity, and accepted dancers of all ethnicities and backgrounds, Alvin was given the opportunity to do something great with his
In, “I Ain’t Scared of You Motherfuckers,” Bernie Mac begins the routine walking onto stage with the DJ playing an old Hip-Hop music beat that Mac dances in to, thrusting his hips, lifting his legs, and bobbing his head to the catchy beat. The beat is so intriguing that the audience members can be seen moving along to its sounds and I found myself moving along with Mac’s movements in addition. Righto off the bat, Mac has the attention of both myself that the audience present in the video because he has intrigued us with happy rhythms which in turn prepare us ...
a flashback at the a dance about when his squad raided a village while they were holding their
Li’s passion for ballet shows on and off stage through his arabesques, flexibility, fouettés, grande jeté and pirouettes that were nothing less than perfection. I understood that becoming a dancer requires commitment, passion and having a great memory as there’s many moves, routines and ballet terms that you need to learn. When I was performing on stage, I felt free and that I could own the stage as it felt like it was my second home. I also felt complete within myself just as Li felt. To perform on stage, you need to be light and graceful along with connecting to the music using precise steps, poses and formal gestures. The film used dance, music, scenery, and costumes to portray a story characterised by Li’s dance. Classical ballet dancers require the utmost grace and I’ve found that you also need a tremendous level of concentration and memory. This portrays when his choreographer Ben Stevenson asked Li Cunxin to replace the main male role due to an injury on the day of the performance to memorise new dances and perform them in front of an enormous crowd. Many of my performances have been in a group where we all need to be in sync and work together. This film highlighted that in order to become a professional ballet dancer, you have to prepare to work extremely hard no matter how gruelling the schedule is in order to
There are many reasons why I feel he needed to alter his behavior. As he explains, he first recognized how much
be of bad character. He was so proud that he didn't dance with any of
7.Jerome Robbins started his dancing career when he majored in chemistry in his college days. He went to American Ballet Theatre when he graduated from the university. He was always pursuing to introduce traditional ballet into Broadway. For years’ hard work, Robbins successfully produced a lot of dramas to the public and made huge success. He was featured by giving young actors pressures of producing dramas by themselves and mixed classical musicals with modern dancing.
This dance scene supports the American Myth where random people in club can just come out to the dancefloor and dance together with choreographed movements, which is just not going to happen in real life. Generic disco dancing is used by this scene with a lot of turning, a two-step movement followed with a kick, some hip shaking with the right moving across the body (pointing), and hand clapping. This dance illustrates my thoughts on American identity where everyone just comes together, putting their troubles aside and start dancing. Which is also similar with the dances in
Gene Kelly once described his career by stating, “I never wanted to be a dancer... I wanted to be a shortstop for the Pittsburgh Pirates” (IMDb). The events of Kelly’s life and career would almost reflect this sentiment if it were not for the incredible impact Kelly had on the history of cinema. Though he claims in an interview found in He’s Got Rhythm:The Life and Career of Gene Kelly by Cynthia Brideson that his career was more incidental than anything, it was his innovative style, charisma, and challenge of classism in the dance industry that proved him to be a true revolutionary in the world of musical cinema. Gene Kelly challenged the style of studio musicals in not only his form of dance. He challenged the way dancing was viewed by society. Gene Kelly’s legacy can be detailed by his influence on the dance styles found on stage and screen, in modern cinematography and editing, and in the his challenge of the stereotypes
His persona was constructed around this passionate and exotic dance which featured heavily in many of his films. Furthermore, as Valentino
Dance is a part of every culture. Whether it is the fire dances of the native Hawaiians, or the Tango from Spain, dance is a part of every culture. This event is not an event I would usually attend. I am not into art of any kind except music. At first, there were two reasons I went to this performance.