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fairy tales influence on children
how does fairy tales affect kids psychologically
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Grimm's Fairytales - The Most Gruesome Tales Every Told
Afterwards as they came back, the elder was at the left, and the younger at the right, and then the pigeons pecked out the other eye from each."
"'Cut the toe off; when thou art Queen thou wilt have no more need to go on foot.'"
"'Kill her, and bring me back her heart as a token.'"
The Grimm's fairytales were, and have remained, some of the most violent and gruesome tales told. Although the tales were originated with the purpose of adult entertainment, they have been reiterated to children for centuries. This horrific style is one that has been questioned, regarding its audience, for as long as the Grimm's stories have been around.
There have been many critics of the Grimms' work over the years. Maria Tatar, author of The Hard Facts of the Grimm’s Fairy Tales, holds an extremely critical view of the tales told, and the content in them. She states, "Even those who know that Snow White's stepmother arranges the murder of her stepdaughter, that doves peck out the eyes of Cinderella's stepsisters, that Briar Rose'...
Haskins, James. "Geoffrey Holder and Carmen De Lavallade." Black Dance in America. N.p.: n.p., 1990. 130-37. Print.
Dance is an ever evolving form of art; in much the same way that one can categorize and differentiate between eras and styles of architecture one can also do so with dance. These eras at times have sharp delineations separating them from their antecedents, other times the distinction is far more subtle. Traditional forms of dance were challenged by choreographers attempting to expand the breadth and increase the depth of performance; preeminent among such visionaries was Seattle born dancer and choreographer Mark Morris. Mark Morris' began as one of the millions of hopeful individuals attempting to simply make a career in dance; he not only succeeded but managed to have a lasting effect on the entire landscape of dance.
Alonzo King began dancing at a young age in Santa Barbara, California. He continued his training in New York at the Harkness School of Ballet, Alvin Ailey Dance School, and then the American Ballet Theatre School and School of American Ballet as a scholarship student. After his training he apprenticed at the Alvin Ailey American Dance Theatre and performed with a number of companies, many of which were from Europe. Shortly after, he returned to California where he began his LINES Ballet Company in San Francisco, California. King introduced his first season in 1982 by reviving a piece “Maya”, which he originally choreographed and set on the South Coast Contemporary Dance Theatre. From that point on, the company continued its growth and creation of a fresh spin on an incredibly old technique.
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
Janie never wanted to be married she wanted her independence, but her grandmother thought otherwise. Janie’s grandmother was aware that she was getting older and that when she died there would be no one there to take care and provide for Janie. Janie’s grandmother told her “Ah ain’t gittin’ ole, honey. Ah’m done ole. One mornin’ soon, now, de angel wid de sword is gointuh stop by here. De day and de hour is hid from me, but it won’t be long. Ah ast de Lawd when you was uh infant in mah arms to let me stay here till you got grown. He done spared me to see de day. Mah daily prayer now is tuh let dese golden moments rolls on a few days longer till Ah see you safe in life.” (Hurston, pg. 15)Overall nanny just wanted to see that Janie was safe before she passed away, that was her reasoning for wanting to marrying off Janie. Nanny thought with Janie being married she would not have to see Janie go through the same incidents he mother did. Janie’s mother was raped and once Janie was born she ran off.
Steve Paxton: Speaking of Dance – Conversations with Contemporary Masters of American Modern Dance. Academic Internet Video. Directed by Douglas Rosenberg. Oregon: Alexander Street Press, 1996.
In 1938, she choreographed and produced “L’Ag’Ya” in the federal theater in Chicago. In 1939, the Katherine Dunham dance company performed for the Quadres Society. In 1941, her first film was released, “Carnival of Rhythm”. In 1942, she was a featured dancer in the patriotic film Star Spangled Rhythm and staged dances for the film, “Pardon My Sarong”. In 1947, One of Katherine Dunham Groups were able to present her choreography of “The Caribbean Backgrounds” at Howard University in Washington D.C. Something that Dunham can be remembered by is the title of an advisor, in 1966 Dunham was appointed by the president to be an adviser for the World Festival of Negro Arts held in Dakar. (Katherine Dunham Centers, pg. 1). In conclusion, the amazing life of Katherine Dunham and career can be seen as a miraculous one, and although she was not alone Dunham is perhaps one of the best and most influential pioneer of black dance in the world. To this day and age one can say that Katherine Dunham has done her job correctly, because all she wanted was to she wanted to do was make a statement that African-American and African-Caribbean dance styles are related and can be put together to form powerful choreography which she taught here in
One similarity between fairy tales is the presence of violence most notably in Sleeping Beauty, Little Red Riding Hood, and the Grimm’s version of Cinderella. Sleeping beauty shows a dragon being decapitated, Little Red Riding Hood sees a wolf eating humans then getting his insides ripped open, and Cinderella shows the stepsisters getting their eyes plucked out. The majority of fairy tales are heartwarming and provide a powerful message, so it is very odd to see violence included within them as well. It is worth noting that the violence is, for the most part, ignored by the readers. This is probably ignored because the reader is distracted by a number of others things with the story elements and plot. For example, in the Grimm’s version of
The Island of Alcatraz started construction in the 1850’s and in 1861 the first unlucky prisoners stepped onto the island. The island was now a fully functional high security prison. In 1868 the prison was designated for military convicts and soon the worst offenders were sentenced to life on the island. The island was surrounded by frigid waters and sharks in the bay helped prevent ideas of escape. Some escape plans were put into motion but none fully succeeded. Many convicts found that Alcatraz ended their career in crime, while some found that Alcatraz was the end of their lives. Although the prison was the most secure and safest place to keep these convicts, the prison was shut down in 1963, after over 100 years of service, due to high maintenance costs of bringing materials and sustaining human life on the island. Ever since the prison opened, unexplained occurrences have been reported and no explanation has ever been confirmed.
[6] Cohen, Selma Jeanne. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. New York: Oxford UP, 1998. Print.
Learning about Dance: Dance as an Art Form and Entertainment provides visions into the many features of dance and inspires scholars to keep an open mind and think critically about the stimulating, bold, ever-changing and active world of dance. Learning about Dance is particularly useful for those who do not have a wide and diverse dance contextual, such as students in a preliminary level or survey dance course. This book consists of twelve chapters. Chapter one dance as an art form focuses on the basic structures of dance. Dance is displayed through the human body, it has the control to communicate and induce reactions. Dance can be found in many different places, it enables the participants and seekers to touch and knowledge the joy of movement. Dance is discovered as being one of the oldest art forms worldwide. Dance existed in early cultures was recognized in a sequence of rock paintings portrayed dance. Since this discovery of rock paintings, several other forms of art have been found that depict dance. People used rituals in order to worship the gods and believed that the rituals held magical and spiritual powers. During the ancient period civilizations sentient decisions began to be made with regard to dance. Other periods that had an impact on dance were the medieval period, the renaissance period, and the contemporary period. Chapter two the choreographer, the choreographer is a person who comes up with the movements created into a dance routine. The choreographer expresses themselves through choreography because this is their way of communicating with the audience. In order to be a choreographer you must have a passion for dance. Each choreographer has their own approaches and ways of making up a routine. Choreographers ...
Throughout the years, America has pursued the performing arts in a large variety of ways. Theatre plays a dramatic and major role in the arts of our society today, and it takes great effort in all aspects. Musical Theatre, specifically, involves a concentration and strength in dance, acting, and singing. This is the base that Musical Theatre is built upon. For my Senior Project, I helped choreograph multiple scenes in a community musical “Thoroughly Modern Millie”. Choreography is a way of expressing oneself, but it has not always been thought of for that purpose. Agnes de Mille’s expressive talent has drastically affected how people see choreography today. Agnes de Mille’s influence in the world of dance has left a lasting impact in the Performing Arts Department, and her revolutionary works are still known today for their wit, lyricism, emotion, and charm.
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
2. Professor Clyde W. Richins, University of Michigan, 1990, Vol. 1 of "In the life of Alcatraz" pages 1944- 46