I observed theTahitian Ahurora dance performed at SPSCC Pacific Islander’s Club in 2015. “Hei Iti Vaihi” It and “Rau Tama Nui’ were performed by the dance group, Ha’a Hula. This dance was a ceremonial dance. On this occasion, it was to show cultural appreciation for the dance from Tahiti. Eight to twelve dancers performed as a group, dancing to a rhythmical kind of music. They used many small movements of hips, and rotations, while a song about love was playing, typical of Tahitian Ahurora. ========================================= This performance was not not entirely traditional. Also, the setting was not a typical theater setting (but it did have a number of performances from time to time). Other performances of Tahitian Ahurora can usually tell a story. There is more communication between the dancers. But this particular performance was traditional only to the point that it made use of the key parts of Tahitian Ahurora. It did tell a story, a little bit, but it was not the same intensity of performance I have seen in other examples of this dance. But the gentle rocking/flowing movements of the dancer’s body were similar to other examples of the dance. It seemed this performance might have been more for displaying cultural …show more content…
In the performance of “Hei Iti Vaihi,” there was a singular line of dancers that moved side to side. Again, all the dancers moved together. The outward form of their movments, as well as their positions next to each other, were calm, and controlled, as the moved together in a line. On the other hand, “Rau Tama Nui” also made use of lines, controlled movements, and so on. But it made more dynamic use of these lines of dancers, sometimes crossing them between each other. Sometimes, the lines of dancers in this second performance would almost rotate around each other.
New Dance is described as a developing art form; this dance was articulated in the early 20th century. According to Chapter 8 in History of Dance book, “the new dance emerged as a response to the ballet that populated the variety shows and music halls, which had a rigid formula of steps and poses” (Kassing). The New Dance was a product of several strands that interlaced together dancers’ studies and backgrounds; these strands and others were woven together in a historical, political, and societal framework. For instance, one strand of New Dance consisted of the concepts, techniques, costumes, and stage settings from around the world. These strands influenced major dancers and choreographers, such as, Isadora Duncan, Loie Fuller, Ruth St. Denis, and Ted Shawn.
youths and maidens who move and turn in couples or singly to the sound of pipes and zithers. These dances are full
The elements of body, timing and a repetitive sequence make this second piece a memorable one in Ohad Naharin’s Deca Dance. These components work together in order to portray a theme of confinement and uniformity. These dancers move in simultaneous and restricted movements as they try to break free from routine, which they are able to do in the
The music that accompanied the dancers ranged from a traditional war dance to a neo-traditional dance
Another choreographic device is transition, which is used frequently to transition dancers between scenes, and sections in the dance. In this scene, Lady Jane transitions when she comes into her new home, provides Mathinna with shoes, teaching Mathinna how to read and finally sending Mathinna to bed. Conversely, spatial elements – or the space, as well as patterns, that is physically made on the stage, in the air or ground – has been expertly utilized to give the dancer a reason to move. For instance, in this production most positive space used is centre stage and all unattended space is negative space. Page, however has choreographed this dance in a way where most of the space is pranced upon at least once in the scene. Mathinna is representative of a narrative styled choreographic dance. This enhances engagement with the audience by providing a captivating story line to correspond with effective dance style. The unmistakable contrast between the two dances underpins this powerful historical story. Furthermore, the expressions used by Mathinna suggest that she is impatiently longing to be reunited wither tribe; disheartened and troubled by the fact that she misses her
The next work of the program, Courtly Airs and Dances, is a multi-movement work composed by Ron Nelson. The piece is split into six movements: Intrada, Basse Danse, Pavane, Saltarello, Sarabande, and Allemande. Each of these present distinct characteristics that separate it from each other movement, yet all are united by being a style of dance. The first movement, Intrada, presents a fanfare-like opening to the multi-movement work. The trumpets and brass section as a whole lead this, as they create a sense of nobility. The key is major and the tempo is one that could be described as allegretto—it is not a fast tempo, yet more brisk than an andante pace. The texture is homophonic, as there are different parts being performed by different
Peña, Manuel H. "Ritual Structure in a Chicano Dance." University of Texas Press: Latin American Music Review Spring- Summer 1980 1.1 (1980): 47-73. Print.
“Who knows only his own generation remains always a child.” This quote from George Norlin echoes the edification that cultural exposure can offer. How does African dance relate to do modern dance? The two are so heterogeneous in their make-up that one would not think of them as having similarities. The truth, however, is that all dance forms are linked in some way or another; they all strengthen and sharpen each other. Modern dance has its roots in African dance with the emphasis placed on the connection of weight and gravity. Brenda Dixon Gottschild names five aesthetics that are present in African dance. A particular piece that draws attention to the relation of the five aesthetics to modern dance is “Split Sides”, choreographed by Merce Cunningham.
Every dance that is created by a choreographer has a meaning and or purpose behind it. The dance choreographed could be used to send a political, emotional, or a social message. Regardless of the message being sent, each dance created possesses a unique cultural and human significance. This essay will examine and analyze two dance works from history and give an insight into what each dance work provided to the society of its time.
The Folklorico group presentation I was honored to observed was the “Grupo Folklorico Juventud” from North Salinas High School. I decided to attend to this presentation because I use to be part of this Folklorico group. I also enjoy watching the dances for the reason that I believe they are beyond beautiful. It is amazing how a simple dance could transmit so much information while representing a region from Mexico. From my observation experienced, I noticed every region has different movements and customs for a reason. While observing the presentation I noticed most women used long skirts to create different shapes. They usually create the eight shape, half a circle or an entire circle which is created when the dancer does an entire spin while holding and moving their skirt. The skirt is also moved in different levels, such as high, medium, and low. The two levels that are used in most of the dances is the high and the medium level. While dancing the men and women usually do the same steps and movements. All the dances include “zapateados” which are known as foot dances or stomps. The “zapateados” are usually done with different parts of the feet such as the toe, heel and the sole of the feet. The dances include “zapateados” with different sections of the feet because every part creates a different sound. Most of the dances also include jumps and turns. It is extremely important for the
Native American Ritual Dancing “It has often been said that the North American Indians ‘dance out’ their religions” (Vecsey 51). There were two very important dances for the Sioux tribe, the Sun Dance and the Ghost Dance. Both dances show the nature of Native American spirituality. The Ghost Dance and the Sun Dance were two very different dances, however both promote a sense of community.
The push and pull was choreographed beautifully and it was an amazing concept to watch someone hold on to their past. This type of dance is not only beautifully but it conveys a message using the body in mixed postures, opening and closing, advancing but not really ever retreating until the end, using straight pathways because the past is
The Taino loved dancing and singing and used the same word for both arieto. They danced and sang to the music of drums, reed pipes and wooden gongs at festivities such as the naming of a baby, the wedding of cacique or the inauguration of a new cacique.
Different dances came from different cultures in this performance. As I had said before, “Oshun, Goddess of Love”, came from Africa. It arrived in America during the slave trade and has been here ever since. “Paper Moon” came from Japan. The text from the dance came from an adaptation from “Omoiyari”, which is an ancient Japanese dance ritual.
Like many Indian arts, Indian dance also has its root in religion. Without the religious and cultural background of India, the growth and beauty of Indian dance is not possible. In ‘Natya Shastra’, there is a small story about the origin of Indian dance. According to Hindu mythology, dance first existed in heaven. There was always a constant conflict between the Asuras and the Devas for wealth and power. The Devas were tired of the Asuras’ greediness and jealousy.