Kinetic Conversation was analyzed into seven different pieces. Through these pieces they demonstrated emotions about a certain tragedy or a meaningful event. All of these performances were sited in the auditorium of RCC. Also, I noticed that all the pieces showed a certain emotion through the movements of their feet and hand gestures. The first piece that was called “the golden flock” choreographed by Rosa Rodriguez- Frazier and Joey Navarrete. This piece was by far one of the shortest. This piece was also very unique because the dancers did not need music to express their feelings towards a song. However, each dancer was doing different positions; for example, some were using releve, while others spinned, and jumped across the floor. Also, the dancers during this piece used a lot of pedestrian hand gestures. Very similar to what we were learning in class. Moreover, the second piece was called “Are you ready?” choreographed by Lindsay Rapport. According to my research this piece was an inspiration from current, turbulent political climate. It became more intense with uncertainty and fear for many. This piece was inspired to spread hope and believed that it will become better. The third piece was called “Reclaim Dawn” choreographed by Morgan …show more content…
For example, they used footwork of ballet along with many upper body movements. They traveled and counterbalance through the stage. During this whole piece they used their space as they shaped a movement together with time and body weight. Since they used lifting another common movement was tilting because of weight sharing they started with a position and leaned to incline the upper body from the hips towards any direction. Moreover, once they stayed at a solid position it continued with a Pirouette. They lifted one leg and bent it, until the point where the foot reaches the knee. This piece was resembled more with our class
After watching the videos most made me feel same as in our book Bill T. Jones says, “Make something beautiful…Make something that comes honestly from you. Dare to fail.” That is exactly ho I felt after watching most of the videos. They were full of emotions and contact. The movements were very touchy feely and emotional with a story to tell; especially, the one called “What is contact improvisation?” I did reminded me of some of the previous choreographies we watched. I most of the videos there was a lots of ballet movements except the “Rennie Harris Puremovement │ Jacob 's Pillow Dance Festival 2009," which I actually enjoyed the most. I also did see some jazz, and musical, but not tap. If I look at previous video from Bob Fosse and his “Sweet Charity”, I don’t really see any connection between the videos we have see in this chapter.
There were Dunham Technique seminars where for example she taught her dance students how to move their body like a snake. While the dancers would warm up, Dunham would teach them the cultural history behind her technique such as the isolation technique as well as the difference behind techniques and dance movements. (Dunham
I had the pleasure of being in Western Kentucky University Dance Department’s concert, An Evening of Dance. The performance took place on April 29th through May 2nd in Russel Miller Theatre. It consisted of many works from faculty and guest artists. I felt like the concert was a success and that the choreography was all unique in its own way. I enjoyed the pieces that I performed, and the ones that my fellow company members were in. Through the analysis of “Petrichor”, I found that each production and chorographic element plays a large part in the successful outcome of a dance and emotional responses can be evoked by the simplest ideas.
As a society, we are constantly pairing things together in hopes of enhancing them: apple pie and ice cream, Indians and cowboys, and most relevant to this paper, music and dance. In an art form like ballet, it seems as though music and dance complement each other equally. Truly, it is hard to picture, or perform, a dance without music. However, this may not be the case for music, even if that music is composed specifically for a dance routine. The compilation of the music and the dancing from a scene in the American cowboy ballet Rodeo will be examined to ultimately help us understand they way in which they serve each other as a unit and their ability to function independently.
The dancers start center-stage in a spotlight, and they are motionless for a long moment. The two dancers, on male and one female, are wearing the same outfit. On top, they are wearing a black, long-sleeved blouse. On bottom, they are wearing puffed, blue skirt/shorts. The music is cued along with the lights, and it gives the piece a sense of time as the dancers stand still for what seems like a minute. The dancers begin gesturing without feeling, and as they move out of the spotlight, the lights grow to encompass the full stage. The dancers then take turns experiencing each other’s weight in weight sharing and lifting. The lights remain the same as the dancers share weight, repeat recognizable gestures, and perform an awkward partnered dance that resembles ballroom style. The sameness of the light corresponds to the sameness of the gestures. The f...
In contemporary nursing practice, nurses need to integrate scientific knowledge and nursing theories prior to providing optimal health care. Nursing theories guide nurses to treat clients in a supportive and dignified manner through client centred approaches. However, it is challenge for nurses to practice client centred care in daily realities due to heavy workloads. In order to assist nurses to decrease the gap between ideal and real practice, Registered Nurses Association of Ontario (RNAO) develops Best Practice Guideline of Client-centred-care (Neligan, Grinspun, JonasSimpson, McConnell, Peter, Pilkington, et al., 2002). This guideline offers values and beliefs as foundation of client-centred care, and the core processes of client-centred care can facilitate provision of optimal nursing care. These four core processes of client-centred care include identifying concerns, making decisions, caring and service, and evaluating outcomes. According to RNAO (2006), ongoing dialogue with clients and self-reflection are essential for nurses to develop their nursing skills and knowledge on client-centred care. As a nursing student, I reflected on written transcripts of interactions between patients and me, so that I could gain insights into client-centred care for further improvement. Therefore, the purpose of this paper is to discuss importance of the core processes of client-centred care in nursing practice through identifying and critiquing blocks to conversation. Based on the guideline of RNAO (2006), respect, human dignity, clients are experts for their own lives, responsiveness and universal access will be elaborated in each core process of client-centre care as reflecting on three dialogues with patients.
[6] Cohen, Selma Jeanne. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. New York: Oxford UP, 1998. Print.
Overall time helped demonstrated the masses’ movement unity as they moved with the time and the individual’s struggle as she moved contrary to the group’s time. The dance began with a lively Bach movement, which created a feeling of excitement as the mass of dancers moved with increasing speed. The short duration needed to complete movements, regularity of the music, and repetition of dance patterns of the group established their synchronization with time. In contrast, this allegro tempo created a nervous, rushed feeling for the individual woman, which established her contradiction to the groups perception of time. The sharp, sudden adagio tempo change in Part 2 created an uneasy mood, while establishing distrust and tension between the individual woman and the masses. The stillness of the mass dancers in response to the woman in Part 2 exemplified this segregation. As the tempo slowed in Part 4, an element of sadness and isolation was apparent in the individual woman’s movement. In contrast, this tempo change for the group created an intimacy between the individual heterosexual couples. This intimacy further isolated the individual women and demonstrated her movement against groups perception of time. The changes in tempo of music and dance movement complimented the third element of dance, dynamics or
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.
Talk moves are strategies that are used to promote, guide, and enhance discussion between a teacher and students and amongst the students themselves and also to hold students more accountable for their own learning and participation in the classroom. The talk move strategy that I choose to analyze from my own teaching was revoicing. Revoicing is where the teacher restates a question or statement that a student asks or says. The main purpose for revoicing what a student says is twofold. First, it allows all students to hear the question if they could not hear what was initially said. Revoicing also allows the student to rehear his or her own question or statement again to make sure that the teacher understood precisely what was said.
The work ‘Ghost Dances’ by Christopher Bruce was viewed on 26th August, 2011 to the Year 12 Dance class. The individual interpretation of the social/political or world issue/ comment the piece is attempting to make. Using direct examples from the performance, the use the choreographer has made of the movement and the non-movement components have been identified. Also the effectiveness of this piece has been evaluated.
After I began to learn to dance ballet, I found out that these elegant movements actually require a lot of strength, flexibility of the bodies and brain’s participation to make it looked elegant. The dancers’ movements in the performance were so fluent and elegant and it is not hard to imagine how hard they had practiced, stretched and use the strengths to do all the ballet poses with their bodies look longer and longer. Their expressions also impressed me a lot. By looking at their expressions, the audience can easily understand the scenes and blend into the story. The performers actually not only are required to have good dancing skills but also are required to have some talents to be actors. Moreover, they also have to be good at expressing their feelings on the
A range of contemporary dance actions performed by the two talented young dancers successfully made Michael’s piece world famous, now regarded as an effective example of contemporary dance. The stretching all over Kayla’s body by Kapono’s hands demonstrate sharp precise movements that are normally seen in this style of dance. This sequence of actions begins at 1:54minutes and ends at approximately 2:02minutes. The dancers are seen standing centre stage, facing towards the middle of the audience in a right diagonal. Male dancer Kupono is in a diagonal stance behind female dancer Kayla, hidden from the audience’s view, almost shadowing her while his left hand is positioned on her left shoulder. This ignites an uncomfortable feeling from the audience as his dominant characteristics are already beginning to be exposed to the audience. Kapono’s character has power and control over Kayla’s character in this segment. His right hand quickly comes straight across her mouth, while this action is in motion he begins to emerge from the darkness and into the audience’s view, leaving the audience with an uneasy feeling. Both of Kayla’s hands grab onto his hand in which is covering her mouth; in hopes of discarding his hand. This specific moment in the dance conveys a great deal of symbolism, linking the actions with the overall theme of addiction. The hand over her mouth symbolises the constant addiction that Kayla’s character is struggling with, it shows him as the drug; endeavouring to intoxicate her as she struggles. This is then followed by his left hand running down against her hip in a pressed motion, causing her to react by fiercely pushing his hand off, leading to an aggressive movement from the male dancer as his hand grips her left hip. In contrast to this; she tirelessly flicks his hand off. As Kayla unostentatiously gets weaker, Kupono
The number of times I’ve performed on stage seems to exceed the number of years I’ve been alive. Therefore, one can only imagine the soothing ambience the stage presents, effectually encompassing me with confidence. And what is to showcase without confidence? You need confidence to persuade the audience mistakes were not made; not to mention the confidence needed to pursue the altercation in the dance. On stage, I do not have time to think t...