Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Influences of culture in society
Influences of culture in society
Influences of culture in society
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Influences of culture in society
It is interesting to think about what makes something comfortable versus uncomfortable. That is a question that I am constantly coming back to as I go through not only in class but also in life as well. The act of “othering” was a concept that was introduced to me last year through Dance & Society. It is so easy for people to put up a glass wall when viewing something or exposing themselves to something that is unfamiliar. I say glass because you can still see it and witness what is going on. However, the glass wall you build distorts what you are seeing and you do not fully see it clearly. I believe that this class will help me shatter the wall I sometimes build and learn to digest information from new angles instead of shutting them off entirely. …show more content…
Dance Technique & Performance II was a course I went in not knowing what to expect.
I knew it was going to concentrate on dance from the African Diaspora, but other than that I really had no idea what I was stepping into. The reading on the first day, Black Man’s Burden by John Oliver Killens, provided the sense that this was going to be a time for me to immerse myself in the material and contemplate about the stories that are being told through movement. Now, these stories can be told either directly or indirectly. When taking elements and styles of African dance I feel there is always a larger picture behind the movement. Take the movement, we did from the cakewalk. I knew the historical significance of cakewalk and what it represented. Knowing that information, allowed me to portray the movement and make it more authentic. I could not help but think about the African slaves and their story. In the reading, the boy asks his dad about the lion and man fighting, but the man is always triumphant. Then the dad explains, “‘Son, these stories will always end that way until the lion learns how to write’” (xxxiv, Killens), I feel that represents all the stories behind the dance that do not always have the opportunity to be heard. Now, it is our chance to learn about and to understand the movement. It is our chance to bring these hidden stories to life and give them a voice. This can only happen when we accept the movement and chose not to “other”
it. Another reading that relates to the one about the lion is, Social Analysis: Linking Fait and Justice by Joe Holland and S. J. Peter Henriot. This reading refers to the importance of history and how history ends up repeating itself. It also expresses the awareness of context in which you are viewing something (Holland and Henriot 21). The idea of history repeating and historical context relates directly storytelling. I know that in this class we are being exposed to the elements from the African Diaspora. Such as the rhythm found in African Dance: polycentrism and polyrhythm. When we eye drop these concepts into a dance phrase, we are pulling them out of their historical context. It is important to be able to implement parts of history and learn from them, but it's also crucial to not forget where they come from. Again, I know for myself, I can only go through this process after I move away from distancing myself from the movement. It is a difficult concept for me to work with. I feel comfortable restoring back to my old habits of shutting off my open mind and just going through the movements. I am becoming more aware, I hope that throughout the rest of the semester I change. I want to be able to come to class and know that there will be some aspects that push me out of the comfort zone but then find that exciting and challenge myself. I already had the opportunities to test my new awareness of stopping the “othering” from occurring in my head. We had the privilege of taking three unique master classes. One was in the art of Umfundalai. I really enjoyed this class. To me, I had a moment to do something completely out of my comfort zone and let go of my worries about whether or not if I was doing it correctly and just have fun. I feel sometimes I forget that obvious fact; dance is fun. I become too caught up in the technique and I want to perfect every movement. I also appreciated her breaking down the steps and then building upon them. It made me not “other” movements because I was introduced to them at a slow pace. The next day I was exposed to another form of African contemporary dance. This class was just as interesting, but I found myself “othering” more in this class. I personally felt her movements and ability to go through these complex phases was helpful to see, but her teaching style was not something that clicked with my learning style. I come to realize that one aspect that helps me from not “othering” something is to take the time to learn the minute details on how to execute a step. Then, it also helps me to receive positive and constructive feedback. The last master class was more like the first one for me. At first I was a bit wary, but as the class continued and we built upon the movement and I started to really enjoy myself. I went from being uncertain to forgetting my worries and just letting go and having fun. The movement in the class concentrated on the quality of the movement. Some steps would be slow and sensual while others would be quick and fiery. It was a great experience and I felt the sense of community through the class, especially when we all danced together. I am making a conscious effort to not “other” things in my head. Although, I am realizing that this is going to take time for me to break. I hope that as I continue through the rest of this course, I will be able to break my habit of “othering” and learn to be accepting. Then, that can translate to the rest of my dance courses and every other facet of my life.
Throughout history, Black Americans have fought to reclaim their bodies and redefine ideas of Blackness. Much of this struggle can be attributed to the fact that Black people have not owned their own bodies for the vast majority of American history. The Black struggle to escape white labels and the fight for self-determination, Black narration, and the presentation of Black beauty are evident in dance and its evolution throughout history. In his article, "Simmering Passivity: The Black Male Body In Concert Dance," Thomas DeFrantz uses the career and choreography of Alvin Ailey to show how Black dancers in America have historically been forced to conform to White stereotypes. Conversely, Jason King and Ananya Chatterjea show in their articles “Which way is down? Improvisations on black mobility” and “Subversive Dancing: The Playful
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.
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.
Langston Hughes wrote during a very critical time in American History, the Harlem Renaissance. Hughes wrote many poems, but most of his most captivating works centered around women and power that they hold. They also targeted light and darkness and strength. The Negro Speaks of Rivers and Mother to Son, both explain the importance of the woman, light and darkness and strength in the African-American community. They both go about it in different ways.
The story explores many vital concepts accompanied by beautiful illustrations. I felt a strong sense of cultural understanding, spirituality and connection to family and land as though I was on this journey too. I could sense an underlying meaning in each dance, holding great importance to Bertie’s family and a strong connection to their culture. Pryor has attempted to fuse the then and now, by speaking of changes in the land, from a once spiritual gathering place, to a now busy town street where through food, they keep the culture alive (Pryor, 2010).
Throughout the course of history, nations have invested time and manpower into the colonizing and modernizing of more rural governments. Imperialism has spread across the globe, from the British East India Company to France’s occupation of Northern Africa. After their founding in 1776, the United States of America largely stayed out of this trend until The Spanish-American War of 1898. Following the war, the annexation and colonization of Guam, Puerto Rico, and the Philippines ultimately set a precedent for a foreign policy of U.S. imperialism.
Revelations is a contemporary style dance that tells the story of African-American faith and tenacity from slavery to freedom through a suite of dances set to spirituals and blues music.This choreographic work was first performed in New York City on January 31,1960 at the Alvin Ailey American Dance Theater and later recognized to be a signature piece for the theater. Alvin Ailey is the original choreographer of the masterpiece titled “Revelations” and also the founder of the dance theater where the piece Revelations is mainly showcased, Ailey was an African-American born January 5,1931 in Rogers, TX , only 29 when he decided to develop this dance piece. There was a time where opportunities for male dancers like himself was severely limited, so that 's when he decided to establish his work, this dance performance was Ailey 's idea for African Americans to express their talents,cultural history, and experience and was also encouraged by his memories of living in the south and his understanding of human development.
As the first African-American to create a multicultural, international concert dance company, Alvin Ailey’s dance company has been dubbed the “cultural ambassador of the world” (Gorman 36). Through his Alvin Ailey Dance Company, he addressed the racism and injustice faced by ethnic minorities across the globe. Ailey clearly revolutionized African American participation in 20th century concert dance as well as revived interest in modern dance. As an extremely talented dancer and choreographer, Ailey’s success is attributed to his dedication and passion for expression through dance, but what is often overlooked is his resilience to the hardships he faced, the mentors he had, and the opportunities
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.
Throughout the years, the black community has been looked down upon as community of criminals and community lesser educated and poor and have a lesser purpose in life. Journalist Brent Staples the author of Black Men And Public Spaces takes us into his own thoughts as a young black man growing up in Chester, Pennsylvania to becoming a journalist in New York City. He tells us his own challenge that he face on a daily basis along with challenges that many black men his own age faced and the way he changed in order to minimize the tension between himself and the common white person.
Through dance and movement, the storyline were expanded with the assistance of choreographer, Garth Fagan. A well-renowned choreographer for his innovative choreography primarily for Garth Fagan dance, Fagan used his unique style of choreography to the Lion King by combining a variety of Ballet, Jazz, Modern Dance, African Dance and Balinese Dance to suggest representations of nature without making a replica itself and use dance to help tell the story (Exploring the Lion King, 2010). Taymor’s idea of expanding the film by adding in choreographic elements not only will set the overall concept, it would additionally guide the visual aesthetic by allowing dance as the main element that balances musical numbers in all categories: effects, music and so on into the choreography (Bluemental et al 210:1999). Both Fagan and Taymor gave major contributions to the different styles of dance and performance techniques from around the world creating the precision and versatility that is being portrayed in the musical. In order to create the ideal staging of the hunting lionesses, flying dancers in the aerial ballet to the takeover of the hyenas at Pridelands, the collaboration between Fagan and Taymor gave suggestions of how these movements being performed with grace and poise using different dance styles and are cultural based be the forefront of the production(Taymor 148:1997). By looking at three notable dances in the musical, this chapter will analyse the presence of dance and movement being portrayed in the musical and how are these dances create the drama, still giving the idea of moving in an African Savannah. Furthermore, this will give an insight to all challenges and pitfalls both Fagan and Taymor endured during the development of the...
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.
As I planed to take this class, I thought this course would be like all other general education courses. I believed that it would be of little use to me. However, after attending the first class, my view has changed completely. I applied each and every theory to my life.
In the “White Man’s Burden”, Rudyard Kipling claims that it is the duty or burden of the white men to civilize the non-whites, to educate them and to religiously lift them (lecture notes, 2/8). Kipling is specifically talking about the colonized non-whites (lecture notes, 2/8). The idea that the newly colonized non-whites were lacking and needing help from a greater society was common among American whites at this time (lecture notes, 2/8). Rudyard uses the whites’ public feelings towards the issue and writes “The White Man’s Burden” in an attempt to move the whites to help the non-whites because he thinks it is a very beneficial movement for the U.S.
The interpretive dance I created for this study ended up being the piece I used for my final project. In the final project I experienced not knowing where to start. In that time I used the skill of being able to choreograph different parts of the dance and it not be chronological order. From there I was able to continue my creative process and use more skills like being abstract. Another technique I used when making decisions on movement in the dance was thinking about the environment interpretive dances are often done in. For me I was most familiar with the church and what the audience tends to like. One of the main things seen in church dance is a story being created from the words of the song. Knowing that I was able to develop the idea of one dancer being the devil, one being the angel, and the other experiencing pain. The final product was good but I wish I would have given myself more time explore more skills such as being abstract. Although I used abstraction a little bit I struggled with continuing to use it when I began to have choreography block. To help myself figure out what to do next I talked to my classmates to see what ideas they may have. This did work and I wish I would not have waited so long to ask for another dancer’s assistance. I believe the fear of asking for assistance was from the thought of it not being my dance anymore but I had to learn as a choreographer you can take suggestions and help them allow you to build and not use the exact movements. This class showed how dancers feed off each other and it was great to see myself and others grow from seeing each person’s strengths and different style of dance. If I could redo anything during the process of creating my dance I would ask for suggestions earlier and allow myself to have more time to develop abstractions within the dance. Overall I enjoyed this course and wish I could take dance composition