In watching a professional ballet one doesn’t realize how much work is put into making the production come to life. Both the dancers and the choreographers put every ounce of energy and emotion into telling their story. It takes years for a ballerina to train for the labor that goes into becoming professional, however just weeks to learn a full-length ballet. Dancers can sometimes be put through months of sore muscles in order to train. Often ballet dancers are told to loose weight in order to look their part, or are only given a few minutes for break after hours of vigorous training. In the end it is all worth it though. When I checked out Reaching for Dreams: A Ballet from Rehearsal to Opening Night, by Susan Kuklin out of the library I expected to read another boring drawn out diary. Amazingly this book was difficult for me to put down because I became so enthralled by the process of putting on a ballet.
At the beginning of this book the author describes the dancers coming in on a rainy Monday morning to begin warm-ups and rehearsal. This of course is the beginning of their voyage to opening night. The dancers taking part in this production were from the Alvin Ailey American Dance Theatre. The ballet that they plan to perform in seven weeks is called “Speeds.” The choreographer of “Speeds” is a world-renowned woman by the name of Jennifer Mullers. This production contains a cast of eleven dancers and five alternates. “Speeds” is a modern ballet that explains how one moment in time is like no other, and how often things in the world change.
Throughout this book, Kuklin observes the life of a dancer. The typical day of a professional ballerina at the Alvin Ailey American Dance Theatre consists of waking up around seven to be at rehearsal in plenty of time to warm-up. In dance warming up your muscles is the most important device to do before beginning, as it helps you stay clear of any possible injuries. After warming up Jennifer, the choreographer, teaches them the dance and makes sure that every move “flows” with the body of the person dancing it. She claims that “the dancers must be comfortable with the shapes that they dance.” After hours of strenuous practice the dancers receive a five-minute break to cool off and grab a bite to eat.
In the dance world a staggering number of choreographers have made a lasting impact on the way dance is seen to its audience. Alonzo King’s exceptional oeuvre of work includes him in this great history of significant choreographers. He not only created the link between modern and ballet in the twentieth century, but he bridged the ...
The typical idea of a dancer is that they are tall, slender, full of energy, and lucky because they dance with all of the “stars”. Much of this is true, however, what many people do not think of are the many hardships that a dancer goes through in order to achieve their high status in the dance world. It takes much hard work and determination along with good direction to become a dancer. However, nothing good comes without a price. Dancers often times have many pressures put on them which can lead to physical and emotional damages. These damages occur through the pressures from the media, parents, teammates, and the stereotype that society has placed on dancers.
Aalten, A. (2005). In the presence of the body: Theorizing training, injuries and pain in ballet. Dance Research Journal, 37(2), 55-72. Retrieved from http://www.jstor.org/stable/20444641
The notion of cultural authenticity, in seeking to solidify cultural form, authenticate some forms over others. Yet the contemporary ballet dance as an art form is remarkably dynamic and constantly interacting with other art forms in the globalizing world. The objectification of the contemporary ballet as authentically American will lead to the condemnation of innovation in the aesthetics of the dance style, and the suppress of artistic creativity in the name of a well-intentioned yet misplaced cultural authentication. To prevent the ossification of the contemporary ballet, Kevin McKenzie, the current artistic director of the American Ballet Theatre, once said in an interview, “The great art forms will always adapt and absorb whatever cultural influences are around it, and ballet is no exception. It absorbs influences from all other forms, without losing its own language and identity.” His words are strongly proved in the evolution of the contemporary ballet dance performances in American, in which not only the dancing movements absorbs a large number of new constituents from different cultures such as the lion and dragon dance from China, but the stage settings and costumes are changing significantly during the past decades. For example, the Alonzo King 's LINES Ballet Company in San Francisco performed a contemporary ballet dance show utilizing the ancient Egyptian pictographs as its background scenario last year, which wouldn’t have come true if the notion of cultural authenticity is legitimatized. That authentication process freezes the dynamism of culture denotes the high degree of illegitimacy of pursuing cultural
[6] Cohen, Selma Jeanne. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. New York: Oxford UP, 1998. Print.
Living life as a professional dancer is my dream job. I wish to travel the world showing off my talents by presenting shows that will blow your mind. This job interest me because it's what I look forward to every morning when I wake up. I feel so alive when I'm either dancing or putting steps together for new choreography. “While working as a dancer, dancers get to study different types of dances, and learn how to choreograph routines” ("Dancers and Choreographers). I feel very blessed that I am eligible to understand movements and connect them to real life scenarios. I want to wake up to emails, messages, voicemails, and notifications from
Jonas, Gerald. Dancing: The Pleasure, Power, and Art of Movement. New York: Abrams, 1992. 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 ...
Ballet has been an art form since the late fifteenth century, but society did not truly see the impact of ballet until the nineteenth century. Modern day thinkers possess the idea that ballet began with tutus and pointe shoes, but it wasn’t until the nineteenth century that this opinion was observed. Ballet has come a long way. It has survived the turmoil of many wars and has changed itself by accepting new ideas and impressing the audience with its unique stylistic views.
Russian ballet took a big hit with the defections of many stunning dancers. Now though, Russian Ballet has boomed with bigger, better dancers popping up all over Russia. All across the world little girls dream of being a ballerina dancing with their prince across a bright stage, their costumes glittering with jewels. The reality is it takes years of blood, sweat, tears, and hard work to even get a shot of being on that stage. Even if you get there, the fight to get to the top level is hard, and to stay there is even harder. Dancers need to stand up for their rights
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
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
Despite years of experience, my first performance in front of my high school’s student body prompted the most gut-wrenching stage fright I’ve ever experienced. But that small risk has paid off tenfold; I’ve foraged connections with faculty and students through dance. Furthermore, my love of movement has introduced me to other powerful modes of expression, whether it be crafting articles about dance for the school newspaper, mastering choreography as dance captain for the school musical, or exploring theater through Grotowski movement techniques. Perhaps most significantly, dance has exposed me to a diverse variety of people and experiences, ranging from performances raising awareness for gun violence, to teaching dance to enthusiastic children at local YMCAs, to participating in arts immersion programs that benefit at-risk youth in my
Alexandra was a girl of 5 feet 6 inches weighing about 128 pounds. All her life she wanted to be something. She wanted to make people stop what they were doing and turn to her while she danced. She wanted people to know her name for her amazing lines and gorgeous leaps. She wanted to be the one all little dancers looked up to like how they did towards the Misty Copeland or Anna Pavlova. Ever since Alexandra was a little girl, she dreamed about being able to jump as high as the clouds. But right now, Alexandra was just a 14 year old dedicating her teenage life to the lifestyle of a prima-ballerina. She spent her whole week at her studio taking classes from mid-afternoon to late night. To her, it was all worth it. She was hoping she could attend the Julliard summer program by the time she graduated high school.
Choreographers define dance as “telling a story without speaking”, “the language of the body”, “explaining your heart through movement”, and “is a unique passion that ca be fulfilling to its choreographers, dancers, and audience” (Senior Mastery Choreography Survey). The responses to the Senior Mastery Choreographer Survey proves that the stimulating and creating process of the choreography in the brain is the difficult aspect of this job, but when the visions are transferred to the dancers the results can be tremendous and sometimes breathtaking. The choreography can be created by the use of shapes, kinesthetic and scenic spacing, timing, and different tactics to leave a meaning to the audience. Choreography and dance have been a part of the arts for a myriad of years and will be for numerous more. It is an emotional entertainment that leaves the audience with a message and feelings towards a