The performers were close together in a clump, center stage. They moved as one body, as one soul as one performer. The women were dressed in nude long dress, and men in nude leotard. The formation of the dance started with a triangle shape clump which was visible when they did a level change increase as it went from front to back. Few times they expanded out of the clump using the space of the stage but always returned back together as one, center stage.
Her father was very interested in the way people used their bodies, an interest that inspired her daughter. In only seven years, Graham went from a dance student, to a teacher, to one of the best-known performers of all time. In these seven years, she probably had the expert hours of 10,000 hours, which according to Gladwell would make her an outlier. Many of her dances came from past history and history that was surrounding her. Many outliers got their ideas and thoughts on the outside history that was surrounding them as well.
When my dance teacher informed me that she would soon be offering tap dance, I could not help but feel the need to participate. I enjoyed it so much that I enjoyed it for six years. Because dance had many different styles, using my years of experience in ballet and tap, I would like to examine some differences between the two through the different footwear, appropriate environment, and finally public knowledge and popularity. When it comes to the footwear, there are huge differences. Tap shoes are special since they are made specifically to make noise while dancing in them.
Another movement I noticed was the performers tip-toeing very quickly. I felt this movement represented the performer trying to remain hidden on stage. I also noticed a particular movement in which the performer smoothly gyrated his hips back and forth. I felt that this was some kind of victory dance. The next movement I noticed was two dancers doing a kind of “stomping” on the stage.
They for the most part dance with their backs to the audience, as if it isn’t there. An example of this can be seen multiple times throughout the piece when both dancers face upstage with their hands on the wall gyrating their hips. This suggest that the lovers
Aether is communication through movement, trying to send a message and is difficult to define. In the beginning of the piece the dancers use alot of typing hand and finger movement which becomes their motif, creating lots of movement and steps with the motif. They don’t dance in unison in this piece but dance through special relationships and the occasional partner work. Movements were very robotic and sharp flick dynamic in this dance, but some aspects were flowy showing contrast between movements which fit in with the white noise of the music. Towards the end of the dance they hold hands and create different movement that is more human like.
In the video, the dance looked like it was very easy to execute but having already been in the technique class all year, it is amazing to know that doing the movements correctly is actually difficult. May O’Donnell constructs her pieces with the use of spacial structure. She organizes her dancers so that different groups are spread out differently throughout the stage and at times she uses all dancers in one singular spacial structure, like a diagonal. She changes the organization on stage frequently so that the audience would be constantly captivated by the rapid action on stage. She also uses many other choreographic tools to keep the attention of the audience and bring contrast to her piece.
It added emphasis to the music; it was used as reinforcement. There were parts where the female dancers would take the stage. They did very pretty formations. The music stopped for couple of 8 counts and during this time the dancers were still dancing, but all you would be able to hear was the sounds of the rattles on their legs. It made the music to which they were dancing, the music sounded so peaceful but at the same time it really went with the music that had been playing.
Body History of dance therapy. A. Dance therapy began as a profession in the 1940s by a modern dancer named Marian Chace. When she taught her classes she noticed that people were more focused on their feelings when dancing. Like loneliness, shyness and even fear.
We should educate ourselves a little about Mexican Folklore. What I’m more passionate about is dancing. Since I was a little girl I’ve been dancing in all the parties, family reunions, clubs, and about anywhere there is music. I believe rhythm is in my blood. I think everyone as a children has the dream of one day to become someone famous in life.