There were many performances that I enjoyed and they ranged from different types of dancing to the expressions they portrayed. In this paper I will give critiques over a total of six dances. “Beyond Shadow” The first dance of the night was choreographed by Nashwa Cahill and was titled “Beyond Shadow”. The music was Pharonic Odyessey by Paul Dinletit. In this dance there were a total of 12 dancers.
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 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
I can still hear the triangle being played here also it gave me an attention because it sounds like an ice cream bell and now I can also here something like a tambourine and drum more. Listening to it I felt like I was in a circus or carnival because with this song I can imagine that someone was performing with the clown suit. The last piece “Symphony No. 1 in E Minor” has a dark and slow music it was a long piece and it went to a little bit fast to slow again. With string, brass, woodwind, and percussion the music became dramatic and kind of heavy mood to it.
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. The music faded back in and it was like if the music had always been there because there was always the constant movement of the legs, so always the constant sound of the rattles. Then the men, took the stage. I had noticed earlier that the men were wearing a piece of what looked like wood, wrapped around their thighs. When they took the stage, they all lined up, and
The Dance Ensemble returned once more with a fast paced African piece, also executed with such force and feeling to move the audience. The Dance Ensemble certainly enlightened many through the power of rhythm, dance, and movement. Lastly, the world renowned Morgan State University Choir took the stage with the power to move the entire crowd. They performed a few compelling songs entitled “I Know I’ve Been Changed”, “If I Can Help Somebody”, “His Light Still Shines”, “Set Me Free”, and “United We Stand”, all holding strong to the theme of this assembly. The soloists were absolutely wonderful and the choir was perfect on its own.
Four unemployed white actors decided to stage an African-American style spoof of this group's concerts. Calling themselves Dan Emmett's Virginia Minstrels, their blackface revue premiered at New York's Bowery Amphitheatre in February 1843. Emmett, Frank Bower, Frank Pelham and Billy Whitlock became the first troupe to offer a full evening of blackface variety entertainment. With their chairs in a simple semi-circle, the quartet offered a fresh combination of songs, dances and comic banter, creating cartoonish Negro caricatures. Most historians mark this production as the beginning of minstrelsy.
Fall 2012 Choreographers’ Showcase I had the pleasure to attend the Fall 2012 Choreographers’ Showcase presented by Austin Community Colleges’ Dance Department. The location of the performance was at the Rio Grande auditorium on Friday, December 7. I am going to discuss the three dances that stood out to me, which are “Missing”, “Falling, Catching”, and “The Catcher”. The dance titled “Missing” is a contemporary piece choreographed by Roman Morgan. The music is an instrumental piece by Max Richter, and the costumes were black and red all different styles but with corresponding fabric.
At first when he signed on to do The King and I he was under the impression that “he only had to do (that) one ballet” (Jerome Robbins: His Life, His Theatre, His Dance, pg 46) but he did end up choreographing many other dance sequences like “Getting to Know You” or “The March of the Siamese Children”. “Robbins planned the scene to delight both Anna and the audience. Some carry out their duties in exemplary fashion, which highlighted the different ones and the tiniest provide a high degree of adorable and some concern they’ll screw up” (Jerome Robbins: His Life, His Theatre, His Dance, pg
These clips tell me that Miss Tankard’s style of choreography was extremely different and unique; by sometimes not waring shoes, or having elaborate costumes, water on the stage, talking during her pieces, elaborate stage lighting and back drops and different and unique music to compliment the dancers movement. she also did this by getting the dancers to do acrobatic movements and sequences which naturally showed off her students diversity and their