“Didn’t my Lord Deliver Daniel” included one man and two women, wearing the same nude color, women in dress and men in a leotard. This piece told a story. The choreography was active and detailed upon the lyrics. When the lyric of music has a main singer behind the chorus you can see how one of the performers will accent that one solo singer while the other two performers show the chorus. The energy in this song is loud and jumpy, and that’s exactly what the dancers show, the flow of energy through every move.
The next movement I noticed was two dancers doing a kind of “stomping” on the stage. This conveyed a very tribal message to me. Finally, I noticed in movement in which the performer twirled in place on stage. This gave me a sense of relaxation. The sound score starts out very tribal but then transforms into a slightly more sophisticated musical composition.
I loved act one. The awkward humor when Becky and Max first met was great, and the story line really drew me in. The second act completely changed pace and that confused me a lot. Becky, instead of king of light and funny like she was in the first act, became aggressive and crazy. Max just became more of a dick, and the challenges in Susan and Andrews relationship added a lot of craziness to the show.
With the first notes of a song colliding with my eardrums, I am consistently drawn to the realm of dance. Oftentimes, I am beckoned by familiar melodies of songs I like, of any genre from electronica, dubstep, and house music to ambient, trance and rock music. Music winds its way into the far reaches of my body and soul and ricochets inside me. The bass beats hit directly into my core, making my feet tap, my head move from side to side, my hips sway back and forth, and my arms float up, out, in, and down. Accessing that primal rhythm that resides in us all, I can escape totally into the music and the dance.
The intent in which my core composition performance I undertook was the concept of a person being caught in distorting memories of abuse which occurred when younger. My stimulus was emotion on peoples lives, as I was reading an article on abuse, I wanted to show the emotion of memories which always stay with them, as things like these aren’t easy to let go nor forget. Researching abuse I found it a strong and powerful subject, so I incorporated this into my dance through strong dynamics in all movements, and strong emotions shown. With the use of Binery as my compositional structure, I show the difference of being close to reaching a clear minded memory. An example of this being manipulated is when performer is standing reaching into high level air attempting to grab/reach something.
It also introduces a secondary feature of the film: the detachment from reality. In this scene the story The Red Shoes by Hans Christian Andersen, is roughly revisited as a ballet. A woman, played in the ballet by Victoria, buys a pair of beautiful red shoes from a mysterious shoemaker, and wears them to go to the ball. As the ball ends, she is fatigued, but the red shoes are not and force her to continue dancing till her death. The scene starts off as a normal ballet, on a stage with a painted backdrop.
The Rite of Spring (1913) was the result of the young composer exploring the vast landscapes of human imagination. It consisted of two sections, Adoration of the Earth and Sacrifice, divided into thirteen movements: Introduction, The Augurs of Spring, Ritual of Abduction, Spring Rounds, Ritual of the Rival Tribes, Procession of the Sage, The Sage, Dance of the Earth, Introduction (Sacrifice), Mystic Circles, Evocation of the Ancestors, Ritual Action of the Ancestors, and Sacrificial Dance. Composed for the Ballet Russes dance company, it was a shocking contrast to Stravinsky’s previous successes. While the latter were near-perfect examples of classical Russian ballet, The Rite of Spring stunned the crowd at its Parisian premiere with dissonant melodies, ominous tones, and discordious chords, a stark contrast from the dreamy ballad that had been performed earlier. For half an hour, it spoke out with barbaric and primitive melodies as well as disharmonious ballads before closing with a deep bang that echoed through the hearts of the audience.
James addresses the emotional appeal, also known as Pathos, multiple times in this article. The first example is “dance is a form of celebration. It is artistic.” Dance is considered an art instead of a sport because of the ability the dancers have to turn their bodies into art pieces. It is considered a celebration because dance celebrates music and movement. Dancers tend to become emotionally attached to the piece of music they are dancing to and are able to create a story with their movement, they have to ability to bring a piece of music to life, which is why it is considered an art or celebration.
Witnessing a timeless and contemporary piece called “Blak,” performed by the Bangarra Dance Company was a moving and inspirational performance. It was held at the Opera House and was created by a number of choreographers which all had an indigenous bloodline. Blak explores experiences between traditional and contemporary clans within indigenous Australians. It reveals a narrative structure contrasting with original choices. It explores the realms of manhood, connection of place and identity.
Some even describe tango music as sounding “off beat.” This beat allows the dancers accompanying the music to have a passionate and natural sensuality about them. Although tango dance may appear to some as just walking steps with an occasional spin or bow, tango actually has three main elements that are covered in each dance. The first element to tango music is the