Abstract This paper analyzes "Achterland," written by Anne Teresa de Keersmaeker. It discusses film techniques, camera placement and the motivation behind the piece, all from the filmmaker's perspective. The paper then examines the dance technique and choreographic standards. Finally, the paper looks at how "Achterland" portrays gender roles and feminism in fine arts.
From the Paper "Anne Teresa de Keersmaeker's piece Achterland is an award-winning dance film featuring male and female dancers that clearly express the struggle for equality between men and women. The music includes Eight Studies for the Piano by Gyorgy Liegeti and Trois Sonates pour Violon Seul by Eugene Ysaye."
"Filmed onstage with de Keersmaeker behind the camera, viewers are given a great insight into what de Keersmaeker's true artistic vision is. The camera is guided to frame and stress certain aspects of her choreography. It is interestingly done so (i.e. focusing on random body parts) that the viewer is forced to focus on certain things that may not have caught attention otherwise. I was often left wondering if there were specific movements or body parts to focus on, but at times it just seemed like an artistic choice with no real motivation."
Abstract The paper explains that although dance does not directly cause arthritis, improper techniques in dance can cause injuries that result in arthritis. The paper relates, however, that dance can also serve as a means of physical therapy for arthritic sufferers by increasing their range of motion, muscle strength and overall physical and mental health. More specifically, the paper discusses the relationship of dance at a young age to the development of arthritis as well as dance's therapeutic effect on arthritic sufferers.
From the Paper "Many dancers experience aches and pains though out their dancing careers. Despite the cause of the pain, many find it commonplace, and therefore ignore it. Others choose pain-dulling drugs to overcome the pain. However, pain and "discomfort should not be considered a normal result of dancing. If an ache or pain recurs after a few hours of rest or a good night's sleep, it must be confronted and the source examined." (Horosco, Cures and Myths about Arthritis 108) The causes of these pains are too many to number, but one that many do not realize may be linked to arthritis."
Abstract This paper examines historically social dancing in the 20th century, also called couple dancing. The paper describes the five different types: Modern Waltz, Tango, Viennese Waltz, Slow Foxtrot, and Quickstep, all of which are presently danced the world over both socially as well as in dance sport competitions.
From the Paper "Social dancing was derived from the concept of dancing by a couple, usually a man and a lady, in a closed hand. Coming from the eighteenth and early nineteenth century, these dances gained popularity from the standard ballroom dances with diverse rhythms, tempos, and aesthetics. Although all these aspects changed with the change in the social attitudes, the one thing, which remained common through out the history of dancing, is that of the couple dance or the social dances. (Evans 2001)"
Compares portrayals of women's social, personal & artistic roles in dancer's autobiography & feminist writer's polemic in the two works "My Life" by Isadora Duncan & "Sexual Politics" by Kate Millet.
1,350 words (approx. 5.4 pages), 2 sources, 1996, $ 47.95
From the Paper "Isadora Duncan led a remarkable life that was atypical for women, even in modern society. Duncan eschewed conventions concerning motherhood and marriage, and travelled the world in her quest to perfect her art--the dance. Duncan exhibited both similarities and dissimilarities to Kate Millett's description of women in Sexual Politics.
Millett (1970) blames the patriarchal bias of society for the subordination of women, the family unit serving as the foundation of such beliefs. In her estimation, "Serving as an agent of the larger society, the family not only encourages its own members to adjust and conform, but acts as a unit in the government of the patriarchal state which rules its citizens through its family heads" (Millett, 1970, p. 33). Isadora Duncan's rebellion against traditional female roles perhaps..."
From the Paper "The life story of any artist is of great interest to those who wish to gain a better understanding of the artist's work. Don McDonagh has provided the means to understand the work of one great artist in his volume titled simply, Martha Graham: A Biography.
Martha Graham was the oldest of the three daughters of George Greenfield Graham and Jane Beers Graham. She was born on May 11, 1894, in Allegheny, Pennsylvania. Her father was a physician whose practice provided a comfortable life for the family. In those days it was common for young girls to take an interest in the theater. Martha was no exception. One of her early attempts at costume design involved dressing up the family's reluctant terrier in doll clothes. This episode is telling of her deep and lifelong interest in animals. She was ..."
Abstract In his study of dance in Asia during the early part of the century, Shawn made the statement that Asians, like him, seemed to believe in gods who dance (Shawn 4). While this was not an acceptable image of God in the United States at that time, it was a primary image in many parts of Asia.
From the Paper "Gods Who Dance
Introduction
In his study of dance in Asia during the early part of the century, Shawn made the statement that Asians, like him, seemed to believe in gods who dance (Shawn 4). While this was not an acceptable image of God in the United States at that time, it was a primary image in many parts of Asia. In Japan, for example, the rising of the sun had been saved because Ume performed a dance and lured the goddess Amaterasu out of her cave (Shawn 4). Thus, in Japan, dance is considered to have a sacred, divine, origin."
This paper discusses dance as a form of non-verbal communication, its role in early primitive cultures and argues that modern dance is a source of new channels of communication.
1,800 words (approx. 7.2 pages), 7 sources, 1972, $ 63.95
From the Paper "Dance, as a means of fulfilling the goal of nonverbal communication in today's society, along with other art forms is falling far short of its incredible potential. Most art today is separated from any real involvement with modern humanity by invisible, yet real and definite barriers. To see dance in its most successful form of nonverbal communication we must examine its role in early primitive cultures. The relationship of extant primitivism will serve as reemphasis for striking cultural differences.
Since development from an early shamanistic culture our technological society has evolved obvious changes in our perception and communication of ourselves in relationship to our universe.
Although early dance experiences were led by the shaman or .... "
A look at the choreography style, innovations, techniques, influences, public reactions, themes and plots of the ballets "L'Apres-Midi D'un Faune" and "Jeux".
4,275 words (approx. 17.1 pages), 14 sources, 1993, $ 135.95
From the Paper "This paper will discuss Nijinsky's choreography style, as seen in the ballets L'Apres.Midi D'un Faune and Jeux. Vaslav Nijinsky was born in 1889 or 1890 in the Russian town of Kiev. As a child, he was admitted to the Imperial School of Ballet where he soon established himself as a brilliant dancer. In 1909, he joined the Ballets Russes, which was run by Serge Diaghilev. Nijinsky became an international star in his work with the Ballets Russes, and he remained with the troupe until 1913. In 1919, Nijinsky's career was cut short when he suffered a nervous breakdown. He remained in sanitariums until his death in 1950.
During his relatively short career, Nijinsky choreographed only four works for the stage. L'Apres.Midi D'un Faune (1912) and Jeux (1913) were both based on the music of the French..."
This paper discusses the reaction of the dance community to the problem of AIDS: Deaths, awareness & activism, benefits and reasons for delay in dealing with crisis (denial, secrecy).
1,575 words (approx. 6.3 pages), 5 sources, 1994, $ 55.95
From the Paper "AIDS has been especially devastating to the dance community, both in terms of personal lives lost and talent the world will never see. Well into the second decade of the AIDS virus, we tally the losses and wonder who will be next. The roster of victims reads like a who's who of incomparable talent from the fields of musical theater to classical ballet. New AIDS help groups are formed continuously, as each field rallies in support of its own membership. Professions allied to dance, such as theater, fashion, and music, have responded by creating their own support networks for artists terminated in their most germinal years.
Promoting AIDS awareness and activism are groups such as Gay Men's Health Crisis (GMHC), AIDS Coalition to Unleash Power (ACT UP), and Community Health Project (CHP). They in turn have encouraged professions severely affected by AIDS to rally. Several groups have already taken steps to confront the epidemic. In the arts, the theater, fashion, and music .... "
Abstract This paper reviews the life of the artist, dancer and teacher Isadora Duncan born in 1878 and discusses her contribution to American dance. It examines how Isadora Duncan is largely credited with establishing what we now know as modern dance and how she infused the accepted dance modalities of her day with ideas old and new. It analyzes how Duncan's attitudes and approaches came from her native America and how these ideas involved a stress upon unfettered athleticism for both men and women. Duncan wished to develop the body's capacity for jumping, stretching and expressing emotions rather than pure excellence and form in isolation.
From the Paper "Thus, although she lived and traveled extensively in Europe, it is important to remember Duncan's origins in the United States and subsequent influence upon American dance's cavalier attitude towards formulaic traditions. ?Born in 1878 in San Francisco, Isadora Duncan grew up in a childhood filled with imagination and art. Her mother introduced her four children (Isadora was youngest) to classical music, as well as Shakespeare, poetry, literature and art. Isadora spent many hours playing and dancing upon the beach, and even taught dance classes to younger children as a way to earn a little extra money for the struggling family. In her teenage years, Isadora traveled to Chicago and New York with some of her family members, working and performing in various productions such as Mme. Pygmalion, Midsummer's Night Dream or vaudeville shows with limited success."
Abstract This paper examines both what the Sioux cultures were like before European contact as well as what that culture has evolved into. The paper focuses on the music of this people set within a broader artistic and cultural and even political context. The paper is broken down into four chapters: An introduction into the Sioux people, their musical instruments, the songs of the people, and finally a larger cultural context. The final section of this paper examines the Sun Dance and the Ghost Dance as the two most important single types of musical performance.
From the Paper "Traditional Sioux of the last century ? or the centuries before ? would have found the entire idea of putting on their best clothes and going to a concert hall to listen ? as relatively passive observers ? to a musical performance extremely odd. For them, as for other native peoples of the Americas (and arguably other native peoples throughout the world before the onset of industrialization) music was something that was integrated into the fabric of ritual and everyday life."
Abstract Perhaps the most concise definition of a melodrama is that it is basically a theatrical performance consisting of a romantic plot in which the author manipulates events in order to act upon the emotions of the audience without very much professional regard for either character development, character motivation, plot consistency, or common logic. In the early years of the Nineteenth Century most of the melodramas presented in American theaters were romantic, exotic, or supernatural. By the 1820's the style had evolved somewhat regarding types of settings and traits of characters, and by the 1830's the content of melodramas had become much more elevated and gentlemanly compared to those popular a generation earlier.
Abstract This paper explains the work of playwright Henrik Ibsen, modern dancer Martha Graham and set designer Edmund Craig. The author shows that all three reflected how art is the search for the "truth" of the human condition.
Abstract This paper discusses the nature of dancing in the act of rehearsing upper body movements. The writer shows that through the process of physical rehearsal, we can see how this might be a better representation of the memory process used to solidify the process in the mind. By using the psychological information available, the writer shows why physical rehearsal is better than the mental in the case of dancing.
Looks at the development of African-American/Canadian culture that resulted from the migration of many Southern African-Americans to the West and North.
Abstract This paper looks at the culture that developed in the African-American and Canadian population. It discusses the main events that brought about this culture, how, in some ways, it represented a resistance to oppression, and how some within the African-American/Canadian community held conflicting views about the development and expression of their own ethnic culture.
From the Paper "The music/dance culture became an all out rejection of Victorianism and middle class control. (LN, OCT 9) The popularity of this era could be attributed to the fact that the majority of African Americans/Canadians that immersed themselves in this culture were working class and the dance/music created in this era spoke the truth!"
