Abstract Twyla Tharp is one of the world's leading choreographers, working with many of the world's great ballet companies and also continuing to choreograph and direct for film and television. She was born in Portland, Indiana, but moved with her parents to Southern California when she was still a child.
From the Paper "Twyla Tharp is one of the world's leading choreographers, working with many of the world's great ballet companies and also continuing to choreograph and direct for film and television. She was born in Portland, Indiana, but moved with her parents to Southern California when she was still a child. There, her father owned a construction firm and a Ford dealership, and her mother was a piano teacher who started Twyla on piano lessons when she was only two. Twyla began dance classes when she was only four, and within a short time she was studying every kind of dance available: ballet, tap, jazz, modern. Her mother was determined that Twyla would become accomplished in as many fields as possible, and she also had the child take baton lessons, drum lessons, violin and viola lessons, as well as classes in painting, shorthand, and French ("Biography: Twyla ..."
Abstract This paper discusses that martial arts not only is the art of warfare but also has a philosophy based in an elaborate blend of ancient codes of conduct, ethics and a spirituality that appears to be a fusion of Daoism, Zen Buddhism, and Confucianism. This paper states that, making the leap from East to West, this merger of physical and spiritual mastery has become a booming industry in the U.S. resulting in action films and T.V. shows that, besides being a series of highly choreographed fight scenes, also conveys ethical messages, codes of conduct and spiritual direction. The author is concerned that many people are being exposed to the martial arts without any ethical grounding at all; thus a generation is learning the physical aspects of the martial arts without the ethical or spiritual code that has historically been taught alongside it and has no concept of how to take the right action in the face of a dilemma, of delayed gratification or of respect to others.
Table of Contents
Introduction
History of the Kung Fu Film
Bruce Lee and His Successors
Martial Arts in Film and on Television Today
Conclusion
From the Paper "Bruce Lee has been credited as the one who officially brought martial arts to the film industry in the United States. Although born in San Francisco, Lee spent most of his childhood making films in Hong Kong and did not return to the U.S. until he was 18 years old. Thus, he began to develop and teach Jeet Kune Do ("way of the intercepting fist") and to infuse his philosophy into the films he was in, "which was his ultimate goal in movie-making". Unable to break through the racial barrier in Hollywood, Lee went back to Hong Kong to become a superstar there. Only after achieving success did Hollywood notice him, resulting in "Enter The Dragon" (1973), the only Hollywood-backed film he would star in."
Abstract This paper looks at the life and contributions of Gregory Hines, one of the most highly acclaimed choreographers, dramatic and comic actors, singers and directors of his time. It explains how his childhood and upbringing helped him develop the unique form of tap-dancing which became his trademark. The writer also mentions several of the shows that Hines was involved in.
From the Paper "The "Pied Piper of modern tap", Gregory Hines, died of liver cancer, on August 9th, 2003, at age 57, in Los Angeles. When he died, "the shock reverberated through a number of worlds (because) he had shone in so many ways" (Jowitt). Gregory Hines was not only a superb dancer, actor, director, and choreographer, but was also a major figure in the revitalization of tap dancing in the late 20th century, in America ("Hines, Gregory"). He was "noted for his virtuosity, rhythm, and expressive style, and was credited with having modernized the form and facilitated its return to motion pictures" ("Hines, Gregory Oliver"). In his honor, the lights of Broadway were dimmed three days after his untimely death (Brennan). It was a memorial to one of the most gifted artists to have ever graced Broadway."
Abstract This paper reviews the controversial movie 'For a Lost Soldier' based on the book by choreographer and dancer Rudi van Dantzig. According to the paper, the book is semi-autobiographical, based on the life of van Dantzig.
From the Paper 'Based on the semi-autobiographical novel of choreographer and dancer Rudi van Dantzig, Roeland Kerbosch's directorial adaptation tells the story of a gay intergenerational relationship that is bound to be both condemned and praised. Set near the end of World War II during Holland's liberation from the Nazis, Kerbosch's depiction revolves around a brief relationship between a Canadian soldier and an 11-year-old Dutch boy that becomes sexual. According to one reviewer, the film is unique "in its understanding portrayal of an intergenerational relationship that is free of exploitation" ("Film News" para 3).'
An analysis of the life of dancer and choreographer, Martha Graham, in terms of Friedrich Nietzsche's description of the emergence of a superhuman in "Thus Spoke Zarathustra."
Abstract This paper discusses the life of dancer and choreographer, Martha Graham. The paper relates her life to the description of German philosopher Friedrich Nietzsche, in "Thus Spoke Zarathustra" of the progression and emergence of a superhuman. The paper describes Nietzsche's philosophy and discusses the various aspects of Graham's life in terms of the camel, the lion and the child that Nietzsche discusses.
Table of Contents:
The Camel--The Young Graham
The Maturing Graham--The Lion
The Graham Legacy--The Child
From the Paper "Martha Graham lived for ninety-six years, and was increasingly criticized for her refusal to stop performing in her own dances. However, Graham's unique physicality combined with her fortitude of mind gave birth, to a unique ideal of American dance. It is hard not to think of the Superman when one hears of Graham's own attempt, like Nietzsche, to harkens back to Greek mythology with dances such as "Cave of the Heart" (1946), which contains no sentimentality or beauty, as was still expected in dance of the day, to tell the tale of a woman who slays her children. Graham was also capable of creating life-affirming works like "Appalachian Spring" (1944), one of Copeland's most famous tunes that told the story of an American pioneer wedding with primitive intensity and love of nature. (Teachout, 1998, p.3)"
Abstract The paper examines the article "Warehouse of the Future: Software will Choreograph Tomorrow's Warehouse Work", where the author discusses how the future of warehouses will involve a highly coordinated, technical and completely efficient system. The paper explains that because technology evolves rapidly and the warehouse must stay competitive, the article stresses that a warehouse design must be flexible enough to accommodate future technologies.
From the Paper "In describing exactly how this new warehouse will function, Graham talks about a well "choreographed" automated warehouse that will focus on "trimming fat, dumping waste and eliminating redundancy wherever it is found." Admittedly, this will mean that fewer workers will be required but, those who are employed will be "more qualified, better trained, and more motivated." The result will thereafter be the creation of more service orientated jobs in a typically manufacturing/labor intense field."
Tags: technology, efficiency, product, tracking, inventory, RFID
Abstract The following paper discusses August Bournonville's family life, the way in which he got to be the principal for the Copenhagen Royal Theatre, as well as their ballet-master and dance teacher. It examines the way in which Bournonville took a very contrasting humanistic approach to dance ? he tended to focus on the beauty found in the ordinary things.
From the Paper ?His third daughter, Mathilde, was a teacher; his fourth daughter, Therese was a homemaker, and his son Edmond was a doctor with a successful practice in both Sweden and Denmark. Wilhelmine was the Bournonville's adopted daughter, who seemed to perhaps ease his guilt about his daughter whom he had abandoned so many years earlier in France. It is important to interject that Bournonville did keep in correspondence with the adoptive parents of his first-born daughter, and he even corresponded with her after she was on her own. He never revealed to her that he was her father, but he aided her economically at any chance that he had.?
The life and career of the American dancer and choreographer. Includes influences, personality, innovations, development, teaching and major works ("Night Journey" and "Errand into the Maze").
5,625 words (approx. 22.5 pages), 6 sources, 2000, $ 135.95
From the Paper "Martha Graham was arguably one of the greatest artists of the American tradition. She has earned a place in the company of such luminaries as Stravinski, Picasso, Joyce and Brancusi for her creation of an entirely new art form. As her contemporaries had done within their respective genres, Graham re-examined the creative possibilities of movement, gesture, composition and theatrical symbolism to expand the expressive vocabulary of dance. Through her innovative approach, she single-handedly initiated the modern dance movement.
In the 1920s, when Graham began her career as a professional dancer, the classical ballet was the dominant artistic genre. As is the case with any classical form, the ballet was, and continues to be, a highly refined tradition that offers sublime expressions of grace and beauty. Over the 300 or so years of its..."
Abstract This paper discusses how Maya Deren, born Eleanora Derenkowsky on April 29, 1917 in Kiev, Ukraine, has been referred to as the high priestess of experimental cinema. It looks at how, although she was a dancer, choreographer, poet, writer and photographer, she is still considered a pioneer not only in experimental filmmaking, but also a voice for the feminist film community. It examines how, as a pioneer of American avant-garde cinema, Deren's legacy is both abstract and tangible and how her innovations in filmmaking continue to fascinate aspiring experimental filmmakers. It shows how her pioneering, uncompromising spirit enabled her to elude the institutional limitations that controlled filmmaking in 1940's American culture.
From the Paper "Another of Deren's experimental films, A Study in Choreography for the Camera, was filmed in 1945. Deren's 16mm Bolex camera becomes a performer equal in significance to the star of this film. (Talley Beattey) In the opening sequence, Deren's camera rotates more than 360 degrees, scanning past the figure in movement. In this film Deren articulates the potential for transcendence through dance and ritual. The movement of the dancer does not always motivate the camera, so Deren's visual expression remains free- floating. The spaces linked in this film range from the interior of a museum to the forest and courtyard. Deren writes, ?The movement of the dancer creates a geography that never was. With a turn of the foot, he makes neighbors of distant places.? As Beattey spins, he appears to develop more than one face, forming an illusion of a totem pole."
Abstract This paper explores the social, artistic, and religious aspects of dance throughout history and how these forms of dance have been a part of human society since prehistoric times. The paper also looks at the health benefits derived from dancing and how dance has been used to tell stories, to record history, and as a form of therapy.
From the Paper "The skill of dance today is often thought to be reserved for the participants of higher arts such as ballet or for young participants in hip-hop and rave dances. However, dance is an integral part of the history and culture of all humans, and remains alive in many forms within people of all walks of life. ?It is the wedding of movement to music. It spans culture from soaring ballet leaps to the simple swaying at the school prom,? (Burke) and every kind of human movements, from walking to breathing, are elements that make up dancing. However, dance actually ?goes beyond the functional purposes of the movements used in work or athletics in order to express emotions, moods, or ideas; tell a story; serve religious, political, economic, or social needs; or simply be an experience that is pleasurable, exciting, or aesthetically valuable.? (Art) Dance is an important and beneficial art in which to participate and to support because of its rich cultural history and diversity, spiritual significance, and health benefits."
Abstract Recently, there has been much controversy surrounding "Stamping Ground", an Aboriginal-inspired piece choreographed by Jiri Kylian. The debate focuses on what Jiri Kylian took from the Aboriginal culture and if it was, indeed, an imitation. To explore this issue in fuller detail, this paper presents insight into Jiri Kylian and the Aboriginal culture. Based on these findings, the paper argues that Jiri Kylian has not imitated Aboriginal dance in "Stamping Ground"; if he had, it would be regarded by the Aboriginal community as a theft.
From the Paper "The jumps in Stamping Ground were also quieter, less impact noise on the surface. Aboriginals tend to exhibit a great deal of energy and aggression in their dances that is accompanied by a tremendous amount of sound, whereas the first half hour of Stamping Ground is performed with no music at all. Most importantly, the major difference observed between the work of Jiri Kylian and the Aboriginals is the number of people involved in the dance. The Aboriginals always perform in groups, in Stamping Ground, the majority of the time only one dancer is performing. There are at most three performers on stage at any time (Road to the Stamping Ground)."
Abstract This paper explains that direct instruction is based on the idea that a teacher-led classroom, which involves active participation and well-choreographed lesson plans and learning instruments, is a more effective learning environment than a less involved or student-led learning situation. The paper looks at the advantages of this method and, specifically, how it impacts special education students.
From the Paper "Kozloff (2002) a firm proponent of direct instruction suggests that it provides an effective method for instruction by helping students learn to organize and activate knowledge. Further Kozloff suggests that direct instruction shifts the emphasis of teaching to mastering and acquiring proficiency of tasks rather than focusing on deficits, which may sometimes serve as an inhibition to learning for learning disabled students. Direct instruction requires that students are given instruction that is precise and defined, and that teachers model by illustrating, not simply lecturing to children using precisely defined lesson plans and tools and accessories that help facilitate learning (Kozloff, 2002)."
Abstract This paper discusses the Indian culture's mask dance. The paper explains that the nation of India has a long history associated with dance as a form of communication and expression. The paper contends that dances are more than just a fusion of choreographic movements; dance in India represents a way of telling tales of historical events, passion, romance, and even tales of treachery and woe.
From the Paper "Dance in the culture has always represented some of the more inner reflections regarding the country's combination of historical turbulence mixed with the nation's religious and inner peace oriented factions such as Hinduism. "The Arts of India are the illustration of the religious life of the Hindus. Like their faith, the arts have been preserved for the past three thousand years, from change and decay, from foreign invasions, and from the fury of the nature. We owe its preservation to the future generations. For, it exemplifies how life can indeed revolve around the arts." (Kamat, 2004) In other words, dance in Indian culture is seen as more than just a fusion of detailed and non-meaningful movements; it is more a system for delivering aspects of the culture to the masses."
Abstract This paper discusses how Graham transformed two areas of American dance: First was classical ballet that dated back several hundred years and included prescribed body positions, defined geometrical relationships among the dancers and, most of all, precision. Second were the folk dances of Asia, Africa and native America, which had long been considered popular art or craft forms instead of high art. The paper looks at her life's work, her contributions and achievements.
From the Paper "When she was a freshman in high school, Graham went with her parents to see the early modern dancers Ruth St. Denis and Ted Shawn in Los Angeles and was immediately hooked. She spent her next three summers at their Denishawn dance school and enrolled in the company after completing junior college. In 1920, Shawn created for himself and Graham his most original vaudeville spectacular "Xochitl" about the legends of the New World (Kendall 167). Shawn had already recognized Graham's outstanding dance and theatrical qualities and wanted to feature them. In the play Xochitl dances Salome-like for the emperor, then fights him off as he advances on her in a drunken state. The success of the melodrama was crucial to Graham's future. During her three years at Denishawn, she had begun to develop her new dance movements. "This production gave her the chance to experiment night after night with dynamics-that link between the visible dance shapes and the dancer's inner passion." "
Abstract This paper examines how, since his first dance routine more than half a century ago, Paul Taylor has become one of the world's most popular and respected choreographers. His works are performed by companies throughout the globe. Taylor has created more than 150 dance pieces. It also discusses how his style is unique and how he is often seen as a distinctly American artist.
From the Paper "As has been mentioned, central to works was the focus on the experiences of common human emotion. The works that he produces are essentially about the way that people feel and interact in relation to the social intuitions around them. The use of body language in his works includes a wide range of both physical motion and creative imagination. Most important in these works is the focus on the human condition. His style is based on the underlying basis of dance as the expression of human existence and experience."
