| Papers [31-45] of 93 :: [Page 3 of 7] | | Go to page : <— 1 2 3 4 5 6 7 —> | |
|
|
Martha Graham, 2005.
A look at the exceptional life and contributions of dance and choreographer, Martha Graham.
1,987 words (approx. 7.9 pages), 14 sources, MLA, $ 63.95
»
Click here to show/hide summary
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." "
| |
|
Tango and Mass Culture, 2005.
An examination of Theodor W. Adorno's theories of mass culture and how they can be applied to the tango dance.
2,415 words (approx. 9.7 pages), 5 sources, MLA, $ 73.95
»
Click here to show/hide summary
Abstract
The paper begins by introducing Adorno's theories on mass culture and commoditization, which were one of the fundamentals of post-modernism as it appeared in the 20th century. It then looks at how the tango dance is one of the most representative forms of manifestation of the Argentinean spirit and people. Born in the mid-1800s, tango was quickly exported to Europe and became a true success story, until its downfall in 1955. It was reborn in 1983 and has been a success ever since. This paper investigates Adorno's theories and applies them in the case of tango, and looks at whether this is the best example we may choose to argument the truth in Adorno's statements. It explains that, while on one hand, tango can be considered an element of mass culture because, in many ways, it has partly embraced the mercantile character of mass culture that Adorno insists upon, in many other ways, tango is still something in its own, a form of art, a form of expression.
Paper Outline:
Introduction
Adorno's Theory of Mass Culture
History of Tango
History of Tango
Adorno's Theories applied to Tango
Conclusion
From the Paper
"Tango is still too imaginative and too expressive to be assimilated as a product of mass culture and classified as a commodity. If we were to pursue on this theoretical path, we would tragically arrive to the conclusion that feelings, emotions and passion are all for sale. However, there were inspired people, like in any other forms of cultural manifestation, that were keen to partly transform tango into a form of entertainment. As any for of entertainment, it could be sold and profit could be obtained by promoting something that was well received in its audience and segment of consumers. Passion sells, many might say. While this argumentation may work in some occasions, passion isn't always understood and passion only addresses a certain category of people. Passion is not a mass culture product."
| |
|
Globalization and Culture, 2004.
An analysis of the hip-hop culture, its origins and the effect globalization has on it.
1,254 words (approx. 5.0 pages), 5 sources, MLA, $ 42.95
»
Click here to show/hide summary
Abstract
This paper discusses the hip-hop culture that originated in the United States in response to the oppression of African-Americans. This paper explains that this art form is therefore deeply integrated with the social consciousness from which it arose. The paper examines how other cultures adopted this art form and then illustrates the subsequent implications.
From the Paper
"On the surface, there are four physical aspects that can be attributed to hip-hop as a culture. These include deejaying, breakdancing, graffiti and rhyming. These, according to, Richardson, are not the heart of the culture. Instead, the central message is the platform from which the technical, teachable aspects arise. The message relates directly to the struggle, the poverty, the oppression and the hardship suffered by the African Americans who were refused the rights of other Americans as a result of their skin color. This is a very specific group of people who created a specific culture. The technical aspects merely exist as an outlet for a specific kind of creativity."
| |
|
Eating Disorders in Dancers, 2004.
An analysis of the problems of eating disorders among dancers as opposed to non-dancers.
2,070 words (approx. 8.3 pages), 6 sources, MLA, $ 65.95
»
Click here to show/hide summary
Abstract
This paper discusses eating disorder patterns among ballet dancers and non-dancers. The paper examines what anorexia is and presents the causes of anorexia and the reasons that it is seen so much in ballet dancers as opposed to non-dancers. The paper explores the impact of ballet dancing on children with respect to eating disorder patterns and identifies whether any difference is seen in the frequency of eating disorders in professional ballet dancers and non-professional ballet dancers.
From the Paper
"Anorexia nervosa is a growing psychological and physiological disorder in the society of today. A surprisingly large number of people are affected by eating disorders, the major cause of which is anorexia nervosa. The cultural ideals especially of the western world cause young women to believe that they should maintain thinner bodies than intended by nature. This causes them to alter their eating patterns and this leads to eating disorders like anorexia nervosa. Anorexia nervosa is most prevalent in young girls from the upper middle classes and generally between the ages of eleven to eighteen. Anorexia nervosa is fatal in about twenty percent of the cases and this is the reason for concern. Psychiatric assistance is able to help about thirty percent of anorexics to overcome the disease. A person is considered as anorexic if the body weight of the individual is twenty percent less than the normal weight of a healthy person of that age and height."
| |
|
Javanese Dance Rituals, 2004.
An analysis of Javanese dance rituals.
1,239 words (approx. 5.0 pages), 2 sources, MLA, $ 42.95
»
Click here to show/hide summary
Abstract
This paper examines and compares the erotic court dances of the 14th century Javanese culture and today's local folk-dancers, ronggeng. The paper explains that, in addition to expressing the age-old dichotomy between the masculine and feminine principles, Javanese dance is also useful in preserving what the Javanese believed would be lost through colonialism, their culture. The paper claims that the first schools of classical Javanese dance were founded out of a desire to retain and maintain the true Javanese culture, with its Hindu and Buddhist elements.
From the Paper
"Two sons of a Javanese sultan, both of whom were nationalists, founded a dance school, Kridha Beksa Wirama, in 1918. Moro notes that the school was "groundbreaking" as it was the first effort to make court dance democratic, and less 'feudal.' Its first students were the youth affiliates of Budi Utomo, the first nationalist organization in the region. However, because members in these somewhat avant garde groups were primarily aristocrats, the elite continued to have a hold over the arts. Still, graduates of that school went on to teach in the Taman Siswa schools, a system dating to 1922 that " linked education and experimental pedagogy to the goals of Indonesian nationalism" (Moro, 2004)."
| |
|
Mask Dance in Indian Culture, 2004.
An analysis of the mask dance in Indian culture.
1,369 words (approx. 5.5 pages), 2 sources, MLA, $ 45.95
»
Click here to show/hide summary
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."
| |
|
?Riverdance?, 2004.
Examines the African-American tap dancing origins of the Irish dance production, "Riverdance".
2,500 words (approx. 10.0 pages), 5 sources, MLA, $ 75.95
»
Click here to show/hide summary
Abstract
"Riverdance" is arguably Irish step-dancing at its best. This paper shows that it is, however, as much a stepchild of African-American tap dance as it is of the eons-long Celtic heritage. In fact, without the renaissance of African-American tap dancing between the 1960s and 1980s, it is unlikely "Riverdance" would ever have happened. African-American tap dancing, then, is at least the godparent of today?s most popular dance show and a true foundation of what might be called World Dance, just as African-American music can be argued to be a strong basis for World Beat. This paper outlines the seminal events and essential figures that led directly from African-American tap dancing to "Riverdance". The method used to demonstrate the probability that "Riverdance" could not have been created were it not for African-American tap dance is to draw parallels and elucidate convergences between the ancient Irish step-dance and the African-American tap dance forms.
From the Paper
"The event that began to put African American dancers back in the public eye was the Civil Rights act of 1964. 39 After that, the African American performer was not considered just an entertainer, but an artist, a full-fledged member of the mainstream of dance. 40 Although modern ballet artist Alvin Ailey was becoming famous, there was renewed interest in Master Juba, long deceased, and Bill ?Bojangles? Robinson, who had done a ?stair dance? on film with Shirley Temple in the Depression; black dancers from the 1930s and 1940s were overcoming the pejorative aspects of the old minstrel show and coming back as highly sought-after dance artists.41 "
| |
|
Modern Dance, 2004.
An overview of the history of modern dance.
1,117 words (approx. 4.5 pages), 3 sources, MLA, $ 38.95
»
Click here to show/hide summary
Abstract
This paper examines how European and American theatrical dance had always centered on ballet until the early 20th century, when it became fashionable in dance circles to rebel against the strictures of tradition. It looks at how modern dance, which resembles modern art and music in that it is experimental and iconoclastic, developed primarily in the United States and Germany. It discusses how, in the beginning, modern dance was often misunderstood by audiences and how, by the 1950s, modern dance was firmly established in the dance world. It also shows how modern dance is said to be based on the four principles of substance, dynamism, metakinesis, and form, and how, due to the creative efforts of the modern dance pioneers, dancers today use a broader range of techniques, styles, and source materials than ever before.
From the Paper
"The first American dancers to break from classical ballet were Isadora Duncan, Loie Fuller, and Ruth St. Denis (Modern pp). Although their styles differed, their unconventional approaches opened the door to a new era in dance history, namely the American modern dance movement of the 1920?s (Modern pp). Those involved in this movement based their works on personal experience, using their bodies as instruments to express emotions such as passion, fear, grief or joy (Modern pp). The dancer created form as an outgrowth of his or her own communicative impulses, rather than adhering to the set form and limited range of gestures of ballet (Modern pp)."
| |
|
The Pas de Deux in Balanchine's ?Agon?, 2002.
This paper discusses the pas de deux section in Balanchine?s ballet ?Agon? as an example of the virtual gesture.
1,025 words (approx. 4.1 pages), 3 sources, MLA, $ 36.95
»
Click here to show/hide summary
Abstract
This paper explains that the pas de deux section in Balanchine?s ballet ?Agon? is a sculptural representation of a relationship, expressing only aspects of reality in the dance. The author believes through absurdity and grandeur the pas de deux of Balanchine's ?Agon? creates the virtual emotions of a conflicted relationship.The author describes and interprets each part of the pas de deux.
From the Paper
"The pas de deux begins with a series of relatively quick steps performed by both dancers, with the female being one full count ahead of the male. This creates the strong impression that the female is leading the male, and establishes her dominance in the dance from the opening. This is unusual in ballet, where the classical pas de deux is performed with the male leading and the female following. The slightly frenetic opening ends in a pose that is repeated later, with the man above the woman, her leg up in an extreme, attitude arabesque that wraps about his head. This pose is remarkable for the extremity of the movement, and its visual illusion of the woman trapping the man with her bent leg. This pose is one exemplification of the comments of Lincoln Kirstein about the pas de deux, with its "naked strength, bare authority, and self-discipline in constructs of stressed extreme movement" "
| |
|
Isadora Duncan, 2002.
A biography of the life and career of the American dancer, Isadora Duncan.
1,572 words (approx. 6.3 pages), 4 sources, MLA, $ 51.95
»
Click here to show/hide summary
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."
| |
|
Isadora Duncan:A Pioneer of Dance, 2002.
Examining the life and work of Isadora Duncan and how her dance style developed over the years.
1,412 words (approx. 5.6 pages), 5 sources, MLA, $ 47.95
»
Click here to show/hide summary
Abstract
This paper looks at the life of Isadora Duncan, a pioneer in modern dance. It discusses her early life, personal life and education. The paper then addresses how her dance style was influenced by various elements such as Greek influence and American culture. It looks at Duncan's education and how this impacted her art. The paper concludes with the status of Duncan's dance style today and the existance of the Isadora Duncan Dance Ensemble.
From the Paper
"Isadora Duncan is recognized as one of the pioneers of modern dance as it is known today. Since childhood she had loved poetry, beauty and rhythm. She had a large amount of practical common sense juxtaposed with a dreaming quality, inherited from her father. As her childhood was marked by poverty, Duncan hated reality, and was a rebel (Dickson, 2001). This was all worsened by her parents? divorce and her mother?s insistence that her father was practically subhuman. Furthermore Isadora?s mother disavowed their faith and accepted atheism. The child?s confusion was heightened by the fact that when she met her father, he was a charming, lovable man. This resulted in the fact that Isadora never lost her contempt for the institution of marriage as she had grown up with it."
| |
|
Serge Diaghilev and the Ballets Russes, 2002.
A history of Serge Diaghilev and his ballet company, Ballets Russes, and its influence on the world of ballet.
1,080 words (approx. 4.3 pages), 5 sources, MLA, $ 37.95
»
Click here to show/hide summary
Abstract
The paper gives a history of Russian-born Serge Diaghilev and explains how his unconventional ideas of ballet led to the creation of the Ballets Russes in France. The paper lists the people associated with the company and explains the factors that contributed to the success of the Ballets Russes. The author describes the incredible impact that the Ballets Russes had on the world of ballet.
From the Paper
"Serge Diaghilev was born of Russian nobility in Perm, Russia, on March 19, 1872. In 1890 his family moved to Saint Petersburg, and at the university there, Diaghilev was supposed to study law, but he soon became enamored with the arts and realized that was where his future lay."
| |
|
History of Social Dancing in the Twentieth Century, 2002.
A concise study on the history of social dancing in 20th century.
655 words (approx. 2.6 pages), 8 sources, MLA, $ 23.95
»
Click here to show/hide summary
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)"
| |
|
August Bournonville, 2002.
This paper takes a look at the life and achievements of August Bournonville, the most celebrated Danish choreographer in history.
1,180 words (approx. 4.7 pages), 0 sources, $ 40.95
»
Click here to show/hide summary
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.?
| |
|
Christianity, Culture and Dance, 2007.
This paper looks at dance and culture from the standpoint of Christianity.
4,314 words (approx. 17.3 pages), 28 sources, APA, $ 114.95
»
Click here to show/hide summary
Abstract
In this paper, the writer briefly traces Christianity's struggles on the subject of dance. The writer considers historical and Biblical interpretation and cultural developments and notes that the question of how Christians should engage culture in regards to this rather bodily activity is not easily or permanently answered. The writer also expresses her point of view than an appreciation of the physical body, along with its creative expressions is paramount in living out our faith in the Creator and in engaging our culture.
Outline:
Historically and Biblically
Various Church Responses
Where Christians Dance and Why
Conclusion - The Parable of the Lord of the Dance
References
Appendix 1 - The Shim Sham
Appendix 2 - Websites of Interest
Appendix 3 - Lord of the Dance
Appendix 4 - The Ark Brought to Jerusalem
From the Paper
"In the Hebrew tradition, dance was an integral part of celebrations. It was used both in worship, in ordinary life and on occasions of victory and festivity. Dance functioned as a medium of prayer and praise, as an expression of joy and reverence, and as a mediator between God and humanity. This understanding of dance permeated the faith of the early Christian church.
"However, by the time of the Reformation the church, both Catholic and Protestant, had eliminated dance from worship, forcing dance back into the secular realm, where it flourished."
|
|
|
