The art of dance is primarily predetermined by its complex nature. Unlike music, or painting, where only one of the audience’s five – or, arguably, six – senses are used to evaluate the piece, dancing incorporates both music and visuals.
Therefore, to convey an original idea, a dance must incorporate a unique range of visuals and a perfect combination of music and choreography. Because of the astonishing use of shadows, the incredible plasticity of movements and a thought-provoking, both rhythmic and enigmatic music, Moon can be interpreted not only as a solo dance but a witty commentary on emotions and life in general.
The dance begins with a curtain being shifted on the side to reveal an ascending moon and a woman’s silhouette; along with the amazing visuals, the song starts, opening with a choir and then continued solely with the wind instruments and drums. The woman starts dancing and her shadow takes unbelievable shapes, reminding of a flock of birds, an animal, an old mountain – the list goes on as far as the audience’s imagination stretches.
It would be wrong to claim that all the aforementioned mages are represented impeccably – instead, the dancer’s movements only drop hints of certain objects or phenomena being mentioned.
For instance, the way the dancer clenches and unclenches her fingers (lionriver 3:47–3:49) may remind of tongues of flame to one person, yet ring a completely different bell for someone else. The show ends as the “moon” finally descends and the stage is enshrouded in darkness.
Defining the genre of the dance, however, is quite complicated, mostly because of the number of elements included in it. As it has been mentioned above, the dance incorporates the Chinese tradition and a slight postmodern element to it. It could be defined as a large stage ethnic primitive (大型原始太歌舞集) genre (Theatre Beijing para. 1) if it was not for the complexity of the hidden innuendoes that the interpretation of the dance suggests.
Therefore, it will be reasonable to define it as a large stage of ethnic dance drama. The movement was obviously used to tell a story; however, the plot of the story was rather loose, which presupposed that the audience was free to interpret it their own way.
The dance was truly outstanding. It made the audience forget that they were watching a staged performance – each time that LiPing “shape-shifted,” it felt as if people were transferred to an entirely new place. The audience did not gasp in awe – there was no time for it; mesmerized by LiPing’s gracious and mysterious movements, the spectators were literally entranced with the dance.
lionriver. “Moon – Solo Dance by Yang LiPing.” YouTube. 2007. Web.
Despite the fact that the idea of using a shadow theater is not new, together with the ethnic Chinese music, the original message and the amazing visuals, the use of this technique is fully justified.
More to the point, the unique dancing manner shows new ways of looking at the genre of the Chinese traditional music; Yang LiPing makes it clear that this kind of music has potential – more to the point, she shows that Chinese traditional music can actually render the emotions and ideas that are relatable for an average audience of all backgrounds and ethnicities.
A perfect reinvention of the genre, Moon breathes new life into the Chinese traditional dance.
Works Cited
lionriver. “Moon – Solo Dance by Yang LiPing.” YouTube. 2007. Web.
The video “Matthew Bourne’s Swan Lake 2” is a carefully choreographed piece of art. The choreographer has merged different aspects of dance to produce this masterpiece. To begin with, the choreographer has used both rhythmic and non-rhythmic composition techniques to make the dance spectacular. There is also variation and repetition thus making the composition entertaining.
The choreographer has also used the best emotional context, human energy, and space. The concept of improvisation is also notable in this dance. The choreographer has also used canon, unison, and shadowing choreographic techniques. The choreographer has used various dynamics to produce long, short, and soft movements (Matthew Bourne’s Swan Lake 2).
The performance quality of this dance is exemplary. For instance, the dancers sustain the best dynamics, time control, and space. This makes the dance meaningful and entertaining. The dance combines certain aspects of performance such as space, dynamics, and time.
The motion is fantastic because most of the dancers show proper coordination and movement. The dancers use their skills to interpret and communicate to the audience. This shows how the dancers commit themselves to the act. This explains why I have liked the dance (Matthew Bourne’s Swan Lake 2).
This video excerpt shows an orchestra dance technique. The dancers combine certain elements of dance to achieve their goals. The dancers use different choreographic techniques to pass across the intended message.
The dance excerpt portrays how choreographers can be sensitive about human emotions. I strongly believe that the content of this except encourages the viewer to appreciate the dance. The dance also embodies the best performance styles, movements, actions, and compositions (Matthew Bourne’s Swan Lake 2).
Remanso, Vladimir Malakhov, Parrish Maynard & Keith Roberts
This second expert is a great composition. The excerpt shows some of the best designs and choreographic techniques. The choreographer has provided the best directives and instructions. These choreographic techniques guide the dancers to achieve the best form and movement. The dance explores some of the best ideas through human movement. The choreographer has also selected the best styles for the dance.
This is successful because of the lyrical and comic aspect of the dance. I have also found the choreographer’s use of space, dynamics, and actions very artistic and inspirational (Remanso, Vladimir Malakhov, Parrish Maynard & Keith Roberts).
The choreographer has used the best structuring devices and relationships such as symmetry, counterpoint, and complementary relationships. The use of coordinated contacts and transitions makes the excerpt an outstanding composition.
The next thing admirable thing about this dance is its performance. The dancers portray the best coordination, stamina, balance, mobility, and body control. They also show the best coordination, confidence, and concentration. The excerpt also explains how choreographers can utilize the best aspects of dance. The dancers are focused and sensitive about their moves. This explains why the dancers have achieved the best performance. The systematic repetition and use of tone explains why this dance is a masterpiece (Remanso, Vladimir Malakhov, Parrish Maynard & Keith Roberts). By so doing, the dance communicates effectively to the targeted audience.
The video portrays one of the best dance techniques. The dancers have used different techniques to portray their expertise and competence. For instance, the dancers have portrayed the best use of rhythm, repetition, variation, and theme. The contents of the dance portray the best features of musical compositions.
The dance shows how movement redefines space, energy, shape, and time (Remanso, Vladimir Malakhov, Parrish Maynard & Keith Roberts). As well, the emotional context of the dance portrays the best human emotions.
The Mexican son genre (also called Son music) is common in different Latin American nations. Son music “is part of the Mexican folk dance” (Castro 46). However, the aspects of the son genre vary from one region to the other. Son music relies on string instruments such as violins and guitars.
The genre also borrows some unique aspects from the famous Baroque music. There is a deep connection between this folk genre and the zapateado footwork. The word zapateado refers to “a group of styles whereby several dancers use percussive footwork to support the dance” (Castro 47). The “dancers and singers strike their shoes to produce a lively rhythm” (Castro 62).
A good example of the above subgenres is the famous Son Jarocho. According to Castro (67), Son Jarocho is a powerful sub-genre of the famous Mexican son genre. This subgenre occurs when several artists come together to produce a powerful dance. These musicians usually use elevated wooden platforms.
Such wooden platforms are called trains. The dancers and musicians embrace the zapateado footwork to entertain their audiences. This approach has made this subgenre popular in Latin America (Diaz-Sanchez and Hernandez, 192). The above footwork offers the required vocal accompaniment to produce the best music.
Many Chicanos in America have also embraced the zapateado idea. Such Chicanos have also managed to sustain this connection in the United States. These Chicano musicians have also sustained this subgenre in different countries across the globe. For instance, many Latinos in the United States began to embrace this folk dance in the 2000s. Such “musicians have used the dance as a way of connecting to their Mexican culture and heritage” (Castro 73).
This fact explains why several cities in America such as Los Angeles have witnessed such Chicano festivals. A new band emerged in California during the 2000s. This group is called Son de Centro. The group performs in Santa Ana and its neighboring regions. This region has a large number of Mexican-Americans.
The group Radio Jarocho has also made this subgenre popular in the United States. These two groups focus on the major issues affecting many Latinos in different parts of the world. They have also performed in different countries such as France, Spain, and Britain.
Some musicians have also supported this subgenre in different parts of the world. A good example of such musicians is Conjunto Hueyapan (Diaz-Sanchez and Hernandez 198). This discussion explains why Son Jarocho has become common in different parts of the United States. Many Chicanos “have embraced the Mexican folk dance because it is inspirational” (Diaz-Sanchez and Hernandez 201).
This genre also portrays the realities and experiences of many Mexican Americans in the country. It is also agreeable that many Chicano musicians have always embraced the zapateado concept. The practice has encouraged such musicians to promote different aspects of Mexican folk dance.
The group Radio Jarocho has also been producing shorter songs. This approach has attracted a large number of youths and Americans in different urban areas. The practice has made the genre popular. The contributions of “different Chicano musicians have made the Son Jarocho subgenre popular in different parts of the world” (Castro 94).
This development has informed more people about the powerful attributes associated with different Mexican sons. It is agreeable that Son Jarocho is a defining genre of the Mexican tradition. This fact also explains why the zapateado footwork is a powerful attribute of the Mexican folk tradition.
Works Cited
Castro, Rafaela. Chicano Folklore: A Guide to the Folktales, Traditions, Rituals and Religious Practices. New York: Oxford University Press, 2000. Print.
Diaz-Sanchez, Micaela and Alexandro Hernandez. “The Son Jarocho as Afro-Mexican Resistance Music.” The Journal of Pan African Studies 6.1 (2013): 187-209. Print.
Alonzo King Lines Ballet is a famous contemporary ballet company that has created numerous performances that combine classical and modern techniques (“About” par. 1). Each performance is a story of different people coming from different worlds. Thus, Rasa is a story inspired by Northern India courts of the 18th century and told with the help of specific insights of Zakir Hussain (Berman par. 5). The performance makes a great impression on the viewer who seems to be absorbed by the world created.
Choreography
Choreography is one of the strongest aspects of the performance. Zakir Hussain manages to use classical and modern techniques. He also utilizes movements form Indian dances. The mix of these three (quite different techniques) results in a very homogenous story told in dance. The choreography is very energetic and sometimes even violent, as it seems that dancers want to reach and go beyond some limits. The combination of solos, duos, and group dances creates an impression of a mosaic.
Dancers’ Level of Technique
The level of dancers’ technique is rather high though there were some flaws. The dancers’ movements were precise. However, sometimes, it seemed it was difficult for some dancers to create certain figures or produce movements. Irrespective of these flaws, the overall impression of the dancers’ performance is very positive. They moved easily and with a great deal of precision. It was especially interesting to observe the way the dancers switched from classical movements to Indian or contemporary movements.
For instance, the dancers start swirling, and right after the combination of classical movements, there are Indian figures and dancing techniques. It is also interesting to observe the way classical stretches are intermingled with quite contemporary curves. Dancers effectively used the space.
They could use the entire stage or only a small part of it. The choice depended on the story told. Sometimes dancers were telling an intimate story of the two, and they were very close, almost tied to each other. There were also group dances when the dancers were ‘scattered’ across the stage, and each of them had his/her own space.
Use of Music
The use of music is another remarkable aspect of the performance. Indian melodies and sounds create a really special atmosphere. Again, there is a mix of styles as such instruments as violin and drums are used. There is also singing. As has been mentioned above, the story is set in the 18th-century Indian court, and music is the primary tool that creates the necessary mood.
Notably, there is no need in settings or specific costumes. The music and choreography made up an inseparable device that enabled the performers to tell their stories. It is clear that the stories are symbolic, and people are ready to focus on meaningful things only.
Sets
As far as the setting is concerned, it is minimal. The stage is empty with curtains highlighted in different shades of red and yellow. The choice of such a setting is very symbolic. The entire attention is drawn to the dancers and the dance. There is no need to distract the viewer from forming the story by adding some additional setting. The music is a very strong element of the composition, and it can be regarded as all the necessary setting.
Costumes
Costumes are also very simple. It seems that dancers are without any clothes at all. The color of the clothes is of mild tinges. Again, this is done to make a focus on the dance and dancers’ movements. It is also important to note that the costumes are made of very light cloth. This adds an impression of some spiritual component. At times, it seemed that spirits came from another world to tell their stories.
Props
As has been mentioned above, the stage is empty with no props at all. Performers do not use any props. This also enhances the spiritual component of the performance. It is necessary to add that props would simply spoil the impression as they would look odd and out of place. The dancers’ bodies and their movements (and their emotions) are central to the performance. Therefore, there is no need to distract the viewer with some objects.
Lighting
Lighting contributed greatly to the creation of the necessary atmosphere. The stage was dimmed, and islands of light were created for dancers. It also created an impression that the dancers, as well as the audience, were in the Indian court in numerous rooms and corridors of great palaces and temples. The light was of different colors, and it added a certain meaning to each story. Sometimes it was a soft light with tinges of orange and yellow, and sometimes it was rather intense (and even clinical) white.
The intention of the Pieces
As has been mentioned above, the pieces were different stories told by dancers. Those were love stories and stories of life and death, pain and sorrow, joy, and happiness. However, there was one characteristic feature shared by all pieces. Each piece was to evoke feelings and ideas that might seem very peculiar to the viewer.
The pieces evoke emotions that are hidden deep inside each person’s heart. The pieces build a certain spiritual connection with each viewer. Thus, each piece can be very different for each viewer. Hence, a personal story is created for each who sees the story from the perspective of his/her background.
Personal Insight of the Piece
I, personally, find the performance very evoking. In the first place, I think the choreography had a significant impact on me. I have seen some pieces where styles and techniques are combined. However, this performance changed my attitude toward such combinations. Now, they seem very natural to me. I also think that performance reflects the essence of contemporary society.
Even though it is a story of the 18th-century Indian court, it seems that the dancers are telling a story of the western society where so many trends are combined and mixed. I was also glad to see that my view on the minimal set as the best option for contemporary dance is correct. I also had the impression that the performance created a new spiritual world.
I would also like to add that I noticed some imperfections in the dancers’ performance, and they made me feel a bit frustrated. I find the whole piece stunning, and I believe that those little imperfections have to be removed as they distract from the performance. My overall impression is still very positive. I think all the people in the audience share my feelings.
Alvin Ailey was able to merge dancing techniques which previously seemed to be completely incompatible with one another, and it is one of the major achievements in the history of choreography because such artistic choices influenced many performers and choreographers. This is the thesis that should be discussed more closely.
This paper is aimed at examining the main milestones in the career of this person and the long-term impacts of his activities. In particular, much attention should be paid to his work in the Horton Dance Company and the Alvin Ailey American Dance Theatre. Moreover, it is important to consider his choreographic techniques. Furthermore, one should discuss his major character traits such as perseverance, willingness to take risks and readiness to provide creative freedom to other people.
While discussing the life of Alvin Ailey, one should first mention that he was able to make considerable achievements, even though he grew up in the environment in which many people could be deprived of the opportunity to fulfill their talents. He was born in 1931, at the time, when America was badly affected by the Great Depression. Moreover, the life of the country was profoundly influenced by the segregationist policies which prevented many African-American people from raising their social status.
To a great extent, Alvin Ailey had to struggle with these obstacles. He had to lead an itinerant life for several years, but he retained his dedication to theatrical career. Overall, such behavior indicates at his perseverance. Later, his talent attracted the attention of prominent choreographers such as Lester Horton. It is important to discuss their cooperation in greater detail.
Overall, it is possible to argue that the encounter with Lester Horton profoundly influenced the life and work of Alvin Ailey. In particular, he had an opportunity to master several aspects of theatrical performance; for instance, one can speak about dance, set design, costuming, and painting. This knowledge was critical for the development of his career. Additionally, he could freely experiment with various styles that could range from classical ballet to the dances of Native Americans.
Such practices profoundly affected his dancing performance and choreographic decisions. Lester Horton died in 1953, and Ailey succeeded him as the director of this theater at the age of 22. This decision suggests that he was able to take risks. Yet, this character trait can be better illustrated by looking at his choreographic style.
Overall, the main artistic innovations of Alvin Ailey are related to his eclecticism. This term can be described as the tendency to combine various styles and techniques. This argument is particularly relevant if one speaks about the performance known Revelations which was first staged in 1960. It incorporated the elements of classical ballet along with spirituals, blues, and gospel music.
At that time, it was a breakthrough decision because artistic directors believed that such elements could not be combined. However, later generations of choreographers began to emulate this eclectic approach. For a long time, he led his own theatre company. As the artistic director, he enabled other performers to develop their own dancing styles. Very often, this creative freedom was important for improving various performances.
During his lifetime, Alvin Ailey, directly and indirectly, influenced many performers and choreographers. By combining various artistic techniques, he demonstrated that various styles could be quite compatible with one another. Moreover, they can be applied to create more impressive and challenging performances. The discussion of these issues is important because creative decisions of Alvin Ailey shaped the work of many dancers and choreographers.
Genres of dance do not emerge spontaneously, from nothing: each new style is a sum of numerous trends that exist not only in dance, but also in society, culture and art. Dance genres evolve and influence each other; that is why it is sometimes quite difficult to define what roots a certain genre has and what peculiarities it has comparing to other genres.
This research is devoted to contemporary dance. For an amateur, this term is a synonym of the notion “modern dance”; however, these terms refer to different genres that should not be confused. Contemporary dance is also often mixed up with other dance styles or, due to the word “contemporary”, is even considered to be a term that denotes all dancing that is created and performed today.
To eliminate this confusion, we will outline the border between contemporary dance and other dance genres. We will study the origins and essence of contemporary dance and compare it with such genres as classical ballet, contemporary ballet, and modern dance. The study is based on observation of literature sources devoted to contemporary dance and our observation of works of contemporary dance, live and on the video.
Origins and Essence of Contemporary Dance
The 20th century brought dramatic changes to the life of the World community and, consequently, to art. Dance did not become an exception: in addition to classical ballet performed in theaters and folk dances that existed beyond luxurious concert halls, it gave birth to genres that were less formal but gradually became demonstrated equally with ballet.
In the beginning of the 20th century, modern dance changed the society’s notion of dance and offered an approach that had had no precedent. Gradually, more dance genres “alternative” to ballet were emerging: neoclassical ballet, postmodern dance et al. These genres enriched and at the same time challenged each other.
Contemporary dance emerged on the border of classical ballet, modern dance and postmodern dance; today it also includes several subgenres, such as non-dance, conceptual dance et al. The core of contemporary dance is an experiment and rule-breaking. Its focus is on showing of ideas and emotions with bright, expressive movements. Contemporary dance tests the abilities of human body and challenges them setting quite high standards to them; it requires perpetual and intense physical training (Li 250).
A contemporary dancer switches from tension to full relaxation, performs “broken” movements, falls and rises. Plasticity, expressiveness and strength are peculiar to this dance.
Sometimes a work of contemporary dance may have a topic and an explicit idea, but it may be also quite abstract and give a viewer opportunity interpret it on his/her own. Some choreographers use technology in their performances, for example, like Ben Duke’s Discombobulator (Duke); the works of contemporary dance are often created on the border of dance and theater, which significantly influences on the movements used in it.
Contemporary Dance versus Classical Ballet
The difference between classical ballet and contemporary dance is in the proportion of “instruction” and freedom of expression in choreography and performance. Classical ballet has the neat, strict framework that outlines the borders of a choreographer’s and a dancer’s creativity. Despite there are several basic classical ballet schools, such as Italian ballet, Russian ballet, British Ballet and French ballet, they all have common roots and are based on similar choreographic traditions.
Having existed for several centuries, classical ballet has to some extent evolved: if we compare the ballet of the 18th century and today’s works, we will see certain difference in movements, costumes and the way of performing; besides, ballet has acquired some local traditions.
However, the rules of classical ballet choreography remain a “constant” throughout the world. Wherever a viewer watches classical ballet, he/she will see traditional ballet costumes and recognizable movements that can be classified according to the basic movement vocabulary.
In turn, contemporary dance has no “framework”: while classical ballet traditions are quite similar even in different countries, it is impossible to find even two single contemporary dance choreographers who use analogous set of movements. The arsenal of movements of contemporary dance has included the elements of different styles, including classical ballet; however, a choreographer has a right to fuse and distort them, for example, like in (Turner), or even do not use them at all.
This freedom of contemporary dance gives birth to its second distinction from classical ballet, which is the way dances are performed. Contemporary dancers do not use classical ballet costumes and pointes; instead, they prefer very “laconic”, unpretentious costumes and often perform barefoot, like in (Turner); at the same time, sometimes the costumes may be quite extravagant, for example, like in Carolyn Carlson’s Double Vision where her skirt covers all the stage and forms a screen for projection (Carlson).
One more distinction of contemporary dance from classical ballet is the ability of dancers to express their emotions. A dancer has opportunity to remain him/herself onstage and improvise demonstrating his/her ideas, emotions, personality. Very often, a dancer him/herself performs in the role of a choreographer.
Contemporary Dance versus Contemporary Ballet
Despite the common word “contemporary”, the genres of contemporary ballet and contemporary dance have substantial difference. Both genres seem to oppose to classical ballet, that is why it is interesting to compare them. Contemporary ballet is not as dependent on “ballet rules”; it gives a choreographer more freedom; it can be considered a mixture of traditional ballet school and modern dance that emerged in the beginning of the 20th century.
The core of contemporary ballet choreography is a well-known set of classical ballet positions and movements; however, they are interpreted in a different way by contemporary ballet choreographers and are somewhat “modernized” by them: while in classical ballet, a performer keeps his body straight and reaching for upside, a contemporary ballet dancer twists, bends and curve (Finch).
Contemporary ballet implies using pointes, and the suits are quite similar to those classical as well. A performance fulfilled in the genre of contemporary ballet may have no plot, or “story-telling”.
However, while contemporary ballet can be called “modernized ballet”, contemporary dance is rather to be interpreted as “alternative to ballet”. Contemporary dance uses less elements from classical ballet, and in case these elements are used, they are strongly distorted. However, contemporary ballet and contemporary dance have some points of intersection, which are freedom from strict rules, reflection of spirit and cultural tendencies of the 20th and the 21th centuries and aspiration to experiments.
Contemporary Dance versus Modern Dance
The words “modern” and “cotemporary” seem to be close synonyms; however, this is not true in relation to dance: despite both genres emerged in the 20th century and significantly differ from classical ballet, they have certain distinctions. Modern dance appeared in 1900s as a response to conservatism of classical ballet (Garofoli 6). This genre is the reflection of social processes of that period: during the first decades of the 20th century, the world was embraced by the revolutionary spirit and aspiration for substantial changes in all fields of life.
Modern dance had many features that are characteristic for contemporary dance: dancers improvised with the movements of their bodies, ideas of dances and the way of performance. Dancing became more expressive and genuine; the costumes became simpler, and barefoot dancing became popular (7-8). Modern dances often expressed political and social ideas. We have already characterized contemporary dance as the “alternative” to ballet; correspondingly, modern dance can be considered “the revolution against ballet”.
Contemporary dance is the “child” of modern dance; it is possible to say that they have much in common: contemporary dance also does not set limits to choreographers and gives opportunity to address today’s burning problems; it uses improvisation and encourages dancers to experiment. At the same time, the arsenal of movements of contemporary dance is broader and includes elements from different genres; it is also possible to state that the technique of contemporary dance is more advanced and requires bigger physical strength.
Conclusion
Genres of dance are in the state of perpetual interaction; they enrich each other with new ideas, emotions and movements. Contemporary dance is a separate genre of dance that has formed on the border of several genres having absorbed and modernized their elements.
A work of contemporary dance may include movements taken from classical ballet, modern dance, or even movements that cannot be classified as those belonging to any genre. Contemporary dance can be characterized as an “alternative” to classical ballet and considered to have much in common with modern dance and contemporary ballet.
Flamingo Dance otherwise known as Flamenco dance is of a Spanish origin being developed from cante or songs of Andalucia, and is also believed to include some Indian and Arabic cultures. This is a very expressive dance in nature and it involves movement of the whole body but more specifically the hands in such a way that the audience can follow and understand the whole dance. This dance also plays a very important role in the preservation of the dance culture. This is a form of dance that is only performed in very specific places mostly by dancers who have a Spanish origin.
One of the key things about this dance is that it is performed on very specific genre of music compared to many other dances that can fit in with any music. The dance can be performed by a single dancer but it is more expressive when performed by a pair mainly male and female. One of the requirements of a Flamenco dancer is physical fitness; one needs to be very flexible and swift so as to get the steps right and bring out the concept. Most of the choreographers and performers of this form of dance have mostly got the influence from their parents or close relatives. This helps in the preservation of the originality of the dance but the unfortunate thing is that other people do not get a chance to really get a challenge that would motivate them to learn the dance.
One of the main body movements in flamenco dance involved the simultaneous movement of the foot and the hand back and forth and this has to be expressed by the whole body as well. This requires that the dancer understands the concept of the song and is able to express it in form of action and this means that one also has to be very good in sign language. Its performance is also limited by the space and so this necessitates that the dancers have ample space so as to bring out the action fully especially if they are dancing in pairs; this means it cannot be performed in a place with minimal space. Flamenco dance comes with a lot of limitations and restrictions as it is not a form of dance whose performance time can be minimized for it has to be completed to bring out the intended message; this means that it cannot be performed in avenues where there is a time limit.
The dancers of Flamenco should be able to capture the attention of the audience fully and this is achieved when they are in accord as they take their steps and move their bodies; It gets hard for the audience to spot one either as better than the rest or one who does not get the steps right. The disadvantage of this is that the expectations of the audience are so high in regards to the performance thus no room for inaccuracy even if the dancers are learners. The performer is supposed to be very attentive to the flow of the music so as to make right movements and also for the fact that in most cases there are several performers so they need to be very well choreographed and synchronized.
Finally the audience may not really get the projected message of the dance or their understandings of the dance may differ due to the fact that they are also required to be very attentive and also accurate in sign language. For this reason the audience of Flamenco dance is limited compared to other forms of dances where there is no prerequisite from the audience.
Concert dance is a type of dance that is usually performed on the stages of education, enjoyment, and some benefits (Scheff, Sprague, and McGreevy-Nichols 27). The peculiar feature of such an event is the inability to predict what to expect. Even if a person is informed about some details of the dance concert and the guests, who are going to participate, it is hard to cope with the emotions and attitudes to everything that can happen on the stage.
One of such surprises was available to the audience of the CSN Fall Dance Concert. The last Friday (4 December), on the stage of the CSN Performing Arts Center, people got a chance to enjoy a “wide array of performances by students, professionals, and special guest artists” (“Performing Arts Center” par. 1). The dance concert under analysis is interesting and challenging because it is important to consider the level of experience of each participant, compare the quality of performance, and never stop enjoying the beauty of the performance offered.
Expectations
Due to the advertisements that had been available to people far before the concert, many students and even teachers expected a lot from the performance in the way Rachel (the main character of McDaniel’s Last Dance) did when “classes were even longer and more demanding” (McDaniel 5).
There were several reasons for people to believe that they could spend their $8 not in vain. First, the CSN Dance Ensemble, this internationally acclaimed Concert Dance Company, always introduces powerful shows with a number of unpredicted issues. Second, several special guests were invited. Finally, it is a chance to observe the students, who are nearby day by day, in new roles demonstrating new skills.
Performance
During the performance itself, it was hard to think about the necessity to critique something. It was time for pleasure. The excitement, passion, commitment, and dynamics absorbed from the first minutes. Due to perfectly defined movement qualities when different time spans could give each quality a distinct feature (Kassing 44), it seemed that each dancer talked directly to the audience introducing its separate macro-performance (Hemphill 57).
It seemed that the director of the performance, Kelly Roth, wanted his audience not only to enjoy a number of new techniques and details of the concert but also to make use of each emotion such as happiness, sorrow, panic, amusement, and even fear. The experience and ideas of this choreographer and showman impress many people.
His mission is not only to create, perform, and view dance (“Welcome to the Dance Program” par. 1) but also to create a story with a number of chapters, and each chapter has its own goal and influence on the audience. The combination of contemporary dance, ballet, and modern dance is an amazing part of the concert. On the one hand, it is an opportunity to isolate the dancers and make them develop their own emotions and skills. On the other hand, the concert is the possibility for every viewer to enjoy the emotions on the stage and to learn something from the dancers.
Conclusion
In general, the CSN Fall Dance Concert is the combination of the dancers’ maturity and the intentions to become better in the sphere of dance. This concert contains the performances of the dancers of different levels. However, when a viewer watches the shows, it is hard to comprehend where a beginner is and where a professional is because the passion, emotions, and attitudes to the performance are amazing. There is no desire to analyze or criticize the concert but sit and enjoy every moment.
Works Cited
Hemphill, Brian. The Elements of Creative and Expressive Artistry: A Philosophy for Creating Everything Artistic. Bloomington, IL: iUniverse, 2011. Print.
Kassing, Gayle. Discovering Dance. Champaign, IL: Human Kinetics, 2014. Print.
McDaniel, Lurlene. Last Dance. Minneapolis, MN: Darby Creek, 2005. Print.
Performing Arts Center. 2015. Web.
Scheff, Helene, Sprague, Marty and Susan McGreevy-Nichols. Exploring Dance Forms and Styles: A Guide to Concert, World, Social, and Historical Dance., 2010. Print.
Alvin Ailey can be described as the person who changed people’s views on concert dancing. In particular, he greatly contributed to the popularization of the so-called modern dance which was developed at the beginning of the twentieth century. Moreover, as a choreographer, he was able to train dancers who could represent different styles and techniques such as jazz, ballet, or hip-hop. On the whole, Alvin Ailey can be viewed as a very courageous person who strived to find new forms of creativity and helped other people to fulfill their talents. This is the main argument that should be elaborated in greater detail.
One can say that Alvin Ailey grew up in the social environment, which suppressed black people as well as their creativity. It should be borne in mind that Alvin Ailey was born in 1931, and during childhood, he was distinctly aware of racial segregation which was widely practiced in Texas. His family moved from Texas to Los Angeles in 1942, and at the age of 18, he began attending the studio of Lester Horton. The students could practice various styles such as Native American dance as well as classical ballet (Perpener 196). Overall, the cooperation with Lester Horton shaped the professional career of Alvin Ailey because he could practice a variety of dancing techniques.
Furthermore, he became skilled in such areas as scene and costume design. After the death of Lester Horton, he became a director of the studio. At the time, very few people believed that Horton could be substituted by any other person. Nevertheless, Ailey was able to face this challenge and eventually achieve success. This is one of the aspects that can be identified.
Additionally, it is possible to argue that Alvin Ailey did not want to be restricted to only one style or technique. This narrow view of dancing was not acceptable to him. Overall, his philosophy can be best exemplified by analyzing his major choreographic works. Much attention should be paid to the famous performance called Revelations; it was first staged in 1960 (Gere 289). This production is based on such musical styles as spirituals and blues. Through this performance, he was able to popularize various aspects of modern dance, which was often viewed as an alternative to classical ballet. Nevertheless, this famous production also involved the elements of classical ballet and African dance. This eclecticism helped Ailey to create an outstanding work of choreography.
Apart from that, Alvin Ailey helped other dancers achieve creative success. One should mention that he did not want to restrict the improvisation of people who took part in his choreographic works. As it has been said before, they could represent different styles. In turn, Ailey often encouraged them to discovery unique movements that could be seamlessly incorporated into various performances. Due to his assistance, these people were able to express better their creativity. This is one of the points that can be made.
Overall, it is possible to say that Alvin Ailey managed to enrich the art of choreography because he did not want dancers to stay within the limits of only one style. The performance that he stages became renowned in different countries. More importantly, his ideas influenced the work of many other dancers who wanted to combine different techniques. These are the main aspects that can be singled out.
Art critics and journalists often focus on famous performers who are now renowned for their outstanding technique and creativity. Nevertheless, people who trained these dancers very seldom reach the spotlight. This argument is relevant if one speaks about Alexander Ivanovich Pushkin who worked at the Vaganova Academy of Russian Ballet. Overall, this ballet master played a definitive role in the career of many people who were later viewed as the most brilliant ballet dancers in the history of the twentieth century (Fandel 197). In particular, he helped them develop their dancing techniques into perfection; moreover, due to his assistance, they could better express their creativity on the stage. These are the major contributions of this individual, and they should be discussed in greater detail.
It should be noted that Alexander Pushkin taught in the Vaganova Academy of Russian Ballet (Sterling 43). Furthermore, he worked at the Mariinsky Theatre, which was also known as the Kirov Company. As an educator, he was able to work of the most talented dancers in the Soviet Union. Moreover, foreign dancers were willing to work with him or at least observe his lessons (Sterling 43). The main issue is that people can learn more about him, mostly through the recollections of his pupils. However, there are not many sources that are directly dedicated to his work or personal life. This is one of the points that can be made.
Among his most famous student, one can distinguish Mikhail Baryshnikov and Rudolf Nureyev. They are now regarded the dancers who shaped the history of ballet in the history of the twentieth century. Their performances are now viewed as genuine masterpieces. On the whole, Pushkin was able to recognize their talent. More importantly, he encouraged them to develop their unique movements even if these movements could significantly deviate from the traditional canon (Fandel 197). Furthermore, his instructional methods were later emulated by other choreographers who could work in different countries. This is another issue that should be distinguished.
Apart from that, his pupils valued his creative recommendations regarding the roles that they performed on the stage. Nevertheless, he did not try to impose his opinions on the dancers because he did not want to become an authority figure. In his opinion, rigid instruction could not facilitate the creativity of students (Fandel 197). At the same time, he made it very clear to them that the quest for perfection could never be complete, even if a person achieved international fame and success. This is one of the principles that Pushkin often postulated. This precaution helped his students to remain among the top ballet dancers for a very long time. Therefore, Pushkin profoundly shaped their students’ attitude to work; These are some of the major details that can be considered.
On the whole, this discussion shows that in the history of theatre, there are many important figures who are very underestimated. Alexander Pushkin can be viewed as a brilliant educator who could spot and perfect the talent of other people. He could emphasize both technical excellence and creativity. Moreover, he could provide valuable examples that assisted his pupils in achieving excellence. Therefore, it is possible to say Alexander Ivanovich Pushkin is an important figure in the history of ballet.
Works Cited
Fandel, Jennifer. Rudolf Nureyev, New York, The Creative Company, 2006. Print.
Gere, David. How to Make Dances in an Epidemic: Tracking Choreography in the Age of AIDS, Madison: University of Wisconsin Press, 2004. Print.
Perpener, John. African-American Concert Dance: The Harlem Renaissance and Beyond. Champaign: University of Illinois Press, 2001. Print.
Sterling, Mary. The Seventies. New York: Teacher Created Resources, 1998. Print.
The artwork chosen for this assignment is “Shiva as Lord of Dance” from the Norton Simon Museum. It is a bronze sculpture of a Hindu deity, which dates back to the beginning of 11th century. Norton Simon Museum is a decades-old art museum in Pasadena, California. It features many different exhibits, including those centered on alternate realities, themes of desire, and abstraction in photography. “Shiva as Lord of Dance” is not currently on display but remains a part of Norton Simon Museum’s catalog on its official website. It has likely been a part of its exhibit “Where Art Meets Science: Ancient Sculpture from the Hindu-Buddhist World.” The main reason as to why I chose this particular piece for this assignment was the feelings of bliss and trance I had felt when observing it. I could sense the creative energy emerging from the sculpture. “Shiva as Lord of Dance” is an embodiment of calmness, which I seem to lack during this pandemic. As for my experience, while I certainly enjoyed the innovative digital exhibitions and observing all the various art pieces, I would much rather see the works in person.
Description
The first thing one can notice while looking at the sculpture is a figure with four arms. The creature seems to be dancing surrounded by a circular halo covered in fire. In his upper right hand, Shiva has a small drum, while the upper left hand produces fire. The lower right hand makes a gesture, and the lower left hand points in the same direction as the left leg raised upwards. Shiva seems to be standing on a dwarf-like creature with his right leg. The deity’s hair is blown away so that it becomes a part of the halo of fire. Although not a lot of material was used in the making of the sculpture, it still takes up a lot of space. This is due to the circular frame, which signifies the halo.
The bronze Shiva is made out of is green but has a yellow metallic tint when a light strikes it. The texture is glossy and rather smooth although the halo is carved with various patterns. In terms of depth and space, the holes surrounding Shiva make the deity stand out by creating negative space. The motion is implied in the halo, which bursts fire. In addition, the dynamics are shown through the pose of Shiva, which makes it clear the icon engages in dancing. It is evident that the emphasis in the sculpture is put on Shiva, acting as a focal point of the piece.
Presentation of Research
India’s cultural heritage is nuanced, complex, and extremely diverse. Despite that, if one had to choose the figure to symbolize the nation’s cultural traditions, it would most probably be Shiva who became synonymous with the icon of Nataraja1. The image of Shiva is used globally as a distinct representative symbol of Indian heritage. The sculpture of “Shiva as Lord of Dance” emphasizes the complexity of layers the icon is comprised of. Shiva is a part of a triad of powerful divine beings2 present in the Hindu faith. Brahma is the creator; Vishnu is deemed the preserver; Shiva is, therefore, the destroyer. Despite the negative connotation destruction often implies, Shiva is not a negative icon but rather a deity of immense and expensive power. After all, the Hindu dogma dictates that everything must go through a natural cycle of birth and death, which makes regeneration possible. Shiva is the agent of such changes, a part of which the sculpture captures.
It is important to point out what it is exactly Shiva is doing in the sculpture. Shiva is portrayed with all the characteristics of perfect physical form. The icon is captured frozen in time although there is still a moving appeal to the sculpture through the dynamic position representing dancing. The deity performs ananda tdndava, “or dance of blissful exhilaration, which symbolizes the processes of creation and destruction, as well as salvation”3. Shiva stands in a position referred to as bhujangatrasita karana4, with the left leg raised and extended. The left leg as well as the lower left arm are pointed in a way, which signifies refuge for those in search of meaning.
The dance itself is a cosmic force of creation and destruction, which seem to be inseparable. The drum Shiva holds symbolizes creation, while the fire in the upper left hand stands for destruction5. The gesture the deity makes with the lower right hand alleviates fear. Standing with the right leg on the head of a dwarf-like figure, Shiva dispels of ignorance and evil6. The icon is captured “granting solace by the crosses left arm (…), while the ring of fire symbolizes cosmic cycles” (Srinivasan). Thus, the Lord engages in the process of destruction and simultaneous destruction through the dance of bliss. The sculpture implies that finding the true meaning, achieving salvation, and destroying the ego comes from believing in and honoring Shiva.
The halo surrounding Shiva seems to demonstrate the nature of the icon’s dance. Simultaneous destruction and creation is captured by the circle of fire. The halo is a representation of cosmos at large7, including time, space, and the continuous cycle of regeneration. Life and death seems to be moving to the rhythm of Shiva’s drum and dancing. Nataraja’s dance possesses “an unmistakable attitude of smile and puckish delight”8. This encapsulates the Hindu belief that death has to be accepted with joy as part of the cosmos cycle of annihilation and regeneration. Life and death are simultaneous, which is the basis for Shiva’s endless dance. The only way to face the gifts of creation and destruction is to annihilate the ego by becoming a Shiva devotee.
Summary
“Shiva as Lord of Dance” is not simply a beautiful sculpture but a representation of India’s complex cultural heritage and faith. The Hindu deity Shiva is the Lord of destruction, which makes it honorable rather than fearful. The icon is surrounded by a halo of fire, which symbolizes the cycle of annihilation and regeneration. Life and death occur simultaneously, being directed by the moves of Shiva and the rhythm of the deity’s drum. Through the cosmic cycle of destruction and creation captured in the sculpture, it is possible to uncover even more layers to the Hindu faith. Stamping on the demon of ignorance, Shiva demonstrates that the true path of meaning and acceptance implies the destruction of one’s ego. Furthermore, the deity’s arm pointing at the leg signify that every devotee can find a place of refuge in faith. The gesture of Shiva shows that the cosmic cycle of life and death should not be feared but celebrated through blissful dance.
Bibliography
Low, Patrick Kim Cheng, and Balakrishnan Muniapan. “Organisational Development and the Hindu Trinity: Brahma, Vishnu and Shiva on Leadership, Culture and Change.” International Journal of Indian Culture and Business Management 4, no. 5 (2011), 491–505.
Pal, Pratapaditya. “Sculptures from South India in The Art Institute of Chicago.” Art Institute of Chicago Museum Studies 22, no. 1 (1996), 21–36.
Pechilis, Karen. “Siva as the Lord of Dance: What the Poetess Saw.” The Journal of Hindu Studies 6, no. 2 (2013), 131–153.
Srinivasan, Sharada. “Shiva as “Cosmic Dancer”: On Pallava Origins for the Nataraja Bronze.” World Archaeology 36, no. 3 (2004), 432–450.
Footnotes
Karen Pechilis, “Siva as the Lord of Dance: What the Poetess Saw,” The Journal of Hindu Studies 6, no. 2 (2013), 131–153,
Patrick Kim Cheng Low and Balakrishnan Muniapan, “Organisational Development and the Hindu Trinity: Brahma, Vishnu and Shiva on Leadership, Culture and Change,” International Journal of Indian Culture and Business Management 4, no. 5 (2011), 491–505.
Pratapaditya Pal, “Sculptures from South India in The Art Institute of Chicago,” Art Institute of Chicago Museum Studies 22, no. 1 (1996), 27,
Sharada Srinivasan, “Shiva as “Cosmic Dancer”: On Pallava Origins for the Nataraja Bronze,” World Archaeology 36, no. 3 (2004), 432–450.
Srinivasan, “Shiva as “Cosmic Dancer”: On Pallava Origins for the Nataraja Bronze,” 432–450.
Srinivasan, “Shiva as “Cosmic Dancer”: On Pallava Origins for the Nataraja Bronze,” 432–450.
Srinivasan, “Shiva as “Cosmic Dancer”: On Pallava Origins for the Nataraja Bronze,” 432–450.
Srinivasan, “Shiva as “Cosmic Dancer”: On Pallava Origins for the Nataraja Bronze,” 446.
