Isadora Duncan Unidentified Dance (1942) The interest of Ms. Duncan is to show the buoyancy of dance, where it can still be recognizable as "movement" without having to be stringent. For example, the choreography, performed by her student, Anna Duncan, begins with sauté (arabesque), tombe, glissade, temps leve. The movement is not bound to the classical ballet form as the feet are relaxed and there is no "naval-spine" alignment, but the primary focus is to express the theme of freedom, not only in the movement, but as well as in the body. Ms. Duncan is performing on an outside stage (known today as Henry J. Leir Stage and Marcia & Seymour Simon Performance Space) where there are visibly trees in the background, and resembles a deity or goddess, dressed in a peach toga with a golden Corona Radiata on her head. Her arm movements, similar to that of a child running through a field, collecting flowers, and throwing them about, to the light, but brisk music, suggests a message of happiness and peace.
Ruth St. Denis "The Delirium of Senses" from "Rhada" (1906) The interest of Ms. St. Denis is to captivate the audience in a ritualistic manner. In a court, where there is a throne upstage center, a drummer and three people, sitting on their knees, stage right, and four people, sitting on their knees, stage left, St. Denis can be said to be either making a presentation or summoning a presence, inferably a deity. Her belly dance costume resembles today of what we know as "Bollywood," the nickname for the Hindi language film industry based in Mumbai, India. It is comprised of a headpiece (similar to that of Osiris, the Egyptian god of the earth and vegetation), a bra, and a skirt. The hue of the costume is gold, with shades of light yellow, and beige, and it is elaborately dressed with jewelry. Beginning on the floor to very soft strings and piano, St. Denis begins her ritual, which she then rises onto her feet, and as the music becomes "piercing"(the imagery that comes to mind is Egyptian slaves beating rock with a sickle), she is turning clockwise and counterclockwise, alternating the meticulousness of her hands. The music then becomes even more dramatic with the addition of bells, cymbals, drums, and gongs. St. Denis then motions and turns to the people sitting on each side, and ends the ritual falling back on the floor, lying face up to the ceiling...or god.
I will share more of my thoughts on this piece in my analysis paper-this was my favorite piece.
The interest of Ted Shawn is to show the vigor of the male dancer, which is important during this time, as the modern dance world was becoming more populated by females. It is a declaration of the male dancer's stance in this art form. Similarly to his wife, Ruth St. Denis, Shawn has choreographed a ritual, where one man summons eight more men, whom all together partake in a series of martial arts movement. It can be inferred that the man in the center is the master, and the men, who enter from all four corners of the outside space are his students. The music, played by a piano, is heavily dramatic, and accents the sharp, and direct movement of each of the male dancers. This dramaticism may have been the beginning influence for Martha Graham's technique and performance quality.
The interest of Ms. Fuller is to simply catch the eye of the audience through the use of visual art. At a glance, she appeared to be a moth, dressed in an ethereal robe, resembling that of a fairy. She goes through an evolution of color, holding a baton in each hand, while performing on kitten heels, to move the silk-like robe. It creates an effect of "changing flower petals" where the colors follow in this order: teal, green, pink, mustard yellow, bloody orange, red, lavender, teal, peach, yellow, teal, pink, rose, magenta, lavender-gray, faded pink, orange, rose, robin blue, mustard yellow, violet, forest green, rose pink, light orange, robin blue. Ms. Fuller descends and ascends to the floor on a wooden stage, with what appears to be a "moving" background that is dark brown. She is smiling throughout the entire piece.
In this piece Ted Shawn is demonstrating the strengths that come with being a man. As dance was changing and modern technique was further developing it was primarily woman bringing the movements to life. Many of the modern movements that were beginning to appear were designed to that of a woman's body. Nevertheless men could do the movement however just as Martha Graham's concept of the contraction was designed because of a woman's body Ted Shawn created his movement not necessarily to that of mans body but to the idea of man. In this piece the music not only generates sharp sound but the movement is sharp as well. The sharpness of the movement gives off that strong man quality. This piece clearly has a man who is the leader of the pact per say. The man in the center is the leader and the rest of the men surrounding are his followers. When the leader leaves the stage the men begin this fight like movement which in my eyes is demonstrating the men fighting not for the leader but for a spot close to the leader. Being a man you always want to be on top or if not close to whom ever is on top. So as the men commenced this movement it was as though they were fighting for their manhood.
Loie Fuller's take on the new emerging dance world was more of experimental kind with lighting. She began as a skirt dancer and as her mind wondered she created a new world with simply a fabric skirt and lights. In this piece she is moving all around and what really captures the audiences eyes is the changing colors of the skirt. The colors changing somewhat do correlate with her movement. As the colors go from yellow, to green, to pink, to purple I get an imagine of spring. As she ascends and descends the colors go from green to pink and it reminds of a tulip. In the very beginning as her skirt is a lively green and her arms are up I feel as though she is calling apond spring as though she were the garden fairy who has put a stop on winter and is in charge of bringing spring to life.
This piece reminds of when dance first came about, when dance was done for the kings. The reason being that she begins her movement on the floor and gestures towards the audience as if acknowledging them. As she continues her movement she makes her way towards the two groups of men that are sitting on the floor. In my eyes she is thanking them because as she finishes moving towards them she returns to the center and finishes her movement with a descend to floor and a sense of fulfillment is felt. When the music began to speed up you can see that she is slightly off her axis which demonstrates Ruth St. Denis developed style of spiral form. Her style was very religious, exotic, and theatrical storytelling and this piece exemplified all of that.
Ms Duncan's choreography steered away from the norms of the time. The technique that was common for most was ballet. Isadoras choreography was not appealing to most. She did not choreograph with pointed feet, straight knees, and full length arms. She actually did the exact opposite for example her piece called the "Unidentified Dance" performed by her student Anna Duncan. The piece consisted of a series of runs into sautés. These runs were except with arms in second bent elbows and broken wrists. The sautés were executed with dangling feet and bent knees. Ms. Duncans work did not exhibit the beauty and grace that most got experienced watching ballet. Her work geared more towards her belief of the freedom to be you. The flowing costumes, the movement being light and airy, the background being naturist all contributed to what she wanted to portray.
Ruth St. Denis "The Delirium of Senses" Rhada (1906)
Ms. St.Denis had a way capturing her audiences attention. Her movement was regal like as if she were performing for royalty. The way she manipulates her skirt letting it flow with her as she moves is beautiful to watch almost hypnotizing. The way she moves her arms and hips reminds me of Gypsies. Her dance moves reflects her training in ballroom and skirt dancing. St. Denis's style was created by her turning and dancing off her center allowing her to manipulate the way her skirt moves. Her movement was interesting and told stories.
Mr. Shawns choreography was very strong his movements were never dainty or soft. Each movement was executed in full showing off muscular Manliness . Kinetic Molpai was performed by a group of fit men. When they extended their arms you can see the muscles in their physique. The sharp movement adds to the strength of the piece. Also the men have to hold positions which also shows strength because it is not easy to hold a position and not move.Ted Shawns choreography help to prove that dancing could be an honorable profession for an American Male.
Ms.Fuller's skirt dancing was absolutely beautiful. By using her skirt she created developed her own style of dance. The way she made shapes and how the fabric flowed through the air was something amazing. The changing colors of the skirt was another great way of capturing the audience. Watching this piece can make your imagination go wild. You can see many thing while watching this piece such as a butterfly, a cloud etc. As she moves around ascending and descending the skirt work with her and also in opposition giving off more beautiful shapes. Ms.Fullers work was absolutely captivating.
There are many different influential choreographers to modern dance. These choreographers influenced not only everyone learning and growing with the new ideas and techniques, but each other. Most of these choreographers are connected in some way, like most things in the dance world. Isadora Duncan, Ruth St. Denis, Ted Shawn, and Loie Fuller. Although they all influenced the world of dance in different ways, they had very specific interests of their own.
Isadora Duncan was one of the earliest of modern dancers and definitely one of the most influential. Duncan had the idea of the sea influencing her movement. Duncan believed movement originated from the solar plexus, which is a bunch of nerves originating in the pit of the stomach. Duncan believed that these muscles formed the source of all movement. Isadora based her dancing of natural movement, slight runs, and arm movements. These together gave some people the idea that Duncan's movement was not dance or not acceptable as professional movement. Others saw this a a revolutionary, new, modern movement.
Ruth St. Denis used a lot of different cultures to influence her dancing. Ruth uses a lot of eastern ideas in her her arts as well. Ruth St. Denis was the Co-founder of American Denishawn School of Dance. Ruth was also influenced by Egyptian, oriental, and hindu. Denis saw these cultures as opportunities to create something that would soon become the new era of modern dance.
In 1914, Ted Shawn became on of Ruth St. Denis' students after falling in love with her work. Soon after falling in love with her, they married and founded Denishawn the "Cradle of American Modern Dance" Shawn was very interested in changing society idea of the common "dancer". During this time, it was not considered a real profession for males to be professional dancers and Ted Shawn changed this and opened up the dance world to males.
Loie Fuller probably had the most unique modern technique with the use of improvisation and silks. Fuller also used different colors and lighting to influence her work. All of these different choreographers that were the pioneers of modern dance, used their original interests to influence the dance world.
Ruth St Denis in this work I must say it was spot on. I can say that Ruth really went for it in this work in the begging she gave opulent. Ruth delivered what felt like a rich middle eastern woman with joy from her beauty and wealth. With in this work I must say that Ruth was spot on her technique was flawless she "turned for days" and along that gave beautiful hand jestures to accommodate the following movements that came after that.
As seen in the video Isadora Duncan very much practiced drifting away from the technical aspect of dance. In this video of her choreography performed by her student Anna Duncan she demonstrates a very elegant, and light weighted fairy. She takes qualities such as the beauty, philosophy, and humanity from Ancient Greek history. Isadora Duncan ventured into dance that was much more free- spirited. Duncan did not only challenge the dance world but she also challenged the society of her time. Her free- spirit attitude was expressed not only in her dance but in her every day life towards woman's rights. This piece shows perfectly how Isadora Duncan was tired of the restrictions that ballet had on the body and she wanted to break free from that. So she let down her hair, forgot about the shoes, and forgot everything she was taught at the barre and let her body go the way that felt good to her.
Ted Shawn is known as an early modern choreographer and in Ted Shawn's work of "Men Dancer's" is so profound I'm must say. With this particular I felt so engaged not only because it was men moving, It's men dancing to Ted shawns choreography which was such and amazing sight to see men dancing utilizing early modern techniques is an invigorating moment in life the posture and and stance set a mood for the piece and along side that the dancer's staying to get her and moving as a "company" gave me chills
Loie Fuller a 20th century dance artist with such a powerful and creative mind the utilization of the clothing in her movements along with the effects of the colors gave me such an amazing feeling what was going through r her mind I asked and technique was very unfamiliar to me not one seconded did I se any of the commonly known techniques during that time period like Isadora nor Humphrey it's was more about what she wanted then what she knew. Loie fuller is one 20th century choreographer that I'm can't not see to grasp still I must say that within the dance the usage of the fabric moving back and forth round and round I can say it is truly beautiful.
Isadora Duncan a woman who created modern dance back during the 19th century. Her rebellious was from ballet in this piece does show not just for this particular work but for all of Isadoras work but with in this piece I must say that even tho there are not exactly extensions and big arabesques in her choreography just having her own technique such as hops/ chugs along with beautiful arm motions that moved through the the air like silk made sure a beautiful form and to be honest when Isadora danced it was not like watch a bunny rabbit hop from one place to the other. It was more like watching a dancer moving by free will and be binding minds of dancers and exposing them to an idea of new techniques and forms and to my best opinion of Isadoras work I can say that she did just that
Isadora Duncans interests were Greek Gods and Goddesses. All of the loose white garment represented free movement and the sea in my opinion. Duncan felt as if dance was a sacred art. All of her movements are free and natural and made it similar to athleticism which is why there was a lot of skipping, running, jumping, leaping and tossing. Her dances moved away from ballet technique and towards what she believed as natural movement. Duncan was considered the creator of modern dance.
Rhada was a dance inspired by Indian culture which depicted themes that included rippling arm movement and graceful body movements just like the ones of classical Indian dances. St. Denis studied about indian civilization. She was the main reason why the indian culture was being more popularly seen around the western Hemisphere.
Kinetic Molpai was a dance about the celebration of struggle, death and rebirth inspired by Greek ceremonies. The different scenes of conflict showed that "Kinetic Molpai" is very bold. The way that Shawn divided divided up the male cast made the piece more interesting.
Fuller's "Danse Serpentine" was a form of burlesque dance and was also a skirt dance that introduced a different kind of technology for dance: colored lights. She used the material of the skirt to give the illusion that the colors on the skirt were changing on their own. The dance was also very interesting because of the way the skirt moved because it gives off an image that looks like a twirling flower.
Isadora Duncan’s Unidentified Dance (1942) Isadora Duncan really pushed through the boundaries of dance. At the time ballet was most prominent dance form. Ballet has set rules that are always followed when doing it such as pointed toes, tight clothing, and doing things unnatural to the human body. Isadora Duncan basically went against the standard and made something of her own. This is really obvious from her “Unidentified Dance”. From the attire of the dancer to the actual movement you can see a common theme of freedom. The dancer is not wearing shoes and wearing loose clothing allowing her and her movement to be unconfined. The dance is very natural, meaning the dancer does not point her feet and travels across the stage in a way that doesn’t feel set up. Everything in the piece is about freedom and stepping out of the confinements of dance at the time.
Ruth St. Denis "The Delirium of Senses" from Radha (1906) From this dance you can see that Ruth St. Denis was interested in stylized movement. Every movement had a specific style for example there were a lot of hand gestures. Also the dancer used her skirt for specific movements. Clearly Ruth St. Denis was interested in culture. This is shown through the elaborate costume which shows off a specific culture. I believe that the hand gestures and set also had to do with trying to evoke that culture. Another interest that is shown through the piece is storytelling. There is a set and costumes that automatically put a picture in peoples head. There are also other dancers sitting as the woman dances and you can also see the drummer in the background which all helps create the story. Ruth St. Denis had a lot of interests shown in her dance “The Delirium of the senses.”
Ted Shawn's Men Dancers Kinetic Molpai (1935) An interest that Ted Shawn has that is clear right away is musicality. Every movement goes with the music, and when the music pauses so do the dancers. The dynamic of the music effects the dynamic the dancers give the choreography. Another interest I noticed is the group dynamic. You can see that he plays with this idea by having the group face each other and have a sort of “battle” against each other. One group would do a set of movement stop and then the other group would do a set of movement, then they would come together and do the same thing. Something else I noticed was the fact that his choreography was all very staccato. There was no loose or free movement which could show that maybe he had an interest in sharp and strong movements.
Loie Fuller’s Danse Serpentine (1896) In this dance the first noticeable interest in the costume. The costume is the main part of the dance. It changes colors and her movement manipulates the skirt to make different shapes. I believe that she wanted the audience to forget that it was a person dancing and create an illusion almost because her costume was so big that it basically made her invisible which I think was the goal. Instead of it being a person doing someone else’s choreography it was just nonstop movement and flow. She had colored lights projected onto her costume which shows that she had an interest and understanding that dance isn’t just about the movement, there is other elements to enhance a dance such as lighting.
The following is the homework due for Professor Uchizono on October 1st.
It is amazing how the influence of the past can be seen in the future. Although each choreographer has their own style, it is clear that Martha Graham's work was a precedent for her students, Alvin Ailey and Paul Taylor, to develop their own voice. Her technique and theatricality is embedded within their masterpieces.
Martha Graham's Appalachian Spring (1944) is important for a plethora of reasons: a) It was a pure depiction of Americana, specifically simple frontier life, during a time when the US was at war (World War II (1939-1945)), b) It highlighted Graham as a soloist, and structured the storyline from a woman's perspective, and c) It was an "original"-choreographed by Martha Graham and set to an original score by Aaron Copland (commissioned by the Coolidge Foundation). The major movement element in this work is Graham's technique: contractions, releases, "pitch turns" (attitude, arabesque/penchee), tilt jumps, fan kicks/jumps, second parallel jumps, triplets, leaps, split falls, knee work (floor vocabulary), and fourth position recovery. The essence of this piece is the tableau at 2:47, part 4/4, where Martha Graham and Stuart Hoods look over the fence while the revivalist and the revivalist flock congregates in the background. Graham plays with exits and entrances of single performers, accents jumps, leaps, and her "triplets" with music, and synchronizes the revivalist folk with the music so well, where the precision in their movement to the music, leads one to believe that the dancers are indeed the instruments.
Paul Taylor's Esplanade (1976) is important because he changes the perspective, that simplicity over complexity can be used to create a great work. The major movement element in this work is Taylor's technique, the manipulation of pedestrian movement. He uses the eight locomotor movements (walk, run, hop, skip, jump, leap, gallop, slide/shuffle), choreographed to two Bach concertos, to show the celebratory of dance. The essence of this piece is the choreography at 1:54-2:25, part 3/5, where Carolyn Adams, dressed in a silky, pink dress, performs a series of skips and runs. It is also at 2:42, part 3/5, where Carolyn Adams jumps into the arms of Elie Chaib, a depiction of play, where Taylor wants us to access our inner child. Although they are performing very simple movements, Taylor's dancers approach the movement with a balletic intent-they articulate their feet to move swiftly and have a strong sense of "ballon." Taylor also plays with lines, horizontal (from center stage right to center stage left) and diagonal, emphasizing "unity" as the dancers hold each other's hands. The influence of Graham can be seen at 2:14-2:32, part 2/5, where Carolyn Adams and Bettie DeJong perform a contraction and floor vocabulary.
Alvin Ailey's Revelations (1960) is important because it asserted the presence of black dancers in the concert dance world. The story of African-American slavery to freedom transitioned as a universal language for all cultures about the rise from pain to triumph. This masterpiece was not only a representative of racial equality in the concert dance world, but the real world as it preceded the Civil Rights Act of 1964, which outlawed discrimination based on race, color, religion, sex, and/or national origin. It has been viewed by more than one million audiences. The major movement element in this work is Ailey's eclectic style: primarily Horton and Graham, with variations of Ballet, Dunham, Jazz, and West African. Ailey, who was a student of Lester Horton, manipulated the Horton technique to display the African-American struggle. In the beginning section, "I've Been Buked," the famous lunge is taken from Horton's "Prelude No. 3" (preludes are exercises to strengthen the dancer mentally). There are also "table" turns, hinges, kneeling stags, and deep floor vocabulary. Ailey plays with theatricality and musicality, where the spirituals together with the movement, take the dancer and the audience on a cathartic trip. The influence of Graham can be seen in the solo, "I Wanna Be Ready." The solo, originally danced by James Truitte, a former Horton company member, was supposed to display exercises of Horton. However, when danced by Dudley Williams, former Graham company member, variations of the Graham technique were added, such as in the coccyx balance, where a contraction is used to balance, rather than a straightening of the back.
The costumes in this piece remind me a lot of pilgrims. When I watch this piece I set a setting in my head of the old western days and the movement and music play a role in that. In part 3 when the couple have that duet together you can distinctly say the exchange of dialogue with one another as each of the performs. The movement and free flow of each of the steps sets a certain mood to the piece that gives it quality. In each section the movement that stuck out to me were the floor movements. Part 2 has a section where there is a quad of girls in the back and they perform this movement on the ground and can clearly see the shape of their hand and how the music coincides with the movement.
As the piece begins you have a setting that reflects the old western days. The music is soft and subtle. As the performers start to walk out their costumes fit an older time period and they are wearing more western attire. When the performers start dancing you automatically see the forms used in Grahams technique. The piece flowed beautifully. Each movement was executed with accuracy. It was intriguing how the skirts moved with the dancers. The duet in part 3 was really captivating because their movements were different but the still went together and you could really see the connection between the two. The piece overall was very amazing and intriguing with its theatrical movement.
This piece has a very big message that you get as soon as the dancers are in stage in their positions ready to go. As the dancers begin the movement you feel a since of unity. You can see just in the way the that they flow together they stand for something stronger than just their individual selves. Most of the movement is has a very strong dynamic and there is a story behind each movements. The piece not only stood out because of the spectacular dancing but also the message. This piece came out during a time of when people of color were fighting for their rights, rights of equality and you can very much tell in the choice of the costumes and how the dance itself was developed. Revelations helps mark a very important time in the dance world and the real world.
Appalachian Spring is one of Martha Graham's wonderful works. Martha Graham had a set attention for this work and apparently the movment of this work was a big deal to. Each of the movment was specifically structured to be free but with an attention which is what I would describe to be one of the biggest elements within this work because of how even though there is technique in this peace the dancers make it seem less. The dancers and Martha Graham look as if tho they enjoy what movements they are doing. This is important because we as dancers need to learn and understand that no matter what we do or what we are given we must be able to be free within our movment/ dances because other wise what do you think we would look like in the end.
Esplanade is a beautiful work by Paul Taylor. It was obvious to me that a pure element in this specific work would be fluidity and connection. Because of those specific elements the attention that is brought out within the dance there is a an uplifting embrace that exuberants through out the peace. Such elements is important for use as the current generation of dance that we bring things like this to our selfs as dancers. To do so we bring something that can be undeniably explained as phanomanal.
Revelations is one work by Mr Alvin Ailey that will never be forgotten. Revelations is a truly uplifting, emotional and energetic work that lights the soul. One this that makes revelations a beautiful work would definitely be the elements embrace and joy. Because of the fact that these elements are in this peaice there is freedoms do spirit with in this work you could feel the emotion that radiates and makes the audience want to dance. As dancers this is not only important but majorly demanding because having that power that can have an effect other people is the best thing that can be amazing and emotionally inspiring to other people
This was just an absolutely beautiful piece. Paul Taylor created a wonderful sense of musciality along with the movement. You can clearly see how the music somewhat drove the movement but it all flowed together. This piece does not have a lot of big gestural dance movements, more so smaller steps that embark us on this wonderful journey of sinking enjoying life. What comes to my mind as the part 1 is toward the middle is childhood. As the pairs descend to floor the girl comes in her bright pink dress just happy and full of life as she jumps over them is reminds of a school girl playing hop scotch. The approach of this dance was more free, and to have the audience feel a certain way of not seeing much. Less was much more in this piece.
Esplanade was an amazing piece. It reminded me of a more expanded version of when ballet first started the way the dancers integrated between each other. The difference is Esplanade is more pedestrian than regal. Paul's use of everyday pedestrian activity such as walking, skipping, jumping was really unique. The way the dancers maneuvered through each other was very remarkable because everyone had their own path way that they followed. This dance was free without being wild or giving too much.
The piece overall has a powerful message of portraying black lives in the south at the time. Everything in revelations was thought out and each individual piece has its own message. As you watch the piece from beginning to end you notice how the lights go from dark to light showing that through all the struggle the people still overcame. this piece shows how religion was a big part of culture and how spirits were lifted. The choreography for revelations was Graham and Horton Inspired. I feel this movement was chosen because it played a big role at the time because modern dance was changing and becoming more popular and the Alvin Ailey Dance Company was becoming apart of that change. Also graham and Horton really sculpted the body which gave the dance a very strong and powerful look. This piece is absolutely breath taking and will never be forgotten as it is continuing to be performed each Ailey Dance season.
Martha Graham’s Appalachian Spring is a piece about pilgrims in early America. This is shown through the costumes. A lot of the movement was simple, which to me is because of the fact that it is about pilgrims. Life was simple and complex movement would have been out of place. I also noticed a contrast in the movement. There was a group of women dancing together and then a couple dancing. The two groups had two different qualities. The couple were more reserved while the group of girls were changing levels and hopping. This piece is important because it represents a specific time in our history. It shows the life of the pilgrims through Martha Graham’s eyes.
As this piece begins, its gives you a feel and a setting that lets you know exactly what Graham was intending. Starting slowly, introducing the characters, the western feel for the piece can be sensed immediately. Like most of her work, it is intensely detailed and specific. This piece highlighted a time 19th century America where the frontier was a way of life. Martha was the lead dancer in piece, and it included many of her signature moves such as contractions, pitch kicks, releases, floor work, etc. This piece by Martha Graham is not only beautiful but highly impressive. Studying the graham technique can give you an idea of how much work and commitment that process takes.
Appalacian Spring is a piece choreographed by Martha Graham about pilgrims. All of the movement reflects this by being simple and not complex. The costumes are also a big depiction of what the piece is about. The long western dresses that the woment wore, and the western suits with hats that the men wore tie right into the meaning. The way that the skirts moved as the dancers did Grahams technique was also very captivating to watch. I like how Graham incorporated stillness into the piece as well by having some of the girls sit silently on the stage.
Alvin Ailey’s Revelations is an iconic piece. One of the first things I notice about revelations is the gospel music and the lighting. Both of these things really set a mood through the entire piece. The movement quality is very strong. The first formation and poses of the dancers makes you feel a sense of strength. The movement is also very expressive. Every hand movement and gesture tells a story. This work is so important because it shows the life of African Americans in the the South. It helps people see the culture and life of others which may help people understand each other better. Revelations remains the most viewed Modern dance in the world.
Alvin Ailey's Revelation is one of the most beautiful pieces i have ever seen. The story the costume and the dancers were all amazing. I love how the story line is about slavery and the struggles that African Americans have to go through and how it gradually transitions to a rejoicing period. At the beginning the lighting and music is dimmed and very low tempo and as the piece continues it becomes to be more bright and lively. The dancers lines and the emotion in each ones face just sells the story which makes you want to watch more. The costumes also mimic the story line as it should. Using browns and neutral color at the beginning and then switching to a more heavenly uplifting color to match the tone of the dancers: white.
These piece by Alvin Ailey is overall extremely powerful, telling the story of African American slavery and freedom through signature woks and music. This piece begins with "Pilgrim of Sorrow", leading into "Take Me to the Water" and ending with "Move Members, Move". It starts out slow and emotional, building up to what is to come at the end. Exhibiting Graham and Horton technique, Revelations is one of the most powerful and beautiful pieces Alvin Ailey, becoming a cultural treasure in the African-American dance community. This piece was so important because it came out in a time when these rights for African- Americans were not guaranteed. Fighting for their rights through dancing was one of the most powerful, peaceful things that Alvin Ailey demonstrated beautifully.
This piece immediately gave me an uplifting, playful feel. This music is happy and bright and they hair was down, along with unison dancing. This dance has a more natural way of movement, reminding me of Isadora Duncan's technique. The free feeling of the movement and song, gives the dance simplicity without being boring or tired. The pedestrian-like movement sets this piece apart from others, making it unique and fluid.
Esplanade is any open space serving for public walks or drives. I feel as though Taylor embodied this definition perfectly. The costumes were flowy playful dresses that move every which way when you walk. The colors of the costumes remind you of warm fall evenings or beautiful spring afternoons when you would find people out enjoying long walks either alone or with loved ones. The free hair is also a very good depiction of an esplanade. The movement quality of this piece is very pedestrian like but also very energetic and flowy.
Paul Taylor has a specific movement quality which shows in his work Esplanade. He has a lot of pedestrian movement but it all connects seamlessly. There is a lot of running, skipping, and hopping. Although these are simple movements the way the dancers moved in relation with each other is what makes the piece cone alive. It shows that dances don’t have to have big tricks to make it great. Dancers can do pedestrian movement that everyday people do but still make it something special. I also feel that mood was an important part of this piece.
This piece was absolutely beautiful. I loved for one the story behind it, it was a great story and the movement truly conveyed what wa seeing felt. The two main characters Queen Jocasta and King Odeipus had such precise movement that showed the pain they both were in due to the knews that they had just so recently discovered. Graham's technique was executed so beautifully in this piece that I honestly was just in complete Awwe. I loved this piece so much that it made me have a new found love for Graham and a much more grateful attitude that I am learning the technique. It is just so beautiful how she uses the nature of the human body to demonstrate pain and she does it so well in this piece. The movements whether large or small are big within themselves and add to the story and help the unravel of the story. In the very beginning when the group of ladies come out its an enhancement of setting to me. As the piece begins you can feel the love and devotion that Queen Jocasta and King Odeipus have for one another but once the ladies come out there is a change in music, the movement is sharp, and how they come out with their hands covering their eyes and sharp lines it changes the whole entire mood and you know exactly what has been discovered. This piece is outstanding and I just love everything about it. I could genuinely watch it over and over again.
This piece is broken up into 3 parts. "Conversation of Lovers," ”Lament,” and “Ritual to the Sun.” This piece of course included contractions, releasing, weight change, and spirals from the Graham technique. This piece is very light, with light, thin costuming and bright music. The beautiful, happy feel of this piece resembles exactly what Grahams intent was. "Acts of Light" takes it's title from a letter written by Emily Dickinson. Including a duet, solo, and group dance, "Acts of Light" is set apart by its simplicity. The simplicity of the graham technique within this piece is unbelievable beautiful and impressive. Showing off the classroom technique exercises within "Ritual to the Sun" is a part that really stood out to me because I personally know the amount of hard work it is to do this technique, let alone on stage.
Martha Graham's work "Heretic" is one of the most aspirational work for me as a human being and an arts. In my most sincere opinion I can say that Martha had went through something when she was making this work you can tell from how each phrase shows that there is somthing that she is trying to tell us. Martha wanted to open up to us in a way that she was to afraid to tell us. With all honesty I can't see to configure what exactly is the message here but you could say that Martha wanted to leave to your interpretation. All of the movment qualities are there and the dancers and Martha done a refined job.
Wilderness Stair (1948)/Diversion of Angels (1949)
Martha Graham's piece, "Diversion of Angels" (which the world has come to know it), was originally titled "Wilderness Stair." It is a lyrical dance about the loveliness of youth, the pleasure and playfulness, quick joy, and quick sadness of being in love for the first time. It was first performed as "Wilderness Stair" on August 13th, 1948 at the Palmer Auditorium in New London, Connecticut. A year later, "Wilderness Stair" was renamed "Diversion of Angels" and performed on March 20th, 1949 at the Eighth Theatre in Chicago, Illinois. This piece, like all of Graham's choreography, speaks volumes of her dedication to the evoking of human emotion and vulnerability. Her most common motifs in the piece are the use of tilts and attitudes. I am left wondering if the use of the attitude was Graham's prep for the bison (a double attitude jump with a contraction to represent the trajectory of the animal as it jumps). This ballet was performed in 1999 by the Hartford Ballet at the Millard Theater in Hartford, Connecticut. There are three relationships on stage, all a representative of different types of love: white represents mature love in perfect balance, red represents erotic love, and yellow represent adolescent love. The most interesting choreography in this piece is the erotic love, displayed by a woman wearing a red, silk dress, performing numerous tilts, each high and sustained. Maybe the tilt was used because in erotic love, one must be open with their body, and second position (the tilt is a lateral second position) is the most open position of the body in dance. The choreography of this piece is also very similar to Alvin Ailey's "Memoria" (1979).
This piece was very interesting. I would not use beauty to visually describe the piece. The piece was a reflection of the time period where people were being faced with a lot of social injustices which created self issues. The way Martha moved her body in the tube cloth costume was intriguing it gave off the image that there was a constant internal battle going on as the tube cloth symbolized the skin. It was as if she was trying to escape herself or her own thoughts. The piece was not visually beautiful but the way it spoke to the audience and how people could feel as if she was talking directly about their situation was beautiful.
Martha Graham’s night journey is a representation of a scene from a story called Oedipus. In the story a husband and wife find out that they are mother and son. As a result the wife or mom hung herself which is when the dance takes place. I thought that the piece represented this pretty well. There was a lot of expressive movements such as contractions and open arms. There were a lot of sharp and strong movements throughout the piece which helped tell the story. There was also a rope used as a prop.The rope was often held by the two main characters (mother and son) which made sense to the story. I felt that this piece shows how good of a story teller Graham’s choreography can be and how expressive it can be.
I will change the dance world by being myself. A lot of dancers have lost "authenticity," a natural transition for us all as we get caught up in the competitiveness of the industry. However, by worrying less about ourselves and more about each other, and exploring how we can use the dance to bring us together, we can create a better atmosphere of freedom-the freedom to be who we are. This is humanity.
I will change the dance world by aspiring to inspire. I will try my best and push myself to do my best because that is all I can do. Ive been inspired by dancers who have and still use their talents to get where they are now and I hope that I can do the same for someone. Even if I only inspire or help one person I know I will know that i'm doing the right thing.
I will change the dance world by being Chanel Stone. In this, I would lead, inspire, motivate and create. I will continue to be my true self and through this I will be able to connect with other dancers and people enjoying my art form. I will be ME with no apology. Keeping my mind and eyes open, there will be a way for me to use dancing like I've never used it before. For social justice, for equality, or a cause of some sort.
I will change the dance world by being Timothy. Timothy is a strong individual with so much to offer to the dance world but Timothy has one aspiration in life and the dance world and that is to ensure that no form is left behind. This main aspersion came from Timothy's most recent discovery of how the Jazz Dance world was dwindling down. Knowing that Jazz is what gave him his start Timothy wants to ensure that all forms exist and is tought to dancers from all over for the sake of this beautiful hidden language which we know as dance
Change is all around us and in the dance world change can be difficult because it has all been done already. However, I will change the dance world because I see art in everything that surronds us. Just merely by how someone takes a step or breaths, I can start a piece in my mind. My choreography will be what changes the dance world because I will find a new way to say things that have already been said but from a perspective that has not been taken and showcase it in a way that others may have been afraid to do so or simply never thought of. We all have different perspectives and view life and things in different ways and the one I will choose to take is going to change the dance and art world all together.
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ReplyDeleteSorry about that guys. I was just checking to see if the blogger was working.
ReplyDeleteIsadora Duncan Unidentified Dance (1942)
ReplyDeleteThe interest of Ms. Duncan is to show the buoyancy of dance, where it can still be recognizable as "movement" without having to be stringent. For example, the choreography, performed by her student, Anna Duncan, begins with sauté (arabesque), tombe, glissade, temps leve. The movement is not bound to the classical ballet form as the feet are relaxed and there is no "naval-spine" alignment, but the primary focus is to express the theme of freedom, not only in the movement, but as well as in the body. Ms. Duncan is performing on an outside stage (known today as Henry J. Leir Stage and Marcia & Seymour Simon Performance Space) where there are visibly trees in the background, and resembles a deity or goddess, dressed in a peach toga with a golden Corona Radiata on her head. Her arm movements, similar to that of a child running through a field, collecting flowers, and throwing them about, to the light, but brisk music, suggests a message of happiness and peace.
Ruth St. Denis "The Delirium of Senses" from "Rhada" (1906)
ReplyDeleteThe interest of Ms. St. Denis is to captivate the audience in a ritualistic manner. In a court, where there is a throne upstage center, a drummer and three people, sitting on their knees, stage right, and four people, sitting on their knees, stage left, St. Denis can be said to be either making a presentation or summoning a presence, inferably a deity. Her belly dance costume resembles today of what we know as "Bollywood," the nickname for the Hindi language film industry based in Mumbai, India. It is comprised of a headpiece (similar to that of Osiris, the Egyptian god of the earth and vegetation), a bra, and a skirt. The hue of the costume is gold, with shades of light yellow, and beige, and it is elaborately dressed with jewelry. Beginning on the floor to very soft strings and piano, St. Denis begins her ritual, which she then rises onto her feet, and as the music becomes "piercing"(the imagery that comes to mind is Egyptian slaves beating rock with a sickle), she is turning clockwise and counterclockwise, alternating the meticulousness of her hands. The music then becomes even more dramatic with the addition of bells, cymbals, drums, and gongs. St. Denis then motions and turns to the people sitting on each side, and ends the ritual falling back on the floor, lying face up to the ceiling...or god.
Ted Shawn Kinetic Molpai (1935)
ReplyDeleteI will share more of my thoughts on this piece in my analysis paper-this was my favorite piece.
The interest of Ted Shawn is to show the vigor of the male dancer, which is important during this time, as the modern dance world was becoming more populated by females. It is a declaration of the male dancer's stance in this art form. Similarly to his wife, Ruth St. Denis, Shawn has choreographed a ritual, where one man summons eight more men, whom all together partake in a series of martial arts movement. It can be inferred that the man in the center is the master, and the men, who enter from all four corners of the outside space are his students. The music, played by a piano, is heavily dramatic, and accents the sharp, and direct movement of each of the male dancers. This dramaticism may have been the beginning influence for Martha Graham's technique and performance quality.
Loie Fuller Danse Serpentine (1896)
ReplyDeleteThe interest of Ms. Fuller is to simply catch the eye of the audience through the use of visual art. At a glance, she appeared to be a moth, dressed in an ethereal robe, resembling that of a fairy. She goes through an evolution of color, holding a baton in each hand, while performing on kitten heels, to move the silk-like robe. It creates an effect of "changing flower petals" where the colors follow in this order: teal, green, pink, mustard yellow, bloody orange, red, lavender, teal, peach, yellow, teal, pink, rose, magenta, lavender-gray, faded pink, orange, rose, robin blue, mustard yellow, violet, forest green, rose pink, light orange, robin blue. Ms. Fuller descends and ascends to the floor on a wooden stage, with what appears to be a "moving" background that is dark brown. She is smiling throughout the entire piece.
Is this working? I've re written my pieces 3 times!
ReplyDeleteTed Shawn Kinetic Molpai (1935)
ReplyDeleteIn this piece Ted Shawn is demonstrating the strengths that come with being a man. As dance was changing and modern technique was further developing it was primarily woman bringing the movements to life. Many of the modern movements that were beginning to appear were designed to that of a woman's body. Nevertheless men could do the movement however just as Martha Graham's concept of the contraction was designed because of a woman's body Ted Shawn created his movement not necessarily to that of mans body but to the idea of man. In this piece the music not only generates sharp sound but the movement is sharp as well. The sharpness of the movement gives off that strong man quality. This piece clearly has a man who is the leader of the pact per say. The man in the center is the leader and the rest of the men surrounding are his followers. When the leader leaves the stage the men begin this fight like movement which in my eyes is demonstrating the men fighting not for the leader but for a spot close to the leader. Being a man you always want to be on top or if not close to whom ever is on top. So as the men commenced this movement it was as though they were fighting for their manhood.
Loie Fuller Danse Serpentine (1896)
ReplyDeleteLoie Fuller's take on the new emerging dance world was more of experimental kind with lighting. She began as a skirt dancer and as her mind wondered she created a new world with simply a fabric skirt and lights. In this piece she is moving all around and what really captures the audiences eyes is the changing colors of the skirt. The colors changing somewhat do correlate with her movement. As the colors go from yellow, to green, to pink, to purple I get an imagine of spring. As she ascends and descends the colors go from green to pink and it reminds of a tulip. In the very beginning as her skirt is a lively green and her arms are up I feel as though she is calling apond spring as though she were the garden fairy who has put a stop on winter and is in charge of bringing spring to life.
Ruth St. Denis "The Delirium Sense" Rhada (1906)
ReplyDeleteThis piece reminds of when dance first came about, when dance was done for the kings. The reason being that she begins her movement on the floor and gestures towards the audience as if acknowledging them. As she continues her movement she makes her way towards the two groups of men that are sitting on the floor. In my eyes she is thanking them because as she finishes moving towards them she returns to the center and finishes her movement with a descend to floor and a sense of fulfillment is felt. When the music began to speed up you can see that she is slightly off her axis which demonstrates Ruth St. Denis developed style of spiral form. Her style was very religious, exotic, and theatrical storytelling and this piece exemplified all of that.
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ReplyDeleteIsadora Duncan's Unidentified Dance (1942)
ReplyDeleteMs Duncan's choreography steered away from the norms of the time. The technique that was common for most was ballet. Isadoras choreography was not appealing to most. She did not choreograph with pointed feet, straight knees, and full length arms. She actually did the exact opposite for example her piece called the "Unidentified Dance" performed by her student Anna Duncan. The piece consisted of a series of runs into sautés. These runs were except with arms in second bent elbows and broken wrists. The sautés were executed with dangling feet and bent knees. Ms. Duncans work did not exhibit the beauty and grace that most got experienced watching ballet. Her work geared more towards her belief of the freedom to be you. The flowing costumes, the movement being light and airy, the background being naturist all contributed to what she wanted to portray.
Ruth St. Denis "The Delirium of Senses" Rhada (1906)
ReplyDeleteMs. St.Denis had a way capturing her audiences attention. Her movement was regal like as if she were performing for royalty. The way she manipulates her skirt letting it flow with her as she moves is beautiful to watch almost hypnotizing. The way she moves her arms and hips reminds me of Gypsies. Her dance moves reflects her training in ballroom and skirt dancing. St. Denis's style was created by her turning and dancing off her center allowing her to manipulate the way her skirt moves. Her movement was interesting and told stories.
Ted Shawn Kinetic Molpai (1935)
ReplyDeleteMr. Shawns choreography was very strong his movements were never dainty or soft. Each movement was executed in full showing off muscular Manliness . Kinetic Molpai was performed by a group of fit men. When they extended their arms you can see the muscles in their physique. The sharp movement adds to the strength of the piece. Also the men have to hold positions which also shows strength because it is not easy to hold a position and not move.Ted Shawns choreography help to prove that dancing could be an honorable profession for an American Male.
Loie Fuller Danse Serpentine (1896)
ReplyDeleteMs.Fuller's skirt dancing was absolutely beautiful. By using her skirt she created developed her own style of dance. The way she made shapes and how the fabric flowed through the air was something amazing. The changing colors of the skirt was another great way of capturing the audience. Watching this piece can make your imagination go wild. You can see many thing while watching this piece such as a butterfly, a cloud etc. As she moves around ascending and descending the skirt work with her and also in opposition giving off more beautiful shapes. Ms.Fullers work was absolutely captivating.
There are many different influential choreographers to modern dance. These choreographers influenced not only everyone learning and growing with the new ideas and techniques, but each other. Most of these choreographers are connected in some way, like most things in the dance world. Isadora Duncan, Ruth St. Denis, Ted Shawn, and Loie Fuller. Although they all influenced the world of dance in different ways, they had very specific interests of their own.
ReplyDeleteIsadora Duncan was one of the earliest of modern dancers and definitely one of the most influential. Duncan had the idea of the sea influencing her movement. Duncan believed movement originated from the solar plexus, which is a bunch of nerves originating in the pit of the stomach. Duncan believed that these muscles formed the source of all movement. Isadora based her dancing of natural movement, slight runs, and arm movements. These together gave some people the idea that Duncan's movement was not dance or not acceptable as professional movement. Others saw this a a revolutionary, new, modern movement.
Ruth St. Denis used a lot of different cultures to influence her dancing. Ruth uses a lot of eastern ideas in her her arts as well. Ruth St. Denis was the Co-founder of American Denishawn School of Dance. Ruth was also influenced by Egyptian, oriental, and hindu. Denis saw these cultures as opportunities to create something that would soon become the new era of modern dance.
In 1914, Ted Shawn became on of Ruth St. Denis' students after falling in love with her work. Soon after falling in love with her, they married and founded Denishawn the "Cradle of American Modern Dance" Shawn was very interested in changing society idea of the common "dancer". During this time, it was not considered a real profession for males to be professional dancers and Ted Shawn changed this and opened up the dance world to males.
Loie Fuller probably had the most unique modern technique with the use of improvisation and silks. Fuller also used different colors and lighting to influence her work. All of these different choreographers that were the pioneers of modern dance, used their original interests to influence the dance world.
Ruth St Denis "The Delirium of Sebses" (1906)
ReplyDeleteRuth St Denis in this work I must say it was spot on. I can say that Ruth really went for it in this work in the begging she gave opulent. Ruth delivered what felt like a rich middle eastern woman with joy from her beauty and wealth. With in this work I must say that Ruth was spot on her technique was flawless she "turned for days" and along that gave beautiful hand jestures to accommodate the following movements that came after that.
Isadora Duncan Unidentified Dance (1942)
ReplyDeleteAs seen in the video Isadora Duncan very much practiced drifting away from the technical aspect of dance. In this video of her choreography performed by her student Anna Duncan she demonstrates a very elegant, and light weighted fairy. She takes qualities such as the beauty, philosophy, and humanity from Ancient Greek history. Isadora Duncan ventured into dance that was much more free- spirited. Duncan did not only challenge the dance world but she also challenged the society of her time. Her free- spirit attitude was expressed not only in her dance but in her every day life towards woman's rights. This piece shows perfectly how Isadora Duncan was tired of the restrictions that ballet had on the body and she wanted to break free from that. So she let down her hair, forgot about the shoes, and forgot everything she was taught at the barre and let her body go the way that felt good to her.
Ted Shawn " Men dancer's"
ReplyDeleteTed Shawn is known as an early modern choreographer and in Ted Shawn's work of "Men Dancer's" is so profound I'm must say. With this particular I felt so engaged not only because it was men moving, It's men dancing to Ted shawns choreography which was such and amazing sight to see men dancing utilizing early modern techniques is an invigorating moment in life the posture and and stance set a mood for the piece and along side that the dancer's staying to get her and moving as a "company" gave me chills
Loie Fuller "Danse Serpentine"
ReplyDeleteLoie Fuller a 20th century dance artist with such a powerful and creative mind the utilization of the clothing in her movements along with the effects of the colors gave me such an amazing feeling what was going through r her mind I asked and technique was very unfamiliar to me not one seconded did I se any of the commonly known techniques during that time period like Isadora nor Humphrey it's was more about what she wanted then what she knew. Loie fuller is one 20th century choreographer that I'm can't not see to grasp still I must say that within the dance the usage of the fabric moving back and forth round and round I can say it is truly beautiful.
Isadora Duncan "unidentified dance "
ReplyDeleteIsadora Duncan a woman who created modern dance back during the 19th century. Her rebellious was from ballet in this piece does show not just for this particular work but for all of Isadoras work but with in this piece I must say that even tho there are not exactly extensions and big arabesques in her choreography just having her own technique such as hops/ chugs along with beautiful arm motions that moved through the the air like silk made sure a beautiful form and to be honest when Isadora danced it was not like watch a bunny rabbit hop from one place to the other. It was more like watching a dancer moving by free will and be binding minds of dancers and exposing them to an idea of new techniques and forms and to my best opinion of Isadoras work I can say that she did just that
Isadora Duncan "Unidentified Dance"
ReplyDeleteIsadora Duncans interests were Greek Gods and Goddesses. All of the loose white garment represented free movement and the sea in my opinion. Duncan felt as if dance was a sacred art. All of her movements are free and natural and made it similar to athleticism which is why there was a lot of skipping, running, jumping, leaping and tossing. Her dances moved away from ballet technique and towards what she believed as natural movement. Duncan was considered the creator of modern dance.
Ruth St. Denis "Rhada"
ReplyDeleteRhada was a dance inspired by Indian culture which depicted themes that included rippling arm movement and graceful body movements just like the ones of classical Indian dances. St. Denis studied about indian civilization. She was the main reason why the indian culture was being more popularly seen around the western Hemisphere.
Ted Shawn "Kinetic Molpai"
ReplyDeleteKinetic Molpai was a dance about the celebration of struggle, death and rebirth inspired by Greek ceremonies. The different scenes of conflict showed that "Kinetic Molpai" is very bold. The way that Shawn divided divided up the male cast made the piece more interesting.
Loie Fuller "Danse Serpentine"
ReplyDeleteFuller's "Danse Serpentine" was a form of burlesque dance and was also a skirt dance that introduced a different kind of technology for dance: colored lights. She used the material of the skirt to give the illusion that the colors on the skirt were changing on their own. The dance was also very interesting because of the way the skirt moved because it gives off an image that looks like a twirling flower.
Isadora Duncan’s Unidentified Dance (1942)
ReplyDeleteIsadora Duncan really pushed through the boundaries of dance. At the time ballet was most prominent dance form. Ballet has set rules that are always followed when doing it such as pointed toes, tight clothing, and doing things unnatural to the human body. Isadora Duncan basically went against the standard and made something of her own. This is really obvious from her “Unidentified Dance”. From the attire of the dancer to the actual movement you can see a common theme of freedom. The dancer is not wearing shoes and wearing loose clothing allowing her and her movement to be unconfined. The dance is very natural, meaning the dancer does not point her feet and travels across the stage in a way that doesn’t feel set up. Everything in the piece is about freedom and stepping out of the confinements of dance at the time.
Ruth St. Denis "The Delirium of Senses" from Radha (1906)
From this dance you can see that Ruth St. Denis was interested in stylized movement. Every movement had a specific style for example there were a lot of hand gestures. Also the dancer used her skirt for specific movements. Clearly Ruth St. Denis was interested in culture. This is shown through the elaborate costume which shows off a specific culture. I believe that the hand gestures and set also had to do with trying to evoke that culture. Another interest that is shown through the piece is storytelling. There is a set and costumes that automatically put a picture in peoples head. There are also other dancers sitting as the woman dances and you can also see the drummer in the background which all helps create the story. Ruth St. Denis had a lot of interests shown in her dance “The Delirium of the senses.”
Ted Shawn's Men Dancers Kinetic Molpai (1935)
An interest that Ted Shawn has that is clear right away is musicality. Every movement goes with the music, and when the music pauses so do the dancers. The dynamic of the music effects the dynamic the dancers give the choreography. Another interest I noticed is the group dynamic. You can see that he plays with this idea by having the group face each other and have a sort of “battle” against each other. One group would do a set of movement stop and then the other group would do a set of movement, then they would come together and do the same thing. Something else I noticed was the fact that his choreography was all very staccato. There was no loose or free movement which could show that maybe he had an interest in sharp and strong movements.
Loie Fuller’s Danse Serpentine (1896)
In this dance the first noticeable interest in the costume. The costume is the main part of the dance. It changes colors and her movement manipulates the skirt to make different shapes. I believe that she wanted the audience to forget that it was a person dancing and create an illusion almost because her costume was so big that it basically made her invisible which I think was the goal. Instead of it being a person doing someone else’s choreography it was just nonstop movement and flow. She had colored lights projected onto her costume which shows that she had an interest and understanding that dance isn’t just about the movement, there is other elements to enhance a dance such as lighting.
Hey Guys! Just checking to see if this is working again...
ReplyDeleteThe following is the homework due for Professor Uchizono on October 1st.
ReplyDeleteIt is amazing how the influence of the past can be seen in the future. Although each choreographer has their own style, it is clear that Martha Graham's work was a precedent for her students, Alvin Ailey and Paul Taylor, to develop their own voice. Her technique and theatricality is embedded within their masterpieces.
Martha Graham's Appalachian Spring (1944) is important for a plethora of reasons: a) It was a pure depiction of Americana, specifically simple frontier life, during a time when the US was at war (World War II (1939-1945)), b) It highlighted Graham as a soloist, and structured the storyline from a woman's perspective, and c) It was an "original"-choreographed by Martha Graham and set to an original score by Aaron Copland (commissioned by the Coolidge Foundation). The major movement element in this work is Graham's technique: contractions, releases, "pitch turns" (attitude, arabesque/penchee), tilt jumps, fan kicks/jumps, second parallel jumps, triplets, leaps, split falls, knee work (floor vocabulary), and fourth position recovery. The essence of this piece is the tableau at 2:47, part 4/4, where Martha Graham and Stuart Hoods look over the fence while the revivalist and the revivalist flock congregates in the background. Graham plays with exits and entrances of single performers, accents jumps, leaps, and her "triplets" with music, and synchronizes the revivalist folk with the music so well, where the precision in their movement to the music, leads one to believe that the dancers are indeed the instruments.
Paul Taylor's Esplanade (1976) is important because he changes the perspective, that simplicity over complexity can be used to create a great work. The major movement element in this work is Taylor's technique, the manipulation of pedestrian movement. He uses the eight locomotor movements (walk, run, hop, skip, jump, leap, gallop, slide/shuffle), choreographed to two Bach concertos, to show the celebratory of dance. The essence of this piece is the choreography at 1:54-2:25, part 3/5, where Carolyn Adams, dressed in a silky, pink dress, performs a series of skips and runs. It is also at 2:42, part 3/5, where Carolyn Adams jumps into the arms of Elie Chaib, a depiction of play, where Taylor wants us to access our inner child. Although they are performing very simple movements, Taylor's dancers approach the movement with a balletic intent-they articulate their feet to move swiftly and have a strong sense of "ballon." Taylor also plays with lines, horizontal (from center stage right to center stage left) and diagonal, emphasizing "unity" as the dancers hold each other's hands. The influence of Graham can be seen at 2:14-2:32, part 2/5, where Carolyn Adams and Bettie DeJong perform a contraction and floor vocabulary.
ReplyDeleteAlvin Ailey's Revelations (1960) is important because it asserted the presence of black dancers in the concert dance world. The story of African-American slavery to freedom transitioned as a universal language for all cultures about the rise from pain to triumph. This masterpiece was not only a representative of racial equality in the concert dance world, but the real world as it preceded the Civil Rights Act of 1964, which outlawed discrimination based on race, color, religion, sex, and/or national origin. It has been viewed by more than one million audiences. The major movement element in this work is Ailey's eclectic style: primarily Horton and Graham, with variations of Ballet, Dunham, Jazz, and West African. Ailey, who was a student of Lester Horton, manipulated the Horton technique to display the African-American struggle. In the beginning section, "I've Been Buked," the famous lunge is taken from Horton's "Prelude No. 3" (preludes are exercises to strengthen the dancer mentally). There are also "table" turns, hinges, kneeling stags, and deep floor vocabulary. Ailey plays with theatricality and musicality, where the spirituals together with the movement, take the dancer and the audience on a cathartic trip. The influence of Graham can be seen in the solo, "I Wanna Be Ready." The solo, originally danced by James Truitte, a former Horton company member, was supposed to display exercises of Horton. However, when danced by Dudley Williams, former Graham company member, variations of the Graham technique were added, such as in the coccyx balance, where a contraction is used to balance, rather than a straightening of the back.
ReplyDeleteMartha Graham Applachian Spring (1944)
ReplyDeleteThe costumes in this piece remind me a lot of pilgrims. When I watch this piece I set a setting in my head of the old western days and the movement and music play a role in that. In part 3 when the couple have that duet together you can distinctly say the exchange of dialogue with one another as each of the performs. The movement and free flow of each of the steps sets a certain mood to the piece that gives it quality. In each section the movement that stuck out to me were the floor movements. Part 2 has a section where there is a quad of girls in the back and they perform this movement on the ground and can clearly see the shape of their hand and how the music coincides with the movement.
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ReplyDeleteMartha Graham Appalachian Spring (1944)
ReplyDeleteAs the piece begins you have a setting that reflects the old western days. The music is soft and subtle. As the performers start to walk out their costumes fit an older time period and they are wearing more western attire. When the performers start dancing you automatically see the forms used in Grahams technique. The piece flowed beautifully. Each movement was executed with accuracy. It was intriguing how the skirts moved with the dancers. The duet in part 3 was really captivating because their movements were different but the still went together and you could really see the connection between the two. The piece overall was very amazing and intriguing with its theatrical movement.
Alvin Ailey's Revelations (1960)
ReplyDeleteThis piece has a very big message that you get as soon as the dancers are in stage in their positions ready to go. As the dancers begin the movement you feel a since of unity. You can see just in the way the that they flow together they stand for something stronger than just their individual selves. Most of the movement is has a very strong dynamic and there is a story behind each movements. The piece not only stood out because of the spectacular dancing but also the message. This piece came out during a time of when people of color were fighting for their rights, rights of equality and you can very much tell in the choice of the costumes and how the dance itself was developed. Revelations helps mark a very important time in the dance world and the real world.
Martha Graham Appalchian Spring (1944)
ReplyDeleteAppalachian Spring is one of Martha Graham's wonderful works. Martha Graham had a set attention for this work and apparently the movment of this work was a big deal to. Each of the movment was specifically structured to be free but with an attention which is what I would describe to be one of the biggest elements within this work because of how even though there is technique in this peace the dancers make it seem less. The dancers and Martha Graham look as if tho they enjoy what movements they are doing. This is important because we as dancers need to learn and understand that no matter what we do or what we are given we must be able to be free within our movment/ dances because other wise what do you think we would look like in the end.
Paul Taylor's Esplanade (1976)
ReplyDeleteEsplanade is a beautiful work by Paul Taylor. It was obvious to me that a pure element in this specific work would be fluidity and connection. Because of those specific elements the attention that is brought out within the dance there is a an uplifting embrace that exuberants through out the peace. Such elements is important for use as the current generation of dance that we bring things like this to our selfs as dancers. To do so we bring something that can be undeniably explained as phanomanal.
Alvin Ailey Revelations (1960)
ReplyDeleteRevelations is one work by Mr Alvin Ailey that will never be forgotten. Revelations is a truly uplifting, emotional and energetic work that lights the soul. One this that makes revelations a beautiful work would definitely be the elements embrace and joy. Because of the fact that these elements are in this peaice there is freedoms do spirit with in this work you could feel the emotion that radiates and makes the audience want to dance. As dancers this is not only important but majorly demanding because having that power that can have an effect other people is the best thing that can be amazing and emotionally inspiring to other people
Paul Taylor Esplanade (1976)
ReplyDeleteThis was just an absolutely beautiful piece. Paul Taylor created a wonderful sense of musciality along with the movement. You can clearly see how the music somewhat drove the movement but it all flowed together. This piece does not have a lot of big gestural dance movements, more so smaller steps that embark us on this wonderful journey of sinking enjoying life. What comes to my mind as the part 1 is toward the middle is childhood. As the pairs descend to floor the girl comes in her bright pink dress just happy and full of life as she jumps over them is reminds of a school girl playing hop scotch. The approach of this dance was more free, and to have the audience feel a certain way of not seeing much. Less was much more in this piece.
Paul Taylor Esplanade (1976)
ReplyDeleteEsplanade was an amazing piece. It reminded me of a more expanded version of when ballet first started the way the dancers integrated between each other. The difference is Esplanade is more pedestrian than regal. Paul's use of everyday pedestrian activity such as walking, skipping, jumping was really unique. The way the dancers maneuvered through each other was very remarkable because everyone had their own path way that they followed. This dance was free without being wild or giving too much.
Alvin Ailey Revelation (1960)
ReplyDeleteThe piece overall has a powerful message of portraying black lives in the south at the time. Everything in revelations was thought out and each individual piece has its own message. As you watch the piece from beginning to end you notice how the lights go from dark to light showing that through all the struggle the people still overcame. this piece shows how religion was a big part of culture and how spirits were lifted. The choreography for revelations was Graham and Horton Inspired. I feel this movement was chosen because it played a big role at the time because modern dance was changing and becoming more popular and the Alvin Ailey Dance Company was becoming apart of that change. Also graham and Horton really sculpted the body which gave the dance a very strong and powerful look. This piece is absolutely breath taking and will never be forgotten as it is continuing to be performed each Ailey Dance season.
Appalacian Spring (1944)
ReplyDeleteMartha Graham’s Appalachian Spring is a piece about pilgrims in early America. This is shown through the costumes. A lot of the movement was simple, which to me is because of the fact that it is about pilgrims. Life was simple and complex movement would have been out of place. I also noticed a contrast in the movement. There was a group of women dancing together and then a couple dancing. The two groups had two different qualities. The couple were more reserved while the group of girls were changing levels and hopping. This piece is important because it represents a specific time in our history. It shows the life of the pilgrims through Martha Graham’s eyes.
Martha Graham's Appalachian Spring (1994)
ReplyDeleteAs this piece begins, its gives you a feel and a setting that lets you know exactly what Graham was intending. Starting slowly, introducing the characters, the western feel for the piece can be sensed immediately. Like most of her work, it is intensely detailed and specific. This piece highlighted a time 19th century America where the frontier was a way of life. Martha was the lead dancer in piece, and it included many of her signature moves such as contractions, pitch kicks, releases, floor work, etc. This piece by Martha Graham is not only beautiful but highly impressive. Studying the graham technique can give you an idea of how much work and commitment that process takes.
Appalachian Spring (1944)
ReplyDeleteAppalacian Spring is a piece choreographed by Martha Graham about pilgrims. All of the movement reflects this by being simple and not complex. The costumes are also a big depiction of what the piece is about. The long western dresses that the woment wore, and the western suits with hats that the men wore tie right into the meaning. The way that the skirts moved as the dancers did Grahams technique was also very captivating to watch. I like how Graham incorporated stillness into the piece as well by having some of the girls sit silently on the stage.
ReplyDeleteAlvin Ailey’s Revelations
Alvin Ailey’s Revelations is an iconic piece. One of the first things I notice about revelations is the gospel music and the lighting. Both of these things really set a mood through the entire piece. The movement quality is very strong. The first formation and poses of the dancers makes you feel a sense of strength. The movement is also very expressive. Every hand movement and gesture tells a story. This work is so important because it shows the life of African Americans in the the South. It helps people see the culture and life of others which may help people understand each other better. Revelations remains the most viewed Modern dance in the world.
Revelation (1960)
ReplyDeleteAlvin Ailey's Revelation is one of the most beautiful pieces i have ever seen. The story the costume and the dancers were all amazing. I love how the story line is about slavery and the struggles that African Americans have to go through and how it gradually transitions to a rejoicing period. At the beginning the lighting and music is dimmed and very low tempo and as the piece continues it becomes to be more bright and lively. The dancers lines and the emotion in each ones face just sells the story which makes you want to watch more. The costumes also mimic the story line as it should. Using browns and neutral color at the beginning and then switching to a more heavenly uplifting color to match the tone of the dancers: white.
Alvin Ailey's Revelations (1960)
ReplyDeleteThese piece by Alvin Ailey is overall extremely powerful, telling the story of African American slavery and freedom through signature woks and music. This piece begins with "Pilgrim of Sorrow", leading into "Take Me to the Water" and ending with "Move Members, Move". It starts out slow and emotional, building up to what is to come at the end. Exhibiting Graham and Horton technique, Revelations is one of the most powerful and beautiful pieces Alvin Ailey, becoming a cultural treasure in the African-American dance community. This piece was so important because it came out in a time when these rights for African- Americans were not guaranteed. Fighting for their rights through dancing was one of the most powerful, peaceful things that Alvin Ailey demonstrated beautifully.
Paul Taylor's Esplanade (1976)
ReplyDeleteThis piece immediately gave me an uplifting, playful feel. This music is happy and bright and they hair was down, along with unison dancing. This dance has a more natural way of movement, reminding me of Isadora Duncan's technique. The free feeling of the movement and song, gives the dance simplicity without being boring or tired. The pedestrian-like movement sets this piece apart from others, making it unique and fluid.
Esplanade (1976)
ReplyDeleteEsplanade is any open space serving for public walks or drives. I feel as though Taylor embodied this definition perfectly. The costumes were flowy playful dresses that move every which way when you walk. The colors of the costumes remind you of warm fall evenings or beautiful spring afternoons when you would find people out enjoying long walks either alone or with loved ones. The free hair is also a very good depiction of an esplanade. The movement quality of this piece is very pedestrian like but also very energetic and flowy.
ReplyDeletePaul Taylor’s Esplanade (1976)
Paul Taylor has a specific movement quality which shows in his work Esplanade. He has a lot of pedestrian movement but it all connects seamlessly. There is a lot of running, skipping, and hopping. Although these are simple movements the way the dancers moved in relation with each other is what makes the piece cone alive. It shows that dances don’t have to have big tricks to make it great. Dancers can do pedestrian movement that everyday people do but still make it something special. I also feel that mood was an important part of this piece.
Martha Graham's Night Journey
ReplyDeleteThis piece was absolutely beautiful. I loved for one the story behind it, it was a great story and the movement truly conveyed what wa seeing felt. The two main characters Queen Jocasta and King Odeipus had such precise movement that showed the pain they both were in due to the knews that they had just so recently discovered. Graham's technique was executed so beautifully in this piece that I honestly was just in complete Awwe. I loved this piece so much that it made me have a new found love for Graham and a much more grateful attitude that I am learning the technique. It is just so beautiful how she uses the nature of the human body to demonstrate pain and she does it so well in this piece. The movements whether large or small are big within themselves and add to the story and help the unravel of the story. In the very beginning when the group of ladies come out its an enhancement of setting to me. As the piece begins you can feel the love and devotion that Queen Jocasta and King Odeipus have for one another but once the ladies come out there is a change in music, the movement is sharp, and how they come out with their hands covering their eyes and sharp lines it changes the whole entire mood and you know exactly what has been discovered. This piece is outstanding and I just love everything about it. I could genuinely watch it over and over again.
Martha Graham's Acts of Light (1981)
ReplyDeleteThis piece is broken up into 3 parts. "Conversation of Lovers," ”Lament,” and “Ritual to the Sun.” This piece of course included contractions, releasing, weight change, and spirals from the Graham technique. This piece is very light, with light, thin costuming and bright music. The beautiful, happy feel of this piece resembles exactly what Grahams intent was. "Acts of Light" takes it's title from a letter written by Emily Dickinson. Including a duet, solo, and group dance, "Acts of Light" is set apart by its simplicity. The simplicity of the graham technique within this piece is unbelievable beautiful and impressive. Showing off the classroom technique exercises within "Ritual to the Sun" is a part that really stood out to me because I personally know the amount of hard work it is to do this technique, let alone on stage.
Martha Graham's "Heretic"
ReplyDeleteMartha Graham's work "Heretic" is one of the most aspirational work for me as a human being and an arts. In my most sincere opinion I can say that Martha had went through something when she was making this work you can tell from how each phrase shows that there is somthing that she is trying to tell us. Martha wanted to open up to us in a way that she was to afraid to tell us. With all honesty I can't see to configure what exactly is the message here but you could say that Martha wanted to leave to your interpretation. All of the movment qualities are there and the dancers and Martha done a refined job.
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ReplyDeleteWilderness Stair (1948)/Diversion of Angels (1949)
ReplyDeleteMartha Graham's piece, "Diversion of Angels" (which the world has come to know it), was originally titled "Wilderness Stair." It is a lyrical dance about the loveliness of youth, the pleasure and playfulness, quick joy, and quick sadness of being in love for the first time. It was first performed as "Wilderness Stair" on August 13th, 1948 at the Palmer Auditorium in New London, Connecticut. A year later, "Wilderness Stair" was renamed "Diversion of Angels" and performed on March 20th, 1949 at the Eighth Theatre in Chicago, Illinois. This piece, like all of Graham's choreography, speaks volumes of her dedication to the evoking of human emotion and vulnerability. Her most common motifs in the piece are the use of tilts and attitudes. I am left wondering if the use of the attitude was Graham's prep for the bison (a double attitude jump with a contraction to represent the trajectory of the animal as it jumps). This ballet was performed in 1999 by the Hartford Ballet at the Millard Theater in Hartford, Connecticut. There are three relationships on stage, all a representative of different types of love: white represents mature love in perfect balance, red represents erotic love, and yellow represent adolescent love. The most interesting choreography in this piece is the erotic love, displayed by a woman wearing a red, silk dress, performing numerous tilts, each high and sustained. Maybe the tilt was used because in erotic love, one must be open with their body, and second position (the tilt is a lateral second position) is the most open position of the body in dance. The choreography of this piece is also very similar to Alvin Ailey's "Memoria" (1979).
Martha Graham's "Lamentation"
ReplyDeleteThis piece was very interesting. I would not use beauty to visually describe the piece. The piece was a reflection of the time period where people were being faced with a lot of social injustices which created self issues. The way Martha moved her body in the tube cloth costume was intriguing it gave off the image that there was a constant internal battle going on as the tube cloth symbolized the skin. It was as if she was trying to escape herself or her own thoughts. The piece was not visually beautiful but the way it spoke to the audience and how people could feel as if she was talking directly about their situation was beautiful.
Martha Graham’s Night Journey
ReplyDeleteMartha Graham’s night journey is a representation of a scene from a story called Oedipus. In the story a husband and wife find out that they are mother and son. As a result the wife or mom hung herself which is when the dance takes place. I thought that the piece represented this pretty well. There was a lot of expressive movements such as contractions and open arms. There were a lot of sharp and strong movements throughout the piece which helped tell the story. There was also a rope used as a prop.The rope was often held by the two main characters (mother and son) which made sense to the story. I felt that this piece shows how good of a story teller Graham’s choreography can be and how expressive it can be.
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ReplyDeleteI will change the dance world by being myself. A lot of dancers have lost "authenticity," a natural transition for us all as we get caught up in the competitiveness of the industry. However, by worrying less about ourselves and more about each other, and exploring how we can use the dance to bring us together, we can create a better atmosphere of freedom-the freedom to be who we are. This is humanity.
ReplyDeleteI will change the dance world by aspiring to inspire. I will try my best and push myself to do my best because that is all I can do. Ive been inspired by dancers who have and still use their talents to get where they are now and I hope that I can do the same for someone. Even if I only inspire or help one person I know I will know that i'm doing the right thing.
ReplyDeleteI will change the dance world by being Chanel Stone. In this, I would lead, inspire, motivate and create. I will continue to be my true self and through this I will be able to connect with other dancers and people enjoying my art form. I will be ME with no apology. Keeping my mind and eyes open, there will be a way for me to use dancing like I've never used it before. For social justice, for equality, or a cause of some sort.
ReplyDeleteI will change the dance world by being Timothy. Timothy is a strong individual with so much to offer to the dance world but Timothy has one aspiration in life and the dance world and that is to ensure that no form is left behind. This main aspersion came from Timothy's most recent discovery of how the Jazz Dance world was dwindling down. Knowing that Jazz is what gave him his start Timothy wants to ensure that all forms exist and is tought to dancers from all over for the sake of this beautiful hidden language which we know as dance
ReplyDeleteChange is all around us and in the dance world change can be difficult because it has all been done already. However, I will change the dance world because I see art in everything that surronds us. Just merely by how someone takes a step or breaths, I can start a piece in my mind. My choreography will be what changes the dance world because I will find a new way to say things that have already been said but from a perspective that has not been taken and showcase it in a way that others may have been afraid to do so or simply never thought of. We all have different perspectives and view life and things in different ways and the one I will choose to take is going to change the dance and art world all together.
ReplyDelete