Twyla Tharp's Song 'Aquarius'

The Shoshone-Bannock Indians keep there culture and religion alive in this modern world through dance. They have different dances for different occasions. Some deal with more religious and sacred dealings, but some are open for the public and still relate closely to there culture. The Shoshone-Bannock Indians perform, and compete all over to keep there heritage and inform and influence the other cultures around them. Some of the more public dances that they perform at pow wows and other events are Jingle, Grass, and Fancy.

Sophie Flack elaborates on these issues through each chapter in her book, Bunheads by using her choice of rhetorical devices and style to show readers just how difficult it is to be a ballerina. Throughout the book, Flack primarily uses ethos. She uses this to her advantage because she was a ballerina (“The Boston Globe.”). This makes it very easy to write a book about something that consumed a lot of her time. Her main character, Hannah, is based off of herself.

Choreographic innovation in Vaslav Nijinsky’s Le Sacre Du Printemps “I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watched a young girl dance herself to death. They were sacrificing her to propitiate the god of spring. Such was the theme of the Sacre du Printemps. I must confess that this vision made a deep impression on me, and I at once described it to my friend Nicholas Roerich.”(Stravinsky: 31). The conception of Le Sacre marks a moment of superb innovation in the history of modern dance.

Isadora Duncan was an American dancer and born in California who danced throughout Europe and she was known as the mother of modern dance. She figured out how to construct a dance. She made up the first modern language, it was a lan-guage of movement. The movements started become the foundation of choreography. She was the symbol of female longings and was a serious artist with well-defined goals.

Choreographer Alvin Ailey expresses the story of the labored, broken, yet courageous black woman, though lengthy arm extensions and torso contractions that are combined with his signature style of ballet, modern dance, and African technique. Alvin Ailey trained dancers have a way of dancing bigger than the audience could ever imagine by embodying the real life struggles Alvin himself witnessed This type of character outpouring births a spiritual intimacy or soul connection between dancer and choreography and finally audience and dancer. A dance genius in his own right, Alvin Ailey was born on January 5, 1931 in a small town in Texas. His 17-year-old mother would soon know the struggles of being a single mother in the segregated south just months after Alvin was born. Alvin’s southern upbringing during his primary years

Title: Flora and the Flamingo Genre: Wordless Book ISBN Number: 9781452110066 Bibliography: Idle, Molly, (2013), Flora and the Flamingo, Chronicle Books LLC, San Francisco, California Story Element/Plot Summary: This book is about Flora and a Flamingo, who are very different from each other, but through all of their differences they manage to become friends with each other and they become dance partners. Character: Flamingo and Flora Setting: It could be anywhere with trees and an open space for dancing. Conflict/Solution: The conflict is learning how to dance with someone who is different from you, and makes the moves as elegant as possible in unison. The solution was to work hard to achieve your goal and make it work through adversity and

I wrote about Misty Copeland, a professional dancer who broke many stereotypical molds in the ballet world. I described how Misty Copeland experienced hardships that inspired her to accomplish feats that make her the hero that she is today. This is an example of a cause-and-effect essay. I decided to write about this topic because I have always loved Misty Copeland’s story, and I felt that it fit the assignment perfectly. Originally, I made some grammatical mistakes and left out some details, but I was able to revise them.

Her career started out in 1990 when she was a “fly girl” for Living Color. She always wanted to be a dancer, and it was her dream to dance on broadway. She studied ballet and jazz, but once hip-hop became popular, she found her strong suit. Lopez went overseas to appear in two productions. She appeared in Golden Musicals of Broadway which toured Europe and Synchronicity which toured Japan.

The effortless and delicate appearance of a ballerina and the usage of pointe shoes, although they were technologically still in their primitive forms, brought a weightlessness and sense of flight to a ballerina’s dancing. Long romantic tutus which hid the knees stressed the sharp and articulated usage of the foot. These long skirts also led to more petite allegro dancing, lower extensions, and reduced jumps. A burst of new technology which arose from the Industrial Revolution vastly impacted the technological advancements from the Romantic period. Through the technical improvements, archaic candlelit theaters transitioned to a new era of gaslighting.

After that she is threatened to leave Siam by the king. Later that night the King’s wife visit Anna’s and tells about everything about king. Anna’s know about the king, The Britain government became a guest on the King’s palace wants Anna’s to return to the Britain but the king knows about returning to the Britain. He feels irritate about it. Tuptim was called to show the performance of the same novel.