The male and female dancers, in Dark Matters choreographed by Crystal Pite, use movements throughout the dance that produce a visceral response from the audience. The performance begins with the two dancers partnering blissfully; they initiate their movements from the upper body and stay connected in some way. For these reasons one can conclude that the two dancers are comfortable, have a relationship with each other. The swaying section was brought to a complete stop when the woman collapses to the floor moving away from her partner. The man rushes over to her seeming to apologize to her, with a kiss. The woman appears to forgive him with an embrace and an open arm movement that includes a fluttering of her fingers they continue their duet
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Black Female Presence; Tennis and Dance In Claudia Rankine’s, Citizen, she addresses a various amount of relatable circumstances as an African American. Rankine addresses a specific black figure in America, Serena Williams, as an example of a resilient and strong black female athlete. Serena is one of the examples in which Rankine points out racial inequality, and microaggressions in sports, she also opens up about the stereotypes placed in front of Serena and the personas Serena had to play for years of her career. I've found that in both dance and tennis, black women have faced judgement from spectacle, competed with mostly white counterparts, and have had to consistently reclaim their undeniable contribution to the sport and art form.
The appeal of adulthood and independence reaches its apex in fervent children. However, Maria Mazziotti Gillan, poet of My Daughter at 14, Christmas Dance, 1981, conveys the paternal perspective of viewing one’s own kin experiencing the “real” world through her daughter’s first relationship. The Family of Little Feet, written by Sarah Cisneros, illuminates the negativities of young girl’s eagerness to physically develop in hope of acquiring attention from possible suitors. While both pieces of literature possess varying perspectives of epiphanies, Gillan and Cisneros divulge the significance of cherishing one’s youth, as the realities of maturity divest children of their innocence.
The dance performance in February Dance 2016 was does matter choreographed by Sophia Levine with twelve dancers who are members of Dance at Illinois. This performance happened at the Colwell Playhouse on February 4 to February 6 in 2016. The group of twelve people (all females) appeared in loose white shirt and black leggings, in sync with one another, and the movements of each dancer followed the rhythm of the music. Then, the group started separating with some running, some fast-walking as if they were running away from a threatening power. Soon after, the group suddenly stopped; they started breathing hard and standing still while the lights were focused on them.
In her autobiography, Neisei Daughter, Monica Sone shares her journey and struggles of growing up, a task made more difficult as she faced racial and gender discrimination. Over the course of the novel she becomes aware of her unique identity and goes from resenting it, to accepting and appreciating her identity. At the age of six, Sone became aware of the fact that she was different, “I made the shocking discovery that I had Japanese blood. I was a Japanese (p. 3).”
A dance film, on the other hand, employs dance as a main character with a more pivotal role in the transformation of the protagonist. Thus, in Shall We Dansu?, because it is an active force in the narrative with human-like characteristics, such as being shrouded in shame, ballroom dance becomes an initiator of intimacy. In Salsa and DanceSport, McMains explains Mexican-American Giselle Fernandez’s need for a creation of an alter ego despite already being
Samantha Garcia Nile Hartline ENG 105 USE 12187 26 September 2015 Three Dancing Figures, Version C “I think public art (unless there is a specific political or ideological message) should make people feel comfortable, and brighten their environment.” As I walked through the Pappajohn Sculpture Park, there were a few sculptures that I found appealing but the one sculpture that caught my eye in particular was the Untitled Three Dancing Figures. The sculpture itself has an interesting design in which all of the Dancing Figures are touching each other and it seems as if the figures are marching and dancing in order. The sculpture was designed by Keith Haring in 1989, but was not assembled until 2009 when John and Mary Pappajohn commissioned
Guy Vanderhaeghe, author of “Dancing Bear”, explores both internal and external conflicts that man faces within society and within himself. Vanderhaeghe’s writing is intended to point out the importance and struggle of survival in literature. His work also presents the lives of those living troubled or dealing with a disability (Heath). The struggles of man versus man and man versus society are strongly spoken of within “Dancing Bear”. Vanderhaeghe describes a story of emotional battles of survival.
Life is short. This statement is made by many but taken seriously by so few. The song “I Hope you Dance” by Lee Ann Womack , and more specifically the lyric “When you get the chance to sit it out or dance/I hope you dance” (8-9) describes the decision of living life to the fullest. Life will not stop for anyone or anything so why not live life with such caution. No one can make the rain stop so why does one choose to sit inside waiting for the storm to pass.
When you are dancing, there are many things you can channel; emotions, memories, people, experiences, stories, the list goes on and on. These properties can be portrayed through movements, facial expressions, and music. Dancing can also portray conflict; such as the conflict between Ponyboy Curtis and Darry Curtis in S.E. Hinton’s beloved novel, The Outsiders. In our dance piece, titled, Hard to See, both the music and movements work in harmony to illustrate Darry and Ponyboy’s maturing relationship.
Sampson Paquette Professor Edwards ENGL101C 9-13-2016 The Dance The essay: “Silent Dancing” By Judith Ortiz Cofer reflects on the transitional period in her life where herself and her immediate family made the move from Puerto Rico to the Big Apple, otherwise known as New York city. The timeline for the essay was set in the 1950’s where cultural fusion and blatant racism ran rampant in the streets.
“What is going on in these pictures in my mind?” (Didion 2). Joan Didion’s “Why I Write” provides an explanation to her perspective om writing and why she writes. Later on, she states that she writes as a way to discover the meaning behind what she is seeing. During this past semester as we wrote about dance, a heavy focus was on description and interpretation rather than contextualization and evaluation.
The dancers were observed to be full of energy which showed through their movements and dancing. Every movement was sharp and clean. Furthermore, the action portion of the basic dance elements was seen through the dancer’s basic movements that turned into dancing. For example, in one scene, the actor jumped off the table and broke into a little skip-glide dancing movement.
She finds herself finally admitting to him, “You know what I like about you,
In her article, Embodying Difference, Jane Desmond argues that dance offers important insights into the ways moving bodies articulate cultural meanings and social identities. In other words, she explains the importance of studying the body’s movement as a way of understanding culture and society. She has two main arguments. First, she argues for the importance of the continually changing relational constitutions of cultural forms. Desmond further explains that the key to shedding light on the unequal distribution of power and goods that shape social relations are the concepts of cultural resistance, appropriation, and cultural imperialism (49).