Bangarra Dance Theatre is one of the youngest and most exciting dance companies in Australia. Bangarra grants audiences access to the Australian indigenous world and culture whilst creating an enriching and thought provoking experience through storytelling and theatrical presentation.
Their performances contribute to a better understanding and acceptance of aboriginal values. Bangarra was established by Carole Johnson in 1989, the company quickly grew and in 1991 Stephen Page was appointed as the Artistic Director. Bangarra has performed internationally including performances in Europe, Asia and USA.
Ocher’s which is a dance theatre work was first performed in Sydney in 1995, this production includes a prologue and four parts. The yellow
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The broken leg technique leg bent, foot flexed) is seen a lot in the choreography of this sequence.
Ochres yellow dance sequence shows all 7 dancers staying very close to the ground, crawling and grabbing these movements effectively represent the role of the females in the culture which is predominantly as gatherers of food from the earth. Movements close to the ground are able to show their strong connection to the land and how they live off it. “The sun and seasons she nourishes gathering, nesting and birthing along her travels”.
There is also some flowing and soft movement in this section which represents flowing rivers “it’s the flowing rivers she cleanses in”. Other sharp movements and serious facial expressions symbolize the day to day struggles of being a female, looking for food from the earth, giving birth and raising children. Lying on each other represents sleeping and leaning on each other represents strength in unity and females helping each other within their culture. Animalistic movements represent the earth, Mother Nature and how animals were important to their
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“Birthing along her travels.” The music enhances the audience’s ability to relate to the role of woman in the culture and their role to take on the responsibility of having children.
After birth scene, soft music comes on, one dancer presses up against other like a child and other woman (Mother) strokes her hair as if protecting and making her feel protected. Then looks around alert, getting up and leaning in front of “child” to show protection and love mothers have for their children.
Each of the four ochres in the dance performance signifies a different meaning within the production, but yellow is no doubt the color that pays homage specifically to the role and strength of woman within the culture. “I believe the landscape to be Mother. It’s flowing rivers she cleanses in, the yellow ochre she dresses in, the sun and the seasons she nourishes, gathering, nesting and birthing along her travels.”
Through the use of movement & non-movement components including aural, visual, the choreographic intent for the yellow sequence of the Orchres has been successfully and effectively achieved by Stephen Page.
The dance movements such as turning, jumping across large distances, muscle contraction and relaxation, and expressive hand movements all indicated the passion he has for dance. The Moreover, the way he staged the theater was proficient and beautiful that caught the eyes of audiences. The animal quality of movements in Blue Suite drew an instant success in Ailey’s
Singing and dancing for enjoyment, shows how this music differs from popular or concert. They are poor and sing and dance because it's part of their culture, and they sing about their struggles and you can hear it in their voices. Music was always played as they danced, showing how intertwined they are. One observation is that there is a large number of female cloggers. Clogging is one of the main forms of dancing that goes with their music.
Maxine Hong Kingston's use of talk stories in The Woman Warrior emphasizes that individuals will find a more fulfilling life if they defy the traditional gender norms place on them by society. While contemplating beauty standards in Chinese society in “No Name Woman” Maxine Kingston thinks, “Sister used to sit on their beds and cry together… as their mothers or their slaves removed the bandages for a few minutes each night and let the blood gush back into their veins” (9). From a young age girls are expected to be binding their feet and are told that it is to look beautiful, but in reality that is not why. When a womans feet are bound they are restrained and silenced. These girls could be free and happy but they are restrained by men through this binding.
As the title of the novel suggests, the color yellow is one of the largest and most important symbols in A Yellow Raft in Blue Water. The color’s effects can best be seen in Rayona with the yellow raft at Bearpaw Lake, but can also be seen in Christine and Ida’s stories. The color yellow clarifies many of the novel's themes, including how each individual perceives the same situation differently, how reality shatters illusions, and how characters seek feelings of internal peace and permanence. Native Americans find symbolism in many everyday objects, including colors. They believe yellow is an opposing symbol, on one hand it denotes happiness, joy, and content, but on the other it is a color of cowardice, deceit, and hurt.
Intricate ceremonial dresses are crafted, ritualistic tipi’s are build and food is prepared to serve the vast number of guests that will be in attendance at this sacred ceremony. The family also does the honor of choosing a Godmother, or Medicine Women, that will serve as a beacon of strength and comfort for the girl during the ceremony. She will dance alongside the girl, guiding her through the rituals, and assisting in massage which symbolizes being molded into the White Painted Women; the ultimate precedent of the perfect woman. Typically, the
To be true to herself she feels that she must represent both women and not drift to either side. In lines 53 and 54 Song says, “You find you need China: your one fragile identification.” That explains how delicate of a situation it is not to leave her culture behind. Though emotional freedom brings strength, cultural heritage is a source of freedom, because acceptance of culture is a release and freedom is
The visual analysis is somehow different from textual analysis where sharp contract of viewer’s eyes takes the whole story from the portrait. The texture of “Migrant Mother” is very tense and deep. The appearance looks very sad as the woman and her children asking for help. Obviously the woman and her children are in coarse clothing,
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).
A local Northwest Coast dance company, Dancers of Damelahamid, will facilitate day three (Dancers of Damelahamid, 2012). It will take place inside the school’s gym, where they will demonstrate the one of their dances and song for the students. After the performance, the members of Dancers of Damelahamid will educate the students on what the importance of dance is for them, the history of specific dances, as well as the symbolism behind the specific moves they had performed. Indigenous cultures use their varieties of dance to convey different emotions and stories, they use them to connect themselves to their community, nature and spirituality. These dances are more than just movements, they are an expression of their culture, a projection of their hardships and what they have been through in their
Introduction This report investigates the differences between the Somali culture and the Australian Western Culture; the differences in religion, clothing, food, language and arts will all be examined. Somalia, like all countries, has it’s own special traditions and customs which are regularly practiced by its people. Both primary and secondary sources will be used to obtain quality literature. What factors contribute to the Somali culture?
This becomes evident in a lack of information about the type of society, and the reader therefore lacks a complete understanding of how the women are oppressed. As a whole, this poem sets forth the idea that female gender is fluid, and asks its readers to questions what it means to be a woman in a male dominant
The different key features also plays an important role for example the tone that is being formed by the lyrical voice that can be seen as a nephew or niece. This specific poem is also seen as an exposition of what Judith Butler will call a ‘gender trouble’ and it consist of an ABBA rhyming pattern that makes the reading of the poem better to understand. The poem emphasizes feminist, gender and queer theories that explains the life of the past and modern women and how they are made to see the world they are supposed to live in. The main theories that will be discussed in this poem will be described while analyzing the poem and this will make the poem and the theories clear to the reader. Different principals of the Feminist Theory.
The stage lighting is subtle and just enough to spotlight the dancer who stands tall with her arms extended to the sky and hands clasped together. A long, white sheet-like scarf drapes the dancer’s hands. As the music begins the solo dancer starts to sway then slowly she starts walking back and forth across the stage only ever taking one or two steps in each direction. With each step crossing one foot in front of the other. Her arms are still outstretched but now they are open; the audience can see the dancer’s face.
This dance is unique and unlike traditional dances as it involves a tall pole with a rotating platform. Four dancers attach themselves to it and then jump off the platform. During their fall, they rotate around the pole in representation of the rotation of the stars around the celestial axis. Furthermore, the dancers traditionally each make thirteen full revolutions around this symbolic axis to represent the Aztec time cycle.
This poem parallels “homage to my hips” written by Lucille Clifton, which discusses her own struggles with learning to appreciate and love her body due to the fact that it was not petite like the ideal body society painted during the mid-twentieth century. For through the repetition of the phrase “hips” and the images of freedom by using phrases such as “they go where they want to go” and “these hips have never been enslaved,” Clifton suggests that learning to fight oppression starts with self-love. For in an interview Clifton states “is there something wrong with having hips? We like everything big except females in this culture,” thus Clifton is expressing her distain for the ideals that cause thousands of women across the United states to grow up hating their body (Pate).