Multiculturalism In Ballet

As a first-generation Sri Lankan-American, people often assume I am Indian-American, which creates even more confusion than my feelings of being torn between two cultures. In response, as a young teenager, I began to feel like I did not belong anywhere and began to crave acceptance. I did not know where I stood.

When looking at the periods of dance it can be separated into Renaissance, Baroque, Classical, Pre-Romantic, Romantic, Russian Classic, and Ballet Russes before we reach the Twentieth Century. Ballet began during what is known as the Italian Renaissance, and permeated French culture by Catherine de Medici’s marriage to the King of France. The very first endorsed “ballet”, Le Ballet Comique de la Reine performed on October 15, 1581, marked the beginning of theatrical and technical dance performances. During this time our first prominent ballet masters came about, including; Balthasar Beaujoyeaux, Pierre Beauchamp, Domenico of Ferrara, and Guglielmo Ebreo, to name a few. These early ballet masters created and built upon social dance and turned it into a technical spectacle. After much deliberation on what causes the alteration and growth of ballet over time, there was one constant throughout. Ballet masters from the Renaissance to current

College is often regarded as a time of exploration, a time to discover interests and passions that ignite a desire to seek sagacity in a field that will alleviate the burdens of others and fulfill one’s self wholeheartedly. It is essential to me that my college career allows me to strive for educational excellence and moral enrichment simultaneously. Through the Pre-Physical Therapy track it will be my focus to obtain an education to help others as I have been helped in the past. Restoring movement and functionality to someone’s life is deeply connected to SPU’s vision, for the work that physical therapists do is equally as transformative for the therapist as it is to the patient. To ensure someone receives the treatment they need to carry out the life they want is paramount

In this paper, the work and impact of Maryrose Reeves Allen on Howard University’s campus is explored. Maryrose Reeves Allen was the head of the Department of Physical Education for Women at Howard University, and founder of the Howard University Modern Dance Group. Through a focus on physical, spiritual, mental health for women, she was able to build a program that enriched women, and created personal awareness. While focusing on women’s health, she also provided a platform for audiences to experience dance as both exercise and an art form. She instilled in every woman that they should walk in beauty, and created a legacy that continues

Australia’s perception of dance is determined by societies cultural values which also influence individual values

Firstly, the symbolism in both “The Lottery” and “Harrison Bergeron,” illustrates how governing authorities avoid engaging in change in their society, the author’s use of the lottery box and the mask to symbolize this. To begin with, the symbolism in “The Lottery” represents how villagers fear changes in their society, and this is shown when they continuously go on with tradition of the lottery box. This tradition has been in the village, for generations and yet they still practice it. Old Man Warner, who is the oldest man in the village, is considered the governing authority and he likes keeping things the same, so he does not alter the ritual. When Old Man Warner hears about the North village talking about giving up the lottery all he could say was that

The Blackamoor in Petrouchka may not need to be in Blackface for the reasons Pherank points to (I imagine there may be Fokine/Benois purists who feel otherwise) but that, in and of itself, exposes the degree to which the makeup isn 't the ultimate issue. The ballet works with broad types. And it does work--absolutely I think it should be revived. But getting rid of blackface make-up won 't put an end to arguments about what is happening in it and what world view it reflects when it comes to a character like the Blackamoor.

That said, Sia’s use of “gray-face” paint in her new video for “The Greatest” as a way to unify the identities of all the young dancers, who vary in race and gender, could be seen, arguably, as a means of reconstituting the use of face painting in a modern era. As opposed to creating caricatures, this video creates a reality which we must

Balanchine created a distinctly American style of ballet for his dancers at New York City Ballet. He wanted a company that featured American dancers performing an American style with American energy.

Though ballet wasn’t originally intended for women, it was inevitable that the female race would rise above and eventually dominate this powerful yet delicate art. Femininity in ballet developed considerably after the reign of men in this art form during the 15th and 16th centuries, when men in mask and costume portrayed women in productions, and King Louis XIV’s elaborate productions starring himself in the 17th century. The Romantic Era ushered in a real exploration into the roles of gender, and ballets became a woman’s forte, full of love, sexuality, and femininity.

This role has diminished through the twentieth and twenty-first centuries, but the need to be masculine remains in countless men. Makeup, tights, and ballet shoes are not considered manly. Therefore, a subsequent stereotype has become prevalent. Persistently, people erroneously believe all danseurs to be gay, weak, and feminine. Frequently, male dancers are left to feel inadequate and are discouraged from their art because their manliness is questioned. Yet, the 2000 film, Billy Elliot, juxtaposes the stereotype of male ballet dancers with a titular character who defies all expectations. The man’s historical role as provider and protector causes men in professions such as ballet to be considered effeminate; however, a man with a profession in the arts is no less masculine than the majority of males and can be just as prosperous as any other man.

Mambo Girl (1957), a movie musical, follows Kailing, a talented young woman widely admired for her singing and dancing capabilities, as she searches for acceptance after learning the truth about her background. Shall We Dansu? (1996) follows Mr. Sugiyama, a Japanese accountant who goes on a secretive and intimate journey into the world of ballroom dance. Both Mambo Girl and Shall We Dansu? emphasize the close relationship between intimacy and Latin dance by linking Kailing and Mr. Sugiyama’s manners of dancing Latin to the emotional connection each has with other characters. For Kailing, the presence and absence of physical contact with others while dancing signals the degree of intimacy she has with those around her, whereas, for Mr. Sugiyama,

Stravinsky’s compositions can be divided into three periods during his life; Russian Period, Neo-classicism and Post-war/Serialism. The Rite was composed during the Russian Period and it is here that we start so see a change in compositions throughout Europe as it set in motion towards Serialism. Rhythm, folk melodies, harmonies and form are all central points, it was through his innovative use of rhythms that Stravinsky came to be recognised by Sergi Diaghilev. The founder of Ballet Russes, Diaghilev discovered Stravinsky in Russia and invited him to compose for his ballets. It was here that Stravinsky developed his own style, which we see looming by his irregular rhythms in Firebird and Petrushka.

The word “ballet” brings to mind words such as “grace” or “beauty” when heard by many people. The definition itself states that it is a form of dance that uses precise steps and light, graceful motions. This definition was in the minds of those who attended the Théâtre des Champs-Élysèes in May 1913, but rather they were greeted with the complete opposite. When Igor Stravinsky’s ballet Rite of Spring opened, the audience was greeted with swift, chaotic music that quickly became a whirlwind of sound. The music softened and the curtains opened to a primitive dance, causing mass hysteria throughout the theatre. The audience felt they were being attacked, for they had paid and dressed in ornate gowns to see the beauty and grace they feel reflected who they were, but instead they were shown a primal, barbaric scene. This piece had disrupted the order and harmony that one could associate ballet with.

“The Rite of Spring” was certainly the most controversial piece of orchestral music of its time. The piece, composed by the Russian Composer Igor Stravinsky, included a great deal of uncommon musical elements. But was it really that uncommon? The world-changing ballet, “The Rite of Spring” was so controversial when it debuted in 1913, because it completely contradicted the common rhythmic and harmonic languages of the music at the time. The choreography and costumes were a main part of the reason why the audience reacted with negativity and riots. But the fact that Stravinsky’s music used similar melodic, orchestrational, and harmonic techniques of pieces written before, brings up the question: Why did the audience react the way that they did? Stravinsky’s music reflected his early life experiences. Consequently, Stravinsky was not, in fact, the first composer who was “committed” with composing such controversy, so again: were riots necessary? The result of the audience’s reaction caused by the ballet has not happened before.