Nostalgia In Dance

is a dance film. As demonstrated in the previous paragraphs, dancing Latin is undeniably attached to intimacy in both films, but in different ways; in Mambo Girl, Latin dance serves as an effect of intimacy whereas in Shall We Dansu? , it serves as the cause of intimacy. In a movie musical, dance and music become supporting characters in the film, often being used to drive the plot and reveal information about characters. Thus, in Mambo Girl, Latin dance serves to accompany, accentuate, and work in tandem with the narrative; therefore, Kailing’s way of moving with or without physical contact with others is a reflection of the level of intimacy she has with them.

Ideology, semiotics and aesthetics all feed into each other. Without semiotics and aesthetics the ideas of the director and writer could not be portrayed successfully. They are fundamental in creating the ideological world of the

C. Multiculturalism, Ethnicity and Race Before presenting the field work and in order to set the framework for this research about Multiculturalism in Classical Ballet Companies Nowadays, it is appropriate to define first of all the basic concepts of this study. The key terms, will be described briefly based on what is found in general theoretical works about these concepts and based on the course ‘Discours et Multiculturalité’, taught by Laura Calabrese at the Université Libre de Bruxelles (ULB). All the concepts related to culture and multiculturalism, such as diversity, ethnicity or race are very difficult to define clearly. Over the years many descriptions of these terms have been presented.

The musical’s revolutionary twist on the classic Broadway genre to incorporate hip-hop music showcases America’s diverse population through music and theater. Miranda links these ideas to the music he creates by purposefully crafting each individual character’s unique musical sound to hip-hop and by alluding to cultural aspects of the genre itself to celebrate its place in society and what it has achieved over the years despite the struggle that comes with being a person of color. Though Hamilton faces criticism for being historically inaccurate, the “inaccuracies” of casting historically white figures as people of color highlights the musical’s strong hip-hop influences. By doing this, Miranda is able to generate discussion around the importance of embracing the diversity that lies at America’s very foundation as well as what needs to be done to promote the equal treatment of the minority population that is not only an important part of America’s past but also its

Memory in a way is bringing back of cultural history. As pointed out by Lindbladh individual and collective memory is enigmatic, fragmented, intimately connected to our senses and feelings and thereby in need of an alternative epistemology, challenging traditional definitions of knowledge and truth. In the introduction to the anthology The Poetics of Memory, Thomas Wagenbaur defines memory on the one hand as storage and on the other hand as a story. In the agreement with current trends in memory research, he underlines the importance of the narrative and poetic dimensions

Indian culture has one of the most diverse and compelling traditions compared to other religions. In the past, dance and music plays an important aspect in the indian culture. Due to the fact that forms of entertainment was scarce, dance and music seeped into their lives. Dance is a way of expressing oneself when dancing, an art form that consists of sequences which incorporates into a movement series. Dance is not only a form of communication but the opportunities for connections.

Through his musicals, Sondheim reveals the changing the landscape of musical theatre by using nontraditional styles, content, and

In the conceptual arena of stage plays, elements such as lighting and set enhances the mood of the play through direct visual impacts; similarly, non-visual elements are also a significant part of theatrical works in terms of thematic dramatization and allowing the audience or readers more room for interpretation. In A Streetcar Named Desire, the use of non-visual elements on stage, namely the blue piano and the Polka tune, is significant in enhancing the mood of the play and establishing the layered personality of protagonist Blanche Dubois. From melody that intertwine with the stage directions to the protagonist 's poetic soliloquy that punctuate the dialogue like arias, Tennessee Williams ' skillful usage of non-visual elements in the

Conclusion This study about Multiculturalism in Classical Ballet Companies Nowadays has revealed that multiculturalism is a complicated term. If multiculturalism can be denoted as the coexistence of diverse groups that share different cultural and ideological backgrounds, classical ballet companies can be defined as multicultural. Historically, already in the middle of the nineteenth century, when Marius Petipa emigrated to Saint-Petersburg and introduced in his masterpieces such as Swan Lake, the vocabulary and the grace of the French ballet together with the technical virtuosity of the Italians and the character of the Russians, the first coexistence of ballet cultures took place. Later on, although during the Cold War ballet was used as

Vivian Sobchack’s claim that film scholarship tends to ignore the viewer’s body is interesting, as these articles acknowledge the embodied viewer to varying degrees. Reason and Reynolds’s article is not explicitly film scholarship, though it focuses on the experiences of watching dance and is useful in its specific discussion variied spectator reactions. Guido’s article is more of an historical account of dance in cinema, however, it focuses on a few key points in relation to embodied responses, suggesting, for example that performance encourages muscular mimicry thus positioning spectators under a rhythmic spell and that cinema is a tool for decoding the science and aesthetics of dance. Landay’s article references Sobchack throughout, a clear

Although the song is challenging the dominant religion, it also gave way to the audience reevaluating their everyday life. This redefinition of society, as Rosenthal and Flacks states, can either be as a result of a needed push to change society or a change that is occurring in society. “Get up, Stand up” is just on example of numerous songs that can be applied to the authors main question which is “how music actually serves the various functions that have been claimed for it and to begin to determine how the function and effects of music vary depending on social and historical contexts” (Rosenthal and Flacks

Dance brings all different types of people together and connects them for a single occasion. Some will go see dance as a form of entertainment and others to view it as an art; and it is often disputed as to whether a dance is created to suite one of these personalities specifically. As shared in the talk back for BYU Dance in Concert, an entertainment dance is viewed as “spectacular and dazzling” where as an artistic dance is expressed though an “emotional idea” and requires “deeper thinking”. This can be seen as a problem because some dances are amazing to watch, but also present a new thought or idea in a person’s mind. Dance can be seen as separate genres of entertainment and art, but also can come together to present an even stronger and

A Magical Journey Back Home The version of The Odyssey, adapted by Marry Zimmerman, tells the story of Odysseus, in a new and intriguing way. The generality of the concept that the original Homer’s Odyssey has, exists in the play, but it is expended in a way, to which the modern audience can relate and enjoy. The production of The Odyssey, presented in Temple theatres and directed by Brandon Mcshaffrey, follows the Marry Zimmerman version of the play. There are varieties of originality added in forms of music composition and dance choreography that further expand the excitement and mystery associated with the play. The production of The Odyssey in Temple Theatres stands out with a remarkable set design.

The work does affect my thinking because it is an article that partially helps me answer my topic questions. It helps me understand that particular music can have an affect one’s development of self-identity. Furthermore, how setting can make a difference in how music affects an individual. For instance, they give the example of Salsa. However, it is happening in a particular setting, such as London.

“People dance because dance can change things. One move, can bring people together. One move, can make you believe like there's something more. One move, can set a whole generation free.” (Adam Sevani).