Due today in 6 hours……. half page ……. dance homework


this is due in 6 hours….. must have done in 6 hours….. no late work

Do the following: 

 Ballet d’action in the 18th Century included plot and emotion employing ballet pantomime for storytelling through gesture. Create a passage that could have been incorporated into these early ballets employing some of the ballet positions with ballet pantomime. These were fairytale or dreamlike sequences. Give some specific examples! You may want to find a youtube video to show an example of your dance movement? Or describe it to us.! To receive full credit be sure to also reply to at least one of your classmates posting as well.    

Basically your are describing a dance and making one with certain ballet movements

I attached the Dance book in class where you can find info 



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Dance and religion essay | Education homework help


 Please read the book (Dancing through History) by Joan Cass. After reading Chapters 1-8 in the textbook, study guides, and participating in the discussion forums for this module, write an essay on the key points discussed chapters of the module and copy/paste your essay into the text window provided. Your essay should be at least 500 words and should summarize the main ideas/key points of all of the chapters read for this module. Type directly or copy/paste from Word document into the text box provided. 



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Due tomorrow … 1 paragraph and half ……. 1 question … dance


this is due tomorrow…… must have done by tomorrow…… no late work…. 

dance history class 

video: https://www.youtube.com/watch?v=rtX91YGaBXw

answer the following: 

Commercial Dance (as opposed to contemporary dance) has an additional element of appeal to the audience in terms of a “product”. This video contains the garment maker “Under-Amour” as an advertisement using the world renown ballerina Misty Copeland and her struggles for stardom having come from an African-American heritage. What are the issues with this video given the current day status in society? In your opinion is this video appropriate using Misty as a “vehicle” to “sell” a product?  

paragraph and half but minimum 1 paragraph.   no cover page no reference page needed



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Dance……. please read…. due in 12 hours…..


this is due in 12 hours….. must have done in 12 hours….. 

Please read all the info below: 

 

Modern Dance Techniques

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Although modern dance was born out of rebellion against ballet, several modern dance artists and teachers codified their movement vocabulary much like ballet had hundred of years before. Codification means a group of movement exercises and phrases were to developed to teach in a class-like structure that had set choreography and counts in a progression that would prepare you for performance in that style of dance. Here are the major classical modern techniques to give you a clearer idea of what this means:

Duncan technique (Isadora Duncan)

Duncan dance actually has strong technique.  Much time is devoted to learning technique.  Duncan dancers are trained to move in a particular way.  As Julia Levien recalled of her own training, “Your knee must be turned out.  Your hips must be thrust forward.  Your breathing must be in certain cadence.  Nothing was left to chance.”  One must have strong and flexible ankles, mobility of the pelvis, and fluidity of the arms.

The difference between ballet and Duncan dance is that, in ballet, the audience is supposed to see the technique.  The technique and the style become one.  In Duncan dance — when performed properly — the technique is invisible.  As Isadora wrote, technique is a means rather than an end in itself.  Technique functions as a support for style.  Hortense Kooluris put it simply, “If you can see the technique, it is not Duncan dance.”  Duncan dance appears free flowing, natural, and spontaneous (a style based upon classical Greek art), but it is only long practice with the underlying technique that allows it to do so. 

Duncan Dance Principles: Duncan dance is free-flowing and appears spontaneous; has a sense of energy and grace that radiates from the solar plexus; reflects the rhythms of nature; is danced to the great classical music; and is a state of mind as much as a style of movement.

Humphrey technique (Doris Humphrey)

Doris Humphrey, like her contemporary Martha Graham, was interested in making dance more reflective of modern times. In collaboration with Charles Weidman, she developed the concept of fall and recovery—using the pattern of breath to inform movement. She was José Limón’s teacher and mentor, and though she wasn’t interested in creating a technique, her ideas became part of what is today known as Limón technique.

Community Dance Class, Limon/Humphrey Principles, 8-30-15 (Links to an external site.) from Rachel Carrico (Links to an external site.) on Vimeo (Links to an external site.).

Limon technique (Jose Limon)

The technique is based on principles of weight, fall, and recovery as established by Jose lemon and his mentors, Doris Humphrey and Charles Weidman. It focuses on the movement of breath through the body, the dynamic use of weight in each body part, and the fluid succession of one movement into the next.

Graham technique (Martha Graham)

Since the purpose of dance is to translate emotional experience in physical form, in the Graham technique, every movement must have a clear and perceivable meaning. This does not mean the movements must be realistic, only that the stylization must be meaningful and recognizable to the viewer as well as to the performer. Graham was clear on this principle: “Everything that a dancer does, even in the most lyrical thing, has a definite and prescribed meaning” (Mazo, 1977, p. 189). Further, she believed that the clear training of the dancer gave a freedom to the dancer’s ability to express the emotions and ideas of the choreographer. In Graham’s own words, training was the key to articulation: “If you have no form, after a certain length of time you become inarticulate. Your training only gives you freedom” (Mazo, 1977, p. 157). Thus the rigor of your training was all part of the purpose of the art form – and Graham believed in rigorous training! Her demand for total discipline and attention during class, and her anger when this was not accorded her, are well documented. While the movements in the technique itself are not natural gestures, they are artificial ones; the inner commitment to them and the emotional sincerity of the dancers presenting them are entirely real.

According to Martha Graham’s philosophy, movement is generated from three places: the action of contraction and release, the pelvis, and the emotional inner self. The contraction, or strong pulling back and curving of the torso, and the release of this movement by returning to a straight torso are symbolic of the dichotomies in life. It is the contrast between desire and duty, between fear and courage, between weakness and strength.

Horton technique (Lester Horton)

In the 1920s, ’30s and ’40s, dancer/choreographer Lester Horton developed a dance technique based on Native American dances, anatomical studies and other movement influences. Horton’s technique isn’t limited to a concept of one or two movements and their contrasts. The technique is dynamic and dramatic, develops both strength and flexibility, and works with an energy that is constantly in motion. The primary focus of many beginner-level Horton studies is creating length in the spine and hamstrings. There is also an emphasis throughout all levels on developing musicality and performance qualities. As students progress, exercises become longer and more complex. Horton uses flat backs and lateral stretches, tilt lines and lunges, all movements that could be found in a jazz warm-up. (Horton technique also incorporates lyrical, circular movements focusing on stretching in opposite directions.) 
Outside of the classroom, students can look to graphic design, typography and architecture for a sense of the clean, clear lines emphasized in Horton technique. For example, there is a body position titled ‘Lateral T’ that looks like a big, block letter T: Fernando-7-Latreral-T-Horton-tech.jpgEnjoy this video of a fellow dancer, Iquail, who I danced with in undergraduate school, talk about teaching Horton to any and every BODY.

Dunham technique (Katherine Dunham)

Katherine Dunham, anthropologist and dancer, was a pioneer in both the modern and jazz dance genres. Dunham was a rebel among rebels. Unlike other modern dance creators who eschewed classical ballet, Dunham embraced it as a foundation for her technique. But what set her work even further apart from Martha Graham and José Limón was her fusion of that foundation with Afro-Caribbean styles. This created an entirely original technique characterized by classical lines, a torso capable of both isolations and undulations, and utilization of a wider range of tempos and rhythmical styles than most other Western concert dance forms of the time. In addition, Dunham made great strides for African American entertainers and artists on the Hollywood film stage, which will be discussed in a later module.

The video below shows diverse dancing bodies practicing Dunham technique

Cunningham technique (Merce Cunningham)

This technique is rigorous, and is designed to create strength and flexibility—of both body and mind,” he says. “You have to be alert and focused in class.” Cunningham technique challenges a dancer’s ability to change direction within the body and in space, so explore your internal sense of direction as you move through a day. Observe the sensations that occur in the body as you round corners and make sudden changes of direction. Take note of how those changes impact your sense of self and your relationship to the space around you.

A strong sense of one’s spine is an integral part of Cunningham technique, which explores the way that the back works either in opposition to the legs or in unison with them. Space is also an important factor, as is a sense of direction. In his choreography and class exercises, Cunningham developed a way of referencing “front” so that dancers don’t think about movement in terms of moving toward a point in space (most often, facing the audience), but rather in terms of where each individual body is facing.

(Watch as much as you’d like)

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Assignment from the above info and info from the web 

   Briefly describe the key concepts/principles of each of the techniques listed in the lecture. 

Choose two technique creators (Duncan, Humphrey, Limon, Horton, Dunham, or Cunningham) and, via a YouTube search, find a piece choreographed by each of them (i.e: “Mother” choreographed by Duncan” and “The Beloved” by Lester Horton). Name the choreographers, title of the pieces, and the year in which they were choreographed in your writing. You will discuss how the creation of their techniques are reflected in their creative work. Are the defining principles of the technique obvious in their choreography? Do these technical concepts aid in the emotional quality of the performance or no? Compare and contrast the two choreographies/pioneers.

*Please use movement analysis support from watching the videos along with the lecture information.



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Dance | Education homework help


 

  1. What stereotypes exist about men who dance? 
    1. Given what you have learned in the readings and mini lecture about the origins of Ballet as a male only dance, and it’s evolution into a female dominated company structure, why do you think those stereotypes exist? How are those stereotypes incorrect?
    2. Why do you think it’s still seen in our society as more socially acceptable for men to dance ballroom, hip hop, or modern/contemporary than ballet?
    3. How can this be changed?
  2. Consider the technique videos presented in Part 5 of our Mini-Lecture. Some of those classes are beginners/level 1 classes, and some are advanced.
    1. Which class most appeals to you as a viewer of movement and engages with your spirit to move?
    2. Why?

Please cite the mini lecture, videos, and other materials you are referring back to both with APA in-text and reference citation.



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Dance on screen analysis paper


How does dance communicate? What does dance communicate? And how does it educate?? 1.5 pages

 In this paper, explore how dance in popular culture educates even as it entertains on the screen: film, commercials, music videos, Youtube, or television. Center your thesis around a particular hegemonic concept such as those discussed in class (i.e., “high/low” binary of the academy, heteronormativity, masculinity, femininity, consumerism, racial and ethnic biases, etc.). Relate this particular concept to dance on screen by closely analyzing at least three specific scenes. In your thesis, argue whether and how the hegemonic idea is either contested or propagated through dance on the screen, and why this is important to analyze.

You must use a minimum of 2 literary sources from class and 3 outside sources, cited in the body of paper, in MLA format.

You may cite lectures from class to supplement your argument, but they will not “count” as selections of your 5 sources.

 Provide an accompanying work cited page, following MLA guidelines.



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1 paragraph …… dance history ……. due tomorrow


1 paragraph.     no cover page no reference page needed 

 The emergence of a new dance form, modern dance in the early 20th century sought to create a platform for these dancers to become more expressive without the rigidity of ballet. This new dance was initially technically void where emotion and expression were the emphasis and ultimately global, political and social concerns were voiced. 

Create a new dance using one of these three themes and with little or no technical merit in the movement. Give some specific examples! You may want to find a youtube video to show an example of your dance movement? Or describe it to us. 

Tell what your dance will be like, movements, outifts etc based on the above information. 



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Ballet or modern dance only! (view the links provided on day 1)


 Two Dance class observation papers are required in this course. All students must copy/paste the assignment into the text window provided. This assignment should be 2-3 full pages in length. Please do not exceed 4 pages as I will not read them beyond 3 pages. The goal of the assignment is to write a concise analytical essay. Scroll down to see the specific Guidelines for this assignment below DANCE CLASS OBSERVATION PAPER GUIDELINES Please note: The 1st paper is only to be written on either Ballet or Modern Dance. Please do not email me asking to write about another dance genre. These are the requirements for this assignment. BEFORE EMAILING ME: Please do not email me asking where to go to observe a class. BE RESOURCEFUL! Check the LBCC schedule of Dance classes for class times and locations online at www.lbcc.edu (Links to an external site.) or inquire about other dance classes in your community at local dance studios or colleges via Internet or by telephone. If you choose to go to a local dance studio or recreational center be sure that the students in the class are over the age of 15. Other options are community colleges in your local area and other university Dance departments. Be resourceful and don′t forget to get permission to observe the class BEFORE attending!! Do not arrive late or leave the class early, as it is disrespectful to the art form. You are required to watch the class in its entirety so clear your schedules! Please be sure to include the name of the instructor, class attended and the location in the introduction of your essay. 1. Turn OFF all cellular phones and paging devices BEFORE entering the Dance studio. 2. No food or drink is allowed in the Dance studio. 3. Introduce yourself to the instructor and get permission from the instructor to observe the class to complete your assignment prior to the class. 4. Sit quietly and be careful not to obstruct the view of the instructor/dancers/musicians in the class. 5. Take notes on the structure of the Dance class that you have chosen to observe. a. Describe the formation of the dancers at the beginning, middle and end of the class. b. Describe the etiquette of the class and the attire worn by the dancers. c. Relate what you see visually in regards to movement vocabulary in the class to the chapters in the text. d. How does the class progress technically from beginning to end. e. How does the music affect the movement style and personality of the dancers. f. Use terminology and reference movement that you have learned about in the lecture readings and video materials. g. Discuss any new awareness that you discover as a result of your observation. h. How did the class end. 



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