...has been training in the field of Kathak dance for the past thirteen years. She is currently enrolled as a senior student in ‘ Panwar Music and Dance’ headed by Shri Hemant Panwar and Smt. Vaishali Panwar. She has completed the intermediate level of the program and now is in the progress of doing the expertise level. Since her enrollment in the school, she has had many opportunities to represent the institution by doing performances under her Guruji. Some of these shows include, Shradhanjali, Annual Diwali Concerts, Kathak Mahotsav , and Prabasi Bengali Cultural Shows just to name a few. ‘Panwar Music and Dance’ has also given her the privilege to meet and take classes under Guru Shri Rajendra Gangani, who is currently the head of the Jaipur Gharana in India. Dipa first started her dance lessons from Salina Ahmed Jharna under the institution called Saj Academy of Dance. Her first steps to dance were taught by Salina. She had performed at many events under Saj Academy, namely the annual school events, Masala Mehndi Masti, Mosaic, Toronto Sanskriti Sangstha, Panorama India, Carassauga, and Ratha Yatra, After six and a half years of learning Kathak and Bengali folk under Salina Jharna, Dipa had received her diploma in 2005. To expand her knowledge in the field of Kathak, Dipa also took the opportunity to take private lessons from Alokparna Guha (from Calcutta, India), a well-known teacher/ performer in the field of Kathak Dance. Through Alokparna, Dipa has learnt Kathak...
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...Dance Dance is an art form, moving the body, often rhythmic and to music. It is in many cultures as a form of emotional expression or exercise, and is sometimes used to express ideas or tell a story. There are many styles and genres of dance. African dance is interpretive. Ballet, ballroom and tango are classical dance styles. Square dance and electric slide are forms of step dance, and breakdance is a type of street dance. Dance can be participatory, social, or performed for an audience. It can also be ceremonial, competitive or erotic. Dance movements may be without significance in themselves, as in ballet or European folk dance, or have a gestural vocabulary or symbolic meaning as in some Asian dances. Many contemporary dance forms can be traced back to historical, traditional, ceremonial, and ethnic dance. For example, some Sri Lankan dances are related to aboriginal, mythical devils known as, and according to local legend, Kandyan dance began as a ritual that broke the magic spell on a bewitched king. Dance can be categorized in various ways, as in solo dance, partner dance and group dance, or by purpose, as in ceremonial dance, erotic dance, performance dance, and social dance. Many early forms of music and dance were created for each other and performed together. This paired development has continued over time, producing paired dance/music forms such as the jive, waltz, tango, disco, and salsa. Some musical genres have a parallel dance form such as baroque music...
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...has led him to produce a wide range of projects including Installations, Films, and Web based knowledge creation. Raised in New York and initially trained in Florida with Nolan Dingman and Christa Long, Forsythe danced with the Joffrey Ballet and later the Stuttgart Ballet, where he was appointed Resident Choreographer in 1976. In collaboration with media specialists and educators, Forsythe has developed new approaches to dance documentation, research, and education. As for us students, Forsythe as an educator, is regularly invited to lecture and give workshops at universities and cultural institutions. In 2002, Forsythe was chosen as one the founding Dance Mentor for The Rolex Mentor and Protégé Arts Initiative. We had the chance to watch one of his choreograph video called “One flat thing reproduced”; in this video gave me a sense of craziness and desperation. One flat thing was a video that truly has to be observed to get the performance in it and the magnificent movements that valet has to offer. It is a completely different horizon to our nature of dance but it also requires a lot of talent and hard work to show off. Forsythe is a guy who knows his work and gives his passion to it in every work of his. Valet takes hard work and year for perfection but so does a good chorographer like William...
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...(1931-1989) by Thomas F. DeFrantz Alvin Ailey, the founder of the Alvin Ailey American Dance Theater (1958-), galvanized and stabilized an African American presence in theatrical dance. An outstanding performer, choreographer, company director, and mentor to scores of dance artists, Ailey oversaw the growth of his small, pick-up group of seven dancers into a large, carefully managed, internationally-renowned enterprise including several ensembles of dancers and a thriving school in New York City housed in the largest building devoted to dance in the United States. Along the way, Ailey changed the landscape of modern dance by developing new audiences for its performance through a consistent combination of exceptional artistry and wellcoordinated community outreach programs. In all, Ailey invigorated the art of dance with his distinctive creative imagination, his “blood memories” of cultural formations he witnessed as a child-- including the jook joint and the black church --and the strong survivalist ethic he learned as an African American man born in the depression-era South. Emergence into Dance Born in Rogers, Texas, the only child of workingclass parents who separated when he was two, Ailey moved with his mother to Los Angeles in 1942. Shy from his itinerant Texas life, Ailey reluctantly turned to dance when a high-school classmate introduced him to Lester Horton's Hollywood studio in 1949. In dance, he found the terms of self-expression that high school athletics failed to provide...
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...Not just watching but understanding the dance. “You were once wild here. Don’t let them tame you.” Isadora Duncan. People from my culture (Nepali/Tibetan) dance in a wild style, throwing both hands and legs up in the air, at least how it look to audiences who are watching it for the first time. All they are trying to express is the ancient stories from our ethnic groups. Ballet, in my opinion is very graceful and looks difficult to do but at the same time effortless as it seems. Watching Ballet live for the sometime was very different from what I am used to at home (Nepal). I am used to loud traditional music and ballet is completely different with more soothing music and many artist performing at once. Different acts performed in the show portrayed different theme which was very diverse and extremely interesting to watch and trying to understand the different moves. First performance, harmonic inspiration, those lifts and twirls to me looked flawless and perfect. Duet performances, young couples and the chemistry between them was very fascinating to me. Both of them were very into the dance as I could see from the emotion. Both of them were fantastic dancer and they were experts in their field. Second act, La Mystral was the one I was interested most in because it was very different then rest of the acts. Three young ladies in beautiful blue long dress. There was so much emotion this act that I could tell that these ladies are...
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...Similarities in Dance Dance 101 Instructor Patty Graham Christopher B. Smith 21 January 2015 Adae Kase, Bugaku and the Louis XIV court dances were all early dances, all with different meanings and styles. These dances were used to show respect, reaffirm an identity, show dominance over others, give allegiance to and show off dance skills. However, for this paper we will look at the similarities and differences with each dance. The Adae Kase, performed by the African people of Ghana, is a dance to show respect to their Ashanti King. The Ashanti Court Dance, as it is referred to, is a dance that anyone can do, but only the most skilled dare perform when your audience is the King. The dance is not done on a stage, but in a field, where as many as 50,000 gather to pay respects to the Ashanti King. The dance is a deliberate, distinguished, unhurried dance that is graceful, but not a practiced form of expression. The costumes worn were almost like a Togo with the dancer wearing their best jewels. It is meant to show honor to the Ashanti King and is more felt than danced. The Bugaku dances are dances never meant for public viewing and performed for the Emperor of Japan. The dances are civil dances, warrior dances, running dances, and dances for children. Movements are highly conventionalized movements cued by the beat of the drum. The overall choreography consists of simple geometric patterns with the arms, hands, and feet. The dancers (4), were evenly spaced...
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...Dance Dance is the art of movement of the body, usually rhythmically and to music, using prescribed or improvised steps and gestures. "A dance" is any one prescribed sequence of such movements, or the music to which it is performed, or an event at which it takes place. Dance may also be regarded as a form of nonverbal communication recognisable in other animals; in bee dances and behaviour patterns such as mating dances. Dance can be categorized and described in various ways. It may be analysed purely by its choreography, its repertoire of movements, or it may be classified according to its time or place of origin. Yet study reveals many generic similarities in many different times and places. An important distinction is to be drawn between theatrical and participatory dance. Nevertheless, these two categories are not completely separate. Each may borrow from the other. Social dancers may become professional or competitive dancers may be watched by millions. Both may also have special functions; they may be ceremonial dances performed only at one time of year, they may be intended as an erotic dance, a war dance or a sacred or liturgical dance. Such dances allow both emotional expression and invocation. Martial arts kata are often compared to dances, and sports such as gymnastics, figure skating and synchronized swimming are generally thought to incorporate dance. Recreational Dance Recreational dance refers to any form of dancing that is done primarily for its social, educational...
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...The Dance By: Kelly Evans Dancing has been an important part of my life for more than eight years. When I was eight, my mother enrolled me in dancing classes, never realizing it would lead to anything serious. For the first few months, dance was entertainment, something to keep me busy. Although I enjoyed taking classes, I did not become serious until the following year, when my favorite tap teacher told my mother to consider getting me involved in more competitive classes. That was the beginning of my long and successful dancing career, one that has taught me many valuable lessons about the art of dance, and the art of life. Over the years, whether I was living in Buffalo, Atlanta, or Randolph, New Jersey, I learned to adjust as a person, and as a serious dancer. In fact, I found traits I needed to survive and grow as a dancer were also valuable in school and life. Of all the experiences I've had as a dancer, I cherish those moments when I had the opportunity to learn from other dancers. Learning is central to the development of a dancer. In Atlanta, for example, I trained with dancers who studied with the Atlanta Ballet Company as well as those who had trained with famous European dancers, I learned something different from each, even though practices were long and grueling. And yet, although at times I wanted to give up, I sensed that I would be rewarded for my efforts. This pattern repeated itself several times. I would be uprooted and immediately plunged into new...
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...The group that I have chosen to identify with is the F&M Dance Company. The company is comprised of over fifty dancers and is supervised by three authoritative professors. Each fall, new choreographers are recruited by the company to teach their choreographies, or reconstruction works of other choreographers, for the Fall Dance Concert. Each spring, the students have the opportunity to choreograph a piece for the Spring Dance Concert. These student choreographed pieces are then either presented in the concert, which is what most choreographer strive for, or in the show case, which is only held on a Sunday. Due to this either/or situation, the choreographers contend with each other to secure a spot in the concert, therefore galvanizing competition,...
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...seeing the movie and that kind of gave me an idea about the movie. I was a little bit excited mainly because Pina was my first dance movie. I have seen other movies in the past , mostly hip hop and ballet fused together (Save the last dance and Step Up) but Pina was my first “proper” dance movie. I was also a little bit anxious because I wasn’t sure I could sit through almost two hours of mainly dance performances which was not set in the United States. I thought because it was of German origin it will be boring and I would not really understand it. I had mixed reactions during the film mainly because of the different elements combined together by the producer. First the fact that it was 3D intrigued me. It made some of the parts come alive and I felt like I was in front of a live performance of the dance. There were parts that were so beautifully choreographed.; for example, the first piece where the female and male dancers were separated and one of the female dancers was about to be chosen to die, I could see feel the tension and what was going on in their minds. Some parts even though interesting was a little boring and I almost doze off until another piece of music comes and I become fully awake. The music added its own theme to the movie, it is different because it is German so it was different, and most of the dance pieces were slow graceful dances and the music kind of feel the same way. The music was in a way talking to the dancers so the audience could follow. The costumes...
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...Up until this point in my life, I have not had any real dance experience in my life. I have never attended any sort of dance classes, but I am excited to learn more about the art of dance in this class and add some moves to my repertoire. Although I do not have any formal dance training or experience, I love to dance socially. Attending concerts and electronic dance shows is one of the things I love to do in my spare time, and these are great situations for dancing. The types of movements in these situations usually involve the audience dancing together as a group to the beat of the music and are less focused on individual moves and dancers. I also have a lot of movement in my daily life as I try to stay active. I work out regularly and walk to class everyday. In track, one of the events that I participated in was the long jump. There are a lot of different movements in long jump that need to be executed at the right time and place. You start off still and begin by running and trying to gain as much speed as you can by the time you reach the pit. Right before you get to the pit, there is a line that you need to jump before. This involves a lot of timing because the difference between a good jump and a great jump can be decided by how close you get to that line. But, if you pass it you are disqualified. Positioning at this point is also key because you need to make sure your foot is directly under you instead of out in front, similar to when you are running. The next and...
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...opened to the fantastic presentation “Director’s Choice”, performed by the Dallas Black Dance Theatre. This show consisted of well manipulated productions elements, such as the lighting, the choreography, the costumes, the set, and the music, as well as the elements of dance that all meshed together with the highly skilled dancers to make it the spectacle that it was. The most prominent of the production elements of all was the choreography. All of the dances were so powerful, emotional, and captivating that not much else was needed in the way of support. For example, the costumes were kept fairly simple. They weren’t flashy, but more subtle. In one dance, all of the dancers, men and women both, wore the same sleeveless red outfit that was adorned with a partial skirt. It was a group dance, so the outfits helped to enhance the idea that they were dancing all as one, but not in an obvious way that distracted the viewer from the dance itself. The lighting and set were kept very simple as well. The stage was framed by black curtains, but other than that there was nothing but the stage, the lighting, and the dancers. The lighting however changed from dance to dance. Some of the dances were be lit by a vibrant and happy red, while others may have been dimly lit by soft oranges, blues, or a spotlight. There weren’t any pulsing lights or effects; was just meant to add to the theme of the dance. The music played a bigger part in its contribution to the show. All of it was pre-recorded...
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...Reading While reading this article something that stood out to me was the different ways music was used. The dancers themselves can provide the music. Not all dances have or require instruments some are simply hand clapping, voices or other body movements that are used to perform to. When instruments are used they are instruments such as the flute, xylophones, rattles, chordophones, gongs and trumpets. Another part of the article that I found interesting was the five principles. It shows how each part is needed in order for the whole performance to come together. Understanding the proper articulation, different movements of the body, timing and the pace of the movements, articulation of rhythms and phrasing all these are different parts of the dance that have come together in order to form the final masterpiece. All these aspects of the dance hold a great amount of importance and each part of it contribute into the final performance. There are many different types of dance in the continent each unique in its own way. Some consists of more hand movements more that footwork and some more footwork than hand movements. There are many different dances within a country itself. These dances show the country’s culture, tradition, rituals and many other important occasions. Videos Many of the points that the author made throughout the article are shown in the video clips. Some thing that I noticed was the use of vocals and body movements in order to make music and rhythms...
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...blend with the dancers move and the narrator’s voice. I caught rhythmic pattern in the music as there was emphasis on the beat. Some voices and beats were repeated over and over again. There was use of some African language called Swahili. There was use of strength and energy. At the very beginning the narrator was yelling at the top of his voice. The narration was done mostly in forms of music. There are counts before music change and they made use of silence. There was stillness in between the first ten minutes of the show. I do believe the producers’ intent was achieved because the performance was done according to the story most people are familiar with. Through dance and movement, the storyline were expanded by combining a variety of Ballet, Jazz, Modern Dance, African Dance, and Cultural Dance. The choreography was a huge success because it makes me and most of the...
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...NATIONAL QUALIFICATIONS CURRICULUM SUPPORT Dance Advice and Guidance to Support the Choreographic Process [NATIONAL 5] [pic] This advice and guidance has been produced to support the profession with the delivery of courses which are either new or which have aspects of significant change within the new national qualifications (NQ) framework. The advice and guidance provides suggestions on approaches to learning and teaching. Practitioners are encouraged to draw on the materials for their own part of their continuing professional development in introducing new national qualifications in ways that match the needs of learners. Practitioners should also refer to the course and unit specifications and support notes which have been issued by the Scottish Qualifications Authority. http://www.sqa.org.uk/sqa/34714.html Acknowledgement © Crown copyright 2012. You may re-use this information (excluding logos) free of charge in any format or medium, under the terms of the Open Government Licence. To view this licence, visit http://www.nationalarchives.gov.uk/doc/open-government-licence/ or e-mail: psi@nationalarchives.gsi.gov.uk. Where we have identified any third party copyright information you will need to obtain permission from the copyright holders concerned. Any enquiries regarding this document/publication should be sent to us at enquiries@educationscotland.gov.uk. This document...
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