I was able to watch Julie Pentz’s Echo piece during the first dress rehearsal for Spring Dance. This piece was a jazz style with a large number of dancers all in black dresses, entering and exiting the stage in a random, sporadic manner. It started with dancers one at a time sprinting across the stage. The piece felt dark and chaotic as the music matched the movements with high tempo, instrumental sounds. The lighting was dark with a heavy reliance on backlights to create a darker feel. The spacing
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At any sporting event, fans not only are there to watch the teams compete but they’re also there to enjoy the cheerleaders. Cheerleaders became part of a sporting event back in 1898 when Johnny Campbell a student at the university of Minnesota tried to energize the schools football team and crowd (Bowyers 34). Since then cheerleading has became a crowd favorite for both males and females to participate in. cheerleader’s stunts, cheers, and tumbles are to hype the crowd up a little while the games
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It is very difficult for coaches to put together routines, because cheerleaders tend to have ADHD since we can never stand still or be serious at a choreography practice. The real reason is because the coaches must put together a routine that has all the tricks, skills, and proper technique in order for the team to win or give a perfect and show-stopper performance. The discourse community in all of this is that with every routine there are different components of it. A routine will start off with
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Epik Dance Company is a collection of variously trained dancers who deeply appreciate the arts and have a need to share the benefits of the dance community. At a recent preview of their show Don’t Hold Your Breath on March 8 in The Black Theatre Troupe in Phoenix, Arizona, this dance company presented a performance that could only be referred to as spectacular. Don’t Hold Your Breath is a story about a woman analyzing her life as she faces a groundbreaking moment between life and death. The music
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How to Stunt Stunting is a very important part of cheerleading in America. There is no one-way to do it either. With different cheer associations like USCA, UCA, and NCA there many ways of stunting. From basic Preps to more advanced stunts like Lib Full Downs they each are executed similarly. While every stunt varies a little bit they all are still very similar. Every basic stunt that has a main base, a side base, a backspot, and a flyer all virtually set up the same, hit the same, and cradle the
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Stephen Daldry‟s stage musical adaptation of the film Billy Elliot (2000). After a brief discussion of the portrayal of the male ballet dancer in the dancing scene since the 1990s and the inherent voyeuristic inclinations of contemporary audiences, the analysis will focus on five aspects of male presence in Billy Elliot the Musical (2005). The dynamics of working-class masculinity will be contextualised within the framework of the family, the older female, the community, the self and the act of dancing
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Taiesha Abrams Dance 132S Instructor: Purnima Shah Analysis of Twyla Tharp’s Eight Jelly Rolls Twyla Tharp has influenced the field of American postmodern dance for over four decades. Her work and philosophy has had a continuing impact on the growth and development of dance by consistently delivering a unique approach, independent of the traditional techniques of modern and the antitechnical works of the avant-garde. She used the strong technique gained by ballet training to bring forth
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revolutionised the art form of contemporary dance through movements which were established on the expressive dimensions of the human figure. The mother of contemporary dance achieved this by using her body in certain ways which were classified as athletic and dramatic, although raised controversy regarding every principle taught to ballet dancers. Outlined in this presentation will be a thorough analysis of Martha Graham’s work which challenged the concept of dance and made her one of the most significant
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The history of ballet goes back about 600 years and it has been an expedition of alteration, growth and new ages. It is intriguing to uncover every differentiating times in ballets choreography, so you should identify the seven remote eras in dance history. Ballet has always been developing and progressing with time, fashion and society. Yet now, ballet is carrying on pushing ahead with the past times even developing new styles as well. Through the centuries,
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I really enjoyed Edwin Denby’s article about the criticism of dancing. His perspectives have influenced mine tremendously. I do have to agree with him that a part of dance criticism is on stage while the other is describing what you saw but I think he missed one more. The third being the intention of the dancer and what he or she wanted you to grab. Misinterpreting the wrong vision can negatively impact criticism. I don’t think that I could ever become a dancer specifically for the reason of my poor
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