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9/5/2011-4/21/2012. Letters from a Danceaturg. Neil Baldwin to Lori Katterhenry
9/5/2011-4/21/2012. Letters from a Danceaturg. Neil Baldwin to Lori Katterhenry. No.1 - September 5, 2011 Dear Lori: I am grateful to Ryoko Kudo, Maxine Steinman and our MSU dancers for opening the doors to the studio in Life Hall last week and welcoming me to sit in on three sessions of the setting of excerpts from There is a Time (1956) by Jose Limon. They worked on “Opening Circle,” “Plant and Reap,” “Mourn,” “Laugh and Dance,” and “Hate & War.” Reviewing and editing my on-site notes, I recalled a helpful observation by Doris Humphrey in The Art of Making Dances with regard to this work. She writes, “There is a Time states its thematic material in the opening section and builds all the rest of its many parts on variations of the same movements. Unfortunately, this escapes most people; what they see is a suite form, contrasted ideas of dramatic or lyric significance. This is because the eye is not sufficiently trained to remember movement themes, and will usually miss them completely.” Indeed, the fact that the original title of There is a Time was Variations on a Theme came through powerfully during these sessions. Ryoko’s precisely-planned and at the same time intuitively- executed method was the embodiment of Limon’s preliminary concept notes for the dance, when he said that “the community…form[s] a very close circle which pulsates symbolizing an ovum or womb in travail…[T]he large circle…symbolize[s] time – the great continuity – eternal, unbroken…without hurry and without end.” I was also mindful of a point that Carla Maxwell made in an interview with The New York Times ten years ago about classic modern dance: “What's indispensable is a consistent point of view that relates to the times,'' she said. -
Rudolf Laban in the 21St Century: a Brazilian Perspective
DOCTORAL THESIS Rudolf Laban in the 21st Century: A Brazilian Perspective Scialom, Melina Award date: 2015 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 Rudolf Laban in the 21st Century: A Brazilian Perspective By Melina Scialom BA, MRes Thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Dance University of Roehampton 2015 Abstract This thesis is a practitioner’s perspective on the field of movement studies initiated by the European artist-researcher Rudolf Laban (1879-1958) and its particular context in Brazil. Not only does it examine the field of knowledge that Laban proposed alongside his collaborators, but it considers the voices of Laban practitioners in Brazil as evidence of the contemporary practices developed in the field. As a modernist artist and researcher Rudolf Laban initiated a heritage of movement studies focussed on investigating the artistic expression of human beings, which still reverberates in the work of artists and scholars around the world. -
Dear Audience, Cast the Right Net ... 39
Dear audience, cast the right net ... Georg Lechner "These Western dancers", one spectator at the East-West Dance Encounter sighed. "you never know what they are up to next!" True, even the highly predictable ballet performance by Stephen sprang a surprise. offering a special number Meditation. Leave alone the rest ... Here indeed. is a decisive difference that distinguishes contemporary Western dance from contemporary-and as ever classical-Indian dance. The latter is characterised by a solid pact between dancer. guru and rasika (know ledgeable member of the audience). ba sed on a common world-view and guided by age-honoured set rules. Codification, sublimation-any deviation from the tradition and the norm will be frowned upon. The former is ever open to innovation. intensely personal. sans ideological taboos. In the West. there is. of course. also a pact between dancer. teacher and audience, but one whose first clause gua rantees artistic freedom. The implications on both sides are momentous. Dear audience. lean back for a moment and ponder. The western flair for change and inquisitiveness is easily identified as a natural offspring of the Age of Enlightenment and Reason . Religious Faith and Reason had been engaged in age-old struggles. with Faith acting as the undispu~ed master relegating Reason to second position. The transition into modern thmk t ~g was far from smooth and is generally underrated or flatly misunderstood. Centunes of witch-hunting. inquisition. excommunication, crusades. people like Jeanne d'A:c. Giordano Bruno. Copernicus. Martin Luther. Immanuel Kant. Galilei (his treattse Dialogo. renouncing the Ptolemaean world-view in favour of the Copernican. -
A Study on the Gender Imbalance Among Professional Choreographers Working in the Fields of Classical Ballet and Contemporary Dance
Where are the female choreographers? A study on the gender imbalance among professional choreographers working in the fields of classical ballet and contemporary dance. Jessica Teague August 2016 This Dissertation is submitted to City University as part of the requirements for the award of MA Culture, Policy and Management 1 Abstract The dissertation investigates the lack of women working as professional choreographers in both the UK and the wider international dance sector. Although dance as an art form within western cultures is often perceived as ‘the art of women,’ it is predominately men who are conceptualising the works and choreographing the movement. This study focuses on understanding the phenomenon that leads female choreographers to be less likely to produce works for leading dance companies and venues than their male counterparts. The research investigates the current scope of the gender imbalance in the professional choreographic field, the reasons for the imbalance and provides theories as to why the imbalance is more pronounced in the classical ballet sector compared to the contemporary dance field. The research draws together experiences and statistical evidence from two significant branches of the artistic process; the choreographers involved in creating dance and the Gatekeepers and organisations that commission them. Key issues surrounding the problem are identified and assessed through qualitative data drawn from interviews with nine professional female choreographers. A statistical analysis of the repertoire choices of 32 leading international dance companies quantifies and compares the severity of the gender imbalance at the highest professional level. The data indicates that the scope of the phenomenon affects not only the UK but also the majority of the Western world. -
New Jersey Visual and Performing Arts Curriculum Framework. New
DOCUMENT RESUME ED 451 080 SO 031 632 TITLE New Jersey Visual and Performing Arts Curriculum Framework. INSTITUTION New Jersey State Dept. of Education, Trenton. PUB DATE 1998-11-00 NOTE 378p. AVAILABLE FROM New Jersey Department of Education, Office of Standards and Professional Development, P.O. Box 500, Trenton, NJ 08625. For full text: http://www.state.nj.us/njded/frameworks/arts/index.html. PUB TYPE Guides Non-Classroom (055) EDRS PRICE MF01/PC16 Plus Postage. DESCRIPTORS Academic Standards; *Art Education; Curriculum Development; *Dance Education; Elementary Secondary Education; Experiential Learning; *Music Education; Public Schools; *State Standards; Student Development; *Theater Arts; *Visual Arts IDENTIFIERS *New Jersey ABSTRACT The purpose of New Jersey's Visual and Performing Arts Standards is to improve student achievement in arts education, not arts-as-entertainment, not art-assembly projects, not art-as-activity. An education in the arts requires curricular scope and sequence and the intellectual rigor of experiential learning. The Visual and Performing Arts Standards require that all students at the elementary level experience arts education in all four arts disciplines-: dance, music, theater, and visual arts. As students become selective in their preferred form of artistic expression at the middle and high school levels, they are expected to gain expertise. The intent of this Framework is to support the educational content reform in arts education that was initiated by the "New Jersey Visual and Performing Arts Core -
Advanced Modern History
Advanced Modern History Definition: There is no concise definition for modern dance, nor should there be, unless it is broad enough to include all the diverse approaches existing now/and likely to exist in the future. Modern was a rebellion against classical ballet and its codified technique. Modern dance, sometimes referred to as contemporary dance, has no boundaries or limitations for its style of creation. In fact, the freedom that is inherent in modern has strongly influenced contemporary choreography of ballet and jazz. Brief History: In the twentieth century a new dance had emerged, and was classified as “modern”. It was called "modern" because it broke away from the traditions and the disciplines of ballet from the 19th century. At the beginning, modern dance was a way of life, an expression of the freedom of the spirit, unfettered by outdated traditions and worn out beliefs. It aimed to communicate to each individual some emotional state, idea or situation which one could identify with or relate to their own experiences. Modern dancers in the beginning attempted to rediscover natural movement and wanted to break away from the rigidity of ballet. They also felt that ballet technique did not communicate their primary purpose, therefore they wanted to create a dance art that could speak to the humanity of modern man. Modern dance did not rely upon pantomime or storyline. Modern dance bases its technique on natural movement. This includes not only the use of the body in its rhythmic, dynamic and linear function, but also in an enormous amount of gesture or pedestrian movement. -
Miki Orihara Solo Concert
LaGuardia Performing Arts Center Steven Hitt...Artistic Producing Director Handan Ozbilgin...Associate Director/Artistic Director Rough Draft Festival Carmen Griffin...Theatre Operations Manager/Technical Director Toni Foy...Education Outreach Coordinator Isabelle Marsico...Events Coordinator Caryn Campo...Finance Officer LaGuardia Performing Arts Center Mariah Sanchez...House Manager Scott Davis...Line Producer Juan Zapata...Graphic Designer Luisa Fer Alarcon...Video Editor/Designer Dayana Sanchez...Marketing Coordinator MIKI ORIHARA SOLO CONCERT Production Staff Patrick Anthony Surillo...Resident Stage Manager Cassandra Lynch...Props Master Hollis Duggans…Production Staff Works of American and Japanese Modern Dance Pioneers Winter Muniz…Production Staff Piano by Nora Izumi Bartosik Technical Staff Glenn Wilson...Stage Manager/Assistant Technical Director Melody Beal...Lighting Designer Alex Desir...Master Electrician Ronn Thomas...Sound Engineer Miki Orihara Marland Harrison...Technician Denton Bailey...Technician Giovanni Perez...Technician House Staff Marissa Bacchus Jason Berrera Julio Chabla Rachel Faria Anne Husmann Emily Johnson Martha Graham Doris Humphrey Rebecca Shrestha LaGuardia Community College Dr. Gail O. Mellow...President Dr. Paul Arcario...Provost and Senior Vice President 31-10 Thomson Avenue Long Island City, 11101 Seiko Takata Konami Ishii Yuriko Upper left: Martha Graham in Lamentation(1930) Photo by Soichi Sunami, courtesy of The Sunami Family. Upper middle: Miki Orihara, Photo by Tokio Kuniyoshi. Upper right: Doris Humphrey photo by Soichi Sunami , courtesy of the Sunami Family. Lower left: Seiko Takata(1938) in Mother Photo courtesy of Nanako Yamada. Lower middle: Konami Ishii in Koushou (1938) Photo courtesy of Noriko Sato. Lower right: Yuriko in The Cry (1963) Photo courtesy of the Kikuchi Family. WWW.LPAC.NYC RESONANCE III “Onko chishin” – is a Japanese expression describing an attempt to discover new things by studying the past. -
The Art of Making Children's Dances
The Art of Making Children’s Dances: A Look Into Doris Humphrey’s Early Choreography and Its Impact on Her Technique Gina Marie Borden Doris Humphrey (1895-1958) was an innovative American choreographer who contributed influential theories of movement to the development of modern dance. In 1917, she started her professional training and career alongside other American modern dance legends such as Martha Graham and Charles Weidman under the direction of Ruth St. Denis and Ted Shawn, founders of the famous Denishawn School and Company. After leaving the Denishawn company in 1928, she and Weidman founded their own company in New York City. During this time, arguably the height of her artistic output, Humphrey established a technique based on the concepts of “fall and recovery” and a theory of choreography. The Humphrey-Weidman Company disbanded in 1947, and Humphrey was named Artistic Director of the Limón Dance Company. She passed away in 1958 after a battle with cancer. In 1995, a group of graduate students from Teachers College, Columbia University asked Elsa Posey to reconstruct four Humphrey dances as part of a celebration for the centennial of her birth.1 During the summer of 1953, Posey—currently a dance educator in Northport, New York— took one of Humphrey’s courses at the 92nd Street Y in order to learn about Humphrey’s theories of choreography and teaching. The four dances Posey reconstructed are less well known compared to other works of Humphrey’s repertory, but vastly important to Humphrey’s career as an educator and technician. These were Humphrey’s Four Dances for Children2—dances created for elementary-aged to adolescent children. -
Universi^ Micrafilms International
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
FALL 2012 Undergraduate Course Offerings
5L 5L FALL 2012 Undergraduate Course Offerings NYU Gallatin 1 Washington Place New York, NY 10003 212.998.7370 TABLE OF CONTENTS 3 NEW COURSES 4 COURSE SCHEDULE 9 GLOBAL COURSES FALL 2012 COURSE DESCRIPTIONS 10 FIRST-YEAR PROGRAM All students who enter Gallatin with fewer than 32 units are required to take three courses that constitute the First-Year Program: a First-Year Interdisciplinary Seminar, which introduces students to the goals, methods, and philosophy of university education and to the interdisciplinary, individualized approach of the Gallatin School, and a two-semester writing sequence (First-Year Writing Seminar and First-Year Research Seminar), which help students develop their writing skills and prepare them for the kinds of writing they will be doing in their other courses. 20 INTERDISCIPLINARY SEMINARS Interdisciplinary seminars are liberal arts courses that engage a variety of themes or issues in the history of ideas. Generally, these courses focus on significant works in the humanities, social sciences, and sciences. These courses are relatively small (22 students) and they emphasize class discussion and thoughtful writing assignments. Gallatin students are required to complete 16 units in interdisciplinary seminars. 38 ADVANCED WRITING COURSES In a workshop format with no more than 15 students, the advanced writing courses engage students in a wide variety of writing exercises and offer an opportunity to share work with fellow students and a practicing professional writer/teacher. Some of the courses focus on particular forms of writing— fiction, poetry, comedy, the journal, the personal narrative, the critical essay—while others encompass several forms and focus instead on a particular theme, such as writing about politics, writing about the arts, and writing about one’s ancestry. -
Merce Cunningham: the Accidental Icon
Merce Cunningham: The Accidental Icon Jennifer Harris Submitted in Partial Fulfillment of the Prerequisite for Honors in Art History April 2012 © 2012 Jennifer Harris Acknowledgments Writing this thesis was immensely challenging and would have been impossible without significant help and support along the way. I would never have become interested in Cunningham or in the history of dance, for that matter, without Catie Bell, who introduced me to the writing of Joan Acocella in the context of Plato and Marcus Aurelius. I must also thank Jennifer Homans who generously helped me build the bibliography and understand the complexity of the project in its early stages. Finally, Professor Meredith Martin has been a mentor throughout my time at Wellesley and it is thanks in large part to her encouragement that I have pursued independent work in art history. I feel very fortunate to have benefited from the guidance of two outstanding advisors. I am particularly grateful to Professor Martin Brody for agreeing to advise my project without ever knowing me as a student and for challenging my critical thinking throughout the year. Over the past few years, Professor Patricia Berman has been an inspiration and has helped me cultivate my interest in the intersection between dance and art history. I couldn’t have asked for a more fitting and knowledgeable pair in studying the interdisciplinary work of Merce Cunningham. My research has been supported by a number of generous individuals. In particular, I’d like to thank Brooke Henderson and Jeanne Hablanian at the Wellesley College Art Library, Abigail Sebaley at the Walker Art Center, Alice Helpern at the Merce Cunningham Studio, and the librarians at the New York Public Library for the Performing Arts and the University of Arkansas Library’s Special Collections Division. -
Noguchi's Garden Dance at the Philadelphia Museum Of
©Noguchi Foundation & Phila. Museum of Art Noguchi’s Garden Dance at the Philadelphia Museum of Art by Lynn Matluck Brooks Four large sculptures by the renowned sculptor and frequent dance set designer, Isamu Noguchi (1904–88), have been installed at the Philadelphia Museum of Art’s Anne D’Harnoncourt Sculpture Garden overlooking the Schuylkill River. They are on loan from the Noguchi Museum in Long Island City, New York. I visited the garden with pen and camera in hand, curious to discover any connections with Noguchi’s stage design for dance. Noguchi’s long connection with modern dance started in 1925 with his mask-like bronze of Michio Ito (1892–1961), a Japanese dancer who encouraged Noguchi’s interest in the arts. He followed with portrait heads of dancers Michel Fokine (1926), Doris Humphrey, Lincoln Kirstein, and Martha Graham (all from 1929), as well as Sono Osato(1940). Noguchi’s sister, Ailes Gilmour (1912–93), became an early member of Martha Graham’s company and stated that she introduced her brother to Graham, sparking a decades-long artistic collaboration. The sculptor’s 1935 set for Graham’s austerely beautiful solo, Frontier, initiated a steady stream of stunning designs for some of her most renowned creations, until the 1967 production, Cortege of Eagles. In 1976 Noguchi designed an entire theater for Graham, a project that was, unfortunately, never realized. He also collaborated on sets and costumes with other dance artists including Erick Hawkins (John Brown, 1945, and Stephen Acrobat, 1947), Merce Cunningham (The Seasons, 1947), and George Balanchine (Orpheus , 1948). But Noguchi’s interest in the moving body was evident even before he met Graham, as revealed in such early works as Man Kneeling (1928; Noguchi Museum) and Expanding Universe (versions in plaster and wool jersey, 1932; Noguchi Museum).