| Papers [39-57] of 97 :: [Page 3 of 6] | | Go to page : <— 1 2 3 4 5 6 —> | |
|
|
?Riverdance?, 2004.
Examines the African-American tap dancing origins of the Irish dance production, "Riverdance".
2,500 words (approx. 10.0 pages), 5 sources, MLA, $ 75.95
»
Click here to show/hide summary
Abstract
"Riverdance" is arguably Irish step-dancing at its best. This paper shows that it is, however, as much a stepchild of African-American tap dance as it is of the eons-long Celtic heritage. In fact, without the renaissance of African-American tap dancing between the 1960s and 1980s, it is unlikely "Riverdance" would ever have happened. African-American tap dancing, then, is at least the godparent of today?s most popular dance show and a true foundation of what might be called World Dance, just as African-American music can be argued to be a strong basis for World Beat. This paper outlines the seminal events and essential figures that led directly from African-American tap dancing to "Riverdance". The method used to demonstrate the probability that "Riverdance" could not have been created were it not for African-American tap dance is to draw parallels and elucidate convergences between the ancient Irish step-dance and the African-American tap dance forms.
From the Paper
"The event that began to put African American dancers back in the public eye was the Civil Rights act of 1964. 39 After that, the African American performer was not considered just an entertainer, but an artist, a full-fledged member of the mainstream of dance. 40 Although modern ballet artist Alvin Ailey was becoming famous, there was renewed interest in Master Juba, long deceased, and Bill ?Bojangles? Robinson, who had done a ?stair dance? on film with Shirley Temple in the Depression; black dancers from the 1930s and 1940s were overcoming the pejorative aspects of the old minstrel show and coming back as highly sought-after dance artists.41 "
| |
|
Modern Dance, 2004.
An overview of the history of modern dance.
1,117 words (approx. 4.5 pages), 3 sources, MLA, $ 38.95
»
Click here to show/hide summary
Abstract
This paper examines how European and American theatrical dance had always centered on ballet until the early 20th century, when it became fashionable in dance circles to rebel against the strictures of tradition. It looks at how modern dance, which resembles modern art and music in that it is experimental and iconoclastic, developed primarily in the United States and Germany. It discusses how, in the beginning, modern dance was often misunderstood by audiences and how, by the 1950s, modern dance was firmly established in the dance world. It also shows how modern dance is said to be based on the four principles of substance, dynamism, metakinesis, and form, and how, due to the creative efforts of the modern dance pioneers, dancers today use a broader range of techniques, styles, and source materials than ever before.
From the Paper
"The first American dancers to break from classical ballet were Isadora Duncan, Loie Fuller, and Ruth St. Denis (Modern pp). Although their styles differed, their unconventional approaches opened the door to a new era in dance history, namely the American modern dance movement of the 1920?s (Modern pp). Those involved in this movement based their works on personal experience, using their bodies as instruments to express emotions such as passion, fear, grief or joy (Modern pp). The dancer created form as an outgrowth of his or her own communicative impulses, rather than adhering to the set form and limited range of gestures of ballet (Modern pp)."
| |
|
Isadora Duncan, 2002.
Biography of the dancer, Isadora Duncan.
1,572 words (approx. 6.3 pages), 4 sources, MLA, $ 51.95
»
Click here to show/hide summary
Abstract
This paper presents a brief biography of the dancer, Isadora Duncan, as well as a description of her philosophy of the dance form. The paper also discusses her influence on and contribution to modern dance.
From the Paper
"Duncan?s personal success as a dancer should not diminish what is perhaps her greater contribution, her success as a teacher and a creator of her own tradition. She began her first school in Grunewald, Germany in 1904, selecting children from the poorer classes and providing completely for all their physical and materials need from her own pocket. Later, she established schools in both Russia and Paris. Interestingly enough, these schools are proudly proclaimed as providing an unbroken legacy of tradition with their founders. ?The existence of Isadora's dances lies in the transmission of the choreographies from one dancer to another in an unbroken line of generations of Duncan dancers,? writes Lori Belivoe in the periodical and press release of the foundation that bears Isadora?s name. (Belivoe, Isadora Duncan Foundation for Contemporary Dance, ?Isadora Duncan Legacy and Schools?) Duncan?s indefinable, inexact balance between classicism and personal, inner artistic poetic expression manifested in dance thus became a ?tradition? in and of itself."
| |
|
The Pas de Deux in Balanchine's ?Agon?, 2002.
This paper discusses the pas de deux section in Balanchine?s ballet ?Agon? as an example of the virtual gesture.
1,025 words (approx. 4.1 pages), 3 sources, MLA, $ 36.95
»
Click here to show/hide summary
Abstract
This paper explains that the pas de deux section in Balanchine?s ballet ?Agon? is a sculptural representation of a relationship, expressing only aspects of reality in the dance. The author believes through absurdity and grandeur the pas de deux of Balanchine's ?Agon? creates the virtual emotions of a conflicted relationship.The author describes and interprets each part of the pas de deux.
From the Paper
"The pas de deux begins with a series of relatively quick steps performed by both dancers, with the female being one full count ahead of the male. This creates the strong impression that the female is leading the male, and establishes her dominance in the dance from the opening. This is unusual in ballet, where the classical pas de deux is performed with the male leading and the female following. The slightly frenetic opening ends in a pose that is repeated later, with the man above the woman, her leg up in an extreme, attitude arabesque that wraps about his head. This pose is remarkable for the extremity of the movement, and its visual illusion of the woman trapping the man with her bent leg. This pose is one exemplification of the comments of Lincoln Kirstein about the pas de deux, with its "naked strength, bare authority, and self-discipline in constructs of stressed extreme movement" "
| |
|
Isadora Duncan, 2002.
A biography of the life and career of the American dancer, Isadora Duncan.
1,572 words (approx. 6.3 pages), 4 sources, MLA, $ 51.95
»
Click here to show/hide summary
Abstract
This paper reviews the life of the artist, dancer and teacher Isadora Duncan born in 1878 and discusses her contribution to American dance. It examines how Isadora Duncan is largely credited with establishing what we now know as modern dance and how she infused the accepted dance modalities of her day with ideas old and new. It analyzes how Duncan?s attitudes and approaches came from her native America and how these ideas involved a stress upon unfettered athleticism for both men and women. Duncan wished to develop the body?s capacity for jumping, stretching and expressing emotions rather than pure excellence and form in isolation.
From the Paper
"Thus, although she lived and traveled extensively in Europe, it is important to remember Duncan?s origins in the United States and subsequent influence upon American dance?s cavalier attitude towards formulaic traditions. ?Born in 1878 in San Francisco, Isadora Duncan grew up in a childhood filled with imagination and art. Her mother introduced her four children (Isadora was youngest) to classical music, as well as Shakespeare, poetry, literature and art. Isadora spent many hours playing and dancing upon the beach, and even taught dance classes to younger children as a way to earn a little extra money for the struggling family. In her teenage years, Isadora traveled to Chicago and New York with some of her family members, working and performing in various productions such as Mme. Pygmalion, Midsummer's Night Dream or vaudeville shows with limited success."
| |
|
Isadora Duncan:A Pioneer of Dance, 2002.
Examining the life and work of Isadora Duncan and how her dance style developed over the years.
1,412 words (approx. 5.6 pages), 5 sources, MLA, $ 47.95
»
Click here to show/hide summary
Abstract
This paper looks at the life of Isadora Duncan, a pioneer in modern dance. It discusses her early life, personal life and education. The paper then addresses how her dance style was influenced by various elements such as Greek influence and American culture. It looks at Duncan's education and how this impacted her art. The paper concludes with the status of Duncan's dance style today and the existance of the Isadora Duncan Dance Ensemble.
From the Paper
"Isadora Duncan is recognized as one of the pioneers of modern dance as it is known today. Since childhood she had loved poetry, beauty and rhythm. She had a large amount of practical common sense juxtaposed with a dreaming quality, inherited from her father. As her childhood was marked by poverty, Duncan hated reality, and was a rebel (Dickson, 2001). This was all worsened by her parents? divorce and her mother?s insistence that her father was practically subhuman. Furthermore Isadora?s mother disavowed their faith and accepted atheism. The child?s confusion was heightened by the fact that when she met her father, he was a charming, lovable man. This resulted in the fact that Isadora never lost her contempt for the institution of marriage as she had grown up with it."
| |
|
Serge Diaghilev and the Ballets Russes, 2002.
A history of Serge Diaghilev and his ballet company, Ballets Russes, and its influence on the world of ballet.
1,080 words (approx. 4.3 pages), 5 sources, MLA, $ 37.95
»
Click here to show/hide summary
Abstract
The paper gives a history of Russian-born Serge Diaghilev and explains how his unconventional ideas of ballet led to the creation of the Ballets Russes in France. The paper lists the people associated with the company and explains the factors that contributed to the success of the Ballets Russes. The author describes the incredible impact that the Ballets Russes had on the world of ballet.
From the Paper
"Serge Diaghilev was born of Russian nobility in Perm, Russia, on March 19, 1872. In 1890 his family moved to Saint Petersburg, and at the university there, Diaghilev was supposed to study law, but he soon became enamored with the arts and realized that was where his future lay."
| |
|
History of Social Dancing in the Twentieth Century, 2002.
A concise study on the history of social dancing in 20th century.
655 words (approx. 2.6 pages), 8 sources, MLA, $ 23.95
»
Click here to show/hide summary
Abstract
This paper examines historically social dancing in the 20th century, also called couple dancing. The paper describes the five different types: Modern Waltz, Tango, Viennese Waltz, Slow Foxtrot, and Quickstep, all of which are presently danced the world over both socially as well as in dance sport competitions.
From the Paper
"Social dancing was derived from the concept of dancing by a couple, usually a man and a lady, in a closed hand. Coming from the eighteenth and early nineteenth century, these dances gained popularity from the standard ballroom dances with diverse rhythms, tempos, and aesthetics. Although all these aspects changed with the change in the social attitudes, the one thing, which remained common through out the history of dancing, is that of the couple dance or the social dances. (Evans 2001)"
| |
|
August Bournonville, 2002.
This paper takes a look at the life and achievements of August Bournonville, the most celebrated Danish choreographer in history.
1,180 words (approx. 4.7 pages), 0 sources, $ 40.95
»
Click here to show/hide summary
Abstract
The following paper discusses August Bournonville?s family life, the way in which he got to be the principal for the Copenhagen Royal Theatre, as well as their ballet-master and dance teacher. It examines the way in which Bournonville took a very contrasting humanistic approach to dance ? he tended to focus on the beauty found in the ordinary things.
From the Paper
?His third daughter, Mathilde, was a teacher; his fourth daughter, Therese was a homemaker, and his son Edmond was a doctor with a successful practice in both Sweden and Denmark. Wilhelmine was the Bournonville?s adopted daughter, who seemed to perhaps ease his guilt about his daughter whom he had abandoned so many years earlier in France. It is important to interject that Bournonville did keep in correspondence with the adoptive parents of his first-born daughter, and he even corresponded with her after she was on her own. He never revealed to her that he was her father, but he aided her economically at any chance that he had.?
| |
|
The Sundance Ritual, 2001.
An analysis of the Sundance ritual as mystical experience and cultural metaphor.
1,259 words (approx. 5.0 pages), 3 sources, MLA, $ 42.95
»
Click here to show/hide summary
Abstract
This paper looks at how the Sundance ritual is an ancient and primitive pain ritual, designed to test men's bravery and ability to withstand piercing and dancing in the sun for four days without food, water, or rest in exchange for the protection of the Great Spirit and how it is an individual ordeal of sacrifice, discipline, and spiritual awareness. In particular, the paper examines how the dance has become more spiritual and even political due to the current circumstances of its practitioners, namely a very marginalized group of indigenous people living in conditions of poverty and suffering from a number of problems such as alcoholism and loss of group identity due to assimilation pressures and political oppression.
From the Paper
"The Sun Dance itself is four days long and takes place in early summer, but is prepared for throughout the year. The sacred tree that forms the central pole is selected as soon as the prior Sun Dance ends, and is continually prepared until the ritual. The entire community takes part in various aspects of the ritual, including women and children, although only men are pierced. On each of the four days, chants to the four directions are performed, healings are performed, and those who have pledged are pierced and tied to the central pole until their flesh gives way. Although they do retain the practice of flesh offerings, they no longer fast the entire time, but only from midnight to noon. "
| |
|
Christianity, Culture and Dance, 2007.
This paper looks at dance and culture from the standpoint of Christianity.
4,314 words (approx. 17.3 pages), 28 sources, APA, $ 114.95
»
Click here to show/hide summary
Abstract
In this paper, the writer briefly traces Christianity's struggles on the subject of dance. The writer considers historical and Biblical interpretation and cultural developments and notes that the question of how Christians should engage culture in regards to this rather bodily activity is not easily or permanently answered. The writer also expresses her point of view than an appreciation of the physical body, along with its creative expressions is paramount in living out our faith in the Creator and in engaging our culture.
Outline:
Historically and Biblically
Various Church Responses
Where Christians Dance and Why
Conclusion - The Parable of the Lord of the Dance
References
Appendix 1 - The Shim Sham
Appendix 2 - Websites of Interest
Appendix 3 - Lord of the Dance
Appendix 4 - The Ark Brought to Jerusalem
From the Paper
"In the Hebrew tradition, dance was an integral part of celebrations. It was used both in worship, in ordinary life and on occasions of victory and festivity. Dance functioned as a medium of prayer and praise, as an expression of joy and reverence, and as a mediator between God and humanity. This understanding of dance permeated the faith of the early Christian church.
"However, by the time of the Reformation the church, both Catholic and Protestant, had eliminated dance from worship, forcing dance back into the secular realm, where it flourished."
| |
|
Dance and Arthritis, 2007.
This paper explores the relationship between dancers from a young age and the development of arthritis.
2,469 words (approx. 9.9 pages), 14 sources, MLA, $ 75.95
»
Click here to show/hide summary
Abstract
The paper explains that although dance does not directly cause arthritis, improper techniques in dance can cause injuries that result in arthritis. The paper relates, however, that dance can also serve as a means of physical therapy for arthritic sufferers by increasing their range of motion, muscle strength and overall physical and mental health. More specifically, the paper discusses the relationship of dance at a young age to the development of arthritis as well as dance's therapeutic effect on arthritic sufferers.
From the Paper
"Many dancers experience aches and pains though out their dancing careers. Despite the cause of the pain, many find it commonplace, and therefore ignore it. Others choose pain-dulling drugs to overcome the pain. However, pain and "discomfort should not be considered a normal result of dancing. If an ache or pain recurs after a few hours of rest or a good night's sleep, it must be confronted and the source examined." (Horosco, Cures and Myths about Arthritis 108) The causes of these pains are too many to number, but one that many do not realize may be linked to arthritis."
| |
|
Zydeco Music, 2001.
This paper describes zydeco music and dancing, popularized by Creole French speaking people of African decent living on the prairies of south-central and southwest Louisiana.
2,860 words (approx. 11.4 pages), 6 sources, MLA, $ 84.95
»
Click here to show/hide summary
Abstract
This paper explains that zydeco music, a form of dance music, is characterized by a syncopation or a shift of accent in a passage or composition that occurs when a normally weak beat is stressed. The author points out that the accordion and keyrub board, (also know as the washboard, scrub board or a froittoir) are essential parts of the zydeco sound, but there are no fiddles as in Cajun music. The paper relates that traditional zydeco dancing was done subtly, smoothly and upright by couples in a closed position; however, zydeco dancing appears to be evolving from a couples dance to individual free-style. The author relates that Clifton Chenier, who brought the zydeco genre to international attention, reigned as the "King of Zydeco" with a career lasting 30 years, and earned a Grammy award in 1984.
From the Paper
"The changes that have taken place in zydeco music can be tracked by the type of accordion that is used. There were four different models of accordions that have been widely used in the zydeco musical genre, each type varying in the number of rows, and consequently the number of keys. The accordions were sturdy and could be easily heard in big crowds of people. Today, there are diatomic models as well as chromatic models. The diatomic models only play the full-step intervals found in major scales, while the chromatic "piano" accordions encompass half-step intervals..."
| |
|
Analysis of Anne Teresa de Keersmaeker's "Achterland", 2006.
An analysis of Anne Teresa de Keersmaeker's modern dance film "Achterland," from a dance and filmmaker's perspective.
1,190 words (approx. 4.8 pages), 1 source, APA, $ 40.95
»
Click here to show/hide summary
Abstract
This paper analyzes "Achterland," written by Anne Teresa de Keersmaeker. It discusses film techniques, camera placement and the motivation behind the piece, all from the filmmaker's perspective. The paper then examines the dance technique and choreographic standards. Finally, the paper looks at how "Achterland" portrays gender roles and feminism in fine arts.
From the Paper
"Anne Teresa de Keersmaeker's piece Achterland is an award-winning dance film featuring male and female dancers that clearly express the struggle for equality between men and women. The music includes Eight Studies for the Piano by Gyorgy Liegeti and Trois Sonates pour Violon Seul by Eugene Ysaye."
"Filmed onstage with de Keersmaeker behind the camera, viewers are given a great insight into what de Keersmaeker's true artistic vision is. The camera is guided to frame and stress certain aspects of her choreography. It is interestingly done so (i.e. focusing on random body parts) that the viewer is forced to focus on certain things that may not have caught attention otherwise. I was often left wondering if there were specific movements or body parts to focus on, but at times it just seemed like an artistic choice with no real motivation."
| |
|
Review of "The Red Shoes", 2007.
This paper provides a review of Michael Powell's 1948 dance film, "The Red Shoes."
1,500 words (approx. 6.0 pages), 0 sources, $ 49.95
»
Click here to show/hide summary
Abstract
In this article, the writer analyzes the film "The Red Shoes". The writer considers a number of aspects of the film including characters, lighting, dance sequences and color. Further, the writer highlights a number of the film's main themes including passion and jealousy. Overall, the writer maintains that the film's appeal should be attributed to the good taste of Michael Powell and the multitude of prestigious aids he employed such as Jack Cardiff, Robert Helpmann, composer Brian Easdale, and art director Arthur Lawson. Their contributions to the film are invaluable, making "The Red Shoes" a special film that offers overwhelming visual and aural sensations. The writer concludes that combined with the complicated philosophical and emotional issues, Powell and company produced a movie that should stand among the greatest in its genre.
From the Paper
"By the time this plot has come fully to fruition, the film is nearly over. The second act last somewhere around one hundred minutes; it is not hard to imagine a less patient audience being bored with, if not entirely dismissive of, the film's long path toward a culmination that last only a matter of minutes. The Red Shoes, however, is not really a love story at all; the relationship between Craster and Paige is present only to set up some of the larger themes that are all resolved in the end. Thus, the concrete story must be approached as something to be dissected, a narrative with many layers to be pulled away and exposed.
The real goal of Powell's film is to examine the pressures and costs of passion. This theme is focused directly on Vicki Paige; she is the character most influenced by Lermontov and most willing to sacrifice everything for the ballet."
| |
|
Rock and Roll History, 2006.
A discussion regarding the macrocosm and microcosm of 'Rock and Roll History in Coming of Age in Buffalo' by William Graebner and 'Flowers in the Dustbin' by James Miller.
1,125 words (approx. 4.5 pages), 2 sources, $ 44.95
»
Click here to show/hide summary
Abstract
This paper discusses the historical research of both Miller and Graebner rely on different macrocosmic and microcosmic approaches for understanding the rock and roll phenomenon. The paper further discusses how the Miller tends to apply a national approach to his understanding of rock and roll through fashion and musical trends, which often involves secondary sources in the media. Graebner also relies on secondary information to a certain degree, but certainly, he seeks deeper empirical data that reaches into the racial and ethnic barriers that Miller does apply.
From the Paper
"The book review being analyzed here will analyze the microcosm and macrocosm of rock and roll history within Coming of Age in Buffalo by William Graebner and Flowers in the Dustbin by James Miller. By understanding the microcosm of history within a small historical location in Graebner's history, rock and roll is not as generalized as one finds in the more national perspective of music history. While Miller often defines national trends in music and fashion in rock and roll culture, both books offer different points of view on how music history should be analyzed."
| |
|
Dance Movement Therapy, 2005.
A discussion of dance as a form of therapy.
1,575 words (approx. 6.3 pages), 7 sources, $ 62.95
»
Click here to show/hide summary
Abstract
This paper is about dance movement therapy as a form of expressive art therapies. The paper focuses on how dance therapy is about the release of emotional trauma or beliefs as well as feelings that have been suppressed, through appropriate movement. There is a brief history of development of dance therapy as well as a personal story about how fears can limit the ability to dance.
From the Paper
"The expressive arts offer a multitude of opportunities for the human spirit to achieve balance, freedom, relief and potentially self-actualization. While great emphasis in class has been placed on the spirit of the human condition and spirit of the soul, after a brief discussion about the spirit, this paper will focus on what movement and dance therapy are about, the use of dance therapy as a way of unleashing burdensome emotions and psychological pathology in combinations of the arts and solely using dance and movement as the expressive medium. This paper will also include comments on the generally fear and shame based reasons why individuals might initially shy away from dance and movement therapy."
| |
|
Strengthening for Dance, 2005.
Examines the importance of strength when becoming a dancer.
900 words (approx. 3.6 pages), 10 sources, $ 35.95
»
Click here to show/hide summary
Abstract
To be a successful dancer is to be a strong, flexible athlete who has found a balance between physical and mental strength and made the mind to body connection. This paper shows that strengthening is a key element to finding this mind to body connection and in both the physical and mental training of a dancer. This essay briefly discusses the importance of strengthening in the conditioning of a dancer, the best ways to strengthen and the advantages and disadvantages of strengthening."
| |
|
Ballet, 2005.
This paper discusses ballet as a form of dancing and examines its significance.
1,575 words (approx. 6.3 pages), 4 sources, $ 62.95
»
Click here to show/hide summary
Abstract
The paper explains the origin of ballet in relation to semiotics and aesthetics. The paper then discusses its appeal to diverse audiences, using the example of Chinese and Chinese overseas culture. The paper includes notes on the theory of aesthetics and how some may appeal across cultures, as opposed to others. The paper presents ideas of ballet as an institution and not just a form of classical dance, explaining that this depends on location.
From the Paper
"Marcel Danesi explains that dancing is found in all cultures, sometimes as a 'body art' that can be a form of aesthetic communication. (2004, 61) This form of dance can express emotions, moods, ideas, or it can tell a story. Danesi refers directly to Western classical ballet as his example. This paper tells more of ballet and how it can appeal to people, too, who live beyond Western countries, and those who belong to non-Western cultures. As aesthetic communication, ballet has become part of Chinese culture in particular."
|
|
|