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The Semiotics of Dance, 2005.
This paper discusses the semiotics of dance, with a focus on ballet.
1,575 words (approx. 6.3 pages), 4 sources, $ 62.95
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Abstract
This paper looks at ballet as the form of dance. The paper presents the major argument that ballet is used to create ideas of cultural superiority. The paper considers that at the same time this cultural superiority is used to make other cultures look inferior.
From the Paper
"Art forms are filled with signs, messages, symbols and a whole range of other semiotic features. In Messages and Meanings II Marcel Danesi defines art as, "Disciplined expressive activity that provides the people who produce it and the community that observes it with a range of experiences that might be aesthetic, emotional, intellectual, or a combination of these (Danesi 2004: 332)." Many activities within human societies could be considered art. Singing, music, sculpting, drawing or painting, writing and acting are all activities preformed by societies that are considered art. Each piece of artistic work is filled with symbols, signs and meanings."
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The Multi-Cultural Connection of Dance, 2005.
This paper discusses the multi-cultural connection of dance presented through 'divine love' in Kathak, Middle Eastern and Flamenco dancing.
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
In this paper, the writer discusses that the Baile, Egyptian Cabaret, and Nritta represent a cross-cultural connection in world dance, which embodies the love that men and women share for each other. In this manner, the religious idioms of the cultures described here represent the manner of movement that depicts love, but through the sacred ideals of commitment and love. The writer points out that although these differ slightly in the accompaniment of dancers, or in the stylistics of the choreography, there is a archetypal cultural unifier that relates the desire and higher love of men and women across the world.
From the Paper
"This study examines the multi-cultural aspects of "divine love" in Kathak, Middle Eastern, and Flamenco dancing. Within these dances there is a greater blend of different cultural values that make up each of the formats of these dances. In this manner, the chain of influence upon the Kathak, Middle Eastern, and Flamenco dances offer a multi-cultural depiction of how dance is not created within the limitations of geographical boundaries. By understanding the cultural similarities based in these dances, one can realize the power of movement that is a commonality within the religious and divine nature of love. The Kathak dance is a religiously based dance that formally uses the divinity of love for Indian gods, and their dance in the Cosmos."
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Religious Dancing, 2005.
This paper examines the Indian and Indonesian forms of religious dancing.
900 words (approx. 3.6 pages), 2 sources, $ 35.95
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Abstract
This paper explains that many dance traditions have originated in India and Indonesia, such as the Bharata Natyam from South India, which had an important historical and cultural influence on the history of India. The author points out that important elements of Hinduism, particularly the figure Nataraja, a form of Shiva, are expressed in Bharata Natyam. The paper relates that this dance, as well as many other religious dances, demonstrate the integral relationship between religious dances and the religious themes that inspire them.
From the Paper
"Many dance traditions have originated in India and Indonesia, such as the Bharata Natyam from South India, which had an important historical and cultural influence on the history of India. Important elements of Hinduism, particularly the figure Nataraja, a form of Shiva, are expressed in Bharata Natyam. This dance, as well as many other religious dances, demonstrates the integral relationship between religious dances and the religious themes that inspire them. In terms of specific details of Bharata Natyam, it emerged in southern India and developed over the centuries as a living tradition as generation after generation handed it down from parents to children, and gained ascendancy when the Devadasi system emerged in India."
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Ballet and The Ballet Dancer, 2006.
A look at ballet as an art form and the demands ballet has on the ballet dancer.
1,680 words (approx. 6.7 pages), 6 sources, APA, $ 54.95
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Abstract
This paper takes a look at the history of the art of ballet, as well as reviews the different types of the ballet dance and the strenuous demands that ballet makes on the dancer. This paper also covers various dance choreographers and their particular styles of dance.
From the Paper
"Classical ballet celebrates the potential harmony of the human body, the utopian ideal of collective endeavor, the possibility of the interchange between masculinity and femininity. Something of this is what has recommended ballet to the communisms of the USSR, Cuba and China. Beneath the aristocratic tat of the settings and the charming but dispensable never-never of the stories, there is an implicitly socialist vision.
Yet classical ballet must of course always come wrapped in the specifics of where and for whom it is performed, what other values and meanings it is attached to, and these are riven with contradictions. In practice, in Britain, classical ballet is, at one and the same time, elitist and popular, and woman-centered, heterosexist and part of gay male culture, universal and distinctly white. It is all of this at once.
It is selective in part because it is expensive. Not only are sets on a grand scale and not only do most of the classics require large casts, but behind all that there are the years of investment in training. "
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Flamenco Music, 2004.
This paper is a discussion of the modern style of flamenco music.
1,356 words (approx. 5.4 pages), 6 sources, MLA, $ 47.95
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Abstract
The writer discusses the modern style of flamenco music in Spain. In this paper, the writer looks at the performers of flamenco music. The writer examines the impact of flamenco on Western music. Flamenco icons are also discussed and the writer looks at how the songs tell a story.
From the Paper
"Flamenco is the quintessential music of Spain. It springs not merely from a musical heritage but from an entire way of life. Spaniards the Andalucians and the Gypsy peoples have a long history of music and dance of many different styles. From the familiar works of Placido Domingo, Jose Carreras and Montserrat Caballe to the lesser known classical composers Isaac Albeniz, Enrique Granados, Fransisco Guerroro and Fransisco GilValencia, Spanish culture has spread its influence around the world. Contemporary icons like Julio Iglasias and his son ... "
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Loie Fuller, 2004.
An overview of the career and art of dancer, Loie Fuller.
675 words (approx. 2.7 pages), 2 sources, MLA, $ 23.95
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Abstract
This paper discusses the art of dancer Loie Fuller and her illustrious career as a dancer. It looks at Fuller's unique contribution to dance as an innovative blend of the artistic and the scientific. The paper contends that although her dances cannot compare on a technical level with the kinds of special effects that even a straight-to-video movie has today, she is in many ways directly responsible for what we see on both stage and screen.
From the Paper
"Loie Fuller was not a great dancer. Although she studied dance as a child she quickly gave up on the lessons because she found them too difficult. But this did not stop her from having an illustrious career as a dancer because Fuller did have something wondrous to offer her audiences which was a unique and innovative blend of the artistic and the scientific. Although her dances in which she was partnered with the magic of early electrical lighting cannot compare on a technical level ..."
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Latin American Identity Formation, 2004.
A look at the obstacles faced by Latin America in its attempt to forge its own identity.
1,125 words (approx. 4.5 pages), 6 sources, MLA, $ 39.95
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Abstract
This paper presents an analysis of how Ruben Dario's poem "To Roosevelt" and the music and dance form known as "tango" are representative of the Latin American struggle to forge an identity.
From the Paper
"If the history of Latin America can be described as a search for a viable identity, then without doubt two expressions of that identity come in the form of Ruben Dario's poem "To Roosevelt" and the dance and music form known as tango. Having won independence from, Spain having survived an umber of civil wars and having to contend with its increasingly powerful neighbor to the north, Latin Americans continued to struggle to formulate a viable identity. Because of both internal and external oppression..."
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"Philadanco", 2003.
A discussion on "Phildanco", a dance company in Philadelphia.
920 words (approx. 3.7 pages), 5 sources, MLA, $ 31.95
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Abstract
This paper discusses the dance company and school "Philadanco". It includes a discussion on both the school and the company that uses primarily African American dancers. The author also explores the form of this modern dance.
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The Arts Environment in Australia, 2004.
A look at how the dance sector fits into the arts environment in Australia.
4,133 words (approx. 16.5 pages), 22 sources, MLA, $ 110.95
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Abstract
The arts environment in Australia has always been tenuous in terms of financial stability and working conditions for artists. The dance sector in Australia appears to be the most fragile part of the arts sector, consistently receiving lower funding than literature, music, theatre and visual arts. This paper looks at these issues focusing on both Bangarra Dance Theatre and One Extra Company.
Outline
Introduction
Background of Bangarra
Background of One Extra
Funding
One Extra and Bangarra Funding
Sponsorship
Working Conditions
Mid Career Artists
Creative Output of Australian Work
Artistic Vibrancy
Conclusion
From the Paper
"Funding available from the NSW Ministry for the Arts for dance is the fifth lowest nationally. (Fishel, D. et al, 2004, p50) The states which receive less state funding for dance are the states with the smallest populations (South Australia, Australian Capital Territory, Tasmania and Northern Territory) and two don't have permanent dance companies (ACT & Tas). It seems illogical that NSW, a state with multiple dance companies and a large population, receives only a small amount more than these states and territories."
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New York City Ballet, 2006.
Examines the history of ballet and New York City dance company, BalletNY, in particular.
1,900 words (approx. 7.6 pages), 11 sources, APA, $ 60.95
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Abstract
This paper examines the history of ballet from 15th century Italy until present day. It then looks at the history of BalletNY, formerly DanceGalaxy and founded in 1997 by former New York City Ballet Principal Ballerina Judith Fugate and international guest artist, Medhi Bahiri.
Paper Outline:
Introduction
Humble Beginnings
The Emergence of Ballet
Opera Ballet
Liberation Ballerina
Social Change
A Decline In Interest
The New York City Ballet and BalletNY: Full Circle
Bibliography
From the Paper
"Judith Fugate is a former principal ballerina with the New York City Ballet. She has danced roles in virtually every ballet in the NYCB repertoire counting Peter Martins and Mikhail Baryshnikov among her many famous partners. In 1997, she left the New York City Ballet Company to purse a career as a freelance Guest Artist and Co-Artistic Director of what is now known as BalletNY. In addition to touring extensively, Fugate has appeared on "Live from Lincoln Center" with Ray Charles in Peter Martin's "A Fool for You", and in the Metropolitan Opera's production of "La Traviata", conducted by Placido Domingo."
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Ruth St. Denis and Charles Weidman, 2005.
Explores the evolution of these two American modern dancers.
1,937 words (approx. 7.7 pages), 3 sources, MLA, $ 61.95
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Abstract
This paper examines the dance styles of Ruth St. Denis and her student, Charles Weidman, who went on to found his own school of dance. The paper examines how Denis influenced Weidman and how his style differed from hers. The paper also discusses why Denis's style was so appropriate to the 1920s, and Weidman's style suited the 1930s.
From the Paper
"Ruth St. Denis, born Ruthie Dennis, was the greatest dancer of the 1920s, and her former student Charles Weidman was one of the most important dancers of the 1930s. Their respective aims and styles are in many ways divergent, partly as a result of the eras in which each dancer reached his/her artistic peak. Of the dancers' respective troupes, Pattie Jordens writes that while "Denishawn developed modern dance in America, Humphrey-Weidman made modern dance American". Ruth St. Denis created entertaining, artistic dances popular across all portions of society. She explored the exoticism and spirituality of Eastern countries, creating gorgeous spectacles well-suited to the Roaring Twenties. Charles Weidman left St. Denis' troupe shortly before the crash of the stock market, so his technique developed in a society to which extravagance and foreign deities were not suited. Weidman's dancing represents the experience of men and women in twentieth century America."
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Chorus in Ancient Greek Drama, 2005.
The paper describes the role of the chorus in ancient Greek theater. It talks about the origin of the chorus and theater and how the chorus worked in the Euripides's "Hippolytus". The paper also focuses on the effect Greek theater had on modern theater.
1,824 words (approx. 7.3 pages), 6 sources, MLA, $ 58.95
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Abstract
This paper tells what the chorus brought to Greek theater and how theater was shaped because of it. The paper discusses this topic while examining one of the most famous Greek play, "Hippolytus," by Euripides. The chorus was a crucial part of theater during that time and was used to narrate the story, give their opinion of the plot, and keep a rhythm for the play. The chorus did this in various ways, such as through costumes, stage presence, music, and singing. The Greek chorus was a precursor to operas and musicals as we know them today, and the paper discusses this evolution of the chorus.
From the Paper
"The chorus is essential to ancient Greek drama, and the plays at that time were greatly dependent on song and dance which the chorus performed (Ley 28). It accompanied the actors with sounds, gestures, postures, costumes, masks etc, and these flowing actions and stage elements brought the play to life. The various roles of the chorus are to narrate, give their opinions and keep the rhythm of the play. They do this through singing, movement, and stage presence. The ancient Greek theater is also important because it was the precursor to operas and musicals as we know them today. This paper will discuss the importance of the chorus' roles on the Greek stage by examining Euripides' Hippolytus and also how it influenced modern theater. To fully understand the reason for the chorus it is necessary to know the history."
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?Stamping Ground?, 2004.
Discusses to what extent this dancing sequence was influenced by aboriginal culture.
1,314 words (approx. 5.3 pages), 9 sources, MLA, $ 44.95
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Abstract
Recently, there has been much controversy surrounding "Stamping Ground", an Aboriginal-inspired piece choreographed by Jiri Kylian. The debate focuses on what Jiri Kylian took from the Aboriginal culture and if it was, indeed, an imitation. To explore this issue in fuller detail, this paper presents insight into Jiri Kylian and the Aboriginal culture. Based on these findings, the paper argues that Jiri Kylian has not imitated Aboriginal dance in "Stamping Ground"; if he had, it would be regarded by the Aboriginal community as a theft.
From the Paper
"The jumps in Stamping Ground were also quieter, less impact noise on the surface. Aboriginals tend to exhibit a great deal of energy and aggression in their dances that is accompanied by a tremendous amount of sound, whereas the first half hour of Stamping Ground is performed with no music at all. Most importantly, the major difference observed between the work of Jiri Kylian and the Aboriginals is the number of people involved in the dance. The Aboriginals always perform in groups, in Stamping Ground, the majority of the time only one dancer is performing. There are at most three performers on stage at any time (Road to the Stamping Ground)."
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Twenty Years of Drama, 2004.
Examines the changes, trends, and evolution in the entertainment industry.
5,530 words (approx. 22.1 pages), 17 sources, MLA, $ 134.95
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Abstract
This report presents an analytically critical paper regarding the trends of the entertainment industry, with a main focus on the drama and theater industry. The paper addresses the topic decisively, attempting to find reasons and supporting arguments for why the loss of media like the theater industry reflects on human nature. The paper also tries to show that the basic premise of the theater industry is in dire straits, and that position should become a common concern for society. Furthermore, this report attempts to develop sound reasoning in support of the conclusion that the overall change or shifts in the mode of entertainment in the last 20 years make it difficult for the drama and theater industry to maintain its standing in the entertainment community. Finally, the report tries to show what society wants and why, suggesting that, as today?s younger generation continues to be driven the Internet, cell phones, and satellite television, a lack of human contact and the development of the computer age have been too strong an influence and that people have a combination of more interesting, yet at the same time, more stressful lives.
Drama and Attendance
Audience and Fan Base
9/11 -- New York
Introducing Children to the Theatre
Alternatives to Theatre and Violence
Today's News
From the Paper
"The theater has outgrown its role as a palace for vaudeville performances. This report is an attempt to show what society wants and why it the theatre industry is not capable of meeting those needs and expectations. As today?s younger generation continues to be driven by reality TV shows, Microsoft messenger chat capability, cell phones that take pictures and satellite TV with over a thousand channels of nothing, this report proposes that a lack of human contact and the development of the computer age continue to strangle our ability to interact with one another. The medium of live theatre no longer meets the needs of a population that have a combination of a more interesting yet at the same time more stressful life."
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Pole Dancing, 2004.
An analysis of the performative aspects of healing through pole dancing.
4,698 words (approx. 18.8 pages), 12 sources, MLA, $ 121.95
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Abstract
This paper examines how dance?s relationship to the healing forces in ritual is at the heart of the question of how we understand the healing power of ritual. It analyses the peformative approach, as exemplified in V. Turners work, before going on to consider the in-depth case study of the Khita healing cult among the Yaka. It also argues for a dialectical approach to the roles of poles in dancing.
From the Paper
"In such a social drama, the place of the symbols involved is that of a displacement that works by signifying ? there is no emphasis on symbolisation as process. This has implications for how we understand dance. Dance then, can occupy a positional place within this world, but only as a disguised expression of the social. This is also the case with other elements of the senses and the emotions. In the Nkula cult, the rich social drama includes the placing of initiate?s belongings and excreta into a calabash with a figure made of a red tree ? this figure is made by men. For Turner, this indicates men asserting their domination over reproduction ? the importance of the red blood tree us worked out positionally, as metaphor only has meaning in the transference from other domains of cosmology."
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Becoming a Master of Ballet, 2004.
Talks about the extremely difficult criteria that must be met in order to become a master of ballet.
1,343 words (approx. 5.4 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper gives an overview of the physical, social, emotional, and financial hardships that a professional ballet dancer must endure throughout his or her career.
From the Paper
"One of the hallmarks of good ballet dancing is the seemingly effortless grace of the performers. Particularly, the high-level dancers of a ballet company elevate movement to an art in motion, almost in defiance of the laws of gravity, and in direct distain to the limitations of the average human body. For these ?prima ballerinas,? balance, range of motion, and control of muscle, borders on the miraculous?for to see them execute a grand jete (a running, jumping split), or a flawless grand battement (a kind of controlled kick), can conjure nothing short of slack-jawed awe."
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Flamenco Dancing, 2004.
Examines the origins of this form of Spanish dance.
825 words (approx. 3.3 pages), 4 sources, MLA, $ 29.95
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Abstract
Because Flamenco evolved over centuries of time in Southern Spain, historians are uncertain about the exact origins of Flamenco dance. However, Flamenco undoubtedly grew out of gypsy traditions, which had their origins in Indian and Middle Eastern cultures. The paper traces the origins of this dance form in gypsy culture and shows how it ultimately meshed with Spanish dance forms to become a symbol of Spanish dance.
From the Paper
"Performed mostly for family gatherings and cultural festivals, early Flamenco was not considered to be a specifically Spanish art form, as it is today. Rather, Flamenco was the express domain of gypsy culture in Southern Spain, symbolizing the uniquely colorful character and emotional quality of that much maligned group of people. Flamenco dance might have also incorporated elements from Jewish and Moorish cultures that existed in Spain, cultures that were persecuted alongside the gypsies."
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The Skill and History of Dance, 2004.
Explores the historical significance of dance in human development and culture.
1,329 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
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Abstract
This paper explores the social, artistic, and religious aspects of dance throughout history and how these forms of dance have been a part of human society since prehistoric times. The paper also looks at the health benefits derived from dancing and how dance has been used to tell stories, to record history, and as a form of therapy.
From the Paper
"The skill of dance today is often thought to be reserved for the participants of higher arts such as ballet or for young participants in hip-hop and rave dances. However, dance is an integral part of the history and culture of all humans, and remains alive in many forms within people of all walks of life. ?It is the wedding of movement to music. It spans culture from soaring ballet leaps to the simple swaying at the school prom,? (Burke) and every kind of human movements, from walking to breathing, are elements that make up dancing. However, dance actually ?goes beyond the functional purposes of the movements used in work or athletics in order to express emotions, moods, or ideas; tell a story; serve religious, political, economic, or social needs; or simply be an experience that is pleasurable, exciting, or aesthetically valuable.? (Art) Dance is an important and beneficial art in which to participate and to support because of its rich cultural history and diversity, spiritual significance, and health benefits."
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African-American Dance and Women, 2003.
Examines the influence of African-Americans in shaping the history of dance in the U.S.
1,125 words (approx. 4.5 pages), 5 sources, $ 39.95
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Abstract
Discusses contributions to dance, popular dances of the past, and female trend setters in African-American dance, including Aida Overton Walker and Katherine Dunham and her ballet group.
From the Paper
"African-Americans are credited with having been highly influential in shaping the history of dance in the United States. Since the introduction of the "cakewalk" launched social dancing in the 1800s, African-Americans ..."
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