Post Modern Dance Essay Example for Free

Post Modern Dance Essay Introduction   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   By the late 1950s, post-modern dance had refined its styles and its theories, and had emerged as a recognizable dance genre. It used stylized movements and energy levels in legible structures (theme and variations, ABA, and so on) to implicate emotions, tones and social conveyance. The choreography was buttressed by expressive characters of theater such as music, props, special lighting and costumes. The aspirations of post-modern dance, anti-academic from the first, were simultaneously primitivist and modernist[1]. Meanwhile, the new wave dance, which had seemingly replaced the post-modernistic era had issued characteristics similar to the post-modern dance through message implications, but also performs altered character through presentations themselves. The topic for the discussion involves the Twyla Tharp as the new wave dance and the post-modernistic dance. Twyla Tharp Choreography: Post-modern Era 1960-1973   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Twyla Tharp began her career in 1965, at the age of nearly 23, with Tank Dive, a work in three movements, choreographed for her and four non-dancers. It was performed partly to the accompaniment of Petula Clark’s recording of â€Å"downtown†[2]. In the dance world, perhaps only Twyla Tharp could have fitted such a definition at the time, but her work was not commonly considered post-modern dance[3]. Twyla Tharp’s early choreography explored many of the same experimental issues that interested the Judson choreographers, the Grand Union, and Meredith Monk[4]. Several of Tharp’s dances, beginning with Tank Dive (1963), contrasted dance and pedestrian movement vocabularies and mixed trained and untrained performers. Tharp could transpose movement from one context to another because of her various syntactic procedures. Whether the movement was pedestrian or theatrical in origin, Tharp manipulates it using simple mathematical equations or principles based on theme and variation[5]. Twyla Tharp had greatly contributed in the field of post-modern dance. By the end of 1973, she hit her greatest success in the field of post-modern dance. The water-shed in her career was Deuce Coupe (1973), which Robert Joffrey commissioned for his ballet company[6].   During this year, another generation of dance trend was born and Tharp’s contribution to the post-modern dance had greatly provided certain contributions to the New Wave modern dance of 1973. New Wave Modern Dance: 1973   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Meanwhile, the next generations of younger choreographers of 1973 such as Peter Gordon of Life Orchestra of 1977, Karole Armitage, Rhys Chatham, and many others had initiated the formulation of new wave dances. If Twyla Tharp performed in silence at the Judson Church in 1966, had diverged from the analytic postmodern line of inquiry because her choreography was so musically inclined, by the early 1980s, when the analytic choreographers â€Å"rediscovered† music and its various uses, such interest realigned the fields of dance steps and choreography. The next bearers of dance trends had differentiated themselves from their minimalist, analytic, anti-music forebears in a way that fit with the general cultural trend; in part to engage with their own artistic contemporaries in other fields. For the late seventies and early eighties, the younger generations of new music composers were often hybrid creations that endeavors pop experience and characteristics[7]. Modern dance today is a virtual accumulation of all the influences mentioned in the past evolution of dance steps. The plurality of perspectives has not dampened debate nor the tension that has continued to generate innovation in modern forms. The basic idea of dance in Tharp’s concept of post-modernistic dance has placed remains in the evolution of choreography evidently through instinctive pairings[8]. One example of modernistic evolution occurred in 1973 wherein the Alvin Ailey company revived Ted Shawn’s Kinetic Molpai and merged the tradition of white gay men with that if African American men. The achievement and influence of choreographers such as Trisha Brown and Twyla Tharp greatly revolutionize the characteristics of the new wave dance or the modern dance of 1970s[9]. Characteristics of New Wave Dance   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   During the trend of the late dance choreographers including Twyla Tharp, dance steps mainly connote ballet form. The term modern dance or new wave dance connotes absence to little presence of uniformity and synonymous steps. The most striking features of its development were that of a diversity of forms. New wave dance refers to performance art dance that is not founded on the ballet nor in the various forms of popular dance entertainment, although, relationships might still be traced since the basis of these modern steps were these classical or post-modernistic choreographies[10]. Modern dance chiefly aims the expression of an inner compulsion; but it has also seen the necessity for vital forms for this expression, and indeed has realized the aesthetic value of form in and of itself as an adjunct to this expression[11]. New wave dance possessed relatively increased dynamics and patterns of steps, which encourages freedom of movement through expression, emotions, or creative instinct of the dancer[12].   From this desire to externalize personal, authentic experience, it is evident that the scheme of modern dancing is all in the direction of individualism and away from standardization[13]. Twyla Tharp’s Involvement in Modern Dance   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The next wave dances were greatly influenced Tharp whose work has embraced both sides of all these pairings and indicated a shift toward a concern with the dance’s perceptual effects. Representation and abstraction, emotion and motion, content and form, and psyche and environment are the prime similarities of ballet dance step formulation of Tharp and the composition of next wave dances. However, the differentiations of these dances are the standardization and strict classicism of post-modern dance of Tharp, while next wave dances basically thrived free expressions[14]. Bibliography Julia L. Foulkes , â€Å"Modern Bodies: Dance and American Modernism from Martha Ailey†, UNC Press (2002)183 Martha Bremser, â€Å"Fifty Contemporary Choreographers†, Routledge (1999) 217 Michael Huxley and Noel Witts, â€Å"The Twentieth Century Performance Reader†, Routledge (2002) 38 Press (1994) 321 Randy Martin, â€Å"Performance As Political Act: The Embodied Self†, Praeger/Greenwood (2000) 91 Sally Banes , â€Å"Writing Dancing in the Age of Postmodernism â€Å",Wesleyan University Susan Leigh Foster, â€Å"Reading Dancing: Bodies and Subjects in Contemporary American†, University of California Press (1998) 209 [1] Michael Huxley and Noel Witts, â€Å"The Twentieth Century Performance Reader†, Routledge (2002) 38 [2] Martha Bremser, â€Å"Fifty Contemporary Choreographers†, Routledge (1999) 217 [3] Huxley and Witts, 38 [4] Susan Leigh Foster, â€Å"Reading Dancing: Bodies and Subjects in Contemporary American†, University of California Press (1998) 209 [5] Foster, 209. [6] Bremser, 217 [7] Sally Banes , â€Å"Writing Dancing in the Age of Postmodernism â€Å",Wesleyan University Press (1994) 321 [8] Foster, 209; Bremser, 217 [9] Julia L. Foulkes , â€Å"Modern Bodies: Dance and American Modernism from Martha Ailey†, UNC Press (2002)183 [10] Helen Thomas, â€Å"Dance, Modernity and Culture: Explorations in the Sociology of Dance†, Routledge (1995) 24 [11] Huxley and Witts, 38; Foulkes, 22 [12] Bremser, 217; Banes, 321 [13] Huxley and Witts, 38; Foulkes, 297, 300 [14] Randy Martin, â€Å"Performance As Political Act: The Embodied Self†, Praeger/Greenwood (2000) 91

Free Essays - Tough Times in The Shipping News :: Shipping News

Tough Times in The Shipping News People in society tend to face many challenges that occur in their lives. Some of these challenges can affect people's lives in a positive way or a negative way. If they face their challenges in the negative way, they will suffer for a long time. Having confidence in themselves is considered the best way to overcome the suffering they have in their lives. In the novel, The Shipping News, by Annie Proulx, Quoyle deals with many difficult challenges along his life journey by suffering from bad childhood experiences which led him to have a low self confidence, falling in love with the wrong person that made his life miserable, and raising his two children on his own without getting any support from his wife. Quoyle experiences a lack of self confidence during his life journey that makes him think wrong of himself. He has never seen one happy day in his life since the day he was born. One of the main experiences he had to go through was his childhood. Quoyle was not treated as a son by his family since he was a child. He believed that he had been given to the wrong family. "Until he was fourteen he cherished the idea that he had been given to the wrong family, that somewhere his real people, saddled with the changeling of the Quoyles, longed for him." (Proulx, Pg 2). This shows how Quoyle's confidence started dropping since he was a little boy. In most times, Quoyle's father would always put him down on anything he says or does. This issue is considered one of the reasons for causing low self confidence in Quoyle. For instance, Quoyle's father is knows as an aggressive parent that only cares about himself and his satisfaction when he forces Quoyle to swim without teachin g him or fearing about his life. This statement is proven when it is said in the novel, "Quoyle feared water, could not swim. Again and again the father had broken his clenched grip and thrown him into pools, brooks, lakes, and surf." (Proulx, Pg 2). This quote indicates how bad a father can be treating his son in a horrible way where his son is close to death.

The First Australian- Aboriginal Australia

Indigenous spirituality can be defined as the incorporation of a community’s spiritual trail, alongside which it progresses to attain a given purpose, like a higher state of responsiveness, outreach understanding or empathy with the Creator. For example the Aboriginal spirituality is a feeling of unity, of belonging and mostly connected to land.To them land is their culture, food, spirit and identity. Spirituality is demonstrated by use of rituals, ceremonies and or paintings. It is dynamic and has assimilated rudiments of other beliefs (Beaman 2002).Source: http://wwwcreativespirits.info/aboriginalculture/spirituality/ On the above picture the Aboriginal people are seen on a ritual to fill ochre in an old tree pit carving. This carving is a representation of a departed person’s court of arm. Its feeling symbolizes healing. Dreaming according to the Aborigines is used to illustrate the associations and stability between natural, moral and spiritual basics of the world. It goes beyond the literal meaning on that it depicts the period of time between the beginning of the universe and living reminiscence or originator ancestors.Dreamtime is a term used to describe the period during which the earth, the heavens above together with all their contents were created by the actions of paranormal and inexplicable beings. It is the surroundings in which the Aboriginals stayed in and still exists â€Å"all around us† as they say. This was an important aspect as the Aborigines were educated on the origins of the ethnic group through the dreamtime establishment myths which were the foundation of Aboriginal society dependable for proving conviction of existence.They played a big part towards their survival as evident in so many years. However, it is worth noting that ‘dreaming’ is mostly used in reference to believe or spirituality of a group or individual. Dreaming according to the Aboriginals offers a pleasant structure for individual under standing in the universe (Elkin 1993). One of the most horrifying aspects in the history of Australia is the forced snatching of Aboriginal children from their families. Young children were stolen from their parents and taken to children homes, foreign families and missions.The children brought up in the missions or through foster guardians were denied their Aboriginal traditions. They were tortured if caught speaking their native language and the young ones were not taught anything to do with Aboriginality. Boys were trained to become stockmen and girls to be household servants. In the missions the children were often subjected to physical and sexual abuse. It was only after reaching the age of majority that they were freed to the white society, habitually victimized by their occurrences.As a result of stealing the children of the Aboriginals the white people stole their future. Traditions, Language, dances, knowledge and spirituality were halted and the whites hoped that the Abori ginal culture would be demolished in a very short time. The effects on the stolen generation were loneliness, identity loss, mistrust to all, internal guilt, obscurity to find own religious believes, depression and Trans-generational traumas among others (Elkin 1993).In Australia the Aboriginal art dates back to more than a millennium, rock art and bark painting being the most common. These are usually painted with worldly colors especially from ochre. The Aboriginals poses painted narrations from Dreamtime. Today their artists carry on with their traditions using modern arts and materials. It is the most distinguished in the world and it makes me feel attracted to it. Source: http://www. creativespirits. info/aboriginalculture/spirituality/The above picture shows an example of an Aboriginal spiritual picture of the crucifixion. This was used in Sydney on The Catholic World Youth Day in the year 2008. This clearly shoes how the ancient Aboriginal art is being used relevantly in mode rn days. References Beaman, J, 2002, Aboriginal Spirituality and the Legal Construction of Freedom of Religion, Available At: < http://jcs. oxfordjournals. org/cgi/reprint/44/1/135. pdf Elkin, A. P, 1993, Aboriginal Men of High Degree. Inner Traditions, Carson.

Symptoms And Treatment Of Bipolar Disorder - 762 Words

Bipolar Disorder 2 Disorder history, In the 19th century psychiatry, mania had a broad meaning of craziness, hypomania was equated by some concepts of â€Å"partial insanity† or monomania. Bipolar disorder origins in 1854, Jules Baillarger and Jean-Pierre Falret, independently present descriptions of the disorder to Academie de Medicine in Paris. German neuropsychiatrist Emanuel Mendel in 1881 wrote â€Å"that he recommended using words by Hippocrates to name those types of mania that show less severe ‘hypomania’ (wikipedia.org, n.d.). Carl Gustav Jung in 1903 wrote a paper about the first diagnostic distinction to be made between manic and depression involving mania followed by the involvement of hypomania. By 1975, Jung’s distinction between hypomania and mania gained support. Fieve and Dunner published an article about only individuals in manic state require hospitalization. The presentation of either the one state or the other differentiates two distinct diseases. This p roposition was met with skepticism. Studies have since confirmed that bipolar II is a â€Å"phenomenologically† distinct disorder (www.psychologytoday.com, n.d.). Background, Bipolar disorder formerly called manic depression. Causes extreme mood swings and includes emotional highs and lows. Bipolar disorder is a disruptive, long-term condition. Bipolar disorder is controlled by medications and psychological counselingShow MoreRelatedBipolar Disorder : Symptoms And Treatment854 Words   |  4 Pagesmedical condition known as bipolar disorder. Bipolar disorder is when a person suffers from severe shifts in mood and energy. In most cases, bipolar disorder can be treated and people with the illness can live normal and productive lives with the help of medication and or therapy. Aiken, C. (2010). Family Experiences of Bipolar Disorder: The Ups, the Downs and the Bits in Between. Retrieved from Ebsco Host. In this book the author discusses her own dealings with Bipolar Disorder. 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