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"Isadora", 2002.
Uses the 1968 film, "Isadora" to discuss the life of non-conforming dancer, Isadora Duncan.
650 words (approx. 2.6 pages), 1 source, $ 26.95
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Abstract
Based on the film "Isadora", this paper describes the life and dancing tradition promoted by Isadora Duncan. The paper highlights her non-conformist position in art and life.
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Sioux Culture, 2002.
This paper provides a cultural and historical background on the Sioux and the role of music in American Indian cultures.
10,689 words (approx. 42.8 pages), 31 sources, MLA, $ 212.95
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Abstract
This paper examines both what the Sioux cultures were like before European contact as well as what that culture has evolved into. The paper focuses on the music of this people set within a broader artistic and cultural and even political context. The paper is broken down into four chapters: An introduction into the Sioux people, their musical instruments, the songs of the people, and finally a larger cultural context. The final section of this paper examines the Sun Dance and the Ghost Dance as the two most important single types of musical performance.
From the Paper
"Traditional Sioux of the last century ? or the centuries before ? would have found the entire idea of putting on their best clothes and going to a concert hall to listen ? as relatively passive observers ? to a musical performance extremely odd. For them, as for other native peoples of the Americas (and arguably other native peoples throughout the world before the onset of industrialization) music was something that was integrated into the fabric of ritual and everyday life."
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AIDS in the Dance Community, 1994.
This paper discusses the reaction of the dance community to the problem of AIDS: Deaths, awareness & activism, benefits and reasons for delay in dealing with crisis (denial, secrecy).
1,575 words (approx. 6.3 pages), 5 sources, $ 55.95
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From the Paper
"AIDS has been especially devastating to the dance community, both in terms of personal lives lost and talent the world will never see. Well into the second decade of the AIDS virus, we tally the losses and wonder who will be next. The roster of victims reads like a who's who of incomparable talent from the fields of musical theater to classical ballet. New AIDS help groups are formed continuously, as each field rallies in support of its own membership. Professions allied to dance, such as theater, fashion, and music, have responded by creating their own support networks for artists terminated in their most germinal years.
Promoting AIDS awareness and activism are groups such as Gay Men's Health Crisis (GMHC), AIDS Coalition to Unleash Power (ACT UP), and Community Health Project (CHP). They in turn have encouraged professions severely affected by AIDS to rally. Several groups have already taken steps to confront the epidemic. In the arts, the theater, fashion, and music .... "
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Nijinsky, 1993.
A look at the choreography style, innovations, techniques, influences, public reactions, themes and plots of the ballets "L'Apres-Midi D'un Faune" and "Jeux".
4,275 words (approx. 17.1 pages), 14 sources, $ 135.95
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From the Paper
"This paper will discuss Nijinsky's choreography style, as seen in the ballets L'Apres.Midi D'un Faune and Jeux. Vaslav Nijinsky was born in 1889 or 1890 in the Russian town of Kiev. As a child, he was admitted to the Imperial School of Ballet where he soon established himself as a brilliant dancer. In 1909, he joined the Ballets Russes, which was run by Serge Diaghilev. Nijinsky became an international star in his work with the Ballets Russes, and he remained with the troupe until 1913. In 1919, Nijinsky's career was cut short when he suffered a nervous breakdown. He remained in sanitariums until his death in 1950.
During his relatively short career, Nijinsky choreographed only four works for the stage. L'Apres.Midi D'un Faune (1912) and Jeux (1913) were both based on the music of the French..."
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Vaslav Nijinsky and Serge Diaghilev, 1991.
This paper discusses Serge Diaghilev's influence on Vaslav Nijinsky's choreography for the Russian Ballet.
1,575 words (approx. 6.3 pages), 9 sources, $ 55.95
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From the Paper
"Between 1912 and 1916, Vaslav Nijinsky choreographed four works for the Ballets Russes. These works (L'Apres-Midi D'Un Faune, Jeux, Le Sacre Du Printemps, and Til Eulenspiegel) were radical innovations in the world of dance choreography. Serge Diaghilev, the director of the Ballets Russes, had a strong influence on this contribution by Nijinsky. In addition to making Nijinsky a star, Diaghilev provided the young dancer with his first opportunity to work as a choreographer. Diaghilev was a teacher and homosexual lover to Nijinsky, as well as his employer. The influence of Diaghilev on Nijinsky's career was so powerful, it can be said that he served as "a kind of father figure" to the dancer. In fact, Diaghilev tended to provide this role for most of the young male artists that he worked with. By introducing young dancers to artistic ... "
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Afro-American Jazz and Dance, 1990.
This paper discusses the African influences on Afro-American jazz and dance.
1,350 words (approx. 5.4 pages), 3 sources, $ 47.95
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From the Paper
"This paper will be concerned with African influences on Afro-American jazz and dance. The roots of Afro-American jazz can be traced back to the early 17th century, when African slaves were first brought to America from their homeland. These slaves came from various parts of Africa, and they brought a great variety of indigenous music and dance with them. In Africa, music and dance had played a vital role in both religious worship and everyday life. The tribal peoples of Africa had developed many types of songs for special occasions as well as specific dances which were intended to accompany the songs. The closely woven interrelationship between music and dance was thus strongly fixed in the minds of the early African slaves. As noted by one music historian, "in Africa . . . dance and song are intimately associated aspects of a single art" "
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Dance, 1972.
This paper discusses dance as a form of non-verbal communication, its role in early primitive cultures and argues that modern dance is a source of new channels of communication.
1,800 words (approx. 7.2 pages), 7 sources, $ 63.95
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From the Paper
"Dance, as a means of fulfilling the goal of nonverbal communication in today's society, along with other art forms is falling far short of its incredible potential. Most art today is separated from any real involvement with modern humanity by invisible, yet real and definite barriers. To see dance in its most successful form of nonverbal communication we must examine its role in early primitive cultures. The relationship of extant primitivism will serve as reemphasis for striking cultural differences.
Since development from an early shamanistic culture our technological society has evolved obvious changes in our perception and communication of ourselves in relationship to our universe.
Although early dance experiences were led by the shaman or .... "
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Samba: The Musical Lifeblood of Brazil, 2002.
This paper examines the history of the popular dance and music style in Brazil, the Samba.
2,227 words (approx. 8.9 pages), 5 sources, MLA, $ 69.95
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Abstract
The paper examines the cultural underpinnings and history of one of the most popular dance and music styles in Brazil - Samba. The importance of this music in daily life is emphasized, as well as the religious and popular overtones, such as the annual Carnival. The paper also includes an interview with Jon Agasse, a guitarist and percussionist with a samba ensemble living in Los Angeles.
From the Paper
"The crowd of almost one hundred thousand is restless. The night is moist, hot, and alive with a feeling in the air so palpable you can almost trace it with your finger. The bleachers are filled to maximum capacity, along a mile-long stretch of paved roadway adjacent to an old brewery. People from all races, classes, and countries are celebrating together at the culmination of the orgiastic, pre-Lenten, hedonistic festival of Carnival. Soon, the first marchers proceed down the corridor to the booming cacophony of bass, snare, and friction drums. The rattling of tambourines, bells, and scrapers add flavor and accent. Like a bird set free, the singing cavaquinho (ukulele) emits its high pitched cries, adding to the frenzy. The marchers and dancers, with their quick, physical movements, undulating hips and heel steps, embody the living sound. It is time for the annual celebration once again in Brazil, time for Carnival, a time once again for the ultimate physical expression of joy: Samba."
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Dance In Japan, 1999.
Examines dance as a divine activity. Discusses the Shinto influence, forms (Noh and Butoh), origins and characters.
1,125 words (approx. 4.5 pages), 6 sources, $ 39.95
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Abstract
In his study of dance in Asia during the early part of the century, Shawn made the statement that Asians, like him, seemed to believe in gods who dance (Shawn 4). While this was not an acceptable image of God in the United States at that time, it was a primary image in many parts of Asia.
From the Paper
"Gods Who Dance
Introduction
In his study of dance in Asia during the early part of the century, Shawn made the statement that Asians, like him, seemed to believe in gods who dance (Shawn 4). While this was not an acceptable image of God in the United States at that time, it was a primary image in many parts of Asia. In Japan, for example, the rising of the sun had been saved because Ume performed a dance and lured the goddess Amaterasu out of her cave (Shawn 4). Thus, in Japan, dance is considered to have a sacred, divine, origin."
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Twyla Tharp, 1999.
An overview of the life and career of this American dancer/choreographer.
675 words (approx. 2.7 pages), 3 sources, $ 23.95
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Abstract
Twyla Tharp is one of the world's leading choreographers, working with many of the world's great ballet companies and also continuing to choreograph and direct for film and television. She was born in Portland, Indiana, but moved with her parents to Southern California when she was still a child.
From the Paper
"Twyla Tharp is one of the world's leading choreographers, working with many of the world's great ballet companies and also continuing to choreograph and direct for film and television. She was born in Portland, Indiana, but moved with her parents to Southern California when she was still a child. There, her father owned a construction firm and a Ford dealership, and her mother was a piano teacher who started Twyla on piano lessons when she was only two. Twyla began dance classes when she was only four, and within a short time she was studying every kind of dance available: ballet, tap, jazz, modern. Her mother was determined that Twyla would become accomplished in as many fields as possible, and she also had the child take baton lessons, drum lessons, violin and viola lessons, as well as classes in painting, shorthand, and French ("Biography: Twyla ..."
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"Martha Graham, The Early Years" ( Merle Armitage ), 1999.
Reviews a collection of articles from the first decade of this American dancer's career.
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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From the Paper
"The life story of any artist is of great interest to those who wish to gain a better understanding of the artist's work. Don McDonagh has provided the means to understand the work of one great artist in his volume titled simply, Martha Graham: A Biography.
Martha Graham was the oldest of the three daughters of George Greenfield Graham and Jane Beers Graham. She was born on May 11, 1894, in Allegheny, Pennsylvania. Her father was a physician whose practice provided a comfortable life for the family. In those days it was common for young girls to take an interest in the theater. Martha was no exception. One of her early attempts at costume design involved dressing up the family's reluctant terrier in doll clothes. This episode is telling of her deep and lifelong interest in animals. She was ..."
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"Martha Graham" ( Don Mcdonagh ), 1999.
Reviews the biography of this 20th Century American dancer.
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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From the Paper
"The 20th century has been a period of revolution for virtually all of the arts. The classical standards of artistic expression have been studied, deconstructed and ultimately reinvented through the paintings of Pablo Picasso, Salvadore Dali, and Max Ernst, the sculpture of Constantin Brancusi, the literature of James Joyce and the music of Igor Stravinski, to name a few. With creative insight, passion and sheer artistic potency, Martha Graham earned a place among this pantheon of luminaries through her singular creation of the modern dance. In 1937, Merle Armitage compiled some of the articles written by her friends, colleagues and critics into a single volume titled Martha Graham, The Early Years. The articles, written over the first decade of her career, provide valuable insight into the contemporary perception of the importance and impact of her work."
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