...for the Arts and Humanities XXV. TABLE OF CONTENTS Introduction………………………………………….……. XXVI. THE ACADEMIC STANDARDS Production, Performance and Exhibition of Dance, Music, Theatre and Visual Arts…………..……………… A. Elements and Principles in each Art Form B. Demonstration of Dance, Music, Theatre and Visual Arts C. Vocabulary Within each Art Form D. Styles in Production, Performance and Exhibition E. Themes in Art Forms F. Historical and Cultural Production, Performance and Exhibition G. Function and Analysis of Rehearsals and Practice Sessions H. Safety Issues in the Arts I. Community Performances and Exhibitions J. Technologies in the Arts K. Technologies in the Humanities Historical and Cultural Contexts..……………………….. A. Context of Works in the Arts B. Chronology of Works in the Arts C. Styles and Genre in the Arts D. Historical and Cultural Perspectives E. Historical and Cultural Impact on Works in the Arts 9.1. F. Vocabulary for Historical and Cultural Context G. Geographic regions in the arts H. Pennsylvania artists I. Philosophical context of works in the arts J. Historical differences of works in the arts K. Traditions within works in the arts L. Common themes in works in the Arts Critical Response…………………………………………. A. Critical Processes B. Criteria C. Classifications D. Vocabulary for Criticism E. Types of Analysis F. Comparisons G. Critics in the Arts Aesthetic Response………………………………………... A. Philosophical Studies B. Aesthetic Interpretation C. Environmental Influences D...
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...Pecson-Cinco Dance The word “Dance” comes from the Greek word “damson” which means to stretch. All dancing is made up of stretching and relaxing. Thus, a simple analysis of the term “sayaw” which easily lead one to say that is must have derived from the word “saya” which means happy. A person who is very happy or in the rhythmical movement is an outward expression of his feeling. Meaning: • Dance of many types is the physical expression of rhythm and music. • It is a pure expression of the dancers’ thoughts and feelings. • It is the union of movement, rhythm and arts of life. • It is the union of minds and body expressing the intangible through the medium of time and space. Phases of Dance: Folk Dance The traditional Dance of an Indigenous society that depicts the cultural characteristics of a specific people of a given time place. Folk dance deals with the usual traditions of the past by which a multitude of national characteristic in music steps, and costumes are preserved. Ethnic Dance These dances reflect the peculiar characteristics of specific tribes specially their cultural, racial; religious and traditional similarities. Although the movement patterns are not specific, this dance is seldom classified as folkdance. National Dance This refers to the type of folkdance found most widely done in a specific country. Natural Dance This refers to a type of dance, which makes use of...
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...Music, Drama and Dance Chinese Music Chinese music has a very long history. In the primitive society, about four to five thousand years ago, dances and songs had already occurred. This can be prove by a excavated cultural relic - an egg-shaped wind instrument called Xun (ocarina) which made of pottery clay with six holes which believed it is from the Neolithic Stone Age. The evolution of musical culture in Chinese history was begun to develop rapidly and successfully in the Zhou Dynasty (11th century-256 B.C.). A large number of orchestras or ensembles started to occur during that time. Tang Dynasty (618-907 A.D.) was the most influential time in terms of musical culture. It had viewed as one of the best in the world and greatly influence on the development of music in other countries such as Korea and Japan. In general, there are five categories for Chinese music and each of the categories has various types, styles and forms which they are are song, ballad-singing music, Chinese Opera music, instrumental music and dancing-and-singing music. Song can also be divided into two categories which are ancient art songs and folk songs. Folk songs can be subdivided into mountain airs, labor songs, epic songs, songs with multiple sounds of voices, and ditties. In addition, due to the different regions with different national minorities, the mountain sough could be so different in style. There are many different types and styles in the musical cultural in China. Another good example...
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...91209 – Version 2 22222222 ‘C’ is for Contemporary NCEA Level Two Dance Achievement Standard 91209 Version 2 Perform a repertoire of dance (2.5) Credits: 6 Task Instructions: This achievement standard requires you to learn and perform a repertoire of dances from the same style/genre. You will be assessed on how well your performances demonstrate an in-depth understanding of the stylistic requirements of the dance genre. This assessment activity requires you to perform a repertoire of three dances from the Contemporary Dance genre. Your performances will each be at least 1-2minutes in length. You will receive an indicative grade for each dance based on the overall assessment criteria. However, your final grade will be determined holistically over the three dances. This task will take approximately 9-10 weeks to complete, although this time will be divided up through out your dance course. The material and information covered in this unit will support the development of your knowledge of the Modern Contemporary Dance genre. The dances you will be performing within the contemporary genre are: Contemporary Dance One: “The Shadow People” Term 3, Week 10 A group dance choreographed by multimedia artist and choreographer, Sharyne Lewis. This dance is based on ideas associated with being a ghost in modern society, with the belief of existence outside of society’s acceptable norms. The dance incorporates techniques by Pina Bausch and Michael Palmenter, such as...
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...The Theory of Odissi An analysis on the traditional dance form of Odissi; it’s history, meaning and will focus on some of the different repertoires and positions in Odissi. ------------------------------------------------- Sushrut S. Vaidya Odissi is the classical dance form of the state of Orissa, popularly known for its picturesque temples and the combination of highs and lows in its music. During the course of the performance, one can notice the dancer depicting the structure of the temples and those of the idols, which come to life through the flowing movements, and graceful poses of the dancer. History: Odissi, as a dance form, may very well be one of the oldest forms of classical dances – with caves that date back the 2nd century depicting the origins of a dance scene with the assistance of full orchestration, naturally seen in Odissi. Archaeologists and scholars of dance have dated these caves to before Bharata’s Natyashastra, in which Odissi is mentioned as a style from South India by the name of Odra Magadhi. Though these performances were made at the Jagannath temple in Puri, it was widely performed in many Shaivite, Vaishnavite and Sakta temples in Orissa. The history of this dance form only says so much, the living tradition however, shows a lot more. It has been kept alive through the generations by two clans, the Maharis and Gotipuas. Maharis were once known as the Devdasis of Orissa. The word Mahari is derived from two Sanskrit words, namely Mahan...
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...Submitted by: Angela Moore N01012654 Date of Submission: November 25, 2012 Title of Assignment: Happy Feet Soul Line Dance Group CERTIFICATION OF AUTHORSHIP: I certify that I am the author of this paper and that any assistance I received in its preparation is fully acknowledge and disclosed in the paper. I have also cited any sources from which I used data, ideas of words, whether quoted directly or paraphrased. I also certify that this paper was prepared by me specifically for this course. Student Signature: ___Angela Moore________________________ ******************************************* Instructor’s Grade on Assignment: Instructor’s Comments: HAPPY FEET LINE DANCE Angela Moore November 25, 2012 Table of contents Executive Summary 1 Group Description 2 Mission and Goals 2 Core competencies 3 Situational Analysis 3 Competitors 4 Target market 5 The Marketing Mix 6 Product Strategy: 6 Distribution Strategy: 6 Promotion Strategy: 6 Price Strategy: 7 Customer Relationship Management 8 Budget and Monitoring 9 Summary and Conclusions 10 Bibliography 11 Executive Summary Line dance origins date back to traditional folk dance (Tatum, 2012). Traditionally, dancing has been around for many years, although there are many different styles and genres. Line Dance is where individuals form one or more lines parallel without a partner, to perform choreographed, repeated, in unison series of steps...
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...CONSOLACION COMMUNITY COLLEGE LARAY, CONSOLACION, CEBU FINAL PROJECT IN P.E 2 PREPARED BY: ALVAREZ, FEBE ROSE L. AHRM-1 INSTRUCTOR: MR. RODGRIGO APOS SOCIAL DANCES * WALTZ HISTORY The Waltz is the oldest of the ballroom dances, dating from the middle of the Eighteenth Century. The German "Lander", a folk dance, is supposed to be the forerunner of the Waltz. During this time period a dance developed which was called the "Walzer", a word owing its origin to the Latin word Volvere, which indicates a rotating motion. Napoleon's invading solders spread the waltz from Germany to Paris; then the dance glided across the channel to England and finally made its way to the United States. When the Waltz was first introduced into the ballrooms of the world in the early years of the Nineteenth Century, it was met with outraged indignation, for it was the first dance where the couple danced in a modified Closed Position - with the man's hand around the waist of the lady. Beginning about 1830, the waltz was given a tremendous boost by two Austrian composers Lanner and Strauss. They set the standard for the Viennese Waltz, a very fast version played at about 55 - 60 measures per minute. The fast tempo did indeed present problems. Much of the enjoyment of the new dance was lost in the continual strain to keep up with the music. It is not known exactly when the waltz was introduced to the United States. It was probably brought to New York and Philadelphia at about...
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...The main point the author is making under this subtopic “First Impressions” is that Samba is a very popular music and type of dance from Brazil which has the sensuous celebratory sound. Samba music makes you move your body from your feet to the top of your head. (II) Aural Analysis. The main point the author is making under this subtopic “Aural Analysis” is that Samba is Afro-Brazilian which contains the characteristics of African music including Polyrhythm. The instruments in Samba are percussion, for example, tambourines, scraping instruments (rêco-rêco) double bells (agogo) and drums are found in samba styles. “Call and response” which is used in Africa to create Polyrhythm is also reflected in Brazil accompanied by a...
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...within the public school system. The Matanuska-Susitna Borough School Board approves of community-based charter schools. All Matanuska-Susitna Borough School District (MSBSD) Charter School programs are open to student’s applications who reside within the school district. Starting a charter school is truly a community effort. However, the rewards we may find by creating a new educational option for children are well worth the effort. The first question we want to answer is why do we want to start a charter school? As a charter developer, we need to have a clear answer to this question. Matanuska-Susitna Valley residents desire a school that provides a rich and comprehensive educational program for students with talents and potential in dance, instrumental music, vocal music, theatre, and visual art or media arts. This school will provide students and parents with expanded choices in the types of educational opportunities that are available within the public school system to maximize each student’s special talents. Our graduates will increase the quality of their life, the lives of people who surround them, and the respective communities of the Valley. There are many people interested in helping to start our charter school waiting for recruitment. These founders will include parents, teachers, school principals, lawyers, business entrepreneurs and accountants. Our founding group needs to have expertise in a variety of areas, including: • Curriculum & instruction • Public...
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...tattoo of his name on her arm. However, as Charity is about to make a wish, Charlie pushes her off a bridge and steals her entire lifesavings. In denial about what happened Charity returns to her work as a Dance Hall Hostess at the Fandango Ballroom and tries to convince her taxi dancer friends Nickie and Helene that Charlie will be back. Upon leaving work, Charity runs into the famous Italian actor Vittorio Vidal having an argument with his girlfriend Ursula. When Ursula departs in a cab, Vittorio asks a nosy and starstruck Charity to accompany him to a party. At the party Charity finds herself surrounded by luxury and fame and upon leaving the party the two return to Vittorio’s luxurious apartment where Charity is overwhelmed by the sheer extravagance and refers back to her life due to a “fickle finger of fate”. As she thinks back to her taxi dancer friends, she begins in song wishing her friends could only see her now. She then realizes that her friends would never believe her. It is then that Vittorio autographs a picture made out to Charity and givers her a few mementos from his old movies to remember him by and to use as proof. Unfortunately, Ursula unexpectedly shows up causing Vittorio to hide Charity in the closet for the rest of the night. Returning to the dance hall, she tells her friends Nickie and Helene about her night with Vittorio and they ridicule her of her inability to milk the situation for all it was worth. Nickie then claims that she is going to get out...
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...Taiesha Abrams Dance 132S Instructor: Purnima Shah Analysis of Twyla Tharp’s Eight Jelly Rolls Twyla Tharp has influenced the field of American postmodern dance for over four decades. Her work and philosophy has had a continuing impact on the growth and development of dance by consistently delivering a unique approach, independent of the traditional techniques of modern and the antitechnical works of the avant-garde. She used the strong technique gained by ballet training to bring forth broken pirouettes and contorted bodies. She used rhythmic music to create movement that disagreed with the natural flow of the music. This paper surveys the creative process behind Twyla Tharp’s piece Eight Jelly Rolls. It explores some of the activities used to mentally and physically prepare Tharp dancers for her work. Most importantly, it aims to not only bring light to the significance and importance of the process, but to identify how the authenticity of a choreographer’s piece can be lost if the creative development of the piece is somehow altered or entirely disregarded. As her first piece choreographed and married to music, Eight Jelly Rolls is a masterpiece, full of energy, laughter, and excitement. This paper will bring some light on how these elements were brought to the stage. A Brief Introduction To understand Tharp’s work, you must first understand her dance and musical background paired with her choreographic experience prior to the conception of Eight Jelly...
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...Dance Concert and/or Dance Class Critique Due Date:______________________ (end of term) Points: 50 Points Grade: Written Assignments (15% of Final Evaluation Grade) Rubric: attached Background Information: Experiencing dance outside of our dance classroom is an important and invaluable aspect of dance. An entirely new level of understanding can be achieved by going to see a dance performance, or by taking a dance class from a different dance teacher. I want your time in dance to be new and exciting. With that said, I want you view dance through a new lens, and by seeing a performance or taking a new class, you can achieve a different perspective. Assignment: For this term I will be asking you to go and see a dance performance or take a dance class outside of Helix. Please, no music concerts or movies. I want you to enjoy the show or dance class, being sure to take notes during or after the experience. Here are some guidelines to help you take notes: Performance: ⇒ Costumes (do they fit with the piece? Are there any technical difficulties?) ⇒ Lighting (does it create the right mood for the piece? Is it appropriate?) ⇒ Entrances and Exits (are there smooth transitions or do they look awkward?) ⇒ Spacing between the dancers (is there enough space or too much?) ⇒ Performance (is there a performance quality or are you bored?) ⇒ Emotions (are they showing and changing emotions?) ⇒ Character...
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...Analysis of how and where the influence of bass culture has occurred in the United Kingdom Name Institution Introduction Bass culture began as one of the key musical paradigm shift of the rave and breakbeat hardcore in the United Kingdom in the early years of the 1990. Since its introduction in the 1980’'s, bass culture has undergone significant transformation in terms of style and incorporating dance elements from different music genres such as dancehall, hip hop, funk, and electro music among other music genres. Some of the pioneers considered having brought the bass to the UK between the years 1980-1990 include Joey Beltram, CJ Bolland, L.A. Style, and Richie Hawtin. However, historical analysis shows the period 1898 to 1992 as the period of “cross pollination” of the bass culture. This period saw the incorporation of the UK hard-core sound into the bass culture. The process included incorporating hard-core sounds from different countries such as the Belgium, Germany, and the Holland. Therefore, this essay discusses the ways in which the bass culture had developed in the UK and period when it witnessed greatest significant influence on the culture. How the Bass Culture occurred in the United Kingdom over the Last 6 Decades The bass culture was introduced in the UK by the influx of the Jamaican reggae musicians in the early ages of the 1950’s. However, it did not emerge as expected due to constraints such as violence...
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...CREATIVE DANCE History of Creative Dance Creative dance is perceived differently by different sectors of the education system. In many provinces, creative dance is part of the physical education curriculum. More recently, two provinces— British Columbia and Saskatchewan— have considered placing dance under the rubric of arts education. The aspect of creative dance that is emphasized reflects the position creative dance is assigned in the curriculum. When in the physical education curriculum, creative dance lessons typically focus on development of the motor skills involved, with little concern for the experience’s aesthetic potential. In arts education, the primary focus is creative dance’s aesthetic potential. Advocates view creative dance not only as having potential for developing motor skills or aesthetic sensibility, but as a means to improve students’ self-concept and as a valuable component of an integrated curriculum. Upon closer scrutiny, however, these different ways of justifying creative dance may prove contradictory. “Creative dance” is a particular form of dance. This form is typically taught in elementary schools because unlike other dance forms, it does not require years of training. Basically, creative dance involves the use of movement elements to express thoughts and feelings. Dimondstein (1974) expands on this definition when she considers dance to be “the interpretation of a child’s ideas, feelings, and sensory impressions expressed symbolically in movement...
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...Club IT Eugina Hoyle BIS/219 April 10, 2011 Holger Brink Club IT Club IT is a music venue located downtown. It is owned and managed by Reuben Keys and Lisa Tejada. After remolding their club they realize that the information management could use some improvement. As a result they hire me as an intern to do an analysis of the things they need to make this happen. The mission of Club It from the owners is to “Offer live music, DJ’s, dance space and refreshments that suit your life style. You are our friends, and we seek to build a community that meets regularly at Club IT.” (Rainer and Turban 2008). When you visit Club IT, a member of the friendly and experienced staff will greet you. The club has been newly remolded for a more hip and trendy environment. You will enjoy Techno, Hip Hop and Electro music styles performed live and on MP3. There are several seating areas throughout the club surrounding the spacious dance floor. The bar is fully stocked with four pour stations allowing for quick service. From the mission statement, the style and music played at the club it seems to be geared towards a crowd that is in the age range of 25 to 35 year old. Regular and potential customers can find information about Club IT and owners Reuben and Lisa on the clubs webpage. They can view the clubs food and beverage menus or branded merchandise it has for sale. The layout of the club is available as well. The Intranet available within the club provides...
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