Category: Dance

Compose a response that addresses the following prompts: 
Zar and sema are dance practices with different approaches to the concept of spiritual embodiment. Describe and analyze this component in each of the traditions. 
Identify and analyze an example of spiritual embodiment in your cultural communities. 
Compare and contrast these cultural practices
Recommended outline of paper:
First Paragraph: Opening that introduces the concept of spiritual embodiment and the three cultural dance practices you are going to describe and analyze in the paper.  
Second, Third, and Fourth Paragraphs: Vividly describe and analyze the concept of spiritual embodiment within zar, sema, and your cultural communities, drawing on information from the text, lectures, and videos. You are welcome to compare and contrast as you go, organizing paragraphs around an idea. You are also welcome to describe each of the practices one at a time in separate paragraphs and then finish with a comparison and contrast paragraph. 
Fifth Paragraph: Conclusion that summarizes your main ideas succinctly  

You need to write a research project, your topic could be about any dance genre: folk, ethnic, modern, jazz, or ballet in relation to people’s history, inner expressions, culture, religion, society, etc. Make sure that it is MLA

This is everything I have so far and I need help making it flow and sound better and reach the 2050 word count. I also have copy and pasted some quotes from articles I found that can be entered in the essay somewhere. 
Here is everything I have so far:
According to the basic dictionary definition, aesthetics are a set of principles concerned with the nature and appreciation of beauty, especially in the arts. When looking back on the history of aesthetics, especially ballet, we start to get a better understanding on what is valued higher than other styles of dance. I have also found that aesthetics are the base of how many people view gender, body types, and income in the industry now. While ballet has historically dominated discussions of aesthetic ideals in dance, it is essential to recognize that aesthetic preferences vary across different dance traditions and cultures. From the percussive footwork of tap dance to the fluid movements of contemporary dance, each style embodies its own unique aesthetic sensibility. By celebrating the diversity of dance forms and aesthetic expressions, we challenge the notion of a singular aesthetic standard and embrace the richness of artistic variety. 
On the other hand, ethics intersect with aesthetics in the realm of audience behavior and engagement with dance performances. When considering the moral principles that guide our actions, it’s essential to reflect on how we respond when our aesthetics preferences are separate from the artistic offerings presented before us. For instance, image yourself as an audience member in the Renaissance ear, eagerly anticipating a performance of the newly emerging art form of ballet. You purchase a tick, expecting to be transported by the beauty and grace of the dancers on the stage. However, as the performance unfolds, you find yourself disenchanted by the choreography or by how the dancers look. 
In this scenario, ethical considerations come into play. On one hand, there is an agreement between the audience member and the performers, which is the exchange of money for the experience of witnessing the artistic endeavor. From a transactional standpoint, one might argue that the audience member is entitled to a certain level of satisfaction due to buying a ticket. However, ethics extend beyond transactions and should encompass broader notions of respect, integrity, and cultural appreciation. To demand a refund solely based on personal aesthetic preferences would definitely be seen as disrespectful to the artists and their creative vision. It disregards the countless hours of training, rehearsal, and artistic labor invested in bringing the performance to life. Additionally, sitting through a performance that challenges our aesthetic sensibilities offers an opportunity for growth and expands our understanding of dance as a whole. Engaging with art that pushes boundaries allows us to broaden our perspectives and appreciate the diversity of artistic expression.
In considering the ethical aspects of audience behavior, we also encounter parallel concerns within dance education. Just as audience members navigate the balance between personal satisfaction and respect for artistic vision, aspiring dancers confront ethical dilemmas in their training journey. The cultivation of aesthetic sensibilities begins in the dance studio, where aspiring dancers like myself are introduced to the foundation of techniques and stylistic conventions. However, the pedagogical approaches employed in dance education raise important ethical questions about inclusivity, accessibility, and the perpetuation of hierarchical power dynamics. As an educator, they bear a responsibility to foster a supportive and equitable learning environment that honors diverse bodies, voices, and perspectives. (thats chat gpt) now me ?? not sure about this one
As we dive deeper into the ethical features of dance education, we recognize the impact of pedagogical approaches on the individual journeys of aspiring dancers. This exploration of identity and expression often clashes with the conformity to aesthetic norms and finding your own artistic voice. Help with this transition  In my own journey as a dancer, I have grappled with the tension between personal identity and aesthetic conformity. I feel that I have never truly fit as one kind of dancer. I have always wanted to be more than one thing and I feel that to be paid and have a steady job as a dancer you have to fit into one category, whether it be a commercial dancer, concert performer, or classical ballet artist, which often comes at the expense of individual artistic expression and authenticity. And the challenge is being that all around dancer, and still staying in the confines of being aesthetically pleasing to get paid. It is all about pleasing the audience or when booking a job pleasing the casting directors. Especially in an audition room, yes they want you to come as yourself, but they are still looking for a dancer who will fit the role or the aesthetic of the part they are casting. 
For example, in the recent Broadway show, Dancin, the general public was confused as to why there was no story being told. Broadway is very successful when there are clear stories like the classic tragedy or friends to lovers. However, for the dance community, we loved seeing the athleticness of the cast members because we can relate to it. Another thought is how personal preference in aesthetics is something that people find when they relate more to something. For me, I have never considered myself a ballet dancer because I did not have enough training in it. I never felt completely comfortable in the style because my personal preference is to move fast. Let’s be real, ballet hurts. 
[(chat) Within the competitive landscape of the dance industry, the pursuit of artistic excellence is frequently overshadowed by pragmatic concerts of market demand and commercial visibility. Choreographers and performers alike are confronted with ethical dilemmas as they negotiate the tension between artistic vision and economic reality. The imperative to conform to aesthetic norms, whether in terms of body type, movement style, or performance quality, raises fundamental questions about the ethical responsibilities of artists and industry stakeholders. ]
Coming to Marymount without a heavy ballet background, I felt that I had to work extremely hard, so I wouldn’t feel behind. Immediately, when I began school here I noticed how ballet was viewed as the holy grail. It felt as if we were being placed into classes based on how pointed our toes could be or how high our legs could get at the barre. Also as a competition dancer, who came from a heavy jazz, commercial background, this was very foreign to me. At my home studio I was seen as a great dancer overall. After starting Marymount, I felt like I lost a bit of my identity with the lack of jazz technique. This just goes to show that Marymount highly values ballet and all of its aesthetically pleasing history. But what about the other styles of dance? I believe in their own way, each style is aesthetically pleasing. (ok idk where im going with this now–onto the next idea)
Dating back to the Renaissance court ballet in the 1440s, ballet was considered the most aesthetically pleasing form of dance. The enduring legacy of ballet and the pinnacle of aesthetic achievement in dance is both a testament to its timeless appeal and a source of enduring controversy. Rooted in centuries-old traditions of grace, elegance, and technical precision, balletic aesthetics continue to exert a powerful influence on contemporary dance practices. Yet, the idealized image of the ballet dancer, with its emphasis on slender physique and ethereal beauty perpetuates harmful stereotypes and exclusionary practices within the dance community. 
“The main underlying narrative driving this set of practices is that results are what are most valued. For many in dance, everything comes down to the work itself, because great dance can provide a deep spiritual benefit. This belief can lead to the following conclusion: One should do all one can to get the work made and seen. Everything taken together—choreographers, dancers, contracts, funding, etc.—contributes to the manifestation of something outstandingly good: the uplift experienced by viewing great dance.” 
“While seemingly harmless and even inspirational, revering the experience a masterpiece evokes has been used to instill a dangerous, unquestioning reverence for choreographic geniuses­ and the pedagogical practices they employ. It can mean that it is ethically permissible (and often actually condoned) to be an oppressive choreographer, for example, because the good of providing a superior aesthetic experience outweighs the bad that might arise from being a choreographic­ bully. It can mean placing inappropriate and ultimately damaging value on mutually supportive, sacrosanct products (rather than processes)—namely, genius choreographers, choreographic masterpieces, major presenting venues, and elite institutions. It sets up a situation where the valued “ends” can easily involve some form of abusive behaviors causing suffering, severely limiting individuals’ rights and compromising decent, humane conduct”
“What the field of ethics offers us are ways to challenge such problematic assumptions and actions. We can draw inspiration from the deontological realm, such as the idea that all human beings regardless of context should be treated with dignity and respect—as ends in themselves and never solely as a means to an end. We can also look to virtue ethics, especially an ethics of care and the degree to which it encourages individuals to consciously cultivate traits such as compassion, patience, generosity, fairness, and sensitivity to others.”
(This is all from this website https://www.dancemagazine.com/examining-the-dance-worlds-ethics/ )
List of new ideas:
How do aesthetic ideals perpetuated within the dance industry impact dancers’ body image and self-esteem?
What ethical responsibilities do dance educators and industry leaders have in promoting body positivity and mental well being among dancers?
Environmental Sustainability in dance productions 
What ethical implications arising from the environmental impact of large scale dance productions, including travel, costumes, and set design?
How can dancers and choreographers promote sustainability in their artistic practices, from rehearsal spaces to performance venues?
“  The art in this context is not merely the appreciation of aesthetic, but the intertwining of aesthetic and ethics, the achievement of complex ethical significance and imagination, and the expansion of moral comprehension. Such as Kieran argues the primary purpose of art is to promote a morally imaginative understanding in the world and to foster the acquisition of additional moral knowledge (Kieran, 2006 & Kieran, 1996). Nonetheless, what is the standard for moral failings? Gaut elaborates on this by stating—“the attitudes of works are manifested in the responses they prescribe to their audiences…If these responses are unmerited, because unethical…So the fact that we have a reason not to respond in the way prescribed is an aesthetic failure of the work, that is to say, is an aesthetic defect” (Gaut, 1998). Given the relationship between aesthetic and ethics, the required response relates to the assessment of aesthetic value. If the prescribed response is unnecessary and unwarranted, they are failures of the art as art, such as romantic dramas are not moving or horror films that do not terrify. Therefore, moral flaws in a work, especially the prescription of immoral cognitive-affective responses, constitute aesthetic flaws. Gaut may judge the artistic failure in Afternoon of a Faun is that audiences are instructed to find the story erotically and romantically appealing, to admire the movement of sex fantasies, and to view a scene of people engaging in sexual activity with a scarf. These responses are unjustified and immoral. “ this is all from this PDF idk if it’ll help (The Aesthetic and Ethical Consideration of Dance Education, Binying Gao, August 2022)
“ Regarding dance education, educators must consider the compatibility of aesthetics and ethics. The perspective of interaction of aesthetic and ethical value held by moderate moralism is the aesthetic stance choreographic educators should adopt when teaching students how to choreograph and engage with dancework. First, teachers should ensure theirstudents can address the relationship between the danceworks and the audiences, as the essence of certain artworks is to spark a dialogue with the audiences. The second point is—teachers must ensure students can deal morally with dance’s medium: the body conveys emotional feelings to the audience. As these emotions contain irremovable moral components, the emotions evoked by the body or movement may lead to moral evaluations. Hence, due to educational value of danceworks, teachers should ensure students comprehend and take accountability for what they say in danceworks. The relativity of value judgments from moderate moralism makes room for these abstract danceworks which is appropriate for formalistic danceworks containing subtle moral commitment.”  (this is also form the PDF above)
https://www.britannica.com/topic/aesthetics 

Alvin Ailey – Revelations
Revelations 
Choreography by Alvin Ailey
Write a minimum of 3 pages, 12 point font.
Watch the entire piece/video and take note of each section of the dance and write a personal reflection of the message you got from watching the dance. When writing about the piece please make sure to mention the name of the piece, the name of the choreographer and what year the piece was choreographed.
Consider the following:
What did each section look like?
What do you think is the meaning of each section?
What did the light and costumes look like for each section?
What kind of props were used during the piece?  
How effective was the use of props in the choreography?
How many dancers were in each section? Was the section a solo, duet, trio, small group or large group section?
Please give a comment on what you think is the message of the entire dance.
For your convenience I have listed all of the sections of Revelations.
I Been ‘Buked
Didn’t My Lord Deliver Daniel
Fix Me, Jesus
Processional/Honor, Honor
Wade in the Water
I Wanna Be Ready
Sinner Man
The Day is Past and Gone
You May Run On
Rocka My Soul in the Bosum of Abraham

In the movie, the Commander the main character Alfred have a goal to be a boxer and I have a goal to be a dancer but sometimes our friends can hold us back and friends are supposed to do it

WRITING AN OBSERVATION PAPER
Each of your two observation papers should be a minimum of 450 words (approximately 2, or more, type-written pages, double-spaced, 12 pt. font). Papers may be longer than two (2) pages. 
Paper 2 should be uploaded to Blackboard, submitted, or emailed () by 11:59pm Friday, May 10th.
Papers may be turned in prior to the due date. 
I am happy to read drafts and provide feedback.
For Paper 2, select one of the following: 
Isadora Duncan Baccahnale (https://www.youtube.com/watch?v=zJZ6OBkUQl0)
Jose Limón There is a Time (Excerpt) (https://www.youtube.com/watch?v=5c-o154OF2g)
Bill T. Jones Arnie Zane Company What Problem? (https://www.youtube.com/watch?v=_TpOoP_YvWw) 
Approach this assignment as an opportunity to apply some of the concepts you are learning in class. Select and watch a recorded performance. Take notes or re-watch your selection so you feel comfortable writing about what you have seen.
Give the name of the performance (and the scene in Paper 1)
note: dance titles should be underlined or italicized. Follow my lead above.
How do you feel about this dance? What stands out to you? In a nutshell, how would you explain what you watched?
Describe moments or movements which stand out for you (a big lift, a dramatic leap, a romantic embrace, the use of a scarf, the swinging of a sword, etc.)
Describe the accompaniment (classical music, jazz, aggressive, calm, etc.)
Describe the costumes. What do the costumes tell you about the dance/characters?
Tell me about how the space is used (Do the dancers stay in one general area of the stage? Crisscross the stage? Perform lots of lifts and jumps? Roll on the ground?)
Tell me about the energy in the performance. Is the dancer/character calm and placid or enraged and frenetic, or losing their mind and lost in grief, etc.?
What connections can you make with class conversations? What new understandings or appreciations do you have for the work or the artists?

Write and attach a 1-2 page analysis and reaction to the following video
https://www.numeridanse.tv/en/dance-videotheque/petite-mort
https://www.numeridanse.tv/en/dance-videotheque/petite-mort
Choreographed by Jiří Kylián 
Performed by Nederlands Dans Theater(six men, six women, and six foils)
Created  in 1991 Salzburg Festival on the second centenary of Mozart’s death with created Petite Mort. 
Petite mort, translated from French, means “little death”, and is generally used as a euphemism for orgasm. Kylián’s Petite Mort plays on this meaning with subtle sexual symbolism.
Choreography : Jiři Kylián
Interpretation : The Nederlands Dans Theater
Additionnal music : Wolfgang Amadeus Mozart, “Adagio” tiré du concerto pour piano et orchestre n°23 en la majeur, KV 488, et “Andante”, extrait du concerto pour piano et orchestre n°21 en ut majeur, KV 467. – Mitsuko Uchida (piano). The English Chamber Orchestra, Jeffrey Tate
Lights : Joop Caboort
Production / Coproduction of the choreographic work : Georg Van Breemen

Each student will complete a minimum of 3-4 pages of reflection for EACH work. This should include involved reflection on the choreographic process, the collaborative process, choosing dancers, running rehearsals, the quality of the work produced; what you are satisfied with in each work and what you wish to re-work and why.

Introduce the two dance films – what makes each unique?
Discuss the form and content of each dance film.
Who are the main dance characters? What stereotypes do you notice?
What genres and styles of dance are used in the film? How do the dances support the storyline and theme?
What is the relationship between the dances and the music/accompaniment?
How do the costumes reflect the characters and enhance the movements?
What are the settings or venue and how do they affect the choreography?
Discuss how the cinematic elements (camera angles, lighting, etc.) enhance the choreography.
How do the dances address social or cultural values of their times?
Why are they still relevant today?
Required Structure/Format:
Minimum of 6 pages (4-5 pages of writing, plus a title page and bibliography)
Use 12-point font, double-spaced 
Include your name and page numbers in header or footer 
Proofread for spelling and grammar – note that Spellcheck does not catch all errors 
Required Bibliography or List of References should include a minimum of four primary source materials (two for each dance genre), including books, articles, videos, websites. Note: Encyclopedias and Wikipedia are NOT acceptable college level sources. 
Cite all source materials, including content which may be from a website. You are responsible to cite sources even if you do not quote from them directly. Use quotes sparingly to support your ideas. It is not acceptable to copy large quantities of text and then cite it.

Nexus strands includes performer strand ( artist, costuming, agility, gender) movement strand (dynamics, action, body, relationship’s) sound strand (tempo, lyrics, structure, texture, pitch) space strand (set,objects, lightening,smoke,dance floor)