Research Paper On Copeland

Research Paper On Copeland
work and perform with their company (Copeland 186). She declined these offers in hope of future
roles with the American Ballet Theatre (Copeland 185). Her waiting worked because later that year
she was promoted (New York Times). From this promotion she gained great amounts of fame and
opportunities. One of her major projects was getting to be in Prince's music video and tour with him
(Copeland 216). He loved her confidence and grace she presented when she performed. In 2015 she
was named one of "Time Magazine's 100 Most Influential People" (Biography.com). These
opportunities, along with others, have put her name out in the world for more than just her ballet
career. Being first to some is scary, but to Copeland it was what pushed her to want ... Show more
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To a dancer an injury to any part of their body can be critical because they use every body part.
Overcoming an injury can give great trouble to the dancer or it gives them great motivation to get
back. Copeland, getting as late of a start as she, limited her injuries. She did not suffer from her first
injury until she was nineteen years old. Copeland was working with a choreographer when she
started feeling extreme pain in her lower back (Copeland 159). She continued to dance through her
pain, which in the end made it worse. She eventually got an MRI. From this she found out she had
suffered a stress fracture to her lower lumbar (Copeland 160). Shortly after this she got asked to be
the lead in the nutcracker production that the American Ballet Theatre was putting on. She had to
decline this big role due to her back injury. She had to wear a brace for twenty–three hours a day, in
order to recover faster. This injury put her out for a whole year, which in the dance world is a very
long time (Copeland 161). During this time her body was developing more because she had more
time off (Copeland 165). When she came back everyone told her to lose weight in order to get back
to her normal self. This is when her dieting and workout plan started to come into play (Copeland
168–169). Copeland seemed to hit a low point in her career during her comeback. She gained
extreme confidence when she was entered into the Princess Grace Foundation contest to win
scholarships (Copeland 200–201). Soon after this event she got promoted to a soloist as well
(Copeland 231). As a soloist Copeland was offered the role as the Firebird in a major production
(Copeland 241). This was a huge deal as she would be the first African American to ever dance this
role. Everything was going well until she started to feel pain in her left tibia (Copeland 247). She
continued to practice for the Firebird. They then had their first performance at the Metropolitan
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Research Paper On Latin Dance Fiesta
Latin Dance Fiesta
On Saturday, April 22, 2017, I attended a Latin Dance Fiesta event at the Queens Theatre, the event
featured Sisa Pakari Danza Ecuador, Ballet Folclórico del Salvador, Ballet Folklórico Paraguayo
and Bombazo Dance Company. The show started with Sisa Pakari Danza Ecuador with an Andean
song dedicated to Pacha Mama/Mother Earth, this song is to thank the earth for a good harvest. The
dancers were wearing traditional garments, the women artists had embroidered white blouses
(camisas), shawls (rebozos), black–wrap skirts (anakus), gold–colored bead necklaces (walkas) and
red–bead bracelets (maki watana), with their hair wrapped up in strips of woven cloth (cintas). Male
artists were wearing sport dapper blue ponchos (ruwanas) ... Show more content on Helpwriting.net
...
This song is well known in el Salvador since it is usually presented at cultural activities. The
dancers wore typical costumes, with the women dressed in white with colorful embroidered shirts
and skirts, and men wore traditional pants and embroidered shirts.
The third dance company to follow onto the stage was Ballet Folklórico Paraguayo. The group,
performed by four female dancers, moved at the rhythms of the Paraguayan polka which combines
ternary and binary rhythms, whereas the European form only uses binary. The announcer informed
that, the most famous style of music in Paraguay is Guarania, created by the Paraguayan musician
José Asunción Flores in 1926. The Guarania accomplishes this by using a combination of slow
rhythms and melodies of melancholia character. The dancers were wearing traditional full pleated
skirts decorated with lace, their blouses were worn off the shoulder and the sleeves were made of
lace. The body of their blouses were embroidered in red, white and blue which are the colors of the
Paraguayan flag, I also noticed that their hair was worn up and their jewelry was of silver and coral
color. In my opinion, this was one of the most impressive group of dancers of the event, because the
performers presented the dance of

The Five Principles Of Dance In The Russo-American Era
Dance is a major part of culture, which is why in all cultures dance can be found. For the longest
time, ballet was considered a Russian specialty. The highly qualified and sought after dance
companies would tour the world performing in front of those who had never experienced ballet
before. By exposing ballet to the United States of America, the Russians inspired and sparked a
demand for legitimate ballet in America. This event took place in throughout the 20th century. It is
currently known as the Russo–American Era. During the Russo–American Era, the Russian
choreographers, such as, Michel Fokine, Anna Pavlova, Vaslav Nijisky, Léonide Massine, Sergei
Diaghilev, and Bronislava Nijinska; they benefited from its American audience and started to make
dramatic changes to the classical ballet. Every single one of these choreographers implemented and
transformed the way people view, danced and perceived ballet in the 20th century. An example of
this is Michel Fokine, when in 1914 wrote a letter to the London Times, stating the five principles of
ballet that befitted the 20th century ballet:
1. Each dance should use new forms of movement suitable to its subject and period.
2. Dance and mime should be used to express dramatic action.
3. Mime should be used only when the ballet's style dictates it, in other cases the dancer's whole
body, not only the hands, should be used to communicate.
4. The corps de ballet should be used for plot development and as a means of expression.
5.

Research Paper On Ballet Latinoo
On Sunday, October 29, 2017 at 2:30 P.M. I attended Ballet Hispanico at the Detroit Opera House.
Ballet Hispanico was founded in 1970 by Venezuelan born dancer, Tina Ramiez after identifying the
need to provide Latino dancers with access to training and performance opportunities. Ballet
Hispanico is recognized as one of the country's top Latino dance organizations. Over the past 40+
years, it has provided dance education and outreach programs to New York communities to engage
interested residents in a guided exploration of dance and Latino cultures by expanding their
knowledge in aesthetic awareness, cultural appreciation, and self–expression.
Today, it is under the artistic direction of Eduardo Vilaro. Ballet Hispanico is a very tailored

Essay On The Nutcracker
In modern times, Pyotr Ilyich Tchaikovsky's ballet, The Nutcracker, is a Christmas classic. With
memorable songs and beautiful instrumentation, many cannot imagine Christmas without it. Dance
companies perform the ballet year after year with spectators coming to watch annually. There have
even been LGBT, hip hop, and Jewish adaptations to the popular ballet (Begley). Thousands of
musicians and dancers all over the world perform it to add to the excitement and cheer of the
holidays. The original story of The Nutcracker started with ETA. Hoffmann's 1816 tale The
Nutcracker and the Mouse King that had been adapted by Alexandre Dumas in 1844 about a girl
who befriends a nutcracker on Christmas Eve and battles against the evil Mouse King (Schwarm).
In 1892, the director of the Russian Imperial Theatre, following the success of Tchaikovsky's
Sleeping Beauty, devised the ballet, setting ito Tchaikovsky's music with choreography by Marius
Petipa, and premiering it a week before Christmas (Burton–Hill). Tchaikovsky first accepted the
task to write the music from the director of Moscow's Imperial Theatres, Ivan Vsevolozhsky
(History of The Nutcracker). He began to work while on an American tour for the opening of
Carnegie Hall. His tour took him through Paris, where he discovered a new instrument: the celesta.
It had a clear, bell–like tone that was perfectly fitted to be the "voice" of his Sugar Plum Fairy. He
immediately wrote to his publisher, asking that the instrument be

Alvin Ailey: Pioneer Of Modern Dance
Besides Isadora Duncan, there were other pioneers of modern dance such as Alvin Ailey who was
born in Rogers, Texas on January 5, 1931 to Alvin Ailey Sr. and Lula Elizabeth Ailey. It wasn't until
he moved to Los Angeles at age 12 that he was exposed to dance. He fell in love with dance after
witnessing a series of performances, specifically by the Katherine Dunham Dance Company and the
Ballet Musse de Monte Carlo, being inspired by a series of dance performances. He then began
taking dances lesson with another pioneer of modern dance, Lester Horton, who had founded the
first racially integrated dance company in the United States. It was Horton who also became Alvin's
mentor at the beginning and throughout his career in dance. However, when

Ballet During The Russo-American Era
Dance is found in all cultures. It is considered a way to communicate without talking. During the
Renaissance period, ballet was considered a Russian specialty. The highly qualified and sought after
dance companies would tour the world performing in front of those who had never experienced
ballet before. By exposing ballet to the United States of America, the Russians inspired and sparked
a demand for legitimate ballet in America. It took place throughout the 20th century, currently
known as the Russo–American Era. During the Russo–American Era, Russian choreographers, such
as, Michel Fokine, Anna Pavlova, Vaslav Nijinsky, Léonide Massine, and Bronislava Nijinska;
benefited from the American audience and started to make dramatic changes to the classical ballet.
Every single one of these choreographers implemented and transformed the way people view,
danced and perceived ballet in the early 20th century. Several ideas for these innovations were from
Michel Fokine. In 1914, he wrote a letter to the London Times, stating the five principles of ballet
that befitted the 20th century ballet:
5.

Balanchine Dance
American dancer Isadora Duncan once said, "The real American type can never be a ballet dancer.
The legs are too long, the body too supple and the spirit too free for this school of affected grace..."
(Needham, 2002, p. 199). Contrary to her belief, after more than 80 years later, today ballet has
flourished and become a important part of Americaan dance culture. It is no longer a foreign image
to see American girls in tutus and leotards taking ballet lessons at a young age. However, ballet was
not always seen in a positive light in the United States. As a country that highly encouraged
independent thinking, early Americans wanted to distinguish itself from European arts to be
recognized as a culture of its own. Yet, today ballet is seen everywhere ... Show more content on
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With its origins as a court dance, ballet dancers wore the most lavish costumes, the set was designed
with complexity, and its purpose was to entertain by telling stories. However, Balanchine dancers
were striped of their beautiful costumes and settled for simple leotards to allow greater ease with
movement. In addition, decorations on the set were simplified to remove visual distractions and his
performances no longer told stories or fairy tales. This was the complete opposite of what ballet was
known for and ballet technique was not left out of Balanchine's revolution. A greater emphasis was
instead focus on musical timing and what developed was a technique that utilized space in a short
amount of time (Brandt). Arms were more stretched out with visible influences from jazz and the
hips opened forward as the dancers moved in different position. Due to the quicker pace, foot
placement was modified to decrease transition time between each movement. The heels of the
dancers hardly ever touched the ground during landing and all the weight is place the toes and balls
of the feet. To add an element of surprise, Balanchine dancers would stretch out their back foot
before doing a pirouette, which is usually done in the fourth position with two bent feet (Brandt).
The accumulation of these stylistic changes lead to the creation of Balanchine's own distinct ballet
technique that became known as American style

George Balanchine Research Paper
George Balanchine came to the United States in 1933, following an early career throughout Europe.
He studied piano from a young age and graduated from the Imperial Ballet School in St. Petersburg,
where he first studied dance from the age of nine. He then enrolled in Russia's Conservatory of
Music and studied piano and musical theory, as well as musical theory, composition, harmony and
counterpoint. He graduated after three years in 1924. His extensive training made it possible for him
to work with composers held in high regard, such as Igor Stravinsky. Balanchine garnered attention
for staging a production of the Stravinsky ballet, Le Chant de Rossignol. He was one of four dancers
who had left the Soviet Union for a tour of Western ... Show more content on Helpwriting.net ...
But more importantly, during his period, he met Lincoln Kirstein, who desired to an American
school of ballet that would rival European schools. Kirstein wanted to persuade Balanchine to
relocate to the United States. Her dream came true – in 1934, they created the School of American
Ballet. Balanchine first choreographed work was Serenade, performed to the music of Tchaikovsky,
was created as a workshop for students, but also as a production that premiered in New York. In
1935, Kirstein and Balance set up a touring company of dancers from the school and named it the
American Ballet. Later that year, the Metropolitan Opera invited the American Ballet to become its
resident ballet, with Balanchine as the ballet master. Even though the program was very successful,
Balanchine left the Met in 1938 to teach at the School of American Ballet and work in musical
theater and film. In 1941, he and Kirstein established the American Ballet Caravan and toured South
America with Balanchine's new works, Concerto Barocco and Ballet Imperial. Then in 1944,
became the artistic director of the Ballet Russe de Monte Carlo, where he created Raymonda and La
Sonnambula. In 1946, he and Kirstein collaborated once again to create the Ballet Society, which
performed such Balanchine works as The Four Temperaments, Stravinsky's Renard, and

The Five Principles Of Ballet In The 20th Century Ballet
Dance is a major part of culture; in all culture dance can be found. For the longest time, ballet was
considered a Russian specialty. The highly qualified and sought after dance companies would tour
the world performing in front of those who had never experienced ballet before. By exposing ballet
to the United States of America, the Russians inspired and sparked a demand for legitimate ballet in
America. This event took place in the 20th century. It is currently known as the Russo–American
Era. During Russo–American Era, the Russian choreographers took an advantage of the American
audience and started to make dramatic changes to the classical ballet. Every single one of these
choreographers implemented and transformed the way people view, danced and perceived ballet in
the 20th century. An example of this is Michel Fokine, when in 1914 wrote a letter to London
Times, stating the five principles for ballet that befitted the 20th century ballet:
5. Ballet reflects the alliance of all the arts involved in it, including music, scenery, dancing, and
costuming. Music should be a unified

Paris Opera Ballet
Dance has been around since the earliest of human times. However, the formalization of dance came
long after humans were dancing. As cultures became more developed, people could focus on other
things such as rituals, dances, costumes, and entertainment (Hooper). This led to entertainment not
only for the royalty and leaders of a society, but also entertainment for the commoner. Kassing notes
that as the Renaissance arrived, performances in court became much more common as a form of
entertainment to please the ruling class. Catherine de' Medici is known for bringing ballet to France,
where it became quite popular, according to Kassing's report. The Paris Opera (originally the
Académie Royale de Musique) was founded by Louis XIV and its ballet ... Show more content on
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When the Paris Opera Ballet was formed, it was meant to entertain royalty, requiring manners,
etiquette, and protocol directed toward the royals, according to Professor Suggs. Manners, etiquette,
and protocol dictate how one is to behave and act. This led to performances at the Paris Opera Ballet
to be very formal affairs as evidenced today. Many dances end with bows that would have shown
respect to the royalty present according to Anderson. However, today it is shown to thank the entire
audience. Also, there was a decorum practiced by the audience, which can still be seen today.
According to the San Francisco Ballet Company website, they suggest propriety such as avoiding
tardiness, making sure electronic devices are off, no candy wrappers, no talking, and no snuggling
with your significant other. These are enforced out of respect for the performer and guests around.
Dress codes are another legacy left by the Paris Opera Ballet. Since the performances were first
staged for King Louis XIV, Anderson suggests that they were a formal affair. This can be seen
today: while most theaters do not have formal dress codes, they provide suggestions on dress. Trip
Advisor advises that guests should be clean, use small amounts of perfume or collogue, and "to
dress the part." Trip Advisor says that this is because there is a large amount of money put in such as
ticket costs,

George Balanchine Influence
George Balanchine was born in Saint Petersburg, Russian; he was the chief chorographer of the
twentieth century. With invitation of Lincoln Kirstein, George Balanchine moved to America and
then became designer and most influential chorographer of classical ballet in America.
Choreographically, we live in the age of Balanchine because he significantly changed our ideas of
ballet, and his influence continues to be felt by other choreographers. Many recent ballets might not
have existed at all if Balanchine had not provided practices for them. The choreographers of the
New York City Ballet, Balanchine's company, and many others all around the world are carrying on
his tradition. He brought educational brilliance and quality performance to the American ballet
therefore he was the one who gave significance to American ballet. After his death his school, The
School of American ballet, remains in operation to this day, training dancers for the New York City
Ballet and companies global. The first ... Show more content on Helpwriting.net ...
His company, the New York City Ballet, is the leading dance group of the United States and one of
the great companies of the world. An essential part of the success of Balanchine has been the
training of dancers, which he has supervised since the founding of his School of American Ballet in
1934. Balanchine chose to shape talent locally, and he has said that the basic structure of the
American dancer was responsible for inspiring some of the striking lines of his compositions.
Balanchine is not only gifted in creating entirely new productions, his choreography for classical
works has been equally fresh and inventive. He has made American dance the most advanced and
richest in choreographic development in the world today. Gratitude and joy must be our feeling for
what he gave us, and determination that his work and ideals be honored and preserved and used to
illuminate the future of

George Balanchine 's The Nutcracker
Tiffani Fink
Professor Christopher Connelly
Humanities 101
6 December 2016
George Balanchine and The Nutcracker
George Balanchine himself said, "The choreographer and the dancer must remember that they reach
the audience through the eye. It's the illusion created which convinces the audience, much as it is
with the work of a magician." ³ Balanchine could be considered just that of a magician in the way
that he brought his ballets to life. George Balanchine's The Nutcracker, could truly be described as
an illustration of Christmas magic. The Nutcracker would be of his most famous works, expanding
worldwide and withstanding the true test of time. Recognized as a 20th century master², Balanchine
made history as the incredible choreographer of many works including that of a Christmas tradition.
Although a legend in the United States, George Balanchine did not begin life here until age twenty–
nine. He was born in Russia on January 22 of 1904¹. Balanchine's father was a composer¹, so music
was no mystery to him growing up. In fact, he began his music career at the age of five when he
began to play the piano.³ Not long after, George started his studies of dance at the age of nine¹. He
made his dancing debut at the age of ten in the Maryinsky Theatre Ballet company production of
The Sleeping Beauty with the role of a cupid. ³He would also dance the role of the Prince in The
Nutcracker at the age of fifteen. ⁵Balanchine graduated from the Maryinsky Theatre Ballet School in
1921¹.

George Balanchine Essay
George Balanchine
Ballet is one of the world's oldest and newest forms of dance. One man that created new audiences
for ballet and mastered the dance to its fullest was none other than George Balanchine. He brought
the standard ballet to levels no one has ever seen before. In the world of dance, there have been
many wonderful and talented choreographers but Balanchine's work affected the dance world so
much that he was a legend long before his death. Not only was he legendary worldwide but also his
influenced American Ballet. George Balanchine's unique style of dance created the "American style"
of Ballet.
Georgi Melitonovich Balnchivadze, George Balanchine, was born on January 22, 1904 in St.
Petersburg. He was born into a highly ... Show more content on Helpwriting.net ...
About three years later, Balanchine formed a group of four dancers, "Soviet State Dancers," that
toured outside of the Soviet Union. His choreography for his dancers upset the traditional minded
audiences during his tour, so his tour was not of the greatest success. On the tour, he met a man
named Diaghilev, who immediately offered him a job that gave him a great deal of exposure. After
three years of amazing experience, Diaghilev promoted Balanchine as a choreographer and made
him master for his company. Balanchine was only at the age of 25. His unique style of dance was
too advanced for the Soviets to handle. So Balanchine moved to Europe to start his own ballet
company. He was not there long, Lincoln Kirstein, one of his fans who encouraged Balanchine to go
to the United States to help establish a school of Ballet equivalent to those found in Europe and
Russia. Little did Lincoln know that those words of wisdom were the start to a whole in Ballet
world in the U.S.
When Balanchine first arrived in the U.S. in 1932, he made a name for himself by choreographing
for musical comedies. Just a few years later in 1934 Balanchine helped found the School of
American Ballet. It opened on January 1, 1934, with a class size of 25. Balanchine's training was
very technical yet traditional. He wanted his students to perform at his level. This school was the
start to Balanchine's American success.

Essay about Alonzo King and a New Style of Dance
Renowned choreographer Alonzo King is the Balanchine of a new style of dance, his style of dance,
a style shying away from the expected and catapulting its audience into a state of wonderment.
Alonzo King uses sharp lines intertwined with severe movements all engaging a classical technique
in order to create movements, unseen to the dance world. King's impressive résumé includes having
trained with a number of world–renowned ballet companies, and setting works on an even more
substantial number of companies, along with establishing his own celebrated company: Alonzo
King's LINES Ballet in San Francisco, California. Alonzo King began dancing at a young age in
Santa Barbara, California. He continued his training in New York at the Harkness ... Show more
content on Helpwriting.net ...
King's work with the Shaolin Monks "is renowned for its ability to connect audiences to a profound
sense of shared humanity–of vulnerability and tenderness, but also of furious abandon and
exhilarating freedom–and for its unique capacity to imbue classical ballet with new expressive
potential" (Linesballet.org). King has already made an impact on the world of dance that will surely
expand a great deal more in his career, and will undoubtedly continue beyond his lifetime. Every
choreographer presents material in an individual manner, just as a painter paints, or a photographer
snaps a picture. Alonzo King is a choreographer of collaboration, meaning he likes to collaborate
with his dancers to witness their transformation of a movement and formation of it into something
altogether new. Laurel Keen, a company LINES company member for nine years, until 2011, said of
King's process "after he demonstrates a phrase to us he wants to see our interpretations of it. There
are nine dancers in the company so he wants to see nine completely unique versions of the same
phrase. He allows us the freedom to interpret the movement in our own way and that way he can
work with all the different voices and assemble them the way he wants to. It is an equal
conversation between dancer and choreographer". To develop his pieces King also gives the dancers
phrases and then instructs each of them to reshape the phrases in a specific way. Laurel Keen

Dance Injuries In The United States
Dance injuries are a harmful and increasingly prevalent concern for dancers in the United States.
According to Rachael Rettner (2013), "Over a 17 year period, the number of dance related injuries
that sent U.S. children ages 3 to 19 to emergency rooms increased 37 percent, from 6." Since ballet
is the foundation of all dance techniques, ballet dance schools should be required to provide injury
prevention classes so that injuries are prevented, dancers' careers can be prolonged, and dancers can
perform better. Dance Injuries First, injury prevention courses are needed in ballet schools because
ballet dancers can easily injure themselves during a class, rehearsal, or performance. Joel Schwarz
(2000), asserts "Ronald Smith, a University of Washington ... Show more content on
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Additionally, if a dancer gets injured, they could lose their ranking in a ballet company. In the
professional world of ballet there is ranking for the one of the three levels a ballet dancer can be on.
The lowest level is a ballerina, the middle level is a soloist, and the highest level is a principal ballet
dancer. Although every ballet dancer dreams of and works extremely hard to become a principal
dancer, almost every dancers does not make it to principal because the principal must be the best out
of all of the rest of the dancers. This creates jealousy and envy that cannot be seen on the stage.
Injuries can even effect a dancer's mental state. Performing with an injury or the thought of getting
an injury can put a dancer under extreme stress and

Stripping The Emperor Poem Analysis
Stripping the Emperor: The Africanist Presence in American Concert Dance "Stripping the Emperor:
The Africanist Presence in American Concert Dance", and excerpt from Moving History/Dancing
Cultures: A Dance History Reader, was written by Brenda Dixon Gottschild. Gottschild is a well–
known author, dance historian, performer, and choreographer as well as a professor of dance studies
at Temple University. She has also written multiple books including The Black Dancer Body,
Waltzing in the Dark, and Digging. In her article "Stripping the Emperor: The Africanist Presence in
American Concert Dance", Gottschild explores the similarities and differences in the characteristics
of Africanist and European technique, and how they draw from each other. In "Stripping the
Emperor: The Africanist Presence in American Concert Dance", Gottschild begins by introducing
unique aspects of the Africanist aesthetic including how it embraces differences and instead of the
tradition European idea of resolving conflict, Africanist aesthetic presents a question and
demonstrates the beauty in accepting conflict. One way in which the Africanist aesthetic differs
from European ballet is how they utilize polycentrism, having multiple centers of movement, and
polyrhythm, when different body parts keep multiple rhythms. Other ways include the high–affect
juxtaposition, changes in mood, movement, or tempo, to the drastically contrasting sharpness and
intensity in the movements. Gottschild's main point in

Joffrey Dance Essay
Joffrey: Mavericks of American Dance, recounts the tale of the revolutionized American dance by
consolidating advanced customary dance to make another brave work of art. The Joffrey Ballet was
an group that effectively went out on a limb that changed the dance form for eternity. As the title
indicates, the film depicts the organization as a nonconformist – the principal American dance
company to coordinate current dance moves into its traditional expressive dance base, and one that
was so associated with political and societal occasions of the time. Established in 1956 by Robert
Joffrey and Gerald Arpino, the progressions were little at in the first place, expanding the
significance of male artists in the gathering with and choreographing less constrained development.
At that point when the 1960s hit everything changed. Strong works like the dull, hostile to war
demonstrate The Green Table and the hallucinogenic hippy freakout Astarte politicized the artistic
expression and melded it with a cutting edge sensibility without losing the traditionally prepared
roots. Acclaim, attention, and Time Magazine covers (back in the blameless days when a wonder
such as this was still viewed as essential) took after, and the free thinker medicines of the specialty
were reflected in ... Show more content on Helpwriting.net ...
In a couple of years that mantle would move to Europe yet it was Robert Joffrey's effective little
organization that pushed those progressions and open new boondocks for ballet. American
specialists who changed their artistic expression, as well as found a crowd of people. Joffrey:
Mavericks of American Dance, a genuine history of the Joffrey Ballet, might be a nostalgic love
letter to organizers Robert Joffrey and Gerald Arpino, yet it saturated me with an enthusiasm and
motivation any

Evolution Of Ballet Research Paper
The Evolution of Ballet
How has ballet evolved since popularized during the Italian Renaissance? Going back to preschool,
I have loved to dance. Ballet was the first style I learned, and it made me fall in love with dance. My
instructor this year often talks about what ballet was like when he danced (in the 1970s,) and also
before then. One day, he explained to my class how girls used to dance on their toes before pointe
shoes were invented. I found it fascinating, so I decided to research more about it after class. As I
was looking up the history of the pointe shoe, I came across some websites that explained the
history of ballet and where it originated. Even after having danced for eleven years, I realized there
is so much that I do not know about it. There is more to ballet than going to class and doing
performances. Just as in any sport or hobby, it helps to know how it first started and how it has
evolved. To improve at anything, one must understand the fundamentals. By doing this research, I
can gain ... Show more content on Helpwriting.net ...
Any artist would agree with me in saying that experiencing art is of value to, and almost necessary
to achieve, a well cultured life. This research should give a non–dancer a great idea of why dancers
love what they do.
This research is basic and qualitative. Its primary goal is to explore the evolution of ballet. No data
had to be collected, and the research involved no experiment.
Catherine de Medici was born in Italy during the Italian Renaissance. Her family was a patron of the
arts, which is how she became acquainted with ballet. The ballet at this time was called Ballet de
Cour, or court ballet. During this time only boys danced, but Medici still loved to watch. When she
moved to France to marry King Henry II, she brought her love of dance with her. In 1581 the first
ballet, Ballet Royal de la Reine, was performed in the Medici

Alvin Ailey 's Influence On The Landscape Of Modern Dance
Alvin Ailey was an accomplished dancer and choreographer whose African–American heritage
influenced his works in the 20th century. His successful dance career has gained international
recognition and acclaim thus rendering a significant legacy. Ailey's background as a dancer and
choreographer had many strong influences from social, cultural, economic and political aspects
during his early life. His African–American heritage has greatly influenced his works. Alvin was the
founder of the Alvin Ailey American Dance Theater (1958–), galvanized and stabilized an African
American presence in theatrical dance. An outstanding performer, choreographer, company director,
and mentor to scores of dance artists, Ailey oversaw the growth of his small, pick–up group of seven
dancers into a large, carefully managed, internationally–renowned enterprise including several
ensembles of dancers and a thriving school in New York City housed in the largest building devoted
to dance in the United States. Along the way, Ailey changed the landscape of modern dance by
developing new audiences for its performance through a consistent combination of exceptional
artistry and wellcoordinated community outreach programs. In all, Ailey invigorated the art of dance
with his distinctive creative imagination, his "blood memories" of cultural formations he witnessed
as a child–– including the jook joint and the black church ––and the strong survivalist ethic he
learned as an African American man born in the

Stripping The Emperor Poem Analysis
"Stripping the Emperor: The Africanist Presence in American Concert Dance", an excerpt from
Moving History/Dancing Cultures: A Dance History Reader, was written by Brenda Dixon
Gottschild. Gottschild is a well–known author, dance historian, performer, and choreographer as
well as a professor of dance studies at Temple University. She has also written multiple books
including The Black Dancer Body, Waltzing in the Dark, and Digging. In her article "Stripping the
Emperor: The Africanist Presence in American Concert Dance", Gottschild explores the similarities
and differences in the characteristics of Africanist and European technique, and how they draw from
each other. In "Stripping the Emperor: The Africanist Presence in American Concert Dance",
Gottschild begins by introducing unique aspects of the Africanist aesthetic including how it
embraces differences and instead of the traditional European idea of resolving conflict, Africanist
aesthetic presents a question and demonstrates the beauty in accepting conflict. One way in which
the Africanist aesthetic differs from European ballet is how they utilize polycentrism, having
multiple centers of movement, and polyrhythm, when different body parts keep multiple rhythms.
Other ways include the high–affect juxtaposition, changes in mood, movement, or tempo, to the
drastically contrasting sharpness and intensity in the movements. Gottschild's main point in her
article is to describe how the Africanist aesthetic is much less strict

Analysis Of The Movie ' Madame Butterfly ' Essay
Madame Butterfly On October 1st 2016, the Houston Ballet revives famous choreographer, Stanton
Welch's signature "Madame Butterfly". The dance performance takes at place at the Houston ballet
at Wortham Theater Center, Downton Houston Texas. The Houston Ballet Company, established in
1955, is the fourth largest ballet company is the United States which produces more than 70 dance
performances in a year. The company's artistic director, Stanton Welch is an acclaimed Australian
choreographer who has revitalized the ballet company by bringing in fresh dancers, commissioning
new works, and attracting top flight artistic staff to the city of Houston. He has also created works
for prestigious international companies like the San Francisco Ballet and the Birmingham Royal
Ballet. To start with, the mood in any dance can sometimes become the most important facet of the
performance. Also, certain elements must combine to create the desired mood to strike the right
connection between the audience and the choreographer. Madame Butterfly, dramatically chronicles
the love story of the beautiful, geisha Cio–Cio San who is betrothed to marry an American
lieutenant, Pinkerton. The production unfolds on Peter Farmer's picturesque sets, which beautifully
evoke the mystery and apathy of the 19th century Japan. The appearance of the dancers on stage is
quite thrilling with each choreographer displaying very

Similarities And Differences Between Ballet And Yoga
According to Center for Arts and Cultural Policy Studies, 8 million people, who are in United States
of America, take a ballet class one time at the minimum past a year in 2002. In addition, the average
number of frequency of ballet is 1.7 times in a year (Center for Arts, 1). On the other hand,
according to CISION of January 13, 2016, over 3.6 million people attend a yoga class in 2016. The
amounts of student, who want to learn yoga, are getting growing 20.4 million from 2012 (Yoga, 1).
Therefore, there are similar and dissimilar points between ballet and yoga. Ballet and yoga are
categorized by cardiorespiratory exercise. What is cardiorespiratory exercise? Cardiorespiratory
exercise is that people, who do cardiorespiratory exercise, need to take oxygen when their body
generates energy and burn their fat or carbohydrate. Additionally, exercise level is from beginning to
intermediate so they can keep exercise for long time per one time such as, swimming, ballet, and
yoga. University of Central Oklahoma (UCO) has dance performance major and students can take
ballet class three times a week. The class starts from nine o'clock to ten twenty–five in the morning.
Even if people are not dance performance major, they can take the class.
Moreover, UCO students can take yoga class at wellness center at UCO. There are two classes a day
from Mondays to Thursdays during semester and the classes are about fifty minutes per a class.
Ballet and yoga have benefits through

The Evolution Of Ballet And The Human Body
Emma Weber
Instructor Miller
Speech 96–111
April 7, 2015
The Evolution of Ballet
Influential philosopher Ludwig Wittgenstein, stated that "the human body is the best picture of the
human soul." A great example of the human body portraying the soul is through the art of ballet.
From the Cambridge Dictionary Online, ballet can be defined as "a type of dancing in which
controlled movements of the body are designed to express the beauty of physical motion, often
while telling a story, or a piece of music for such dancing." With ballet's long history, it has shifted
through various eras of time, including Ballet de Cour, Opera Ballet, Romanticism, Classical,
Russian Imperialism, and the current modern era. All of which are characterized by particular
ballets, prominent people, and various other theatrical elements. However, as the art of ballet
evolved through the different eras, the emotions, messages, and nonverbal cues of each ballet
changed to fit the societal norms and standards.
BALLET DE COUR Ballet de Cour originated in the 1400s in Italy during the Italian Renaissance.
Eventually, ballet moved to the country of France when Catherine de Médicis, who belonged to one
of the ruling families of Florence, married King Henry II in 1547. Catherine then began to introduce
curt ballet to her new French court. She strikes me as the overall instigator of the ballet movement
that allowed ballet to become as big as it has. A major ballet during this time was the Ballet
Comique de

Talley Beatty: The Stack Up
Talley Beatty the Extraordinar Life as an African American has never been easy, especially in early
decades. A person of color encountered many trials and tribulations. Expressing one's thoughts and
feelings was challenging for the colored due to societies lack of interest and unjust discrimination.
Talley Beatty was an expressive choreographer known for his unique jazz and ballet dance styles
that was centered on the harshness of life. Talley Beatty was born in Cedar, Louisana on December
22, 1918. He moved with his family to Chicago, where he was encouraged to study dance by the
famous and inspiring teacher, Katherine Dunham. At the age of 16, he studied her work which was
based on African and Caribbean dance. In 1946 he ... Show more content on Helpwriting.net ...
His work was very emotional yet spiritual, portraying real life hardships. He was known for his
modern dance, smooth jazz and ballet. Based on his education, his style mirrored a mixture
Grahams steps, Dunham's polyrhythmic dance styles and ballet. His choreography was fast and
energetic. His work demonstrated arm and leg extensions and back arches. According to the NEA
Arts Magazine, " As Chaya explained "Classical ballet is about stretch and balance; modern dance is
about going deeper to the ground, weight–wise; and jazz dance is sassy and sharp with a little bit
more of an entertainment flavor to it. Talley is amazing in that his ideas about movement were
always based on those three elements. (http://arts.gov/NEARTS/2007v2–american–masterpieces–
three–centuries–artistic–genius/talley–beattys–road–phoebe–snow)." Living in a world of
segregation and discriminations is difficult, especially as an African American. But a man of talent
and bravery like Beatty didn't let the downfalls of ignorance interfere in his work. Instead he helped
define black tradition through dance. Beatty themes were focused on the daily struggles of African
Americans. Through is work, he helped the audiences relate to what it was like to be black in the
United States. On April 29, 1995, at the age of 76 Beatty died from complications of diabetes. Talley
Beatty is one of

New York City Ballet Research Paper
To prove everyone wrong, an interest was sparked in supporting ballet to show the world that
American artists are just as competence as its foreign competitors. Unlike the Russians who have
already established their mark in the ballet world, Americans were not commonly associated as
talented ballet dancers. Thus, in 1954, President Dwight Eisenhower set aside $2,250,00 to fund
dance, theatre, music, and sports tours to showcase American talents around the world. One of the
funded dance tours was a ballet tour by New York City Ballet's in Western Europe and the Soviet
Union in 1962 (Croft, p. 425). New York City Ballet was a company founded by Balanchine and
Kristen so their ballet performances reflected the innovation style of American ballet while
maintaining its classical grace. Before their tour in the Soviet Union, the dancers were prepared for
criticism and even booing during the performance due to the tensions between the two countries.
However, all political differences were pushed aside, as "three thousand Soviet ballet fans rose to
their feet to celebrate ... Show more content on Helpwriting.net ...
Contrary to its pervious goal of persevering world culture, ballet had a new purpose to fix America's
poor reputation as a culture of refined arts. To persuade private donors to invest in their company,
the American Ballet Theater said, " Each dollar you send is a ballot of belief in our culture and in
the fact that we, as Americans, have something valid to say in any art form " (Fried–Gintis, p. 150).
Although this further supported consumerism, it was spending for a good cause. Compared to what
materialistic objects Americans could be purchasing, ballet companies suggested Americans put
their money in investing the growth of American art forms to show the world that American art
culture can be as advanced and sophisticated as old European

George Balanchine Essay
George Balanchine
If composers are the masters of time, then the choreographer George Balanchine is the master of
visual realization of that time in human terms. A master in both the kinesthetic and musical frames
of creativity, he did not devote his energies to music visualization by assigning a certain number of
dancers to represent strings, others the brass, and still others woodwinds or percussion but by
creating a visual analogy in space that restates the musical structure with the trained dancer's body.
He claimed that "Ballet... should not be an illustrator of even...the most substantive of literary
sources. It will speak for itself. The ballet is flowers, beauty, poetry...I am, if you please, an
advocate of pure art." ... Show more content on Helpwriting.net ...
While waiting though, an acquaintance of the family suggested it would do no harm if Georgi
auditioned since he was there. He was accepted and Tamara was not. After some initial
homesickness Georgi loved the school and thrived in its atmosphere.
In addition to developing his kinesthetic proficiency, he had retained his musical gift and Vera
Kostrovitskaya, a fellow student, said that "He could never pass with indifference any musical
instrument. The minute he came down to our floor of the school the sounds of a piano would be
heard...Sometimes, in the evening, we would secretly climb the stairs to listen to Balanchivadze
playing Liszt, Chopin or Beethoven in the boy's quarters..." In 1919 Balanchivadze applied to the
Conservatory of Music and was accepted, but as an undernourished dancer (this was during the
Bolshevik revolution and everyone was hungry, especially those involved in the arts, which were
considered to be counter–revolutionary) he could not work simultaneously at the school and the
conservatory, and never completed his music course. There can be little doubt that his concentration
on both dance and music was the foundation of his later excellence in choreography.
In 1920, at the age of 16, Balanchivadze arranged a dance for the annual school performance. He
choreographed the pas de deux "La Nuit" to music by Anton Rubenstein (Mikhail Barishnikov
claims that this ballet is still

Mao's Last Dancer Critique
Ballet prince Li Cunxin English autobiography called "Mao's last dancer". The name was coupled
with the cover design is very Western mind. It's the Chinese translation was turned into "dance all
over the world", although the name is also appropriate for a loud, but I still prefer to call it close to
the original intent of "The Last Dancer." Today saw the movie based on his autobiography made
into. I have never written a film critic, so completely do not understand organization of writing. I
only know that he is susceptible of this, so watching the process, inevitable tears. After reading the
story of the residual sound surrounded me around for a long time. The plot is not complicated, Lee
kept the letter from a poor rural family in Shandong ... Show more content on Helpwriting.net ...
There, he saw progress in the West, but also captured first love. For personal development, after the
expiry of the study, he chose to marry and stay in the United States. Although life has not been easy,
but he relied on his talent and hard work, and eventually became world–renowned ballet prince. His
behavior was seen as a betrayal of the motherland and the people, but Bush and his wife's help, not
only to the United States his parents to watch his show, he was the 90 wives and coming down the
home, and have the opportunity to stage an exhibition of China's glory. Because of the limitations of
the screen, the film can not show the entire contents of the autobiography came out, so play to his
return to the motherland will be abruptly put on hold. The audience does not know is that Lee kept
the letter was from the United States moved to the home of Australia's second wife. In order for his
wife and three children live a happy life, after the cessation of the ballet, and successfully
transformed into a stockbroker, and became Australia's senior manager of a securities company. Last
year, he also fortunate to be named Australia's best

Pia Bausch Research Paper
Pina Bausch was born in Solingen, near Düsseldorf, Germany, in the middle of World War II. Was
the third daughter of August and Anita Bausch, who had a restaurant, where Pina grew up and took
her first dance classes. It was there when her parents realized her extreme physical flexibility and
talent, they decided to support her so at age 15, she would study with choreographer Kurt Jooss at
the Folkwang School in Essen, where Pina would acquire the foundations of German expressionist
dance that would be the basis of her later career.
In 1959, at age 19, she graduated from the Folkwang School and won a scholarship to continue his
studies in New York, where she danced for the first time in the Metropolitan Opera Ballet.
Following the brilliant performance of Pina Bausch in the United ... Show more content on
Helpwriting.net ...
In this work, she achieved a connection with the scenario based on soil moisture, an act that shows
the basis of his proposal, where the scene is an important part of the choreography. At the same
time, she created a close relationship with the Polish designer Rolf Borzik, who would become his
husband and close collaborator, and with whom she would develop performance proposals away
from classical dance, opening a new path towards the consolidation of theater dance.
In 1976, with the choreography of The Seven Deadly Sins, by composer Kurt Weill, Bausch
separated completely from the conventions of classical ballet, introducing a rehearsal method in
which she generates questions to her dancers, and creates a choreography based on His answers,
which are reflected in both the physical and the verbal and visual of the piece, which includes
spoken texts and classical and popular music.
Their dancers connect with the dance tradition embodying feelings of existential human anguish and
references to specific geographic places, dancing focused on surreal situations, body use and the
relationships between stage and

Essay on Body Image and Eating Disorders Among Young...
Ballet is a beautiful and romantic type of performance art. It originated in the Italian court systems
in the 15th century (Jonas). Since its origination, ballet has undergone many changes and gained
worldwide recognition. Filled with elaborate costumes, cheering audiences, lights, weightless
movements and beauty; ballet is admired by many. On the magical stage ballerinas can become
whoever they wan to be, and perform in a world of fantasy. For these reasons, children, especially
little girls, all over the world dream of becoming ballerinas when they grow up. However, becoming
a professional ballerina is an extremely difficult accomplishment, in which few will achieve (Kelso
1). The world of ballet may seem to be filled with glitz and ... Show more content on
Helpwriting.net ...
Dance is a "highly competitive, high–pressure and physically demanding profession" (Dunning).
Ballet students are constantly monitored on their body weight. Most dance companies have what is
called an "appearance clause" written into their contracts. This clause specifies that if a dancer gains
an excessive amount of weight she could be released from the company (Kelso 2). For this, many
dance companies and schools require that their students participate in frequent weigh–ins (Price and
Pettijohn 991). Often times these weigh–ins are unannounced and the dancers are unaware of them.
Their weight is recorded and even announced in front of other dancers in the class (Kelso). Through
these weigh–ins, dance company directors and teachers constantly push their dancers to be
extremely thin. If their weight is too high they will be pressured to loose it. Dancers can be both
rewarded or punished based on their weight. A dancer could be rewarded by gaining a role in a
ballet, and praised by the directors. On the other hand, if she did not loose the weight she could risk
not being cast at all (Kelso). This constant monitoring, embarrassment and scrutiny of there weight
cause the dancers to be even more cautious about their weight. The reason that these dancers have to
maintain such a low weight is due to the standards set by one individual. George Balanchine is a
world renowned dancer and choreographer. One of the major

Diaghilev's Influence On George Ballanchine
Soon after hiring Balanchine and his comrades, Diaghilev realized that Balanchine had great
choreographic potential and proceeded to promote him to the rank of ballet master and principal
choreographer. It was at Diaghilev's instance that the surname Balanchivadze was shortened to
Balanchine ("George Balanchine Biography" 2014). As the Ballet Russes's resident choreographer,
Balanchine would create eleven full–length works, among them the L'Enfant et les Sortilèges to the
music of French composer Maurice Ravel and Le Chant du Rossignol, accompanied by a Stravinsky
score. Other notable ballets choreographed exclusively for the Ballet Russes include Apollon
Musagète and Prodigal Son. During this period, Balanchine suffered a serious knee injury, ... Show
more content on Helpwriting.net ...
While with the Ballet Russes de Monte Carlo, Balanchine choreographed three ballets, Cotillon, La
Concurrence, and Le Bourgeois Gentilhomme, all of which were centered around principal dancer
Tamara Toumanova ("Biography" 2002). He later created the company Les Ballets in 1933 with
Boris Kochno, a former private secretary of Diaghilev's, as artistic director ("George Balanchine
Biography" 2014). For the troupe's opening season, Balanchine choreographed six works,
collaborating with Bertolt Brecht and Kurt Weill for The Seven Deadly Sins, Pavel Tchelitchew for
Errante, and composers Darius Milhaud for Les Songes and Henri Sauget for Fastes. Unfortunately,
the company dissolved within a few months of its inception. As devastating as this was for
Balanchine, the company's sudden collapse would result in one of the most revolutionary meetings
in the history of 20th–century dance ("Biography"

Cold War Dbq Essay
The cold War is over but the influence of the Soviet Union is not and soviet union was a communist.
The Soviet Union grew out of the Bolshevik revolution and civil war in 1917. Therefore it started
after the Russian revolution in the early 1920s and lasted until 1991. However, three areas are most
necessary to understand its cultural achievements. Its military strength and its political oppression.
The first area that textbook authors should emphasize is cultural achievements. This includes
Russia's success in the Olympic for getting the most gold medals between 1952 and 1988. Also its
incredible ballet, the soviet admired the companies of ballet. Includuding I a cultural exchange to
help ease relations between these two nations to those that came to the united states. in document H
the author explains that the already popular ballet expanded during the soviet era. not only did talent
scouts find and train younger ... Show more content on Helpwriting.net ...
Particularly during the Great Terror under Stalin, the oppression and its effects were truly awful.
People could be arrested and even killed just for suspicion of opposing the government. This of
course made the people extremely fearful. Millions of others died due to famine and disease.
Eventually, the Great Terror led to the execution of more than 700,000 soviet citizens. The soviet
political system was not only brutal, it was rigged. The political elite feared democracy and arranged
elections in which the people were given no real choice. The fact that leonid Brezhnev received
99.99% of the vote tells a thinly veiled story of political corruption. it is crucial to emphasize this
political charade if one is to understand the degree of oppression and regulation that the government
imposed on its people, whether it was moving them to a camp in Siberia or a ballet school in
Moscow. soviet society was not a free

How Carlos Blasis And Arthur Mitchell's Role In The...
Carlos Blasis and Arthur Mitchell, two brilliant dancers, masters, and teachers in their own rights,
played a vital role in the evolution of ballet. Blasis, who was born in 1797's Italy, used his strong
mind and understanding of the craft to construct and raise the bar of ballet techniques worldwide.
Mitchell, an African American born in 1934's Harlem, spent his whole career breaking stereotypical
barriers on the presence of black people in ballet.
Their Ballet Tree
Growing up, Carlos Blasis studied in Bordeaux, France under Jean Dauberval (an alias for Jean
Bercher). Dauberval, famous for his comedy ballet, studied under French ballet master, Jean–
Georges Noverre. Noverre created and pioneered "ballet d'action" which is a movement of
transferring the emotions originally conveyed from the costumes, scenery, and props to the emotions
of a dancer's body and facial expression. At this point the focus, in Noverre's eyes, were too much
on the technical precision than the actual dance itself. (Crain, 2010) Noverre influenced Blasis as he
too was praised for his expressiveness as a professional dancer (Cohen, 1998).
For Arthur Mitchell, ballet wasn't his first choice in the style of dance. A guidance counselor
convinced the young Mitchell to audition for the High School of the Arts where he was more
interested in Modern dance. During high school, Karel Shook, who also taught other dance legends
like Alvin Ailey, Carmen de Lavallade, and Geoffrey Holder (Grant, 1985), was

The Importance Of Looking From The Outside In Russian Ballet
Looking From the Outside In, Russian Ballet
Never knowing of an art form and to see the importance that is gathered from it can change an
opinion. I am speaking in ballet and in specific, the ballet of Russian. My reasoning for selection
such a meticulous and thorough form is dance is to get a better view and to look from the outside in
is where I am now. What make this form of dance interesting to me is that I have never taken the
time to give my full undivided attention to it as I have with music and photography. Russia has
always had my interest because of the differences that is share between the United States and
Russia. There is ballet in the United States, but what is important to me is where this form of dance
originated and why it originated.
"Russian ballet dancers seem to have no limits! Their arabesques and battement are sweeping,
dimensional and yet very light and flexible. An expert can immediately distinguish them from artists
belonging to other schools." (Gureev, 2016)
The history of Russian ballet goes back to the first half of the 18th century. At that time Frenchman
Jean–Baptiste Landé opened his dance school in St. Petersburg, where he began teaching and
instructing ... Show more content on Helpwriting.net ...
The telling of story that characterizes the Russian culture was able to keep me wanting to learn that
much more about the art form. So what I can take from the Russian ballet is that it is not an original
Russian idea, but was introduced to Russian by French culture. Because of my musical background
and my love for the arts, I was able to quickly taste of the emotional expression and found arousing
passion that was being within ballet. I am also a photography and a few years back I was able to see
my granddaughter perform at a dance recital, where I was able to photograph a child approach to
ballet and I was impress at the abilities to which they displayed their raw

Informative Essay On Ballet
Hence, by looking back to the beginning of ballet, it is safe to say that ballet has come a long way
from being a foreign art to a dance embraced and loved by Americans. It began with only a few
companies in New York, but today there are more than "65 professional, million–dollar–budget
ballet companies" in the United States (Legro). Many American girls as young as three years old are
taking ballet lessons and dreaming of one day becoming a ballerina in the nation's top ballet
companies. As to why these little girls are deciding to learn this art, a 14 year from California
replies, " I just think it is fun and my mom and my sister also danced ballet when she was younger,
so I guess it is just part our family " (C. Chen, personal communication,

Balanchine Biography
In 1904 when Georgi Melitonovitch Balanchivadze was born in Saint Petersburg, Russia, the world
had no idea of the ballet master mind that was going to be introduced 10 years later. Balanchine
started dancing at the Imperial School of Theater and Ballet (Or as it is more well known, the Kirov
Academy) in 1914, much to his dismay. As a young boy Balanchine had wished to become a naval
officer or a priest, it had not been his wish to dance, he ended up in the school by mere chance. His
sister, however, did not get accepted. Alone in the school Balanchine had to pick up skills quickly,
early on in his life he had grown accustomed to listening and playing music. Other students would
often ask him to accompany their choreography as he was incredibly ... Show more content on
Helpwriting.net ...
However, his costumes continued to be on the side of basic, mostly just bedazzled practice gear if
you must. He liked simplicity and would often be happy with the dancers in their basic black
leotards with a skirt, which is still shown in many of his pieces today. However, one vital piece of
information that is still seen with in his dances today is that he truly focused on the female dancers.
He believed that ballet should be focused almost inclusively on the female dancers. While he
wanted his male dancers to be strong and vocal points at times he would often put more emphasis on
the female dancers, requiring them to have high levels of stamina and tolerance for pain. At age 79,
4 wives and over 400 pieces of choreography later, Balanchine left us as legacy in 1983. When he
died, he did not think that his dances would last, he thought they would be fleeting and short lived,
however, 33 years later, I do believe we had proved that wrong. With the assistance of videos, the
Balanchine Trust and his former dancers dozens of his dances carry on

The Five Principles Of Dance In The Russo-American Era
Dance is found in all cultures, it was considered a way to communicate without talking. During the
Renaissance period, ballet was considered a Russian specialty. The highly qualified and sought after
dance companies would tour the world performing in front of those who had never experienced
ballet before. By exposing ballet to the United States of America, the Russians inspired and sparked
a demand for legitimate ballet in America. It took place throughout the 20th century, currently
known as the Russo–American Era. During the Russo–American Era, the Russian choreographers,
such as, Michel Fokine, Anna Pavlova, Vaslav Nijinsky, Léonide Massine, and Bronislava Nijinska;
they benefited from its American audience and started to make dramatic changes to the classical
ballet. Every single one of these choreographers implemented and transformed the way people view,
danced and perceived ballet in the early 20th century. Several ideas for these innovations were from
Michel Fokine, when in 1914 wrote a letter to the London Times, stating the five principles of ballet
that befitted the 20th century ballet:
4. The corps de ballet should be used for plot development and as a means of

George Balanchine: Revolutionary Choreographer
1
Rachel Cubbler
Mrs. Hamilton
English 12
April 28, 2016
Mr. Balanchine: Revolutionary Choreographer Without George Balanchine the dance world might
not be what it is today. He combined the technique of classical ballet and his modern movements to
shape and mold the many styles of dance. He is remembered as the foremost contemporary
choreographer in the world. George Balanchine choreographed over four hundred ballets. George
Balanchine, a revolutionary ballet choreographer, began his career in Russia, continued in the
United States, and left a memorable legacy worldwide. George Balanchine began his early career in
Russia. As the son of a composer, George began taking piano lessons at just age five. Only four
years later, he was accepted ... Show more content on Helpwriting.net ...
All heads are gently tilted to the right. This dance portrays the geometric shapes classical ballet
formed, but Balanchine tells a story in the madness of the movement. Tony Bentley, who danced for
the New York City Ballet for ten years, writes The Ballet That Changed Everything online at The
Wall Street Journal. In his piece, Serenade, Balanchine incorporated the history of classical dance
before him into thirty–two minutes. Although he is most known for his ballets, Balanchine
choreographed musical theater dances on Broadway. Online at The George Balanchine Foundation
they have written a biography on George Balanchine. In this biography they have a quote of George
Balanchine, "We must first realize that dancing is an absolutely independent art, not merely a
secondary accompanying one. I believe that it is one of the great arts... The important thing in ballet
is the movement itself. A ballet may contain a story, but the visual spectacle... is the essential
element. The choreographer and the dancer must remember that they reach the audience through the
eye. It's the illusion created which convinces the audience, much as it is with the work of a magician
(George Balanchine

All Art, Including Music, Is Directly Influenced By The
All art, including music, is directly influenced by the environment in which the artist lives. It is
impossible to create art in a vacuum, unaffected by the society and events surrounding you. The
time period, location, and social changes and innovations can have a direct effect on the art
produced. Political events, especially wars, can have a strong influence on the music and art
produced at that time. For example, music may become more patriotic during a time of war as the
composers strive to publicize their national pride. I will explore this idea through the composer Igor
Stravinsky and his three most famous ballets in terms of music and choreography. Since I have a
retrospective perspective, I will be able to analyze the situation ... Show more content on
Helpwriting.net ...
His wide range of locations creates an expansive social and political influence on his works and
their choreography. Similar to many famous composers, Stravinsky did not study music from the
time he was a small child, but studied law and philosophy at St Petersburg University (Taruskin,
White). Throughout the course of his life, Stravinsky composed almost 100 works, ranging in
genres. He began to be commissioned by the Ballet Russes in 1909 and by the following year was
asked by Serge Diaghilev to produce The Firebird (Taruskin, White). The Ballet Russes was a Paris
ballet company run by Serge Diaghilev that was known for its creative and inventive performances.
Many people did not like the Ballet Russes innovative style and chose to watch classic ballet
companies instead in order to continue the classical style that many believed ballet should express.
However, Diaghilev was determined to do something unique with his ballet company and they made
their performances extremely modern (Lockspeiser). The Firebird was the work that set Stravinsky's
career on fire, and allowed his name to become spoken with respect and fame. It premiered at the
Paris Opera on June 25, 1910. It may have been fate that this commission was offered to Stravinsky
because it is said that the Ballet Russes originally commissioned another composer for this piece,
but that his slow progress forced them to offer it to

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