Wicked The Musical is a beloved Broadway show that has captured the hearts of audiences all over the world. From the catchy tunes to the stunning costumes, this musical has it all. However, one of the most impressive aspects of Wicked is undoubtedly its dancers and choreography. In this critique essay, we will be taking a closer look at the technical execution of dance routines and use of space and staging in Wicked The Musical. These two elements are crucial to any successful dance performance, and they play an vital role in bringing this larger-than-life story to The Gershwin stage.
For my final paper, I have decided to analyze the piece "Hoe Down" from Aaron Copland 's ballet, Rodeo. Rodeo is a upbeat piece that is a celebration of the American west and reflects a specific picture we have of ourselves. Rodeo originated from the Ballet Russe de Monte Carlo, with the music composed by Copland and the dance choreography by Agnes de Mille. The Ballet had it 's premiere at the Metropolitan Opera House on October 16, 1942. The ballet 's scene starts at Burnt Ranch where a cowgirl is competing with other visiting "city" girls for the attention of some local cowboys, like the Head Wrangler.
The emergence of this theater provides valuable opportunities to dancers all over the world, especially those great African-American dancers. The dancers created by the Alvin Ailey American Dance Theater have performed for more than 20 million people all around the world, and through numbers of television broadcasts, countless others are able to enjoy those great pieces of dance. Just as what Ailey said in the 25th anniversary of his company, in 1983---"I wanted to explore black culture, and I wanted that culture to be a revelation.” Definitely, Alvin Ailey had achieved his ambition, and undoubtedly we are all the better for
A standout amongst the most prominent supporters of the racial refinement of jazz music was African-American jazz artist Duke Ellington. He intentionally coordinated spirituals and racial influences in his music and referenced to African-American history and society in a number of his tunes. While doing this, Ellington deliberately endorsed the idea that jazz music was African-American. Duke Ellington insisted that the music he played was distinctly African-American. He expressed his conviction of this fact by
The Savoy Ballroom: An Uprising of African-American Pop Culture Manuel Gatdula April 4, 2023 8th Grade ELA Section 3 The Savoy Ballroom was an integrated community center that was made to change how African-American culture was viewed by showcasing various art forms relating to African-American pop culture. Through the Savoy Ballroom, a musical uprising began with the new development of jazz and swing dance. The Savoy Ballroom contributed to the Harlem Renaissance and through the display of musical and performing art brought relief, joy, and entertainment to the depressed city of Harlem. Moe Gale and Jay Faggen, who were the owners of the Savoy Ballroom, dreamed of an integrated ballroom that would be created to tribute
In 1971, Alvin Ailey choreographed Cry, a three part work solo dance set to gospel music that describes an emotional journey filled with struggle, hardships, defeat, survival and joy. It was intended as a birthday present to Alvin’s mother and a dedication to all black women everywhere. The first part of the dance is the struggle of trying to maintain pride irrespective of the opposition faced from outside. The second part reveals the sorrow within after the woman’s pride has been shattered into pieces and finally the third part is a spirited celebration of finding strength and joy in God. Even though cry was dedicated to only black women, i argue the notion that all women both black and white of the nineteenth century could relate
In her article, Embodying Difference, Jane Desmond argues that dance offers important insights into the ways moving bodies articulate cultural meanings and social identities. In other words, she explains the importance of studying the body’s movement as a way of understanding culture and society. She has two main arguments. First, she argues for the importance of the continually changing relational constitutions of cultural forms. Desmond further explains that the key to shedding light on the unequal distribution of power and goods that shape social relations are the concepts of cultural resistance, appropriation, and cultural imperialism (49).
During the 1920's many historical events took place in the United States. Many imagine the glitz and glam but, curious Edward S. Curtis traveled to the areas enriched with Native American culture. In which he captured the beautiful Indian dancers of America titled: Buffalo Dance, Hopi.1 The Buffalo dance was a spiritual ceremonial event that included men, women, boys and girls of a specific tribe.2 The dance was to show how thankful the North American Indians were to have the necessities needed for survival.3 Additionally, the dance was a gathering sense of unification, this is exactly what Curtis conquered in his photograph.
The purpose of this essay is to provide a thorough yet concise explanation on the ways in which The Harlem Renaissance helped shaped the culture and perceptions of the “New Negro” in modern era of the 1920s and early 1930s. I will analyze the socioeconomic forces that led to the Harlem Renaissance and describe the motivation behind the outburst of Black American creativity, and the ideas that continue to have a lasting impact on American culture. In addition, I will discuss the effects as well as the failures of the movement in its relationship to power and resistance, highlighting key figures and events that are linked to the renaissance movement. During the 1920s and early 1930s New York City’s district of Harlem became the center of a cultural
Jefferson School African American Heritage Center – You offer a great chance to inform people of African American history in Charlottesville without the sugar coating you find in schools. But you state that we are in a post-racial society, so how can we trust that you understand African American heritage if you don’t understand the present times. Do not tell me that we are “post-racial” just because the white man traded in ropes on trees for bullets in guns and the white hoods for blue uniforms. Do not tell me that we are “post-racia”l when the white man makes up 72% of drug users while the black man makes up 60% of drug prisoners. Do not tell me that we are “post-racial” until you explain why the black man does time for the white mans crime.
The wake of September 11, according to Amira Jarmakani, came to form an ‘imperialism-through-freedom discourse’, which represented the events of this day as a symbol of shock rather than a tragic, continuation of hostilities in the political relationship between the Middle East and the United States. In this discourse, the Arab and Muslim world is home to a set of oppressive, fundamentalists, who hate American freedom and their ways of life. Moreover, Jarmakani also described the cover of the movie American Bellydancer, which displays an image of the destroyed Twin Towers of the World Trade Center in New York City with a belly dancer standing in front of it in the frame of the Statue of Liberty. As she explained it, this image represented the alignment of belly dancing with freedom, allowing the viewers to feel that belly dancing is not affiliated with the negativity surrounding the Middle East. This soon allowed people to associate belly dancing as a symbol of
West Side Story; The Discrimination Behind the Song and Dance According to Alberto Sandoval-Sanchez, The musical (West Side Story) projects ethnic difference as a threat to the territorial, racial and linguistic identity, as well as to the national and imperial subjectivity of Anglo Americans. The musical, uses plot points, characters, music, dialogue and dances as a distraction from the ethnic and racial discrimination against Puerto Rican immigrants of that time. West Side Story may not necessarily immediately appear to be an inherently racist musical, however according to Puerto Rican Alberto Sandoval-Sanchez, after immigrating to the US in 1973 to attend college, the musical was frequently imposed upon him as a model for his Puerto Rican
Immigrants have once migrated to our country in tiny groups and they made up a miniscule part of our population. Over time, they have strived, reproduced, and are just as stable as they should be. The African immigrants of Jamaica Avenue are relevant in this situation. They all have a particular kinship and bond that other groups may not. They have worked hard and have worked together along the journey.
The people from Africa were generally part of early American history; however, Africans had experience slavery under better conditions compared to the conditions imposed by other civilized society. From the Egyptian Empire to the Empire of Songhai, slavery was practice for the betterment of their society, however, foreigners invaded these regions and took their slave, their ports and impose these people to a life of servitude in the Caribbean islands and in the English’s colonies. Furthermore, the African American slaves were an active agent of society in the earliest period of American history; they have brought new religious practices to their community; for instance, they constructed networks of communities; they had fought in war alongside
Bainbridge Township, Ohio. The Dan Zola Orchestra plays live at Bainbridge Swing Dance at Bainbridge Township Town Hall (17826 Chillicothe Road; Chagrin Falls, OH 44023) on August 5th. The Dan Zola Band is a 19 piece big Band steeped in the tradition of the famous swing and dance bands. Count Basie, Glenn Miller, Benny Goodman, Ellington and Sinatra are just a sampling of the many authentic sounds that are featured by the Dan Zola Orchestra. For more information and photos visit www.zolabigband.com.
