1
Q
What three influences on the intention of reflect?
A
- indigenous tradition of storytelling
- inform audiences of indigenous culture
- ring’s background as an aboriginal descendant
2
Q
What are the two influences on the intention of TMTC?
A
- Polunin personal struggles
- polunin’s swan song
3
Q
What are three influences on the intention of Patyegarang?
A
- indigenous tradition of storytelling
- inform audiences of indigenous culture
- William Dawe’s diary entries
4
Q
What are three influences on the MV of Reflect?
A
- traditional aboriginal movements
- training at NAISDA
- training at Alvin Ailey
5
Q
What are two influences on the MV of TMTC?
A
- Jade hale-christophi ballet background
- Richard Alston
6
Q
What are three influences on the MV of Patyegarang?
A
- traditional aboriginal movements
- training at NAISDA
- Sydney dance company
7
Q
What are three production influences on reflect?
A
- set design: lake kaki-thanda
- lighting design: intention
- costume: lake kaki-thanda
8
Q
What impact does Patyegarang have on arts and society?
A
- major role - educating audiences about traditional aboriginal movements and stories
- all directors work with elders - demonstrated by page
- made sure he knew whole story of P
P and page have a large impact - society’s knowledge of Dreamtime stories - inspired rings and Cheetham to tell their stories in their chosen art forms
9
Q
What production influences are in TMTC?
A
- costume
- set
10
Q
Influences on intention - indigenous tradition of storytelling (Bangarra)
A
- the means in which culture is transferred
- Bangarra are taking the role of sharing to a wider community
- can be recognised as an influences
- rings/page wanted to explore (intentions)
- educate, inform and impact societies
11
Q
Influences on intention - inform audiences of indigenous culture (Bangarra)
A
- Bangarra ‘invite audiences to share, learn and appreciate the critical importance of culture’
- ‘understand their own relationship with land and First Nations peoples’
- if Bangarra had no passion for sharing culture, Rings/page wouldn’t be infulenced
- intention
12
Q
Influences on intention - William Dawe’s diary entries (Patyegarang)
A
- page wished to tell a Dreamtime story
- wants to tell a story of a relationship
- Patyegarang and William Dawe - FF 1788
- dance based around notes
- wants to present Dreamtime to public
13
Q
Influences on intention - ring’s background as an aboriginal descendant (reflect)
A
- after time w/ UR @ LKT, she noted her connection
- although urban, still shares relationship w/ country and land
- recognised her respect she’s always had
- (intention), similar to ring’s experience w/ UR as she recognised her connection…
14
Q
Influences on intention - polunin’s personal struggles (TMTC)
A
- began training young, developed talent
- moved away @ 13 to study @ RB
- youngest principal dancer, pressure kicked in
- suffered from lack of freedom and began making irresponsible decisions
- impacted intention as it was choreographed to show (intention)
15
Q
Influences on intention - polunin’s swan song (TMTC)
A
- his struggles led him to say goodbye
- piece was to say goodbye to fans
- last chance to show impeccable dance technique and artistry
- was his ‘swan song’ and last chance to perform
- impacted intention as it was choreographed to show (intention)
16
Q
Influence on MV - traditional aboriginal movements (bangarra)
A
- contemporary technique blended with TDM
- Bangarra spend time w/ cultural consultants to ensure they are correct
- organic gestures and techniques are fused w/ TDM
- dancers explore traditional dance by repeating movements, accents in limbs and medium/low lvl
17
Q
Influence on MV - traditional aboriginal movements (reflect) EXAMPLE
A
- in a phrase of section C
- hand to ear gesture as dancer steps back at med. level
- curved spine and angular shapes
- grounded and angular are characteristics of TDM
18
Q
Influence on MV - traditional aboriginal movements (Patyegarang) EXAMPLE
A
- phrase of section A, girls
- chest forward and arms dangle, being flicked upwards alternately
- grounded steps
- grounded and angular are characteristics of TDM
19
Q
Influence on MV - training at NAISDA (Bangarra)
A
- rings/page studied contemporary at NAISDA
- Carole Johnson opened NAISDA - ballet background USA
- advocate for African American dancers.- also FN people when she learnt they were fighting for rights
- NAISDA aided dance technique development for FN people
- technique like parallel, angular shapes, floor work
- seen in works MV
20
Q
Influence on MV - training at NAISDA (reflect) EXAMPLE
A
- section B, backbend phrase
- lowers, then rolls, then lifts to BB again
- floor work and twisting, being an influence
21
Q
Influence on MV - training at NAISDA (Patyegarang) EXAMPLE
A
- section B
- males and females split, males
- begin on floor and do knee slides, and make 90 degree angles with limbs
- taught to page by Johnson
22
Q
Influence on MV - Alvin Ailey (reflect)
A
- rings moved to NY and learnt technique w/ AA (1995)
- he fused styles, alongside MG style
- uneven timing, parallel lines and balancing on toes
23
Q
Influence on MV - Alvin Ailey (reflect) EXAMPLE
A
- section B (balancing on toes)
- learnt @ Alvin Ailey
24
Q
Influence on MV - Sydney dance company study (Patyegarang)
A
- choreographer graeme Murphy worked w/ page for two yrs @ SDC
- Murphy studied @ aus ballet
- influenced the fusion of ballet and contemporary.
- turnout, pulled up knees
25
Influence on MV - Sydney dance company study (Patyegarang) EXAMPLE
- section A, girls
- lunge over and do a circle w/ arms
- legs turnout and pulled up, GM influenced
26
Influence on MV - Jade hale christophi ballet background (TMTC)
- ballet dancer from a young age
- Royal ballet when older
- fused ballet w/ modern style technique - why?
- ballet technique qualities with everyday actions
27
Influence on MV - Jade hale christophi ballet background (TMTC) EXAMPLE
- first phrase section A
- uses the mix of ballet and modern
28
Influence on MV - Richard Alston (TMTC)
- founder of group ‘strider’ - contemporary
- experimented with everyday movements
- used spaces that were abnormal
- also encouraged ballet
29
Influence on MV - Richard Alston (TMTC) EXAMPLE
- phrase of section a
- arabesque, leaves then falls
- shows strider influence
30
Production Influence - Costume: lake kaki thanda (reflect)
- Jennifer Irwin
- inspired by the ‘vastness and surrealism’ of lake
- textures and lines from lake, sheer fabric reflects light
- like moving water
- seeked elder approval
- links to the girl becoming one with the space and land
31
Production Influence - set design: lake kaki thanda (reflect)
- Jacob Nash - worked close with/ rings so he could encapsulate intention connect
- travelled to LKT, colours, textures, markings and lines - especially backdrops
- authentic to LTK views
- sunset shows (intention)
32
Production Influence - lighting design: intention (reflect)
- Karen Norris
- costume, choreography and set design, LKT views and intention
- waited til others finished
- shows brighter lights as dancer becomes more connected w/ land
- doesn’t want to ‘intrude with dense colours’
33
Production Influence - Costume (TMTC)
- form fitting nude Lycra shorts
- blends in, leaves skin and muscles showing - emphasises strength
- colour allows for costume to blend and be forgotten
- male dancers usually wear distracting costumes
34
Production Influence - Set (TMTC)
- wooden house like structure
- natural light fills space
- doesn’t distract from dancing
- physicality and beauty of polunin’s moves aren’t distracted by a lack of light
Dance Study
flashcards
Decks in class (7)
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