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Dance Study > Influences > Flashcards

Influences Flashcards

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
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2
Q

What are the two influences on the intention of TMTC?

A
  • Polunin personal struggles
  • polunin’s swan song
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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
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4
Q

What are three influences on the MV of Reflect?

A
  • traditional aboriginal movements
  • training at NAISDA
  • training at Alvin Ailey
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5
Q

What are two influences on the MV of TMTC?

A
  • Jade hale-christophi ballet background
  • Richard Alston
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6
Q

What are three influences on the MV of Patyegarang?

A
  • traditional aboriginal movements
  • training at NAISDA
  • Sydney dance company
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7
Q

What are three production influences on reflect?

A
  • set design: lake kaki-thanda
  • lighting design: intention
  • costume: lake kaki-thanda
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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
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9
Q

What production influences are in TMTC?

A
  • costume
  • set
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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
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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
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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
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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…
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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)
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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)
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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
Q

Influence on MV - Sydney dance company study (Patyegarang) EXAMPLE

A
  • section A, girls
  • lunge over and do a circle w/ arms
  • legs turnout and pulled up, GM influenced
26
Q

Influence on MV - Jade hale christophi ballet background (TMTC)

A
  • ballet dancer from a young age
  • Royal ballet when older
  • fused ballet w/ modern style technique - why?
  • ballet technique qualities with everyday actions
27
Q

Influence on MV - Jade hale christophi ballet background (TMTC) EXAMPLE

A
  • first phrase section A
  • uses the mix of ballet and modern
28
Q

Influence on MV - Richard Alston (TMTC)

A
  • founder of group ‘strider’ - contemporary
  • experimented with everyday movements
  • used spaces that were abnormal
  • also encouraged ballet
29
Q

Influence on MV - Richard Alston (TMTC) EXAMPLE

A
  • phrase of section a
  • arabesque, leaves then falls
  • shows strider influence
30
Q

Production Influence - Costume: lake kaki thanda (reflect)

A
  • 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
Q

Production Influence - set design: lake kaki thanda (reflect)

A
  • 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
Q

Production Influence - lighting design: intention (reflect)

A
  • 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
Q

Production Influence - Costume (TMTC)

A
  • 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
Q

Production Influence - Set (TMTC)

A
  • 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

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