Monday 3 February 2014
Town called malice
pencil full of lead
bus dance 1
zoo
bus dance 2
sweet shop
Ninja dance
beach
alone dance
dead in the water
roller-coaster of love
bus dance 3
The ZOO DANCE:
During this dance, the children visit the zoo and cause havoc by trying to steal all of the animals from the zoo, but in the end get caught and marched back to the bus. This dance is very fun, and as performers allows us to show our interaction with each other, as well as developing our technique reflecting on the different types of animals that we come into contact with at the zoo. The zoo dance is very different from the other dances, as it requires more characterisation due to the fact that it is not heavily choreography with dance movements. This dance is to 'Animal march' from the tellitubbies, and this gives it a real childlike quality, and makes it very exciting for the audience to watch.
BUS DANCE 2
This dance is our transition from the sweetshop to the beach, however the choreography is not very different from the original bus dance, but some sections are developed and rearranged. In this dance, we begin to travel though the city, and the children start to get really excited. They begin to get agitated and start dancing around on the bus. However, Mr Briggs is sure to keep a close eye on all the children and their mischievous behaviour. Even though this dance is different from the other bus dances, the high level of characterisation is still required for it still to be enjoyable for the audience.
SWEET SHOP
This dance is all about the schools stop at a sweet store, and how the children see this as an opportunity to stock up for the journey ahead. They begin to start stealing sweets from the store, and still manage not to get caught by the shop owner or Mr Briggs. This dance is very upbeat and reflects the excitement of the children on their journey, and also this dance demonstrates a lot of jazz techniques and qualities.
NOT RELEVNT
Costume
For my characters costume, I want to reflect the idea of him being at school, however suggest the fact that he is quite rebellious. I will do this by wearing a standard school uniform as shown below, but wit subtle hints such as rolling up my blazer sleeves, and doing my tie unneatly, these all suggest the idea of not sticking to the appropriate standard of school uniform.
However when thinking about my costume, I must still think about my manoeuvrability in the costume as I will still have to dance feely. I will have elasticated shorts to increase the amount of movement I can use and also by wearing shorts, my movement is not limited in any way.
JAZZ DANCE
Jazz dance is a classification shared by a broad range of dance styles. Before the 1950's, jazz dance referred to dance styles that originated from African American vernacular dance. In the 1950's, a new genre of jazz dance — modern jazz dance — emerged, with roots in Caribbean traditional dance. Every individual style of jazz dance has roots traceable to one of these two distinct origins. Jazz was a big hit in the early 50's and it is still a well loved style of dance all over the world. Moves Used In Jazz Dance include Jazz Hands, Kicks, Leaps, Sideways Shuffling, Rolled Shoulders, and Turned Knees.
The term "Jazz" was first applied to a style of music and dance during World War I. Jazz in a dance form, however, originates from the vernacular dances of Africans when they were brought to the Americas on slave ships. This dance form developed alongside jazz music in New Orleans in the early 1900;s. Beginning in the 1930's and continuing through the 1960's, Jazz dance transformed from this vernacular form into a theatre-based performance form of dance that required a highly trained dancer. During this time, choreographers from the modern and ballet dance worlds experimented with the jazz dance style. This includes choreographers like George Balanchine, Agnes de Mille, Jack Cole, Hanya Holm, Helen Tamiris, Michael Kidd, Jerome Robbins, and Bob Fosse. All of these choreographers influenced jazz by requiring highly trained dancers to perform a specific set of movements, which differed greatly from the colloquial form of New Orleans in the 1900s.[3][4] Also during this time period (circa. 1950) jazz dance was profoundly influenced by Caribbean and other Latin American dance styles which were introduced by anthropologist and dancer Katherine Dunham. Jazz is also like choreography too.
Throughout its history, jazz dance has developed in parallel to popular music. This pattern of development has resulted in a few elements of movement key to the dance style, the most important being that jazz is they physical embodiment of the popular music of a given time. An example of this is that during a down time of jazz dancing from 1945–1954, when big bands and dance halls were declining, the vernacular of the dance followed less jazz music and leaned more toward rock and roll, creating moves like "The Monkey" and "The Jerk".
Syncopated rhythm is a common characteristic in jazz music that was adapted to jazz dance in the early twentieth century and has remained a significant characteristic.
Isolations are a quality of movement that were introduced to jazz dance by Katherine Dunham.
Improvisation was an important element in early forms of jazz dance, as it is an important element of jazz music.
A low centre of gravity and high level of energy are other important identifying characteristics of jazz dance. Other elements of jazz dance are less common and are the stylizations of their respective choreographers. One such example are the inverted limbs and hunched-over posture of Bob Fosse.
(IMAGES & TIMELINE)
SYNCOPATION
In music, syncopation involves a variety of rhythms which are in some way unexpected which make part or all of a tune or piece of music off-beat. More simply, syncopation is a general term for "a disturbance or interruption of the regular flow of rhythm": a "placement of rhythmic stresses or accents where they wouldn't normally occur."
Syncopation is used in many musical styles, and is fundamental in styles such as ragtime, jazz, jump blues, funk, reggae, hip hop, progressive electronic dance music, progressive rock, progressive metal, groove metal, break beat, drum'n'bass, samba, baião, ska, and dubstep. "All dance music makes use of syncopation and it's often a vital element that helps tie the whole track together". In the form of a back beat, syncopation is used in virtually all contemporary popular music.
For my characters costume, I want to reflect the idea of him being at school, however suggest the fact that he is quite rebellious. I will do this by wearing a standard school uniform as shown below, but wit subtle hints such as rolling up my blazer sleeves, and doing my tie unneatly, these all suggest the idea of not sticking to the appropriate standard of school uniform.
However when thinking about my costume, I must still think about my manoeuvrability in the costume as I will still have to dance feely. I will have elasticated shorts to increase the amount of movement I can use and also by wearing shorts, my movement is not limited in any way.
JAZZ DANCE
Jazz dance is a classification shared by a broad range of dance styles. Before the 1950's, jazz dance referred to dance styles that originated from African American vernacular dance. In the 1950's, a new genre of jazz dance — modern jazz dance — emerged, with roots in Caribbean traditional dance. Every individual style of jazz dance has roots traceable to one of these two distinct origins. Jazz was a big hit in the early 50's and it is still a well loved style of dance all over the world. Moves Used In Jazz Dance include Jazz Hands, Kicks, Leaps, Sideways Shuffling, Rolled Shoulders, and Turned Knees.
The term "Jazz" was first applied to a style of music and dance during World War I. Jazz in a dance form, however, originates from the vernacular dances of Africans when they were brought to the Americas on slave ships. This dance form developed alongside jazz music in New Orleans in the early 1900;s. Beginning in the 1930's and continuing through the 1960's, Jazz dance transformed from this vernacular form into a theatre-based performance form of dance that required a highly trained dancer. During this time, choreographers from the modern and ballet dance worlds experimented with the jazz dance style. This includes choreographers like George Balanchine, Agnes de Mille, Jack Cole, Hanya Holm, Helen Tamiris, Michael Kidd, Jerome Robbins, and Bob Fosse. All of these choreographers influenced jazz by requiring highly trained dancers to perform a specific set of movements, which differed greatly from the colloquial form of New Orleans in the 1900s.[3][4] Also during this time period (circa. 1950) jazz dance was profoundly influenced by Caribbean and other Latin American dance styles which were introduced by anthropologist and dancer Katherine Dunham. Jazz is also like choreography too.
Throughout its history, jazz dance has developed in parallel to popular music. This pattern of development has resulted in a few elements of movement key to the dance style, the most important being that jazz is they physical embodiment of the popular music of a given time. An example of this is that during a down time of jazz dancing from 1945–1954, when big bands and dance halls were declining, the vernacular of the dance followed less jazz music and leaned more toward rock and roll, creating moves like "The Monkey" and "The Jerk".
Syncopated rhythm is a common characteristic in jazz music that was adapted to jazz dance in the early twentieth century and has remained a significant characteristic.
Isolations are a quality of movement that were introduced to jazz dance by Katherine Dunham.
Improvisation was an important element in early forms of jazz dance, as it is an important element of jazz music.
A low centre of gravity and high level of energy are other important identifying characteristics of jazz dance. Other elements of jazz dance are less common and are the stylizations of their respective choreographers. One such example are the inverted limbs and hunched-over posture of Bob Fosse.
(IMAGES & TIMELINE)
SYNCOPATION
In music, syncopation involves a variety of rhythms which are in some way unexpected which make part or all of a tune or piece of music off-beat. More simply, syncopation is a general term for "a disturbance or interruption of the regular flow of rhythm": a "placement of rhythmic stresses or accents where they wouldn't normally occur."
Syncopation is used in many musical styles, and is fundamental in styles such as ragtime, jazz, jump blues, funk, reggae, hip hop, progressive electronic dance music, progressive rock, progressive metal, groove metal, break beat, drum'n'bass, samba, baião, ska, and dubstep. "All dance music makes use of syncopation and it's often a vital element that helps tie the whole track together". In the form of a back beat, syncopation is used in virtually all contemporary popular music.
Sunday 2 February 2014
Pucks Diary Entry
Dear Diary,
For goodness sake! I just can't take this any more! All I do is follow him around ALL DAY and still he does not give me his ultimate trust and respect. Oberon is such an imbecile. All I ever am is nice to him, and all he does is throw it back in my face! I never liked him anyway, and to be honest I think I would make a better sprite king than him any day. In all honesty I just think he jealous at the fact Titania thinks I am way better looking than he is. She has always preferred me, and I secretly think that he feels threatened by me. One day I will be king and I will send HIM flying round putting juice in people's eyes.. Oh and lets not forget the fact that he makes me fly half way around the world to get a bloody flower just to get back at Titania.
Today, he told me to put one drop in the eye of an Athenian lover.. and of course I did it wrong as I can never to anything right for that massive oath. WELL I AM SORRY BUT NEXT TIME BE MORE SPECIFIC TO WHICH ATHENIAN LOVER AS THERE IS FOUR OF THEM!! Sorry about the rant diary, I just need to cage up my anger towards him. This way I can continue tomorrow to follow him round and be the nice and friendly servant the he abuses and tortures with his ridiculous requests. I just want to drowned him in his own fairy dust, and then put the love juice in his eye and make him fall in love with a bloody watermelon! what an idiot!
Anyway, less about that son of a peasant dog, and on to something more positive! Tomorrow, I have night off and i'm going to take that really hot fairy Flutterboom out for a drink or two. She seems really interested, and as Titania won't admit her feelings for me, Flutterboom is the next best thing! She even said she was up for a little fairy fun, and that is an offer no sprite could say no too. Any way, it's time I hit the pillow and get some rest so I am feeling fresh to take some more abuse from Oberon the goat! Hopefully tomorrow I will be able to push him off a cliff or something.. or maybe turn him into a donkey? To push or not to push,, that is the question? Goodnight diary.
Puck (Servant to Oberon the sprite king)
For goodness sake! I just can't take this any more! All I do is follow him around ALL DAY and still he does not give me his ultimate trust and respect. Oberon is such an imbecile. All I ever am is nice to him, and all he does is throw it back in my face! I never liked him anyway, and to be honest I think I would make a better sprite king than him any day. In all honesty I just think he jealous at the fact Titania thinks I am way better looking than he is. She has always preferred me, and I secretly think that he feels threatened by me. One day I will be king and I will send HIM flying round putting juice in people's eyes.. Oh and lets not forget the fact that he makes me fly half way around the world to get a bloody flower just to get back at Titania.
Today, he told me to put one drop in the eye of an Athenian lover.. and of course I did it wrong as I can never to anything right for that massive oath. WELL I AM SORRY BUT NEXT TIME BE MORE SPECIFIC TO WHICH ATHENIAN LOVER AS THERE IS FOUR OF THEM!! Sorry about the rant diary, I just need to cage up my anger towards him. This way I can continue tomorrow to follow him round and be the nice and friendly servant the he abuses and tortures with his ridiculous requests. I just want to drowned him in his own fairy dust, and then put the love juice in his eye and make him fall in love with a bloody watermelon! what an idiot!
Anyway, less about that son of a peasant dog, and on to something more positive! Tomorrow, I have night off and i'm going to take that really hot fairy Flutterboom out for a drink or two. She seems really interested, and as Titania won't admit her feelings for me, Flutterboom is the next best thing! She even said she was up for a little fairy fun, and that is an offer no sprite could say no too. Any way, it's time I hit the pillow and get some rest so I am feeling fresh to take some more abuse from Oberon the goat! Hopefully tomorrow I will be able to push him off a cliff or something.. or maybe turn him into a donkey? To push or not to push,, that is the question? Goodnight diary.
Puck (Servant to Oberon the sprite king)
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