| Papers [1-14] of 62 :: [Page 1 of 5] | | Go to page : 1 2 3 4 5 —> | Search results on "DANCERS": |
|
|
Eating Disorders in Dancers, 2004.
An analysis of the problems of eating disorders among dancers as opposed to non-dancers.
2,070 words (approx. 8.3 pages), 6 sources, MLA, £ 34.95
»
Click here to show/hide summary
Abstract
This paper discusses eating disorder patterns among ballet dancers and non-dancers. The paper examines what anorexia is and presents the causes of anorexia and the reasons that it is seen so much in ballet dancers as opposed to non-dancers. The paper explores the impact of ballet dancing on children with respect to eating disorder patterns and identifies whether any difference is seen in the frequency of eating disorders in professional ballet dancers and non-professional ballet dancers.
From the Paper
"Anorexia nervosa is a growing psychological and physiological disorder in the society of today. A surprisingly large number of people are affected by eating disorders, the major cause of which is anorexia nervosa. The cultural ideals especially of the western world cause young women to believe that they should maintain thinner bodies than intended by nature. This causes them to alter their eating patterns and this leads to eating disorders like anorexia nervosa. Anorexia nervosa is most prevalent in young girls from the upper middle classes and generally between the ages of eleven to eighteen. Anorexia nervosa is fatal in about twenty percent of the cases and this is the reason for concern. Psychiatric assistance is able to help about thirty percent of anorexics to overcome the disease. A person is considered as anorexic if the body weight of the individual is twenty percent less than the normal weight of a healthy person of that age and height."
| |
|
"The Grass Dancer", 2005.
A review of the book, "The Grass Dancer" by Susan Power.
1,973 words (approx. 7.9 pages), 1 source, MLA, £ 32.95
»
Click here to show/hide summary
Abstract
This paper examines how "The Grass Dancer" by Susan Power develops two forms of the female soul as represented by Lydia Wind Soldier and Anna "Mercury" Thunder. It looks at how this theme plays itself out through the entire novel; Anna, though powerful, uses her power to her own ends, while Lydia, less powerful, gives all of herself away for the sake of others. It shows how, regardless of the nature of their actions, both women are deeply embroiled in the playing out of time and how this dominates the role of women in the Dakota spiritual world.
From the Paper
"Contrasting this life of earthly gratification is the character of Lydia Wind Soldier. Lydia gives nearly everything of herself for the sake of those around her to such an extent that she appears to be visibly disappearing: "He [Harley] reached out and hugged her then-something he did only rarely since turning seventeen because as he watched her, she blurred at the edges, looked to him like a person being slowly erased by some spectral finger." (Power 18). Lydia has given of herself so much that her physical body is somehow reduced, although the manner of this reduction is quite different than Anna's physical ugliness and decrepit form."
| |
|
Ballet and The Ballet Dancer, 2006.
A look at ballet as an art form and the demands ballet has on the ballet dancer.
1,680 words (approx. 6.7 pages), 6 sources, APA, £ 28.95
»
Click here to show/hide summary
Abstract
This paper takes a look at the history of the art of ballet, as well as reviews the different types of the ballet dance and the strenuous demands that ballet makes on the dancer. This paper also covers various dance choreographers and their particular styles of dance.
From the Paper
"Classical ballet celebrates the potential harmony of the human body, the utopian ideal of collective endeavor, the possibility of the interchange between masculinity and femininity. Something of this is what has recommended ballet to the communisms of the USSR, Cuba and China. Beneath the aristocratic tat of the settings and the charming but dispensable never-never of the stories, there is an implicitly socialist vision.
Yet classical ballet must of course always come wrapped in the specifics of where and for whom it is performed, what other values and meanings it is attached to, and these are riven with contradictions. In practice, in Britain, classical ballet is, at one and the same time, elitist and popular, and woman-centered, heterosexist and part of gay male culture, universal and distinctly white. It is all of this at once.
It is selective in part because it is expensive. Not only are sets on a grand scale and not only do most of the classics require large casts, but behind all that there are the years of investment in training. "
| |
|
"Dancers in Pink", 2007.
An analysis of the techniques employed by Edgar Degas in his painting "Dancers in Pink."
1,379 words (approx. 5.5 pages), 8 sources, MLA, £ 24.95
»
Click here to show/hide summary
Abstract
This paper analyzes the painting "Dancers in Pink," painted by Edgar Degas in 1878. The paper describes the compositional structure of the painting and how it appeals aesthetically to the viewer. The paper then goes on to discuss the synthesis between form and color in the entire work and how they enhance the overall painting. The paper concludes by describing the use of paint and the technique of paint application, as well as Degas' choice of hues and tones.
From the Paper
"This experimentation with painting technique can be seen in the different method of paint application work. Some areas in the dresses of the two main figures are thinly painted, possibly diluted with turpentine, while others seem to be more impasto-like in their quality. It is the use of washes over thick paint that, especially in the skin tones, provides the feeling of tactile sensuality. It seems as if the pink and orange has been painted over an underlayer of flesh tones, which can just be seen beneath the rich folds of the dresses. The brush strokes also vary throughout the painting, with smoother and crisper brushwork in the dresses and figures and rougher, more 'sketchy' brushwork in the background and in the smaller figures."
| |
|
"Beauty: When the Other Dancer is the Self", 2006.
A brief analysis of Alice Walker's "Beauty: When the Other Dancer is the Self".
742 words (approx. 3.0 pages), 0 sources, £ 13.95
»
Click here to show/hide summary
Abstract
This paper examines Alice Walker's article which a personal narrative that takes the reader on a journey through emotional rejection and reconstruction to realize that love exists beyond the physical self created by the mind.
From the Paper
"She has a personal revelation when her daughter finally notices her eye. She feared that her daughter would reject her just as she had dreaded her entire lifetime that the world would push her aside. Instead, her daughter was amazed that there was a "world in her eye". The young child thought her mother's defect was beautiful and special. An entire lifetime of resentment and pain became a source of pride and strength. Love was not given based on beauty but out of a culmination of emotions such as respect, loyalty, and affection. It took her child and the innocence of youth to show her life's ultimate beauty is found within and not based on an unrealistic ideal set by society's expectations. She missed so much by hiding her face from the world and found a lifetime within the eyes of a child. Ultimately, Alice Walker's journey was about finding acceptance. She needed to learn to love and accept her body because it was an integral part of her entire person, regardless of the flaws it contained or the imperfections. She was still the cute child that everyone loved, all grown up and ready to face the world with her head held high. "
| |
|
Paula Fox's "The Slave Dancer", 2005.
A look at how this book can be used in the classroom to teach some important lessons on history and ethics.
1,002 words (approx. 4.0 pages), 2 sources, MLA, £ 18.95
»
Click here to show/hide summary
Abstract
This paper briefly summarizes the plot of Paula Fox's book "The Slave Dancer" and then explains how the book can be used to teach students about slavery, race, morals and ethics. The paper explains how the book can even be integrated into other subjects and the multimedia support available that can be used to teach the lessons in the book.
From the Paper
"An exciting story from the point of view of a student, but a potential lesson in history and ethics in the eyes of a teacher, for Jessie, as compelled by the crew, must play for the slaves so they can dance and keep themselves 'in condition' for the horrific state of human enslavement that awaits them. Few Africans survived the journey known as the Middle Passage with bodies or minds intact, and Jessie becomes a part of this frightening part of American history. This merging of American history and personal identification with the story's main character is conveyed in an especially strong fashion by the author because young children can so easily identify with the protagonist. Like all of boys junior high school age, children such as Jessie are often thrust into a situation where, in his words, was no one can save him. In other words, Jessie has very little control over his life. His father is dead, and he has few resources other than his own wiles. (Fox, p. 22) He does not choose his fate, his fate chooses him."
| |
|
Exotic Dancing, 2005.
This paper discusses the profession of stripteases also called inter alia strippers or, the expression chosen by those in the profession, exotic dancers.
2,005 words (approx. 8.0 pages), 9 sources, MLA, £ 33.95
»
Click here to show/hide summary
Abstract
This paper explains that exotic dancers can be well-paid working as house dancers and feature dancers, who have an independent name as a starlet and move from town to town, providing "feature appearances". The author points out that male strippers dancing in front of female audiences, have become widespread; male and female strippers perform for gay and lesbian spectators respectively and both sexes perform together in pan-sexual contexts. The paper stresses that exotic dancing training has more to it than learning to dance in a sexy manner; the trainee needs to learn how to go into the greater fathoms within oneself, locate their own hidden beauty and grace and mingle it into a sensual movement.
Table of Contents
What the Career is
What Training is Necessary and how is it Essential to the Field of Dance
The Insights of Persons who have Chosen this as a Career
From the Paper
"Essence, another local dancer who is a graphic designer with Pima, replied that the negative typecast concern her. 'They're simple, they're sluts'. However, things do not unroll in that fashion; simply it is about girls who are at ease with their bodies. According to Essence regarding the striper's current earnings that there is nothing called as average income, you end up either winning or losing. While at school, she would not truly talk about what her performances were until the topic came through, which she states that never happened very frequently. She stated that her advisor had full knowledge regarding it. In the education environment, it crops up as a discussion in some type of women's studies class; these matters do not crop up."
| |
|
Strengthening for Dance, 2005.
Examines the importance of strength when becoming a dancer.
900 words (approx. 3.6 pages), 10 sources, £ 18.95
»
Click here to show/hide summary
Abstract
To be a successful dancer is to be a strong, flexible athlete who has found a balance between physical and mental strength and made the mind to body connection. This paper shows that strengthening is a key element to finding this mind to body connection and in both the physical and mental training of a dancer. This essay briefly discusses the importance of strengthening in the conditioning of a dancer, the best ways to strengthen and the advantages and disadvantages of strengthening."
| |
|
Dancing Through the Pain, 2005.
Research on dancers, their injuries and their motivation to continue dancing.
5,625 words (approx. 22.5 pages), 27 sources, £ 116.95
»
Click here to show/hide summary
Abstract
This is a research paper that discusses ballet dancers and their unique take on dancing despite the pain. It focuses on both the physiological and psychological aspects. The paper explores the dancer's motivation and rates of injury based on psychological pressures. This paper does not offer recommendations on preventing injury, but highlights the motivation of dancers to continue to work despite the injury and risk of further damage.
From the Paper
"In a five-year study of the Boston Ballet Company 77-94% of the dancers were injured during the dance year (Solomon, Solomon, Micheli and McGray, 164), with rates of injuries for 59-70 dancers at 96-137. Thus, the average in their study was 116.5 injuries for 64.5 dancers; or roughly 1.8 injuries per dancer per year. The Solomon group reports that the financial cost to the Ballet Company averaged over half a million dollars per year; at its highest reported for year two of the study, the cost was $974,087. Professional ballet dancers endure a grueling, painful life of injury, starvation and other health issues, and finally disease in later life; yet still they thrive for their art form. Professional ballet dancers continue to perform despite their injuries; for their art form."
| |
|
Loie Fuller, 2004.
An overview of the career and art of dancer, Loie Fuller.
675 words (approx. 2.7 pages), 2 sources, MLA, £ 12.95
»
Click here to show/hide summary
Abstract
This paper discusses the art of dancer Loie Fuller and her illustrious career as a dancer. It looks at Fuller's unique contribution to dance as an innovative blend of the artistic and the scientific. The paper contends that although her dances cannot compare on a technical level with the kinds of special effects that even a straight-to-video movie has today, she is in many ways directly responsible for what we see on both stage and screen.
From the Paper
"Loie Fuller was not a great dancer. Although she studied dance as a child she quickly gave up on the lessons because she found them too difficult. But this did not stop her from having an illustrious career as a dancer because Fuller did have something wondrous to offer her audiences which was a unique and innovative blend of the artistic and the scientific. Although her dances in which she was partnered with the magic of early electrical lighting cannot compare on a technical level ..."
| |
|
'For a Lost Soldier', 2005.
A review of Roeland Kerbosch's directorial adaptation of the semi-autobiographical novel of choreographer and dancer Rudi van Dantzig.
1,350 words (approx. 5.4 pages), 2 sources, £ 27.95
»
Click here to show/hide summary
Abstract
This paper reviews the controversial movie 'For a Lost Soldier' based on the book by choreographer and dancer Rudi van Dantzig. According to the paper, the book is semi-autobiographical, based on the life of van Dantzig.
From the Paper
'Based on the semi-autobiographical novel of choreographer and dancer Rudi van Dantzig, Roeland Kerbosch's directorial adaptation tells the story of a gay intergenerational relationship that is bound to be both condemned and praised. Set near the end of World War II during Holland's liberation from the Nazis, Kerbosch's depiction revolves around a brief relationship between a Canadian soldier and an 11-year-old Dutch boy that becomes sexual. According to one reviewer, the film is unique "in its understanding portrayal of an intergenerational relationship that is free of exploitation" ("Film News" para 3).'
| |
|
Challenging Race and Gender Bias in Three Works of Children's Literature, 2002.
An analysis of bias in three children's books, Paula Fox's "The Slave Dancer", Lynne Reid Banks' "The Indian in the Cupboard" and Rudyard Kipling's "How the Leopard Got his Spots".
1,900 words (approx. 7.6 pages), 6 sources, £ 37.95
»
Click here to show/hide summary
Abstract
This essay will construct a challenge to three novels for children with respect to their inherent biases: Paula Fox's "The Slave Dancer", Lynne Reid Banks' "The Indian in the Cupboard", and Rudyard Kipling's "How the Leopard Got his Spots". In constructing this challenge, I believe that it is important that I explain my own biases and how they influence my challenge. I would argue that it would be arrogant for educators or parents today to consider that we are without biases.
| |
|
Anti-Racism in Children's Literature, 2002.
Examines anti-racist education in three novels for children, "Pippi Longstocking", "The Slave Dancer" and "The Cay".
1,650 words (approx. 6.6 pages), 5 sources, £ 32.95
»
Click here to show/hide summary
Abstract
This paper will discuss three books: Lindgren's "Pippi Longstocking", Paula Fox's "The Slave Dancer" and Theodore Taylor's "The Cay". It will be shown how true racism can be hidden in an apparently "innocent" text, while another work for children - that appears racist in many respects - may be reinterpreted as an exceptional work of anti-racist literature. .
| |
|
Isadora Duncan, 2002.
Biography of the dancer, Isadora Duncan.
1,572 words (approx. 6.3 pages), 4 sources, MLA, £ 26.95
»
Click here to show/hide summary
Abstract
This paper presents a brief biography of the dancer, Isadora Duncan, as well as a description of her philosophy of the dance form. The paper also discusses her influence on and contribution to modern dance.
From the Paper
"Duncan's personal success as a dancer should not diminish what is perhaps her greater contribution, her success as a teacher and a creator of her own tradition. She began her first school in Grunewald, Germany in 1904, selecting children from the poorer classes and providing completely for all their physical and materials need from her own pocket. Later, she established schools in both Russia and Paris. Interestingly enough, these schools are proudly proclaimed as providing an unbroken legacy of tradition with their founders. "The existence of Isadora's dances lies in the transmission of the choreographies from one dancer to another in an unbroken line of generations of Duncan dancers," writes Lori Belivoe in the periodical and press release of the foundation that bears Isadora's name. (Belivoe, Isadora Duncan Foundation for Contemporary Dance, "Isadora Duncan Legacy and Schools") Duncan's indefinable, inexact balance between classicism and personal, inner artistic poetic expression manifested in dance thus became a 'tradition' in and of itself."
|
|
|
