| Papers [1-14] of 66 :: [Page 1 of 5] | | Go to page : 1 2 3 4 5 —> | Search results on "DANCERS": |
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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, £ 41.95
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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."
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"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, £ 29.95
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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."
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"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, £ 39.95
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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."
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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, £ 34.95
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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. "
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"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, £ 16.95
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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. "
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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, £ 22.95
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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."
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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, £ 40.95
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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."
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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, £ 141.95
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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."
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Dance and Arthritis, 2007.
This paper explores the relationship between dancers from a young age and the development of arthritis.
2,469 words (approx. 9.9 pages), 14 sources, MLA, £ 47.95
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Abstract
The paper explains that although dance does not directly cause arthritis, improper techniques in dance can cause injuries that result in arthritis. The paper relates, however, that dance can also serve as a means of physical therapy for arthritic sufferers by increasing their range of motion, muscle strength and overall physical and mental health. More specifically, the paper discusses the relationship of dance at a young age to the development of arthritis as well as dance's therapeutic effect on arthritic sufferers.
From the Paper
"Many dancers experience aches and pains though out their dancing careers. Despite the cause of the pain, many find it commonplace, and therefore ignore it. Others choose pain-dulling drugs to overcome the pain. However, pain and "discomfort should not be considered a normal result of dancing. If an ache or pain recurs after a few hours of rest or a good night's sleep, it must be confronted and the source examined." (Horosco, Cures and Myths about Arthritis 108) The causes of these pains are too many to number, but one that many do not realize may be linked to arthritis."
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Ruth St. Denis and Charles Weidman, 2005.
Explores the evolution of these two American modern dancers.
1,937 words (approx. 7.7 pages), 3 sources, MLA, £ 38.95
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Abstract
This paper examines the dance styles of Ruth St. Denis and her student, Charles Weidman, who went on to found his own school of dance. The paper examines how Denis influenced Weidman and how his style differed from hers. The paper also discusses why Denis's style was so appropriate to the 1920s, and Weidman's style suited the 1930s.
From the Paper
"Ruth St. Denis, born Ruthie Dennis, was the greatest dancer of the 1920s, and her former student Charles Weidman was one of the most important dancers of the 1930s. Their respective aims and styles are in many ways divergent, partly as a result of the eras in which each dancer reached his/her artistic peak. Of the dancers' respective troupes, Pattie Jordens writes that while "Denishawn developed modern dance in America, Humphrey-Weidman made modern dance American". Ruth St. Denis created entertaining, artistic dances popular across all portions of society. She explored the exoticism and spirituality of Eastern countries, creating gorgeous spectacles well-suited to the Roaring Twenties. Charles Weidman left St. Denis' troupe shortly before the crash of the stock market, so his technique developed in a society to which extravagance and foreign deities were not suited. Weidman's dancing represents the experience of men and women in twentieth century America."
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Strengthening for Dance, 2005.
Examines the importance of strength when becoming a dancer.
900 words (approx. 3.6 pages), 10 sources, £ 22.95
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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."
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Loie Fuller, 2004.
An overview of the career and art of dancer, Loie Fuller.
675 words (approx. 2.7 pages), 2 sources, MLA, £ 14.95
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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 ..."
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Martha Graham, 2008.
This paper discusses the life story of the American dancer, Martha Graham.
1,777 words (approx. 7.1 pages), 9 sources, APA, £ 36.95
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Abstract
The paper discusses the contribution of American dancer, Martha Graham, who pioneered a technique of her own that became part of the contemporary dance milieu. The paper relates the life story of Graham and looks at how she broke with traditions and made a name for herself in the dance world.
Outline:
The Late Blooming of a Dancer
The Martha Graham We Knew
The Evolution of Martha Graham
The Graham Technique and Expressionist Choreography
The Triumph and the Legacy
From the Paper
"Martha Graham's story as a dancer was unlike others whose lives were rags to riches stories or struggled through harsh economic conditions and braved all to be one of the greats not only in the world of dancing but in the annals of history as well. Graham was born into a wealthy family who traced their lineage back to Miles Standish - a New England hero who were with the Pilgrims aboard the Mayflower. In 1909 the family relocated to Santa Barbara, California (Gale Cengage Learning, 2007). "Her father, a doctor specializing in nervous disorders, was very interested in diagnosis through attention to physical movement. This belief in the body's ability to express its inner senses was pivotal in Graham's desire to dance. Athletic as a young girl, Graham did not find her calling until she was in her teens. (Public Broadcasting Service, 2007)" Graham's formal training in dance began at the University of Cumnoch where she studied theater and dance from 1913 to 1916. Thereafter, she joined the Denishawn School managed by the husband and wife tandem, Ruth St.-Denis and Ted Shawn. Denishawn became Graham's second home where she learned classical and modern dance. Denishawn also specialized in that which was novel and exotic to American sensibilities: Greek pageants, Japanese sword dances, sexy Spanish flamencos (Gale Cengage Learning, 2007). During her eight years at Denishawn, Graham was not only a student but she did some instructing on her own when she got better with her craft. It is at Denishawn also that Graham met the composer Louis Horst."
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Dance, 2007.
An analysis of jazz, ballet and studio dancing, as well as the requirements for professional dancing.
1,809 words (approx. 7.2 pages), 7 sources, MLA, £ 36.95
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Abstract
This paper discusses various mediums of dance. It looks at jazz, ballet and studio dancing and discusses the discipline, rhythm and music used in each form of dance. The paper also discusses professional dancing and describes the training that is necessary, salaries that dancers can expect and the challenges of professional dancing life, such as expenses and injuries.
Table of Contents:
Jazz
Ballet
Studio Dancers And Dance Teams
Professional Dancers
From the Paper
"The average salary that a dancer earns is $21,000. That means 50% of all dancers earned less, down to $14,570 and 50% earned more, up to $34,660. Dancers on tour earn additional allowances for room and board and overtime. Dancing is considered a part time job and is irregular. Supplementing income may be made by working as guest artists with other dance companies, teaching dance or taking a part-time job in unrelated fields. The dancer signs a contract to work. Union contracts govern those who perform in public, such as major opera ballet, classical ballet or modern dance corps. These belong to the AFL-CIO and those who appear on live or videotaped TV programs belong to the American Federation of Television and Radio Artists. Those in films and on TV belong to the Screen Actors Guild and those in musicals are members of Actors' Equity Association. Through the unions minimum salaries, hours, benefits and other conditions are specified before the dancer signs the contract (Munger 5)."
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