Dance Happening

University of Tampa's Dance Happening performance is a unique experience, both for the dancers and choreographers but also for the audience. I enjoyed it more than I had anticipated. Students of all different kinds of dance backgrounds were able to participate, which I think made the show advance to a more personal level. Every one that was in the audience attended to show their support for UT and for their friends and family. Before each piece, the name of the choreographer was announced and the meaning behind the piece was explained. I think it helped a lot to hear what the piece meant to the choreographer and helped the audience keep an open mind, especially with some of the unconventional pieces. Obviously, some of the dancers did not have any dance training, but I think the choreographers did a fantastic job tailoring their movements to fit each individuals abilities. Over all, Dance Happening was a high energy packed performance, and you could see the love of dance expressed through everyone involved. I definitely want to be apart of this experience next time.

Muscles Responsible For Turnout

There are multiple muscles responsible for turn out. The muscles responsible for rotating the thigh bone in the hip socket are the piriformis, gemellus inferior, gemellus superior, obturator internus, obturator externus, and quadratus femoris. These muscles are located under the gluteous maximus, although the piriformis is not, which helps with other movements of the hips. Along with these muscles the satorius muscle in the inner thigh also helps with turn out, particularly in retire or attitude front. The biceps femoris, one of the hamstrings, also helps with turn out when the knees are bent. The gluteus maximus, the largest muscle in the buttocks, will help with turn out when the leg is behind you.

Dancing For Mr. B.

I have seen the video Dancing For Mr. B. once when I was very young, and it was one of my favorite ballet documentaries. I love Balanchine's technique and choreography, and it has a special place in my heart. The first Nutcracker I ever performed was George Balanchine's The Nutcracker, and I had the opportunities to perform other works by him like Serenade, Stars and Stripes, and Raymonda Variations. 

 I will admit that I have always thought the best ballerinas are a little strange or crazy, especially some of the ones interviewed, but in a field such as ballet you almost have to be. I like how the video really shows how much the dancers admired Balanchine. I think it showed how influential he was, not only as a choreographer and teacher, but as a mentor to young students. It is one thing to be a great choreographer, but it is an entirely different thing to influence and touch people personally; to help them grow as a person and inspire them to be their best. I think that is one of the biggest reasons why Balanchine is such a phenomenal influence to the ballet world. 

I could probably talk all day about Balanchine's choreography and his technique, his works are some of my favorites. I am not sure exactly why. It may be the precision of the movements, the athleticism, the musicality, or all of it. Mostly, I think I love his works because they require such a high intensity of athleticism, which is not what most people think of when they think of going to watch a ballet. I've seen many choreographers try to duplicate works like his, but none of them turn out quite the same. You can see the intent of Balanchine's work, even if the piece is quirky and awkward. Everything has a placement, a motive. If a fingertip moves it was suppose to move and it has a reason. 

Needless to say, I very much enjoy the video we watched.

Lilac Garden

The Lilac Garden by Antony Tudor is a relatively short piece capturing the emotions of two young couples, destined to be married, but are not in love. Caroline, the lead principal dancer, is in love with another man, who is engaged to a woman, who is having an affair with Caroline's fiancé. It is a somewhat heartbreaking story, seeing how none of the four principal dancers will marry the one they love at the end of the ballet. 

From a technical and ballet perspective, I was not too impressed. I felt that many of his steps were awkward and uncomfortable, and the long dresses hid the dancers lines. I think he could have created a technically harder piece and still conveyed the same meanings and messages. 

From a ballet as theatre perspective, the piece is absolutely wonderful. Tudor captures our emotions in slight moves of the fingers, hands, head and body placement. He is able show that all of the dancers are aware of what is happening between the couples, but do not wish to acknowledge the affairs. Which is something I think happens a lot in day to day life. What struck me the most was towards the end, when both couples are dancing together and the lovers reach out towards one another any time their fiancé turned their head or looked away. You could really feel the passion between the couples as they knew their time together would come to an end. Tudor was able to capture such passion and emotion through choreography in a phenomenal way. 

Comparing Cecchetti, Vaganova and French Arabesques

First Arabesque

Cecchetti - The body is upright and the shoulders are square. The supporting leg (the one farthest from the audience) is straight, while the other leg is extended towards the back at a right angle to the supporting leg. The arm on the side of the supporting leg is placed forward in front of the middle of the eyes, and the other is extended back, slightly lowered, so the arms are in a line. The palms are turned down, but the forward palm is turned slightly outward. 

Vaganova - The body is inclined forward with a definite arched back. The supporting leg (the one farthest from the audience) is straight, while the other is extended towards the back at a right or greater angle. The arm on the side of the supporting leg is extended forward, and the other is placed to the side of the body, slightly behind second position. 

Second Arabesque

Cecchetti - The body and position of the legs are the same as first arabesque, however the arms are reversed. The head is facing towards the audience and slightly inclined. 

Vaganova - The body and position of the legs are the same as first arabesque, however the arms are reversed and the arm on the side of the supporting leg is taken back so it can be seen from behind the body. The head is facing the audience. 

Third Arabesque

Cecchetti - The body and position of the legs are the same, but both arms are extended to the front of the body. The fingertips of the arm on the side of the supporting leg are extended in front of the eyes, while the other is in a line with the shoulder. 

Vaganova - The arabesque is diagonally towards the audience, with the supporting leg nearest the audience and the other croise derriere at right angles to the supporting leg. The body is inclined and the arm opposite of the supporting leg is extended forward, level with the shoulder, while the other is extended to the side. The head is facing the forward arm. 

Fourth Arabesque

Cecchetti - The supporting leg is closest to the audience and is in demi-plie. The arms and head are the same as first arabesque with the arm on the opposite side of the supporting leg being forward. 

Vaganova - The legs and body are the same as third arabesque, but the arms are reversed and at shoulder level. The body, however, is turned away from the audience with a prominent arch in the back. The head faces the audience. 

Fifth Arabesque 

Cecchetti - The arms and head are the same as third arabesque, with the arm furthest from the audience being higher. The supporting leg is closest to the audience and in demi-plie. 

Arabesque Ouverte

French - The body leans forward on a straight supporting leg (the leg furthest from the audience), while the other leg is extended back at a right angle to the supporting leg. The arm on the side of the supporting leg is extended front, while the other is extended far to the back and parallel to the raised leg. 

Arabesque Croisee

French - The position is the same as arabesque ouverte, but the supporting leg is closest to the audience. The arm on the side of the supporting leg is held forward.