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MAJOR APPRECIATION PRESCRIBED ERAS & ARTISTS"I am not interested in the way people move, but in what moves people." ~ PINA BAUSCH ~"I had to become the greatest choreographer of my time. That was my mission, and that's what I set out to do."TWYLA THARP1960’s – 1980’sMAJOR APPRECIATION PRESCRIBED ERAS & ARTISTS9.3Major Study — AppreciationOutcomesA student:H1.1understands dance from artistic, aesthetic and cultural perspectives through movement and in written and oral formH1.2performs, composes and appreciates dance as an artformH1.3appreciates and values dance as an artform through the interrelated experiences of performing, composing and appreciating dancesH4.1understands the concept of differing artistic, social and cultural contexts of danceH4.2recognises, analyses and evaluates the distinguishing features of major dance worksH4.3utilises the skills of research and analysis to examine dance as an artformH4.4demonstrates, in written and oral form, the ability to analyse and synthesise information when making discriminating judgments about danceH4.5acknowledges that the artform of dance is enhanced through reflective practice, study and evaluation.ContentThe major study Appreciation component in the HSC course will provide students with the opportunity to undertake a greater amount of theoretical study to expand upon their knowledge and understanding and skills in critical analysis of dance and its sociocultural context. They will learn about prescribed seminal artists and works from the past 200 years, and the sociohistoric context in which the artists and their works exist/ed.A seminal artist/work is one which has significantly influenced how dance as an artform is perceived. An era is an identifiable period of time in which significant development in dance took place that relates to a developmental aspect of dance as an artform.All candidates study a set seminal work. The teacher and candidates also choose one of the two prescribed eras and prescribed artists for study. Areas of StudyStudents learn about:1.The seminal work3200400279402.Era?historical context?sociocultural influences which shape the characteristics?how the characteristics are reflected in the arts?impact on the development of dance as an art form.3.Prescribed artists?why the prescribed artist is considered a seminal artist in relation to dance and the era?how the prescribed artist’s work establishes him or her as a seminal artist.002.Era?historical context?sociocultural influences which shape the characteristics?how the characteristics are reflected in the arts?impact on the development of dance as an art form.3.Prescribed artists?why the prescribed artist is considered a seminal artist in relation to dance and the era?how the prescribed artist’s work establishes him or her as a seminal artist.?analysis–components–form–interpretation–evaluation?writing and criticism?the choreographer–communication of ideas through the work–other works?contextual background?present context?history of the work?the contribution of the work to dance as an art form.2. Prescribed eras and artistsChoose either:A – 1960s – 1980s – Pina Bausch/Twyla TharpORB – 1990 – present?– Akram Khan/Ohad NaharinRubricPrescribed eraThis area of study explores the contribution of seminal artists to their era and their influence on dance as an art form. In the chosen era, the focus is on significant developments in dance within the era that relate to a developmental aspect of dance as an art form. This includes the relationship between the artists and the social, cultural and historical contexts in which they worked within the chosen era.Prescribed artistsIn this area of study, students consider the prescribed artists’ significance to the development of dance and their contribution to an understanding of dance as an art form within the chosen era.Students also consider how and why the prescribed artists and their work are recognised as seminal within the chosen era.Study of prescribed eras and prescribed artists includes the above rubrics in conjunction with the outcomes and content on pages 35–37 of the Dance Stage 6 Syllabus (see below)When studying the Prescribed Artists you will look at:The characteristics of a seminal artistthe artist's philosophical underpinningsthe artist's approachcommunication of ideashow the artist and his or her work redefined dance or choreography of the timethe artist's contribution to dancewriting and criticismThe characteristics of the artist's workmovement vocabularyproduction techniquesdance formqualities of the workThe ERA 1960-1980Historical Events and Important Information about the 1960s-1980sTHE CIVIL RIGHTS MOVEMENT, 1960-1980The struggle of African Americans for equality reached its peak in the mid-1960s. After progressive victories in the 1950s, African Americans became even more committed to nonviolent direct action. Groups like the Southern Christian Leadership Conference (SCLC), made up of African-American clergy, and the Student Nonviolent Coordinating Committee (SNCC), composed of younger activists, sought reform through peaceful confrontation.In 1960 African-American college students sat down at a segregated Woolworth’s lunch counter in North Carolina and refused to leave. Their sit-in captured media attention and led to similar demonstrations throughout the South. The next year, civil rights workers organized “freedom rides,” in which African Americans and whites boarded buses heading south toward segregated terminals, where confrontations might capture media attention and lead to change.They also organized rallies, the largest of which was the “March on Washington” in 1963. More than 200,000 people gathered in the nation’s capital to demonstrate their commitment to equality for all. The high point of a day of songs and speeches came with the address of Martin Luther King Jr., who had emerged as the preeminent spokesman for civil rights. “I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood,” King proclaimed. Each time he used the refrain “I have a dream,” the crowd roared.The level of progress initially achieved did not match the rhetoric of the civil rights movement. President Kennedy was initially reluctant to press white Southerners for support on civil rights because he needed their votes on other issues. Events, driven by African Americans themselves, forced his hand. When James Meredith was denied admission to the University of Mississippi in 1962 because of his race, Kennedy sent federal troops to uphold the law. After protests aimed at the desegregation of Birmingham, Alabama, prompted a violent response by the police, he sent Congress a new civil rights bill mandating the integration of public places. Not even the March on Washington, however, could extricate the measure from a congressional committee, where it was still bottled up when Kennedy was assassinated in 1963.President Lyndon B. Johnson was more successful. Displaying negotiating skills he had so frequently employed during his years as Senate majority leader, Johnson persuaded the Senate to limit delaying tactics preventing a final vote on the sweeping Civil Rights Act of 1964, which outlawed discrimination in all public accommodations. The next year’s Voting Rights Act of 1965 authorized the federal government to register voters where local officials had prevented African Americans from doing so. By 1968 a million African Americans were registered in the deep South. Nationwide, the number of African-American elected officials increased substantially. In 1968, the Congress passed legislation banning discrimination in housing.Once unleashed, however, the civil rights revolution produced leaders impatient with both the pace of change and the goal of channelling African Americans into mainstream white society. Malcolm X, an eloquent activist, was the most prominent figure arguing for African-American separation from the white race. Stokely Carmichael, a student leader, became similarly disillusioned by the notions of nonviolence and interracial cooperation. He popularized the slogan “black power,” to be achieved by “whatever means necessary,” in the words of Malcolm X.Violence accompanied militant calls for reform. Riots broke out in several big cities in 1966 and 1967. In the spring of 1968, Martin Luther King Jr. fell before an assassin’s bullet. Several months later, Senator Robert Kennedy, a spokesman for the disadvantaged, an opponent of the Vietnam War, and the brother of the slain president, met the same fate. To many these two assassinations marked the end of an era of innocence and idealism. The growing militancy on the left, coupled with an inevitable conservative backlash, opened a rift in the nation’s psyche that took years to heal.By then, however, a civil rights movement supported by court decisions, congressional enactments, and federal administrative regulations was irreversibly woven into the fabric of American life. The major issues were about implementation of equality and access, not about the legality of segregation or disenfranchisement. The arguments of the 1970s and thereafter were over matters such as busing children out of their neighborhoods to achieve racial balance in metropolitan schools or about the use of “affirmative action.” These policies and programs were viewed by some as active measures to ensure equal opportunity, as in education and employment, and by others as reverse discrimination.The courts worked their way through these problems with decisions that were often inconsistent. In the meantime, the steady march of African Americans into the ranks of the middle class and once largely white suburbs quietly reflected a profound demographic change.THE WOMEN’S MOVEMENTDuring the 1950s and 1960s, increasing numbers of married women entered the labor force, but in 1963 the average working woman earned only 63 percent of what a man made. That year Betty Friedan published?The Feminine Mystique, an explosive critique of middle-class living patterns that articulated a pervasive sense of discontent that Friedan contended was felt by many women. Arguing that women often had no outlets for expression other than “finding a husband and bearing children,” Friedan encouraged her readers to seek new roles and responsibilities and to find their own personal and professional identities, rather than have them defined by a male-dominated society.The women’s movement of the 1960s and 1970s drew inspiration from the civil rights movement. It was made up mainly of members of the middle class, and thus partook of the spirit of rebellion that affected large segments of middle-class youth in the 1960s.Reform legislation also prompted change. During debate on the 1964 Civil Rights bill, opponents hoped to defeat the entire measure by proposing an amendment to outlaw discrimination on the basis of gender as well as race. First the amendment, then the bill itself, passed, giving women a valuable legal tool.In 1966, 28 professional women, including Friedan, established the National Organization for Women (NOW) “to take action to bring American women into full participation in the mainstream of American society now.” While NOW and similar feminist organizations boast of substantial memberships today, arguably they attained their greatest influence in the early 1970s, a time that also saw the journalist Gloria Steinem and several other women found?Ms.?magazine. They also spurred the formation of counter-feminist groups, often led by women, including most prominently the political activist Phyllis Schlafly. These groups typically argued for more “traditional” gender roles and opposed the proposed “Equal Rights” constitutional amendment.Passed by Congress in 1972, that amendment declared in part, “Equality of rights under the law shall not be denied or abridged by the United States or by any State on account of sex.” Over the next several years, 35 of the necessary 38 states ratified it. The courts also moved to expand women’s rights. In 1973 the Supreme Court in?Roe v. Wade sanctioned women’s right to obtain an abortion during the early months of pregnancy – seen as a significant victory for the women’s movement – but?Roe?also spurred the growth of an anti-abortion movement.In the mid- to late-1970s, however, the women’s movement seemed to stagnate. It failed to broaden its appeal beyond the middle class. Divisions arose between moderate and radical feminists. Conservative opponents mounted a campaign against the Equal Rights Amendment, and it died in 1982 without gaining the approval of the 38 states needed for ratification.THE COUNTERCULTUREThe agitation for equal opportunity sparked other forms of upheaval. Young people in particular rejected the stable patterns of middle-class life their parents had created in the decades after World War II. Some plunged into radical political activity; many more embraced new standards of dress and sexual behaviour.The visible signs of the counterculture spread through parts of American society in the late 1960s and early 1970s. Hair grew longer and beards became common. Blue jeans and tee shirts took the place of slacks, jackets, and ties. The use of illegal drugs increased. Rock and roll grew, proliferated, and transformed into many musical variations. The Beatles, the Rolling Stones, and other British groups took the country by storm. “Hard rock” grew popular, and songs with a political or social commentary, such as those by singersongwriter Bob Dylan, became common. The youth counterculture reached its apogee in August 1969 at Woodstock, a threeday music festival in rural New York State attended by almost half-a-million persons. The festival, mythologized in films and record albums, gave its name to the era, the Woodstock Generation.A parallel manifestation of the new sensibility of the young was the rise of the New Left, a group of young, college-age radicals. The New Leftists, who had close counterparts in Western Europe, were in many instances the children of the older generation of radicals. Nonetheless, they rejected old-style Marxist rhetoric. Instead, they depicted university students as themselves an oppressed class that possessed special insights into the struggle of other oppressed groups in American society.New Leftists participated in the civil rights movement and the struggle against poverty. Their greatest success – and the one instance in which they developed a mass following – was in opposing the Vietnam War, an issue of emotional interest to their draft-age contemporaries. By the late 1970s, the student New Left had disappeared, but many of its activists made their way into mainstream politics.ENVIRONMENTALISMThe energy and sensibility that fuelled the civil rights movement, the counterculture, and the New Left also stimulated an environmental movement in the mid-1960s. Many were aroused by the publication in 1962 of Rachel Carson’s book?Silent Spring, which alleged that chemical pesticides, particularly DDT, caused cancer, among other ills. Public concern about the environment continued to increase throughout the 1960s as many became aware of other pollutants surrounding them – automobile emissions, industrial wastes, oil spills – that threatened their health and the beauty of their surroundings. On April 22, 1970, schools and communities across the United States celebrated Earth Day for the first time. “Teachins” educated Americans about the dangers of environmental pollution.Few denied that pollution was a problem, but the proposed solutions involved expense and inconvenience. Many believed these would reduce the economic growth upon which many Americans’ standard of living depended. Nevertheless, in 1970, Congress amended the Clean Air Act of 1967 to develop uniform national air-quality standards. It also passed the Water Quality Improvement Act, which assigned to the polluter the responsibility of cleaning up off-shore oil spills. Also, in 1970, the Environmental Protection Agency (EPA) was created as an independent federal agency to spearhead the effort to bring abuses under control. During the next three decades, the EPA, bolstered by legislation that increased its authority, became one of the most active agencies in the government, issuing strong regulations covering air and water quality. Other historical events includeThe COLD WAR - During the early years of the Cold War, West Berlin was a geographical loophole through which thousands of East Germans fled to the democratic West. In response, the Communist East German authorities built a wall that totally encircled West Berlin. It was thrown up overnight, on 13 August 1961.The Space ProgramThe Death of the President John Kennedy - 1963The VIETNAM WARQ. How have significant historical events influenced the artists and their works? Use the dance works you are studying to provide specific examples. You may know of other historical events during this era that you feel may have influenced to these artists.(NOTE: not all of the above information is prevalent to certain artists/works)______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Refer to Twyla Tharp & Pina Bausch Questions for additional questions based on ERATWYLA THARP? Richard Avedon?Courtesy of?The Richard Avedon FoundationTwyla TharpWho is Twyla Tharp? What is her contribution to Modern Dance?What are the Characteristics of the Artist's Work? - movement vocabulary, production techniques, dance form and qualities of the workTwyla Tharp,?(born?July 1, 1941, Portland,?Indiana, U.S.) popular American dancer, director, and choreographer who was known for her innovative and often humorous work.Tharp grew up in her native Portland, Indiana, and in?Los Angeles, and her childhood included comprehensive training in music and?dance. While a student at?Barnard College, she studied at the?American Ballet Theatre School and received instruction from Richard Thomas,?Martha Graham, and Merce Cunningham, among others. She mentions George Balanchine as a major influence on her work.In 1963, shortly before graduating from Barnard, she joined the?Paul Taylor?Dance Company, where she soon established herself as a dancer of considerable talent and imagination. In 1965, Ms. Tharp founded her dance company, Twyla Tharp Dance. ?Tharp’s first publicly performed piece of?choreography,?Tank Dive, was presented in 1965 at Hunter College. Her dances are known for creativity, wit and technical precision coupled with a streetwise nonchalance with a bare stage and no music.? By combining different forms of movement – such as jazz, ballet, boxing and inventions of her own making – Ms. Tharp’s work expands the boundaries of?ballet and modern dance. ?In 1971 Tharp adopted?jazz?music and began creating dances that appealed to larger audiences. Her?choreography retained its technical brilliance, often overlaid with an air of nonchalance, while its touches of flippant humour became more marked. Her pieces, most notably?The Fugue?(1970),?Deuce Coupe?(1973),?Push Comes to Shove?(1976), and?Baker’s Dozen?(1979), established Tharp as one of the most innovative and popular modern choreographers.In 1988 she disbanded her company and joined the?American Ballet Theatre, where she served as artistic associate alongside?Mikhail Baryshnikov?until 1990. Tharp’s autobiography,?Push Comes to Shove, was published in 1992. She revived her company at the end of the 1990s, and the?Twyla Tharp Dance?Company began performing again in 2000. In 2003 Tharp published her second book,?The Creative Habit: Learn It and Use It for Life, part self-help book, part memoir; followed by THE COLLABORATIVE HABIT:?Life Lessons for Working Together. She is currently working on a fourth book.In addition to choreographing for her own company, she has created dances for The Joffrey Ballet, American Ballet Theatre, The Paris Opera Ballet, The Royal Ballet, New York City Ballet, The Boston Ballet, The Australian Ballet, Hubbard Street Dance Chicago, The Martha Graham Dance Company, Miami City Ballet, Pacific Northwest Ballet, Atlanta Ballet and Royal Winnipeg Ballet.? Today, ballet and dance companies around the world continue to perform Ms. Tharp’s works.Tharp also choreographed for motion pictures such as?Hair?(1979),?Ragtime?(1981), and?Amadeus?(1984) and for Broadway musical theatre productions such as?The Catherine Wheel?(1981; music by?David Byrne),?Movin’ Out?(2002–05; music by?Billy Joel),?The Times They Are A-Changin’?(2006; music by?Bob Dylan), and?Come Fly Away?(2010; music by?Frank Sinatra).Her television credits include choreographing SUE'S LEG for the inaugural episode of PBS' DANCE IN AMERICA IN 1976, co-producing and directing MAKING TELEVISION DANCE, and directing THE CATHERINE WHEEL for BBC Television. Ms. Tharp co-directed the television special BARYSHNIKOV BY THARP.Since graduating from Barnard College in 1963, Ms. Tharp has choreographed more than 160 works: 129 dances, 12 television specials, 6 Hollywood movies, 4 full-length ballets, 4 Broadway shows and 2 figure skating routines.?She received 1 Tony Award, 2 Emmy Awards, 19 honorary doctorates, the Vietnam Veterans of America President's Award, the 2004 National Medal of the Arts, the 2008 Jerome Robbins Prize, and a 2008 Kennedy Center Honor.? Her many grants include the John D. and Catherine T. MacArthur Fellowship. ?She is a member of the American Academy of Arts and Sciences, the American Philosophical Society, and an Honorary Member of the American Academy of Arts and Letters.Today, Ms. Tharp continues to create."I had to become the greatest choreographer of my time. That was my mission, and that's what I set out to do."A large consensus of critics, dancers, and dance-loving audiences would agree that Twyla Tharp has succeeded in her mission. No one making serious dances in this country since the 1960s could ignore the challenge of her inventive, quirky, complex creations. No serious dance artist has ever stretched the boundaries between classical and popular, serious and silly, accessible and intellectual, as Twyla Tharp has. Stylistic FeaturesAt the start of her career she was considered formidably austere. Although her dances have continued to be structurally intricate, her early ones were unaccompanied, until the beginning of the 1970’s, her dances tended to be severe, even slightly truculent, in stage presence. But over the years she has let her dances relax and has choreographed to music ranging from Haydn to jazz.Twyla Tharp has developed a rhythmically supple way of moving in which sharply thrusting steps may suddenly give way to seemingly offhand shrugs and with equal unexpectedness, shrugs may explode into lunges and leaps. Re-Moves (1966) and After “Suite” (1969) are typical of her earlier efforts. Attesting to Tharp’s love of structural ingenuity was the fact that one section of Re-Moves was the same as the work’s opening sequence, except that all its steps were danced backward. After “Suite” (inspired by Merce Cunningham), took place in three adjacent squares of space. As each section was completed, it was repeated in another square but as a variant of itself by means of repatterning and shifts of focus. Like Cunningham, Tharp found unconventional locations for her dances. “Medley” performed in the summer of 1969 at New York’s Central Park at dusk was something of an exercise in perception for the viewers as they watched the widely scattered figures of the dancers performing a long adagio spaced across the lawn, all of whom moved so slowly in the waning light. After Medley, Tharp turned overtly theatrical. Her choreography continued to emphasise sudden changes, lunges and darting as well as abrupt shifts from sharply emphatic steps to shrugs and slouches. But her production’s trappings became more elaborate and appealing.Tharp’s technique, an eclectic blend of ballet, modern, tap, jazz, social dancing and athletics represents a new type of virtuosity that parallels ballet’s big leaps and multiple pirouettes. Excerpts fromUnusual Dance SpacesReina PotaznikSenior Seminar in Dance Fall 2007?Thesis Advisor: Lynn Garafola ? Reina Potaznik In the 1960s, modern dance underwent a transformation. Choreographers joined forces with visual artists to invent works that incorporated philosophy and technology. Not only were they producing innovative ways of moving and a new dance vocabulary, but they were also generating novel ways of forming and fashioning dance. “The ‘art of making dances’ wason the verge of a revolution.”1 The avant-garde dancers of the late 1960s created works that were groundbreaking in the way they were challenging the structure and constructs of modern dance. A different approach views this new attitude toward dance as just another aspect of the hippie and anti-establishment counterculture of the 1960s. In the introduction to her book Reinventing Dance in the 1960s, the critic and historian Sally Banes begins by describing the 1960s culture as a period in history when there were no boundaries. The line between art and life was becoming less clear as rules were being broken and limits tested in many sectors of society whether artistically, socially, or politically. “The arts both reflected and participated in pushing the envelope beyond recognition.”2 The experimental culture of the 1960s helped to foster a similar creative sentiment among the avant-garde choreographers of that decade. Whether as a form of rebellion against modern dance or as an expression of the 1960s experimental culture, avant-garde choreographers created revolutionary works that exploded outside the frame of the proscenium stage. They discovered new performance spaces that ranged from church sanctuaries, museums, gymnasiums, lofts, and galleries, to sidewalks, public parks, tenement walls, and other places. In the late 1960s and early 1970s, Trisha Brown and Twyla Tharp, in particular, were known for their exploratory, non-proscenium dance pieces executed in new and unusual performance spaces. The use of these atypical performance spaces transformed the landscape of contemporary dance. No longer was dance solely confined to a theater venue, but any and every space could be utilized. Brown and Tharp created performance spaces in unmarked territories. Consequently, the relationship between the performers and their audiences was altered. In these new public environments there were constant distractions, and the choreographers had to create works that would hold the attention of their spectators. Brown and Tharp were also considered innovative not only in their choice of unconventional venues, but also because of the way they incorporated pedestrian movements into their dances. Just as any space could house a dance so too could any movement be considered dance. In addition, they incorporated non-dancers into their works. Within limits, the art of concert dance was becoming democratized. Anybody, anywhere, doing any form of movement was, in essence, dancing. On the one hand, Brown and Tharp were making an artistic statement. On the other, one wonders if limited access to mainstream performance venues led them, at the beginning of their choreographic careers, to these unusual dance spaces. After all, both Brown and Tharp eventually returned to the proscenium stage and created complex choreography for highly trained dancers. Twyla Tharp On April 29, 1965 Tharp presented her first dance work, Tank Dive. She decided to structure this piece with a beginning, a middle, and an end. After selecting an entrance and closing she was overwhelmed by the idea of creating a middle section. The existence of so many options made it impossible to choose. She decided to extract movement until she reached its core: “the right angle, the diagonal, the spiral, and the circle,”38 the building blocks of dance that when combined, could result in all types of phrases. From the start of her choreographic career, Tharp was interested in getting to the basics of dance, stripping it to its bare essentials. Critic Don McDonagh wrote “an important characteristic of Tharp’s modified- proscenium approach to choreography is her willingness to consider almost any space as suitable for dance.”39 No matter where she chose to perform Tharp was able to “throw lines of movement across and through [the] space and thereby establish a zone of human mastery over the real estate that is our environment.”40 She created works for and became adept in dancing in all types of surroundings. “Tharp does not have a specific spatial requirement for her work but will handle the space that is offered to her. It is a freedom of choice which was made possible when proscenium arch was seen as only one possible way of organizing space and not always the best one.”41 This freedom led Tharp to create works such as Medley (1969), Dancing in the Streets of London and Paris, Continued in Stockholm and Sometimes Madrid (1969), and Torelli (1971). Each dance utilized the entirety of its performing space, whether it was the Great Lawn in Central Park, galleries and staircases of the Metropolitan Museum of Art, or the three Manhattan locations where Torelli was presented. These works succeeded in incorporating sophisticated as well as stylized pedestrian movements in “unique natural setting[s]”42 as well as illustrating Tharp’s interest in gigantism. She created dances that extended and filled spaces ten times the size of a proscenium stage.43 Tharp was described by critic Clive Barnes as a “dance avant-garde activist (as opposed to the dance avant-garde reactionaries).”44 She was a pioneer in this new form of dance, creating unusual and innovative works. Tharp had a preference for non-proscenium spaces, finding the stage too limiting. “Once out of the confines of a theatre, the audience is in a better position to experience what the dancers are doing. She wants to release the spectator from the visual ‘set’ of the proscenium stage and the physical ‘set’ of an assigned seat. She likes to have her dancing- ground fluid and her viewers mobile,”45 an accomplishment that can only be achieved off the proscenium stage. Tharp was also interested in “what dance, as sheer movement, could accomplish on its own,”46 without the accompaniment of music. She felt that when people saw dance that moved to music, audiences responded to the music rather than to the dance steps. Medley (1969) was created with the idea of showing how art and life could co-exist with one another and that they are not mutually exclusive.47 Medley was “based on everyday movements – running, walking, skipping,” yet it “became [Tharp’s] ‘danciest’ dance yet.”48 It was made for a large outdoor space and was performed at a number of sites.49 Medley premiered at the American Dance Festival, which took place at Connecticut College in New London, Connecticut, and was performed soon after on the Great Lawn of Manhattan’s Central Park. Tharp began the piece with six company dancers who were described by Jack Anderson as follows: [They were] clustering and dispersing in patterns vaguely reminiscent of balls scattering on a billiard table. The climax came when the company was joined by three dozen student dancers who rushed down a hillside with a great burst of?energy. Finally, the dancers, now suggesting a live sculpture garden, performed?an adagio so slow that it was at first almost impossible to tell that they were?moving at all. A curious effect of Medley was that it made the entire visible? landscape kinetic. Automobiles on a nearby street and pedestrians walking across?the campus became as much a part of the composition as the dancers ?themselves.50?In 1989 Jack Anderson recalled in The New York Times, that the second performance of Medley was a “magical production [that] turned the Great Lawn of Central Park into an animated sculpture garden. Tharp spaced dancers across it almost as far as the eye could see, then had them move slowly and calmly while twilight fell about them. Nature and art were in harmony.”51 Naturalism was an important aspect of this piece, and Tharp grappled with how to achieve a natural movement quality that was unique to each dancer. She used several techniques, “improvisation, everyday gesture or action, [and] technique done in the nude.”52 In the end she videotaped her dancers and made them relearn their own movements so that they could teach them to a group of students.53 In Medley, anyone could have their moves incorporated into the dance – company members, students, audience members, even passersby. Medley was comprised of non-dance steps from atypical movement sources labeled with colloquial terms; “sections of [it], for instance, were called ‘Street Moves,’ ‘Layouts (put-downs)’ and ‘Audience pick-ups.’”54 ?Tharp did not perform in Medley but watched the performance as part of the audience. She overheard comments, both positive and negative. In her autobiography, Tharp recounts how “it has taken years to find the strength to connect with an audience without jeopardizing my own ego, detaching myself to find a director’s objectivity.”60 Despite her wish to create a dance that showed how art and life could co-exist, Tharp herself struggled to forge a bond with her audience. During the late 1960s and early 1970s, Tharp attempted to create dances that would blur the line between art and life. She incorporated pedestrian activities into locally accessible public environments. By dancing in these venues Tharp performed not only for her loyal dance audience, but also for individuals who regularly visited that space. Similar to Brown’s dances, Tharp’s pieces incorporated all forms of movement in non-typical spaces. The theories and concepts behind Tharp’s dances were at times more interesting then the pieces themselves. Because of unforeseen complications at most performances, the dances failed to realize Tharp’s vision. These unsuccessful concerts indicate the complexity of creating non-proscenium works. Not only did Tharp need to create movement, but she also had to foresee how the choreography would be performed in the new environment. For each failed attempt there was also a successful performance at which her objective was achieved. Those concerts demonstrated that dance could exist in non-proscenium venues and expanded the field of possible performance spaces. Answer the following questions based on the reading you have done and your own research:Briefly describe Tharp’s background and training. ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Discuss the influence of George Balanchine, Martha Graham, Merce Cunningham and Paul Taylor on Twyla Tharp and her work – how has this impacted the approach to her work? Watch snippets of their works and jot down some significant characteristics. ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________What are the artist’s philosophical underpinnings? ("the ultimate justification of why an action was taken.)________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________What is Tharp’s approach to dance choreography and how does she communicate her ideas? What ideas does she like to bring to the stage?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________What are the choreographic practices/processes or choices of the Artist?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Describe Twyla Tharp’s dance style and characteristics of her work – movement vocabulary, dance form, qualities of her work, production techniques________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Describe 5 contributions that the artist made to modern dance. _______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Why was the artist significant in the time frame of the 1960’s to the 1980’s, how did she redefine dance/choreography?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________List 5 of the artists dance works between the 1960’s and 1980’s (provide dates)._________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________What were the sociocultural influences on the work of the artist?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Explain the concept/intent of TWO of the works you are analysing and how Twyla showed 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GUIDE TO HOW PAST HSC PAPERS HAVE BEEN APPROACHED IN STUDENTS RESPONSES2019Explain how the works of Twyla Tharp (1960s–1980s) reflect the era in which they were choreographed.In your response, provide specific examples from her works. Answers could include: Twyla Tharp Women’s liberation Social and political issues eg American Civil Rights movement, frequent protests, anti- authoritarianism America becoming a superpower – Cold War, post-war affluence Changing nature of music Technological development/revolution Post-modern art movement and experimentation Pop art and popular culture Fusion of art and commercial entertainment genres (Broadway musicals) Influences from mentors, teachers and choreographers eg Cunningham, Hawkins, Graham and Taylor Collaboration eg famous ballet dancers, pop stars, different artforms Dance as art shared by a wider audience eg choices of movement – pedestrian style connected with ballet, dance, TV, film 2018Twyla Tharp’s art is a reflection of the voices of her society. Discuss this statement in relation to the works of Twyla Tharp from the 1960s–1980s. In your response, provide specific examples from her works. Answers could include: Twyla Tharp Voices of society of 1960s–1980s Women’s liberation Social and political issues eg American Civil Rights movement, protest movement, anti-authoritarianism America becoming a super power – Cold War, post-war affluence Changing nature of music Technological development/revolution Post-modernism art movement and experimentation Pop art Fusion of art and commercial entertainment genres (Broadway musicals) Influences from mentors, teachers and choreographers eg Cunningham, Hawkins, Graham and Taylor Collaboration eg famous ballerinas, pop stars, different art forms Dance as art shared by a wider audience eg her choices of movement – pedestrian style connected with ballet, dance, TV, film. Tharp’s contributions Choreographed dances for the film version of the ‘60s rock musical Hair (1979) and Ragtime (1980) 1976 Push Comes to Shove – choreographed for Mikhail Baryshnikov to Haydn’s Symphony 82 – incorporation of balletic technique into contemporary choreography. 2017Explain how sociocultural influences of the era are reflected in aspects of the works of Twyla Tharp (1960s–1980s). In your response, provide specific examples from her works. Sociocultural influences of the 1960s–80s Significant events in American history E.g.: JFK as President and his assassination, civil rights movements, racial discrimination Martin Luther King Jnr ‘I have a dream’ speech, free speech, Vietnam War, women’s rights, anti-authoritarian and protest movements, social activism, 1968 Martin Luther King Jnr and Robert Kennedy assassinated, Apollo 11 lands on the moon – ‘one small step for man, one giant leap for mankind’ Neil Armstrong, first black woman elected to Congress, Cold War Post war affluence. Pop music and associated culture 1964 Beatles rock the world Influence of European music on USA 1969 Woodstock – a weekend of music, love and peace Psychoactive drugs and recreational drug culture. Artistic developments Postmodernism coined for 1960s onwards – postmodernists challenged the boundaries of the modern era in dance – time of experimental dance – no rules, no boundaries – ‘happenings’ Emergence of the Broadway musical as an art from Pop Art, new non-elitist art styles which achieved popular recognition. Tharp’s contributions Eclectic dance style seen through: In the Upper Room (1986) The Catherine Wheel (1981) 1973 Deuce Coup – music of the Beach Boys – created public credibility for use of popular music 1976 Push Comes to Shove – choreographed for Mikhail Baryshnikov to Haydn’s Symphony 82 – incorporation of balletic technique into contemporary choreography Choreographed dances for the film version of the ‘60s rock musical Hair (1979) and Ragtime (1980) Worked on Broadway eg When We Were Very Young (1980) and The Catherine Wheel (1981) Choreographed for dance on television eg Sue’s Leg (1976), Making Television Dance (1977), The Catherine Wheel (1983), Baryshnikov by Tharp (1984). 2016 ‘Twyla Tharp’s work reflects her era, but the real strength lies in her contribution to dance as an artform.’Discuss this statement with reference to her work in the era 1960–1980. Aspects of the era in her works (1960–1980) Use of music of the time (Beach Boys, Scott Joplin/ragtime, Phillip Glass ...) Use of important dancers (eg Baryshnikov) Drawing on a broad variety of dance styles (ballet, jazz, pedestrian post-modern, break dancing ...) Using the mass audience of television to showcase dance – Dance on TV (Dance in America, Making Television Dance) Social and political issues (1960s, nuclear family, nuclear power) Contribution to dance as an artform Developed a unique eclectic dance style Broadened the audience for dance – TV, Broadway Broadened the link between dance and music accompaniment Works Push Comes to Shove (1976) [Joseph Lamb and Haydn’s Symphony No. 82]Hair (1979) film version of the musical [Galt MacDermot]2015Describe how Twyla Tharp has influenced dance as an artform (1960–80). In your response, provide examples from her work. Background and training: Studied with the great masters of modern dance: Graham, Cunningham, Taylor & Hawkins. Founded her own dance company 1965 and challenged the boundaries of the modern era in dance. Influenced dance as an artform 1960–80 Work combined ballet technique with natural movements like running, walking and skipping Created her own style of different ways of moving that gave the artform a wider audience, creating more interest in dance. Worked with a variety of accompaniment: classical music, pop songs, a clicking metronome and/or silence Collaborated, choreographed and performed with major ballet companies, pushing the boundaries of the classical genre Toured extensively around the world performing original works. Pushed the boundaries of dance into a different medium: – ?Choreographed dances for the film version of the ’60s rock musical Hair (1979) and Ragtime (1980). – ?Worked on Broadway, eg When We Were Very Young (1980) and The Catherine Wheel (1981) – ?Choreographed for dance on television, eg Sue’s Leg (1976), Making Television Dance (1977), The Catherine Wheel (1983), Baryshnikov by Tharp (1984) Works: Push Comes to Shove (1976) danced by Mikhail Baryshnikov, music by Mozart and Scott Joplin. Quotes by Twyla Tharp“Creativity is an act of defiance.”“Art is the only way to run away without leaving home.”“Life is about moving, it’s about change. And when things stop doing that they’re dead.”“Reading, conversation, environment, culture, heroes, mentors, nature – all are lottery tickets for creativity. Scratch away at them and you’ll find out how big a prize you’ve won.”“Before you can think out of the box, you have to start with a box”“When I walk into [the studio] I am alone, but I am alone with my body, ambition, ideas, passions, needs, memories, goals, prejudices, distractions, fears. These ten items are at the heart of who I am. Whatever I am going to create will be a reflection of how these have shaped my life, and how I've learned to channel my experiences into them.The last two -- distractions and fears -- are the dangerous ones. They're the habitual demons that invade the launch of any project. No one starts a creative endeavor without a certain amount of fear; the key is to learn how to keep free-floating fears from paralyzing you before you've begun. When I feel that sense of dread, I try to make it as specific as possible. Let me tell you my five big fears:1. People will laugh at me? Not the people I respect; they haven't yet, and they're not going to start now....2. Someone has done it before? Honey, it's all been done before. Nothing's original. Not Homer or Shakespeare and certainly not you. Get over yourself.3. I have nothing to say? An irrelevant fear. We all have something to say.4. I will upset someone I love? A serious worry that is not easily exorcised or stared down because you never know how loved ones will respond to your creation. The best you can do is remind yourself that you're a good person with good intentions. You're trying to create unity, not discord.5. Once executed, the idea will never be as good as it is in my mind? Toughen up. Leon Battista Alberti, the 15th century architectural theorist, said, 'Errors accumulate in the sketch and compound in the model.' But better an imperfect dome in Florence than cathedrals in the clouds.”"There are mighty demons, but they're hardly unique to me. You probably share some. If I let them, they'll shut down my impulses ('No, you can't do that') and perhaps turn off the spigots of creativity altogether. So I combat my fears with a staring-down ritual, like a boxer looking his opponent right in the eye before a bout.“If you only do what you know and do it very, very well, chances are that you won't fail. You'll just stagnate, and your work will get less and less interesting, and that's failure by erosion”“Creativity is more about taking the facts, fictions, and feelings we store away and finding new ways to connect them. What we're talking about here is metaphor. Metaphor is the lifeblood of all art, if it is not art itself. Metaphor is our vocabulary for connecting what we are experiencing now with what we have experienced before. It's not only how we express what we remember , it's how we interpret it - for ourselves and others.”“A lot of people insisted on a wall between modern dance and ballet. I'm beginning to think that walls are very unhealthy things. ” “Everything is raw material. Everything is relevant. Everything is usable. Everything feeds into my creativity. But without proper preparation, I cannot see it, retain it, and use it.”“A lot of habitually creative people have preparation rituals linked to the setting in which they choose to start their day. By putting themselves into that environment, they start their creative day.The composer Igor Stravinsky did the same thing every morning when he entered his studio to work: He sat at the piano and played a Bach fugue. Perhaps he needed the ritual to feel like a musician, or the playing somehow connected him to musical notes, his vocabulary. Perhaps he was honoring his hero, Bach, and seeking his blessing for the day. Perhaps it was nothing more than a simple method to get his fingers moving, his motor running, his mind thinking music. But repeating the routine each day in the studio induced some click that got him started.In the end, there is no ideal condition for creativity. What works for one person is useless for another. The only criterion is this: Make it easy on yourself. Find a working environment where the prospect of wrestling with your muse doesn't scare you, doesn't shut you down. It should make you want to be there, and once you find it, stick with it. To get the creative habit, you need a working environment that's habit-forming. All preferred working states, no matter how eccentric, have one thing in common: When you enter into them, they compel you to get started.”“Remember this when you're struggling for a big idea. You're much better off scratching for a small one.”“Dance is a tough life (and a tougher way to make a living). Choreography is even more brutal because there is no way to carry our history forward. Our creations disappear the moment we finish performing them. It’s tough to preserve a legacy, create a history for yourself and others. But I put all that aside and pursued my gut instinct anyway. I became my own rebellion. Going with your head makes it arbitrary. Going with your gut means you have no choice.“Here’s how I learned to improvise: I played some music in the studio and I started to move. It sounds obvious, but I wonder how many people, whatever their medium, appreciate the gift of improvisation. It’s your one opportunity in life to be completely free, with no responsibilities and no consequences. You don’t have to be good or even interesting. It’s you alone, with no one watching or judging. If anything comes of it, you decide whether the world gets to see it. In essence, you are giving yourself permission to daydream during working hours.” “A dancer's life is all about repetition.”PINA BAUSCHWho is Pina Bausch & what is her contribution to modern dance?IN A NUTSHELLPina was born 1940 in Solingen, Germany and died 2009 in Wuppertal, Germany (27 July 1940 – 30 June 2009). She received her dance training at the Folkwang School in Essen under Kurt Jooss, where she achieved technical excellence. Soon after the director of Wuppertal's theatres, Arno Wüstenh?fer, engaged her as choreographer, from autumn 1973, she renamed the ensemble the Tanztheater Wuppertal.Under this name, although controversial at the beginning, the company gradually achieved international recognition. Its combination of poetic and everyday elements influenced the international development of dance decisively. Awarded some of the greatest prizes and honours world-wide, Pina Bausch is one of the most significant choreographers of our time. CHILDHOODShe was born in 1940 in Solingen, Germany as Philippine Bausch; under her nickname Pina she was later to gain international standing from nearby Wuppertal with her dance theatre. Her parents ran a restaurant in Solingen attached to a hotel where, along with her siblings, Pina helped out. She learned to observe people, above all the fundamental things, which drive them. The atmosphere of her early childhood seems to find an echo later in her pieces; music is heard, people come and go, and talk of their yearning for happiness. Yet her early experience of the war is also reflected in the pieces, in sudden outbursts of panic, fear of an unnamed danger.FOLKWANG HOCHSCHULE ESSENHaving already danced in the Solingen children's ballet, at fourteen Pina Bausch began studying dance with Kurt Jooss at the Folkwang School in Essen. Jooss was a significant advocate of pre- and post-war German modern dance, which had freed itself from the shackles of classical ballet. In his teaching, however, Jooss sought to reconcile the free spirit of the dance revolutionaries with the fundamental rules of ballet. The young dance student Bausch thus acquired techniques for free creative expression as well as the command of a clear form. The proximity of the other arts taught at the Folkwang School, including opera, music, drama, sculpture, painting, photography, design, was also an important influence on her, reflected later in the form of a wholly open approach to the media in her work as a choreographer.JUILLIARD SCHOOL OF MUSIC, NEW YORKIn 1958, Pina Bausch was awarded the Folkwang Leistungspreis and, armed with a grant from the Deutschen Akademischen Austauschdienst (German Academic Exchange Service: DAAD). She spent a year as 'Special Student' at the Juilliard School of Music in New York. The city was seen as a dance Mecca, where classical ballet was being reinvented thanks to George Balanchine and modern dance further developed. Pina Bausch's teachers included Antony Tudor, José Limón, dancers from Martha Graham's company, Alfredo Corvino and Margret Craske. As a dancer she worked with Paul Taylor, Paul Sanasardo and Donya Feuer. She took every opportunity to see performances and absorbed all the various tendencies. Enthused by the diversity of cultural life in New York, she remained for a further year. Now, however, she was obliged to finance her stay and found employment with Antony Tudor at the Metropolitan Opera. In her later work her affinity to opera and her respect for musical tradition was to play an equal role to, for instance, her love of jazz. The distinction between 'serious' and 'popular' music, still firmly upheld in Germany, was of no significance to her. All music was afforded the same value, as long as it expressed genuine emotions.EARLY YEARS IN WUPPERTALIn 1962, two years after she had left for New York, Kurt Jooss asked her to return to Essen, Germany. He had succeeded in re-invigorating the Folkwang Ballet, subsequently re-named the Folkwang Tanzstudio. Pina Bausch, danced in works by Jooss both old and new, as well as assisting him with choreography. As the Folkwang Tanzstudio needed new pieces, she began to choreograph independently and created works such as?Fragment?or?Im Wind der Zeit?(In the Wind of Time), for which she was awarded first prize at the International Choreographic Workshop of 1969 in Cologne. She created her first works in Wuppertal as guest choreographer, performed with members of the Folkwang Tanzstudio:?Aktionen für T?nzer?(Actions for Dancers) in 1971 and the?Tannh?user Bacchanal?in 1972. In 1973 the director of the Wuppertal theatres Arno Wüstenh?fer appointed her head of the Wuppertal Ballet, which she soon renamed the Tanztheater Wuppertal. The description Tanztheater, or dance theatre, originally used by Rudolf von Laban in the 1920s, is a statement of intent; it stands for an emancipation from mere balletic routines and the complete freedom to chose one's means of expression and Pina Bausch now developed several new genres in quick succession. With the two Gluck operas?Iphigenia in Tauris(1974) and?Orpheus and Eurydice?(1975) she created the first dance operas. In 1974, withIch bring dich um die Ecke?(I'll Do You In), she entered the frivolous world of popular songs, while?Komm, tanz mit mir?(Come Dance with Me) used old German folk songs and?Renate wandert aus?(Renate Emigrates) played on the clichés of operetta (both 1977). Her 1975 choreography for Igor Stravinsky's?Le Sacre du printemps?was to become a milestone; the emotional force and unmediated physicality of the piece became trademarks of her work. From Kurt Jooss she had learned 'honesty and precision'. Bausch demonstrated both these values, unleashing dramatic energy of a kind never seen before. In the early Wuppertal years, this lead to anxiety amongst press and public. The confrontation with the true motives behind human movements was painful. To many people the grief and despair evoked in 1977's?Blaubart – Beim Anh?ren einer Tonbandaufnahme von Bela Bartóks Oper "Herzog Blaubarts Burg"?(Bluebeard. While listening to a tape recording of Bela Bartók's opera "Duke Bluebeard's Castle") in which passages of the music are repeated relentlessly, felt like torture. But along with her talent for drama Pina Bausch also demonstrated a sense of humour right from the start, seen for instance in her Brecht/Weill double-bill?Die sieben Todsünden?(The Seven Deadly Sins) and?Fürchtet Euch nicht?(Don't Be Afraid) of 1976. The second part, collaged freely together, with both men and women wearing female clothes as Bausch plays with entrenched gender-role conventions, is both entertaining and funny.Tanztheater Wuppertal began with controversy; in 1973 Pina Bausch was appointed director of dance for the Wuppertal Theatres and the form she developed in those early years, a mixture of dance and theatre, was wholly unfamiliar. In her performances the players did not merely dance; they spoke, sang - and sometimes they cried or laughed too. But this strange new work succeeded in establishing itself. In Wuppertal the seeds were sown for a revolution, which was to liberate and redefine dance throughout the world. Dance theatre evolved into a unique genre, inspiring choreographers throughout the world and influencing theatre and classical ballet too. Its global success can be attributed to the fact that Pina Bausch made a universal need the key subject of her work: the need for love, for intimacy and emotional security. To this end she developed an artistic form, which could incorporate highly diverse cultural influences. In consistently renewed poetic excursions she investigated what brings us closer to fulfilling our need for love, and what distances us from it. Hers is a world theatre which does not seek to teach, does not claim to know better, instead generating experiences: exhilarating or sorrowful, gentle or confrontational - often comic or absurd too. It creates driven, moving images of inner landscapes, exploring the precise state of human feelings while never giving up hope that the longing for love can one day be met. Alongside hope, a close engagement with reality is another key to the work; the pieces consistently relate to things every member of the audience knows; has experienced personally and physically. Over the thirty-six years in which Pina Bausch shaped the work of the Tanztheater Wuppertal, till her death in 2009, she created a work which casts an unerring gaze at reality, while simultaneously giving us the courage to be true to our own wishes and desires. Her unique ensemble, rich with varied personalities, will continue to maintain these values in the years to come.ELABORATING ON CHOREOGRAPHIC STYLEPina sensed that the world had irretrievably changed and she determined to reinvent the language of dance to release it from traditional confines. Pina Bausch brought dance, theatre and German expressionism together – a blend of raw emotionalism, stark movement, earthly pathos and humour. As Wenders comments ‘it is there to shock you.’Pina wanted to confront audiences with the Teutonic (dialect of German Language) ‘Sturm und Drang’ (storm and stress) of everyday life through her work. The German critic Manual Brug explains her philosophy as “the interpretation of the soul and the battle of the sexes.”To demonstrate this philosophy in his film, Wenders chose excerpts from four of her 40 works – Café Müller (1978), Rite of Spring (1975), Kontaktof (1978) and Vollmond (2006) within which Pina uncovers a raw humanity fighting for its survival, highlighting the emotionality of the dancing body. As the pieces explore fragile and fraught human relationships we experience moments of unexpected beauty contrasted with our inescapable connection to the earth, symbolised with recurrent themes of falling and slamming up against an indifferent world.Pina demanded from her dancers an open and authentic response to her vision and ideas, whether that be through dance, song, mime, spoken words or other. Dance technique and young bodies were not prerequisites for this revolutionized language of dance. Some of the Tanztheater dancers have been with the company for 35 years. As Pina said, “I’m not concerned with the way my dancers move, but what moves my dancers.”Bausch changed dance fundamentally by removing the smiling ethereal ballerina attempting to float above us, replacing her with a fusion of radical interactive theatre, surreal imagery and ‘danced body language’. In contemporary dance today the influence of Bausch is seen in its rawness, relative freedom and willingness to explore a variety of forms so as to expose an internal world. Her influence is also seen in the way choreographers work with their dancers – a 2-pronged process where through improvisation ‘tasks’ the choreographer allows the soul of the dancer to enter the process.Belgian choreographer Alain Platel was particularly influenced by Bausch; work-shopping ideas in the studio, asking dancers to improvise and drawing on dancers’ personal experiences. “Everyone in contemporary theatre is working the same way…there’s a long, wild period of improv…trying many different things. I was very shaken by the work of Pina.”Meryl Tankard, Australian choreographer and former Artistic Director of Australian Dance Theatre (ADT), was a soloist with Danztheater Wuppertal for 6 years. The influence of Bausch is seen through her bringing together dynamic movement, singing, acting and music with a strong emotional content. Works such as Inuk 2 bring to mind Bausch-type themes with dancer/audience interaction, the use of water on stage, dancers crying out and a lack of narrative.Pina Bausch’s vision for dance was essentially one without borders, adopting theatrical innovations where dancers move amongst the audience, musicians play on stage and multi-media is used. Theatre sets sometimes included piles of earth, rock formations and flowing water.? Her influence and collaboration included such filmmakers as Wenders and Almodovar whose movie Hable con ella (Talk to Her) opens with segments from Café Müller.Wender’s film Pina is more than a tribute to an artist who was central to his own work.? He has crafted one of the few truly dance-centred films in recent years, seriously taking the challenge of dance to connect with an audience and covey life; in this case a singular life interpreted solely through dance.For anyone interested in dance this film provides an insight into an artist who demanded authenticity and creativity with single-minded zeal.? While the loss of Pina is strongly felt in the film and throughout the contemporary dance community, her life and artistic vision still continue to inspire artists in various formsPINA BAUSCH’S WORKING METHODSIn 1978 Pina Bausch changed her working methods. Invited by the director of the Bochum theatre Peter Zadek to create her own version of Shakespeare's Macbeth, she found herself in a difficult situation. A large portion of her ensemble no longer wished to work with her, as there was little conventional dancing in her pieces. She thus cast the Bochum guest performance with just four dancers, five actors and a singer. With this cast she was unable to deploy choreographic steps and so began by asking her performers associative questions around the themes of the play. The result of this joint investigation was premiered on 22 April 1978 in Bochum under the lengthy title?Er nimmt sie an der Hand und führt sie in das Schloss, die andern folgen?(He takes her by the hand and leads her into the castle, the others follow) and was almost drowned out by the storm of protest from the audience. Yet in making this unusual move, Pina Bausch had finally found the form her work would take, its dream-like, poetic imagery and bodily language justifying the worldwide success she soon achieved. In taking people's essential emotions as its starting point - their fears and needs, wishes and desires - the Tanztheater Wuppertal was not only able to be understood throughout the world, it sparked an international choreographic revolution. The secret of this success may lie in the fact that Pina Bausch's dance theatre risks taking an unflinching look at reality, yet at the same time invites us to dream. It takes the spectators' everyday lives seriously yet at the same time buoys up their hopes that everything can change for the better. For their part, they are required to take responsibility themselves. All the men and women in Pina Bausch's pieces can do is test out, with the utmost precision and honesty, what brings each and every one closer to happiness, and what pushes them further from it; they cannot offer a cure-all. They always, however, leave their public in the certainty that - despite all its ups and downs - they will survive life.ROLF BORZIKIn January 1980, Pina Bausch's long-term life partner Rolf Borzik died. In the early days his stage sets and costumes had largely shaped the appearance of dance theatre. Following his death his work was continued by Peter Pabst (sets) and Marion Cito (costume). The spaces created are poetic, with the outside often brought in, the stage expanded into a landscape. And the spaces are physical, affecting the dancers' movements. Water and rain allow the body to be seen through the clothes; earth makes every movement a feat of strength; the dancers' steps are traced in a layer of fallen leaves. The spaces' variety ranges from nineteenth century interiors to bare wooden boards of Japanese minimalism. The costumes too, can be as elegant as they are absurd, from the refinement of evening dress to the childish delight in dressing up. Like the pieces themselves, stages sets and costume reflect everyday life yet continually exceed it, ascending into dream-like beauty and weightlessness. The humour and the beauty, often overlooked in the beginning, even when they lay in the apparently ugly, were gradually understood over the years. Slowly it became clear what dance theatre was about; not provocation, but, in Pina Bausch's own words, 'a space’. FROM DANCE THEATRE TO WORLD THEATREThe worldwide development of dance theatre resulted in many international co-productions for the Tanztheater Wuppertal:?Viktor,?Palermo Palermo?and?O Dido?in Italy,Tanzabend II?(Dance Evening II) in Madrid,?Ein Trauerspiel?(A Tragedy) in Vienna,?Nur Du(Only You) in Los Angeles,?Der Fensterputzer?(The Window Washer) in Hong Kong,Masurca Fogo?in Lisbon,?Wiesenland?(Meadow Land) in Budapest,??gua?in Brazil,?Nefés(Breath) in Istanbul,?Ten Chi?in Tokyo,?Rough Cut?in Seoul,?Bamboo Blues?in India and most recently the new 2009 production in Chile, which Pina Bausch was no longer able to give a title to. The work, once controversial, eventually developed into a world theatre, which can incorporate all cultural colourations and treats every person with the same respect. It is a theatre that does not aim to preach, instead creating an elemental experience of life, which each spectator is invited to participate in along with the dancers. This global theatre is generous, relaxed in its perception of the world and thoroughly charming towards its audience. It invites them to make peace with life, and trust their courage to go on living and their own strength. A mediator between cultures, it is a messenger of freedom and mutual understanding. It is a theatre, which remains free of all ideology and dogma, viewing the world with as little prejudice as possible and acknowledging life – in all its facets. Out of the finds brought back from the journey which begins with each new piece, out of the many small scenes and the many dancers – ever more over the years – a global image of enormous complexity is pieced together, full of surprising turns. The Tanztheater Wuppertal has no obligations other than to human beings and thus to a humanism which recognises no borders.PRIZES AND ACCOLADESPina Bausch has been awarded many prizes and accolades for her work, including the New York Bessie Award in 1984, the German Dance Prize in 1995, the Berlin Theatre Prize in1997, Japan's Praemium Imperiale in 1999, Monte Carlo's Nijinsky Prize, the Golden Mask in Moscow in 2005 and the Goethe Prize of the city of Frankfurt in 2008. In June 2007 she was presented with the Venice Biennale Golden Lion for her life's work and in November that year she was awarded the highly respected Kyoto Prize. In 1997 the German government honoured her with the Order of Merit of the Federal Republic of Germany, the French with the title Commandeur de l'Ordre des Arts et de Lettre in 1991 and Chevalier de la Légion d'Honneur in 2003. Several universities have awarded her an honorary doctorate.On 30 June 2009 Pina Bausch's life journey reached its end. She will be remembered as one of the most significant choreographers of the twentieth century. She continued making works until 2009 when she died28575002146301977BLAUBART - BEIM ANH?REN EINER TONBANDAUFNAHME VON BELA BARTOKS "HERZOG BLAUBARTS BURG" (BLUEBEARD - WHILE LISTENING TO A TAPED RECORDING OF BELA BARTOK'S "DUKE BLUEBEARD'S CASTLE)A piece by Pina BauschKOMM TANZ MIT MIR (COME DANCE WITH ME)A piece by Pina BauschRENATE WANDERT AUS (RENATE EMIGRATES)Operetta by Pina Bausch1978ER NIMMT SIE AN DER HAND UND F?HRT SIE?IN DAS SCHLOSS, DIE ANDEREN FOLGEN... (HE TAKES HER BY THE HAND AND LEADS HER INTO THE CASTEL, THE OTHERS FOLLOW ...)A piece by Pina Bausch,?In coproduction with Schauspielhaus BochumCAF? M?LLERA piece by Pina BauschKONTAKTHOFA piece by Pina Bausch1979ARIEN (ARIAS)A piece by Pina BauschKEUSCHHEITSLEGENDE (LEGEND OF CHASTITY)A piece by Pina Bausch19801980 - A PIECE BY PINA BAUSCH001977BLAUBART - BEIM ANH?REN EINER TONBANDAUFNAHME VON BELA BARTOKS "HERZOG BLAUBARTS BURG" (BLUEBEARD - WHILE LISTENING TO A TAPED RECORDING OF BELA BARTOK'S "DUKE BLUEBEARD'S CASTLE)A piece by Pina BauschKOMM TANZ MIT MIR (COME DANCE WITH ME)A piece by Pina BauschRENATE WANDERT AUS (RENATE EMIGRATES)Operetta by Pina Bausch1978ER NIMMT SIE AN DER HAND UND F?HRT SIE?IN DAS SCHLOSS, DIE ANDEREN FOLGEN... (HE TAKES HER BY THE HAND AND LEADS HER INTO THE CASTEL, THE OTHERS FOLLOW ...)A piece by Pina Bausch,?In coproduction with Schauspielhaus BochumCAF? M?LLERA piece by Pina BauschKONTAKTHOFA piece by Pina Bausch1979ARIEN (ARIAS)A piece by Pina BauschKEUSCHHEITSLEGENDE (LEGEND OF CHASTITY)A piece by Pina Bausch19801980 - A PIECE BY PINA BAUSCH-914400190501973FRITZDance-evening by Pina BauschMusic: Gustav Mahler, Wolfgang HufschmidtThis program was completed by ?The Green Table“ choreography?Kurt Jooss and ?Rodeo“choreography Agnès de MilleIPHIGENIE AUF TAURIS (IPHIGENIA IN TAURIS)Dance-opera by Pina BauschMusic: Christoph W. Gluck1974ICH BRING DICH UM DIE ECKE (I?LL DO YOU IN)Pop music ballet by Pina BauschADAGIO – FIVE SONGS BY GUSTAV MAHLERby Pina Bausch1975ORPHEUS UND EURYDIKEDanceopera by Pina BauschMusic: Christoph W. GluckDAS FR?HLINGSOPFER (THE RITE OF SPRING)by Pina Bausch?Music: Igor Strawinsky1976DIE SIEBEN TODS?NDEN (THE SEVEN DEADLY SINS)The Seven Deadly Sins Of The Petty Bourgeoisie and Don't Be AfraidDance-evening by Pina BauschMusic: Kurt Weill, Text: Bertolt Brecht001973FRITZDance-evening by Pina BauschMusic: Gustav Mahler, Wolfgang HufschmidtThis program was completed by ?The Green Table“ choreography?Kurt Jooss and ?Rodeo“choreography Agnès de MilleIPHIGENIE AUF TAURIS (IPHIGENIA IN TAURIS)Dance-opera by Pina BauschMusic: Christoph W. Gluck1974ICH BRING DICH UM DIE ECKE (I?LL DO YOU IN)Pop music ballet by Pina BauschADAGIO – FIVE SONGS BY GUSTAV MAHLERby Pina Bausch1975ORPHEUS UND EURYDIKEDanceopera by Pina BauschMusic: Christoph W. GluckDAS FR?HLINGSOPFER (THE RITE OF SPRING)by Pina Bausch?Music: Igor Strawinsky1976DIE SIEBEN TODS?NDEN (THE SEVEN DEADLY SINS)The Seven Deadly Sins Of The Petty Bourgeoisie and Don't Be AfraidDance-evening by Pina BauschMusic: Kurt Weill, Text: Bertolt BrechtOne of her best-known dance-theatre works is the melancholic Café Müller (1978), in which dancers stumble around the stage crashing into tables and chairs. Bausch had most of the dancers perform this piece with their eyes closed.WRITING & CRITICISMVisit Answer the following questions based on the reading you have done and your own research:Research and explain the term ‘Tanztheater’________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Research information on Kurt Jooss, Jose Limon, Martha Graham, Paul Taylor, Rudolph Von Laban. Watch snippets of their works and jot down some significant characteristics. When studying Bausch’s works, see if you can see similarities between these artists’ works and hers. ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Explain 5 contributions that the artist made to modern dance.________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Why was the artist significant in the time frame of the 1960’s to the 1980’s________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________List 5 of the artists dance works between the 1960s and 1980s (provide dates)._________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________What are the choreographic practices or choices of the Artist?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________How did the artist challenge or change modern dance?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Describe the artist’s background and training?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________7. What were the sociocultural influences of the work of the artist?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________8. Explain the concept/intent of TWO of the works you are analysing and how Pina showed this.________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________SEMINAL ARTIST – PINA BAUSCHBy definition - highly original and influencing the development of future events: a seminal artist; seminal ideas.CHARACTERISTICS OF PINA’S WORKWatch this excerpt from the documentary ‘One Day Pina Asked…’ by Chantal Akerman) As with all major innovators, she provokes intense reactions. What are some of these reactions?Q) How does Pina Bausch construct her pieces?Q) Research – provide examples of her works that demonstrate thisQ) What is so unique about Pina’s dancers?____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________INFLUENCE OF CULTURAL AND HISTORICAL CONTEXTPina Bausch was considered revolutionary for overlaying larger conceptual frameworks onto autobiographical and/or shared every day female experiences.Bausch’s pieces are, “little films to which she adds dance.” Her works’ turn toward the personal is thanks to Sixties feminism, American and pan-European influences, and belonging to the first post-WWII generation.In her work “Walking Next to One's Shoelaces into an Empty Fridge,” Bausch in part sought to regain what had been lost in the war. Trained in German Expressionist Dance (Ausdruckstanz)—which, along with all arms of German Expressionism, had its development prematurely halted by a Nazi ban—Bausch continued its project by putting emotional states and dramatic elements at the heart of her choreography, as well as choral elements introduced by the style’s founder Rudolf von Laban.In Bausch’s1980?(80), featured in Akerman’s film, a chorus of dancers, dressed in fine evening wear, move together with small gestures: both men and women gingerly apply makeup from an imaginary hand compact. In?Kontakthof?(78), the group swarms en masse around a single female dancer, their individuality expressed through the little twists they give to their cruelty—pulling her up off the floor against her will, positioning her, aggressively groping her body and hair, or booping her nose.The gestures are echoed in backstage footage of the dancers between numbers, applying makeup or hurriedly pulling on their costume. Bausch incorporated the personal experiences of her dancers. During interviews with the (trilingual!) troupe, one describes what happened when Bausch arrived at rehearsal and asked them what came to mind when they heard the word “love,” eliciting a range of culturally specific responses. Q) Research characteristics of 60’s Feminism, American and pan-European influences of this era and effects of WWll.Q) Outline relationships between the artist Pina Bausch and the context of this era (60s-80s).______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________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GUIDE TO HOW PAST HSC PAPERS HAVE BEEN APPROACHED IN STUDENTS RESPONSES2019Explain Pina Bausch’s impact on dance as an artform. In your response, provide specific examples from her works. Answers could include: Pina Bausch Reworking old dances and making them more theatrical eg Le Sacre du Printemps / Rite of Spring (1975) Blurred lines between dance and theatre – Tanztheater eg Shakespeare’s Macbeth, stage design to make her point visually Transforming dance from the balletic world to the much more raw contemporary world Explores the power of relationships Looks at alternative representations of reality Expression of emotions as a starting point for dance eg fears, needs, wishes and desires Use of improvisation and collaboration with the dancers in the choreographic process Playing with the conventional and nonconventional eg switching gender roles, use of dialogue, gibberish and song by dancers, props such as soil and flowers Other choreographers take inspiration from her works Theatrical dance and Broadway musicals continuing her ideas Breaking new ground Presenting a new viewpoint Experimenting with new techniques Engaging an audience and educating the audience Making a statement 2018Dance is an evolving artform that either reflects the past or influences the future. To what extent does this statement apply to the works of Pina Bausch? In your response, provide specific examples from her works. Answers could include: Pina Bausch Reworking old dances and making them more theatrical eg Rite of Spring Blurred lines between dance and theatre eg Shakespeare’s Macbeth Explores the power of relationships Looking at alternative representations of reality Expression of emotions as a starting point for dance eg fears, needs, wishes and desires Playing with the conventional and nonconventional eg switching gender roles Other choreographers take inspiration from her works Theatrical dance and Broadway musicals continuing her ideas Breaking new ground Presenting a new viewpoint Experimenting with new techniques Engaging an audience Educating the audience Making a statement. 2017Explain how Pina Bausch’s innovative themes and approaches are presented in her works. In your response, provide specific examples from her works. Themes Human frailty and brutality The power and pity of personal relationships – particularly men and women The force of desire An alternate representation of reality Haunted souls and precarious sanity Subtle humour. Approaches Explores the notion of expression as a starting point for dance Ideas pared down to motivating impulse Uses text, song and drama Pedestrian movement and in realistic contexts Explores personal relationships Concentrated on one essential image or gesture Questions dancers to get input from their personal experience Loosened the boundaries between dance and theatre, text and movement, character and performer. Selected works and subject matter could include ? Le Sacre du Printemps / Rite of Spring (1975) – Sacrificial rite Cafe? Mu?ller (1978) – Male/female relationships within a cafe setting 3086100691515Presentation of subject matter Used text, song, dramatic action Used realistic, pedestrian movement Explored personal relationships Brought natural elements onto the stage 00Presentation of subject matter Used text, song, dramatic action Used realistic, pedestrian movement Explored personal relationships Brought natural elements onto the stage 2016‘It is not just the subject matter but how it is presented which gives the artist’s work relevance.’ Discuss this statement in relation to works by Pina Bausch. Answers could include: Selected works and subject matter could include: ? Sacre du Printemps/Rite of Spring (1975) – Sacrificial rite ? Bluebeard (1977) – The desolation of male/female relationships 3429000260350Relevance: Breaking new ground Presenting a new viewpoint Enhanced the movement/intent Experimenting with new techniques Engaging the audience Educating the audience Making a statement 0Relevance: Breaking new ground Presenting a new viewpoint Enhanced the movement/intent Experimenting with new techniques Engaging the audience Educating the audience Making a statement Cafe Muller (1978) – Male/female relationships within a cafe setting ? Arien (1979) – Water themes ? 1980 (1980) – Coping with loss, remembering the past Palermo, Palermo (1990) – Shattered ruins of post war Europe 2015In what ways are Pina Bausch’s choreographic practices considered significant? In your response, provide examples from her work. Answers could include: Choreographic practices - Communicating ideas through dance, Bausch: explored the nature of expression as a starting point for dance pared down ideas to a motivating impulse used text, song, dramatic action used realistic, pedestrian movement explored personal relationships concentrated on one essential image or gesture questioned dancers to get input from their personal experiences. Choreographer/dancer relationship Rather than creating movement to be put on impersonal dancers’ bodies to portray the choreographer’s ideas or comment on the surroundings, Bausch established a mutual exchange of respect and trust with her dancers. She encouraged her dancers to bring their own individual lives to the work. New uses of the proscenium stage – brought natural elements to link directly to audience’s senses: Sacre du Printemps/Rite of Spring (1975) stage floor covered with peat/soil to enhance the sacrificial rite Bluebeard (1977) stage covered with dead leaves to enhance the desolation of male/female relationships Nelken (1982) stage strewn with carnations Cafe? Mu?ller (1978) stage set as a deserted cafe with tables and chairs that are moved and thrown about Arien (1979) water floods the stage 1980 (1980) grass floor Palermo, Palermo (1990) a concrete wall that crumbles on stage. Bausch influenced future generations of choreographers.Practice QuestionsOutline how ONE significant event (social, historical, artistic or political occurrence) has impacted on the development of dance within your chosen era.Explain how your chosen artist has influenced dance as an art form through their exploration of concepts/intent of their works.Describe features of Pina Bausch’s body of work, and explain how they contribute to her being recognised as a seminal artist. Use examples from specific Works to support your answer.Describe how your chosen seminal artist contributed to the development of dance.In your answer write about the work of either:Pina Bausch in the era 1960 – 1980Explain how Pina Bausch’s choreographic style is considered significant of her time.In your response, provide examples of her worksUsing specific examples, describe how historical contexts are reflected in the work of choreographers.In your answer, refer to the following: The era from 1960 to 1980 ................
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