Christian Roy R. Villacorte Grade12 St.

Martin 11-30-20

Module 2:

Lesson 3: CONTEMPORARY DANCE

1. Why do we need to learn this type of dance?

2. How can we promote this type of dance in our present situation?

ACT.3.1 YOUR SENSES

‘A ride on nature’ means that you can do whatever you wanted to do so as long as
you are enjoying yourself and feel the freedom every time you move. For me watching
somebody else dancing is like a ‘ dancing peacock’ because dancing peacock is
considered as a bird which is not only admired for its colorful feathers, but also for the
way it dances. I feel peacock is rightly suitable for a good dancer.

ACT.3.2 SKILLS WORKOUT

Christian Roy R. Villacorte Grade12 St. Martin 11-30-20

Dance Performance Review

Link: http://www.gayrva.com/arts-culture/ballet-review-swan-lake
Swan Lake is an epic tale about a beautiful young princess placed under a spell by an
evil sorcerer, which makes her a swan during the day and a woman by night. The lady can only
break the spell by being betrothed to a man that has never lain with a female before.
Fortunately for the young princess, Odette, the prince Siegfried falls deeply in love with her and
vows to marry her. The sorcerer fears that the spell will be broken and devises an evil plan,
making the prince propose marriage to another lady. On hearing this, a heartbroken and
hopeless Odette jumps into the lake attempting suicide and the prince follows her. They both
die, but are reunited as lovers in the spirit world in an extremely emotive ending (Pudelek,
1990). While the story has received remarkable reviews about its imagery and classical themes,
the most popular subject is perhaps the choreography.

The play was originally scripted, directed and produced by Tchaiskovsky in the
19th century, but has been reproduced by various directors whose seek to improve and
diversify the choreography. The current version of the Swan Lake has been
choreographed by Marius Petipa and Lev Ivanov, who incorporate classical dance with
modern choreography. Divided into four acts, the choreography incorporates cygnets,
maiden swans, Spanish dancers, Neapolitan dancers, Hungarian dancers (czardas) and
mazurkas. Given that there is no use of words, the actors use the choreography to tell
the story and this is delivered in such a fluid and graceful manner.

Initially in the play, Odette delivers such a compelling solo in the first scene,
which makes it impossible to take one’s eyes off the stage. In this version, young
Siegfried is allowed to dance unlike previous versions where he only walked around the
stage providing waist anchorage for the princess (Maciulewicz, 2012). Admittedly,
Siegfried’s foot articulation is impeccably matched with the princess’ as they glide
across the stage in unison. At the same time, Siegfried is so fast and fluid that he is at
the same pace as Odette – such a breeze for them. The effect on the audience was so
electric in every way, that it reminds one of the ballyhoo when Ulanova danced Giselle
outside the Soviet Union in 1956. Ivanov provides a nice, solid technique for all the
other dancers, especially the swans that are so petite and are able to jump so high. The
graceful swans deliver a classical piece, much like the czardas who play out a solid
Scandinavian piece. This is matched with the Spanish choreographers who set free,
amazing technique, balance and great expression.

In addition, the cast is provided with elegant and tasteful costumes that
represent the time and culture intended by the tale and understated enough to ensure
the dance remains the main focus. For the swans, the material is sheer but classy
enough to bring out the beautiful swan imagery. The Neapolitan dancers are also
dressed in chic native clothing that is timeless when coupled with the classical
choreography. Ivanov puts a twist in the entire piece by incorporating Sergevey’s
additional choreography pieces ultimately creating a powerful performance that
balances an epic tale of love versus evil with beautiful, fine and graceful choreography
integrating modern dance with cultural variety (Robinson, 1987). The delicate swan
dancers led by the princess flow impeccably with the raw and uncensored dance of the
male choreographers.
Christian Roy R. Villacorte Grade12 St. Martin 11-30-20

POST ASSESSMENT

1. What is Contemporary dance?

 Contemporary dance is a style of expressive dance that combines
elements of several dance genres including modern, jazz, lyrical and
classical ballet. It is also stresses on versatility and improvisation.

2. What benefits can we yield from the indulging to Contemporary

dance?

 Contemporary dance develop physical skills and training habits

that can help them maintain better health throughout their lives.
They also gain poise, confidence, emotional stability, and creative
thinking skills that will help them throughout their academic and
professional careers.

3. How we can promote this type of dance in our present

situation?

 We can promote this type of dance in our present situation by

learning all the keys to perform it well and create your own
choreography and upload it through the internet so that it will be
useful for the future.

REFLECTION

In this lesson I learned that Contemporary dance style of expressive

dance that combines elements of several dance genres
including modern, jazz, lyrical and classical ballet. I’ve also learned the
historic root of Contemporary dance that started during the 1878s to the
1927s. I’ve realized that we should give importance to this kind of dance
because there are also benefits that we can gain from this kind of activity.
In general, Contemporary dance helps your mind and body healthy.