Dance Training: faculty Dance concert Notes

Dance Training: Faculty Dance Concert Notes

1st piece:

"trust in the mortal"

a female duo, dressed up as old mining/working men, come unto stage. One of them is physically carrying the other unto the stage. During the dance, they exhibit trust by alternating falling, and catching each other. At times the partner being carried will "drop" their partner, but overall they dust each other off and continue trying to trust each other, despite being flawed human beings. 

2nd piece:

"Resisting the idol of automation"

First Movement:

In a steampunk world, with a "idol" of winged armor in the backdrop, people move mechainically, as if they could not bend like a human, while pushing around unmoving "leaders" and "rulers" on carts. Some of them carry lanterns, denoting authority to punish/oversee the laws of the society. as long as the rulers and the lanterend "sentinels" are on stage, the "massses" make no appearance of being anything other than cogs in a machine.

Second Movement:

With the "sentinels" and the leaders out of sight, the "masses" begin to dance to cheerful-ish mechanical movement. Their joints are still robotically locked, but despite this, they try progressively more difficult feats of flexibility, and learn to "enjoy" life between tasks demanded of them by others.

3rd piece:
"A model of the social realm"

First Movement:
A solitary dancer is dancing alone on stage. From time to time, she comes to the forefront of the stage, where a glaring "judging" spotlight shines on her. She continues to dance alone, although from time to time, several other dancers enter the stage, and copy a few steps than leave. The overall impression is that she is not able to form lasting friendships.

Second Movement:
A group of dancers starts danicnig on the stage together. They quickly ostracize/shoo the solitary dancer off the stage. As they dance, they split off into multiple subgroups, or play follow the leader, as they establish social hierchy, and from time to time "split" into two or more sub-groups. they are additionally "judged" from time to time, before rejoining the group.

Third Movement:
The group of dancers, have mastered their social unity, and begin dancing as one, while maintaining some individuality. The "solitary dancer" still separate from the group dances alone near them, despite being unable to join in their group dynamic. Finally, all but one of the group dancers "dies" while the last one stands, the sole survivor of her group of friends.

4th Piece
"counting pain"

First Movement:
A single dancer dances on stage, while a sad background song talks of counting "wound, Dual, Triage, Fear, Thief" instead of "one, Two, Three, Four, Five" I'ts apparent the dancer is choosing to measure life's pains rather than it's joy's

Second Movement:
The dancer, through the audio track acknowledges that there is more to life than her pain, and the music shifts to that of joy. However, she continues to "count" her pains, rather than enjoy the good life around her.

5th Piece
A simple life. From Cradle, to the Grave., To kingdom Come.
A Shepard guarding a flock of drunks
Funeral Dirge
Promise of the gospel.
Grace of the faithful

First Movement:
Simple hill folk dance to a tune of mirth, contentment, and the good life

Second Movement:
Much older hill folk, dance to mirth, and memories of good times gone by.

Third Movement:
A song of the end of times, and the day of judgement.

Fourth Movement:
A vigilant Shepard, follows and tries to guide a herd of drunk, merry, stupid hill folk. She fails until she starts acting more like them.

Fifth Movement:
A song of death, and mourning.

Sixth Movement: 

A un-danced song of the joy of the gospel, and salvation.

Seventh Movement:
A danced song, of how with effort, and grace, one may gain salvation. Very flowing.

End of concert:
In the "bowing" of the dancers, the "solitary dancer, remained separated from the "group" of dancers that had ostracized her in that segment.