LMU Sel Fou by Bebe Miller Essay

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Review: Celebration Through Story By Monica Caprarella In 1958 Alvin Ailey debuted Blues Suite, the same year his dance company was founded, and also during the Civil Rights Movement. Judith Jamison, who eventually took over Ailey’s company, explains, “Alvin Ailey wanted to celebrate what he couldn’t see celebrated. That the images of African Americans, the beauty of it, the enormous talent out there that was not being seen. He wanted to celebrate our experience, but he also wanted you to know it's a universal experience, and he did” (Stephan, .52 - 1.22). What makes this dance so powerful is the time in which it was first choreographed and performed. During the 1950s, racial tensions were high and to be able to show the black perspective would’ve been incredibly impactful. Not only were African Americans watching these performances, so were white people and other groups as well. To be able to showcase these dances with a focus on the African American story, including a highly diverse cast, would have been not only eye-opening but thought provoking and possibly mind-changing too. Even while watching it over 60 years later, in the midst of another social uprising, the messaging and celebration of the black experience is highly palpable. This dance and message transcends time and continues to be relevant just as his personal legacy is today. Alvin Ailey had a distinct style and viewpoint, making him a greatly recognized dancer and choreographer. In his own words he describes, “My roots are in the blues, the street people whose lives are filled with beauty and misery and pain and hope. My roots are also in the gospel church. The gospel churches of the south where I grew up” (Stephan, .10 - .41). When viewing Blues Suite all these elements mentioned are at play. While dances can oftentimes feel subjective and the meaning obscure, there is realism and many clear stories unfolding. Ailey’s choreography highlights joy, freedom, and sorrow throughout the piece, which depicts a progression of a night out over 26 minutes. It is set on a dark stage, clouded by a smokey haze, appearing to be in a bar or nightclub. Each portion showing varying emotions of the many stages of the night. Because each section has a different song and group of dancers the audience is pulled back in again each time these change. There is only one instance in which the soundtrack stops. For a full minute, the couple who has been disconnecting and reconnecting with each other have a final stand. She appears to leave him, however, he reels her back in as they tug over a scarf. The music is stopped at the most heightened part, leaving you more focused than before. What follows this dramatic dance between the two, fades into a solo (AlvinAiley,13 - 14). This pause is skillfully placed in the middle of the entire performance, which appears to have the purpose of resetting and transitioning into the final acts. In addition to the well crafted timing of the show, the movements are full and express vibrance and deep emotion. Arms are outstretched, the legs and feet move swiftly, and bodies jump and jitter. This is introduced quickly from minute 4.05 to 5.25. The group of men with black outfits and red neckties pump their arms and glide them overheard while spinning. They jump in unison across the stage moving their full bodies with each motion. Additionally, three women, clothed in white dresses, immediately follow up the men’s portion with a much slower song and complementary movements. However, they still use their entire bodies to express their passion in accompaniment to House of the Rising Sun. This includes sweeping arm movements oftentimes with grasping hands and leg extensions while balancing on one foot (AlvinAiley, 7.50 - 8.20). The fullness of the range of motion translates the immense feelings of both the men and women. The emotions are so great they must be released and shown through the entirety of the body with grand gestures. These movements feel natural and from the heart. While technical, they look effortless with grace and ease. The dancers do not seem to be simply mimicking the choreography, but truly feeling the rich sentiments with the moves, which is a testimate to Ailey’s ability to translate emotions through movement. In pairing with the large, expressive movements, these dances are performed across the stage. Rather than relegated to one specific point, for example, only in the center or off to the side, the dancers utilize the entirety. When in groups the dancers are not typically seen huddling together, they are in windows, each having their own space on the stage (AlvinAiley, 4.15 - 4.30, 17.00 - 17.15). Because the movements are large and expansive, and the dancers have their own area, this leaves the viewer with an understanding that these people and stories are meant to take up space. They are meant to be seen, heard, and understood. There is meaning and attention to be had, which feels very relevant to the time in which this dance was originally choreographed and performed. The Black community was demanding equality and fighting to be heard with a right to share space in the country. Though a night out may feel insignificant to the larger plight of the Black community, these moments, in which they are seen doing ordinary things is exactly why it is important. These everyday stories show that we as a people have much more in common than we do different. As previously mentioned Judith Jamison said that Alvin Ailey wanted to tell stories and this dance is expertly crafted in just that. However, a specific example that stood out to me was during the ending segment when a man in a green hat is doing his best to allure any one of the women in the room. However, his attempts are squandered multiple times. He can be seen sneaking behind women or blatantly trying to take them from their date. But each time he is shooed away or even hit (AlvinAiley,18.25 - 18.42). I think in the midst of the many serious tones, having this playful moment interwoven with the scene is clever and adds levity. Towards the end, the song transitions into Morning Blues, and the dancers begin to move slowly appearing tired after a long night of dancing. At the same time, they look reluctant to go home. Even the man who attempted to find someone was unsuccessful to the very end. Church bells begin to ring and a train noise signals its passing and a new day has begun. With this, the dancers sluggishly leave the stage and the night is over. It is not just the dancers movements and costumes that illustrate the story. The use of the music and sound effects are utilized to push the storyline until the end. Alvin Ailey has executed his vision of telling stories and his experience. Though this dance appears to display just a few scenes from a night, there is much more being explained through this dance. Though the messaging may not be loud or directly told, he takes power back by changing the narrative of the current times. Jon Perpener eloquently explains, “By valorizing his African-American cultural heritage and challenging existing aesthetic hierarchies, Ailey was effectively usurping the social and political power that was attached to privileged categories of art and claiming it as his own”. While this dance is a ballet, it does not feel pretentious or overly structured as may be viewed in many traditional ballet performances. In contrast to many ballets where it is heavily female-driven, there is an equal male and female presence. Both groups have spotlight dances as well as sequences together. His activism is seen through the movements, the cast, and the setting, as well as the change of a traditional formula. Alvin Ailey celebrates not only his story but so many others as well within this dance that has lasted generations. Ailey, Alvin. “Blues Suite.” AlvinAiley, https://www.alvinailey.org/performances/repertory/blues-suite. Mann, Stephan. “Alvin Ailey American Dance Theatre at 50 A Golden Anniversary Celebration.” Youtube, commentary by Alvin Ailey, Judith Jamison, 5 Jan. 2013, https://www.youtube.com/watch?v=zS8D35FPtKk. Perpener John. DANCE OF THE AFRICAN DIASPORA: Tracing Social and Political Activism. Jacobs Pillow. https://danceinteractive.jacobspillow.org/themes-essays/africandiaspora/tracing-social-political-activism-african-diaspora-dance/ Content: 1.Choose one of the following dance concert works as listed on the "Concert Option Page." 2.Consider the significance of your chosen artist/dance in relation to theories and issues discussed in class, to help better give a full picture of the work. 3. Begin with the "Dance Artist in Context" model, to better understand the work and artist. Begin by researching all of the following you can find about the artist, company, and genre/time period that this work was created in: • Personal History of the Dance Artist • Socio-Cultural and Political Context of the Dance Artist (philosophies, and what was/is happening when the work was created) • Movement Characteristics and Artistic Process of the Dance Artist (Describing the movement, aesthetic, etc.) • Contemporaries/Collaborators (Seeing who else was/is making work during this time can help understand the greater context) 4. Utilize this information to develop your thesis/focus for writing about the concert you watch (from the provided list). For example, if you choose to write about Merce Cunningham, your focus (thesis) could be looking at the idea of protest, and as an example of how post modern rejected the values of narrative modern works. This analysis would then go on to provide examples of how the dance work did this by giving movement descriptions and production descriptions, and provide other sources that discuss the history and context of Merce's work. Use movement description and specific examples of the work to support your observations and review the work. Format: 1. Thesis Statement: Your thesis may be formed as a question or perspective you develop. The thesis is in your introduction, and your main idea and point of view that you are presenting. 2. Triangulation: Your process of weaving together the materials you gather and research you conduct to explore your Dance Artist and thesis in the body, of your essay. 3. Conclusion: What did you discover? How did your thesis evolve? 4. Quality: Formal writing (no slang), and an articulate, developed report of your findings. Clear progression, organization, and connection of ideas/content. 5. Length :4-5 pages (no cover page, no images/photos, not including works cited page), typed, spell checked, proofread. 6. Citations/Format: o Cite-All sources cited using MLA or APA format, and include timestamps and page numbers in text, when citing film examples or direct quotes/examples. o Double space, .12 font, 1 inch margins. o Include a works cited page. 7. Sources: In addition to the dance concert film, include at least 2 scholarly sources from this course, (articles, interviews, essays, etc.) You may also utilize the Library database for scholarly sources and book sources. Do not rely on Wikipedia or other variable online sources, and ALWAYS check the validity of your sources (example: do not assume that all blogs are trustworthy- look into who is writing and what their credentials are). A successful research paper will draw from a variety of sources, and may include personal interview or video, in addition to print and web sources. At least, but not limited to two sources- you will be evaluated on the quality and thoughtful use of your sources. Choose ONE of the following full length dance works that interests you to write your analysis on. These all have slightly different streaming windows, so be sure to check your date. Each performance runs approx. 30-40 minutes. Research the choreographer or company you choose to aid you in writing your review.
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Sel Fou by Bebe Miller

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Sel Fou by Bebe Miller
"Sel Fou," by Bebe Miller, is a dance masterpiece that expresses Bebe Miller's artistic
prowess of using dance and music as creative forms of self-expression. Bebe Miller uses the Sel
Fou choreography to depict contemporary society's issues, such as economic inequality and
racial disparities affecting African Americans. Miller combines traditional and contemporary
modern dance styles such as ballet dancing and contemporary dance respectively to depict
sensual and graceful rhythmic movements. The choreography includes creative movements such
as tap dancing, gestures, facial expression, and buttock shaking that help the dancers tell stories.
Miller also uses a unique soundtrack with music that addresses several historical and
contemporary social concepts, such as Nonchalant's 5 O'clock song that highlights racial
disparities in the black community (Ohio State Dance, 2016). Unlike contemporary
choreographers who focus on modern dance only, Miller combines traditional dance and
contemporary dance in “Sel Fou” to create a performance that address issues affecting the
current American and global society, such as economic inequality, racial disparities affecting the
black community, and sex.
Personal History of the Dance Artist
Bebe Miller is a renowned American dancer and choreographer born on 20th September
1950 in New York, United States. Miller's passion for dancing began during the early years of
her youth, motivating her to take a degree in dance at the Ohio state university. However, it was
not until 1978 that she started making a name fo...


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