For my observation paper I will be composing about the Wendell Tyler Cooper public presentation Disembodied on February 11. 2011. What was interesting was that the full public presentation he danced entirely on phase and was still able to do the show dynamic and uninterrupted. The public presentation incorporated dance. music and picture ; it besides had a religious sense to it which reminded me of a transition in Black Dance From 1619 to Today by Lynne Emery ( Chapter 1. page 2 ) mentioning to “religious dance forms” .
Wendell Cooper besides included other facets with picture. music. and speech production ; it seemed to me as if he was reading poesy or some type of spoken word. The motion was really grounded and crude. there were no limitations and he was hardly unsloped without a curve in the spinal column. Some more features that are similar to the motion mentioned before is the African features by Magaretta Bobo Goins which include: dead set articulatio genuss. barefoot. by and large motion begins in trunk and travels outward. beat are syncopated. vocalizing and dancing at the same time.
Subsequently I learned from danceblogger. com description of the public presentation Disembodied that Wendell Cooper “utilized his cognition of energy-bodywork and speculation to make a synesthetic installation/performance environment” . which now I understand why I kept acquiring a sense of spiritualty or faith in some of his motion. The external respiration and speech production or spoken word and insistent motion was really evocative of a statement in a transition in To Make Our World Anew: A History of African Americans by Colin A.
Palmer. “Religious thoughts determined the timing of of import occasions…the nature of art and dance. and a thousand other facets. ” Due to the nature of speculation that Wendell Cooper studied he was able to integrate that ideal into his stage dancing and it can read as spiritual. religious. or merely complicated stage dancing and is really relatable to the audience. The music that Wendell Cooper chose was alone in that it was non excessively over powering of the stage dancing but it was strong plenty to convey a message and to maintain the audiences attending.
In Robert Ferris Thompson’s 10 Canons of Fine Form the ideal of the get down quality. looking smart. and imperturbability were portrayed in the work. The stage dancing stayed grounded and he had a batch of motion done on the floor that was evocative of “B-Boying” manner of dance. Wendell Cooper’s costume with the white draped over him incorporated the looking smart thought because white gives a clean expression and is besides used in spiritual and religious ceremonials.
The imperturbability came approximately when he was dancing and he had on a suit and tie with a chapeau on ; the stage dancing seemed to merely travel horizontally in infinite. his motion was really dynamic. and he had some repeat. This subdivision of the work caught my attending the most and I would be best described by Brenda Dixon Gottschild who wrote Diging the Africanist Presence in American Performance: Dance and Other Contexts ; she stated that the “Africanist aesthetic values repeat. or more exactly. repetition-as-intensification. ( Page 8 )
Wendell Cooper had a batch of repeat through out his stage dancing but each insistent gesture seemed different although it was the same stage dancing. Brenda Dixon Gottschild besides stated that “Africanist dance parlances show a democratic equality of organic structure parts. The spinal column is merely one of many possible motion centres ; it seldom remains static” ( page 8 ) and this is mention to his stage dancing overall. The public presentation was a learning experience because I have non seen motion like Wendell Cooper’s so I was able to look up to it for what it was and to be inspired.
