History of dance Essay

How could you leave your country? The channelize you grew up in, how could you leave your loved ones in a place so bad you had to flee it yourself? The production of Look the other way choreographed by Cadi McCarthy is clearly emotionally attached to the pass awayrs. Look the other way describes how populate had to leave their home and become refugees, their fear and hatred needing the encouragement to give-up the ghost forward. The mixture of contemporary and hip skip really drives you into the performance and makes social dancers, earth and even you feel like a part of the attraction.The choreographer clearly displays the conformation of talent and emotive skills that all of the dancers consist of. The different interrogations of individually dancer themselves are astonishing, having a wide range from the strength and intensity movements by Peter Fares to the smooth, soft and meaningful movements danced by Yillin Kong. The artistic use of sustain and fervour gives the t exture of the movements on the performers and their facial expressions gave an overwhelming feeling intimate its a wakeup call to seeing how lucky we are as a country.This was a very effective way to get the listenings attention. Having to heart the other way when all you feel is discouragement is a very difficult thing to do. The characters make you feel as if they are portraying their country, getting away from the outrageousness and the terror. Sharing their align of the horrific stories. All distributing the same emotions betrayal and being forced to look the other way. The choreographer immersed herself into the stories of the young people who had overcome the sacrifice of fleeing their country to perplex freedom in Australia.Cadi McCarthy clearly and successfully got her intent to the target sense of hearing (young students) expressing the dreadful descriptions by educating us through contemporary and hip hop dance. There are seven characters (not including the two boys who are still teaching English) in the performance, each with different difficulties and reports to share with the world. They all show permissiveness and ignorance to not give up and not give in. The movements and space utilise in this choreography by Cadi McCarthy entitles the effects and emotions she wants the audience to feel.Each performer had their own spare techniques which was used to their advantage. Movements such as slowly walking, shaking, and closed shapes, sharp turns, counter balancing and falling, these are indications of being pushed around. The fast, muscular movements were intimidating and in each others personal space. The most monumental peace was the Riot (Fight scene) which was done in a group, but danced in duets. Showing the mob mentality, strength and power, giving the truthful facts that no question how many times youre pushed down, you shall thrive to get back up again, keep moving forward.The costumes seemed rushed and not restricted which gave t hem freedom to move the clothes looking very unfavourable. utilise very natural colours such as black, skin colour, white, and a flowered dress emaciated by Yillin showing the audience that they were in a rush, all they had was the clothing on their backs. The lighting effects by Andrew Portwine was dim and organic to organize the mood, the angles of the light reflected off the dancers faces to give texture, minacious gloomy looks.The overall costumes and lighting was more than successful and gave the illusion to hardship for the audience. Tristen Parr and Matt Cornell did exceptional give out on the soundtrack. The music had been made from scratch so it was an original peace. In the performance the music was recorded and instrumental throughout. You could feel the classical vibrations as if atmospherical, representing the extreme adversity and struggles (Production2 Sacrifice, where videos are used to tell us to the highest degree true stories).There were sections of the pe rformance where the sound was live, like the word monologues where each dancer talks about accountings explaining what it was like to be a refugee (Peter Fares attribute Yillin Kong on his shoulder while telling the story of his parents from Israel, Lebanon, and Syria to Australia). The most unforgettable and major feature of the shore up used was the Opening boards (Designed by Laura Boynes and Tristan Parr) where the characters comfort themselves across the stage and stand up onto a rocking board, representing the uncertainty to travel, outer and internal fear of leaving their loved ones, the experiences to come.Using the boards as a boat and steps revealing their long move around to find freedom, using the rocking motion traveling the entire emotional private road with the characters. The boards drew the audiences attention straight away to the uncomfortableness and fear. The backdrop of four walls that were recycled substances designed by Monique Wajon (makeshift of mate rials found in refugee camps). These props communicated to the audience giving meaning and belief to the dance. The Buzz Dance sign of the zodiac has fulfilled in reproducing all viewpoints of refugees, immigrants and asylum seekers.Every possible scenery of contemporary and hip hop dance was put into this performance to accomplish the priorities and achievements of triumphing to the top. Each dancer attributes to the story in individual ways choreographed by Cadi McCarthy. I personally found that every phase used for this special performance including characters, music, costumes, choreography, set and props all worked exceptionally well unitedly to produce a stimulating and significant enactment. Although a little dark I was defiantly motivated at the end of the performance.