The San Diego Trolley Dances took place on October 3rd 2015. An assortment of dance pieces all came together to furnish the city with dance in non-traditional and often unexpected settings. A program that has been established for fourteen years, this season of Trolley Dances traveled from Downtown San Diego to Balboa Park. However modern or classical the pieces in Trolley Dances may appear to be, the combination of observation and research can provide a different perspective. One such frame has transcended the bounds of geography and time. Africanist Aesthetics are deeply embedded principles in the qualities of African dance, as well as other African art forms. These qualities are utilized and apparent in many works of the present day dance
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The dark color scheme was contrasted by the ten dancers wearing black shirts and amethyst colored, galaxy print pants. With the absence of music, Stephan Koplowitz’s dancers of the piece “Play(as)”, gradually progressed across the first segment of the reflecting pool. After perpendicularly crossing a bridge, dancers advanced to the second segment of the pool throughout the piece. A barefoot female dancer arose, sprinting with excellent urgency toward the eight arches of water being emitted from the longest edge of the pool. Swiftly, the dancer decelerated to drag her foot across the water as if she was mimicking the same pathway as the airborne arches of water. At the moment of contact between her foot and the water, droplets of water projected into the audience and gave them the sensation of water on their bodies; a glimpse of what each dancer was experiencing wholly. At the conclusion of the movement, her face arrived underneath an arch of water. The aesthetic of ephebism is potent in this piece where the female dancer was required to be attentive and athletically proficient in the manipulation of movement, to successfully perform on the slippery surface. Ephebism is also described as youthfulness, displayed in the female dancer’s movement by her speed and incorporation of energy flow from the water into her own …show more content…
The performance space was a wooden floor shaped in a perfect square, and above the dancers was a larger than life, colorful sculpture of a womanly figure. Although it was suspended in the air above the floor level audience, the sculpture was eye-level to the audience watching the piece from the second floor 360-degree balcony viewing. Both wearing flannel, grid print shirts and dark pants, a male and female dancer walked hand over hand, palm and forearm parallel to the Earth, with the female matching the male’s stance directly behind him. The female led the male dancer, whose eyes were closed, around the ensemble of motionless dancers and other pairs of dancers in the same leading practice. She lightly released her hand of the solid grasp she held of the male dancer’s hand as his momentum continued its course. Within several strides he unpredictably collided with a motionless dancer. Instead of repelling, the male dancer followed the newly established contact point with his shoulder, sliding down the motionless dancer as naturally as a waterfall cascades beyond its cliff. He then returned to a tall standing position as he and his female leader proceeded on with the practice, not once opening his eyes. A conflict surfaced at the moment of collision between the dancers. Although unplanned and ¬¬¬¬¬¬¬coincidental, both
The dark color scheme was contrasted by the ten dancers wearing black shirts and amethyst colored, galaxy print pants. With the absence of music, Stephan Koplowitz’s dancers of the piece “Play(as)”, gradually progressed across the first segment of the reflecting pool. After perpendicularly crossing a bridge, dancers advanced to the second segment of the pool throughout the piece. A barefoot female dancer arose, sprinting with excellent urgency toward the eight arches of water being emitted from the longest edge of the pool. Swiftly, the dancer decelerated to drag her foot across the water as if she was mimicking the same pathway as the airborne arches of water. At the moment of contact between her foot and the water, droplets of water projected into the audience and gave them the sensation of water on their bodies; a glimpse of what each dancer was experiencing wholly. At the conclusion of the movement, her face arrived underneath an arch of water. The aesthetic of ephebism is potent in this piece where the female dancer was required to be attentive and athletically proficient in the manipulation of movement, to successfully perform on the slippery surface. Ephebism is also described as youthfulness, displayed in the female dancer’s movement by her speed and incorporation of energy flow from the water into her own …show more content…
The performance space was a wooden floor shaped in a perfect square, and above the dancers was a larger than life, colorful sculpture of a womanly figure. Although it was suspended in the air above the floor level audience, the sculpture was eye-level to the audience watching the piece from the second floor 360-degree balcony viewing. Both wearing flannel, grid print shirts and dark pants, a male and female dancer walked hand over hand, palm and forearm parallel to the Earth, with the female matching the male’s stance directly behind him. The female led the male dancer, whose eyes were closed, around the ensemble of motionless dancers and other pairs of dancers in the same leading practice. She lightly released her hand of the solid grasp she held of the male dancer’s hand as his momentum continued its course. Within several strides he unpredictably collided with a motionless dancer. Instead of repelling, the male dancer followed the newly established contact point with his shoulder, sliding down the motionless dancer as naturally as a waterfall cascades beyond its cliff. He then returned to a tall standing position as he and his female leader proceeded on with the practice, not once opening his eyes. A conflict surfaced at the moment of collision between the dancers. Although unplanned and ¬¬¬¬¬¬¬coincidental, both