Dancers, Costumes and Movement Content Essay Example for Free

Dancers, Costumes and Movement Content Essay Costume: The costume throughout Flesh and Blood is a very important attribute to the piece. All seven of the female dancers wear the same costume in each of the five sections therefore this shows that the costume that Lea Anderson chose was relevant to the themes within the piece all the way through. The costumes are of a medieval style, we know this from the design of the dress as they have square necks and tight fitting wrist length sleeves much like the dresses that were worn in that time period. The dresses reach ankle length on each of the dances and have a fitted torso with a dropped v-waist which then falls into a slightly gathered, loose material lower half which flows down from the waist to the ankle. In this piece I believe it is important for the dresses to be fitted on the arms and torso area as these are the main areas of which are used in the contact work such as lifts- and it then makes it easier to perform these moves as dancers can get a better grip on each other. There are also many intricate arm and hand movements where dancers have to intertwine with each other- therefore the tight fitting arms ensure that the moves can be performed with clarity and precision. The material of the dresses is particularly specific to the underlying storyline of Joan of Arc, as it is a metallic and shiny stretchy silver fabric. This infers the idea of the dresses symbolising armour, which is relevant to the battles that Joan of Arc had to fight. The masculine armour like fabric then contrasts against the feminine style of dress, again backing up the important theme of Joan of Arc throughout the piece. The shiny material also shimmers in the light and emphasises movements and enhances angles that the dancers perform, whether they are big or small moves which then makes developing motifs clearer to see. The dancers have bare feet in each section of the dance, I believe this adds a sense of vulnerability to the hard faced characters and shows that no matter how determined Joan of Arc was she, and also the characters within this dance all have a weak spot. The dresses that the dancers wear also have calf length, fitted grey leggings underneath which we see in section two- and also work to highlight and emphasize movement. I also believe it was important for the dancers to wear leggings as section two has a lot of floor  work involved so it is practical to have these underneath the dresses. Make-up and hair are also important aspects of the costume within this piece and they highlight areas of intricate movement. This is shown in the Cathedral in section 2 of the dance where small eye movements upwards, then to the left are used. This move is simple but is an important reoccurring motif which could symbolise looking up to god- and therefore needs to stand out, which is done through the use of dark eye makeup that contrasts against the dancers pale faces. The red lipstick worn throughout shows the dancers are still feminine even though they have to wear a masculine army colour, and have a short style of hair which is what Joan of Arc had to do in order to disguise herself. The red lipstick symbolises danger and passion and also shows that even though they are pretending to be males- they are still strong female characters for sticking up for what they believe in. Dancers: All of the dancers look on average between the ages of 25 to 35 and are all female. I believe this shows a strong sense of unity within the piece to symbolise the fact that they are part of an army and also makes them all equal to each other. This is important as it shows that the piece is thematic- rather than narrative with main characters. Due to the style of the dance, I believe the dancers will of had to have had training in ballet and contemporary and be able to perform in confined spaces such as the black box theatre setting which is used and be adaptable for the site specific places that they had to perform. Another key aspect of the performance is that the dancers are very precise in the unison sections. This is effective as it heightens smaller movements such as the tapping of the feet in the cathedral setting in section 2. A way that the dancers could have done this is through using specific counts in the music and keeping to a rhythm. Due to their being a lot of minimal eye movement in unison within the routine- also shown in the black box studio in section 5 when the dancers look up as if to heaven, it is important that the dancers were aware of their focus points so that their movements were precise and equal to each other, which is something that is important throughout this piece. Movements: Section 1: The movement in section one is very contained and small. It is a duet between two of the dancers and involves using a lot or inticate armwork where they have to weavein and out of each other. This could symbolise that the battle Joan of Arc had to face was a constant struggle. This concept is also shown and the first female dancer in this section looks as though she is being dominated and controlled by the second femal character who is stood behind her throughout- almost overlooking all of her actions and having imput into what she does. This is shown as a movement when dancer two pushes dancer one down to the floor to continue her movements on a lower level. This makes dancer two look more superior and therefore gives off the impression she is symbolic of the males telling Joan of Arc she wasn’t allowed to fight. Section 2: Section two involves all 7 of the female dancers and is set in a black box studio. The floor work in this section such as the repeat motif which is shown also in section five where the dancers lay on their back with their feet flat to the floor and their knees bent on and angle with their arms by their side as they push their legs straight out to move backwards gives off an impression that they are symbolising beetles and other insects. Thesharp and angled movements give off imagery as if they are symbolising being bugs- which links to the heaven and hell paintings by the artist Bosch. Because much of this section is on the floor it is symbolic of Hell being present- and is where most people believed Joan of Arc went after her burning at the stake. The calf length leggings and bare feet that the dancers are wearing can also be seen in this scuttling back movement and highlight the angles of the legs- as is also done with the tight fitting sleeves on the arms. Section 3: This section is set inside of a Cathedral and shows 3 of the dancer standing in the alter and the other 4 laid in the knave. This symbolises the communication that Joan of Arc is said to have had with God who told her to  battle with the men, this is shown through intricate eye movement from the dancers standing in the alter as the first thing they do it look upward to heaven, to the left as if to purgatory and then downwards as if to hell. Use of a head tilt to the right when looking to the left is also used which could symbolise shock in hearing or seeing something. The dancers laid on the floor are symbolic of the dreams that Joan of Arc is said to of had and repeat motifs such as the rolling of the fingers that tap onto the floor suggest that her nightmares and dreams were reoccurring and made her react immediately- even before she woke up and decided that she wanted to go into battle. The dynamics in this section are a lot slower then any other andthe dancers are all individuals which suggests that when Joan of Arc visited the church she was distanced from everyone else and felt more alone and vulnerable. Section 4: Section 4 is set outside of the cathedral and is an adapted version of section 1, as it has 2 unison duets- one further forward than the other. This section is also very contact based and manipulative which gives an indication of the relationship that the dancers have with each other. The ‘crusifix’ arm movement is a repeat motif throughout and is shown is section 2 when the dancers sit up from the floor, as if god is helping them progress and become better people. It is also shown in section 4 when the dancers are lifted by the dominating dancers, and their feet are left loosely flailing beneath them while their arms lower so their palms are flat facing downwards. This motif could symbolise that god is now taking Joan of Arcs soul to Heaven as she is burnt at the stake. The shaking of the feet indicates that many people believed she would go to Hell- which is why the arms are lowered from the crucifix movement as this is less holy and God wouldn’t have wanted tha t for the female who stood up for herself.

Gender Inequality in the Song of Songs Essay -- Womens Studies

Gender Inequality in the Song of Songs INTRODUCTION Postcolonial Feminist Theory has taught us to look beyond the confines of narrow cultural lenses as we seek to understand the diversity of gendered experience. I believe it is even more empowering to go one step further and to look not only cross-culturally but also cross-temporally. In America, when the general population tries to articulate what traditional female gender roles were, it seems they often describe those prescriptions for being lady-like from the Victorian Era, 1950s post-war America, or maybe limited snapshots of the Middle Ages, like chivalry codes and chastity belts. Accordingly women were, supposedly and stereotypically, traditionally passive and acquiescent. Proper women spoke when spoken to, and then played merely a support role in conversation. They were to express virtue through chastity until marriage, and sexual reserve even within marriage. They were not supposed to ask for the date, lest they seem too forward. They found true fulfillment only in motherhood. They were physically delicate and timid. They were sexual objects instead of active subjects. They were more often written about than authors. They were defined in opposition to men. Places such as the ancient Near East, for example, provide a wealth of information about gendered experience that blatantly contradicts the stereotypical gender-associated behaviors that we in the contemporary West tend to call traditional. Much of it is written by women themselves, such as Egyptian love poetry and Sumerian temple priestesses' administrative records. Because many arguments about the nature of the feminine versus the socialization of femininity look only to relatively recent stereotypes to ass... ...D Falk, Marcia. Love Lyrics from the Bible: A Translation and Literary Study of the Song of Songs. Sheffield: The Almond Press, 1982. ---. The Song of Songs: Love Lyrics from the Bible, A New Translation. New York: HarperCollins, 1993. Freeman, Rebecca and Bonnie McElhinny. "Language and Gender." Sociolinguisitcs and Language Teaching. Eds. McKay, Sandra L. and Nancy H. Hornberger. Cambridge: Cambridge University Press, 1996. Fox, Michael V. The Song of Sons and the Ancient Egyptian Love Songs. Madison: University of Wisconsin Press, 1985. Gordis, Robert. The Song of Songs. New York: The Jewish Theological Seminary of America, 1961. Sweeney, Deborah. Women and Language in the Ramesside Period. The Sonia and Marco Nadler Institute of Archaeology, Tel Aviv Univeristy. http://www.tau.ac.il/~archpubs/projects/women_language_ramesside.html

The Island of Damar

I looked down at the tiny island in the distance. The island that was about to turn my life completely upside down. It's name, Damar. It is a small island in Indonesia. It has a population of 23 people, everyone of these people archaeological diggers. My dad, Jay, was flying out to join them. There was some kind of dig on the go and my dad was called for. Me, being Rhia, had to go with him. Most kids of my age would stay at home with a relative. Unfortunately, I have none. My mum died about four years ago in a tragic car accident. She drove her car into a ditch and no one found her until the next morning. I don't know of any other relatives that i have. The only other family member I have is my twerp of a brother. He is 9 years old and is extremely annoying. His hair is like barbed wire, it is impossible to brush using any comb. My dad must have bought about 20 different sized combs to try and brush it and about 50 different shampoos. It is blondish-brown in colour and is kind of centre parted. He doesn't care in the slightest about his appearance and most of the time he just wears a pair of tracky bottoms and a pole shirt. His name is Pete. Any way, less of that twerp, back to me. I am 19 years old and currently do not have a boyfriend. I have blondish-brown permed hair just past my shoulders in length and have big, blue, dazzling eyes. Unlike my brother I care ALOT about my appearance. Everything has to be colour co-ordinated. My dad is always fussing at me, he says I have loads of clothes and hardly any of them are worn. It had been a long, tiring journey and a boring one at that. If I had been able to bring my friend Chazza, it would've been a right laugh. I was suffering from toothache because the cheesecake that we had for lunch hadn't been properly defrosted and I really hurt my tooth. Damar was getting bigger and bigger so I knew we were soon to land. From what I could see from above, it just looked like a floating rain forest. There were huge trees but I could not spot any houses or apartments for us to stay in. It was hammering it down with rain. I knew this because I could hear the rain drops bouncing of the roof of the plane. Touchdown. We had landed. We floated along the surface for some time before we came to a complete stop. I looked out of the cabin window and stared amazingly at a huge cliff that towered above the left hand side of the sea plane, I could not see the top of it. There was nothing else to be seen. My dad rose from his seat and turned round o face us, â€Å"Well then, we're here,† he said as if we were to be really excited. Me and my brother both looked at him as if to say ‘woopey-doo! ‘ My dad turned back round and headed towards the door and begun to open it. Once this was done he grabbed his binoculars which he had been looking through most of the journey whilst making notes, he looked into the distance. It was sometime before he shouted, â€Å"I can see them, they're coming straight for us! † Meanwhile Pete was taking all the cases from the overhead lockers and was placing them in a pile at the front of the plane. I looked out of the plane window once more nd spotted a small, yellow, rubber boat fighting against the treacherous waves to make its way to the plane. In it was a man dressed in a orange kagool. After some fighting, the boat reached the entrance to the plane. â€Å"You must be Doctor Shaw? † asked my dad loudly, competing against the noise of the waves. â€Å"Yes, that's right. Climb aboard,† shouted the strange looking man. My dad jumped aboard and almost lost his balance as a huge monstrous wave came from behind the boat. Pete tossed all our luggage to my dad who was piling them up in one corner. Once this had been done, Pete himself jumped aboard. I walked esitantly towards the door and stood for a moment watching the rain hammering into the sea. I turned round and faced Sam, the pilot, who I had become quite friendly with. â€Å"Good bye then†, he said, trying not to laugh, â€Å"and good luck! † I smiled at him, turned round and daintily made my way on board the boat. That was it, there was no way of turning back now. I turned and looked at the plane, taxiing into the dull fog which had fallen. â€Å"What? † I bawled at the top of my v oice. â€Å"This is your home for the next 10 weeks. † I looked down at a pile of raw materials: wood, palm leaves and a huge sheet of tarpaulin. You and your dad will have to build a shelter. † That was it, I'd had enough. Not only did I discover that there was no TV, computer or telephone on Damar, but now I have to build my own shelter. My dad had lied. He told me the complete opposite. I decided enough was enough i needed to get away from my dad before all hell broke out. I walked over to the shore and looked out at the waves smashing against the rocks. I was dripping wet and freezing cold. I made a huge X out of pebbles in the sand and walked to the left of me. As long as I kept to the shore line, I could turn round at any time and walk back o the X and then I'd know I was back at camp. It felt as if I'd been walking for miles. The shore line was rocky and in some places sandy. After some time I came to a stop and sat down on what looked to be a makeshift bench at the top of the cliff that I first saw when I had landed. I was there for a long while. The rain had got worse and it had begun to hail, they were not huge hail stones but big enough. â€Å"Hi there, I'm Jak! † called a voice from behind. I jumped up, scared stiff. I didn't know whether to turn around or not. Before I could, the person named Jak appeared at the side of me. He held his hand out as if aiting for me to shake it. I pulled my hand out of my jeans pocket and held his hand. I couldn't move it, it was as if they were frozen solid. â€Å"They're freezing,† he shrieked, â€Å"here, take my gloves. † I took the gloves from his held out hand and struggled to put them on. â€Å"I'm Doctor Shaw's son. You? † asked Jak. â€Å"I'm Rhia. Rhia Langton,† replied Rhia politely. â€Å"Oh, your new here aren't you? † â€Å"Yep, I just arrived today. † The conversation seized while we looked each other up and down. He was gorgeous. He had short black hair and had huge, dark brown eyes with long eyelashes. He looked about early 20's and had a well tanned body. I've been here 6 months now,† he said. â€Å"Really. † â€Å"Yeah. How long are you planning to stay? † â€Å"I think my dad said about 10 weeks. † â€Å"Cool, I'll have to get to know you more then. † â€Å"Likewise. † â€Å"I think I'll start by telling you about me then,† said Jak, â€Å"I'm 22 and i'm a dentist. Well at least I will be, when I get back to England. I've been offered a job. † â€Å"Oh really, lucky you,† said Rhia, shocked, † Well I'm 19 and currently have a job at McDonald's. Slightly different to you eh? † Jak trying not to laugh replied, â€Å"yeah! well it's better than nothing? † â€Å"I suppose so, it's only until I find another job. † We spoke for some time and we had got to know each other extremely well before Rhia decided to make her way back to camp whilst holding Jak's hand. When i arrived back at camp, my dad and brother had built their hut and were both sitting round a red hot fire at the foot of the hut. Jak however had already made his way back to his hut after a kiss at the edge of the shore. â€Å"You're back then? Finally over your little tiff? † asked Jay. I walked slowly towards the logs that surrounded the fire which had been used for benches and sat down. â€Å"So, do you want the guided tour? † asked Pete. â€Å"Sure! † replied Rhia. I couldn't sleep that night. Not only was it because of the rain gushing down on the tarpaulin but my tooth was still hurting from the frozen cheese cake on the plane. I had never felt so much pain in my life. After a long wait, I finally drifted into a restless slumber. Two weeks have gone now. The weather is at its hottest and my tan is coming along great. The island wasn't as bad as I though it was when I first arrived. In fact, I love it. I'm getting on really well with Jak now and we're going out. The only problem is he has spoken about taking our relationship a little further. I don't know if I'm ready for it just yet. I haven't as yet been down to the dig, my dad oesn't want anyone going down until he's given it the all clear (safety wise. ) Well, today's the day. I can finally go down and see what all the fuss about Damar is all about, I'm going down to the dig. â€Å"Come on then! † shouted my dad. I knelt down and picked up my bag and some of my dads digging equipment and followed him into the dark wilderness. My tooth was at its worst today. I wasn't really in the mood to go into a cramped, humid cave full of archaeological diggers and have to dig all day. My dad and Pete were some amount of metres ahead of me but didn't know how far I was walking behind. I stopped, and ropped my bags on the floor. Jak wasn't going down to the dig today so I wasn't really that bothered about going. He was spending the day on Karachi beach. I've decided that I am ready to take our relationship a little further but it has to be at the right time in the right place. I decided to make my way to the beach to see if I could see him. â€Å"Hi, how are you? † asked Jak â€Å"I'm fine now I'm here with you. My dad wanted to take me down to the dig today but I'm not really that bothered. I'd rather be sun- bathing on a beach with the one I love! † replied Rhia. I looked out at the sparkling blue water. I could see the fish swimming around legantly below the surface. It was perfect. â€Å"How's your t ooth? † â€Å"It's even worse today! it's really beginning to bug me! † â€Å"Give it time, it'll drop out soon, trust me, I'm a dentist! † He sat looking at me for some time as if he thinking before he said, â€Å"Wait here, I'll be back in a bit. † I knew what was about to happen, after all we were in the perfect place for it. I tried to calm myself but it wasn't working. Some time later he returned with a smug look on his face. He sat next to me and wrapped his arms around my body. â€Å"Lay back and close your eyes† he whispered softly into my ear. I did as he said and waited for him to say omething. He did the obvious. Before I let him go any further I asked him, â€Å"will it hurt? † â€Å"Of course not,† he replied, â€Å"it's just a simple process† â€Å"I'm rather frightened, I've never done this before. † He urged to continue, â€Å"It won't hurt much more, just relax. † I was in a great deal of pain but dared not show it. I felt tears come to my eyes. It's hurting something awful. â€Å"Calm yourself Rhia, open a little wider so I can fit more in! † Suddenly with a jerk I gave a screeching shout. â€Å"Now that's it, all over with,† he slowly pulled it out. â€Å"Well what a relief, I think I'll enjoy my holiday even more now that rotten tooth's out! â€Å"

Information Security Policy ( Isp ) For Star Gold

INFO 2411: Foundations of Computer Security Project 1 07/03/2016 Student Name and SID: 1. Abdulaziz Aljafari – 100299460 ــــــــــــــــــــــــــــــــــ 2. Turki Aljudai – 100298138 ــــــــــــــــــــــــــــــــــ 3. Saud Alotaibi – 100300556 ــــــــــــــــــــــــــــــــــ I certify that this is my own work yes/no and that I have read and understand the University Assessment regulations. Information Security Policy (ISP) For Star Gold 1. Scope This Information Security Policy (ISP) for Star Gold applies to all company s employees and managers. 2. Objectives To enhance security and protect Star Gold s business information and to ensure its confidentiality, integrity, and availability. Also to help the†¦show more content†¦Ã¢â‚¬ ¢ Computer Misuse Act: The principle of the computer Misuse Act is to purpaccess to gain information without authorization. Also it can be intentionally access to the system to be involved in a serious crime. Unauthorized deletion or modification of programs can be one of the computer Misuse Act principles. †¢ Disability Discrimination Act: The principle of the Disability Discrimination Act is to make sure that disabilities are not accessible to any of the server public resources. 5. Application of the Policy The company will be able to enforce all the policies by the group Policy and the object of this group is to allows the staff to perform identified configurations for users. Moreover, if there is any breach in the server, it might may damage your server and the first action that you will have to do is to see how this breach happened and then after determining the action find the right way to prevent the breach to not happen again. 6. Acceptable Use Policy The goal of this policy is to plan the acceptable use of computer equipment at Gold Star, and to protect the company and its employees. The misuse of these rules can lead to risky issues towards the company, such as virus attacks. a. Passwords policy Passwords considered to be a very important part to ensure security. Passwords that are weak can lead risky attacks against Star Gold’s sources. Every