- Joined
- Nov 19, 2010
In music and in dance, there are those that invite you to be involved, making you want to sing along and dance along, at least swaying your body to the rhyme or clapping to the beat, and there are those that awe you, taking you along an emotional journey, a story, to another world, or just plain mesmerizing beauty or weirdness. You may be a participant in emotion but not in motion or performance which is beyond your abilities. You may be awed and be grateful to have witnessed or experienced it but you may not take part physically. You can appreciate or resent the eliteness, or dismiss them as nonsense which they may or may not be. You easily relate to the former but not always to the latter all of which are not necessarily your cup of tea. Tastes vary but knowledgeable critics do at least appreciate the skills and talents in such performances.
Maybe I am just elaborating on the difference between reaching out and drawing in, not that they are entirely mutually exclusive.
Facial expressions, are they equally important and in range in hiphop and contemporary dance? Some executions do take so much skills and attention, be it break dancing or operatic singing, that facial expressions are not as focused on or noticeable, especially with quick motion performances like tumbling or full speed full body deep edged skating with many directional and vertical changes. The face just does not stay in one place long enough. But there are so many parts of the performer and performance to notice that the face's role becomes relatively small until the slow or still part of the performances. Of course, the more slow and still portions during the performance, the more the opportunities for the performer to showcase his/her facial expressions.
Maybe I am just elaborating on the difference between reaching out and drawing in, not that they are entirely mutually exclusive.
Facial expressions, are they equally important and in range in hiphop and contemporary dance? Some executions do take so much skills and attention, be it break dancing or operatic singing, that facial expressions are not as focused on or noticeable, especially with quick motion performances like tumbling or full speed full body deep edged skating with many directional and vertical changes. The face just does not stay in one place long enough. But there are so many parts of the performer and performance to notice that the face's role becomes relatively small until the slow or still part of the performances. Of course, the more slow and still portions during the performance, the more the opportunities for the performer to showcase his/her facial expressions.
:agree:
