Five Things That Happen When You Are In Dynamic Hieroglyphic Of The Bal Tabarin
Dynamic Hieroglyphic Ballet, created by Balducci and Bada, is a new type of classical ballet. It was first demonstrated in the Salon della Vigna in Genoa, Italy in 1992. Although the work is not actually ballet, it shares many similarities with it and has been received well by audiences across the world.
Ballet dancers perform a complex series of movements called the “ballet orchestra”. The choreography in ballet is divided into many small parts called storages. These storages form the different themes which are used in the dances. As in ballet, each theme or “weight” has a specific purpose, such as act as a climax, to establish a mood, or to compliment other dance moves. With this kind of attention to detail, the dynamic designs of Balducci and Bada are clearly evident in their works.
The first section of the dynamic dance is called the Pre-requisite. This is a set of basic requests which all the other storages will need to agree upon, and which will be reviewed again throughout the dance. The dancer then chooses one of the themes which will be used in this storage. This section is very important because it allows the dancer to establish a rapport with the other members of the dance. This way the dancer can easily move from one theme to another.
The second part of the dynamic hieroglyphic line is the Dynamic Line. It represents a series of images that flow, or are tied together, from the first theme. In order to see the dynamic line, you must look at the layout of the dance floor. It will be located in the middle of the dance floor, and will be separate from the audience. It is usually raised slightly, so that the dancers can move freely around it without bumping into the walls.
The line is split into five distinct images which can each be independently addressed by one or more of the dancers. These dancers then combine their dancing efforts by moving across the image in a dynamic manner. The five images of the line are: the upward/backward movement, the left/right turns, the upward/downward movement, the diagonal movement and the circular motion. Each of these movements represents an independent turn of the foot, or of the hips, and can be used to create a particular effect on the dancers.
The third section of the dynamic line is called the Paths. It represents an unbroken sequence of images that flows from left to right in the original horizontal pattern. The dancers can take their breaks between these images as they like. The pathways can be used individually or can be put together to form flowing sequences which build up and climax in the final section of the dance.
The last two sections of the original dynamic image sequence are called the Offset and the Slices. These two images stretch out of the original horizontal line. The Offset dance goes straight from one point to another, whereas the slices represent an off-course, un-balanced dance. In Balinese dance, there are no pauses or restarts and so these two movements are termed as 'off-course.' It is possible for some dancers to combine both the Offset and the Slices with other types of dance such as lyrical legwork and flowing jumps.
Balinese dancing bears many recognisable signs of its incredible skill and artistic sense. Bali dancers are very skillful at achieving smooth, balanced and symmetrical movements which flow from point to point without relying on lines. They can achieve this through a combination of smooth and intricate legwork, dynamic turns and elegant leaps. This skillful use of lines gives Bali dynamic hieroglyphic images a truly mesmerising quality and it is this combination of eye-catching visual images that makes dancing such a pleasure. To this day Bali dancers enjoy exciting, fast-paced, energetic and sometimes downright life-changing moments of dynamic imagery that have helped to make Balinese dance so popular. So next time you're looking for a new kind of entertainment, just try Bali for some exciting, mind-blowing fun!
Ballet dancers perform a complex series of movements called the “ballet orchestra”. The choreography in ballet is divided into many small parts called storages. These storages form the different themes which are used in the dances. As in ballet, each theme or “weight” has a specific purpose, such as act as a climax, to establish a mood, or to compliment other dance moves. With this kind of attention to detail, the dynamic designs of Balducci and Bada are clearly evident in their works.
The first section of the dynamic dance is called the Pre-requisite. This is a set of basic requests which all the other storages will need to agree upon, and which will be reviewed again throughout the dance. The dancer then chooses one of the themes which will be used in this storage. This section is very important because it allows the dancer to establish a rapport with the other members of the dance. This way the dancer can easily move from one theme to another.
The second part of the dynamic hieroglyphic line is the Dynamic Line. It represents a series of images that flow, or are tied together, from the first theme. In order to see the dynamic line, you must look at the layout of the dance floor. It will be located in the middle of the dance floor, and will be separate from the audience. It is usually raised slightly, so that the dancers can move freely around it without bumping into the walls.
The line is split into five distinct images which can each be independently addressed by one or more of the dancers. These dancers then combine their dancing efforts by moving across the image in a dynamic manner. The five images of the line are: the upward/backward movement, the left/right turns, the upward/downward movement, the diagonal movement and the circular motion. Each of these movements represents an independent turn of the foot, or of the hips, and can be used to create a particular effect on the dancers.
The third section of the dynamic line is called the Paths. It represents an unbroken sequence of images that flows from left to right in the original horizontal pattern. The dancers can take their breaks between these images as they like. The pathways can be used individually or can be put together to form flowing sequences which build up and climax in the final section of the dance.
The last two sections of the original dynamic image sequence are called the Offset and the Slices. These two images stretch out of the original horizontal line. The Offset dance goes straight from one point to another, whereas the slices represent an off-course, un-balanced dance. In Balinese dance, there are no pauses or restarts and so these two movements are termed as 'off-course.' It is possible for some dancers to combine both the Offset and the Slices with other types of dance such as lyrical legwork and flowing jumps.
Balinese dancing bears many recognisable signs of its incredible skill and artistic sense. Bali dancers are very skillful at achieving smooth, balanced and symmetrical movements which flow from point to point without relying on lines. They can achieve this through a combination of smooth and intricate legwork, dynamic turns and elegant leaps. This skillful use of lines gives Bali dynamic hieroglyphic images a truly mesmerising quality and it is this combination of eye-catching visual images that makes dancing such a pleasure. To this day Bali dancers enjoy exciting, fast-paced, energetic and sometimes downright life-changing moments of dynamic imagery that have helped to make Balinese dance so popular. So next time you're looking for a new kind of entertainment, just try Bali for some exciting, mind-blowing fun!
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| Gino Severini, Dynamic Hieroglyph of the Bal Tabarin – Smarthistory – Dynamic Hieroglyphic Bal Tabarin | Dynamic Hieroglyphic Bal Tabarin |
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| Dynamic Hieroglyphic of the Bal Tabarin Tapestry – Dynamic Hieroglyphic Bal Tabarin | Dynamic Hieroglyphic Bal Tabarin |