Fallen Angels Essay

Many of his works have been mostly influenced by a number of once styles he has either seen or studied such as folk dance, romantic classical, ballet style and neo-classical, while also incorporating jazz style. Sir Skylines “Falling Angels” is clearly presented though the use of space based on the elements of dance to communicate the main intent of the work which can be described as the conformity felt by women.

The beginning of the work in the first phrase shows the 8 female dancers slowly emerging from the anonymous blackness of the upstage, traveling In a forward direction to the forefront.

Once all 8 dancers eave entered the forefront of the stage slowly, the lighting then changes Into individual box- Like shapes, one for each Individual dancer. All 8 dancers are distributed across the performance space In an “x- like” floor pattern. In terms of shape, Skylark’s “Falling Angels” shows a use of both angular and curved shapes.

Within the middle section of the work, the eight dancers pull on their black leotards to create a curved, “pregnant like” shape.

Furthermore, at the very ending position, the dancers end in a shape that involves the elbow braced with splayed hands, head heron back, legs apart In parallel, feet in doors flexing with knees slightly elevated in a low level as they rest on their backs with their focus upwards in a childbirth position.

Sir Julian has used an extensive amount of space throughout his choreography that suggests how women were seen as “men’s toys” or that they are obsessive over body Image, “Being too fat or skinny”.

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The use of time captured throughout the work can be clearly described through the relationship between the “drumming” accompaniment and the movement. The “Drumming” composed by Steve Reich begins with a simple rhythmic pattern tapped by a stick on a bongo drum. In the first phrase of the work, there is no drumming, just complete silence which sets up natural rhythm .

Then, as the single beat of drumming occurs, the dancers execute a single accent in canon with the wing-like shape motif used throughout the whole work. As the drumming continues into double and triple beats, it starts to layer while the movement corresponds and becomes more fast and complex. One beat of the rum equals one movement while 2 beats of the drum equals 2 movements. However, towards the end of the work, the dancers move with their own internal/ natural rhythms, while almost ignoring the beat of the drums.

Sir Julian has effectively used time throughout his work to create variation In the way the dancers respond using movement. The movement choreographed by Sir Julian clearly shows a vast range of dynamics to further the quality of movement convey through the concepts of conformity felt by women. Seen wealth the work, there Is a section involving the dancers executing a much sustained upright shift in weight while rocking. I nerve Is a Susanne percussive accent Involving a Jerk or spasm AT ten Knee.

This creates variation and contrast within the same phrase. In the middle section of the work, there is a clear relationship seen between the drumming accompaniment and the percussive and sustained dynamics as the layering of the music begins. The Sustained and percussive dynamics are used in Falling angels when all the dancers in unison ooze into the floor in parallel, knees and feet together, with the extension in he flick motif of the arms in a wing-like shape with their focus down.

Through the use of this drumming, the timing of Falling Angels provokes the dancers being consumed by the beats as is travels throughout their entire body causing them to react synthetically. Therefore Julian has successfully used dynamic to further the audiences understanding of how the staccato dynamics reflect the dancer’s kinesthesia response. In conclusion Sir Julian has used space, time and dynamics to reflect intellectual, emotional and physical content of the females.