I participated in dance ensemble 2019, which is another form of self expression of the semester. It reveals a very different character of me from not speaking. This time, all languages was erased and only body functions as a media for expression. Another strong example of silence yet powerful expression.
Connecting this to unit 5, a revolution in dancing, where people eventually see the intellectual value within the dance as more than mere aesthetic beauty. After watching Bill. T. Jones and Arnie Zane’s Last Supper at Uncle Tom’s Cabin/the Promised Land, we reviewed three scholarly conversation reflected on the social and historical power with in the dance piece that has certain impact on the racialize and gendered social hierarchies permeated under the context of the dance.
Here’s my summarization of the three scholarly conversation as well as my short attempt in joining the conversation. Inspired by Nereson’s notion of embodiment, I would like to focus on two key scenes in Bill T. Jones’ Last supper “Eliza on the Ice” and “The promised Land” to demonstrate how his choreography evokes empathy by communal resonated movements of shared human experience. Exploring instances of specific embodied emotions in Last Supper, will show that embodied emotion can contextualize our reasoning and “rational” narratives of history. Though not written out fully, this paper provides me a new perspective in dancing and performance that I eventually connect my bursting emotional out-let with my given social context.
QianSelinaPaper3Draft41
As you can notice a growing connection with the theme of mysteries human consciousness that linked our emotions and subjective view of the world with reasoning and other intellects that was strengthen in the study of Humanity (See definition).
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