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Union contracts govern those who perform in public, such as major opera ballet, classical ballet or modern dance corps. These belong to the AFL-CIO and those who appear on live or videotaped TV programs belong to the American Federation of Television and Radio Artists. Those in films and on TV belong to the Screen Actors Guild and those in musicals are members of Actors' Equity Association. Through the unions minimum salaries, hours, benefits and other conditions are specified before the dancer signs the contract (Munger 5).
The professional dancer begins his or her day early, with warm-ups at the barre or with exercises. Then it is off to the studio to practice with the partner or team or troupe. If there is a performance being staged or being planned, work on the specific dances performed will be done. At the end of the day, the dancer is worn out and hungry. A dancer who dances all day may eat a lot, but often might be watching their weight so that costumes will not be outgrown. A dancer goes to bed early because of the demands of the profession (Salary 1).
Dancers and choreographers are covered for injuries and other work-related problems by their union contracts. They are entitled to paid sick leave, paid vacations, health and pension benefits, including extended sick pay and family-leave benefits. Those who are not covered by union contracts do not receive these benefits. A broken leg or even arm may mean the end of a paying career. It may mean the end of a career and perhaps a costly recovery, unless the union has covered extended...
Otherwise, private insurance is a must. Still, the dancer must take care of his or her body, because it is all they have to earn their living by. The history of dance, it is said, is incorporated into the dancer's body and once the body is gone, part of history disappears (Charman 10).
Works Cited
Anderson, Jack. Ballet & Modern Dance: A Concise History, 2nd ed., Princeton, NJ: Princeton Book Company, Publishers, 1992
Balletmet. Ballet. Education. 2006. website: http://www.balletmet.org/EDUCATIO/WhatIs.html.
Charman, S. Kraus, R, G. And Dixon-Stowall, B. History of the Dance in Art and Education. New York: Pearson Education. 1990
Dance / USA. 2007. Website: http://www.danceusa.org/
Kessel, Kristin. Dance Performance From Rehearsal to Opening Night. New York: Rosen Central, 2004
Lee, C. Ballet in Western Culture: A History of its Origins and Evolution. New York: Routledge.2002
Munger, John. Dancing With Dollars in the Millenium: Who's moving ahead, who's falling behind, and why. Annual Report. Dance USA. 2006. http://www.danceusa.org/pdf/pubs/Dancing_Dollars.pdf.
Salary, Wages, Pay: Dancers and Choreographers. 2007. Website: http://www.jobbankusa.com/career_employment/dancers_choreographers/salary_wages_Vartoogian,Linda and Vartoogian, Jack. The Living World of Dance. New York: Smithmark, 1997
Worrik, J. "Children's Dance Program." 3 Jan, 2007. http://www.jndance.com.pay.html.
Works Cited
Anderson, Jack. Ballet & Modern Dance: A Concise History, 2nd ed., Princeton, NJ: Princeton Book Company, Publishers, 1992
Balletmet. Ballet. Education. 2006. website: http://www.balletmet.org/EDUCATIO/WhatIs.html.
Charman, S. Kraus, R, G. And Dixon-Stowall, B. History of the Dance in Art and Education. New York: Pearson Education. 1990
Dance / USA. 2007. Website: http://www.danceusa.org/
Munger, John. Dancing With Dollars in the Millenium: Who's moving ahead, who's falling behind, and why. Annual Report. Dance USA. 2006. http://www.danceusa.org/pdf/pubs/Dancing_Dollars.pdf.
Salary, Wages, Pay: Dancers and Choreographers. 2007. Website: http://www.jobbankusa.com/career_employment/dancers_choreographers/salary_wages_Vartoogian,Linda and Vartoogian, Jack. The Living World of Dance. New York: Smithmark, 1997
Worrik, J. "Children's Dance Program." 3 Jan, 2007. http://www.jndance.com.pay.html.
Lyrical jazz, another jazz form has a more ballet feel and look to it. In jazz dance, the motions are mostly slower and also have a fluidity that goes on to create longer lines and also to express stronger emotional connections. The movements are more strongly based upon the lyrics of a song and they express a similar if not identical ideas. Street-funk is also very similar and is related
Jazz Performance: "Blues After Dark," Dizzy Gillespie (trumpet), Sonny Stitt (tenor sax), Lou Levy (piano), Ray Brown (bass), Gus Johnson (drums). In Belgium, 1958 This dynamic performance starts rather tentatively with the trumpet and saxophone, before the band joins in earnestly. Piano, bass, and drums accompany the lead trumpet (Dizzy Gillespie) and tenor saxophone (Sonny Stitt). The introduction builds rather quickly after that, build around a central phrasing structure. There are deliberate
Drums, piano, and bass all remain strictly rhythmic elements of this piece, though the latter two also provide melodic and harmonic support to this smooth yet snappy piece that is not quite a ballad yet is not nearly up-tempo enough to be considered be-bop. Johnson drives with his sticks on the drums with some liberal symbol use, and Brown keeps a steady bass line moving underneath the melody and
Jazz "Blues After Dark," Feat. Dizzy Gillespie (trumpet), Sonny Stitt (tenor sax), Lou Levy (piano), Ray Brown (bass), Gus Johnson (drums). In Belgium, 1958 Starting with the dueling instruments, it almost sounds like two muted trumpets, because the harmonics are intense. For a few notes, it remains that way until I see that it is not two trumpets but rather, a trumpet and a saxophone. They are playing together brilliantly. A smooth stand
Jazz "Blues After Dark," Dizzy Gillespie (trumpet), Sonny Stitt (tenor sax), Lou Levy (piano), Ray Brown (bass), Gus Johnson (drums). In Belgium, 1958 Style = BeBop Role of Piano = Stride and Comping Role of the Bass = Walking Role of the Drums = Brushing and Riding Role of the Trumpet and Saxophone = Lead and Melody "Blues After Dark" starts off with Dizzy Gillespie and Sonny Stitt, for a few measures only the trumpet and saxophone
Dance Peters The Pop Music Choreography of Michael Peters Few forms of dancing are more present in our popular culture than that associated with popular music. While the forms of tap, ballet and ballroom all occupy an obvious place in our academic understanding of dance, these are for the large part only seen in specialized contexts such as theatres and formal events. This contrasts the style of dance and choreography that accompanies