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Moreover, they work well with solo dance moves (which is why they worked out so well for Beyonce. Thus I would describe De Keersmacker's work as timeless, "avant-garde" (Gardner, 2011) ballet that pushes the envelope.
A.3. It is difficult to pinpoint specific themes in the choreography of De Keersmaker. The Choreographer herself admitted that she dislikes themes and tries to eschew them from her work (Jenkinson, 2009). Therefore, if one were to explore the lack of themes in the choreographer's work, they would revolve around innovation and novelty. She incorporates a wide variety of media within her choreographed pieces, such as varying elements of sound (both musical and otherwise), text and different varieties of light. She also sings along to her songs (Williams, 2003).
A.4. The main way that this choreographer's work is influencing larger society is through the form of flattery known as imitation. Beyonce's lifting of several of De Keersmaeker's signature moves from Rosas effectively enabled an entirely new generation of audiences to become acquainted with the choreographer's work. It is not easy for...
The ultimate demonstration of such a fact is to have his or her work featured in popular culture, as De Keersmaeker's most assuredly was in Beyonce's video -- and in the latter's live performances, as well.
Gardner, Ly. "Beyonce v De Keersmaeker: can you copyright a dance move?." The Guardian. 2011. Web. http://www.guardian.co.uk/stage/theatreblog/2011/oct/11/beyonce-de-keersmaeker-dance-move
Jenkinson, Anne. "The Twelve Days of Dance." Flanders Today. 2009. Web. http://www.flanderstoday.eu/content/twelve-days-dance
Macaulay, Alastair. "In Dance, Borrowing is a Tradition." The New York Times. 2011. Web. http://www.nytimes.com/2011/11/22/arts/dance/is-beyonce-a-choreography-thief-in-countdown.html?ref=anneteresadekeersmaeker&_r=0
Williams, Ann. "Rosas - Anne Teresa De Keersmaeker'Once'." Ballet Magazine. 2003. Web. http://www.ballet.co.uk/magazines/yr_03/nov03/aw_rev_anne_teresa_de_keersmaeker_1003.htm
Rosas Danst Rosas Anne Teresa de Keersmaeker 3. 2010. http://www.youtube.com/watch?v=zS_kWttptS4
Macaulay, Alastair. "In Dance, Borrowing is a Tradition." The New York Times. 2011. Web. http://www.nytimes.com/2011/11/22/arts/dance/is-beyonce-a-choreography-thief-in-countdown.html?ref=anneteresadekeersmaeker&_r=0
Williams, Ann. "Rosas - Anne Teresa De Keersmaeker'Once'." Ballet Magazine. 2003. Web. http://www.ballet.co.uk/magazines/yr_03/nov03/aw_rev_anne_teresa_de_keersmaeker_1003.htm
Rosas Danst Rosas Anne Teresa de Keersmaeker 3. 2010. http://www.youtube.com/watch?v=zS_kWttptS4
Branding in the global marketplace "Brands should be viewed as markers in a global system of symbolic differences" (Cayla, 2008, p. 106). Julien Cayla and Eric. J. Arnould assert in their Abstract that scholars in the field of international marketing need to "revise some key premises and foundations" and think more along the lines of the being "culturally relative" and "contextually sensitive" when approaching global branding (Cayla, et al., 2008, p.
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Strangely, the sense of freedom is observable even as the viewer consciously recognizes that it is not really present in the dance. Rainer's complete and continued avoidance of the camera's gaze mimics the original relationship between the dancers of Trio A and the audience, and the feeling it gives is one of avoidance due to oppression rather than the dancer's choice. In many ways, this sort of controlled freedom can
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