Cultural Imperialism Is A Very Old Phenomenon Media Essay

Cultural Imperialism Is A Very Old Phenomenon Media Essay During the past five hundred years, European countries colonized southern countries in the name of spreading Christian civilization to the primitive people in other parts of the world, as well as securing resources and workers for economic production. As cultural imperialism occurs, it is said to be for the own good of the other, conquered civilization, to spread universal values, rights and standards of development. The United States are currently not the only cultural imperialists, but the spread of American values in the entire world is at the leading edge of a wave of spread of Western goods and consumerist culture. Today, the phenomenon might take a different form, as it is a lot more subtle and less brutal than the European colonization: it is being done in the name of freedom of the market and freedom of expression. There are two sides and two major views on the ongoing process. Some consider the propagation of the American culture as unavoidable and beneficial to the world, for some American cultural imperialism is a threat to other cultures. I will try to review both of them to make a better and more reasonable assumption. People who do not see the hegemony of American culture as a threat, state that through the media, the United States is spreading some universal values and human rights. To some authoritarian countries, it spreads ideas of freedom of expression, democracy, equality, and rights concepts that should be, in some peoples opinion, universal. Universality of some values may be possible human nature is not that different from one culture to another, and many values are shared across cultures. However, the majority of the worlds cultures undervalue women and children in practice if not in ethos. Finally, the majority of the worlds people, regardless of the names given to governmental regimes by those with authority, continue to live without real participatory democracy. American ideals of equality, freedom, and democracy now available in the world may give more freedom to women, children, and to minorities in all cultures, and will promote anti-racist, anti-sexist or anti-authoritarian mess ages and regimes.   Irving Kristol, in The emerging American Imperialism, presents imperialism as an unintended consequence of market expansion rather than a conscious goal: one of these days, the American people are going to awaken to the fact that we have become an imperial nation. But he later argues that it is not something unintentional, but that in fact many nations have facilitated and welcomed American cultural values along with American products and ways of life: it happened because the world wanted it to happen. To him, the American missionaries live in Hollywood, which is different from the Old European imperialism, which was based on bureaucratic colonial governments and resource extraction.   Christopher Dunkley, in American Cultural Imperialism: No Bad Thing says that America provides some of the best available anywhere in the world. One of the reasons that American series are so successful in the world is that thanks to its immigration policies, the US has a population with a mixture of Anglo Saxons, Scandinavians, Asians and so on that provides American broadcasters with a domestic audience which is, to all intents and purposes, international. Please the American audience and you can guarantee you will please the world. Some theories of globalization see, instead of cultural imperialism, the movement of products and ideas from across national and cultural borders in ways that produce real changes in cultures like that of the United States. In 1994, MacQuail wrote in his book Mass Communication Theory that not only was United States influencing other cultures, but other cultures were also influencing the US: While one-way flow may be evident in terms of information flows on an information theory quantitative estimate, the reality is that as media technology and economies become more intertwined, this seemingly one-way flow reverses itself into a two-way flow in which what sells abroad influences what Americans see at home. In that perspective, we can talk about an interpenetration of cultures instead of the invasion of American culture in the world. Language is another consideration when speaking about cultural imperialism. English is indeed the language of business, higher education, diplomacy, the Internet, science, popular music, entertainment and international travel. The importance of learning English is not just a political or economic issue4. Logically and arguably, the world needs to have one kind of universal language at a basic level. Economically, having a central language could prove as a great advantage when companies can use the same computer programs in one language. As of 2006, an estimated 1 billion people speak English  5. There has been a greater desire to learn English since the Internet has made such a big impact on the world. The reality is that language and cultural barriers and misunderstandings can get in the way of effective communication and create complications in the work world. With the aid of having a universal language, work can be done more efficiently, safer, and with fewer complications than when there is the factor of a language barrier. For international companies, which have branches all over the world in hundreds of different countries with different languages, this universal language could mean a whole new level of production and growth, and in essence, raise the standard of living for many. Richard Pells states that the effectiveness of the English language as a mass communicator has been essential to the acceptance of the American culture. Unlike other languages, the simpler structure, grammar, and use of more concise sentences in the English language, are all advantageous for the composers of ad slogans, cartoon captions, newspaper headlines, and movie and TV dialogue. English, Pells says, is thus a language exceptionally well suited to the demands and spread of American mass culture10.   The American cultural imperialism as a threat to other cultures We should not forget that the differences in cultures make the world a rich and diverse place. Every individual of each country should have the right to express his or her own culture. A cultural uniformity would lead to the extinction of cultures and it would definitely represent a great loss.   However, the American culture is intruding on most cultures in the world, in many cases threatening their existence. Superman, Spider-man, and Batman replace local heroes; Pepsi and Coke replace local fruit drinks; and trick or treat begin to replace Dia de los Muertos. Perhaps more insidious, to compete with American cultural imports, local varieties and products begin to mimic American products. All the exportation of goods and information from the United States to the entire planet contributes to the exportation of the American culture.   We know that the United States is the leader in exporting its information. One problem is that the United States sells its information and media products so cheaply that it is impossible for the whole world to compete. The American producers budget to cover their costs within the US market and can consequently sell at unbeatable prices internationally. A consequence is that it is much cheaper to buy, for example, a blockbuster Hollywood movie made in the United States than to make a less expensive local production in another country. As a famous movie director George Lucas says, the United States is a provincial country with a culture that has invaded the world via Hollywood. As long as there has been a talking Hollywood, Hollywood has had a huge impact on the rest of the world. Lucas points out that people in other countries are troubled by what they see as US culture squashing local art and cinema. The motivations behind American cultural imperialism parallel the justifications for U.S. imperialism throughout history: the desire for access to foreign markets and the belief in the superiority of American culture. Though the United States does boast the worlds largest, most powerful economy, no business is completely satisfied with controlling only the American market; American corporations want to control the other 95 percent of the worlds consumers as well. Many industries are incredibly successful in that venture. According to the Guardian, American films accounted for approximately 80 percent of global box office revenue in January 2003. And who can forget good old Micky Ds? With over 30,000 restaurants in over one hundred countries, the ubiquitous golden arches of McDonalds are now, according to Eric Schlossers Fast Food Nation, more widely recognized than the Christian cross. Such American domination inevitably hurts local markets, as the majority of foreign industries are unable to compete with the economic strength of U.S. industry. Because it serves American economic interests, corporations conveniently ignore the detrimental impact of American control of foreign markets. It is easy enough to convince Americans of the superiority of their culture, but how does one convince the rest of the world of the superiority of American culture? The answer is simple: marketing. Whether attempting to sell an item, a brand, or an entire culture, marketers have always been able to successfully associate American products with modernity in the minds of consumers worldwide. While corporations seem to simply sell Nike shoes or Gap jeans (both, ironically, manufactured outside of the United States), they are also selling the image of America as the land of cool. This indissoluble association causes consumers all over the globe to clamor ceaselessly for the same American products. In recent years, American corporations have developed an even more successful global strategy: instead of advertising American conformity with blonde-haired, blue-eyed, stereotypical Americans, they pitch diversity. These campaigns-such as McDonalds new international Im lovin it campaign-work by drawing on the United States history as an ethnically integrated nation composed of essentially every culture in the world. An early example of this global marketing tactic was found in a Coca Cola commercial from 1971 featuring children from many different countries innocently singing, Id like to teach the world to sing in perfect harmony/Id like to buy the world a Coke to keep it company. This commercial illustrates an attempt to portray a U.S. goods as a product capable of transcending political, ethnic, religious, social, and economic differences to unite the world (according to the Coca-Cola Company, we can achieve world peace through consumerism). Today, the spread of American culture goes through every communication medium: 90% of the information available on the Internet is in English, CNN is seen in 120 countries, Stephen King is the number one best seller in the world. Obviously, there is already a process of cultural uniformity going on, and this can be seen as a great loss.   More recently, Viacoms MTV has successfully adapted this strategy by integrating many different Americanized cultures into one unbelievably influential American network (with over 280 million subscribers worldwide). According to a 1996 New World Teen Study conducted by DMBBs BrainWaves division, of the 26,700 middle-class teens in forty-five countries surveyed, 85 percent watch MTV every day. These teens absorb what MTV intends to show as a diverse mix of cultural influences but is really nothing more than manufactured stars singing in English to appeal to American popular taste. If the strength of these diverse American images is not powerful enough to move products, American corporations also appropriate local cultures into their advertising abroad. Unlike Levitts weak multinationals, these corporations dont bend to local tastes; they merely insert indigenous celebrities or trends to present the facade of a customized advertisement. MTV has spawned over twenty networks specific to certain geographical areas such as Brazil and Japan. These specialized networks further spread the association between American and modernity under the pretense of catering to local taste. Similarly, commercials in India in 2000 featured Bollywood stars Hrithik Roshan promoting Coke and Shahrukh Khan promoting Pepsi (Sanjeev Srivastava, Cola Row in India. BBC News Online). By using popular local icons in their advertisements, U.S. corporations successfully associate what is fashionable in local cultures with what is fashionable in America. America essentially samples the worlds cu ltures, repackages them with the American trademark of materialism, and resells them to the world. Compounding the influence of commercial images are the media and information industries, which present both explicit and implicit messages about the very real military and economic hegemony of the United States. Ironically, the industry that claims to be the source for fair and balanced information plays a large role in the propagation of American influence around the world. The concentration of media ownership during the 1990s enabled both American and British media organizations to gain control of the majority of the worlds news services. Satellites allow over 150 million households in approximately 212 countries and territories worldwide to subscribe to CNN, a member of Time Warner, the worlds largest media conglomerate. In the words of British sociologist Jeremy Tunstall, When a government allows news importation, it is in effect importing a piece of another countrys politics-which is true of no other import. In addition to politics and commercials, networks like CNN also present foreign countries with unabashed accounts of the military and economic superiority of the United States. The internationalization of television news, while unquestionably a crucial aspect of the processes generally lumped together as globalization, seems paradoxically to be the least well examined, yet most alluded to, aspect of the globalization phenomena. (Paterson, C. Global television news services, Media in Global Context: A Reader, Oxford University Press:1997, p.145). As Paterson points out in his article, few people actually seem to know that most television broadcasters buy international news from transnational news agencies like Rauters, Worldwide Television News and Associated Press Television. Or as Paterson puts it: since television is the major force in shaping how Europe and America see the world, and is becoming so in the rest of the industrialised world and much of the developing world, then the images selected by these few television journalists of similar training and background, are absolutely crucial determinants of how people world-wide perceiver other nations and global issues.  Some of these major news corporations are more closely allied with Rupert Murdoch, and Rupert Murdoch is widely believed to have used his print and broadcast news holding in Britain to bolster Thatcher and Thatcherism (Bagdikian:1989, found in Paterson, C. Global television news services, Media in Global Context: A Reader, Oxford University Press:1997 p.154). Commercialisation gives further reason for concern about international news. The tabloidization regarding printed media, and overflow of clichà ©s in television, as Paterson points out, is principally a process of dumbening down news, and putting emphases on news concerning sports and stars etc. which may perhaps have further impact on peoples political perception (or maybe lack of it). This trend rises questions about consumerism in the west, and what impact this may have on a global scale. But why is it happening and with such success?  cultural imperialism is understood in the terms of the imposition of one national culture upon another and the media are seen as central to this process as carriers of cultural meanings which penetrate and dominate the culture of the subordinate nation. (Barker, C. Global television, Blackwell Publishers: 1997 p.183)  . In conclusion media have speeded up the connection between cultures and thereby started to erase the boundaries of space, and even more profound boundaries of nations and government ensuring free flow of information and influence. The fact that America arguably is in the centre of this development rises concerns about which influences and the voice of whom we are hearing. The homogenisation thesis involved, as posed by many theorists, is both seen as an advantage and a reason for concern. This concern perhaps mainly because of the threat of American cultural imperialism and a consequent loss of diversity, and the possible immense power of position for whom leads this trend because of what seems to be an ability to override governments. The capitalistic nature of media prevents any revolt against the almost monopolistic position the western world has on globalisation via media, and there seem to be no authority that can intervene in this process preventing a monopoly. So however roman tic the idea of cultures being brought closer together is, there are also power struggles and the possibility to exploit this development, which American officials openly admit to be attempting.   The rise of English as an international language of trade and politics has been one of the strongest vehicles for the transmission of American culture. The place of English in the world has crystallized in the past decades you can read signs in English in every capital, and fluency in English has become a taken-for-granted prerequisite for upper-level positions in international trade and politics. While the forces leading to the rise of an international language differ greatly from cultural imperialism, it would be difficult to separate the two. As English becomes a global language, it becomes clear that language and culture cannot be separated. The AP National Writer journalist Anthony Ted says every one from the French to the Indonesians worry that where English goes, America will follow. Scholars Nye and Owen admitted that it is the goal of the United States to have English as the international language: It is in the economic and political interests of the United States to ensure that, if the world is moving to a common language, it be English; that if the world is becoming linked by television, radio and music, the programming be American; and that, if common values are being developed, they be values with which Americans are comfortable. According to them, not only it is intentional, but also it is a developing reality. If this spread of values, language, and information is purely because of economic and political interest for the United States, the well-being of other cultures and their freedom of expression are not taken into consideration except instrumentally can they be bought and sold for a profit, or can they be used to political advantage to the profit and advantage of the US.   Not all social critics see the Americanization of the world as a negative phenomenon. Proponents of cultural imperialism, such as David Rothkopf, a former senior official in Clintons Department of Commerce, argue that American cultural imperialism is in the interest not only of the United States but also of the world at large. Rothkopf cites Samuel Huntingtons theory from The Clash of Civilizations and the Beginning of the World Order that, the greater the cultural disparities in the world, the more likely it is that conflict will occur. Rothkopf argues that the removal of cultural barriers through U.S. cultural imperialism will promote a more stable world, one in which American culture reigns supreme as the most just, the most tolerant, the most willing to constantly reassess and improve itself, and the best model for the future. Rothkopf is correct in one sense: Americans are on the way to establishing a global society with minimal cultural barriers. However, one must question whet her this projected society is truly beneficial for all involved. Is it worth sacrificing countless indigenous cultures for the unlikely promise of a world without conflict? Around the world, the answer is an overwhelming No! Disregarding the fact that a world of homogenized culture would not necessarily guarantee a world without conflict, the complex fabric of diverse cultures around the world is a fundamental and indispensable basis of humanity. Throughout the course of human existence, millions have died to preserve their indigenous culture. It is a fundamental right of humanity to be allowed to preserve the mental, physical, intellectual, and creative aspects of ones society. A single global culture would be nothing more than a shallow, artificial culture of materialism reliant on technology. The attempt by UNESCO to regulate a more equal flow of communication between the North and the South, to protect cultural diversity and to protect countries from cultural imperialism unfortunately resulted in the withdrawal of the United States because it did not correspond to its financial interests. Since 1984, which is the date of the American withdrawal, UNESCO keeps trying to influence and give recommendations to governments, but it has no power over the main country that owns most of the communication flow in the world: the United States of America.  

Good Night Essay

Michelle Magorian’s heartwarming novel, Good Night, Mr. Tom, is not only a touching read but an intriguing one. It tells the story of eight-year-old William Beech, the abused boy of a troubled single mother. He is evacuated from London to a cozy town in the English countryside at the beginning of World War II, and finds himself in the care of Thomas Oakley. â€Å"Mister Tom,† as he is endearingly called by Willie, is known around the village of Little Weirwold as apathetic and gruff. Caring for Willie is just the kind of medicine he needs to turn his personality around, and it does Willie wonders as well. What really makes Good Night, Mr. Tom such a moving read is that it is easily relatable and sets readers up to care about the characters and appreciate their life in modern-day Maine. The events, characters, and setting of the story are very realistic, making the book easy to connect to. Magorian pays attention to detail and never skimps on descriptions, which makes a big difference. Take the dialog, for example. In Little Weirwold, where Willie stays with Mister Tom, villagers use a unique slang that is clearly recognizable in even the shortest of lines: â€Å"’E’s a spry ole thing, but he’s as soft as butter, ent you, ole boy? † This particular sentence is uttered by Tom himself as he convinces Willie that his dog is nothing to be afraid of. There’s more than just slang to be examined in that quote, however. From one simple sentence, it is easy to see how much Tom loves his dog. Phrases such as â€Å"ole boy† are associated with affection and fondness and are usually used by caring pet owners, a fact recognizable if you are a pet owner yourself. In addition to dialog and terms of endearment, Magorian creates situations that ninety-nine percent of the population has been through. In one instance, Willie and a few of his newly befriended pals walk into the school hall on the first day. They see the last remaining chairs to sit in right in the front row and excitedly grab them â€Å"afore the big uns get them. † Too late, the boys realize why their seats had been left empty: the children in front of them are sitting on the floor, â€Å"†¦ so that the five of them were now very exposed. † This prevents them from whispering or, as George says, slipping toffees in their mouths. Nearly everyone has been in a similar predicament when they think there is a great opportunity and then regret the decision to jump on it. Additionally, Magorian incorporates memorable elements of childhood. For example, classroom jobs are assigned in Willie’s homeroom: â€Å"Patsy was the milk monitor for the week. Mrs. Hartridge had taken to heating the milk, now the weather was so cold. She poured it into cups and Patsy carried them two at a time to the desks. † It is easy to picture the whole scene as the students thank Patsy for their milk and Patsy shrugs in response, eager for next week to arrive when she will be assigned the role of table cleaner. It is the specifics that Magorian includes that really make the book relatable to a broad audience. Perhaps it is partly due to this connectability that readers come to care about the characters so deeply. In the very beginning of the book, Tom is portrayed as an irritable recluse who has not yet overcome the loss of his wife and son. As soon as he takes in Willie, however, his attitude warms up and it is plain to see that he loves the boy. He still tries to hold on to some of his crustiness, but it becomes harder and harder for him not to melt around Willie. Take a look at this quote from early on: â€Å"‘You can put that ole bag down,’ he said gruffly. ‘You ent goin’ no place else. ’† Compare it to this one, an excerpt from the later half of the book: â€Å"‘Now you takes care of yourself, boy. You keeps up that ole drawrin’. You’ve a fine gift. If you runs out of pencils, you lets me know. ’† Since readers have watched Tom’s character brighten, they are able to establish a bond with the old man. They are proud of him for opening up and want others to see how he has changed. Just as Tom’s personality blossoms caring for Willie, Willie’s changes for the better under Tom’s care. When readers are first introduced to Willie, they take pity on him. He is a â€Å"†¦ timid, sickly little specimen† whose mother beats him regularly with a belt buckle. Readers read with wonder and glee as Willie grows mentally and physically. He becomes a playful country boy with a taste for adventure and lots of friends, and upon seeing this transformation the hearts of the readers burst with joy. Speaking of friends, the reader comes to like Zach as well because he welcomes Willie into the village with enthusiasm. The two boys become best buddies, and readers are thankful to him for befriending Willie in such a new and intimidating place. This appreciation is proved when Willie and Tom receive the awful news that Zach has been killed while visiting his parents in London. The story suddenly feels empty without Zach’s â€Å"wizard! Out of all the characters that the reader comes to care about, Zach is probably the most profoundly felt. There is no doubt, however, that readers think of all the characters with affection. While indulging in Good Night, Mr. Tom, readers have a lot going through their mind: not only are they relating to the story and connecting to the characters, but also coming to appreciate their own life in modern-day Maine. Between the mesmerizing crashing of waves on rocky beaches and the majestic mountains bordering the sea, there’s just not much to complain about Maine. Racism, sexism, and crime hardly ever make headlines in the local papers; besides, here in the twenty-first century such events are rare to begin with. However, when readers immerse themselves in this novel, all of that changes. Suddenly it is not out of the ordinary for such outdated crimes to be committed. Some of these offenses are minor, such as when Willie’s friend Carrie complains that her mom won’t let her wear shorts: â€Å"She’d been asking her mother for ages if she could wear shorts, but had been told that she’d turn into a boy if she did and no man would want to marry her. † A rule like that seems almost laughable now, and the stark difference in terms of acceptability is wake-up call to readers. Taking it a step farther, the condition of Willie’s mother’s London apartment is dreadful. It doesn’t help that a war is raging, but in comparison to today’s standards it is atrocious nonetheless: â€Å"There was a strong dank smell coming from somewhere. It was as if an animal had opened its bowels or peed somewhere. † To think that a grown woman is allowed to raise a child in such a place is incomprehensible. Perhaps it is not so unbelievable, however, when you consider a final example: the fact that the same lady abuses her son terribly both mentally and physically. She instills unrealistic ideas in Willie’s head such as the color red being sinful and that God will send him to hell for his wrongdoings. Not only this, but she beats him savagely, leaving large welts and bruises all over his body: â€Å"Something heavy hit him across the head and he sank into a cold darkness. He could still hear her screaming and he knew she was hitting him, but he felt numb and separated from himself. He had become two people and one of his selves was hovering above him watching what was happening to his body. † No one should go through anything like that, especially not a child. Such an experience seems even more appalling today because it is strictly against the law. Readers recognize without question how much twentieth century Maine has changed for the better after reading this novel. Because of the easy relatability, developed affection towards the characters, and grown appreciation of present-day Maine, Good Night, Mr. Tom is a truly touching read. Those who immerse themselves in its pages are in for a treat; they will find themselves connecting with the plot and really caring about the characters without even realizing they are doing so. Not only this, but after they put the novel down they will become aware of the fact that they are more thankful of what modern Maine has to offer. There is no doubt that you will be impressed and deeply moved by Michelle Magorian’s book.

Eassy for P.E

Biography of Christopher Bruce Christopher Bruce was born on the 3rd of October 1945 in England, he started studying dancing at 11 years old, and he began with tap and ballet. After studying at the Rambert School Christopher Bruce joined Rambert Ballet in 1963, where he quickly became the leading male dancer. Bruce appeared in works such as Don Quixote in 1964 and Coppelia in 1966. Then the company began to experiment with ballet and modern, combining them to form, specifically the Martha Graham technique. Martha Graham created 181 ballets and a dance technique that has been compared to ballet in its scope and magnitude. Many of the great modern and ballet choreographers have studied the Martha Graham Technique or have been members of her company. ) When Bruce danced the role of Pierrot Lunaire, his own interpretive skills were noticed. Bruce was â€Å"dominating everything- practically living the part†. Bruce then worked with Glen Tetley, he discovered that â€Å"the motive for the movement comes from the centre of the body†¦ rom this base we use classical ballet as an extension to give wider range and variety of movement† In 1977 he was appointed associate director of the company and was its associate choreographer from 1979-87, he created over twenty works for the company. Between 1986-91 he acted as associate choreographer also for London Festival Ballet, later ENB, and resident choreographer for Houston Ballet in 1989. In 1994 he became artistic director for RDC. Often political in his work, he integrates classical ballet and modern dance, often set against popular music by artists like Bob Dylan, Rolling Stones.His productions include ‘Cruel Garden', 1977, ‘Ghost Dances', 1981, ‘Swansong', 1987, and ‘Rooster', 1991. Influences Social and political themes emerge as naturally as a reflection of his own concerns, although his aim is always firstly to create a piece of dance, rather than to make a statement. Neverthe less, he does not see a conflict between creating interesting movement and tackling difficult issues. He believes that there is much beauty in Ghost Dances and similar works. Bruce is typically known for using themes that focus on personal or political issues.He has created abstract pieces but even these have a strong undercurrent of emotion. Bruce uses a wide range of starting points, particularly poetry, literature, music, newspaper articles and world events. For example ‘†¦ for those who die in cattle' reflects his views and concerns of war, ‘rooster' is his idea of relationships, ‘swansong' is probably one of his most moving and emotional pieces and tackles the very serious issue of torture. His views on the general human condition are portrayed in ‘waiting'.Throughout his career, Christopher has been a strong supporter of Amnesty International's ideas and through his choreography he has voiced his concerns for society, the persecuted and victims of a wide range of human rights abuses. Time and again he has returned to these themes and in his most recent work â€Å"grinning in your face†, these concerns are articulated as powerfully as ever. The Arts have an important role to play in exploring social issues and dance can be seen as the most human of the Arts as it is based on the body.The image of the tortured prisoner from â€Å"swansong† or the unjust imprisonment of Reuben Carter, in â€Å"Hurricane† are far more powerful than mere words can ever be. Video extracts of Christopher's work have been used to reinforce talks about human rights abuse. In the 1970's the focus for Bruce was South America and Pinochet's bloody coup against the elected Allende government in Chile. He was deeply moved on the meeting of Joan Jara, who was tortured and murdered by Pinochets forces. This meeting lead him to choreograph, Ghost Dances.He took the theme of the day of the dead, simple symbolism and indigenous dance moveme nts as a basis to convey the plight of the innocent people of South American down the ages and their courage in the face of adversity. Certainly, Ghost Dances has a tremendous impact and audiences in many countries have delighted in its distinctive, rhythmic movement performed to haunting American tunes. However, it is the representation of the oppression of ordinary people, symbolised by the sinister ghost figures, which give the work much of its resonance.On the evidence of ghost dances, swansong, and cruel garden (about the death of Lorca at the hands of the fascists in Spain), human rights themes have provided him with a strong source of inspiration. He remains a passionate advocate for the role of dance and the arts in society and believes that seeing good work and the chance to perform, either as an amateur or a professional, an not only enrich lives, but can also be civilising influence. Ghost dances It was created in 1981, and was influenced by the political oppression in Ch ile.The style was contemporary ballet blended with South American folk dance. The setting of Ghost Dances is a rocky Andean location suggesting the mouth of a cave. The colours (blue's, greens and greys) of the backdrop were very effective and complimented the costumes and movement by adding to the eerie atmosphere. The whole stage was lit by a dim white light. The ‘dead' wear everyday clothes, which are beginning to disintegrate. The Ghost Dancers appear as skeletal figures in striking skull masks. The piece is accompanied by Andiean folk music, with panpipes, guitars, and flutes.The tune is infectious, rhythmic and tuneful. The style of the choreography is sinuous and graceful, incorporating folk-dance influences. The Ghost dancers style of dance differs to the style of the ‘dead'. The Ghost dancers use very off balanced and angular Movements, there heads are the main key I think to making their dancing look as threatening as it does, they move them very quickly and sh arply in unison and it creates a very menacing effect. The ‘dead', on the other hand are very free flowing and graceful, their posture is very open chested and balletic with very neat but complex footwork.I loved this piece and the skills used to perform it. The fluid motion alongside traditional Chilean folkdance was original and inspiring to watch, it was a very moving piece and had a big impact on me because of the real life issues behind it. Swansong This piece was created in 1987 and was influenced by the fate of political prisoners, the style was contemporary ballet and the prisoner's movements were based on the idea of a swan. The piece is generally based around the fate of political prisoners and their need to break free.Swansong is a deliberately disturbing dance showing a victim being tortured by a variety of means, although there is no actual violence on stage. It shows both the aggressive and sadistic element of interrogation, and how brainwashing, humiliation and playing with emotions can all be part of a long, nerve- racking game. In combining vaudevillian humour, balletic virtuosity, and contempory dance expressionism with such a serious theme, he seeks to create work that can be appreciated at a number of levels by a broad audience.The three dancers are costumed archetypally and very much resembled the set, it was all very simplistic, with the prisoner in just a plain t-shirt and jeans and the two guards are wearing vaguely militaristic khaki trousers and short- sleeved shirts could be viewed as policemen, soldiers, or guards. Programme notes have tended neither to give names to the characters nor to specify roles – choosing instead to simply list the cast and allow audiences to make their own interpretation.The prisoner uses a very graceful and flowing style of dance whilst in contrast the two guards dance in a modern, camp manner, highlighting even more the separation and difference between the guards and prisoner. The simplicity of the staging and ambiguity of the characters lends weight to its universality. The action could be taking place anywhere in the world. The stage is dark and bare with the exception of a single wooden chair lit starkly from above, indicating perhaps a single bulb-hanging overhead in an otherwise empty room.There are seven sections in swansong; each has a different theme and style.  ·Section 1, questions and answers. Throughout the first section the dance suggests the interrogators and victim playing a game of cat and mouse, the dance changing from trios to brief duets and solo's. in the duets the interrogators dance in unison, performing the same material one after the other or slightly varying the steps to attack their victim.  ·Section 2, tea for two. The section section begins with another interrogation session during which the second interrogator walks round his eated victim, and this time the victim taps out ‘answers' but in a defiant mood. The interrogators change tatics.  ·Section 3, first solo. The third section is a solo for the victim alone on the stage and it is more lyrical both in music and movement than the proceding sections. It contrasts with the torture previously shown, appearing to be a cry of frustration and anger at the victim's situation as well as evoking his urge for freedom.  ·Section 4, slow trio. The victim immediately tenses and flinches as the first interrogator reaches towards him, and then relaxes when he is not harmed.No questions are asked. Again the opening sequence is performed twice but at the end of the chair is moved so that the victim cannot return to it. This becomes a recurring theme of this dance; the victims chair is repeatedly pulled away from under him or placed just beyond his reach. He is pushed and thrown around, the effect of the violence is in slow motion. The victim curls defensively on the floor and is uncurled by the second interrogator and the torture continues.  ·Section 5, second solo wi thout accompaniment.Although this section repeats dance motifs from the first solo such as the jumps and arabesques suggestive of flight, it is generally more mimetic. The victim lifts the chair onto his back to make it appear he is carrying a huge weight on his shoulders. He then stands facing the audience staring through the bars of the chair, then he appears to crumble in frustration and the solo ends with his ankles trapped in the bars of the chair as if fetted.  ·Section 6, cane dance. The progression of the piece shows a build up of abuse and humility of the prisoner till the final section where the prisoner performs his last solo, his ‘swansong'.Rooster This piece was created in 1992 and in contrast to my other two chosen pieces is influenced by the Rolling stones; the dance is based on the theme and context of the music. It is danced in a contemporary ballet style blended with modern dance to match the music. The set is a clear stage with naturalistic lighting and a white spotlight. The women wear black skirts, tops and tights and the men wear black trousers and a skirt, a red dress is worn only in one number and that is ‘ruby Tuesday'.The whole piece is danced to rolling stones music ranging from upbeat fast and rocky numbers to slower more relaxed music. The theme of each song in ‘rooster' reflects the character that is dancing it, none of the dances are linked, and each section occurs simply because of the different songs that are used, this helps to create an episodic structure. The tempo of the music dictates the style of dance; the faster tracks are modern and contemporary whilst the slower ones are more balletic.This piece does not present a great deal of emotional involvment with the audience; it is simply based on the theme and context of the music. You can see this by the fact that the dancers, the style of dance and the music purely dictate the song. A Time line of dance works which have been choreographed and produced by Christopher Bruce  ·1969 George Frederic  ·1972 ‘†¦ for those who die as cattle'  ·1974 Weekend  ·1975 Ancient voices of children  ·1976 Black Angels  ·1976 Promenade  ·1977 Cruel Garden  ·1981 Village Sounds  ·1981 Ghost Dances  ·1984 Sergeant early's dream 1984 Intimate Pages  ·1985 Silence is the end of our song  ·1985 Land  ·1987 The dream is over  ·1987 Swansong  ·1989 Symphony in three movements  ·1990 Journey  ·1992 Rooster  ·1995 Meeting point Section B Producing our own piece of choreography in the style of Christopher Bruce in groups. How has the work of the choreographer influenced and inspired my own performance and choreography? I chose Christopher Bruce because of the influences behind his choreography, the real life human rights issues that through symbolism he has transferred this into dance.He has successfully brought more awareness to serious issues that most people would not be aware of because it is not going on in this country. The fact that this affects Bruce personally is very inspiring, as his pieces have real meaning and thought behind them. The three works by Christopher Bruce that I have chosen to study are ‘ghost dancers' and ‘swansong' because of the political human rights issues that influenced them and ‘rooster' because it was a contrast to the other two as its influence was the celebration of the Rolling Stones music.I thought these pieces complimented each other well to evaluate as each bears a large variation of accessible motifs, images and sequences of movement that I could re- interpret in my choreography in the style of Christopher Bruce. As it gave me the opportunity to analyse a variety of influences and issues behind the three pieces. Choreographic notes We choreographed a piece for a trio in the style of ‘rooster'. The set was clear other than three chairs that were used within the dance. We were dressed all in black and wore red scarfs round our n ecks. The lighting of the set was dark red

Violence in Hurston’s Seraph on the Suwanee and Their...

Violence in Hurston’s Seraph on the Suwanee and Their Eyes Were Watching God Several scenes from Seraph on the Suwanee parallel scenes from Their Eyes Were Watching God. The scene beginning â€Å"The gun came up†¦Ã¢â‚¬  on page 183 of Their Eyes Were Watching God and ending â€Å"†¦pried the dead Tea Cake’s teeth from her arm† on page 184 echoes the scene in Seraph on the Suwanee beginning â€Å"She flung her hands up†¦Ã¢â‚¬  on page 145 and ending â€Å" ‘†¦just as fast as you can’† on page 146. The premise for each scene is identical. The prime female character is forced to defend herself from a close male family member who has gone mad and is threatening her life. Even in the face of death, she is primarily concerned with his well-being and becomes the only person†¦show more content†¦She has known full well of his potential violence yet sticks around out of loyalty, in addition to the fear of what he might do if she tried to leave. Hurston describes the men as wild and threatening animals. Earl â€Å"snarls† from under the table and causes its contents to come â€Å"crashing to the floor.† He is described without his name, as â€Å"a form† that â€Å"springs away.† Arvay must â€Å"keep him from biting her hands.† The symbolic animalistic biting is also a focus in Their Eyes. Hurston turns Tea Cake into a rabid dog with a â€Å"ferocious look in his eyes† who â€Å"closed his teeth in the flesh of [Janie’s] forearm. Janie â€Å"pried the dead Tea Cake’s teeth from her arm.† Biting as a most base, barbaric form of fighting creates a fierce animal-like character who has no conscience or qualms about hurting or ultimately killing some one, even some one who loves him more than anything. Janie risks her life to give Tea Cake more than one fair chance to save himself. â€Å"The pistol snapped once,† indicating his full attempt to murder her, yet she takes no precaution to protect herself. By â€Å"the second click,† she has her gun loaded yet resists shooting and actually tries to reason with the rabid man—â€Å"Tea Cake, put down dat gun and go back tuh bed†Ã¢â‚¬â€almost like a mother trying to protect her child by way of warning. Even after his third attempt at killing her, she still â€Å"hopes†