My Version of Happiness Essay Example for Free

My Version of Happiness Essay What is bliss? For me, with my sixteen years of life as my premise to characterize what it seems to be, I think joy is making companions, meeting new individuals, getting a charge out of what you have, adoring what you have, tolerating what you have, appreciating what youre doing, being in a circumstance that youll recollect and giggle at later on, attempting to grin, unlimited love, powerful grinning, having a smash, seeking after and discovering accomplishment in interest, learning new things the easy way, seeing something entertaining, sugar surge, and numerous different things. Essentially, right now, bliss, for me, is acknowledgment, trusting, and accepting. I state that in light of the fact that those are the things that have satisfied me. Since joy is abstract, or if nothing else I see it as along these lines, I realize that bliss, for me, is as a rule, vaporous. It is unconstrained. It makes you be so too. It comes when you expect it and when you dont. It is progressively wonderful in the last mentioned. A few people commit their whole presence to discovering it. I think, however, that it resembles a canines tail; on the off chance that it is looked for like an unmistakable article, it won't be gotten. A few people cause miserable endeavors at attempting to sum up what it is. A few people compose books on the most proficient method to procure it. Like a bit by bit program, cookbook style. A few people live sitting tight for it. A few people see how others react to the compulsion to be cheerful. I surmise, Im part of those individuals, however in the event that that is all in all, who watches us? A few people disregard bliss; they dont search for it, they question its reality. A few people attempt to discover their motivation in the desire for discovering satisfaction with it. A few people simply live. A few people are constantly loaded up with it. A few people say they have discovered it. A few people think they have discovered it. A few people fake satisfaction. A few people attempt to realize that things will generally have the option to comprehend what bliss is. A few people attempt to legitimize their bliss. A few people purchase things to get upbeat. A few people disregard being vacant to be upbeat. A few people conceal it. A few people expound on its inclination. A few people find others, and bliss accompanies them once in a while. I do all that, various methodologies for various minutes. Satisfaction is dubious thing, destructive as a medication, compelling like one, yet it is legitimate. It could be a perspective, yet it could similarly also be a person or thing.

History of the Flamenco Dance Essay Example For Students

History of the Flamenco Dance Essay Flamenco has been a type of workmanship, energy, and mood for a long time in the Spanish culture. Starting in Andalucia, this suggestive move has caught the customary quintessence as legends get went down through quick arm developments and smooth hip influencing. During that time this exceptional move has changed from a crude, basic narrating structure to an arousing, complex move style. Getting from the rovers, Moorish, Andalusians, and Jews, the Flamenco is incredibly culture situated. Because of these various societies adding to the move, it has an exceptional style and artistic expression. Through provocative developments and quick arm motions, the artists of the Flamenco can recount to a story went down from ages. The significance of the Flamenco move roots from inside a blend of societies that consolidated as craftsmanship, development, and music. Flamenco move, or baile, is a dancer’s outward articulation of his/her most significant feelings. The move isn’t thought about a specialized exhibition, yet progressively an approach to communicate duende, an energy or feeling felt in flamenco. Flamenco has numerous qualities that make up its transformative appeal. There are 4 fundamental sorts of flamenco styles. The first is Jondo/grande, which is the profound significant flamenco. This sort is the â€Å"serious† style and is frequently contrasted with Blues music. It is an extremely interpretive style of move, and is as a rule one of the hardest to decipher. With its serious duende and profound musical developments, Jondo isn't tied in with acing method, yet acing the dancer’s feelings. Another sort of Flamenco, which is less extraordinary, is Flamenco intermedio. This is only a less troublesome variant than flamenco Jondo, and the developments are increasingly quick and straightforward. It can have an oriental cast to the music, and is a less significant importance than Flamenco Jondo. Flamenco chico, is the lightest of these three. It is a move about lighter, progressively relatable subjects, for example, love, funniness, and satisfaction. The tango is a type of chico Flamenco, just as alegrias and bulerias. It has increasingly erotic yet quick developments, and boisterous yelling and stepping. The last sort is a progressively various structure. Famous Flamenco is a blend of each of the three kinds of Flamenco, and is the least unadulterated structure. This move is perceived as the corporate greed structure, and has scarcely any enthusiastic contribution inside the developments. This Flamenco is for crowds who go to see a move appear, without requiring the enthusiastic connection included. Every one of the four of these Flamenco styles represents exactly how socially interesting the flamenco move truly is, and how sincerely contributing it can turn into. So as to turn into an expert Flamenco artist, the artists need to pick the corporate greed style course or the passionate flamenco styles; jondo, intermedio, or chico. Artists are called bailores or bailoras. In the event that the bailores pick the business course, they are giving up unadulterated feeling and craftsmanship for more cash. Different artists, who feel a loyaltly to the unadulterated type of move and passing on enthusiasm through this move, will pick between the staying three styles and have an increasingly masterful profession. These moves dive profound into the passionate soul. Utilizing arms, hands, fingers, shoulders, and hips the female artists pass on their passionate overflow through the bending, streaming developments of their bodies. The men, then again, have less development with their bodies, yet rather complement the woman’s developments by their nearness and watchful eye on the woman’s eyes and body the whole move. A couple-move for the most part passes on typically an account of affection or shock. The lady can communicate her affection, energy, and certainty, while the man takes a gander at her, reflecting her developments with manliness and possessiveness. The two together make an exceptionally solid, close picture in which the crowd can feel the association just as the story between them. One of the most well known Flamenco artists in history is Carmen Amaya. She was considered â€Å"the most prominent Spanish wanderer artist of her generation† with outrageous energy and a searing character. Amaya began moving when she was five years of age, joined by her dad on the guitar. .u515ab3675b4566b2090ba7e56049bbe7 , .u515ab3675b4566b2090ba7e56049bbe7 .postImageUrl , .u515ab3675b4566b2090ba7e56049bbe7 .focused content zone { min-tallness: 80px; position: relative; } .u515ab3675b4566b2090ba7e56049bbe7 , .u515ab3675b4566b2090ba7e56049bbe7:hover , .u515ab3675b4566b2090ba7e56049bbe7:visited , .u515ab3675b4566b2090ba7e56049bbe7:active { border:0!important; } .u515ab3675b4566b2090ba7e56049bbe7 .clearfix:after { content: ; show: table; clear: both; } .u515ab3675b4566b2090ba7e56049bbe7 { show: square; change: foundation shading 250ms; webkit-progress: foundation shading 250ms; width: 100%; murkiness: 1; progress: obscurity 250ms; webkit-progress: darkness 250ms; foundation shading: #95A5A6; } .u515ab3675b4566b2090ba7e56049bbe7:active , .u515ab3675b4566b2090ba7e56049bbe7:hover { haziness: 1; change: mistiness 250ms; webkit-change: darkness 250ms; foundation shading: #2C3E50; } .u515ab3675b4566b2090ba7e56049bbe7 .focused content zone { width: 100%; position: relative; } .u515ab3675b4566b2090ba7e56049bbe7 .ctaText { outskirt base: 0 strong #fff; shading: #2980B9; text dimension: 16px; textual style weight: intense; edge: 0; cushioning: 0; content design: underline; } .u515ab3675b4566b2090ba7e56049bbe7 .postTitle { shading: #FFFFFF; text dimension: 16px; textual style weight: 600; edge: 0; cushioning: 0; width: 100%; } .u515ab3675b4566b2090ba7e56049bbe7 .ctaButton { foundation shading: #7F8C8D!important; shading: #2980B9; fringe: none; outskirt sweep: 3px; box-shadow: none; text dimension: 14px; textual style weight: striking; line-stature: 26px; moz-fringe range: 3px; content adjust: focus; content enhancement: none; content shadow: none; width: 80px; min-tallness: 80px; foundation: url(https://artscolumbia.org/wp-content/modules/intelly-related-posts/resources/pictures/straightforward arrow.png)no-rehash; position: outright; right: 0; top: 0; } .u515ab3675b4566b2090ba7e56049bbe7:hover .ctaButton { foundation shading: #34495E!important; } .u515ab36 75b4566b2090ba7e56049bbe7 .focused content { show: table; stature: 80px; cushioning left: 18px; top: 0; } .u515ab3675b4566b2090ba7e56049bbe7-content { show: table-cell; edge: 0; cushioning: 0; cushioning right: 108px; position: relative; vertical-adjust: center; width: 100%; } .u515ab3675b4566b2090ba7e56049bbe7:after { content: ; show: square; clear: both; } READ: The Indians were the principle focal point of the historical backdrop of EssayShe would move before waterfront bars in Barcelona, and not long after moved her first Flamenco in Granada. One of Amaya’s exhibitions had even entranced a man named Sabicas, who before long turned into a well known Flamenco guitarist that went with her while she moved. Together they recorded Queen of the Gypsies and Flamenco! Amaya moved one of her first huge exhibitions in front of an audience in Paris, in 1929, close to Spanish artist Raquel Meller. After this she was offered to move in Buenos Aires, and it was there that a performance center was named after her for her astounding moving abilities. She was so exceptionally lauded, that S. Hurok marked her and carried her to New York City. In 1936 she guaranteed her habitation in the United States and surprised it. Acting in a few movies, including Romeo and Juliet, and Los Tarantos, all which were exceptionally perceived in box workplaces. She likewise acted in the white house for Franklin Roosevelt in 1944, and Harry S. Truman in 1953. Amaya drove the pathway for female entertainers, motivating numerous to hit the dance floor with certainty and enthusiasm from the spirit. An exceptionally popular male artist, who spread the intrigue of manly flamenco moving from the beginning of time, was Vicente Escudero. Past to World War II, Vicente’s shows were effective. He was notable for his starkness and his certain male articulation, which landed him in films also. Together men and female since the beginning molded this move to become something one of a kind. In spite of the fact that there are just 4 kinds of this move, each man and lady communicates this move from their own one of a kind crude feeling, making each move routine exceptional and not at all like some other sort of move. People, similar to their moving in the Flamenco, share totally different outfits. The ladies, who are known for their enthusiastic yield and crude articulation, wear long dresses with layered, bright skirts. These skirts are called bata de cola, and they customarily gauged 10 pounds. As the ages passed, the skirt got lighter because of increasingly quick developments. The ladies for the most part additionally wear a mantan, which is a vivid, bordered shawl around their hold on to emphasize their hip developments. The men, similar to their manly, basic developments in the move, wear dark fitted jeans and a generally white top with a dark little coat or vest. Both the people wear shoes with nails penetrated in the heels so when they step, the commotion can be much stronger and emotional. Fans and castanets are props that can likewise add to the emotional impact of the move. The outfits embody the beautiful, outlandish subject of the Flamenco move and it’s artists. The Flamenco move is an extremely differing, interesting move that has numerous societies included. Gone down from ages, what one was a basic move loaded with developments and stepping, advanced into a delightful, enthusiastic narrating opportunity in which artists put fourth their deepest emotions. The Flamenco has been an enthusiastic outlet for artists and artists. It isn't just a move, however a fine art, a commercialistic fascination, a story, and an energy. Every one of these attributes sum up what the flamenco intends to many. What can be a move can likewise be an outflow of a romantic tale, a tragedy, or simply some carefree silliness. Flamenco is a break for both the crowd and the artists. With the quick hand developments and sensual h

The Sorting of the Frosh (MacGregor Style)

The Sorting of the Frosh (MacGregor Style) Because freshmen are beginning to trickle onto campus and moving into their temporary rooms, what better time to talk about housing?  Even though there are tens of other resources out there for the general process (notably the housing website) I’ll summarize the experience briefly. After being admitted to MIT, students are invited to CPW and get to explore all the different dorms on campus. If you officially decide to come here, you receive another wave of information including the i3 videos made by each individual dorm in an attempt to showcase their culture. You get to rank all the dorms by how much you want to live in them (1 through 16), and, after some housing algorithm magic, a couple months later you are assigned a dorm, a room, and possibly a roommate. Fast forward to today, when the last of the freshmen are moving onto campus for orientation into their temporary rooms. Everyone will get another opportunity to explore dorms through Residence Exploration (REX) events, and you can choose to stay in the dorm you are temped in or try and lottery into a different dorm through the First Year Residence Exchange (FYRE) by submitting an application online by Wednesday, August 27th at 2:00 am. FYRE, like the initial housing lottery, does not guarantee your first choice, but it does give you a chance to change dorms. And after everybody has been assigned to their final dorms (sometime Wednesday), it’s time for In-House/Floor Rush. Phew. Okay. Now to launch into specifics. I live in MacGregor (I think this website was updated last year?), and will only be able to talk about our In-House Rush process. If you’re interested in how other dorms work, I’m sure the other bloggers will be more than happy to write about it and/or answer an email! For starters, MacGregor is divided up into 9 entries: A, B, C, D, E (which are in the tower and considered the ‘highrise’), F, G, H, and J (no I because it’s imaginary, obviously, and considered the ‘lowrise’). After the final FYRE results are out, every freshman that ended up in MacGregor meets in the dining hall at around 7pm and get split up randomly into 10 different groups. Then, current students will lead your group to one of the entries or the housemaster’s suite (located in the lowrise between F and G), and it’s basically one huge meet and greet. You get a quick spiel about the entry from the GRT(s), and then get to talk to people in the entry about what it’s like to live there. In turn, all the upperclassmen are trying to get to know you, or as much as they can find out in a minute or so, before they pass you off to another upperclassman. And after all the freshmen visit all the entries, they rank the entries and the upperclassmen rank youâ€"data which are fe d through a MacGregor housing algorithm (favoring the freshman choices) and assign you to your final entry and room. While this system seems a bit harsh from both perspectives (OHMYGOSH how am I gonna represent myself well in 30 seconds and make myself seem cool/nice/whatever enough to live there?!?! OR jeezum crow why on earth would I try and pass judgment on someone I just met and give them a numerical ranking?!?!), it’s MacGregor’s approach to try and match its residents with the best living group possible. You see, MacGregor is technically one dorm but has VERY distinct living cultures/people/etc. between entries, almost to the point of being 9 different dorms lumped into one with residents that have a general appreciation for living alone but being part of a larger community.   Even within an entry, we live in suites (5 clusters of 6 rooms that share a kitchen, a small lounge, and a bathroom, plus one 2-person suite), and a lot of times people end up shuffling around over the years to move next door to their friends. So hey, there are plenty of opportunities to try and find your mini dysfunctional friend group, and don’t worry if it takes some moving around. Personally, I went through FYRE and switched entries during freshman-year IAP before I really found people that I love living with. (Or with whom I love living, for those of you who are concerned about stranded prepositions). I don’t want to delve into specifics about entry personalities, since it’s not my place to speak about living spaces that I haven’t experienced. If you do have any questions about B-Entry, though, feel free to ask! Or stop by and visit if you’re on campusâ€"I should be around most evenings in our main lounge or nearby. Happy housing! Post Tagged #MacGregor House

The Wrath of the Big Nurse in One Flew Over the Cuckoos Nest

Throughout the mid-twentieth century, America withstood a period of revolutions as younger generations started to challenge society’s standards and beliefs. One Flew Over the Cuckoo’s Nest takes place during the end of the 1950s and in the midst of the Civil Rights Movement, a time when many citizens began to challenge conformity. This novel was set among patients and workers of a mental institution. The mental institution is designed to cure patients who are deemed â€Å"insane† as a result of lack of submission within society. However, the institution is controlled by society and operates in the same manner as the Outside world. Although the facade of the mental institution makes it appear to be successful through major advancements, the†¦show more content†¦Just as the rest of society, the Public Relations man has a tunnel-vision perspective of the hospital; they shine the limelight on the few positives of the hospital and block out the corrupt aspect s. Inside the hospital, conformity is not an option unless patients want to face the wrath of the Big Nurse and her machines. Big Nurse operates the ward on a strict schedule and ultimately sets out to achieve submissiveness by any means necessary. â€Å"Ellis is Chronic came in an Acute and got fouled up bad when they overloaded him in that filthy brain-murdering room that the black boys call the ‘Shock Shop,† (16). â€Å"A cheery atmosphere† is the exact opposite of what citizens would juxtapose with a â€Å"brain-murdering† machine. Yet, strangely enough, the inhumane treatment such as what Ellis endured goes entirely disregarded by the Public Relations man in order to maintain a strong reputation. The corrupt values of society lead the Big Nurse and all of her patients to believe that the only way to succeed is to become a robotic copy rather than being an individual. â€Å"The Big Nurse tends to get real put out if something keeps her outfit from run ning like a smooth, accurate, precision-made machine,† (28). Through the concreteShow MoreRelatedCharacter Analysis of Mcmurphy972 Words   |  4 PagesOne Flew Over The Cuckoo’s Nest The novel, â€Å"One Flew Over The Cuckoo’s Nest,† by Ken Kesey illustrates society on a small scale. The story, narrated by Chief, a patient, starts in a mental ward that is run by Big Nurse Ratched. The policy is the law and no one can change it, only abide by it. The patients are being oppressed by Nurse Ratched, though they don’t realize it until McMurphy shows up. The patients do as Nurse Ratched says because they fear her wrath. Throughout the novel, the characterRead More Weakening the Combine in One Flew Over the Cuckoos Nest Essay1233 Words   |  5 PagesWeakening the Combine in One Flew Over the Cuckoos Nest When norms of society are unfair and seem set in stone, rebellion is bound to occur, ultimately bringing about change in the community. Ken Keseys One Flew Over the Cuckoos Nest demonstrates the conflict of individuals who have to survive in an environment where they are pressured to cooperate. The hospitals atmosphere suppresses the patients individuality through authority figures that mold the patients into their visions of perfection

Understanding the French Expression La Vache !

The familiar French exclamation  la  vache  !  is a mild oath, used to express any moderate-to-medium reaction such as surprise, indignation, or admiration. Expression: La vache ! Pronunciation: [la vahsh] Meaning: holy cow! wow! damn! Literal translation: the cow Register: familiar Examples La vache, tu arrives tà ´t  !Holy cow, youre early!La vache  ! Quest-ce que tu as fait  ? Damnit, what have you done!?La vache, jai trouvà © 100 euros  !Wow, I found 100 euros! Variations oh la vache  !ah la vache  ! Similar Expressions Negative reaction: oh là   là  Ã‚  !  or  sacrebleuPositive reaction: chouette  ! or gà ©nial  !Neutral reaction: ah bon

Mats Ek Carmen Free Essays

string(86) " academic discourse as the spirit of Spain is personified in the character of Carmen\." This essay will analyze and discuss one of Europe’s most creative and influential dance-makers, the Swedish dancer and choreographer Mats Ek; acclaimed for the theatricality and immediacy of his work while his contribution and development through the dance field with the main focus on his revision of the classical ballet stories. It will also discuss one of his major works Carmen and relate it with the original one. Mats Ek is a prominent and controversial figure of the contemporary dance. We will write a custom essay sample on Mats Ek Carmen or any similar topic only for you Order Now He has his own choreographic style and his work in contemporary dance choreography is contested. He was born in 1945. Eks mother, and his big influence, was the famous dancer and choreographer Birgit Cullberg, the founder of the world wide recognized, Cullberg Ballet Company. As said before, his mother was a huge influence for Ek. Therefore one can see that both, Mats Ek and Birgit Cullberg, choreographic style has a lot of same characteristics such as the attention of psychological characterization, the sensitive portrayal of humans feelings and the humorous episodes. In performance we see a fantasy world so unwaveringly strange and characters so imperiously dysfunctional we’re genuinely compelled†¦ Ek may ask his dancers to go to some very odd places but the Cullberg Ballet follows him with ardent alacrity† (Judith Mackrell, the Guardian. ) In 1974–5, Ek was a member of the Deutsche Oper am Rhein, Dusseldorf, and then made his choreographic debut in 1976 wi th The Officer’s Servant, for the Cullberg Ballet, the first of many of his works formed on them. In 1980 he became the artistic director of the Ballet Cullberg and a member of the Nederland’s Dance Theatre. He also worked and created pieces with many great dance companies. Mats Ek in well known for his revisionist versions of the classic ballets. He has also created his own work and most of the time his pieces have to do a lot with humor. However in reworking ballet classics, Ek likes to keep the characters alive so as to always provide an inner emotion to the characters emotions and contrasts. The characters in his pieces,in contrast to the classic ones, have an emotional world of much more intense than usually and the relationship between them has a greater depth. Although he is revising the original pieces, he never forgets to stay true to the original context of the work and as far as the music is concerned he always uses the original one with very slight changes only to suit the new dramatic structure. Mats Eks key word, is clarity, despite the fact that he aims for clarity, this does not imply that he also uses simplicity in his pieces. â€Å"I was never interested in keeping to the classical traditions as such, What I want to explore are the underlying fairy tales that convey fundamental human issues love, deceit, pain, goodness. The classics have become cliches, and we have forgotten how they came to be and what they imply. We know them so well; they cease to have meaning for our time. † (Mats Ek) Mats Ek is very often labeled that he relates his choreographies with the politics of the time that the choreographies are being made. This is not however right because none of Mr. Eks choreographies can be regarded as a political manifesto. In his pieces, the strong images and the dramatic situations will occasionally lead into humorous episodes. Humor, is one of Eks main characteristics throughout his pieces and as mentioned previously in the report so is his mother’s. By using humor in his dances, this does not mean that the pieces lose their tension. Since Mats Ek also studied theatre, most of the time his creations are a lot more dramatic than usual and this can be detected in every one of his pieces (Fifty Contemporary Choreographers, Pages 144-146). â€Å"Ek has a vivid theatricality and gift for genuine surprises†¦ his theatricality is matched by a full-out dance language that merges the sophisticated with the primitive. I became aware of just how much meaning Ek can compress into his pieces† (Nadine Meisner, the Independent). Ek’s style has become distinctive for its imaginative interpretations of storylines, in combination with a lyrical approach which transfers through movement the underlying emotions and feelings rather than just the narrative detail. His choreographic style and vocabulary is mainly from his ballet training, his relationship and dance experience with his mother and his collaboration with the Nederland Dance Theatre. Although Ek has rejected the conventional codes of classic ballet, it is clear in his pieces the he uses a lot of ballet technique. This can be found within the jumps, turns and footwork that he uses within his movement vocabulary. At the same time though, Ek uses a lot of contemporary movements such as drop of the pelvis, a lot of floor work and body weight. He manages to relate both styles with a unique and wonderful way in order for everything to look good and lovely. (Fifty Contemporary Choreographers, Pages 147-148) â€Å" Ek has done a great deal to enlarge how women are portrayed on stage, especially in the ballet classics. His â€Å"Giselle† and â€Å"Carmen† offer intense reimagining’s of  their heroines†. (Keeping dance alive: a Mats Eks portrait. Claudia La Rocco, TV classics) Let’s now move on to one of his most famous and great works, Carmen. Originally, Carmen was first performed in Paris on 3 March, 1875. Written by Georges Bizet. The story is about a temptress, Carmen, and her lover Don Jose who sacrifices his devoted lady, Micaela, to pursue his manly passions for Carmen. Jose, angry by her sexual behavior and blinded by his own rage, kills Carmen, thus bringing upon himself his own devastation resulting in death. The opera is set in Spain and the story line is more complex than the original novel by Prosper Merimee. The character of Carmen was too offensive for family theatre. Although Carmen appeals to popular culture, the opera still attracts academic discourse as the spirit of Spain is personified in the character of Carmen. You read "Mats Ek Carmen" in category "Papers" It is clear that in order for Carmen to be represented as a whore, she had to be black. That suited the beliefs of that time being, that the color of her skin will make her bad and evil. Moreover the color of her skin makes her also more exotic than any European and this will make her more desirable to the male audience and maybe more hated by women. In 1999 Mats Ek revised the Spanish classic Carmen to audiences all over the world. This version of Carmen is currently in the repertoire of the Royal Ballet, Cullberg Ballet, Lyon Opera Ballet, National Theatre, Ballet of Prague and the Polish National Opera Ballet. Ek in his pieces in general manages to show each character’s psychological aspect in depth. In Carmen, one can see that he presents Carmen as this woman who is complicated and has a complex behavior. That is what he usually does in his pieces, he presents all the women as very complicated and sexual creatures. In his choreography Ek is trying to keep the original features of the opera; but in order to attract more modern audiences he makes some changes so that the audience, in that time being, will be able to relate with the characters (Fifty Contemporary Choreographers, Pages 144-145). For example, the sexual behavior of Carmen in the piece is very important for the story line. However in the original piece it was not that clear. In Mats Ek version though, the sexuality is clearer and more understanding for the audience. Generally Eks version explores the actual human behavior as it is in real life. He pushes the male-female role reversal between the sexually free gypsy girl and the soldier Don Jose beyond safe boundaries, substituting a cigar for the familiar rose between Carmen’s teeth, turning her into one of the boys( Cigar Crossed Lovers, David Bogoslaw, 1999). That cigar shows that she has a masculine soul in a woman’s body. (Carmen, 2010)   Carmen is a symbol of freedom and anarchy and can have as much freedom as she wants. In contrast, Jose is a traditional feminine role, a weak character that wants peace and a marriage, but cannot control his passions for Carmen in spite that he is going to marry Micaela. Eks Carmen begins and ends with a scene of a man, Jose, facing a firing squad and recalling in the last moments before death his tempestuous liaison with the gypsy girl who refused to be tamed. The dance then retells the story of the progressing love affair between Carmen and Jose. Eks choreographing style in this performance is a combination of both, ballet and modern dance. As they first dance together, Carmen and Jose, is like she is slowly explaining to him, throughout the dance, how she is and how she likes to live her life. He also tries to show her that he is a military man with a lot of discipline. At the beginning of the piece their movements are more aggressive, but as soon as they fell in love their movements become more soft and gentle. This change of the movement shows how they started to feel comfortable with each other as time passed (Janet Adshead, 1988, Dance Analysis: Theory and practice, Pages: 72-75). Carmen’s movement style initially is aggressive and masculine while it is becoming more beautiful as the story evolves. However, the fact that Jose is carrying the rose and Carmen the cigar, this shows that she is still the â€Å"man† in their relationship (As Willful As Ever And Puffing On a Cigar Anna Kisselgoff, The New York Times. 1999). Another example of how the movement shows the emotional world and the relationship between the characters is when there is a trio between Carmen, Jose and Escamillo, who is the reason why Carmen does not love Jose anymore. He is the new love of her heart and that makes Jose angry. In the trio the two men’s jealousy is extremely obvious throughout the dancing movement. There is imitation and repetition between each ones movement and the fact that they keep a certain distance between one another, shows the jealousy between them. At the end of the trio, when Carmen is going to strike Jose’s face, it becomes clear that she does not love him anymore. More over there is Michaela’s character which is also made clear through her movements. At the beginning she is dancing in a shy way but after she gets really angry with Jose and Carmen, thus her way of movement changes. She begins to be more aggressive and dynamic in terms of movement vocabulary and that is a reflection of her emotional world. The music in Eks choreography, as mentioned above, is faithful to the original one by French composer  Georges Bizet. The only difference is that is being used for different purposes in the story. In the original opera the music is a guide for the progress of the plot. In Mats Ek piece however, the music is not really needed to explain the plot or the relationship between the characters. It is there to create a mood in the piece. One thing that is really different from the original opera, in terms of sounds, is that in Mats Ek piece the dancers are sometimes talking and shouting. This adds a dynamic touch to the whole piece. Shouting is also more realistic than just singing opera. Carmen is wearing the same color of costume in both versions and almost in every version that has been created in the world. Red is the color of passion and sexuality. Thus, when the audience first sees Carmen, immediately understands her character and that she is a temptress. Micaela, in contrast to Carmen, wears blue, a color that symbolizes her innocence and that she is fragile. The street ladies costumes in Eks piece show their character and their Spanish ethnicity in contradiction to the original opera costumes that are showing the class and there social status. Ek uses very colorful, shiny and ruffled dresses that are a throwback to the 80s, in order to show that all women have sexuality. The costumes of the men are very simple and dark, just to show their discipline, as they are military men. The designs and sets in Eks Carmen are cartoonish and with playful colors. In terms of light, he tries to keep it dark. There is a metallic backdrop and panels which are suggestive of Spanish fans, as well as a large exercise ball downstage. In Mats Ek version of Carmen, there is a deeper reflection of all the characters emotional world. Carmen is clearly a symbol of Freedom and anarchy with an even more complex nature than the one of the classic story. That is what Mats Ek does anyway. Except from changing the classics into more modern and humorous editions, the thing that makes him special is how he deals with the inner world of each character. He manages to present each character, throughout the dance, in a very intense way so that the audience can understand for sure the characters personality. However he keeps the original story as it is, and he aims to show the same meaning as the original piece while at the same time he tries to explore a bit more the relationship between the characters. All of the above lead to Ek’s success when revising the classic stories. He remains faithful to the original story but however he does it not only with a more modern vocabulary but also with a more modern approach to suit the present. â€Å"Much like Bizet’s opera of the same name, Mr. Ek’s version proves that a grim tale of love and death can be downright entertaining† (As Willful As Ever And Puffing On a Cigar Anna Kisselgoff, The New York Times. 999). It seems that Carmen will continue to appeal the audiences for years to come. Mats Ek Carmen will also continue to be popular to the audience because of the emotional and dramatic state of Mr. Eks pieces. He is a choreographer that distant himself from anybody else in the dance field. He is very original and s uccessful with his choreographies and it is no wonder that he is so famous and he has achieved so much. He is an extremely talented choreographer with a lot of theatrical ideas and that is what makes him so special throughout all these years! Bibliography: Adshead, J. 1988. Dance analysis theory and practice. London: Dance books Bremser M. and Sanders L. Fifty Contemporary Choreographers. Second Edition. 2011. Roudledge Au S. Ballet and Modern dance. 1998. Thames and Hudson world of Art. Articles: As Willful As Ever And Puffing On a Cigar Anna Kisselgoff, The New York Times. 1999 Websites: Linda. 2010. Carmen. http://www. theballetbag. com Peter Grahame Woolf. 1996. Mat’s Ek Carmen. http://www. musicweb-international. com Claudia La Rocco. Keeping dance alive: A Mat’s Ek Portrait. http://www. classicaltv. com How to cite Mats Ek Carmen, Papers

Impacts of Housing on the Health Hazards- myassignmenthelp.com

Question: Discuss about theImpacts of Housing on the Health Hazards of the Elderly. Answer: Introduction Developed countries experience growth in aging population and a class of seniors whose health deteriorates with their increasing age. Increase in age calls typically for alterations in health and social needs, for instance, the restructuring of the houses inhabited by the senior people is fundamental for sustainable health conditions and fostering behaviors that are favorable to health. It is for this reason and others that most governments have adopted housing policies that would ensure the safety of this class of people who perhaps have been attributed to the growth of the developed countries. The enhancement of the safety of houses may assist in compensation for the limitations and reduction in the functional abilities and assist in the improvement of the health status of the elderly. The objective of this paper is to provide the specific housing impacts on the health of the elderly in Western Australia. Research question What are the effects of housing on the health hazards of the elderly? Gibson, M., Petticrew, M., Bambra, C., Sowden, A. J., Wright, K. E., Whitehead, M. (2011). Housing and health inequalities: a synthesis of systematic reviews of interventions aimed at different pathways linking housing and health.Health place,17(1), 175-184. REterived from https://www.sciencedirect.com/science/article/pii/S1353829210001486 Gibson et al. analyses the impacts of regional interventions on the health of the seniors based on existing literature. The authors acknowledge that housing and neighborhood conditions are significant factors that contribute to health through three primary ways namely, conditions of internal housing, features of the area, and housing tenure. The outcomes of the study show that there is a close link for interventions that objectively enhance the area features and reliable evidence for heat and strength adeptness involvements aimed at the susceptible adults. On the contrary, the study did not explicitly ascertain the effects of interventions related to area-level internal housing on health. Additionally, there was no review of interventions that focused on changing the housing tenure as per the study period. The outcomes of this study will be critical in providing a background of studies on this topic under the literature review. Hwang, E., Cummings, L., Sixsmith, A., Sixsmith, J. (2011). Impacts of home modifications on aging-in-place.Journal of Housing for the Elderly,25(3), 246-257. Retrieved from file:///C:/Users/Admin/Downloads/Homemodificationsarticle.pdf Hwang et al. investigated the relation between alterations in the home and aging in place. The research was based on the UK sample population of 376 old people. The hypothesis tested was to ascertain whether the elders who had modified their homes had stayed in them for the much more extended period compared to those in unmodified houses. The statistical features of the participants (matrimonial status, age, and sex), status of well-being (general health status and bodily strength), and features of the house ( type of housing, house alterations) were selected as the independent variables whereas aging in place determined by the time period of occupancy in the present housing was used as the dependent variable. The authors found out that there is a strong association between house alternations and aging in place, and most of the elderly preferred to live in their modified homes and a supportive environment. The findings of this research will be significant in the study for they will b e used in underscoring the significance of home modifications and aging in place under the literature review section. Somrongthong, R., Dullyaperadis, S., Wulff, A. L., Ward, P. R. (2014). The effects of housing on health and health risks in an aging population: a qualitative study in rural Thailand.BioMed research international,2014. Retrieved from https://downloads.hindawi.com/journals/bmri/2014/289731.pdf Somrongthong et al. examine the effect and living practice of housing the old folk in countryside Thailand. The authors adopt a mixed approach with the use of interviews and health records for thirteen households to observe the physical inadequacy of housing. The findings demonstrate that the design of the housing was not suitable for accommodating the health care equipment of the elderly and as a result, several accidents were experienced. The lighting of most of the houses was also inadequate, and the quality of the floor and furniture were a source of health hazards. The authors indicate that even the heights of most of the house equipment were not designed in favor of the old people. This study will be significant in ascertaining the housing situation among the seniors and the corresponding health. Tsai, J., Mares, A. S., Rosenheck, R. A. (2012). Does housing chronically homeless adults lead to social integration?.Psychiatric Services,63(5), 427-434. Retrieved from https://ps.psychiatryonline.org/doi/pdf/10.1176/appi.ps.201100047 Tsai et al. examine if there is change in social integration before and after housing support. The scholars examine homeless adults with chronic mental disorders who were participants in the joint initiative to bring homelessness to an end. The measurement of social integration was perceived by the scholars as a complex paradigm of variables in six elements namely, occupation, community involvement, housing, government activity, social assistance and spiritual faith. The variations in the measures of the components and their association with each other were ascertained twice a year before and after joining the housing program. The study revealed significant improvement in the chronically homeless adults after being supported by the housing; however, they remained isolated socially and had minimal improvement in other aspects of social integration. This study will be essential in the research under the literature review while underscoring the factors to consider while providing housin g to the older people. Wahl, H. W., Iwarsson, S., Oswald, F. (2012). Aging well and the environment: Toward an integrative model and research agenda for the future.The Gerontologist,52(3), 306-316. https://academic.oup.com/gerontologist/article/52/3/306/582623 Wahl, Iwarsson, Oswald aims at filling the knowledge gap in the impacts of the physical environment on aging well by seeking to ascertain how the elderly associated with their environment. The authors suggest a new model to this end under the inspiration of M. Powell research on aging and environment. The study adopts four approaches to attain its study objective. First, the integration of significant aspects of the environment and aging studies, second, the establishment of networks between ecological, traditional theories on aging and lifespan, third, appreciation of the conventional group related changes that affect the associations of the old adults with their environment, and lastly the deliberations on the study implications. The resultant model is founded on the concept of the relation of the environment to a sense of belonging. The findings of this review will be used to prove that the study on the association between the seniors and their surrounding still needs further res earch. Wiles, J. L., Leibing, A., Guberman, N., Reeve, J., Allen, R. E. (2012). The meaning of aging in place to older people.The gerontologist,52(3), 357-366. Retrieved from https://academic.oup.com/gerontologist/article-abstract/52/3/357/580905 The authors consider the notion of aging in place in relation to the functional, figurative, and emotional association and significance of housing, neighbors, and the society. The study examines how the elderly comprehend the implication of the phrase aging in place which is commonly used in aging policy and investigation but not explored understood by the seniors themselves. The researchers studied two equal-sized communities in New Zealand with a particular focus on older people aged between 56 to 92 years. They explored the perception of the older people on the ideal place to grow older, and the thematic and descriptive investigations presented. Wiles et al. found out that the senior adults have preferences on the spot to age in and the way to do it. Older adults associated aging in place to a feeling of belonging through individuality and freedom. The outcomes of this study will be significant in ascertaining the preference of the elderly in housing and the corresponding effect o n their comfort and stay. References Gibson, M., Petticrew, M., Bambra, C., Sowden, A. J., Wright, K. E., Whitehead, M. (2011). Housing and health inequalities: a synthesis of systematic reviews of interventions aimed at different pathways linking housing and health.Health place,17(1), 175-184. REterived from https://www.sciencedirect.com/science/article/pii/S1353829210001486 Hwang, E., Cummings, L., Sixsmith, A., Sixsmith, J. (2011). Impacts of home modifications on aging-in-place.Journal of Housing for the Elderly,25(3), 246-257. Retrieved from file:///C:/Users/Admin/Downloads/Homemodificationsarticle.pdf Somrongthong, R., Dullyaperadis, S., Wulff, A. L., Ward, P. R. (2014). The effects of housing on health and health risks in an aging population: a qualitative study in rural Thailand.BioMed research international,2014. Retrieved from https://downloads.hindawi.com/journals/bmri/2014/289731.pdf Tsai, J., Mares, A. S., Rosenheck, R. A. (2012). Does housing chronically homeless adults lead to social integration?.Psychiatric Services,63(5), 427-434. Retrieved from https://ps.psychiatryonline.org/doi/pdf/10.1176/appi.ps.201100047 Wahl, H. W., Iwarsson, S., Oswald, F. (2012). Aging well and the environment: Toward an integrative model and research agenda for the future.The Gerontologist,52(3), 306-316. https://academic.oup.com/gerontologist/article/52/3/306/582623 Wiles, J. L., Leibing, A., Guberman, N., Reeve, J., Allen, R. E. (2012). The meaning of aging in place to older people.The gerontologist,52(3), 357-366. Retrieved from https://academic.oup.com/gerontologist/article-abstract/52/3/357/580905