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Inthe introductory part of the two choreographies, D-Man in the Watersand Twyla Tharp rs’ ‘Moving Out’ exhibit commonintroductory movies characterized with slow moves as dictated by themusic rhythm. However, as one keeps on listening to the twochoreographies, profound differences between becomes conspicuous. For instance, D-Man in the Waters choreography piece has extensivelyadopted the art of making systematic patterns as all their moves areconstrained to the ground. On the other hand, ‘moving out’choreography piece has mastered change in their artistic dance movescontrolled by the nature of music. It is notable that ‘moving out’choreography piece moves start from being slow to becoming vigorousas the music rhythm changes. Someone watching D-Man in the Waterswill perceives how life changes from one state to another in a shorttime, while on watching ‘Moving Out’ one can relate it withaccelerated life changes. Therefore, the two choreography pieces havemade use of pattern formation and energy utilization.

D-Manin the Waters choreography piece has capitalized on the art ofpattern making in a dance from the introduction of the dance. In mostparts of the dance, the dancers are seen moving in front of otherdancers, this has enabled them to create rhythmical moves achievingthe art of creating patterns in the dance. A moment that stood out inthe D-Man in the Waters choreography is when one male dancer laid onhis back and acted as if he was swimming in a backstroke style.Impressively, the dancers shifted from moving in front of one anotherand partnered gazing into each eye, the scene created draws theaudience to move with the dance flow. From looking how the dancersare moving all over the stage observing stage space and creation offun patterns illustrate how one’s life can be fun by doing simplethings in life.

Inthe ‘Moving Out’ choreography the concept of energy utilizationis profound, judging from the way the dancers are contorting theirmoves intensity as controlled by changes in the beats of thebackground music it is evident that they are maintaining more energytowards the end of the dance. During the performance, male dancerstook one female, and rotated her like a wagon wheel, while theirmoves were conforming to the music. The second moment of the dancewas when a male and a female dance posed as if they were about tokiss each other romantically, this was a captivating moment. Theintensive energy use in the life propagates to the resilience that weneed to maintain since life is bound to change.

InD-Man in the Water dance, the musical rhythm accompanying the dancedoes not change, it is consistent from the start to the end, and thishas made the flow of their pattern formation easy to relate toaesthetic values. On the other hand, ‘Moving Out’ dance, use ofdifferent changing lighting colors has helped to create furtherintensified romantic mood, further supported by the dancers’ energymoves from one end of the stage to the other.

Afteran intensive observation of the two dances, D-Man in the Waters and‘Moving Out’, as an observer, I have understood the role playedin dancer movement in communicating the message intended by thechoreographer. It is clear that in a dance space use is paramountbecause it will help the audience follow the dance story in the endcorrectly interpreting the intended message. Therefore, as anaudience, I need to keenly follow the dancers across all positions inthe dancing stage. The message incorporated in the dance moves is notalways clear to the audience, hence, the need to connect with thedancers.

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