Architecture and spaces influencing human being to socialize

Architecture and spaces influencing human being to socialize Sociology is the understanding of the human society, which this essay is forcing more towards the sociology among family members. Moving on into studies to explore the various solutions on how things around the context of a family can feed off each other. Things like spatial qualities that will affect the familys social interaction. Exploring into different avenues in the design contexts like the balances between the private and public spaces within a home to solve the issue of bonding and interaction. An in-dept analysis of a few different case studies, local and international will to help understand and broaden the perspective of the various practical techniques on how this few designers explore the spatial quality to prove the point that spatiality do plays a part in the social interaction among family members. Therefore the main objective is to express the point that sociology is the aim and the dream of reviving once more the closeness, warmness and most harmonious type of socia lization bond between family members. The main definition of sociology is a series of development; structure and a functioning of understanding the human society. Therefore from the understanding of the word, looking into the various possibility of the definition, expanding into sub issues that will lead back to sociology. One of them is social problem, problems that occur in society around us no matter being in a big or small society. The reason for this problem to occur is due to the fact that each individual member of a society in this case focusing more into the family circle group, that lives close enough together will have conflicts. It is virtually impossible to avoid having conflicts among close family member who are staying together in the same house. They do not always get along seamlessly as each individual has their own unique character. From this sector it is important to acknowledge that social problems will affect the social interaction within the family society. Hence social interaction is another possibi lity section that will lead back to sociology. The in-depth studies of the importance of social interaction will be illustrated in the next part of this essay. But in the mean time from these two various possible issues in sociology, conclusion can be made that sociology is the aim and the dream of reviving once more the closeness, warmness and most harmonious type of socialization bond between family members. From this conclusion further studies will be made to explore the various solution on how other things around the context of a family can feed off each other. Things like spatial qualities that will affect the familys social interaction. Exploring into different avenues in the design contexts like the balances between the private and public spaces within a home to solve the issue of bonding and interaction. Moving on further into the essay studies will be made on a few different case studies, local and international. These case studies will to help understand and broaden the pe rspective of the various practical techniques on how this few designers explore the spatial quality to prove the point that spatiality do plays a part in the social interaction among family members. Allowing the family to socialize without being intermitted. Theories will be presented to support the study of how spatiality is blend with sociology. Therefore this essay will elaborated the in-depth understanding of a few key points that will help achieve the main objective for a closeness, warmness and harmonious family lifestyle in a home. Sociology The term social interaction refers to particular forms of externalities, in which the actions of the family members affect an individuals preferences. Therefore, the observation of large differences in outcomes is the balance between the interpersonal dynamics and the home environment. It is critical to organize the effectiveness of interaction that happens among the family member. From this many of social interactions exhibit strategic complementarities, which occur when the marginal utility to one person of undertaking an action is increasing with the average amount of the action taken by one family member. Consequently, a change in fundamentals has a direct effect on behavior and an indirect effect of the same sign. The direct effect on behavior will change toward the direct change in fundamentals. Although the family is made up of a group of very like-mindful people, there are still certain ways to control the functionality of the family and the behaviors within them, which make individual family distinguishable from others. In the case the head of the family will of course be the father following with the mother second, as a partner they are to set a good example in their sociality among each other so that the childrens at home will also be influence by their action and behavior, sometime unknowingly. Therefore, the father as the head of the family is the one who keeps order by setting rules and enforcing on them. Hence if a family does not have the sociality quality in their values it will have a chain reaction in their behavior, leading the family to face more sociology problems causing their behavior to influence other society out there being in their working environment or their friends in schools. Social interaction can also seen in the way of which it is an action that will lead up to a reaction. It is not only a one-way traffic but it takes two parties to work holistically together to achieve the successful outcome. There are sustain hierarchy withi n the family society and each family member has his or her societal roles to play. There is some ideal issue that the family should study or know. They should distinguish between the understanding of a correlation of the individual characteristics within the family society, to the influences of the society that occur outside the boundaries of the home allow the family to recognize the key traits that from their own unique family society. Therefore, Bott (1957: 99) argues that the immediate social environment of urban families are best considered, not as the local area in which they live, but rather as the network of actual social relational maintain, regardless of whether these are confined to the local area or run beyond its boundaries. From this argument maintaining an active social interaction within the family help balance a healthy social relationship among individual family members. Hence is will also decrease the tension in the interaction of matters in their socialization b ring together a number of elements such as solidarity, commitment, mutuality and trust. By having this healthy social relationship, no boundaries will be generated, allowing them to have the two-way traffic of interaction. Another point that will help maintain this healthy social relationship is the physical spatial environment. Form the research that was made, physical spatial environment do play a part in determining the interaction with social space that will affect the humans social behaviors and the ability of a social individual to influence others. These spatial elements such as the buffer zones between the private and general space, surveillance within the family and shares the common pathways that affect the social interaction in the house. These buffer zones are flexible to change over the physical function such, as it can be a formal social interaction area or an informal one. On the other hand segregation of spaces can also be a part of a family that from this separation they will function better as a whole. There are some activities that individuals will be far more comfortable performing them in their own space. As Schelling [1978] demonstrated that when an individual can chose the location and the presence of these interactions. Results in segregation across spaces may occur, even in situation where the typical individual would be content to live in integrated space, which in this solution are their own individual rooms. Therefore, to my opinion a statement can be made that spatial quality does influence the social behaviors unknowingly. Design Behavior comes to mind as a recurrent theme in our interests, overlapping concerns such as the architecture expression and their complexity of the relationship that capital and generational change. Hence, it is an attempt to understand the patterns and influence of the transformation of behavior over time. Behavior could also be the central to a hypothesis, which is the understanding of the correlations between the human life, nature and the built environment. Each individual building can be viewed as a sentient creature, endowed with their own unique intelligence and a defining set of living characteristics. Analyzing the input from research, physical design does influence social interaction in a static way by some of these factors. Firstly, is the informal social factor, factor that focus on the social dynamic that is the relationship between individuals and individual in groups. Secondly, is the formal social factor, which is the management of communal spaces that allows interaction to occur. Thirdly, the personal factors that is the pro-community and the pro-socializing attitude with similar values and norms. Lastly, the physical design factors, which is the density of proximity. The division of spaces that has a buffering zone between the private and general spaces, the shared pathways is one for the factor that affects social interaction among family members. Another factor is the communal spaces that have the quality and accessibility to allow family member to come together as one to have common activities together with out feeling intimidated. Therefore, how the family members perceive and understand the physical environment can determine the frequency and quality of their social interaction. The psychosocial buffer zone between individuals and the physical environment plays an important role in determining how the interaction unfolds. The social interaction and the layout of space reciprocally influence each other. The plan is the generator that has order and willfulness; it also holds itself the essence of sensation. The mass and surfaces are elements by which architecture manifests itself. Therefore, the mass and surfaces are determined by the plan. The plan is at its basis. As Le Courbusier quote Without plan there can be neither grandeur of aim and expression, nor rhythm, nor mass, nor coherence. Therefore the plan is calls for the most active imagination and the critical discipline too. What determines everything is the plan as the among of interaction the family will achieve or the social problems that the family will face. Therefore, to make a plan is to determine the main objective and fix ideas. Looking at the Schroeder house for inspiration, it is a house that perfectly demonstrates how spaces could help bring family member together to share and have their social interaction bond. It is a house, which have the plan-less idea that has been a very powerful idea in the development of architecture since modernism. The transformable and plan-less idea allows a logical way of working whereby the members are either all having their private spaces of they are all gathered in to one common space. The study of the plan informed us that is can be achieved by simply having partitions, that can be moved in a manner such that the spaces could only make sense when every family member is having the same kind of privacy level. From this way of planning it will increase the social interaction among member in the family, as they are unknowingly focus to work and interact in a common space. The balance between the common spaces that is open incorporates the focus point of the main house. The expression of openness and closeness can also be achieved through the careful alignment of furniture with the help of openings and walls. Furniture acts as a jig, positioning the human body to react, while sharing the same space together. It supports and encourages social interaction by the arrangement in space to remove barriers between family members. It is also good to have the design element such as blurring the boundaries between the human life, nature and the built environment. Case Studies Local Looking all the back into history on the planning of the traditional kampong houses in Singapore, how they are layout as a community to maximum the social interaction among families living there. The kampong were layout in the way where they will have a common areas in which people gathered, mixed around and spend time with each other. Spaces flow into each other freely with few boundaries or obstructions. The kampong with no physical barriers allows a flexibility in accommodate two or more needs of extending when needed, which is not available in our modern housing estate today. Studying in-depth for the interior layout of a kampong enable us to see that the architecture plays with a lot of voids, opening and have an open plan with minimum partition. This self-drawn diagram is my analysis of a kampong house. The house can be broken down into three sectors. First sector acts as a transition space between the open public and private sectors. It is also the sector where the family will entertain their guests. The second sector will be the private area where all the private family activities happen. The living area is a common open area where family members are able to see the movement of each other. Lastly will the kitchen, the reason of having a bridge that separate the living area and the kitchen is because the kitchen is often used by the womans community as a space where they can chat and socialize therefore the bridge is there to set the boundaries for the public. The kitchen is also a semi-private area because there is a second entrance from the back to access to the house. From this analysis, we can see that the layout of a typical kampong house has a clear hierarchy system that segregates the public zone and the private livi ng area. We can adapt a few key points from this study, the hierarchy system and the open plan that they have. Moving on to the study of our modern HDB flats. HDB was first development to replace the kampong living style in February 1960. The reason for doing so was Singapore was facing an acute housing shortage at that period of time. Therefore, the government decided to build HDB units for the low-income group of people. Through the years residences had to adapt to the emphasis of the housing program, the shifted from quantity of housing to quantity of life. Studying the typical interior layout of a modern HDB allows me to understand better why family now a day space lesser social interaction time with each other. The reason is that the spaces within a house layout is clearly defined by solid walls which break the visual connect that is an important part that allows social interaction to happen. The percentage of the common area in the house is always lower than the percentage compared to the individual private space. But however, common corridor does exist in some HDB units but the functio n of it seems to just be a connector to the private spaces rather then a space where family members interact. Is there a problem with the size of the corridors, giving the prescription as just a path for walkway and not a space to interact? Comparing this two local case studies, the traditional kampong house to our modern HDB flats we can see that the quantity of living is different. As for the modern house, we have family members that are all separated from one another by walls, which discourage interaction and by not interacting family member will lose the healthy socialization values. Compared to the traditional kampong layout where they have an open living and common space where visualization are not broken among family members. International Case Studies The project for a brick country house done by Mies Van de Rohe in 1923 demonstrates the idea of using walls to divide the space but does not go as far as to divide them off into rooms. By doing this it suggests spatial divisions by setting up relationship with the site from within. On the other hand, his Barcelona Pavilion of 1929, uses walls as the element to set up views and suggest spaces but they are not dividing the space as the whole pavilion is open-air. Compared to the Schroder House that as built in 1924, by Gerrit Rietvield. Different method has been used to demonstrate the plan-less theory. In this case, all the main services are positioned on the perimeter of the house and next to them are retracted sliding partitions, which can be pulled out to divide the spaces into rooms. Such as the space acquires more possibilities, compared to when the screens are close, there is no one name to label the spaces. However, these walls provide only a certain amount of prescribed flexib ility. If these walls are completely independent of the structure, the moveable walls will become screens, which is essentially furniture. Therefore, western architecture has various ways and method to tackle the issue of social interaction. The freedom within the layout of the interior allows ways to alter to ones needs hence it is adaptable to the engender bonding between the occupants and the building through continuous physical involvement. By doing this the interaction level within the family can be adjustable to the function that is formed at anytime opening up the partition to allow each family member to remain the visual connect that will allow social interaction to happen. Not knowing focusing them to start a conversation as there is isnt any physical wall. Interestingly enough in Japan, the Japanese traditional house takes on an entirely different attitude to spatial division and living pattern. While planned as the same meaning as the Western architecture, walls do not. In a typical Japanese screened house, the rooms other than the service rooms have on one purpose. Within these the functions takes on the meaning of the activity that is performed and their functions can be changeable with the activities. Quoted from Nishihara explanation of the difference of the Western thinking compared to the Japanese thinking is the Western thinks in terms of function and makes his rooms accordingly, whereas the Japanese simply set up zones. In Japan, when it is time for dining, a portable table and food will be brought out; when its working time a writing desk will be taken out; and when it is time for bed, bedding that are typically stored in the cupboard will be unrolled and rolled back to be stored in the morning. Leaving the space to be purpos eless and multi-purpose at once. From these two case studies, we can see the how two different cultures approach the understanding of an open-less plan concept. Here is an illustration of the comparison diagram between the Japanese concept and the western concept. Image taken from, Works Cited Bibliography Work Cited http://www.helium.com/items/629105-family-values-the-importance-of-strong-family-bonds http://www.doccentre.org/docsweb/urban-issues/hawkers/hawkers13.htm http://www.sacred-texts.com/asia/sby/sby02.htm http://www.sageofasheville.com/primary_prevention.html http://www.fashioncentral.pk/living-lifestyle/home-garden/story-25-home-interior-decoration/ http://scienceblogs.com/framing-science/2007/11/au_students_debate_the_interne.php http://www.malaysiasite.nl/kampong.htm http://www.infed.org/community/community.htm http://www.sjsu.edu/people/thomas.leddy/courses/c2/s1/Le_Courbusier.doc

The Rainmaker by John Grisham :: The Rainmaker John Grisham

The Rainmaker by John Grisham    The world is full of great novels. From Sherlock Holmes to the three musketeers. As the years progress more novels are written and more money is made. John Grisham is a rising star in literature. His books have enticed readers and has given the people something good to read. What makes his books great is that they are so realistic. He applies his personal law and trial knowledge into the books he writes. What it is about ? It was his last semester of law school. Rudy Baylor was assigned to give free advice to a group of seniors. It is at that very time, and that very place, that Rudy encounters his first true clients. Dot and Buddy Black. They have been robbed by a powerful insurance company. A company with millions of dollars in assets. They have caused the suffering of a young man. They have ruined his chances to live by not issuing their coverage that they were obligated to give. Donny Ray, son of Dot and Buddy is dying of Lukemia, he is going to die, his chances for survival are over and it is a matter of months. Rudy does’nt realize the case that has fallen into his lap until phone calls are made. There is a great problem, however, Rudy is broke, he hasn’t even passed his bar exam yet. And will go head to head with one of America’s most experienced and accomplished defense attorney’s. From the beginning of the novel to the last word, Rudy is plagued with a series of mishaps and problems. When something looks bright the clouds come in and ruin the hope. Rudy is in Luck. As the big trial begins, he is given a judge that is definetly on his side and 12 jury members that think the same way that he does. After researching great benefit, the insurance company, Rudy discovers cover ups by the company. He also discovers Great Benefits harsh way in getting rid of their numerous mistakes. n How it relates to your audience The Trial Obviously Rudy is not stupid. He enters all the facts he has discovered and uses them to help solidify his p osition in the minds of the jurors As the trial goes on Rudy is given another problem. A beaten girl is discovered by Rudy at the hospital during his studying.

The Progression of the American Musical

The World Two great writers of American musical theatre, Richard Rodgers and Oscar Hammerstein II, had one common idea. They wanted to present to the American public a new, revolutionary musical that would stand out among the rest. They wanted to make an impact on the societies of the era. They wanted to be creative and do something that was considered rebellious. When they finally combined their ideas together they created an American masterpiece: Oklahoma!.This was the first Rodgers and Hammerstein collaboration, starting the most successful creative artnership in the history of American musical theatre. In the years before Oklahoma! was created, Broadway was dying. New and refreshing musicals were a rare occasion and when an artist tried to create something that he hoped his audience would like, he was sadly disappointed. Broadway was suffering from a lack of what it was revered for: astounding plays and musicals. Its time of glamour and glitz was almost forgotten, and was in need of being saved.That is why Oklahoma! is considered a rebirth of the American musical theatre at the time. It brought Broadway back to life, filling theatre seats with nthusiastic audiences who embraced the changes of this new theatre musical with open arms and made it a legend. Oklahoma! set new standards for classic American theatre by introducing new techniques of presenting the musical to the audience, introducing a new genre of music into the theatre, and strayed away from the usual classic form and structure of a musical that audiences had grown used to.It was a time of change, a time of excitement, and a time of setting standards for the future. Almost from the first performance at the St. James Theatre on March 31, 1943, Oklahoma! has been recognized as a new kind of musical play that denied its Broadway audiences many of their most treasured traditions, says David Ewen in American Musical Theatre: â€Å"There was no opening chorus line, no chorus until midway through the f irst act, in fact. There was rather a serious ballet and other serious overtones, including a killing in act two.The story, which was so simple, seemed to engage the audience in more than mere evening diversion† (248). These changes, far from disappointing to viewers, were upheld by a success that had never been seen in the history of musical theatre. He continued to say that with their first collaboration, Rodgers and Hammerstein shered in a new era for the musical theatre This beautiful folk play realized fully that which the earlier Rodgers and Hart musicals had been striving to obtain: a synchronization of all the elements of the musical theatre into a single entity.At best Oklahoma! could lay legitimate claim to have carefully woven a new element, dance, into the artful fabric of the modern musical. No longer would singers sing and then Dance was not a new element in the theatre realm. It had been used for years as a way of interpretation of feelings of a character that t he writer or director wanted the audience to feel visually. Through movement, expression of those feelings was portrayed and helped the audience to somewhat experience that single emotion of fear, hate, love, or guilt right along with the character on stage.But what was usual was that it was never brought together with the music and singing. The song was usually followed by the decorative dance. A song followed by a dance would usually lost the audience's attention, or even if the dance was too long or did not correspond to the song or story line what so ever. Rodgers and Hammerstein set a standard that incorporated the two elements (music/song and dance) so that the audience would ind more logic in the dance. It would have a meaning and a purpose in the play and heighten the excitement in the musical.And in many instances, it would further the plot or at best help the audience to fully understand the individual character's feelings at that point in the musical. David Ewen uses the example of Agnes de Mille's (choreographer of Oklahoma! ) ballet, which brought to life the heroine's dream and provided her motive for refusing the hero's invitation to a box special. It was part of the story. (248) According to Gerald Bordman, the author of American Musical Comedy, the idea hat integration, something new and desperately needed, took hold of Broadway's thinking.In fact, it became so fashionable to integrate dance into the musical, that it was sometimes injected when it served no dramatic purpose, and sometimes even when it hindered the unfolding of the story. (160) After awhile dance became overused, which seemed to ruin what Rodgers and Hammerstein had set out to do (the incorporation of dance to heighten the meaning of the musical). Other writers or choreographers who inserted dance were not adding it when it would help the musical. Directors came to believe that dance was a necessity in a musical, for it was ne of the key reasons why Oklahoma! as so successful. So the additions were made, but were not really thought about their purpose when they were added. What was forgotten was the obvious need for the dance at all. Dance was thought to be a want of the audience, not taking into consideration if the musical even required the dance at all. So, this problem developed into a frenzy, adding dance Just for the mere spectacle of it. But in Oklahoma! , everything fit into its place. For the first time, not only were the songs and story inseparable, but also the dances heightened the drama by revealing he fears and desires of the leading characters.According to Bordman, Richard Rodgers once said, â€Å"when a show works perfectly, it's because all the individual parts complement each other and fit together†¦ in a great musical, the orchestrations sound the way the costumes look. That's what made Oklahoma! work†¦ it was a work created by many that gave the impression of having been created by one† (160). collaboration. Joseph Swa in adds that much was made at the time of the hero's killing the villain on stage in Oklahoma!. This too was not new. But while the claim to originality was once again exaggerated, Oklahoma! virtue of its huge popularity, a popularity in no way reduced by an unpleasant scene, did open doors. (74) Oklahoma! was in the genre of Musical Comedy, and many critics felt that villains and murder were not elements that should appear in a comedy. It was thought that such items would turn audiences away from Oklahoma! , having the idea of going to see a comedy and leaving feeling like they had seen a murder mystery, and not laughing at all was not the main objective of comedy theatre. But once again, these elements were a key part of the musical. David Ewen pointed out in The Story of America'sMusical Theatre that the original play had both villains and a murder, and Rodgers and Hammerstein had no intention of removing them from their musical. Ewen quotes Hammerstein saying, â€Å"We realized that such a course was experimental, amounting almost to the breach of an implied contract with the musical-comedy audience. I cannot say truthfully that we were worried by the risk. Once we had made the decision everything seemed to work right and we had the inner confidence people feel when they have adopted the right and honest approach to a problem† (180).But once the doors opened and tickets began to sell and shows eventually became old out, Rodgers and Hammerstein really did not have anything to fear. Their show soon showed itself to be a success, even with a villain and a murder. The audiences were at first disturbed to see these elements in a comedy, but soon came into agreement with these new additions and liked its originality and creativeness. Also if these two elements had been removed, it would have disturbed the synchronization and union of all the other elements of song, dance and plot in the musical, which was what the writers were trying to avoid at all costs .Along with dance and villains, Rodgers and Hammerstein also took on a new pproach to forming the music that they included in the musical. In Gerald Bordman's second book American Musical Theatre: A Chronicle, he stated that long before they wrote their first lyric to â€Å"Oh What A Beautiful Mornin'†, Rodgers and Hammerstein had arrived at an all-important decision. The â€Å"flotsam and Jetsam† of musical comedy would have to be abandoned in translating a sensitive, poetic folk play for the musical theatre. Musical comedies traditionally opened with a big, crowded stage scene. Oklahoma! ould begin simply: a single character would be seen on the stage (a woman churning butter), and from off-stage would come the trains of the first song. Musical comedies usually started with a dazzling line of chorus girls from the stage aprons early in the production, but Rodgers and Hammerstein decided to delay its appearance until halfway through the first act (535). bring a certai n magical and triumphant beginning to a musical, starting with excitement and volume. This was also criticized; many feeling an audience would not stand for their most treasured attributes of a play being taken away.But Rodgers and Hammerstein once again took another risk, and it proved to be a risk that was not too bad to take. Audiences were at first disappointed with the deletion of the opening chorus, but eventually excused it, for they fell in love with the style of musical that Rodgers and Hammerstein were presenting to them. The play grew from a simple opening to a grand finale, which built the excitement of the audience and kept them stimulated and interested in the unfolding of the musical until the final chorus line and curtain call.It built suspense and a burning for more. Rodgers and Hammerstein obviously knew what they were doing, even if the critics thought they did not. Bordman also noted that the show's musical director, Jay Blackton, appreciating he work's nature, d iscarded the common musical comedy practice of having the entire chorus sing only songs' melodies. Instead, he reverted to the tradition of operetta and comic opera by dividing his singers and assigning them various parts, not always the principal melodic line (535).Once again, Oklahoma! was making breakthrough innovations in the musical theatre world. A denial of basic characteristics of the original musical comedy could have upset the audience, and push Oklahoma! into an area of outcast musicals that all writers fear. But Rodgers and Hammerstein's ideas were undeniably refreshing to the American audiences. Rodgers's music also marked a new direction for the writer in Oklahoma!. He reinvented his style of music from what he knew was popular to the audience to a rugged flatness.Davis Ewen also states in his book The Story of America's Musical Theatre, that most musical comedies expected the music to be written before the lyrics, since the lyrics were something functional tacked on t o the melody. But the writers were so determined to make each word an essential part of the text that they agreed at once for Hammerstein to write the lyrics first, and Rodgers would write the music from the lyrics (180). Bordman reiterates that it is sometimes hard to realize that â€Å"Oh, What A Beautiful Mornin' † is a waltz. The melody of â€Å"The Surry With The Fringe On Top† captures the clippety-clop of a horse pulling the vehicle.Rodgers' long-sustained opening note of his title song coupled with the driving melody that follows was of the freshest inventions of the sort and the impeccable blending of words and music in â€Å"People Will Say We're In Love† Justifiably made it the most popular of the year. Much proclaiming ensued over how well the songs and plot were integrated (535). This coordination of musical rhythm and words was amazing. They were able to catch simple sounds of the actions on stage and incorporate them into the song, as if the lives of the characters could only survive with the music.This combination of audience must be made to believe that the character's life is a song. It is essential that the character make the audience feel like the music is not Just a silly addition to the developing plot, but an existing item that has and will always exist at that point in time. The audience must be pulled into the world of the musical, not Just simply entertained. And once again, Rodgers and Hammerstein had achieved that goal. They ere well on their way to creating a musical that was so seamless that extracting one minor detail of it would throw the whole work of art off.It was a work of complete union and an accomplishment that was in no way easy to create in the first place. One factor in the success of Oklahoma! that cannot be overlooked was the attitude of the American people at the time it was presented. In The World of Musical Comedy, Stanley Green adds that World War II was more than a year old when the musical opened, and those who remained at home were becoming increasingly aware of the heritage they enjoyed as a free people. Seeing the happier, sunnier days that were so much a part of this heritage gave audiences both an escape from daily headlines and a feeling of optimism for the future (212).In American Musical Comedy, Bordman believed that Oklahoma! ‘s importance lay elsewhere. The show made the American musical theatre look at America's own heritage for inspiration (160). Playwrights were beginning to recognize the vast amount of inspiration the American country could provide for the new revolution of musicals. During the time of and after World War II, pride in America was gaining strength and so was the nterest of writing plays and musicals that showed that pride of how great America was. Oklahoma! n turn brought more than Just new innovations of song, music, and dance to the stage, but a love for musicals that showed how beautiful older American culture was. Oklahoma! was a musical of America's expansion into the western front and the western culture. In more ways that one, Oklahoma! was a way for city dwellers in New York City who sat in the audience to find their way to the west without ever leaving the city. Rodgers and Hammerstein had experienced achievement when they could tell a story through song and dance and transport the udience into the setting of the musical.Playgoers would leave the theatre feeling like they had Just returned from an adventure out west, which is a playwright's exclusive objective when creating a play. The audience must be made to believe that they are experiencing the plot right along with the actors on stage. Thus is the main objective of theatre in general: to capture the audience and bring them to a different place and time where the plot of the play is the only struggle in the world at the time. Bordman writes in American Musical Theatre: A Chronicle that what started in 927 was perfected in 1943 when Oklahoma! premi ered.It is considered by many to be the first musical comedy to have a plot, musical score and dances that were necessary ingredients to advance the story line (536). It is only fair to agree with him. Rodgers and Hammerstein added the exact â€Å"ingredients† to create a magical and over the world to this day. Although Oklahoma! premiered 70 years ago, and its style of music and dance have grown old with the passing of time, it still demands respect for its combination and imaginative ideas that revolutionized the musical industry at the time. Rodgers and Hammerstein were the dominant force in musical comedy in the 1940's and 50's.Even their flops had notable songs. Several of their shows became successful films. Oklahoma! ‘s importance in opening a new era in the American Musical Theatre will never be challenged. It has become an American classic that society will forever treasure for its beautiful integration of song and dance.

The Apartheid Movement Of South Africa - 1967 Words

In South Africa in 1948, the National party came into power and they had begun creating laws that corresponded to the apartheid. The apartheid movement was implementing segregation, keeping the white South Africans from interacting with the black South Africans1. In 1959, the Boycott Movement came into play in South Africa, which was later renamed the Anti-Apartheid Movement. This led to other countries in the world putting pressure on South Africa economically to end this racial discrimination. In the late 1960’s, South Africa began to see some opposition against the apartheid and black South Africans began protesting for equal rights. For example, Steven Biko believed that black South Africans deserved equal rights as well and with his actions he became a prominent activist/leader for the anti-apartheid movement. Due to his increasing popularity in relation to the anti-apartheid government, Steven Biko was arrested and then was beaten to death while in police custody 4. An innocent black man died because of his race and because he believed that segregation was wrong. In 1980, Peter Gabriel released a song named â€Å"Biko† on his third studio album titled ‘Peter Gabriel’, synonymously known as ‘Melt’. This song is directly related to the segregation issues but more specifically the anti-apartheid movement. Peter Gabriel was not directly impacted by the anti-apartheid movement since he was a Caucasian, well-off English man. When he heard about the death of Steven Biko and theShow MoreRelatedThe Apartheid Movement Of South Africa1913 Words   |  8 PagesDuring the times of the troubles in South Africa, the apartheid movement occurs which separates different races of individuals from certain rights. For example, African- Americans did not have the right to freedom as whites. Thus, resulting in war between the races. Also, the separation lead to the creation of the Land Act. This act prohibited African- Americans from o wning land. In addition, the apartheid period lead to limited communication, and separation of building and living spaces. In theRead MoreNkosi Sikelel Africa: A Song Made More Popular by the Governments Banning1336 Words   |  6 Pages The music from the Apartheid in South Africa was extremely important in the movement for freedom. At a time when there wasn’t much money for the Anti-Apartheid Movement, music became the most important weapon. The songs sung all over South Africa in resistance to the Apartheid intimidated the government more than weapons and violence could because of the powerful meaning behind each song that unified and strengthened the resistance. Artists all over South Africa wrote songs speaking out againstRead MoreCivil Society in South Africa Essay1562 Words   |  7 Pagesstate in South Africa. The first section will briefly summarize the emergence of civil society in South Africa. The next section will discuss transformations that occurred in civil society during South Africa’s transitional period from the Apartheid regime toward democracy in 1994. The third section will discuss some of the successes of civil society during and after the transitional period followed by the fourth section, which will discuss some challenges facing civil society as South Africa continuesRead More The Role of External Pressure in the Fight Against Apartheid and Minority Rule in South Africa1583 Words   |  7 PagesThe Role of External Pressure in the Fight Against Apartheid and Minority Rule in South Africa External pressure played a very important part in bringing about the end of the apartheid. The embodied rejection of White domination in South Africa, in formations of protests, strikes and demonstrations caused a decade of turbulent mass action in resistance to the imposition of still harsher forms of segregation and oppression. The Defiance Campaign of 1952 carried mass mobilisationRead MoreThe Racial Of Apartheid And The Significant Historical Events Within The 40 Year Period1657 Words   |  7 PagesWhen looking at the racial system of apartheid in South Africa, the question of music must be discussed. The central debate among musicologists and ethnomusicologists is whether the music from black south Africans during this time was a result of the resistance movement against apartheid. The other side of the argument is that the music of this time and place catalyzed the movement itself and without an outlet like music the resistance would not have occurred. I believe that the music is a representationRead MoreThe Apartheid Of South Africa1174 Words   |  5 PagesSome periods in human history are simply shameful. The period of apartheid policy in South Africa was one of these times. Apartheid featured a rebirth of racist legislature in South Africa from the 1950s to the 1990s. Essentially, these law s treated people who were not white as completely separate from society; the term apartheid literally means â€Å"apartness.† The national legislature in South Africa wanted to suppress blacks and ensure a white supremacy in the government. Basically, politicalRead More Apartheid in South Africa1656 Words   |  7 PagesMandela -- 20 April 1964. Rivonia trial Historical Background South Africa is a land of abundant natural resources, mild climate, and fertile lands. Their resources range from diamond and gold to platinum and their land is fertile enough to feed the rest of the world if cultivated intensively. Yet many believed Africa to be the Dark Continent, a continent of poverty, harsh climate, and political turmoil (Woods 10). Though apartheid officially began in 1948, Africa’s history of racial dominationRead MoreThe Apartheid Of South Africa1510 Words   |  7 PagesFrom 1948 to 1994, South Africa encountered segregation and ill treatment of its own people deriving from its own national party also known as apartheid, an all-white government. They sought to move the South African people to make way for an all-white South Africa. In their stride to achieve this, the laws they imposed on them made their lives harder; despite this, the persecuted sought freedom. Through all this some believe that the apartheid was easily ended. It can be argued this from the factRead MoreThe Black Consciousness Movement And The Struggle For Racial Equality1598 Words   |  7 PagesThe brutal system of legislation, apartheid, introduced by the Nationalist Party within South Africa in 1948 saw a colossal divide in national identity. The rigid policy of segregation and institutionalised racial discrimination of the blacks or â€Å"bantu’s† by white supremacy caused rising and consistent opposition in the form of various groups. Organisations such as the South African School’s Associations, African National Congress, and Black People’s Convention campaigned side by side for black equalityRead MoreHow Far Has the Importance of Nelson Mandela in the Ending of Apartheid Been Exaggerated?1748 Words   |  7 PagesHow far has the importance of Nelson Mandela in the ending of apartheid been exaggerated? It can be argued that the importance of Nelson Mandela in the ending of apartheid has been greatly exaggerated. Apartheid ended due to a combination of long term and short term events. The ANC represented the main opposition of apartheid while protests and rebellions caught the attention of the world, international sanctions put pressure on the south African government and something had to be done before their