Dance in China—evolved from folk traditions.
Dance in the U.S.—is as varied as the people who live here. Unique social dance styles have developed, or been choreographed and taught, in the United States since the early 20th Century and the beginning of the Jazz Age. Dances like the Foxtrot, Charleston, and especially the Lindy Hop and its variants, hip hop styles today, are all U.S. dances with world-wide fans. Each style has its own unique history. But 2 styles, both with origins in the British Isles, are identified as the “traditional” dance of the United States. Contra Dance—originates from a mixture of English Country Dance, and Scottish and French dance styles from the 17th century. Sometimes described as New England folk dance or Appalachian folk dance, contra dances can be found around the world. Dancers form couples and join long lines down the length of the dance hall. Within the line, couples generally form sets of two. Throughout the course of a dance, couples progress up and down these lines, dancing with each other couple in the line. At times these “visits” to other couples can be quite complex. Dances are led by a caller who teaches the sequence of figures—a series of steps—in the dance before the music starts. The caller continues to “call” the “figures” as they arise during dancing. In a single dance, a caller may include anywhere from 6–12 figures repeated through out the dance. Contra dancers often dance to live music. While generally U.S. or French-Canadian traditional, “techno” contra dances are performed to techno music. The fiddle is considered the core instrument, though other stringed instruments are used, as well as the piano, accordion, and occasionally wind instruments. Music in a dance can consist of a single tune or a medley of tunes. Square Dance or Modern Western Square Dance —differs from contra in that the dances are performed in squares of 4 couples who dance exclusively with each other. Directed by a caller as in contra, there is less teaching during a Modern Western Square dance; dancers are expected to have some knowledge of the calls. Separate lessons are available. In most other ways the 2 styles of dance are similar, but Modern Square is as likely to be danced to recorded music, and the music is not always “traditional.” Flamenco—refers to both a musical form and a dance form originating in Southern Spain among the Roma (gypsys). Although they can be performed separately, the music and dance are considered a whole and flamenco concerts almost always include both. The oldest record of flamenco dates to 1774 in the book Las Cartas Marruecas by José Cadalso. Danced flamenco is known for emotional intensity, proud carriage, expressive use of the arms, and rhythmic stamping of the feet. The elements of flamenco include: cante (singing), toque (guitar playing), baile (dance), jalco (vocalizations and chorus clapping), palmas (handclapping) and pitos (finger snapping). Flamenco footwork is often compared to tap and Irish step dance, but flamenco technique is different. (Some scholars believe that the footwork may have origins in Indian dance technique.) Castanets—wooden disks that fit between the thumb and forefinger of the dancer and can be rhythmically patted together—are closely associated flamenco. There are 6 styles of flamenco. The flamenco most familiar to tourists was developed as a spectacle and is not considered “true” flamenco. Informal gypsy flamenco, danced during celebrations in Spain, is considered the most "authentic," if less technically virtuosic. Only in this form do arms curve around the head and body, often with bent elbows rather than extended, and hips are allowed to sway. Flamenco puro, the performance form considered closest to the gypsy tradition is always a solo improvisation. As the style developed, particularly in the late 19th and early 20th centuries, it was influenced by (and influenced) ballet. The form that evolved came to be known as classical flamenco. Danced largely upright, with a “proud” carriage and elongated arms, women’s backs are often held in a marked back bend with little movement of the hips. Modern flamenco is highly technical requiring years of study. The emphasis is on lightning-fast, absolutely precise footwork. Castanets, shawls and fans are frequently used despite purist’s protests. In the 1950s, dancer/choreographer Jose Greco, born in Italy to Spanish parents, raised in Brooklyn, pioneered a long-form style of flamenco choreography using a full company to tell dramatic stories, much like ballet. Flamenco Nuevo, a choreographed recent stylistic development, shows influences from other dance styles and is characterized by pared-down costumes . Men often dance bare-chested, women wear plain jersey dresses). Young people are not thought to have the emotional maturity to convey the duende (soul) of flamenco. Flamenco dancers are thought not to hit their peak until they are in their thirties and many continue to perform into their fifties and beyond. Hip Hop—is an umbrella term for 4 cultural phenomena that were developed in the 1970s primarily by black and Latino young people in the Bronx and Brooklyn, and later in California. MCing—now called rapping, is a musical form that focuses on complex word play and rhythm. DJing—the art of organizing music, often for dancing, recreates sound through the manipulation of recordings. The “break” is the rhythmic section of a song, its most danceable part that was exploited by DJs. Grafitti—is a stylized form of painterly “writing” and design originally found on sides of buildings and other urban surfaces.
A number of other hip hop dance styles have evolved from breaking. Three prominent styles, originating in different areas of the U.S. are:
All hip hop dance styles share certain key movements including:
Many hip hop pioneers object to references to their dance form as “street” or “urban” dance, preferring the use of styles specific names. Today, as these dance forms evolve both as concert forms performed by professional dancers and continue to develop on city streets, it is increasingly important to recognize their diversity and differences, as well as their common roots. Irish Stepdance—is a dance performance derived from the traditions of Irish dance. Stepdance is characterized by a stiff upper body, quick precise movements of the feet creating clear rhythms. Arms must be kept still and hanging by the dancer’s side. Most steps are performed with slightly turned out toes. Each step is a sequence of foot movements, leg movements and leaps, which lasts for 8 bars of music and are traditionally performed on both the right and the left foot. The actual steps for each dance are unique to the dance school. There are two types of stepdance defined by the type of shoes worn. Reels (4/4 time), light and single jigs (6/8 time,) and slip jigs (9/8 time) are considered to be the lightest and most graceful of the dances. Soft dance shoes,, similar to ballet slippers known as ghillies are worn. Hard shoes have wooden soles and make sounds similar to tap shoes. Hard sole dances include: Hornpipes (2/4 or 4/4 time) and the treble jig (slow 6/8 time). Most competitive stepdances are solo dances, though many stepdancers also perform and compete in traditional set and group figure dances called céilí which are most commonly danced socially at festivals, but competitive céilís are more precise. Costumes can be very expensive but are considered important for stage presence. Each performer tries to have a costume that is different and shows both their personality and represents their school or community. Female dancers in particular often curl their hair into ringlets before each competition and many dancers invest in curled wigs that match their hair color. Poodle Socks are worn with the dresses and shoes. These are white socks that stretch to mid calf with distinctive ribbing. Jazz Dance—is an American performance dance technique and style. It emerged in the early twentieth century in vaudeville and burlesque and is based in African American social dance. Over time, a clearly defined genre emerged that also blended ballet and modern. A theatrical dance style, jazz is most often associated with musical theater. More recently competitive dance, cheer squads, etc have incorporated elements of jazz dance. Notable jazz choreographers who have contributed to its development include: Jack Cole, Bob Foss, Eugene Louis Faccuito, Gus Giordano, and ballet choreographer Jerome Robbins. Latin Dance—is the name ballroom studios gave to the 5 styles of competitive dance derived from the cultures of Mexico, South America, Central America and the Caribbean that have been set and are taught in the ballroom studio. The dances include: Samba, Cha-Cha, Rumba, Paso Doble, and Jive. Although their heritage is from the traditions and cultures of Latin American (Samba, Cha-Cha-Cha, Rumba), Hispanic (Paso Doble is said to be a representation of a bull fight,) and the U.S. (Jive), all the dances share an exaggerated expressiveness and intensity and energy, although each has distinct traits and practices. The connection of these dances to their dances of origin is often tenuous. Social Latin dances, what is also sometimes called “Street Latin,” are seen in clubs, parties, wherever members of a particular community gather. These dances often resemble the ballroom versions only in the most basic sense. They include: salsa, mambo, cha cha, merengue, rumba, bachata, bomba, plena, cumbia, samba, danzón, and the Argentine tango. (In the ballroom canon tango is considered a smooth dance.) Disco grew out of dances like mambo. Both social and competition/ballroom Latin dance are considered “spot dances”—dances performed in place. They all involve a shift through the hips, sometimes called “Cuban motion,” and are notable for the importance of a sharp rhythmic awareness. Because these dances are kindred only in the context of Western ballroom dance, they should in no way be considered related. Liturgical dance—refers to dance that is incorporated into religious observance as an expression of worship. It is also known as Praise dance though some people believe this only refers to improvisational forms of dance worship. Some notable examples include the dance of the Shakers and that seen in some Baptist churches, though it is not limited to these. Modern dance—developed at the beginning of the 20th Century primarily in the United States. It is generally performed barefoot and costumes vary widely. Hallmarks of modern dance movement include movements expressed through tension and release, the use of the floor as an equal partner in the dance, and individualized dance vocabularies. Beginning in the late 1960s everyday movement, social dance movement, and movement from other vocabularies not considered dance are often incorporated into choreography. Modern dance today has prominent companies and creators throughout the world. Swing Dance—is a recent umbrella term describing the partner-dances that developed to jazz swing music beginning in the 1920s and reaching a peak in the 1930s and ‘40s. While a number of dance styles—the Shag, the Peabody, the Balboa, for example—pre=dated swing-music, it is young, African-Americans dancing in Harlem’s Savoy Ballroom, drawing on the dancing of their forebears, that develop and codify the form. Based on the “swing out”, an 8 or 6-count phrase during which partners vigourously balance and reflect each other in a variety of rock-steps, kicks, slides, and other embellishments with an emphasis on improvisation, all performed vigoursly, swing-style dances were one of the first social dances during which male and female dancers performed equal roles in the dance. “Jitterbug” also can mean all forms of the dance, but it is most often associated with the East form. “Jive” is the name given to the style performed in ballroom competition. "Lindy Hop" is the classic New York style dance performed at the Savoy Ballroom, the name is attributed to Savoy dancer "Shorty" George Snowden. Tap Dance—is a form of theatrical dance characterized by the use of shoes with metal plates on the toes and heels—tap shoes—that strike the floor in percussive sequences of rhythms. The tap technique originates from movement that allows the creation of these sequences. Tap dance’s roots are in the fusion of percussive dance styles, in particular early African-American social dance, English clog dancing and Irish jigs. The earliest descriptions of tap dance dates to the mid-1800s, but the form is likely older. The form developed through the minstrel show, variety, and the musical. Current tap styles include: rhythm, aka jazz tap, which focuses on musicality. Rhythm tappers consider themselves to be a part of the jazz tradition. Classical tap marries European "classical" music with American foot drumming; it allows for a wide variation in full-body expression. Broadway tap is rooted in English theatrical tradition. It focuses on formations, choreography, and generally less complex rhythms. Post-modern tap, the most recent expression of the form, incorporates abstract expression, thematic narrative, and technology Page 2
Dalcroze Eurhythmics—was developed by Swiss musician and educator Émile Jacques-Dalcroze in the early 20th century, one of several developmental approaches to teaching music developed during this period. Dalcroze Eurhythmics teaches concepts of rhythm, structure, and musical expression using movement. It focuses on allowing the student to gain physical awareness and experience of music through training all of the senses, but particularly the kinesthetic. Eurhythmics often introduces a musical concept through movement before the students learns its visual representation. This sequence translates to heightened body awareness and an association of rhythm with a physical experience for the student, reinforcing concepts kinesthetically. Eurhythmics was used as a dance training tool and movement system by many early modern dancers and by the Ballet Russe. . Dance—is constructed human movement that follows guiding principals of structure, body language, and meaning. It can be a performing art, a participatory activity, and a religious expression as defined and recognized by performers and observers within a particular community or culture. Dance can be categorized and described by movement inventories, styles of choreography, historical period, and place of origin or occurrence. Other forms of movement activity, particularly sports, are said to have “dance-like” qualities. Some of these activities, in fact, use dance vocabulary and elements of choreography. Dance also uses movements and energies from other forms. These include: martial arts, capoeira, gymnastics, cheer squads, figure skating, synchronized swimming, marching bands. Many are also performance forms and the distinctions between them and dance may depend on context and performer identification. Dance Education—refers to all methods of learning dance techniques and styles. It is generally broken into two large categories. Studio refers to centers that only teach how to dance. Dance in the schools most often refers to dance programs embedded in public and private pre-K through high school taught either by school-based educators or by Teaching Artists —dancers who are employed by outside agencies who work in the school on time-limited specific projects often in conjunction with classroom teachers. College and universitiy dance programs include curriculum that may encompass: dance practice and performance, choreography, ethnochoreology, kinesiology, dance notation, and dance therapy. Dance performance—generally includes constructed sequences of movement that follow a distinct set of instructions, paths or other modes of ordering established by a choreographer following a personal aesthetic, often also shaped by general, current or historic artistic approaches. Performed movement may tell a story and may, or may not, have symbolic value depending on context and the observer. When it does not, it is called abstract. Dance Studies—refers primarily to the academic study of dance. Dance Studies occur in such varied fields as: popular and cultural studies, performance studies, dance, music, and theatre studies, film, television, and new media studies, anthropology, sociology, art history, and history. In the humanities in general various theoretical constructs have affected these studies among them: structuralism, post-structuralism, phenomenological approaches, queer theory, feminism, critical race theory, postcolonial studies; the recent “affective turn” in the sciences and arts have all influenced the ways about which popular dance and pop dance culture are being theorized and written. Dance Movement Therapy—is the psychotherapeutic use of movement and dance to support intellectual, emotional, and motor functions of the body. As a form of expressive therapy it looks at the correlation between movement and emotion. Dancer—Anyone who dances. Improvisation—is the process of spontaneously creating movement. Improvisation is an artistic practice that is both used for exploration and creation of material for choreography, and is a unique performative practice. Improvised movement material is generally, but not always, facilitated through an idea or structure that provides a platform for movement exploration. Laban Movement Analysis (LMA)—in dance today primarily refers to a method of recording dance in written form, “dance notation.” A multidisciplinary (anatomy, kinesiology, psychology) approach for studying time/motion efficiency invented by Rudolph Laban, it was originally intended to help optimize early industrial prodution. Extended and adapted largely by Irmgard Bartenieff, with Lisa Ullmann and Warren Lamb ,and many others, Laban as a method is a language for describing, visualizing, interpreting and documenting all varieties of human movement. The complexity of the system requires years of training before it can be effectively written or read meaning unlike music notation, most dance practitioners do not utilize the system. A related form, Choreometrics , was devised for recording traditional or folk dance by Bartenieff with folklorist Alan Lomax. Participatory dance—is intended for the participants who have a common purpose rather than the onlookers. It includes all forms of dance in which non-professionals participate in the activity. It is also known as social dance, community, or traditional dance. Dances performed to current popular musics are often improvised concerned more with musical interpretation than specific steps. On the other hand, some cultures lay down strict rules as to the particular dances in which, for example, men, women and children may or must participate and for how they are done. Purposes may include: social interaction, observation of cultural or communal traditions, religious observation, and exercise. Participatory dances are also created by choreographers who invite the audience to join in elements of the performance. Performance—generally comprises an event in which one or more live, artistic constructions are presented to an audience. Performative—relates to, or of the nature of, dramatic or artistic performance. Also, used in linguistic philosophy. Popular Dance—is a general term used to refer to current and historic social dance styles. Technique—Particular, stylized approaches to movement connected with different movement styles. The correct way to do a movement for that style. Theatrical or Concert Dance—is an umbrella term for the many dance forms that are used in theatrical performances and in particular in the U.S. “Broadway” musical, but it can be applied to any dance is intended to be observed by an audience. Theatrical dance often draws on tap, ballet, jazz, modern, and social dance forms, all of which are described here. Theatrical dance, however, is always in the service of furthering the plot or storyline. The Black Crook—is often called the first Musical. While tied by an extremely loosely structured melodrama, it is the first known performance where songs and dances are interspersed throughout a single story line. It ran for a record-breaking 474 performances, then toured extensively for decades with various companies. It was revived on Broadway in 1870–71, 1871–72 and, in Fall 2016, a version was performed celebrating the shows 150th anniversary at New York City’s Abrons Arts Center. Oaklahoma, with choreography by Agnes DeMill, is considered the first modern musical. It introduced the idea of dance not as detached entertainment, but as an extension of the action. In particular, DeMille created the dream ballet where the dance allows the audience to see into the characters inner dialogue or state. Michael Jackson notably used this device in Bad. World Dance—is an umbrella term arbitrarily covering world dance. It is impossible to catalogue the wide range of traditional performance and social dance styles found throughout the world. Many countries dance traditions are far older than those of the United States and Europe, and many have a more active, commonly recognized social dance style. A number of dance styles are discussed under Dance Styles and History here. |
The dancers have a smooth flow of movements in their performance. what component did they exhibit?
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