Category: Dance

The broad phenomenon of acculturation as a process of adjusting ones values, beliefs, and habits according to the socio-cultural environment of an individual is an extremely complex social issue. Primarily, there is currently no clear line between acquiring new customs and habits in order to feel safe and comfortable within the given social context and sacrificing ones culture and heritage in order to blend in with the rest of society. The problem is particularly relevant among refugees and asylee immigrants due to the fact that their immigration is directly correlated with a challenging socio-political situation that threatens their well-being and life back at home. Thus, there is no possibility to homogeneously claim that the decision to abandon ones native land is weighted and voluntary among asylees and refugees. In such a context, it would be reasonable to question the extent to which people should be willing to embrace new cultures and environments, as well as the level of emotional stability required to voluntarily accumulate to such an environment.

One of the most widespread concepts associated with immigration is the concept of nostalgia. While people are generally familiar with the notion, there currently exists a dissonance in terms of the connotative meaning behind it. Thus, as outlined in the study by Smeekes and Jetten (2019), the term nostalgia was first coined by Johannes Hofer, a Swiss scholar, in order to label a medical condition of extreme homesickness followed by anxiety, depression, and fatigue. Since then, nostalgia has been long considered as ones physically hazardous state of longing for home. According to Smeekes and Jetten (2019), the issue of sentiment and nostalgia is now extremely widespread across the globe due to high rates of globalization and mobility followed by confusion, associating nostalgia with an inherently negative feeling. Sedikides and Wildschut (2019), on the other hand, argue that nostalgia as a social phenomenon may benefit the ingroup of immigrants in terms of self-evaluation, empathy, and mutual support. Thus, the idea of fighting nostalgia in this context stands for coping with homesickness and anxiety related to living abroad for a long time.

The methods of dealing with homesickness are diverse for every group yet remain closely associated with preserving ones cultural attributes such as clothing, language or dialect, music, popular culture, and dancing. However, once these aspects are concerned, scholars and the general population mostly associate them with the opportunity to raise cultural awareness and preserve ones ethnic identity rather than perceive them as a coping mechanism for homesickness. As a result, few researchers placed emphasis on the significance of dancing and movement as a therapeutical means of addressing nostalgia.

However, there were several significant studies marking the relevance of moving and dancing psychotherapy among refugees and asylees. First, the phenomenological research by Verreault (2017) dwelled on the notion of Dance/Movement Therapy (DMT) as a method of alleviating stress, building resilience, and connecting with other ingroup members in female refugees. Fundamentally, DMT stands for the process of using movement to further an individuals emotional, cognitive and physical functioning (Verreault, 2017, p. 120). In the course of four interventions, the scholar introduced four DMT sessions as an accompanying tool for resilience-building psychological therapy for asylum seekers and refugees. The results of such an intervention demonstrated that asylees benefited from enhancing their sense of worth, self-regulation, belonging to a community, and cultural identity celebration. Hence, it became evident that DMT can complement a resilience-oriented framework, provide group support, create a safe space and promote resource building for asylum seekers and refugees (Verreault, 2017, p. 131). In other words, the opportunity to dance, especially as far as culturally significant dances are concerned, allows asylees to let go of homesickness by physically experiencing their cultural identity and celebrate their homelands ethnic heritage.

Another significant study was conducted by Cantrick et al. in 2018, focusing on the body as a primary instrument of dealing with self-identity crisis and oppression. Thus, according to Cantrick et al. (2018), the human body serves as a manifestation of a persons background and history, as facial cues, skin color, the peculiarities of ones physique, and garments reflect ones historical and ethnic heritage. As a result, ones movement and physical expression of emotion through dance are able to mirror both explicit and implicit details of culture and ethnicity, as the bode tends to be tenser and confined as a result of oppression, insecurity, an undermined sense of self-worth due to implicit socio-cultural discrimination. Once a person is able to feel a proper connection within her body with the help of a dance, they tend to feel more confident and less oppressed (Cantrick et al., 2018). Essentially, dancing obtains a power of cultural identity embodiment through movement, which makes people undergoing DMT more self-aware and resistant to external pressure.

Indeed, while dancing, people have the ability to take over control over their bodies and move according to their desires and rhythm. In such a way, there are not susceptible to external pressure, as they are in charge of their physical movements. Hence, in some way, similar cognitive processes happen in peoples minds when they think of adjusting to the new environment. The literal freedom of movement during a dance helps people understand their freedom to express their ethnic affiliation even when they are physically unable to return to their homeland. As Cantrick et al. (2018) state, there is a significant correlation between DMT and cultural empowerment. In order to enjoy the dance, a person is to combine awareness of their body and the power to move or let go of the pressure. A similar cognitive process is noted during acculturation, as it is of paramount importance to remain aware of ones heritage and have the power to move on while adjusting to a new environment.

When speaking of asylees and refugees, the issue of nostalgia should be addressed through the lens of peoples depression, and anxiety caused not only by homesickness but by the lack of acceptance in a new country. As a result, it would be reasonable to assume that given the circumstances, asylees will not have to battle nostalgia once their ethnic identity is welcomed elsewhere. Indeed, there is no direct correlation between ones geographical location and sense of belonging, as it is the culture and customs that make ones homeland special. Dance, being physically freeing, aesthetically pleasing, and culturally significant at the same time, helps immigrants feel more confident and positive about their future outside their homeland, as they realize they are not deprived of their ethnic heritage. For this reason, it is critical to ensure that asylees have a safe space of self-reflection, connection to the ingroup, and embodiment of their culture.

References

Cantrick, M., Anderson, T., Leighton, L. B., & Warning, M. (2018). Embodying activism: Reconciling injustice through dance/movement therapy.American Journal of Dance Therapy, 40(2), 191-201. Web.

Sedikides, C., & Wildschut, T. (2019). The sociality of personal and collective nostalgia.European Review of Social Psychology, 30(1), 123-173. Web.

Smeekes, A., & Jetten, J. (2019). Longing for ones home country: National nostalgia and acculturation among immigrants and natives.International Journal of Intercultural Relations, 69, 131-150. Web.

Verreault, K. (2017). Dance/movement therapy and resilience building with female asylum seekers and refugees: A phenomenological practice based research. Intervention, 15(2), 120-135.

Introduction

The Ghost Dance Movement was a significant event from historical, cultural, and social perspectives. The well-documented spiritual riot of Indigenous peoples of the United States presented continuous deliberate dancing of tribal participants. Men, women, and children united in one action with a hopeless attempt to restore the days of yore when they were the hosts of their lands. The movement had no aggressive, threatening intention but only the last endeavors of perishing, wretched people, yet the American government recognized it as a dangerous upheaval. The situation resulted in the Wounded Knee Massacre that took the lives of numerous Lacotas, an Indian American tribe, registered as collateral damage in the war conditions by officials (Dunbar-Ortiz 15557). The Ghost Dancing emerged in the context of hunger, oppression, the need for returning the well-being, and messianic hope fused with indigenous beliefs.

Main body

First of all, the economic reasons for the practice development are reduced resources of Native Americans and their hunter-gatherer lifestyle. For example, the Lakota people mentioned above faced a wide range of difficulties that made them fight for their survival. The rapid change in the abundance of essential living resources disturbed the cycle of provision obtaining customs. The primary food source, buffalo, was prohibited for hunting and later went extinct. Various diseases depopulated the tribe, diminishing its labor forces to a minimum. Additionally, the proposed by American-European agriculture could not have been readily adopted by Lakotas. They had practiced hunting and gathering for their entire history and were not accustomed to the new civilizations achievements (Section 7: The Ghost Dance, pars. 12). Obviously, this instability caused a surge of despair that was incorporated into a novel religious movement. Consequently, the economic factor is among the most important for understanding the Ghost Dance as it explains the grounds of the peoples distress resulting in resorting to the ritual.

Secondly, the political perspective of the time should not be omitted since American colonialism defined the emergence of the Ghost Dance Movement. Namely, the United States government supported expanding its territory by removing the unwanted population. The Indigenous cultures were seen as uncivilized, inferior, and dangerous to new inhabitants; thus, reservoirs for Indians appeared. The domination of a different community was proclaimed and accompanied by numerous armed conflicts with the native population. Moreover, the US officials encouraged the biased judgments of citizens about the tribes, declaring their guilt in every encounter with the army. The Knee Massacre illustrates the campaign: the soldiers who committed war crimes against Lacotas received honorable rewards for their involvement in the affairs (Dunbar-Ortiz 15557). American Indians, in their turn, stopped fighting for their independence and right to the land directly but did not leave the hope that change was yet possible. Therefore, the constant oppression from the white population made Native peoples of the United States pursue ideas that, in their perspective, would help them regain power.

The next aspect of consideration is humanitarian which relates to the general hope for the well-being of the Indians. The economic and political weakness and vulnerability of the tribes created a strong feeling among the Native Americans that justice would finally prevail, eliminating the severe conditions that they faced. The hope for humanity of American Europeans was abandoned after observations of their greed and intolerance. For instance, Lakotas had not obtained the rations assigned to them because governmental intermediaries preferred to share food in a way beneficial for the white people (Section 7: The Ghost Dance, pars. 12). These disparities provoked high levels of social woe among the Indigenous communities, making them more trustful to their native culture and hostile to others. Therefore, the humanitarian belief in fairness separated the Indians from the United States citizens and evolved into a protest against injustice.

Finally, the indigenous religious beliefs combined with Christian views produced a messianic movement that Ghost Dancing was. The Indians had known the practice of exhausting performances through South American rituals, specifically Aztec dances in the shine of the flaming sun. Next, the Paiute people comprehended and adopted Christian concepts of suffering for a subsequent blessing and ascension through death. Additionally, the remaining faith in the power of shamanic experience made it possible for these individuals to rely on a person seen as a messiah (Oxford, pars. 25). The circumstances mentioned above also facilitated the spread of the new religion that intermingled the ethical views with the borrowed belief system. Accordingly, the spiritual considerations of the Native Americans and imported Christianity were the grounds for the massive Ghost Dance Movement.

Conclusion

To conclude, the Ghost Dance was a movement that accumulated the various aspects of American Indians living in the 19th century and delivered their cry for justice and salvation. Climate change caused starvation among the nomads, who were unable to adhere to their accustomed living standards. Political surpassing of the American Europeans made impossible any attempts of controlling the changed conditions and led to the great despair of the tribal participants because of aggressive colonialist policy. The feeling of constant torture and religious prerequisites forced the Native American peoples to incorporate a new belief that would give them hope and consolation.

Works Cited

Dunbar-Ortiz, Roxanne. An Indigenous Peoples History of the United States. Beacon Press, 2014.

Oxford. Ghost Dance. Oxford Reference, Web.

Section 7: The Ghost Dance. North Dakota Studies, Web.

Summary

This summary focuses on the paper by Worthen-Chaudhari et al. (2019) titled Partnered, adapted Argentine tango dance for cancer survivors: A feasibility study and pilot study of efficacy. This article is an explanation of the study that the authors conducted on cancer patients who have undergone chemotherapy treatment. The main concern with these treatments is the neurological effect that they have and the adverse impact on postural control and peripheral neuropathy. To address this issue, practitioners have developed several types of exercises that would train the patients muscles. However, Worthen-Chaudhari et al. (2019) offer training based on the Argentine tango dance adapted to address these adversities. Hence, over the course of this study, the authors evaluated the effect of the adapted Argentine Tango on the cancer patients neurological function.

Twenty-two cancer patients were enrolled in this study, and each participated in a one-hour dance class twice a week. In total, 16 classes were offered to the participants, and the efficacy of this approach was measured by examining the center of pressure. The results suggest that the adapted Argentinian Tango is a feasible measure for cancer patient survivors to address their postural control difficulties after treatment. The current study by Worthen-Chaudhari et al. (2019) is the first to assess Tango as a community-based exercise practice for cancer survivors, including those with substantial postural control impairments. The hypotheses were proven correct, and the authors provided empirical evidence. A large number of survivors enthusiastically engaged in the 10-week intervention. Second, several measures of postural control improved in participants whose balance function was inadequate at baseline in comparison to established standards. Third, individuals who registered with a companion had a greater rate of attendance. Hence, the adapted Argentine Tango has proven to be an effective measure for addressing postural control in the cancer survivors population.

Analysis

The paper by Worthen-Chaudhari et al. (2019) relates to the view of healthcare from the perspective of the healer as an artist and scientist. This connection is the result of the researchers using art as a way of addressing a medical problem, which is the postural control of cancer survivors. In contrast to the approach they offered, one could use the standard exercises that were designed to help regain postural control. However, the researchers decided to examine the efficiency of an approach that would be more interesting and engaging, which is a dance. This combination of science and art has allowed them to find a more effective way of helping patients, as together with addressing their medical condition; they learned a new skill. This approach shows that healthcare is more than the prescription of medication and requires specialists to use their creative thinking skills to help patients.

This approach exemplifies the cultural-historical response because it allows engaging people in culturally significant activities. Hence, methods similar to the one examined in the study in question help enrich individuals culturally as well as address healthcare concerns. Over the course of history, art and health have been at the forefront of human attention. Despite this, and despite the invested effort and advancement of knowledge and understanding in each domain, it is intriguing that medical professionals frequently find themselves in a challenging situation when they encounter a combination of art and health and their societal value. The relationship between art and health, however, is evident in the way it allows to design of therapies that are more effective than traditional ones. In summary, the combination of art and health allows researchers and practitioners to find better approaches to treatment.

Reference

Worthen-Chaudhari, L., Lamantia, M., Monfort, S., Mysiw, W., Chaudhari, A., & Lustberg, M. (2019). Partnered, adapted argentine tango dance for cancer survivors: A feasibility study and pilot study of efficacy. Clinical Biomechanics, 70, 257-264. doi: 10.1016/j.clinbiomech.2019.08.010

Executive summery

The former North American dance champions Beverly and Robert Tangs have taken advantage of boomers love of dance to run their business. This forms the best time because; televisions are boosting ballroom dancing interests with renowned programs like Dancing with the Star.

As a result, the Tangs want to make lots of money through dance activities, their market segment is baby boomers particularly women. This is because the group has lots of cash to spend on dancing course. They also have a desire of making their business (Dancecape) to become a world class dance lifestyle organization based on a business brand that is global.

They have conducted their dancing lessons at Ukrainian church hall where baby boomers danced based on Tangs instructions. However, apart from spending a lot of time instructing dancers, the Tangs have also invested a lot of money ($20,000) in making a dance video.

Their video is selling well in the US, and is trying its way in the Canadian and Britain market. They have a plan of making three websites where their clients will be shopping, socializing and downloading dance videos. As a result, they have a desire of making their websites look like dancers facebook. However, the problem is that, building their business and brand require a lot of money ($1.4 Million). The goodness is that they got a Tim Drapers audience.

Draper is a capitalist having millions of ventures on the internet and have invested more in Hotmail, hence can be open minded when it comes to new ideas. Before meeting Draper, Tangs decided to hire a brand coach to assist them in preparing sales pitches. By bad lack after sometime, the couch found that Tangs are spending a lot of time to run a business that they really have no time to refine and polish the sales pitches.

The worst thing happened on the pitch day, on this day, Tim Draper gets an impromptu lesson from Beverly and also listened to Roberts sales pitch. The sales pitch gets off to a rocky start when Robert calls Tim Steve on two different occasions (Boomer Bonanza, 2008). This was the most embarrassing moment. As a result, though Draper listened to Roberts sales pitch, he never made any comment, be it positive or negative.

When two experts were talking about the prosperity that Danscape has made, the first expert Lina Ko whose company does baby boomers survey, apart from having a blog in the internet that provides the insights of needs as well as wants of Canadian consumers; and Robert Herjavec who owns a computer firm as the second expert.

Robert outlines that though Tangs are doing something they like doing; he reiterates that it is not automatic that if one does something he likes then his business is viable. He asserts that though they are targeting baby boomers, the kind of technology they are using is above such group.

So, their promotion might not reach their target population. This is because, the target population is not well versed with the facebook generation technology for their promotion strategy to succeed. He also comments that, it will be good if the young generation can be involved in the dancing activities, other than the baby boomers.

In conclusion Robert states that Tangs need a viral marketing idea that will have broad appeal. Selling their videos through niche stores limits their market and is inconsistent with their goal of being a global brand ((Boomer Bonanza, 2008).

On the other hand, Lina Ko does not agree with Roberts comments. On her part, she sees boomers not being technologically backward as stated by Robert. In addition, the idea of dancing is a very nice one. This is because, most boomers like participating in exercise activities and dancing is the best exercising activity for them.

The issue of dancing also makes aged people feel much younger. In addition, she sees the idea of targeting women boomers as being the best idea; she bases this argument on the fact that, most family purchases in Canada are influenced by women. However, she advises the Tangs to put more emphasize on the kinds of words they are using.

For instance, they are using words like retirement, which most boomers dont like hearing. Last but not least, she tells the Tangs to differentiate their market segment further; this is because they all have different needs and wants. She gave an example where, baby boomers in early 40s differ from those in mid 60s.

Background Information

The Tangs are two North American dance champions who came up together to start a business endeavor that targets boomers especially women. The Tangs have an aspiration of making their company brand name (Dancescape) to become a world class dance lifestyle based on a dance brand that is global.

Though at the beginning the Tangs spends much money to produce a dance video and a lot of time giving instructions to their students but at the end their dance video sells well in the United States. As a result, this motivates them to start venturing into other markets like Canada and Britain.

Their marketing and promotional strategy is building websites that have the latest features. However, to attain this objective, the Tangs require a lot of money. To ensure that they get money to accomplish their aspirations, the Tangs started looking for pieces of advice from other people.

For instance, they hired a coach who instructed them not to concentrate more on building their business and their brand alone, but also to spend some time refining and polishing their sales pitches. After taking these advices, their business grew rapidly as they had many boomers who had a lot of money to spend on dancing lessons.

Problems Statements or Issues:

• The Tangs think that baby boomers have money to spend on leisure.
• The Tangs want to make their company (Dancescape) a world class dancing lifestyle organization, based on dance brand that is global.
• The Tangs might have a problem in finding dance hall places to carry out their lessons.
• The tangs are always spending a lot of time giving instructions to their students.
• The tangs have also spent a lot of money ($20,000) in producing a single learn-to-dance video.
• Though their learn-to-dance video is selling well in the United States, getting into Canadian and British distribution is quite challenging.
• Though the Tangs have a good idea of creating three websites where they will be conducting their promotions, marketing and selling of their learn-to-dance video, this will need a lot of money which they dont have.
• The Tangs spent most of their time running their business as a result, they have no time to refine and polish their sales pitch. Hence they are not ready to present their sales pitch to their audient, Tim Draper.
• On a pitch day with the Tim Draper, the Tangs ended up embarrassing themselves when Robert called Tim Draper Steve twice.
• After their sales pitch presentation, they received neither positive nor negative comment from Tim Draper; hence they are left in a state of dilemma not knowing his next plan of action.
• Though they are doing what they love, this does not mean that their business will be automatically viable; they still have to do more.
• Since they are using facebook generation technique to promote their products, their target population might not be well versed with this kind of technology.
• Though the Tangs want to develop a global brand, they are only targeting boomers, leaving out the youths; this fact limits their goal of becoming a global brand.
• The kind of language being used by the Tangs might not please their target population.
• Due to the fact that their target population comprises of individuals with different ages, their needs and wants differ greatly, hence there is need to segment their market further.

Situation Analysis

Strengths

• They are former North American dance champions, hence are already known and most people might wish to associate with them.
• They have done good timing as TVs are boosting ballroom dancing interests.
• Their target population (baby boomers) is the best market since they have disposable cash to spend in dancing lessons.
• In addition, since they are targeting women, women always have influence when it comes to family purchases, so they are targeting influential population.
• They can get church halls to use them as classrooms to offer their dancing instructions.
• Their learn-to-dance video is already selling well in the U.S market.
• They are well versed with technology hence; they can use facebook generation technologies.
• They are doing what they love doing so, they are not straining.
• Their business is liked by many because it makes people feel young.

Weaknesses

• The Tangs have no enough time to do all things they are supposed to do, like refining and polishing their sales pitch.
• They dont have enough money to do all they want to do.
• They have hard time finding sponsors.
• Tangs seem to be broad minded in a manner that they are concentrating on bigger things like building their business and brand name, forgetting to concentrate on little but important issues like polishing and refining their sales pitch.
• They seem to be having hard time when entering new markets like Canada and Britain.

Opportunities

• Since their learn-to-dance video is selling well in the United States, they can make a lot of money to expand their business.
• Though they have no money, there are sponsors who are open minded when it comes to new ideas.
• There are TVs which are promoting ballroom dancing; hence they can use the same to promote their business.
• Since boomers like exercising to keep themselves young, dancing is the best practice to achieve this objective.
• Due to the current expanded technology, the Tangs can promote and distribute their products easily hence, their company can become global.
• Their target market is not technologically backward thus they can be reached through up-to-date technologies.
• There are individuals who are ready and willing to give them halls to use them as classes. These are for instance church leaders.

Threats

• There are chances that other dancing schools might be opened.
• Finding baby boomers willing to take dancing lessons might be hard
• If church leaders and other people stop lending them halls to use them as classrooms, then they will be negatively affected.
• There are chances that their target population might not be well versed with the kind of technology they are using.
• They are dealing with a diversified market niche hence, satisfying them might be hard.
• The population they are dealing with is very sensitive to some words hence; they might not like their language.

Criteria

• Looking for boomers to undertake dancing classes.
• Finding a place to offer their dancing classes.
• Finding sponsors.
• Getting money.
• To make money.
• Building three websites.
• Producing learn-to-dance video.
• Hiring a coach.
• To promote their business and brand name globally.

Constrains

Internal Constrains

• Financial constrains; in case the Tangs are not able to get sponsors like Tim Draper, it will be very hard for them to establish global business. This is because, they will not be able to create their websites hence, promoting their classes and product distribution will be very hard for them.
• Time management; the Tangs have no enough time to carry out all the activities they want to undertake. For instance, they have no time to refine and polish their sales pitch.
• Personality; the Tangs are not perfectionists, they over look smaller but important issues and concentrate more on broad issues like building their business.
• Language problems; there are some words like retirement, which their clients might not like.

External constrains

• Financial constrains; in case Boomers could not afford to pay fees for their course or even afford to purchase their learn-to-dance video.
• Finding dancing halls; the Tangs might face it rough to find owners of dance halls to let them use their halls as classrooms for free.
• Sponsors; it might be very hard for the Tangs to find sponsors who are open-minded on new ideas.
• Diversified population; t he Tangs are targeting women boomers aged from 40 to 60s, this means that satisfying their differing needs is very hard

Alternatives

• To find students and market, the Tangs can use facebook generation kind of technology to attract many boomers who are willing to undertake dancing classes.
• To find classes, the Tangs can go to dance hall owners and even make a deal with them that some of the dancing lessons will be used to entertain those in attendance.
• To make more money, the Tangs can keep their expenses low, increase the number of boomers, apart from increasing the sale of their video sales.
• To get sponsors, the Tangs can attend some marketplace talks where experts will guide them on how to improve their promotion and refine their sales pitch.
• To deal with diversified market, the Tangs can segment their niche market further.

Recommendation

I hereby recommend that the priority should be looking for boomers and attending market place talks. This is because, without students dance halls and other things will just be useless. On the other hand, attending marketplace talks will help them gain skills and knowledge on how to get sponsors and promote their products hence, increasing their sales. Other alternative are not as significant as the two.

This is because dance halls will only be used as lecture rooms, used for teaching students who will attend their lessons after gaining interests through Tangs promotion. In addition, in case their sales pitch is good, sponsors will start looking for them. As a result, all other alternatives relays majorly on the two alternatives which should be prioritized on (Laermer & Simmons, 2007).

References

Boomer Bonanza. (2008). Shall we dance? Web.

Laermer, R. & Simmons, M. (2007). Marketing. New York: Harper Collins.

Ballroom dances are performed in pairs in social gatherings as well as on competitive stages. Different types of dances are included in this ballroom dance and they are fox-trot, waltz, polka, tango, Charleston, jitterbug, and merengue (Ballroom dance, 2009) and their styles are also different. It was usually performed for pastimes and its a spirited sport too. In ancient times these ballroom dances appeared in certain kinds of rituals. (Heskin, 2009).

It was initiated in England at the end of the18th and the beginning of the 19^th century. It was seen that mainly the people from the upper-class community participated in this in the late 18^th century but in the 19^th and at the beginning of 20^th century even the working-class community became good participants in this performance and it gained popularity all over the world and with all kinds of people. It is through this dance the couples can share their deep affection with each other.

It can be seen that the ballroom dance is very majestic in its look. In fact, the history of ballroom dancing tells that the dances tend to appear royal because they were performed in royal courts in Western Europe. (Jamie, 2008, para.6). It not only includes waltz but its a mixture of Fox Trot, Jive, Tango, lindy, Charleston, and so on. Waltz had its origin in Austria; Fox Trot was first introduced in America and Tango in Argentina. Even though the names are different they all are in the ballroom dance group. So, it is well known all over the world. It became more popular nowadays as this performance can be seen throughout stage shows, television and films too. There is no age limit for this performance as even the old couples enjoy it for their recreation.

The modern ballroom dance is different from the old in its rhythm, but the same thing which never changes is its form that the couples who perform this dance are in a close hold. The physical contact between them will be there but it is only between the upper and lower part of the body. If the dancing partners have attentiveness in steps, their performance will be an attractive one. There are different steps in this ballroom dancing and it is performed according to the music and the steps will change when the music changes. In this present era, the name ballroom dance is applied to all types of dances that are performed by pairs and have physical contact between them. These types of dances are seen mainly at parties. The way of performance is altering according to change of the culture. The main advantage of this dance performance is that it is helpful for both physical and mental well-being.

Ballroom dances appear in two different styles; one is the American style and the other is the International style. (Ballroom dance, n.d.). There is a difference in their style as in American ballroom dance the partners make a close position while in the other style, the partners make an open position between the two. Ballroom dances are included in the competition too and for the competition, both the American style and international style are included. In the earlier times, ballroom dance was not admitted to the contest. With the hard work of a group of dance teachers (formerly known as The Imperial Society of Dance Teachers). (Leetham, 2009, para.4) this dancing performance became a popular one for the competitive level. In the competition, the dancers give much concern to their costumes too. The dressing style of women is full grown and that of men is bow tie and coat. There is a certain time limit for each dance and for making it better the dance should be completed within the given time limit. It can be seen that recently it has been admitted as a sporting event in Olympics.

Ballroom dance was performed by pairs in all social gatherings, and later, the competition was also conducted on this dance. So, there are many artists associated with this as the opportunity is high. Ballroom dance was popularized by Vernon and Irene Castle and Fred Astaire and, later, by Arthur Murray (1895  1991), who established ballroom dance studios throughout the US. Ballroom dance contests, especially popular in Europe, feature both amateur and professional dancers. (Ballroom dance, 2009, Britannica concise encyclopedia: Ballroom dance, para.1). As ballroom dance became very well known in every place, along with the dance the artists also became famous which raised their lifestyle. Not only the dancers but the musicians, producers, costumers, choreographers, and all others related to this genre also grew to be famous very soon. Lindy is popular in ballroom dance along with Charleston. The famous dancer named Frankie manning introduced the first air step in Lindy.

Very talented and experienced artists worked in the ballroom dance, and as a result, the show happened to be magnificent and all the audience enjoyed it. The ballroom dance became well known all over the world after it became a competition event and when the new rhythmic style of music was developed. One of the famous ballroom dancers is Drew and he is famous for his step-by-step ballroom dancing, and for the viewers or those who want to study this dance, his step-by-step instructions are very helpful. Music plays an important role in ballroom dance; so the popular African American music composer Ellington became famous very quickly in the 20th century. With his collaboration, an orchestra group was formed and many excellent artists became a part of it. Until his death, he showed miracles in his jazz music and received many awards for his performances. James Johnson, who is the same as Ellington was also a famous African American composer-cum-pianist. Jonathan Marion is one of the most famous ballroom dancers. There were many dancers in his group and they conducted many astonishing programs all over the world. Even in this century, he is known by everyone. (Famous musicians of the Harlem Renaissance, 2009). The programs led by Fred Astaire and Ginger Rogers greatly influenced the American people when it was telecasted in television. There was a good musical group along with their program to make the presentation an exciting one. And the music was mainly composed by well-known composers of the period like Irving Berlin and George Gershwin. (Ballroom dance, 2009).

Ballroom dance is totally different from other dances which influenced peoples minds and bodies in the same way. This dance is seen mainly in Europe, UK, the US, etc which changed their performance, culture, and dressing style showing modern life. Ballroom dance provides a depiction of the living culture of people which they are doing for enjoyment and belonging with the people. (Marion, 2009).

As ballroom dance became famous, dance classes and competitions are conducted on this.

While it was telecasted on TV, it became more famous which influenced the people from low-class society and they started performing which was earlier seen only in high-class society. This dance is performed according to the rhythm of the music which makes the feel of romance in people and through this dancing, the couple expresses their love and affection towards each other. The music of ballroom dance makes the people passionate that is essential for the muscular movements in support of dancing. Everything that is correct and desirable in a marriage or relationship exists on the ballroom dance floor. (Allen, 2002, p.25, para.2).

In most wedding receptions ballroom dance is performed and the primary dancing of couples is very important which makes more passionate among them and also makes the function more pleasurable and enjoyable. In this modern era, as this dance is performed on most occasions there are lots of opportunities to dance. Society believes that the lifestyle can be improved once the dance is studied. If the people are very shy they will be neglected by the community. So, in order to build their confidence for attending any social functions, they practice ballroom dance. Even though ballroom dance influences people a lot, some of them hate it, mainly those who do not know how to dance. Occasionally, this dance is performed with somebody else instead of a partner; so people feel wrong and hesitate to do ballroom dance. But, one can say that in the modern age ballroom dance has become an unavoidable one in any social gathering.

Reference List

Allen, J. (2002). The complete idiots guide to ballroom dancing. Alpha Books.

Ballroom dance. (2009). Answers.com.

Ballroom dance: Britannica concise encyclopedia: Ballroom dance. (2009). Answers.com. Web.

Ballroom dance. (2009). New World Encyclopedia.

Ballroom dance. (n.d.). USA Dance Chicagoland. Web.

Famous musicians of the Harlem Renaissance. (2009). Buzzle.com: Intelligent Life on the Web. Web.

Heskin, N. (2009). The history of ballroom dance: From prehistoric ritual to modern competition. Suite101.com: The Genuine Article, Literally. Web.

Jamie. (2008). The real history of ballroom dancing. How to Dance Like Star. Web.

Leetham, C. (2009). Ballroom dancing  a brief history. Ezine Articles.

Marion, J S. (2009). Ballroom: Culture and costume in competitive dance. BERG. Web.

Introduction

The history of swing dancing had its roots in the distant past when the culture of African Africans and Europeans intertwined, and society felt an irresistible desire to erase boundaries between traditional and street choreography. The philosophy of swing is simple and attractive  it is an opportunity to improvise, to express ones inner self, not to be afraid of condemnation, and to always have fun.

This work is aimed at analyzing this style and its development throughout the history of existence, starting with World War II and ending with modern parties, and shows where this style is still popular. The historical development of swing not only coincided with the stages of different jazz styles formation but also played a special role in the culture of choreography, changing peoples attitude towards this extraordinary choreographic genre.

History of the Swing Era

The historical development of the swing style coincided with the stages of the formation of different jazz styles. According to Fitch, this genre was finally formed in the 1920-the 1940s and was based on movements borrowed from African American culture where swinging movements were common (64). At first, it was performed in the south of the United States of America, and later, its influence spread to Chicago, New York, Cleveland, and Detroit (Fitch 64). Even though over time, the dance began to be divided into ballroom and street ones, it remains the symbol of the freedom of movement. It also assumes a special atmosphere and even a peculiar style of clothing and shoes.

Peculiarities of Swing Dancing

The main form of the embodiment of the swing style was dancers improvisation based on a prepared and rather complex accompaniment. One of the hallmarks that distinguish traditional jazz choreography from swing has a rhythmic background. The syncopated rhythm of compositions accompanying this dance and a vivid harmony were typical of the era when the culture of this musical direction dictated the manner of behavior. Swing performances in their classical form are pair (a man and a woman). There is close contact between partners, although in some cases, individual space is permissible to demonstrate ones skills.

The term swing itself combines several dances of a similar direction, for instance, Lindy hop or rock-and-roll (Fitch 64). Many types of this genre, such as rock-and-roll, are replete with acrobatic stunts. As a result, there is no general scheme that clearly defines the character of movements. Therefore, the style gained particular popularity among those who were tired of outdated dances with the same and repetitive steps.

Role of the Swing in History and Modern Trends

After the movement of the African American population from south to north at the end of the 19th century, the art of the black and white people of the USA enriched mutually. As a result, new styles and genres of music and dancing appeared. Moreover, later, closer to the middle of the 20th century, this trend spread throughout Europe and took root as one of the forms of informal art. For instance, as Dickson notes, in Nazi Germany under the authority of Hitler, these dances were generally performed by Jews. Therefore, both the music and choreography of this type came under strict prohibition and became the object of persecution.

However, a few years later, the German command took a radically different decision  to show this dance to enemies, thereby promoting the freedom of Nazi mores and liberties that they could afford (Dickson). Subsequently, the style became widespread in the Old World and was one of the most common genres. Thus, the swing was the object of political propaganda and the instrument used to establish diplomatic relations.

Today, the swing is still one of the most common styles of dance personifying freedom and the importance of real life. Fans of this genre promote it not only at professional competitions but also in amateur contests, for example, the famous show called So You Think You Can Dance.

This popularity confirms that art has no time limits and is not subject to bans or persecution. Despite its originality and difference from contemporary trends, the swing retains the status of the dance that helps people relax and enjoy. As a result, its role in history is significant because it not only changed the concept of freedom in choreography but also became the symbol of the whole era during complex political disagreements and instability.

Conclusion

The development of jazz became one of the prerequisites for the birth and spread of swing, which, in turn, changed the idea of dance freedom and was also used as the object of political propaganda. The formation of this trend was the result of the popularization of African American music and was divided into many branches with their unique features. Today, the swing is popular for its originality and an opportunity to liberate dancers. The concept of freedom traced in this dance personifies the importance of real-life and the pursuit of personal art preferences.

Works Cited

Dickson, Andrew. Swing Time for Hitler: How the Nazis Fought the Allies with Jazz. The Guardian. 2014. Web.

Fitch, W. Tecumseh. Dance, Music, Meter and Groove: A Forgotten Partnership. Frontiers in Human Neuroscience, vol. 10, 2016, p. 64.

Introduction

Foreign dance classes have become popular in Russia since the collapse of the Soviet Union (Radchenko 1). Many young women and men have started to practice foreign dances for professional reasons or just for fun. In Russia, Belly Dance, Irish Dance, Indian Dance, Flamenco, and Swing Dance have become tremendously popular (Radchenko 1).

This essay will employ a variety of sources both from the internet and printed ones to examine various aspects of Belly Dance in Russia with focus on its style, training, professional performance, competitions, festivals, costumes, and management. Toward the end of the paper, a single artist will be chosen to reveal the state of the dance industry in Russia. The paper, in general, is aimed to pinpoint various nature of the Belly Dance in Russia.

Belly Dance has been defined as a term generally used to describe a particular kind of solo Middle Eastern social dance, usually performed by women, which has developed into a performance art both within and outside of the Middle East (Kelly 8).

Belly Dance performance is characterized by swaying hips, undulating torso, and emotional expression (What is Belly Dance?). It is titled differently in many countries; it is called Raqs Sharqi in Arabic, Middle eastern/oriental dance in English, and in French as Danse du ventre. The exact origin of belly dance is unknown, although it is highly believed it originated in the Middle East (What is Belly Dance?). Although the belly dance is a professional artist, it is also a popular hobby in most western countries, where it is admired and performed by ordinary women in parties, weddings, anniversaries and other special occasions (Henderson).

Belly dance was popularised in the East and West during the 18th and 19th centuries. The popularization is attributed to paintings by orientalist artists who portrayed the romanticized lifestyle of the Ottoman Empire (Henderson). These were middle eastern performances at world fairs and exhibitions during that period, which gathered large crowds of people that helped to create the passion for these exotic dances.

Belly dance is believed to have produced several health and social benefits. It claimed to aid in boosting self-esteem, relieving joints pains, strengthening bones, reducing stretched in women, relieving Post Menstrual Syndrome (PMS) as well as relieving back pain (What is Belly Dance?). From a social standpoint, it is said to enhance feminity.

In belly dance, the focus is on the hips and pelvic area while movement is controlled by legs and knees. Performers commonly wear costumes that are designed to help dancers move freely with their legs (Salome).

Style and Organization

Russia and Ukraine are the two main countries in Eastern Europe where belly dance enjoys immense popularity, especially among women. There are many belly dance schools in major cities. Most gyms also include belly dances in their training. Most Russian belly dancers practice what is locally known as Russian Oriental Belly dance. This version of belly dance is a mix of borrowings from Turkish, Egyptian Lebanese, and East India dances. It is contrary to the western version whose dance style includes Classic American, Tribal, Gypsy, Goddess/spiritual, Fusion, as well as Fitness. Thus, it is difficult to give it a unique definition to the Bally Dance.

Russian Oriental Belly dance is said to be flexible; it gives freedom to adopt new styles of their own. The Russian Belly dance is infused with ballet mostly because a dancer who takes it up is already trained in ballet. This style is akin to the modern Egyptian cabaret in elegance, control, and finesse. However, it lacks the conservatism of the Egyptian style, and performers are usually scantily dressed, a feature common to Turkish style cabaret (Azar).

The result of the mixture is a unique Russian version of the dance that is difficult to define. Mostly, many of the characteristics of ballet, such as performance on stage by a single dancer, features in belly dance performances. Russian Oriental Belly dance also displays a significant influence of popular Russian culture. Belly dance in Russia is also regarded as more democratic. It is common to see women of all ages attending the classes and participating in them.

Most performances are accompanied by Russian ballet music or by the music of foreign compositions. Most classes resemble the dances of the Turkish styles and instruments, such as Oboe, clarinet, oud, finger cymbals, and hand drums. Many new dancers, who take up belly dance say they were inspired by The clone, a Brazilian soap opera full of belly dance scenes. Apart from Turkish styles, Egyptian styles are also very popular, especially among amateurs. It is usually performed alongside Egyptian folk dances, such as Raks al Assaya and Raks al Nashar (Salome)

Because it is an imported dance, the type of belly dance in Russia is largely the basic one. Basic Bellydance is made up of four major moves, namely, basic staccato hip, basic rolling hip, basic ribcage circles, as well as basic arm, shoulder, and head moves (Melike, para 4). A typical belly dance show in Russia can involve a solo dancer, but more often it is an ensemble of 3 to 5 young female dancers under the direction of a mature choreographer. Some commentators have rated Russian performances as substandard or inaccurate. However, some of them have gained worldwide acclaim and fame for their performances.

Nowadays professional belly dance in Russia is performed by hired dancers, who are performing for tourists or affluent locals at fancy hotels, clubs, and on special dinner cruises (Melike, para 4). Payment is usually made in cash or by placement banknotes on the body of the dancer as she passes by.

It is common for top-rated Russian dancers to emigrate to work in western and Middle East cities (Melike paras 3). Only a few of them return, and those who do settle down abroad usually set up their dancing schools or studios. In advanced dance studios, classes are conducted via video lessons and watching pre-recorded performances.

There is little few on the history of belly dance in Russia. This has been blamed for the autocratic Soviet Union regimes when private businesses were illegal in the country, and it was against the law to move out of the country for work.

The league of Belly Dance Master, a group, made up by a finest Russian dancers, is responsible for the organizations related to the dance in the Russian Federation. Each year it organizes competitions, such as the Internation Belly Dance Cup, which rates top dancers. Apart from the cup, there are numerous other festivals and competitions, which are held in Russian cities.

Some of them, such as the International Bellydance Oasis festival in St. Petersburg takes place twice a year. Most festivals have an array of programs that range from concerts, competitions in various nominations to workshops, seminars and fashion shows. These events are popular, and professionals along with amateurs normally throng such events. Regular participants have been known to come from Germany, Egypt, Turkey, Byelorussia, Poland, Ukraine, Kazakhstan, Latvia, and Estonia.

There have been reports that dancing is used as the cover for prostitution in Russia (Salome). This is reported to usually take place during sea cruises or at expensive nightclubs as part of entertainment for rich clients who are not grudged to spend their money on such kind of entertainment. Some are also said to be working in Middle East cities as prostitutes under the cover of professional dancers. This fact, however, is denied by many entertainment and tour agents and, as such, no actions have been undertaken by authorities to confirm it, or, on the contrary, arrest the alleged perpetrators.

Costumes

Traditional costumes for ballet dance consist of a bra, a hip belt, and a long skirt, mostly made of silk or chiffon. Costumes vary from place to place. The bra and belt are normally adorned with moveable jewels, beads, and palettes. During dancing, they move in unison with the movement of the dancer adding flavor to the performance. In Russia, these costumes are of a typical cabaret dancer and are sold by design experts (Muralidharan, par 3). For folkloric dance (Marina Oganyan) a Baladi dress and a cane, trays, jar, candle, stick or sword are common just as originally in the Middle East. Still, some perform with captivating stunts with props that may include mammals, such as snakes, for example ((Muralidharan, para 5). Some use cymbals (Zill(Turkish) or Sargat-Egyptian). In some cases, cymbals are played by a separate musician standing near the performer.

Costumes can be made at home, purchased from local shops or via the internet. Most online stores can supply most of the materials needed, such as Brass bangles, shiny clothing, mid-drift tops, large flowing skirts, jewelry, as well as unique customized ones.

Marina Oganyan

Marina Oganyan is one of the most well-known female belly dancers in Russia. She has had an illustrious career as a Bellydance teacher, choreographer, stage director and as a producer of her popular group Amaren-show (Marina Oganyan). Marina began dancing at a tender age. When she was 11 years old, she took Indian dance classes during which she mastered classical dance along with Khatkhak styles. It is reported in media that it was while dancing at an Indian festival in Moscow that she got noticed by an Indian Embassy official, who contributed immensely to her subsequent success.

Marina later mastered Arabic dance but faced challenges in the process due to a few Arabic dance schools available in Moscow at that time. However, her mastery of the dance was boosted when she met Nour (Tatiana Fedyaeva), a well-known Egyptian bellydancer, who was visiting Moscow at the time. With Nour assistance, she visited Cairo where she participated in  Ahlan Wa Sahlan Festival. During this visit, she met some of the most celebrated choreographers in the music industry whose assistance and training catapulted her to greater heights. Marina performances are highly emotional, a feature that she has come to be closely associated with (Marina Oganyan)

Professional Life

Nowadays, Marina is a professional bellydancer living and working in Moscow. She is paid with high fees (Marina Oganyan, para 1). She also participates and performs at major festivals and prestigious events worldwide (Marina Oganyan). In 2006 she was the chief guest at Berlin Festival Bazaar Oriental. Marina has not stopped teaching Bellydance. She continues to visit cities inside and outside Russia to offer master-classes sessions for professional dancers (Marina Oganyan).

Apart from her solo career, perhaps her major other success has been her group Amaren-show, which she personally created and considers the crown of her dancing career. Amaren-Show first performed in 2006 and continues to win the hearts of many oriental dance lovers in Russia and abroad. The group was especially well received in Saudi Arabia, Bahrain, and her native Russia.

It is said to be the best known professional group of oriental dance in Russia (Marina Oganyan). She together with the group won the Miss Bellydance 2006, Goddesses Splendor Show Program 2006, Bellydance Festival Pharaonic 2004-2006, Moscow Oriental Festival 2005, Oasis Festival, St. Petersburg 2005, and the International Oriental Dance Festival (I and II) (Marina Oganyan). At present, Marina remains active in oriental dance events in Russia and is reportedly planning new shows and tours.

Conclusion

Belly dance has its roots in the Middle East where historical findings show it was purely a social event. Using colonization, it spread to the western and eastern parts of the globe. In these new places, it grew to gain popularity among a large number of women. In Russia, the kind of belly dance practiced bears resemblance to Turkish and Egyptian varieties and styles. They have been refined in the Russian way to include Russian ballet and culture. The end result of the merger is dancing being unique.

The popularity of the dance is exemplified by a high number of training schools in major cities and towns of the country. To perfect the art, Arabic masters have been imported to train locally. The dance is well organized and there are numerous festivals and competitions dedicated to it. Notable belly dancers have emerged in Russian showing the whole seriousness Russians have attributed to this kind of dancing. If the current trend is to further thrive, the belly dance in Russia will continue to prosper in the coming years.

Works Cited

Azar, Soher. A primer on Middle Eastern Dance Styles. 2008.

Henderson, Karol. The Worlds Oldest Dance: Origins of Oriental Dance. 2007.

Kelly, Brigid 2008, Belly Dancing in New Zealand: Identity, Hybridity, Transculture. Master thesis, Univ. of Canteburry.2000. Thesis Online.

Marina Oganyan. 2012.

Melike, Kristina. An Introduction to the History of Russian Oriental Bellydance. 2007. Web.

Muralidharan, Anuradha. Egyptian Belly Dance. 2006.

Radchenko, Daria. Dancing in Others shoes: between pain and pleasure. 2010.

Salome, Patriya. Prostitution in the Eastern Block and Belly Dance. 2007. OrientalDancer.net.

What is Belly Dance? 2012.

Introduction

Dance, a vibrant art form, embodies the rich tapestry of American culture, reflecting its diverse and dynamic spirit. It transcends mere movement in the USA, narrating stories of heritage, innovation, and unity. This essay delves into the multifaceted world of American dance, showcasing its evolution and the influences that have shaped it. Each style mirrors a unique aspect of American life and history, from the rhythmic footwork of tap to the expressive gestures of contemporary dance. We explore the impact of various cultural and social factors, illustrating how it has become a vehicle for expression, protest, and celebration. The essay also highlights the contributions of iconic performers and choreographers who have left indelible marks on the American landscape. Through this journey, we uncover how dance in the USA is not just an art form but a language that communicates across barriers, fostering connections and understanding among people. As we wade through the rhythms and movements, the essay offers insights into how dance continually evolves, echoing the ever-changing American society. This exploration is not just about a performance but as an integral part of American identity, a unifying force that resonates with people from all walks of life.

100 Words Essay on Dance

In the USA, it is more than a movement; it’s a vibrant celebration of cultural diversity and artistic expression. This art form, ranging from ballet’s elegance to hip-hop’s bold rhythms, captures America’s dynamic spirit. Each style narrates a unique story, reflecting the country’s rich tapestry of experiences and backgrounds. It’s a unifying force, transcending barriers of language and heritage, and a medium for personal and collective expression. It is constantly evolving and embraces global influences while forging its distinctive identity. Beyond performance, it’s a powerful tool for storytelling, mirroring the nation’s resilience, joy, and communal bonds. In essence, dance in America vividly reflects its ever-changing, diverse society.

250 Words Essay on Dance

In the United States, it is an art form and a vivid expression of the country’s diverse soul. It encompasses a myriad of styles, each echoing different facets of American life. From the poised precision of ballet to the free-spiritedness of contemporary and the pulsating energy of hip-hop, dance in America tells stories of history, struggle, joy, and resilience.

It serves as a bridge, connecting diverse communities. It transcends language, allowing for emotional expression beyond words. This art form celebrates cultural heritage while embracing innovation and change, reflecting America’s ever-evolving society. In studios, on stages, and in streets across the country, dance is a powerful medium for self-expression and social commentary.

Significantly, it is a melting pot of global influences, integrating elements from various cultures and creating unique styles that resonate universally. With its European roots, Ballet has evolved in America, incorporating modern techniques and narratives. Similarly, African and Caribbean influences have profoundly shaped contemporary forms, adding vibrant energy and storytelling depth.

American dance is also an educational tool, teaching discipline, teamwork, and creativity. It fosters physical health and emotional well-being, both an outlet for stress and a joyful celebration. From professional performances to school recitals, it is integral to American culture.

This essay celebrates American dance in all forms, recognizing it as a dynamic, unifying force reflecting the nation’s heart and diversity. It’s a testament to the power of dance as an art form and a vital part of the American cultural landscape.

400 Words Essay on Dance

In the United States, dance is an art form and a rich cultural narrative that captures the nation’s diverse spirit. Spanning a wide array of styles, from ballet’s structured elegance to hip-hop’s raw energy, American dance reflects its historical, social, and cultural fabric.

With its European origins, Ballet has been reinterpreted in the U.S. to incorporate contemporary themes and techniques, showcasing a blend of tradition and innovation. Born from urban landscapes, hip-hop narrates stories of community, resilience, and resistance, resonating with the youth. Modern and contemporary breaks the mold of classical forms, exploring new dimensions of expression and movement, symbolizing freedom and creativity.

These forms are artistic expressions and represent significant social and historical narratives. Swing and jazz, for instance, emerged during challenging times, offering a sense of escape and unity. Dance has also been a powerful medium for social commentary and change, reflecting the nation’s evolving attitudes and values.

Apart from performance art, it plays a crucial role in education and personal growth in America. It is a tool for learning discipline, fostering creativity, and promoting physical and mental well-being. The programs in schools and community centers offer valuable spaces for young people to explore their identities and build confidence.

Community is at the heart of American dance. It unites people across diverse backgrounds in celebrations and festivals, turning dance into a communal experience that strengthens social bonds. These events are not just exhibitions of skill but also serve as cultural exchanges that enrich communities.

The impact of dance in the U.S. extends beyond physical spaces. With the advent of digital technology, American dance has found new avenues for expression and outreach. Social media and online platforms have enabled dancers and choreographers to share their art with global audiences, encouraging international collaborations and innovations.

American dance is a dynamic, ever-evolving landscape. It reflects the country’s changing societal trends and continues to adapt, absorbing new influences and ideas. This evolution underscores its significance as an art form and a vital element of the American cultural tapestry.

This essay celebrates the multifaceted nature of dance in the U.S., recognizing its role as a storyteller, a tool for education and social change, and a unifying force in the community. It is more than an artistic endeavor; it is a living, breathing part of the nation’s identity, constantly evolving with its people and their stories.

500 Words Essay on Dance

It is a vivid mosaic, a dynamic interplay of movement and expression that reflects the diverse heartbeat of the nation. Across the vast American landscape, dance evolves, telling stories that span the spectrum of human experience.

Ballet, with its origins steeped in European tradition, has found a unique voice in America. It intertwines classic elegance with bold, contemporary themes, creating a narrative that resonates with modern audiences. Ballet companies across the nation continue to push boundaries, blending traditional techniques with innovative choreography.

Hip-hop, born from the streets, embodies the rhythm and pulse of urban America. It’s a powerful form of self-expression and social commentary, echoing youth’s voices and city life’s vibrancy. Hip-hop isn’t just a dance, it’s a cultural phenomenon encompassing music, art, and fashion, making it a significant influencer in the global scene.

Modern and contemporary forms in America break free from the constraints of classical dance, offering a canvas for choreographers to experiment with movement, space, and emotion. These forms have become a conduit for personal storytelling and abstract expression, often reflecting societal issues and individual experiences.

Furthermore, American dance is a melting pot of global influences. Styles like salsa, tango, and flamenco, brought by immigrant communities, have enriched the American dance tapestry. These styles offer a glimpse into diverse cultures, fostering understanding and appreciation.

It also plays a pivotal role in education and community building. It’s an effective tool for teaching discipline, teamwork, and creativity. Schools and community centers nationwide use dance as a medium to engage youth, encouraging physical fitness, emotional expression, and cultural awareness.

American dance extends its influence through festivals and community events, bringing people together in a shared experience. These gatherings are not just about showcasing talent but also about celebrating unity in diversity. They serve as platforms for cultural exchange and mutual appreciation.

The digital age has significantly expanded the reach and scope of American dance. Social media and online platforms have opened new avenues for dancers and choreographers to share their work, engage with audiences, and collaborate across borders. This digital expansion has democratized dance, making it accessible to a broader audience and allowing diverse voices to be heard.

Dance in America is a testament to the nation’s capacity for innovation and adaptation. It absorbs new styles and ideas, reflecting the changing societal landscape. This adaptability underscores its significance as a living, evolving art form integral to the cultural fabric.

Ever since I was a little girl dance has had a major impact on my life. I can not even remember my life without dance; when dancing I feel most like myself. I do not know if you could ever find a moment where I am not doing some type of dance move, whether that is point my toes or afull combination. I dance when I am happy, sad, or even bored. Dance makes me feel like I can do anything, especially when I am able to accomplish a certain skill I have been working on.

As of this moment I view myself as a competitive dancer who is taking every opportunity to better her dancing. Throughout my thirteen years of dancing I have performed many styles of dance such as Ballet, Tap, Jazz, Lyrical, Hip Hop, etc. When exploring all of these styles I have learnt how to move my body in ways I could not imagine, while showing many different emotions. With this I still believe I have so much more I can improve on. That is why anytime I have the chance to dance under a new dance teacher, I embrace the opportunity. You can learn so much from your peers and that is what I plan to do in this course. I also enjoy sharing my skills with my peers as well as younger students at the studio where I dance.

An experience related to school dance that went well for me, was furthering my knowledge and growth as a dancer. Although I have only completed one dance class here at St.Joseph-Scollard Hall, I have created many new friendships and learnt to accommodate my choreography to the needs of those in our class, which has helped me when I dance outside of school.

An experience related to school dance that was difficult was when we had to choreograph a dance, along with a presentation and my partner had not contributed. Which resulted in an extremely stressful situation, when presenting to the class. Dance has absolutely led me to living a healthier lifestyle, not only physically but mentally. I along with many people of all ages, shapes and sizes turn to dance a fun way to stay fit. Just like any other, low-impact cardio workout, dancing has improved my cardiovascular health, increased my stamina, and strengthened my muscles and bones. Aside from the perks associated with any heart-pounding activity, dancing has an edge of cardio with unique benefits that cannot be achieved by other low-impact exercises, like flexibility, along with improving balance, agility, coordination, power, reactivity and speed.

Mentally dance has required me to constantly challenge my brain, because the brain power you need to access for dance, specifically, requires you to focus on both the constant changing movement and recalling moves ad patterns. Dance has also increased my ability to thrive in social situations, while I may prefer dancing when no one is watching, there’s something incredible about dancing with others. Dance is extremely expressive, which has been proven to reduce stress, decreasing the symptoms of anxiety and depression, and boosting your self-esteem.

Obviously, as a dancer I would love to improve on my technique but this is not something I will be solely focusing on. By the end of the semester I hope to have learnt to relax and have fun. When dancing, I focus so much on perfecting my movements that I forget to have fun. Having fun is what dance is all about. I have come to the realization that I am my biggest critic. Every time something does not go as planned, I panic and worry about what everyone else thinks but half the time they do not even notice.

I plan to accomplish these goals by taking in every moment and enjoying it. Dance should be about taking in the knowledge and experience of my teachers and peers, then sharing my dancing with others in a way that makes it all fun and exciting for me and whomever I get to share the experience with. I may not always have a chance to dance in the same capacity as I do today. Not everyone is given the same opportunities I am and that is why I am incredibly grateful. This is what I need to show while dancing. I need to stop dwelling on the past because it can not be changed, but I need to look forwards to the future because I can determine what happens.

The benefits of dance are plentiful, from developing social skills to respect and discipline. I have learnt through dance how to communicate and collaborate with others, while respecting boundaries, encouraging and supporting each other, and problem solving. I have learnt discipline, which means doing things I am required to do even, when I do not feel like it. This skill can help me with other areas of life such as academics. A huge concept of dance classes is showing respect for others. I was taught to respect each other’s space, take turns, listen and show support for each other. I was encouraged to give others compliments, and put downs was never tolerated.

Introduction

There are many opinions on whether dance is a sport or not. Some people argue that dance requires physical fitness and coordination, and therefore it is a sport. Others argue that dance is an art form and does not require the same level of physicality as other sports. Ultimately, the decision of whether or not to consider dance a sport is up to the individual.

Reasons why Dance is a Sport

Dance is a physical activity that requires fitness and coordination. Just like any other sport, dancers need to be physically fit in order to perform well. Dance also requires coordination and timing. Dancers must be able to execute moves accurately and in time with the music. 

That said, there are some elements of dance that could be considered sport-like. For example, many forms of dance require a great deal of physical stamina and coordination. And, some dancers train rigorously, spending hours practicing and perfecting their technique. In these ways, dance does share some similarities with traditional sports.

Dance is often competitive. Dancers compete against each other in order to win prizes or trophies. To be successful, dancers must be skilled in their craft. They must be able to execute moves flawlessly and have a strong stage presence. 

Overall, dance is a sport because it requires physical fitness, coordination, and skill.

Reasons why Dance is not a Sport

The main reason is that dance is an art form, while sport is a physical activity. Dance is about expression and creativity, while sport is about competition and winning.

Also dance is not usually governed by a set of rules or regulations, as most sports are. 

Finally, dance is often performed for the purpose of entertainment or self-expression, rather than as a means to achieve physical fitness or to win a prize.

Conclusion

While there are many differing opinions on the matter, I believe that dance is a sport. This is because dance requires physical exertion and skill, and can be competitive. There are also many different types of dance, which means that there is something for everyone. Whether you are looking for a physical challenge, or simply a fun way to express yourself, dance is a great option.