Capoeira is a Portuguese word that is derived from the word capao which means a castrated rooster. Capoeira is a form of martial arts that includes dancing, music, acrobatics, and singing to create an approach of teaching/training self-defense. The dance was influenced by the rhythms, religion, and social dances. According to Abdias (2002), this dance was brought to Brazil by the slaves taken from Angola. The slaves developed this method as a means of defending themselves from their harsh owners/lords. The slaves had to disguise their training in form of singing and dancing. These slaves used their regional dialects to create new songs and dances. These songs were used to glorify their homeland countries and give them hope for freedom in the future. The songs were accompanied by various instruments like one stringed instrument –berimbau, agogo (bells), pandeiro (tambourine).
Capoeira has spread across the globe and it has various implications in Brazilian society. Some of the historical implications of the capoeira include: originally this art was practiced by the underclasses in the Brazilian community. But today it is practiced by even the middle classes in Brazil. Today it is considered to be a form of heritage for the Brazilians. Capoeira is seen as a symbol of unity. It was used to unify the Brazilians. Today it is considered to be the national heritage of the Brazilians. This is because it began to be played even outside Brazil. This made capoeira Angola famous. This is the art that gives the Brazilians a lot of African cultures. This, therefore, led to the development of Afro-Brazilian culture. Historically, Brazilians acquired a rich tradition from Africa. (Abdias, 2002)
Socially, the capoeira has a sense of unity this is because the form of art was taken up by a lot of people in Brazil. The middle class accepted the art and this led to the unification of the Brazilians. This gave the black Brazilians some sense of unity. The taking up of some of the African practices gave the Brazilians some sense of togetherness.
The practice of capoeira led to the concept of “whitening”, a theory whereby the whites in Brazil took up African practices and made them part of their culture. Initially, this theory was supposed to combat the racist views in Brazil. Therefore this led to the “whitening” of the African value and practices. After the taking up of the art by the whites, capoeira was considered clean. This meant that the African community was accepted by the whites in Brazil. This led to some unity in Brazil between the Africans and the whites. (Kariamu, 1989)
Another social implication of the capoeira on the Brazilians is that it led to the abolition of social classes in Brazil. This means hierarchical order that was there was done away with. This meant that the Brazilians would easily interact. Therefore the society becomes unified. Consequently, this led to the evolution and the dissemination of the African culture in Brazil.
Dance and music are used for social expression. Capoeira as a form of dance was also used by the slaves for expression. The slaves that were brought to Brazil used this form of art to express themselves. They used to express their feeling through this dance. They used it as a means of resisting slavery. In addition, this form of art helped in the fight against racism in Brazil. Capoeiristas formed an organization that helped in the fight against racism. The slaves that were taken to Brazil were allowed to take their drugs. Their masters also allowed them to have some rituals like the samba, capoeira, and Candomble. These rituals provided Africans with some way of relieving their pain. It also enhanced the preservation of the African culture; as a result, this led to the development of the Afro-Brazilian culture in Brazil.
Black consciousness was developed by the rituals that were practiced by the blacks, for example, the capoeira. This gave the blacks in Brazil some “state of consciousness”. This was in terms of racial and class inequality, power, and history. Thus they felt the need to preserve their history and fight for racial and class equality.
Socially, this art brought Brazilian society together. This was after the sport was taken up by the middle classes in Brazil. The social barriers that were there before this sport were erased. For instance, the slaves were the ones who practiced this art. So some of them were employed in the capoeira schools to teach the art, for instance, Mestre bimba was taught capoeira by “Bentinho” who was an African. This enhanced the relationship between the middle classes and people who were considered as classes. This eliminated the barriers that were there and as a result, the society became harmonized. The white community also got a chance to learn the Afro-Brazilian culture. Consequently, the African culture spread throughout Brazil. (Lowell, 2000)
Politically, capoeira gave the blacks a sense of fighting for their culture. Initially, the capoeira was considered an illegal activity, and the movements that were formed by people who practiced the sport (capoeiristas) were considered outlawed movements until it was legalized in 1937. This was after the organized capoeiristas helped to fight against Paraguay. Today the sport is recognized as a national sport not only in Brazil but all over the world. The victory against Paraguay gave the black community some recognition in Brazil and this enhanced the relations among the Brazilians. The black community was also given some political recognition. This is why the then president, Getulio Vargas, legalized the practice of capoeira. The move, therefore, fostered the development of Afro-Brazilian culture (which include the Afro-Brazilian dance)
Afro-Brazilian culture has influenced Brazilian society. This is through its cultural practices and customs, for instance, through the practice of the capoeira. Since its liberation in the 1900s, the art has had very many changes, for example, there has been the blending of Capoeira Angola with other regional forms of capoeira. This has made the art more unique to Brazilian society and therefore it has become a pride to many Brazilians. It is also recognized as the national heritage of Brazilian society.
The incorporation of the African culture into Brazilian has enabled the Brazilian society to have a rich culture. This is especially so in terms of their dances, music, and other religious rituals. Brazil is one country that is known for its rich culture.
When capoeira gained popularity even outside Brazil, It gave the Brazilians a sense of multicultural, multiracial base. This helped to break the barriers that were there before the taking up of the art by other social classes. This helped the Brazilians to acquire Afrocentric philosophies. These philosophies have enriched the Brazilian culture. (Lowell, 2000)
The issues addressed above show the role played by capoeira in the development of the Afro-Brazilian dances and the historical, social and political implications. Some of these implications include: the Brazilian society acquired a rich culture; it also gained a national sport, the knowledge of the art Brazil to win the war against Paraguay. The art also enabled the community to gain or acquire some of the African cultures. This culture has helped to enrich the Brazilian community in terms of its cultural practices. The most important thing is that it enabled the Brazilian community to live in harmony. This is by taking up the multicultural, multiracial base. Different communities are able to live together, without any discrimination.
Work Cited Sources
Abdias Do, Nascimento. Africans in Brazil, New York: Prentice Hall, 2002.
Barbara, Browning. Samba: Resistance in Motion, Bloomington: Indiana University Press, 1995.
Hermano, Vianna.The Mystery of Samba, London: OUP, 1998.
J. Lowell, Lewis. Ring of Liberation, New York: The University of Chicago Press, 2000.
Kariamu, Welsh, Asante. African Dance, African World Press, 1989.
Omofolabo, Ajayi. Yoruba Dance, African World Press, 1994.
The ancient Greeks have long been recognized as having had an advanced society within ancient times. They produced our most sacred philosophical texts, upon which many of the thoughts of today are based, and innovative ideas regarding government, society, and the way we learn. The armies of Alexander the Great expanded Greek influence throughout the early world, making a great deal of their knowledge and science available to the peoples they conquered while still practicing many of their ideologies by allowing these peoples to retain their basic infrastructures and religious affiliations.
By the end of the Greek period, many significant achievements had been made in science and philosophy. Greek thinkers had gained a view of a universe in which the world was round and participated in an intricate dance through the heavens with other bodies named after the gods they revered. Sophistication in mathematics led to the development of geometry which enabled the ancient Greeks to discover even more, including how to determine direction while at sea and scientists were beginning to investigate the elements of earth, air, fire, and water (Williams, 1999).
Engineers were beginning to understand the physics of the earth’s natural processes and put them to effective use while others were learning more about anatomy and medicine to better heal their sick or, more probably, wounded. All of these wonderful advancements in science, technology, art, and architecture left records of their existence even after Greek society declined, but dance, with its freedom of movement, unfamiliar musical styles, and now obsolete instruments, is less clearly defined. For this reason, dance is often considered the worst of the classic arts.
The difficulty in determining the actual form in which dance was performed in ancient times is illustrated through the work of an early 20th-century dancer, Isadora Duncan. Duncan performed what she referred to as ‘free dance,’ which was based on “flowing natural movements that emanated, she said, from the solar plexus. She aimed to idealize abstractly the emotions induced by the music that was her motivating force” (“Modern Dance”, 2003).
Many of these movements were based on the forms and figures seen on ancient Greek relics and the descriptions of dance found in ancient texts. Her selected means of described her dancing style is also hauntingly familiar to the original intentions of the oriental dance that was becoming all the craze among the young men of the western world at that time, which were probably also strongly influenced by earlier expressions of dance found throughout the Mediterranean in earlier times.
While her style of dance diverged into new areas of contemporary movements, her interest in the expressiveness of dance continued to inspire later dancers to explore the various ways in which dance could connect them with their bodies and the world around them, eventually leading them back, as it almost must, to the concepts of traditional oriental dance. Although she managed to innovate to a great extent, there was no way she could fully capture the essence of ancient dance just as her successors, without the benefit of adequate video recording equipment, have only been able to guess at many of Duncan’s concepts.
As the above description indicates, there are numerous indications that dance played a large role in ancient civilizations. Homer included mention of the dance throughout his writings, indicating that Penelope’s suitors in The Odysseus occupy their time with music and dancing while Odysseus himself is also entertained with dancing. In Plutarch’s work, when Theseus and the other Athenian youths escape from the Minotaur, they participate in a dance of celebration.
“The dances of the ancient times are characterized as dances of war or dances of peace. The latter are distinguished in dances of theater, religious and worshiping dances, martial dances, symposia dances, mourning dances, etc. Each type of presentation – tragedy, comedy, and satirical play – had its characteristic dances, some staid and solemn, some featuring lewd miming with phallic props” (Lahanas, 2008). Images of these dances appear on numerous pieces of artwork scattered throughout the ancient world.
Examples include the Dancing Satyr sculpture at the Louvre, the Dance in Armor found at the Vatican Museum, and a terra cotta dancing girl found at the British Museum. However, all of these figures, paintings, and sculptures present a static, single-frame image of what these dances looked like at a particular step, not how the entire dance was performed, the tempo at which it was played, the degree of fluctuation among individuals and the interplay of the dancers as they utilized the performance space.
Because dance is so loosely defined and the possibility of recording it has only been available in recent decades, it is a poor indicator of ancient culture and expression. The example provided by Isadora Duncan highlights the difficulty of attempting to find accurate means of recapturing ancient expressions even as attempts to duplicate her work only a decade later continued to prove ineffective. If dance cannot be recaptured within a decade by direct followers of the dancer, how might one expect dances thousands of years old to be preserved through the conquering of nations and the decline of culture? This impossibility is precisely why dance is considered the worst of the classic arts.
In this dance class, from a series by the Kennedy Center Education Digital Learning, Rujeko Dumbutshena teaches how to use the concept of dancing on the clock to learn African Dance. She is accompanied by Farai Malianga, a Djembe drummer who is also from Zimbabwe. With a positive and engaging attitude, Rujeko introduces “dancing on the clock,” the practice that allows easier positioning of the feet for learning dance moves.
Rujeko Dumbutshena is a Zimbabwean dancer and dance teacher who radiates positivity and inspires those that encounter her. According to the News Archive at the University of Washington, where she is currently the Assistant Professor in the Dance Department, Rujeko’s choreographic experiments combine her childhood memories and her cultural heritage (Kwak). Furthermore, she finds inspiration in other African artists and performers, acknowledging and embracing the evolution of African Dance (Kwak). However, as a pedagogue as well as a performer, Rujeko also makes use of strategies such as the one described in this reflection to make African Dance accessible to her students.
In the short YouTube class, Rujeko introduces her two in-person students, as well as the online audience, to the concept of “dancing on the clock,” as mentioned above. The concept refers to drawing an imaginary clock around the dancer’s feet and orienting one’s steps according to the hands of the clock – for example, left foot on six o’clock, meaning right behind. Rujeko highlights the importance of counting, numbers, and direction in dancing as she prepares the audience for her class (Dumbutshena). She then continues to demonstrate a few steps, first showing them slowly, then speeding up and repeating them (Dumbutshena). Rujeko also emphasizes the importance of dance in African culture and its health benefits (Dumbutshena). In a very non-intrusive way, she introduces a new style of learning the steps, as well as references her culture and background.
The clock trick allows the dancers to visualize their steps easier, facilitating practice and learning of the movement. While most dance training consists of the repetition of movements as shown by the teacher, it can be difficult to visualize how the movements translate to one’s position. However, with the clock tactic, the bearings are easier to find, therefore facilitating the dancers’ learning. However, the directions of the steps, just as their count, are merely the skeleton of the dance itself. Knowing what the moves are and how to achieve the standard shown by the professionals allows the dancers to reach enough confidence and freedom to express themselves, to show a bit of themselves.
The concept of dancing on the clock is even more interesting in the metaphorical sense. As discussed in class, dance is a live artform in the sense that instead of canvases or paints, the dance medium is the human body, an alive organism. Therefore, the dancers are always in a way dancing on the clock, meaning that they, unlike paintings or photographs, are far from timeless. The dance choreographies, however, can be passed through generations and generations, changing through the years but remaining in existence. Although the clock the dancers are using in Rujeko’s teaching is imaginary, in reality, they themselves perform outside the clocks, as each instance of the dance is unique to the particular moment. Dancing performance and practice, although exuberating at times, can be exhausting and grueling, and hence the emphasis Rujeko puts on the convenience of learning is very helpful. Without taking away from the aesthetic or expressive nature of the dance, she makes it more accessible to individuals that want to participate in this art form.
Dance is the form of art that allows the dancers to express their emotions and ideas through body movements, gestures, facial expressions, and music. In addition, such attributes as decorations, lighting, and costumes allow the performers to tell stories using dance. Throughout human history, society has created a great variety of different styles of dance. Practically, each culture gave birth to new dance styles at various stages of its historical development. As a form of self-expression and art, dance has been popular ever since the beginning of times, and it is still extremely popular in the present days. This paper will provide a detailed description of one of such styles, its development in time, its impacts, origins, and the movements that helped to create it.
The dance that this paper will focus on is called Lindy Hop. It emerged in the United States in the first half of the 20th century and eventually became rather popular all around the world. Lindy Hop is a living representation of how the mixture of cultural diversity in the United States resulted in the most unique and unpredictable combinations in dance and music. Lindy Hop is known for its versatile movements that originate from a wide range of different dances of the past. Lindy Hop has a rich history and an interesting background that will be described and analyzed in this paper. Besides, the essay will focus on the most important events related to this dance and its development.
Moreover, the most important historical figures and dancers related to the style of Lindy Hop will be described and discussed in detail in this paper. Their perspectives on the dance and what it represents are valuable because they allow one to see how this form of art used to be treated at the beginning of the 20th century during its first steps of development and how it is treated these days. As one may notice, the purpose of this essay is not only to collect descriptive material about a particular dance style but also to perform the analysis of the information applying critical thinking.
In this paper, Lindy Hop will be studied not just as a style of dance but as a social phenomenon that was formed and developed under the influence of a multitude of factors. Besides, all the aspects of this dance are going to be taken into consideration – the movements, the music, and its origin, dressing styles of the performers throughout the years, public perception of this form of art, groups and communities involved in it, political and cultural environments that accompanied its emergence, origins of its name, the dance itself, and its most recognizable movements, the factors that helped its development or prevented it, the contemporary value, and the points of view of the well-known performers on the meaning of the dance and its impact today and decades ago.
The Development of Lindy Hop
Definition of Lindy Hop
Lindy Hop is a dance typically performed by two partners, and it is also known as Lindy. This dance dates back to the 1920s and 30s and originates from Harlem, New York (Lindy Hop History 2015). The footwork of Lindy Hop was heavily impacted by such dances as Tap, Foxtrot, and Charleston, and it overall is built of six and eight count steps (Lindy Hop History 2015). The character of the dance can be versatile. Depending on the music and the performers’ style and vision it can be rather energetic and spontaneous, or relaxed and sophisticated.
Origin of the Name
During the first years of the development of Lindy Hop as a separate dancing style, a well-known historical event occurred. In 1927, the world-renowned pilot of the time, Charles Lindbergh accomplished his famous flight across the Atlantic (Swing History 101: The Birth of Lindy Hop (Early 1900s – 1929) 2013). The sensational news about the notorious and daring achievement of the pilot was all around the world spread by the newspapers. Fighting for the most noticeable and flashy headlines the newspapers began to use shorter words, and that is how Lindbergh’s flight eventually started to be referred to as “Lindy’s Hop” (Swing History 101: The Birth of Lindy Hop (Early 1900s – 1929) 2013).
At the same time, the dancers of Harlem focused on the development of the new dance style had brought it to the new level. The dance marathon taking place in Savoy Ballroom in New York was visited by many journalists. As the reporters asked about the name of the new dance, one of the forerunner dancers, George Snowden also known as Shorty quoted the flashy headlines that were all over the news comparing the dance to the flight of the well-known pilot and saying: “The Lindy Hop! We are flying just like Lindy did” (History of Lindy Hop n. d.).
The origin and background of the dance name demonstrates how tightly it was connected to the American culture and the historical events of the time. There is no other version of the dance name origin. In fact, hopping as a move is not even present in the dance itself, and that is why its name is a sign of the proud national spirit of its time bonding people throughout the communities and cultures.
Dance History Timeline
1926 – The dance begins to form as a mixture of moves borrowed from some well-known dancing styles such as Foxtrot, the Breakaway, the Black Bottom, and the Charleston.
1927 – After the famous flight of Charles Lindbergh the dance acquires its name. The historians still argue about the origins of the name and the interview with George “Shorty” Snowden as the true source because the flight of Lindbergh had such a huge cultural impact that many dance styles and moves might have been called that way in the end of the 1920s.
1930s – Lindy Hop continues to evolve and unite cultures. The dance is related to multiple historical events connected to segregation that was still a norm back then. However, Lindy Hop had a strong influence on the American nation and managed to break through the established social barriers. It was practiced by the citizens of African and white background, even though initially, it was the invention of the former as a cultural group.
1940s – During the years of the Second World War, Lindy Hop was practiced by the American soldiers as many men and women of African American background joined the army. With the help of these people, the dance managed to accomplish, and actual “Lindy Hop” and travel across the Atlantic ocean to Europe. This is the historical period when Lindy Hop begins to develop outside the borders of the United States and conquer the world. Besides, the 1940s is the time when several films featuring Lindy Hop were released and began to promote the dance. Among these movies, there are “Hot Chocolates” (or “Cottontail”), “Hellzapoppin”, “A Day at the Races”, and “Keep Punching”. It is important to mention that the very first movies portraying Lindy Hop appeared during the previous decade (“The Big Apple” and “After Seven”).
1950s – The popularity of Lindy Hop during the 1950s remained quite high, however, it was quickly outrun by the newer developing dancing styles. One of them was Rock and Roll. The Rock and Roll of the 1950s were impacted by Lindy Hop. In fact, Lindy Hop today is often referred to as the root of all the swing dances that emerged in the following decades (About Lindy Hop n. d.).
1960s and 1970s – The years after the Second World War are known for the great leap towards the worldwide globalization. The improved communications and the recovering economies allowed the countries to reactivate the international trade, and the rapid development of the mass media exposed the citizens of the United States to the trends popular all around the world. As a result, the foreign influence made a significant impact on the fashion and cultural development in the country. The American popular culture and the factors that used to be its major moving forces lost their popularity due to the emerging global competitors (Decline and Remission: 1945 – 1983 n. d.).
One of such force moved to the background was jazz that used to drive the popularity of Lindy Hop. Naturally, under the pressure of the other extremely popular dance and music styles, Lindy Hop gradually lost its popularity and went into a decline. The videos or any other evidence of Lindy Hop during the 1960s and 70s are rather rare. The slowdown of the popularity of Lindy Hop is often associated with the racist moods in the American society that positioned all the dance and music styles deriving from the black community as harmful and likely to corrupt the white youth of America (Decline and Remission: 1945 – 1983 n. d.).
1980s – The decade of the 1980s is known for the revival of Lindy Hop as a dance style. The renowned figures of the prior decades such as Norma Miller, Jewel McGowan, Frankie Manning, Dean Collins, and Al Minns went back to teaching Lindy Hop in the Ballrooms of the United States, and this time, they had students from Europe as well as the local ones. The revival of swing dancing and Lindy Hop namely brought back the popularity of dance movies such as “Hellzapoppin” and “A Day at the Races” as they served as tutorials for the learners. The growth of the popularity of Lindy Hop led to the creation of multiple dance centers and courses focused specifically on swing dances all around the world.
1990s – The popularity of Lindy Hop was maintained throughout the 90s as new films featuring this swing dance style hit the screens. Among them, there were “Swingers”, “Malcolm X”, and “Swing Kids”.
After the 1990s, Lindy Hop made its way to the new century and remains popular and is taught and practiced on every continent. That way, it looks like Lindy did not just hop the Atlantic but managed to cross every ocean on the planet.
Modern Development of Lindy Hop
Fashion and Clothing
As shown in the timeline above, Lindy Hop has a rather long history that stretches through multiple decades each of which was known for its unique fashion and dressing trends. All of these historical periods have made their contributions to the current fashion of Lindy Hop.
Originating in the late 1920s, initially, Lindy Hop borrowed the dressing style of the decade – sleeveless knee-length dresses. This trend shifted very fast, as the major piece of its popularity came to the dance during the 1930s. This was when the sleeveless dresses became replaced with blouses with short or long sleeves and A-line skirts for the women (Top 10 Must-Have Clothing Items for Lindy Hoppers 2013). The men’s suits did not go through much change over that time. Male Lindy Hoppers used to wear loose pants with wedges and jackets (sometimes the jackets were removed as they got in the way of the performers during especially vigorous routines).
Moreover, discussing the fashion of Lindy Hop one is to keep in mind that the dance was invented and developed by the African American community in the United States. The black residents of Harlem, New York pressured by the limits enforced by the segregation were not wealthy. As a result, the clothing worn by the forerunners of Lindy Hop was majorly rather simple. Shoes are a crucial attribute of any dancer. Female Lindy Hoppers could be seen wearing both flat shoes and those with a stable heel. As the popularity of Lindy Hop grew, and the first professional dancers initiated ballroom performances that used to be their source of income, they had to develop especially challenging and dangerous routines. This is how the so-called air steps became a part of Lindy Hop.
Air steps (also referred to as aerials) were designed to impress the viewers and add complexity to the show. They required that the female partners wore flat shoes allowing them to jump and twist in the air without harming their feet and legs while landing. The contemporary technologies allow creating safer dancing shoes by adding leather and suede on the inside to protect the legs and limbs of the dancers. The shape and style of the shoes had not changed much throughout history. However, the clothes were impacted by various trends. For instance, the 1950s brought about the circle skirts that allowed a lot of movement. In the man’s fashion, the post-war years emphasized the uniforms as many performers joined the army. Besides, the military was actively promoted in the United States of that time.
The contemporary Lindy Hop has preserved all of these impacts and trends. Today, shopping for the dance outfits and developing a unique style, the Lindy Hoppers have plenty of items to choose from. However, the women’s options are more versatile than those of men. While ladies may choose from various dresses and skirts (pencil skirts, A-line, circle) and blouses (long or short sleeve, or even sleeveless) men have to stick with the suits or give up the jackets and go for loose pants with wedges and long-sleeved shirts. The accessories for men include hats and caps while women may use diverse headscarves.
Sharon Davis
One of the most outstanding figures in the modern history of Lindy Hop is Sharon Davis. Originally coming from Australia, this skillful dancer has not won a multitude of 1st places in the dance competitions in Lindy Hop, Charleston, and Burlesque. Together with her partner of many years Juan Villafane, Sharon Davis owns the crown of the most awarded dancing couple in the world. On top of her many talents, Davis also is a teacher of Lindy Hop. Currently residing in the United Kingdom, she travels all around the world to teach dancers for musicals, music videos, and at festivals.
Sharon Davis is known for the unique perspective on body movement that she prefers to see as a combination of musicality and self-awareness. Davis’s unique style is characterized as very feminine and powerful. She is an empowerment to many female dancers all around the world as a teacher and as a performer. Her dressing style is also an inspiration as Davis manages to demonstrate that long dresses and pencil skirts that seem rather limiting and tight can be used as excellent clothing for Lindy Hop adding class and sophistication to the dance.
Conclusion
The paper was focused on a variety of aspects of Lindy Hop as one of the most well-known swing dances. Lindy Hop as made a huge impact on American culture and history. It is associated with such dark pages of American history as the racial segregation and the laws of Jim Craw. However, invented and promoted by the African American community in the United States (just like jazz music), Lindy Hop found its path to the hearts of people all around the world and is loved and practiced on every continent today.
The origins of the name of Lindy Hop root in the American history and derive from the name of a well-known pilot of the second half of the 1920s Charles Lindbergh, who is famous for his “hop” across the Atlantic. The popularity of the event was granted by the press of the time that was gaining a stronger impact on the public perception of the world and the nation. The press (and the mass media in general) may be responsible for the development of such strong national unity in the United States and proud citizenship tightly connected to the unique and right popular culture.
Besides, it is interesting to notice that both the development and the decline of Lindy Hop occurred due to the effects of racial segregation, inequality, and intolerance that was rather powerful at the time. Lindy Hop made its way to the white audiences mainly due to the performances of the black dancers who developed complicated and often dangerous routines with air steps to impress the crowd and earn money for their talents. Performing for the wealthier white citizens was the only way for the African American dancers to use their talent to make a capital, and it is a lucky outcome that on the way they managed to make everyone fall in love with Lindy Hop.
That way, the dance stood out as a social phenomenon that broke the limits and borders established by Crow’s laws and united the black and white communities in the United States in their fondness of Lindy Hop. The decline of this dance is associated with the weakening popularity after the Second World War that was allowed the racist moods to take over and re-interpret the dance as a harmful impact coming from the African American community and threatening to the future of the young white people. It looks like regardless of the unique power of Lindy Hop to penetrate the social barriers it eventually gave in to the aggression and stereotypes.
The revival of Lindy Hop is another unique happening that can be characterized as a stable tendency of the fashion trends of the past to come back after a couple of decades. That way, just like the dressing styles of the 1980s are coming back today, the popularity of Lindy Hop made it back to the world’s stages in the 1980s after a slowdown that lasted since the end of the 1950s. The contemporary world fond of retro styles and vintage clothes is not likely to let the current trends go, so one may anticipate that Lindy Hop will remain popular for quite a while.
Researching the history, development, and influence of Lindy Hop, one would learn that the dance has a rich background and carries a deep cultural meaning for the American nation. In some aspects, it can be compared to the development of the nation’s popular culture that leaped forwards rapidly during the 1920s and then went into a phase of steady blossom and active development as the consumerism grew as a trend. However, the globalization and the international competition it brought caused a slowdown that was soon followed by the revival, and re-establishment of the trend, and the global love and embracement of its unique nature.
Ballet is a performance dance that started in the Italian rebirth of crown courts. In fact, ballet that later urbanized to performance dance in Russia and France originated back in the fifteenth century. Based on the French expressions, ballet has transformed into an extremely nominal kind of dance that has spread out with its unique language (Darius 4). Moreover, ballet has impacted in the worldwide genres of dance and defines the basic techniques employed in diverse dances. In order to master, study, and uphold the ballet dance aptitude, one is must train for years and hold onto practicing (Lee 24). The dance has been trained in ballet school of the arts all over the globe with different artists archaeologically employing different philosophies to develop their talent.
Conversely, Ballet might also denote work dance that comprises of music and choreography meant for a dance invention. A number of examples of ballet dance are choreographed by different artists with inclusion of dissimilar score of music. The trained artists perform and choreograph the works of ballet dances. Several classical ballet dance workings come along with classic music (Kant 42). The ballet dance engages convoluted staging and costumes with merely little exceptions based on different artists. Therefore, this research examines the Royal Ballet event, class, rehearsal, demonstration, and presentation as reviewed in dancing.
The Royal Ballet
The Royal Ballet presentation occurred in Covent Garden for the theater arts on Friday 23rd March, 2012. The performance occurred with live streaming in real time, unedited, and online during the whole work day. The event was staged by the house of Royal Oprah with mysterious, exciting, and arduous ballet dance broadcast to the audience. A video recording of the fascinating artists took place behind the scenes. Indeed, an enormous audience that attended the extravagant scene was attracted by the tears, sweat, and blood that portrayed the ballet life of English nation. The performance took to the fresh level the impression of fly-on-the-wall (Mackrell par.1).
The event held in slots throughout the day featured different programs contained in the ballet dance components. The form of dancing performed during the show comprised of the current ballet dance elements. Different dancers and artist appeared in the royal ballet event.
The elementary ritual morning class of the royal ballet that started at 1030 is important to any dancer from whichever ballet corporation. The ancient belief that when one dodges a lesson he/she is aware, the instructor is alert supposed one fails to attend two classes, or supposed one neglect three lessons then the audience is aware was consistent at the event. The class that covers nearly one to one and a half hours helped in fine tuning the performance, intensifying and stretching the muscles, and waking up the exhausted bodies in preparation for the busy day ahead. The class made it easy for the McNally Kristen and Cope Jonathan (former principle and ballet master) to decode the sense of the royal ballet carefully prearranged trainings (Mackrell par.2).
During the lunch hour, the choreographers were rehearsed on the operation of the dances of the season in progress. It became troublesome to calculate the studio instance in hours that set off into the stage presentation. The procedure of putting together the dancing gadgets is intensive based on the establishment of innovative work. For instance, every minute of dance required a thumb rule that is one hour (Mackrell par.3). It became evident that even revitalizing a clip akin to Juliet and Romeo was difficult and meticulous since weapon battles, double acts, solos, and crowd pictures needed personal practice as seen during the evening slot.
Feature at the Royal Ballet
The royal event had far-reaching variations dances as illustrated above based on the technique of diverse ballets. In essence, the dancers are put in extremely dissimilar demands during performance. Sleeping beauty and Lake Swan that are the epitomes of the nineteenth century remains some of the pillars of the reparatory of splendid dance. These are choreographed in the identical dance fashion that figures out the foundation of daybreak class. However, the royal ballet comprises of a wide range of dances from both twentieth and twenty-first centuries. Such dances replicate on the entire range of aesthetics and genres that cut across crawly theatrical, attractive lyrics, conceptual, and expressionist (Mackrell par.4).
The royal ballet live presentation had great enthusiasm, drama, and astonishing liveliness. The dancers performed the different dances that rapidly streamed into the prospect of audience (Bedinghaus par.9). A number of fresh works from diverse artists characterized during the ballet dummy run featured the wonderland adventures of Alice by the high-tech manifestation of Wheeldon Christopher. Such fresh works occurred during the noontime slot performance that transpired during the occasion. The other impressive ballet story at during the evening slot featured the Sickert Walter’s art and life by Scarlett Liam. The slot at 1830 featured a composition by Ronson Mark, ‘the choreography is specially set to music.’ The above contains the carbon life of McGregor Wayne with brutally splintered energies.
The number of British to non British artists astonished the new entrants into the royal ballet. As compared to the football world, such ratio stimulates the well-built viewpoints in the ballet field. The assortment of imperial occupation was influential enough to draw the performers from overseas. Equally, the magnitude of fresh and creative work performance in the event also impressed the dancers from abroad. The inherent culture of the royal ballet was represented by the international group of dancers such as Wheeldon, Scarlett, and McGregor (Mackrell par.6).
On the other hand, the democratic system as well as the pecking order of the music blend at the event by the artists surprised the new audience. In a social context, the royal ballet was a great deal peaceful than those that occurred during the earlier periods. During the event, the manager of the royal ballet (Mason Monica) was referred to as the Mon. Similarly, the founding manager (Valois Ninette) who managed to run that group for more than thirty years was expressly known recognized as Madam.
The grading at the extravagant ballet remained rigorous and ranged from the artists who perform in almost each dance to the chief dancers who may perhaps carry out duties merely on a weekly basis. The day’s event ended with the customary Insight Evenings of the royal ballet. Every dancer or choreographers had a discussion about specific repertory works. McGregor Wayne, who had earlier have a conversation about the event talked about the new dance.
The royal ballet music has assisted in enhancing the most emotional parts of the dances. It also empowered the choreographers to uncover personal artistic potentialities. The dancers’ costumes were current and appropriate for the performances. Such costumes helped in underlining the gorgeous figures of the choreographers besides creating the overall impression of the period when the actions portrayed in the show were taking place (Bedinghaus par.6). There was harmonious lighting as part of the royal ballet. Lighting was employed to generate dramatic effects during the scenes and lay focus on the dancers. In personal view, the show was enjoyable during the evening slot. The rapid growth and presentation of events were surprising.
The choreographers’ passion made the feeling great with heated performance that was inspirational given the energetic and powerful potential that engulfed the show. The most exhilarating characteristic of this event was professionalism and expression in different slots. The aptitude of dancing to hold the interest and fascinate the audience’s compassion was remarkable and awe-inspiring during the royal ballet performance. The event overwhelmed with the distinction and incredible professionalism that enabled the spectators to get prepared to fly into a rage with wonderful emotional presence and anxiety.
Conclusion
The ballet dance is trained in ballet school of the arts all over the world with singular artists archaeologically employing special philosophies to develop their abilities. The royal ballet event engages a variety of components based on performance, class, rehearsal, and demonstration. The event was a success with dancers showcasing their different talents across the genres of ballet dance. The costume and music that engulfed the performance were current and appropriate for the presentations. As a result, the audience could easily comprehend the underlining gorgeous figures of the choreographers besides creating the overall impression of the period of the ballet performance. In general, the live concert presented an opportunity for individuals to realize and view the life at the royal ballet.
Works Cited
Bedinghaus, Treva. Tips for Attending the Ballet. 2014. Web.
Darius, Adam. Arabesques Through Time. Helsinki: Harlequinade Books, 2007. Print.
Kant, Marion. Cambridge Companion to Ballet. Cambridge, UK: Cambridge University Press, 2007. Print.
Lee, Carol. Ballet in Western Culture: A History of its Origins and Evolution. New York: Routledge, 2002. Print.
It might be stated that dance and architecture are deeply related types of art. Both use forms and shapes as means of expression, and, in fact, it may be claimed that combinations of these forms and shapes form the basis of any piece or moment of either of these arts. A recent exhibition in The Branch Museum of Architecture and Design, “Ballet Pas de Deux,” provides some examples of this connection (Exhibitions n.pag.). This paper concentrates on the links between architecture and dance, and explains a possible way of interaction between the two.
One of the notable common features of dance and architecture is that both of them use space as a ground for the embodiment of creativity (Ersoy 124-125). In doing so, they employ a variety of forms and shapes, which are utilized to transform the reality and embody the perceptions, emotions, and experiences of their creators (Ersoy 124), as well as to communicate these to other individuals. However, what is different between dance and architecture is that while both of them concentrate on objects which are positioned in space, the former of the two makes an emphasis on the dancer, whereas the latter is made so as to match the desires of those who would perceive or use its results (Ersoy 125). It is easy to see that the intention of a dancer is aimed at themselves while an act of dance in being performed, whereas the intention of an architect needs to be directed towards those who would in the future use the product of their design.
However, this connection between these two areas of the art permits for using the achievements of dancing to practice creativity in the sphere of architecture. It is highlighted that dance can serve as a source of questioning about the connection of movement to visual perceptions of it; being employed as a tool for creation and change in forms, it allows for inducing experiences related to different shapes and analyzing these experiences not only subjectively but also between subjects (Gavrilou 1). It might be possible to state that the imaginative forms coming to life through dance are structured in space in various manners, and these forms have diverse implications which have an impact on the definition of the dance; in fact, the sequences of transitions in a dance form a part of its language (Gavrilou 3).
Clearly, if the experiences of those who perceive dance are shared and studied, conclusion pertaining to the nature of the experiences resulting from different sets of forms can be reached; environmental awareness is also raised as a result of this (Merriman 435). In addition, because dance is dynamic, it allows for studying the impact of transitions between shapes and poses. This knowledge can then be utilized in architecture, which allows for capturing these shapes and the transitions between them. Furthermore, dance can unfold in different environments, as well as to be performed not only by one person, but also by two (the classical pas de deux) or more people, which permits for exploring even a broader variety of space-shape combinations. Paradoxically, capturing form transitions in architecture allows for gasping the dynamics of dance in a static condition. It is no wonder, therefore, that Goethe called architecture “frozen music” (as cited in Winters 61).
Thus, the perception of shapes created in dance can be explored and used in architectural design. Noteworthy, this is why Ersoy offers to use dance as part of architectural teaching (123). In addition, some examples of the (possible) use of dance for architectural experimentation are supplied in Appendix 1 and Appendix 2.
Therefore, dance and architecture are related due to the fact that both of them utilize space as a ground in which creativity is embodied. Collaboration between the two spheres can be possible because, for instance, exploring combinations and dynamics of shapes in dance allows for assessing how these are perceived, which can then be utilized in architecture.
Works Cited
Ersoy, Zehra. “‘Building Dancing’: Dance within the Context of Architectural Design Pedagogy.” International Journal of Art & Design Education 30.1 (2011): 123-132. Print.
Merriman, Peter. “Architecture/Dance: Choreographing and Inhabiting Spaces with Anna and Lawrence Halprin.” Cultural Geographies 17.4 (2010): 427-449. Print.
Among the plentiful forms of art, dance occupies a special place due to its inspirational characteristics, its impressiveness, and its outstanding ability to impact people’s mood both when participating and contemplating. Whatever dance style you take, you are sure to find passion, grace, and excitement. Whether you prefer traditional or contemporary dance, each form is capable of adding some enthusiasm and evoking positive emotions. Dancing dates back to many centuries ago, and it has been developing and transforming ever since to produce the powerful effect on the audiences at all times.
Ballet Dance
Ballet originated in Italy at the beginning of the sixteenth century and was soon presented in France (Nedvigin, 2016). In the beginning, dancers used to wear a lot of garments and massive accessories and had heels on their footwear. Such costumes made the movement problematic, and the dance consisted of “small hops, slides, curtsies, promenades and gentle turns” (Nedvigin, 2016, para. 2). The terminology was coined in French over the following century. Ballet was constantly developing, and by the middle of the nineteenth century, it reached enormous popularity in Russia, which became the dominant dance center. Dance on toe gained recognition in the first part of the 1800s, and at first only women performed in this way (Nedvigin, 2016).
The form and line used in ballet dance underline the stage performance and make sure that the main and secondary performers each have their place (Stanwood, 2012). I think that when creating a new dance performance, ballet choreographers and dancers are influenced by the theme of the future show, and they come up with the ways of conveying the theme via their movements and suitable music.
Since ballet shows are lengthy, they are able to develop a complete story with its explicit images and themes which undoubtedly encourage the audience to sympathize with the heroes and attentively follow the course of events. The tenderness of ballet movements always makes me feel positive and inspired.
Jazz Dance
Although jazz style is quite different from ballet, they are closely connected. To be proficient in jazz, one needs to have substantial ballet practice since jazz also requires elegance and agility (Bedinghouse, 2016). This style was established in the twentieth century together with urban life and jazz music (Andreu, 2011). Jazz was used as a bridge between the country and city life and it “mirrored the lifestyles” of the people (Andreau, 2011, p. 2). Jazz style has acquired various forms in the course of its development.
The forms and rhythm in jazz dance reflect the people’s desire to feel free and self-contained. The dance’s story and images inspire thoughts of liberty and rebellion. Instead of resting in the positions, the “art of suspension” practiced in jazz requires them to move all the time (Bedinghouse, 2016, para. 5).
I think that jazz performers and choreographers are motivated by the aim to make their dance as dynamic as possible when creating their shows. The movements of jazz dancers evoke in me the feelings of productive action and freedom and always bring positive mood.
Although ballet dance and jazz dance developed with a significant disparity in the time dimension, both these styles have a fantastic influence on the audience. The sense of rhythm and the images presented by these types of dance have always fascinated people. Performing and watching dancing allows people to feel freedom and distraction from their hectic lifestyles, which makes it an essential part of life.
References
Andreu, H. (2011). Jazz dance styles and steps for fun. Bloomington, IN: AuthorHouse.
The Picasso Baby impacted the gallery, noticeably increasing interest in visual art. It was a nice bonus for the gallery; more and more people began visiting the place, trying to immerse themselves even in traditional art. The clip made people think about art increasingly abstractly, moving away from the usual categories. Over time, interest in the gallery dropped to zero, and the budget did not allow for attracting new artists.
It is recommended to resort to performance art to make the gallery attractive to people and demonstrate its relevance in the modern world. The idea is a dance consisting of symbolic movements and gait using visual apparatus to display photos and videos from the contemporary world. Both gallery staff and outside members of some cultures will be involved. It will take place in the evening in front of the gallery on stage; it will probably influence how dance is perceived, and that language and painting are not the only way to communicate.
The exhibition will demonstrate that the gallery is keeping up with the times and, at the same time, preserving traditions. Culture attracts people, and dance is one of its most important aspects: it will allow the public to state that galleries are as crucial as street art. The performance will be varied, and each spectator can find something similar to his or her identity. This will increase interest in the gallery and the art of dance.
The exhibit will be video and photo taped, after which they will be placed in the gallery’s auditorium. It is probably possible to use this performance as a demonstration in a public space – for example, a festival. The identity of the performance is defined by its uniqueness and immutability in time: dance will never cease to exist, just as art does. The exhibition will serve as an example of how culture and the modern world can be organically woven together.
Thus, dance is a means of self-expression and demonstrating one’s inner feelings, reflecting the dancer’s cultural traditions and identity. Its use will allow the gallery to find new inspiration and share it with visitors. It will demonstrate the inner strength of the gallery staff and allow visitors to see how inseparable people are from the world. Its purpose is to show the community that cohesion is an essential cultural cognitive element, without which the hardships of the modern world cannot be confronted.
American singer Billie Eilish made her name with the song “Ocean Eyes” in 2015 and broke the record for the youngest member to ever receive a Grammy for record of the year in 2020. The dance originated in California thanks to Billie Eilish. Bellyache’s primary goal is to convey remorse and guilt (Matthias). The words reach a grim depth that appears to be beyond grasp for a person so youthful. They all encircle a hole of hopelessness and long-term errors, yet her seductive yet adorable voice stands in contrast to them all. Even Billie’s dance steps as the first music break approaches offer a nice contrast between the song’s melancholy and the show’s still catchy pleasure. The most identified element of the dance is space and energy, while time is the minor element the audience can recognize.
Energy enables dancers to recognize their movements and symbolizes the drive’s force and richness. One of the components of dance is time, which dance choreography and performance both require. When people dance together, it keeps them connected, helps them recognize the rhythm and pulse of their movements, and gives them ideas for choreography (Cruz Banks 210). Space improves the dance’s coordination and aesthetics since it synchronizes the dancers. A combination of spinning pole dance moves and some freestyles are included in the choreography. Better momentum is produced by spinning poles with less effort, allowing the dancer can stay in spins for more extended and maybe facilitating transitions. Dance has been employed in choreography as both art and entertainment. One of the fascinating art forms that humanity has created is dance. Whether it’s intricate choreography or freeform dance, this artistic work always succeeds in keeping viewers interested and craving more. I believe the choreographer intended for the dance to let the audience unwind and refresh physically and mentally.
Modern dance is one of America’s most important forms of art and culture. This type of dance was born in Europe at the end of the XIX century and quickly gained popularity in America. At the beginning of the XX century, American choreographers and dancers contributed to the development of modern dance by adding their ideas and techniques. The active development of the movement continued in America, later influencing the entire American choreography. Art Nouveau emerged due to modern art, architecture, and fashion development.
This dance style was marked by new trends in choreography and a non-widespread origin: the founders and successors were women. Dancers Ruth Saint-Denis and Doris Humphrey have created a new dance school based on the rejection of classical canons, embodying new themes and plots with original dance and plastic means (Sarkar Munsi 82). The task of modern dance was to reflect the inner state, emotions, and feelings. Thus, most modern dance styles were formed under the influence of some clearly stated philosophy or a certain world vision.
There are several reasons why women have developed this direction. Firstly, the beginning of the 20th century was a time of social and political changes. Thus, the suffragette movement was gaining momentum, and there was a struggle for the visibility of women in the political and cultural field (Brain 1515). Art, and dancing in particular, has become a way for many women to express themselves and show their individuality. Secondly, in the dominant ballet at that time, women were often given unimportant roles, extras, or minor characters. Thus, women in this genre of art were relegated to the background. The emergence of modern dance allowed them to be at the center of performances and performances and fully reveal their talents. Moving away from traditional art forms, women became able to create new forms that did not rely on the previous ones. In modern dance, women no longer want to conform to the old rules and be in second place. That is why this dance style was created and continued mainly by women.
As expected, modern dance has met with a lot of criticism for excessive radicalism and license. Previously, ballet and other classical dance styles were created according to strict rules of style and structure with many necessary systems and restrictions. Art Nouveau, on the contrary, expressed real, unwritten feelings and emotions of people, opening up more space for creativity and individuality. The dancers experimented with new techniques, such as loose limbs, contrasting dynamics, weighted falls, and sharp contracts. One of the main characteristics of modern dance has become the expression in dance not only of a written story or fairy tale but also of more serious, vital, and large-scale ideas (Brain 1515). Modern dance has often been used to explore questions of gender and identity, and to challenge traditional gender roles and expectations. It has also been used to address political and social issues, such as war, poverty, and discrimination. Choreographers and dancers have used the art form as a platform to raise awareness and spark change on these issues. Many Modern dance works also explore the broader human experience, including questions of love, loss, mortality, and the meaning of life.
In America, the formation process of modern dance is primarily associated with the name of the dancer and choreographer Ruth Saint-Denis, who began her creative activity as part of various dance ensembles. In her works, she expressed her interest in the East. Such parameters characterized her choreography as lyrics, spirituality, subtlety, and sensuality. Ruth Saint-Denis opened her modern dance school “Denishone” in 1915 (Sarkar Munsi 86). Famous choreographers and performers like Charles Weidman, Doris Humphrey, and Martha Graham studied at this school. Thanks to this school, Art Nouveau gradually began to change from an experimental direction into a certain dance system with its own rules and techniques.
One of the most famous American dancers was Doris Humphrey, a student of Ruth Saint-Denis, who opened her dance school in America at 19. Humphrey’s work was different from what already existed in the Denishone repertoire. In 1923, she staged the dance “Sonata Tragica,” performed without musical accompaniment. At the heart of her work, D. Humphrey used the fall-and-recovery principle, which today is one of the fundamental principles in the theory of modern dance. Humphrey was a highly respected teacher and mentor; many of her students later became prominent figures in the Modern dance movement. She helped to create a sense of community and common purpose among modern dancers, which helped to maintain the movement for many years (Sarkar Munsi 87). Humphrey’s work also emphasized the importance of the relationship between music and dance. She worked closely with composers and musicians, creating works that seamlessly combined movement and sound. Her works, such as “The Shakers” and “The Day Upon a Mountain,” showcased her unique style and paved the way for future generations of Modern dancers.
In conclusion, modern dance is a dynamic and influential art form that has significantly impacted the world of American dance and beyond. By focusing on individual self-expression, experimentation, and the transmission of social themes and problems, modern dance has helped to break the boundaries of traditional dance and create a new form of artistic expression. From its inception in the early 20th century to its ongoing evolution today, modern dance has been shaped by a rich history of innovative choreographers, dancers, and thinkers who have used movement to explore the human experience, challenge social norms and express their ideas. and emotions. Focusing on creativity, individuality, and freedom of expression, modern dance continues to inspire and fascinate the public, offering a unique and powerful approach to the world of dance and beyond.
Works Cited
Brain, Robert M. “Edward Ross Dickinson. Dancing in the Blood: Modern Dance and European Culture on the Eve of the First World War.” (2019): 1515-1516.
Sarkar Munsi, Urmimala. “Dancing ‘Oriental’Masculinity: Uday Shankar and His Experiments in Modern Dance.” Uday Shankar and His Transcultural Experimentations: Dancing Modernity. Cham: Springer International Publishing, 2022. 79-136.
