Category: Dance

Samba is a traditional Brazilian dance. The word samba is derived from the Angolan word “semba” which means the movement of the body which is described as the act of thrusting forward the body and which requires the contact of the navel with the body before the dance (Appleby, 1980). The samba has been danced since the 19^th century. The dance comprises many ethnic styles/dances mixed together to form the unique dance samba. There is no one dance/style that can claim the originality of samba. It is an original product of the Brazilians, and as such it has played an important role in the development of the Afro-Brazilian dance. Afro-Brazilian dance was created during the Brazilian colonial period. It is a mixture of the rhythm of the native people and the steps/rhythm borrowed from the slaves. Consequently, there are a lot of dances in Brazil differing from region to region depending on the original constitution of the local population. This depends on the original construction of the native people. This explains why the samba has diverse steps. Afro-Brazilian dance involves different dances/lyrics, for example, cocoa, xaxado, ijexa, afoxe, and the samba.

Samba dance had various implications on the historic, social, and economic lives of Brazilians. Some of the historic implications include the samba which has become a symbol of Brazilian identity since the 1930s. The samba gives the Brazilians a cultural identity. The samba dance is a cultural signifier to the Brazilians; it gives the Brazilians a feeling of racial democracy. The black community that was in Brazil used the samba as a symbol of their heritage. They combined their own lyrics with the new ones and come up with their own composition. The samba was used by the slaves for entertainment and as a symbol of their unity. For example, the fishermen did the samba after fishing. After a while samba was accepted by all. It moved upwards to the elite community and later to all the Brazilians. This led to the development of the Afro-Brazilian dances (the dances that have some African heritage). The samba and other afro-Brazilian symbols are used as a symbol of Brazilianness and racial democracy. That is the end of slavery and the harmonization of the Brazilians.

The evolution and dissemination of samba in Brazil also proved how a culture (a people’s way of life) can start from a poorer society and then spread upward to an elite group, then outwards to other nations. Initially, samba was danced only by the indigenous inhabitants of Brazil. This changed when it was taken as a culture and a kind of tourist attraction. This led to the samba being accepted even by the elite white middle society in Brazil making samba be accepted by all and this, therefore, led to the development of the Afro-Brazilian dances.

The black Brazilians used the samba dance as a way of preserving their culture. Historically it was created by the black Brazilians (slaves) to culturally preserve African practices and customs. This was in the face of very bad and dehumanizing conditions. The samba provided psychosocial support for the slaves and it also ensured the continuity of the African community. This is what led to the development of the Afro-Brazilian dances. This is because the black community maintained its custom and practices.

Socially the samba is used as a means of social expression. It is used to relieve tension and pass any other information. The samba is used as an expression of resistance against social classes. The samba is danced by people of different social classes. This, therefore, has united the Brazilians in the sense that everyone can identify with the dance. The samba has thus challenged the existence of social classes in Brazil. Before the emergence of the samba, very few people danced, and these were the people considered to be of high social standing. Samba changed all this by introducing dancing to everyone. Today, samba, or the Afro-Brazilian dance is danced by everyone. To the black Brazilians, samba was seen as a symbol of hierarchical breakdown.

The emergence of the samba also challenged the existence and implication of the carnival in Rio de Janeiro. After the emergence of the samba, people from poor regions started participating in carnival dances. They would make their own costumes and compose their own lyrics. As stated earlier samba is composed of many different dances/ lyrics, these lyrics were used as a sign of resistance. The lyrics of the song were a protest against the conditions of the blacks in Brazil. The samba there allowed the black community to participate in the carnival competition thereby leading to the development of the Afro-Brazilian dances in Brazil. Today there are a lot of popular expressions that have the Afro-Brazilian flavor, for instance, the music from the contemporary singer in Brazil, Gilberto Gil (a popular Brazilian singer and guitarist), and Batatinha (a Brazilian blues singer).

Music and dance are normally used as a means of expression. The slaves used the dance as a means of expressing their criticism, ridicule, and frustration against the whites (Browning Barbara, 1995). A lot of singers have used their music to pass a certain message. Some of the music is also used to create political awareness. Many Afro-Brazilian singers have used their music to create political awareness. These include singers like Milton Nascimento (Afro-Brazilian) and Chico Buarque (white Brazilian). The samba dance gave the Brazilians a voice. The singers were able to comment on issues in their country. This was not possible before the emergence of the samba.

The samba took on different political implications especially in the 1920s when groups were formed who in turn organized dances/schools in order to raise funds to develop the country. These dances/schools were the first benefactors in the development of the state, that is, in terms of schools, roads, and utilities in Rio de Janeiro. These groups help to rebuild Brazil. This was mainly through the samba school and the dances that were organized. These groups helped in the rise of the black community in Brazil and this gave root to the emergence and dissemination of the Afro-Brazilian dances.

The issues discussed above show that the samba played an important role in the development of the Afro-Brazilian dances in the sense that, both the samba and the afro-Brazilian dances are used to relieve tension. This is because of the rapid movements of the dances. They involve the movement of the chest, hips, head, and arms. This, therefore, enabled the slaves to have control of their harsh conditions and helped them to persevere. This ensured that the African culture survived leading to the development of Afro-Brazilian dances.

Samba also brought together people of different communities; every person is able to personalize the dance. One is able to mix the different dancing styles and still not feel lost when dancing. The black community which sought to regain its identity in Brazil was able to take the steps in sambas and include other dances and therefore have an original. The sambas dance gave the black community an identity and the people personalized the dance leading to the development of afro -Brazilian dance. Samba also ensured that the divisions in social classes were done away with; this helped to give the Brazilians an identity. Today the samba dance is known as a symbol of Brazilian identity. Samba has been highly popularized and therefore it is known as a national Brazilian identity. (Seema, 2004)

References

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.

Abstract

Capoeira, which is a dancelike martial art, with its roots from the slavery in Brazil by the Portuguese colonialists has become very popular in many cultures outside Brazil. It has spread to al the continents and has been fused in many entertainment activities. This paper discusses the history of capoeira, how people relate to it in Brazil, where it went after the end of slavery in Brazil and its popularity worldwide.

Introduction

Capoeira is dancelike martial art practised in Brazil especially in the northeastern regions of the country. It combines elements of sport, martial art as well as music. Whenever it is performed, it is normally accompanied by call-and-response choral singing as well as percussive instrumental music (Capoeira 3). The basic aesthetic elements of the dance were brought to the country by slaves, majorly from West-central Africa (Capoeira 3).

The elements were then integrated with traditional Brazilian dances, reinterpreted in the diverse slave population of Brazil to form a unique dance as well as way of self defense. Capoeira is famous for its complex and quick moves, quick leg sweeps and kicks, integrated with aerial plus ground acrobatics, take-downs, headbutts as well as punches. Although slavery ended in the late 19^th century, the dance continued to flourish in the country.

History of Capoeira

The existence of Capoeira can be traced from the 16^th century when African slaves were taken to South America to work in European farms (Capoeira 3). Most

1. Capoeira, Nestor. The Little Capoeira Book. Berkeley: North Atlantic, 2003. p. 3.
2. Ibid .

slaves who were brought from West and Central Africa by Portuguese slave traders were taken to Brazil since the country was a Portuguese colony. The main economic activity of the Portuguese in Brazil was sugarcane farming. They had large plantations which required huge labour and therefore they had to enslave workers from elsewhere since the native Brazilians had proved to be too difficult to work with. The slaves worked in inhumane as well as humiliating conditions.

They worked under pressure and often received physical punishment for small mistakes. Initially, the slaves could not rebel against the Portuguese even though Portuguese colonialists were fewer since they lacked or were afraid of the weapons, they also lacked knowledge of the land, and besides, they could not reason together as they had come from different African cultures (Capoeira 5). As such, it became necessary to develop a means of self defense to survive in this environment.

It is these circumstances that prompted the development Capoeira. Slaves created a more than fighting style which could enable them survive in an environment where they were completely unequipped. Capoeira gave them hope to survive in the hostile environment where they were often at the mercy of the colonial agents who were responsible for finding escapees.

Due to the hostilities that the African slaves endured, they began to escape from the farms to move to faraway places where they could not be found easily. In those places, they built primitive settlements, Quilombos (Capoeira 7). These settlements

1. Capoeira, Nestor. The Little Capoeira Book. Berkeley: North Atlantic, 2003. p. 5.
2. Ibid p.7.

attracted more escapees which also included native Brazilians and Europeans running away from Catholic extremism. Since they always faced the risk of being raided by the Portuguese troops, Capoeira progressed from being a survival tool to war tool, martial arts. The elements of the martial art were highly influenced by the diverse cultures that were found in the quilombos. They used the capoeira to defend themselves against Portuguese soldiers who often attacked them.

In 1808, Napoleonic troops invaded Portugal and King Dom Joáo VI moved with Portuguese court to Brazil (Assunçáo 33). Things began to change and soon the Portuguese dominance ended as Brazil opened its ports to allow for trade with other nations. Towns and cities began to grow and people migrated to urban centres.

This increased the rate of interaction which allowed more slaves or former slaves to move to towns. The social life in the towns and cities increased the notoriety and diffusion of capoeira. In Rio de Janeiro, capoeira became so problematic that it attracted sever punishment from the colonial government.

Slaves were detained for practising Capoeira. However, constant raids on properties that still adopted slavery by quilombo militias led to the softening of the slavery laws. Finally, slavery came to an end in 1888 (Assunçáo 34). Unfortunately, the free black people were unable to find work as more Asians and Europeans workers came into the country limiting job opportunities. As a result, the black population maintained capoeira as a martial arts practice as well as recreation.

1. Assunçáo, Matthias. Capoeira: A history of an Afro-Brazilian martial art. New York: Routlede, 2005. p. 33.
2. Ibid. 34.

Where did Capoeira go?

After the end of slavery, capoeira practitioners diverted their abilities elsewhere. Many people employed them as body guards, henchmen, hitmen, as well as mercenaries. Some groups of Capoeira practitioners began to terrorize Rio de Janeiro (Talmon-Chvaicer 20).

Eventually, the government banned capoeira practice in the country as police reports indicated that capoeira gave undeserved advantage to its practitioners in a fight. As a result, anybody who was caught practising capoeira particularly in a fight would be arrested and severely punished, and in most cases mutilated by the police.

After the prohibition, the practice of capoeira went underground. Cultural practices such as roda de capoeira were performed in secluded places while somebody kept an eye on the police. Later on in 1932 when the repression on capoeira had slowed, Mestre Bimba, who was a strong fighter in illegal as well as legal fights founded the first Capoeira school in Salvador (Talmon-Chvaicer 21).

He integrated the styles used by other capoeiristas to entertain tourists, to improve martial arts. He reintroduced the styles that had been adopted by the Quilombos and added certain moves from traditional fighting styles. He also designed the first systematical training method on capoeira. Bimba founded another school, Centro de Cultura Fisica e Luta Regional in 1937 with permission from Salvador’s Secretary of Education (Talmon-Chvaicer 21).

1. Talmon-Chvaicer, Maya. The Hidden History of Capoeira: A Collision of Cultures in the Brazilian Battle Dance. Austin: University of Texas Press, 2007. p. 20.
2. Ibid. p 21.
3. Ibid. p 21.

The elements of Capoeira have since been applied in many sectors particularly entertainment. Since it resurfaced, it has been largely adopted in sports, games and other entertainment activities like films, comics, television shows among others.

How do people relate to Capoeira in Brazil?

Capoeira is a symbol of the Afro-Brazilian culture. It symbolizes the ethnic amalgam of the Brazilian population as well as resistance to oppression. Thus, it has become the image as well as source of pride to the people. The people of Brazil consider it as an intangible cultural heritage. For example, samba de roda, which is a traditional Afro-Brazilian dance as well as musical form, has been performed in Brazilian communities for many years (Talmon-Chvaicer 26). The dance and music is associated with capoeira.

Today, capoeira is more than just martial art in the Brazilian society. It has become a major exporter of Brazilian culture throughout the world. Brazilians view it as a means of earning income. Masters in the art of Capoeira have emigrated to the US and other countries since the 1970s to go teach the art. Each year, many Brazilians move to other countries to go train capoeira and earn income. Prominent capoeira masters are normally invited to train abroad while some go to establish their institutions.

Again, most Brazilians see it as a way of earning income from tourism. Each year, Capoeira attracts many people to Brazil including students, tourists as well as foreign capoeiristas who come to learn the Portuguese language, which is the official Brazilian language, to better understand as well as become part of the art.

1. Talmon-Chvaicer, Maya. The Hidden History of Capoeira: A Collision of Cultures in the Brazilian Battle Dance. Austin: University of Texas Press, 2007. p.

How popular is Capoeira?

Elements of capoeira such as theatrical, acrobatic as well as martiality have become very common across the globe. The Afro-Brazilian martial art of Capoeira, famous for its acrobatic movements as well as kicks, is a major characteristic of many movies, television shows, dance, music, comics as well as video games. For example, many professional wrestlers who currently work for World Wrestling Entertainment incorporate capoeira moves in their fights in the ring.

Although Capoeira began in Brazil and is largely practised in the country, it has spread to other continents including Asia and Europe. Myers (1) reports that Capoeira is very popular among young adults as well as professionals in Bangalore city, India. They like the various aspects of capoeira especially the dance moves as music is played in the background.

Its spread shows how representation of the unique Brazilian culture has manifested itself in many societies throughout the world. Most people enjoy rhythmic signatures of the capoeira moves. The orientation patterns formed when capoeira dancers engage in the motional process is enjoyed by people across cultures and nations (Assunçáo 42).

Conclusion

Capoeira which originally began as a survival tool in the harsh slavery environment in Brazil evolved to become an important part of Brazilian culture. It continues to spread across the globe as Brazilian martial experts move to other

1. Myer, Frank. Capoeira Popular in Bangalore, India. Roda Magazine, 17 September, 2010. Web.
2. Assunçáo, Matthias. Capoeira: A history of an Afro-Brazilian martial art. New York: Routlede, 2005. p.

countries to train other people while others travel to Brazil to learn it. It has been incorporated in movies, television shows, comics among other sports and games, for entertainment, and this shows the extent of the capoeira’s popularity worldwide.

Works Cited

Assunçáo, Matthias. Capoeira: A history of an Afro-Brazilian martial art. New York: Routlede, 2005. Print.

Capoeira, Nestor. The Little Capoeira Book. Berkeley: North Atlantic, 2003. Print.

Myer, Frank. Capoeira Popular in Bangalore. India. Roda Magazine, 17 September, 2010. Web.

Talmon-Chvaicer, Maya. The Hidden History of Capoeira: A Collision of Cultures in the Brazilian Battle Dance. Austin: University of Texas Press, 2007. Print.

The introduction

While discussing jazz dance and its techniques, it is necessary to consider some historical fundamentals on a dance style. First of all, it should be pointed out that jazz is recognized to be African-American vernacular dance. The word Jazz started to be used in times of the First World War. The modern and ballet dance styles can be also applied to jazz, as the kind of popular dance styles involves a wide range of dance elements.

Swing and tap dance as the examples of jazz

Generally, there is a need to point out that jazz requires a strong background in ballet, folk and modern dances, as grace and balance are extremely important in one of the most popular dance styles. Although jazz is based on unique moves and should reflect a dancer’s originality, one is to remember that a high level of energy is the key characteristic of a well-known dance style.

Swing and tap dance are considered to be the most vivid forms of jazz dance, which reflect the so-called nature of the kind of a well-known dance style. The most important variations of the second form of jazz include Broadway tap and rhythm tap.

Swing styles involve a wide range of substyles, namely the Savoy style, Lindy style, West Coast Swing, Whip, Push, Supreme Swing, Imperial Swing, Carolina Shag, DC Hand Dancing, East Coast Swing, Ballroom West Coast Swing, Country-Western Swing, Cajun Swing, Pony Swing and Live (Heikkila, n. d.).

The basic techniques of jazz

Isolation, suspension and contraction are recognized to be the basic techniques of jazz dance. Thus, isolation requires one part of a person’s body to be active; while another one should remain still. Suspension, in its turn, is to be based on moving through certain positions. In other words, one can conclude that when suspension occurs, balancing in positions is not allowed. Contraction jazz steps involve a wide range of turns, including piques, pirouettes, etc. Dancers can show jazz walks in various ways. Gus Giordano, Bob Fosse and Jack Cole are considered to be the most famous choreographers of jazz. They emphasized such famous techniques as quick directional changes, inward knees, long knee slides, full-body isolations, etc.

Jo McDonald (n. d.) characterizes jazz in the following way:

Parallel and inverted leg lines are dominant. Angular lines and sharp movements are juxtaposed with long, curving lines and flowing movement. Complex rhythms including polyrhythms and syncopation are paramount; as are isolations of body parts such as the head, shoulders, ribs and hips; stylish poses and gestures; and fast, complex foot work (para. 8). In other words, it seems to be evident that jazz is considered to be one of the most difficult dance styles.

Conclusion

As far as jazz may include numerous elements of ballet, folk and modern dances, it is necessary to highlight some similarities and differences between dance styles. Thus, on the one hand, jazz involves numerous classical lines and repetitions, which are originated from ballet and folk dances; on the other hand, numerous adaptable elements jazz also includes are considered to be characteristic features of modern dances; the principal difference, however, is that lines, forms and repetitions taken from ballet are to be performed extremely quickly. In other words, the main difference between popular dance styles is that jazz is always to be aggressive. In jazz, turnouts and strict postures are rarely emphasized.

References:

Heikkila, L. (n. d.). History of Swing Dancing.Centralhome.com. Web.

McDonald, J. (n. d.). Jazz Dance – Has It Got The Cred? Danceinforma.com. Web.

Introduction

Alvin Ailey is an American dancer and choreographer, the founder of the Alvin Ailey American Dance Theatre, who made a significant contribution to the popularization of modern dance and the emergence of black dancers on the dance scene of the XX century. He once said that one of America’s greatest treasures was African-American culture: “bitter, gleeful, but always hopeful” (Gray 37). The classical ballet “Revelations” is a tribute to this culture and a tribute to the memory of Ailey’s genius.

This performance staged to traditional African-American music in the spiritual style embodies the deep sorrow and light joy of the human soul. This masterpiece of choreographic art crowned the long way of the ascent of the Theater to the big stage. The modern Ailey’s dancers carefully carried the heritage of their teacher through the years to remind society of his way of showing the difficult history of his people.

Main body

Born in Rogers, Texas, on January 5, 1931, he was the only child of working-class parents who divorced when Alvin Ailey was two years old. In 1942, he moved with his mother to Los Angeles (Gray 35). Timid and shy by nature, Ailey suddenly begins to dance on the advice of a classmate from high school, who brought him to Lester Horton’s Hollywood studio in 1949 (Waters 31). Ailey immersed himself in the learning and development of his dance style suitable to him because of his athletic build.

In 1954, he moved to New York with his partner Carmen De Lavallade to participate in the Broadway play “House of Flowers” (Waters 32). Successful performances and training from outstanding choreographers and dancers Martha Graham, Doris Humphrey, Charles Weidman, and Karel Shook led Alvin Ailey to the establishment of his dance and theatre company.

Alvin Ailey American Dance Theater began as a repertory company consisting of 7 dancers. The rave reviews of critics about the first concerts of the company in 1958-1960 marked the beginning of a new era in dance performances dedicated to the African-American theme (Waters 33). The premiere performance of “Revelations” immediately glorified the dance company of Alvin Ailey as the first interpreter of the African-American experience. Taking as a musical basis a series of selected spirituals and gospels, crafted by Brother John Sellers, “Revelations” portrayed a series of Black religious rites. Thus, “the dance develops in tandem with the spiritual” (DeFrantz 6).

It includes a group prayer (“I’ve Been Buked”), a ritual baptism ceremony (“Wade in the Water”), and a sacrament moment (“I Wanna Be Ready”). Then the performance portraits a duet of trust and support for the priest and parishioner (“Fix Me, Jesus”), and the solemn singing of the gospel (“Rock my soul in the bosom of Abraham”).

An active study of the history of dance, the diverse repertoire of the company built a substantial part of Ailey’s dancers unique style. According to Ailey, it served as “an impetus to save modern dance, to understand where it came from and how it will develop, and to encourage the participation of the viewer in this process” (qt. in Topaz 18). The eclectic repertoire is represented by choreographers working in various dance styles, including ballet, jazz dance, modern, and Graham, Horton, and Dunham techniques (Foulkes 181-182).

Ailey “focused on the theme of African Americans’ struggle for freedom and opportunity in his choreography,” and moreover, “his company cemented the small triumphs in the changing social composition of dance” (Foulkes 182). He encouraged his dancers to give personality-filled and highly emotional performances, which is a strategy that created the first-magnitude dance stars in American contemporary dance.

Ailey created his Theater to represent the talents of his African-American counterparts, though the company never consisted exclusively of Black dancers. Ailey commented on the essence of his company: “We try to create a whole range of sensations, both for dancers and the audience” (Truitt 12). These words emphasize modesty and honesty in everything this man did for choreography. For many years, the Ailey troupe has been giving indescribable emotions not only to Black people but also to representatives of all races and nationalities.

Ailey’s contribution to world culture is that he was able to show the beauty and depth of the black artist’s dance to the world, giving pride and inspiration to the heart of every African American. Ailey’s legacy for the dance world is the freedom to choose between ballet, jazz dance, and social dance to maximize the expressiveness of a person’s essence in the movement needed for a suitable theatrical moment. Consequently, a positive image of African Americans, their bodies and souls, is created.

“Revelations” significantly resonates with me and my vision of the African American culture is based on deep spirituality, and the power of African American spirit and will is reflected in the movements of dancers on the stage. While recreating my own “Revelations” as a dance and revelations as the spiritual breakthrough, I should focus on the beginning of this dance. When a group of dancers stands with their arms spread and heads downward seeming to be ready to fly despite being suppressed, I feel both the dancers and audience will start their spiritual voyage.

Conclusion

My own revelation is that each person, in spite of his or her race and life situation, has the right to freedom and the chance. Observing this dance, I can learn more about the African American’s cultural heritage focusing on gospel songs and see these people’s desire to be free represented in their impressive movements. Therefore, my own dance to claim spirituality would have the similar amplitude in movements as Ailey’s dancers had, and faces should be directed upward to accentuate the path for the thought.

Works Cited

DeFrantz, Thomas F. Dancing Revelations: Alvin Ailey’s Embodiment of African American Culture. Oxford University Press, 2006.

Foulkes, Julia L. Modern Bodies: Dance and American Modernism from Martha Graham to Alvin Ailey. University of North Carolina Press, 2002.

Gray, Allan S. “Life With Alvin: A Kansas City Story.” Alvin Ailey: An American Visionary, edited by Muriel Topaz. Routledge, 2018, pp. 35-40.

Topaz, Muriel. “An Inside View of the Alvin Ailey American Dance Theater.” Alvin Ailey: An American Visionary, edited by Muriel Topaz. Routledge, 2018, pp. 13-20.

Truitte, James. “Dear Alvin.” Alvin Ailey: An American Visionary, edited by Muriel Topaz. Routledge, 2018, pp. 9-12.

Waters, Sylvia. “Alvin Ailey Repertory Ensemble.” Alvin Ailey: An American Visionary, edited by Muriel Topaz. Routledge, 2018, pp. 29-34.

Introduction

Different kinds of art have their specific characteristics and particular requirements necessary for the adequate delivery of the message. Unlike music, fine art, or literature that can be enjoyed regardless of the environment, dance requires space to be performed to connect a spectator with an artist. Therefore, the question of space as an essential constituent of choreography has been addressed by many theorists (Armstrong and Morgan; Dunning).

Moreover, spatial characteristics of a theater evolve from being a necessity in classical ballet to a far more advanced concept that becomes a part of a performance in modern and postmodern dance. Employing space, a choreographer has an opportunity to establish a connection between the spectators and the performers, thus influencing the perception of the show and emphasizing the core ideas.

Therefore, theatre space reaches beyond the physical characteristics of a stage but becomes a platform for the interaction between dance performance and spectators. Constructing an optimal theatre space contributes to the understanding of the essential elements of modern choreography and allows recognizing the main components in the organization of dance production.

Space as a Crucial Concept for Dance Theatre

A place that a dancer or a group of dancers occupies during a performance plays a significant role in this art sphere. Firstly, it serves as the primary criterion for dance characteristics. It embodies the overall means of message delivery due to the body movements in a space that enables a dance to become alive. As Armstrong and Morgan remarkably noted, “the human body brings space to life, and dance into being” (9).

Therefore, the requirements for the place where a choreographic act is performed acquired common features for all troops. Secondly, space as a combination of a scene and the spectators’ area becomes an additional dimension in a choreographic act. It allows an author to influence the viewer through closeness to dancers or the ability of a choreographer to creatively use the place. This characteristic of space emerged in the era of postmodern dance and contributed to the art experience of a modern viewer.

Regardless of the type of choreography, all dancers need the same essential characteristics for their work. All dancers need a “large, open performance area” to be able to freely move during the act, enter, and leave the stage (Armstrong and Morgan 9).

The floor of the scene also has its requirements as it needs to be multilayered to eliminate the possibility of traumatizing. The space, where a dancer works, has to have an optimal constant temperature and air conditioning. Also, the light and sound of the place where performance is acted need to be sufficient, as well as the technical design of backstage that is crucial for dancers’ work during a performance (Armstrong and Morgan 9). Therefore, the specific physical requirements for space enable dance to become a piece of art that spectators can enjoy.

However, these requirements are not always followed which imposes a lot of challenges for both choreographers and dancers. The contemporary American dance theater seems to face some problems due to the lack of an optimal space for dance. Some of the platforms are too big, and some are too small. New York that accepts many troops, both classic and postmodern, cannot provide a sufficient number of theaters that could meet the requirements of dance performances. As Dunning notes, the issue of space touches on the stage size, as well as the number of seats and the adjustability of stage elements. Indeed, the halls like Joyce Theatre or City Center are not sufficient for all the troops.

Classical ballet might need more space both on the stage and in the audience hall when a chamber group might require a more intimate small place to perform (Dunning). Classic theatrical troops or other artists also use the majority of platforms used for choreographic acts; these spaces are not explicitly created for dancing. Thus, dance art lacks a flexible and adjustable performance space to be able to meet the expectations of the prominent manifestations of the choreography of different types.

The Connection Between the Performers and the Audience by Means of Space

In post-modern dance, the amount of space plays a decisive role and is often used by the authors as a way to influence the audience. When constructing stage decorations and designing the props, as well as creating the movements, a choreographer utilizes the stage according to the idea of the performance. Since dance, as well as any other form of art, can only become alive when it reaches the audience, it is crucial to utilize the space concerning the people watching the performance.

Following the different requirements of spectators’ placement, the theatres are of two main types. They are proscenium and end-stage theatres that are different in their constructions. The proscenium theatre is designed in a way that separates the performers from the viewers, who occupy places “on one side of the raised performing area” (Armstrong and Morgan 9). Therefore, the audience is detached from the dancers psychologically, as well as physically. However, in the end-stage theatre, the audience is not separated from the performers, and there is no barrier between them (Armstrong and Morgan 9-10). Such a design helps to establish a firm connection between the producing and perceiving parties of the act.

For example, the performance of the Cunningham troop in the Walker Art Center did not need to occupy a lot of space. A small stage that was close to the viewers’ eyes created a unique form of connection with the audience that generates new feelings and ideas a dance delivers (Burke).

Moreover, Cunningham’s technique the troop used was even more impressive due to such closeness. As Burke says, the dancers’ movements are “like a succession of narrow escapes: almost collapsing, almost colliding” that brings alive the technique initiated by the creator, Merce Cunningham. From this point of view, a place enhances the embodiment of an author in the movements of dancers creating a very intimate process (Burke). Space in dance brings life not only to the performances but also to their late creators emphasizing the meaning of art.

Experiencing Space in Dance Performances

When attending a dance performance, a viewer becomes a participant in an artistic event enabling the piece of choreographic art to evolve and resonate with their thoughts and emotions. Experiencing different dance acts allows making some conclusions about the role space plays in dance staging. “Velocity” presented by The New Victory Theatre utilizes the style of tap dance that in its essence needs to occupy a rather large amount of space (“The New Victory Theater Presents VELOCITY”). The energetic power of dance depicting cultural combinations and ethnic uniqueness was delivered not only utilizing choreography but also with the help of spatial characteristics of the stage.

The performances of The Fall for Dance Festival triggered a wide range of emotions related to theatre space. The audience’s closeness to the musicians and the placement of the seats so that a viewer is not distracted by anything else but the stage and the orchestra enhanced the delivery of the messages. The apparent or even demonstrated presence of the musicians in the performance influenced the viewers’ emotional perception of the acts.

Similarly, the style of space managing utilized in the “Falling Out” allowed the choreographers to showcase the diversity of controversial feelings and for the spectators to experience the collision of competing forces. Such an effect was reached not only by dance techniques but also by the way lighting and sound were incorporated in the theatre space. The video-data projector visualized the background bringing the natural forces to life (“Making Falling Out: BAM 2018 Next Wave Festival” 00:00:35-00:00:50). The experiences of different dance performances amplify the understanding of space’s importance in choreographic art.

Constructing an Optimal Theatre Space

Since it is objectively challenging to create a unique dance theatre for every performance, it is vital to generate such a space that could be adjustable to the many diverse requirements of the troops. The uniqueness of a dancing space makes choreography more complicated and challenging, thus introducing new non-traditional examples of American choreography (Armstrong and Morgan 11). Most importantly, with the emergence of a variety of dancing styles and companies, the theatres must not serve as platforms for both dance and non-dance performances.

There should be dance theatres designed and built specifically for choreography. Moreover, they are “no more complicated or expensive to build than other theatres” (Armstrong and Morgan 15). Incorporating engineering, building planning, the design of the interior, and the planning of spectators’ seats, the building team should orient on the requirements of a random viewer.

The seats should be arranged in a way that allows seeing the stage clearly and without any distraction because comfort may contribute to the successful perception of the artistic message. Also, the stage must abide by the basic choreographic requirements, as well as present a variety of change opportunities for the parts of a scene to be adjusted to the needs of a specific art piece. The size of a stage should be adjustable and provide enough room for props, decorations, and visual effects for both, classic and post-modern performances. Such an arrangement could contribute to the comfort of dancers’ work, the confidence of choreographers in the success of their ideas’ delivery, and the enjoyment of art by the viewers.

Conclusion

Concluding the discussion, the space as the concept that brings dance to life is viewed as an essential requirement in choreography and as a means of connection between the dancers and the audience. Therefore, the usage of a place is crucial for dance theatre. The contemporary theatre platforms provide either large theatres designed for different types of performances or small dance houses unable to contain varying numbers of spectators. Therefore, there is an urgent need for specially designed dance theatres that would be able to meet the requirements of different styles of choreography, from classical ballet to extraordinary post-modern acts. Such platforms should be comfortable for the viewers and technically adjustable for performers and staff to bring the art of dance to life in all its beauty and strength.

Works Cited

Armstrong, Leslie, and Roger Morgan. Space for Dance. Edited by Mike Lipske, Center for Cultural Resources, 1984.

Burke, Siobhan. “Staying Alive.” OpenSpace. 2017. Web.

Dunning, Jennifer. “Wanted: A Good Home For a Space-Starved Art.” The New York Times. 2003. Web.

“Making Falling Out: BAM 2018 Next Wave Festival.” YouTube, uploaded by BAMorg. 2018. Web.

“The New Victory Theater Presents VELOCITY.” NewVictory.org. 2018. Web.

Introduction

The Dance Class is an artwork that was created by a famous French artist Edgar Degas in 1872. This painting is from the group of Degas’ projects about the theme of dance and ballet techniques, in particular.

Main body

Among the existing variety of impressionists’ works, The Dance Class by Degas is probably one of the most interesting and strong projects. As well as his other artworks, The Dance Class was performed by oil on canvas. There are no bright colors on the painting but strict and concerned choices to prove the nature of ballet as an art form – calm and definite. In addition to properly chosen techniques and materials, the artist was able to create a story with the past, the present, and the future.

Looking at this work, it is possible to say that Degas was passionate about ballet and not only the stage performance itself but the events that happened during training and rehearsals. There are several female ballet dancers and two men (one in a white suit seems to be a ballet master, and another could be an orchestra man because of the conductor’s stick in his hands). The ballerinas look exhausted probably because of the amount of work done before. Still, they are confident in their actions and ready to follow their goals. There are no extra or unnecessary people or movements – just what it has to be during a ballet rehearsal.

In this painting, Degas wanted to underline the importance of a working process. One ballerina performs a dance, another is sitting on the chair, several women follow the performance, and several young ladies are rehearsing and warming up. In other words, each person is occupied with something, proving that ballet is not the place to rest or entertain but to work hard and regularly.

There is no much space on the artwork, which suggests that it is not a real ballet studio but a temporary room for training before a performance. Due to the presence of the arch in the middle of the room and the high ceiling, it is possible to guess that it is a part of an opera house. The role of the ballet master is to instruct and check the choreography of every ballerina. He raises the hand, meaning that the man allows beginning the performance and supports the chosen direction. The role of the second man remains unknown, but his presence in the room makes the viewer think about his role in the process.

I base my interpretation of the work on what I actually see and want to see in the painting. I enjoy the possibility to learn better the ballet art and the processes in which ballerinas and choreographers have to be involved. In my opinion, it was not enough for Degas to choose a theme and introduce it using oils. His goal was to memorize a process and make it available to other people, who do not have a chance to grasp the details.

Conclusion

In general, my judgment of an artwork depends on two major criteria: the possibility to introduce a story and enhance people’s creative thinking and the quality of painting, including the size of the canvas and the chosen base. Degas succeeded in both cases and managed to create good and interesting artwork. Despite a number of people and activities, his Dance Class has one common goal and message to people that is to respect and enjoy the art of ballet.

Introduction

Hip hop dance specify dance styles that have evolved because of hip hop culture. It entails different styles such as dancing, rapping and scratching, popping, locking and breaking. The hip hop dancing began in the 1970s. During this period, hip hop encompassed urban styles.

The early dance styles included breaking, uprock and the funk. It was popularized by dance crews in the US. The TV shows such as the Wild style, Soul Train and Breakin, Beat Street also contributed in showcasing hip hop dance styles during the early periods of hip hop hype (Hip Hop Network).

The dance industry responded with improved edition of hip hop, which became known as the jazz funk and new style. Traditionally, talented dancers embraced these styles to demonstrate hip hop dances that was often performed on the streets. During the early days, hip hop was linked to rare movements such as the Humpty Dance which was recognized by the inventors of hip hop.

When interest in hip hop music intensified, several movies integrating sounds, beats and gravity- laden moves were established. Although hip hop dance has evolved since it begun, it has upheld significant presence in cities which has established street dance derivatives such as krumping, jerkin and turfing.

Michael Jackson

Hip hop dance is incomplete without mentioning Michael Jackson. Michael began hip hop dance life with the Jackson Five group. Evans shows that Michael advanced to be one of the most popular dance icons of the time. Michael’s music was inclined towards soul, R& B and pop (Evans).

According to Evans, Michael helped to disseminate breakdancing into typical US culture (Evans). It is noted that Americans had not witnessed the moonwalk, a move that was customary by hip hop in the 1970s, thus, Michael became a link in propelling hip hop dance into ordinary American culture. Some of Michael’s remarkable songs are Thriller, Tabloid Junkie and Smooth Criminal, among others (Evans).

Michael Kidd

Born in New York, Kidd embarked on his journey as a dancer with the Big Apple’s Ballet Theater. According to World Entertainment News Network, Kidd career in hip hop dance influenced many audiences as a result, he was granted an opportunity to produce the Finian’s Rainbow (World Entertainment News Network).

Other than being an avid hip hop dancer, Kidd was well known in innovative arts and directing dance. His creative dance succession granted him praise, and in 1997, he was awarded the Academy of Motion Pictures and sciences as recognition of his service in dance and screen art (World Entertainment News Network). Some of his best art services include directing dancers for Band Wagon and the 1955’s Guys and Dolls.

Madonna

Madonna is a US actress and songwriter. Complex Mag explains that Madonna has sold three hundred million records globally. Complex Mag also notes that Madonna’s success in the pop music is connected to her ability to reinvent herself (Complex Mag). Madonna has inspired many audiences and fitness enthusiasts around the world with her hip hop dance competitions.

Madonna’s talent in dancing and songwriting is coined in developing unimaginable hooks for songs that make the lyrics confine the attention of the audience, without the authority of the music (Complex Mag). Complex Mag alludes to “into the Groove” and its tag line “live out your ….mine” as an example (Complex Mag). Some of the legendary music linked to Madonna includes Rolling Stone, Like a Prayer and La Isla Bonita, among others (Complex Mag).

Opinion

I note that hip hop music will remain a significant involvement of most people, especially the young generation. This is because of style and the messages characterizing the music. Also, being a form of entertainment, hip hop dance should be tailored to advance valuable content or information to varied audiences.

Works Cited

Complex Mag. Justify My Thug: A History of Madonna’s Relationship With Hip-Hop, 2012. Web.

Evans Calvin. Michael Jackson’s Contributions to Hip-Hop, 2009, Web.

Hip Hop Network. History of Rap: Vol. 1: Genesis, 2012. Web.

World Entertainment News Network. Broadway Choreographer Michael Kidd Dies, 2007. Web.

Family relationships and own passions are sometimes different and an individual has to find ways to focus on a matter which can be misunderstood by the people closest to them. The movie “Shall We Dance” touches upon themes which describe the actions of a person who tries to follow own dreams and wants.

There are several major themes that are illustrated in the movie which relate to personal life, family and outside opinion. Person’s private wants are frames that set the limits for the actions and goals of an individual. In the movie, the character lives in an environment that sets boundaries on his needs. He is unable to escape the routine and so, he decides to pursue something new and much wanted.

It is clear that when a person feels trapped, they will try different ways to change their life and sometimes, the avenues they take may be seen as farfetched from an uninvolved perspective (Michaels 30). The movie makes it obvious that a person is almost forced to change something about their life.

When there is no particular interest in daily life and no passion that can serve as a following, an individual might lose track of what is important and wonder off from the relationship or regular duties.

As the movie shows, a sight of a dancing teacher attracts the main character and he starts to lead another life altogether. The circumstances which are based on a routine and the need to find a goal create conditions that lead to alternate lifestyle.

The fact that a person makes changes in their life and chooses to have a secret passion proves a lot about their individuality and personal needs. Unfortunately, the things that someone desires can sometimes be separate from the social norms and people might not approve of an individual in their pursuit of happiness.

This leads a person to hide their actions and lead a life of secrecy which is uncomfortable to the individual and people that are around (Chambers 41). The movie shows how the culture and traditions of society might see the dance classes as something unordinary and so, the character is forced to hide his dreams and the need to fulfill his wants. This creates a lot of uneasy feelings and one wonders if it is really a way to live a life.

The movie shows a struggle that the main character has and it is often a conflict between his duties and personal feelings. It is made clear that a man has to struggle with the way he is represented in the society and in his family. The secrecy of his dance classes puts him in a unique position with his spouse.

The American remake of the movie shows a much different place from the original environment intended. The Japanese version shows how much demand there is from a person in a place that limits the dreams of an individual, no matter how much stress it creates in their personal life (Dubois 31).

Very often, people have to deal with the separation from themselves in following what the culture and society determines. The social roles define the way an individual has to behave and getting themselves involved in a dance class can be misunderstood by people from the close surrounding. The society demands that males act as the keeper of the home and director of family life.

It cannot be understood by the majority when someone decides to act on own will and disobey the usual order of things (Edwards 6). The original version of the movie shows how much the Japanese life conforms an individual to the common task and the following of the order. Anyone trapped in this sort of environment can be much pressured by the society and the norms that are being set every day.

The tension that builds up, leads a person to rebel against the norm and do something that is unordinary of the socially accepted regularities. The fact that a man chooses to take dance classes sets him apart from his wife and this shows how much a person in not the owner of their own feelings.

The overall effect of the movie is very convincing. It creates a perspective that everyone can relate with, in connection to their personal dreams and goals. The life shown is representative of all the people who are unable to achieve their dreams and are forced to live in a mid of conservative rules (Bechtel 10).

The society puts the individual down and so, people are unhappy and depressed which directly reflects on their family and social life. The romantic relationship between husband and wife is shown as tightened by the restraints that the society sets. It is unnatural that two people have to be in such a situation where one person has to hide and deceive their true identity.

The psychological strain is very unhealthy and this is clearly shown in the movie. The viewer is faced with a basic assumption that the conditions of a person’s life are much stronger than that of individual need. The complexity of a character is linked with the experiences that one has and past predispositions.

A person is taught to behave a certain way in a society and the failure to maintain the set criteria will defer that individual from the community and accepted behavior. The complexity of an individual and human behavior is not studied as well as other aspects of life, especially in a society that is formed by harsh criteria.

Overall, the movie had several deeper themes that were not as obvious from the first look. The emphasis was on the character and society illustrated by the physical environment that a person has to deal with. The objectives and individual approach to matters is examined and shown to be insignificant at times.

It is very important that the context of life, in relation to personal goals and family is taken into account where each person must decide what is important to them (Weiten 77). In the end, the sort of behavior exhibited by the main character proved to be beneficial for the family.

When someone has a chance to follow their dreams, it adds comfort and sense of accomplishment to their personal life which has close relation to the family. An individual is able to commit and be psychologically healthy when their own desires are fulfilled.

The culture, society and traditions are all parts of the system that determine the life of individuals and their families. The movie “Shall We Dance” shows a clear struggle between a person and the social boundaries that are set. The theme of breaking away and following own dreams is shown to be the ultimate goal.

Works Cited

Bechtel, Robert. Handbook of Environmental Psychology. New York, United States: John Wiley & Sons, 2003. Print.

Chambers, Deborah. A Sociology of Family Life. Malden, United States: Polity, 2012. Print.

Dubois, Nicole. Sociocognitive Approach to Social Norms. New York, United States: Routledge, 2003. Print.

Edwards, Michael. Civil Society. Malden, United States: Polity, 2009. Print.

Michaels, Kasey. Shall We Dance? Richmond, United Kingdom: Mills & Boon, 2011. Print.

Weiten, Wayne. Psychology: Themes and Variations. Belmont, United States: Cengage Learning, 2008. Print.

Introduction

The importance is great for every human being to acquire the vital skills which one will be able to carry through one’s entire life, the skills which will enrich the person’s life and will add their beautiful and bright colors into it. One of such important skills is dancing; thus, dance as an educational program is a very rewarding and important course. Dance as education greatly improves the student’s physical and mental health, develops one’s thinking abilities and is a source of inimitable aesthetic pleasure and self-realization.

Main body

The idea to include dance movement in the general education curriculum has always been actively discussed (Robelen 1). Through the centuries there existed numerous successful practices of including dance in the educational process in private schools. Among such successful educational establishments to include dance into their curriculum are School for noble maidens and many more (Robelen 1).

Nowadays the issue of including dance into public school’s curriculum is an on-the-spot matter. Children and adolescences are reportedly mentioned as the age group where the risk of physical inactivation causes the strongest health harm (Rodriguez 14). Students in varied educational establishments spend too much time on motionless tasks. Thus, the need to diversify the educational curriculum including dance movement it seems to be of greatest interest. There is hardly a young person to have a distaste to dance. Everybody likes it; of course, not all kinds of it, but still some kind of it will be among the favorites of every student. It does not really matter whether it will be hip hop, breakdance, cramp, jazz-funk, jazz modern, contemporary, modern, classic style, swing, ballroom dances and so on. So, if dancing is an active task which is so appealing to all young people, what else can be said about the benefits it brings?

The benefits of dance as education are so abundant that there is hardly a possibility to mention all of them; however, I will just try to mention a few of such important categories. First of all, this is the student’s health. Everybody knows how important is to be active and dynamic for good health. Successful dancers maintain great mental and physical health throughout their entire life (Rodriguez 8). Dance also makes people happy as it presents them with inimitable esthetic satisfaction which can be hardly acquired elsewhere. Even people who are somehow disabled on the reason of their poor health may choose such study loads which will be appropriate in their condition (Robelen 4). The purposes of dance education are mainly student-oriented; one is to learn the way one’s body works, what its strong and weak points are, how to work on one’s body to make it fitter, stronger and more beautiful and so on (Wauchop 3). In addition, dance develops creative thinking ability, provides the basis for socialization and self-expression, improves communication among young people and serves as a way for emotional release.

Concluding on all the information mentioned above, it should be stated that dance as education in public schools is a very good idea. Such an academic course will present its student with good mental and physical health, the ability to think creatively, esthetic satisfaction, a positive outlook on life and many more. Thus, there is no doubt that taking an education course on dancing is a sure way to success in life.

Works Cited

Robelen, Eric. “Schools Integrate Dance into Core Academics.” Education week. (2011) : 1-5.

Rodriguez, Diana. “Let’s Get Fit! Curriculum Guide for Teachers.” Connecticut Ballet (2011) : 3-16.

Wauchop, Deidhre. “Quality Teaching in Dance.” New Department of Education and Training. (2004) : 1-5.

Dancing is firmly embedded in many human cultures. While on the later stages it mainly serves aesthetic purposes, sociologists and anthropologists generally agree that it is almost always rooted in ritual dancing. On the outside, the ritual dance has all the same elements the other types do: the costumes, the music, the patterns are generally recognizable. However, all of the elements of ritual dance can usually be traced to their point of origin. In other words, each part serves a certain purpose and either conveys a message or is used to execute a particular function and achieve a particular result.

The significance of ritual dance elements can be illustrated by the Tibetan Cham dance. This dance has retained its ritualistic meaning in modern times and has been used by the monks for shamanic purposes throughout the twentieth century (Pearlman 102). Buddhism actually categorizes dance as a minor science, called rigpa (Pearlman 100). The dancing itself is almost codified, with the set of moves that correspond to the karmas of enrichment, destruction, pacification, and magnetization.

The moves are used to prolong life, eliminate pride, ignorance, attachment, and invoke spaciousness, equanimity, and mirrorlike wisdom (Pearlman 107). The props used in the Cham dances also convey a specific meaning. For example, the bell and Dorje, held by dancers during certain performances, symbolize the Upaya (method) and Prajna (wisdom). Throughout the dance, the performing monks are seen bringing these two props close to each other, which signifies the unification of Upaya and Prajna as a result of spiritual practices.

Some of the props in dancing also share the utilitarian purposes. One of the most widely recognized is the rain stick used in the Mayan ritual dances. While it can be seen as a musical instrument, and was often utilized as such, its main purpose was to ask for the favorable weather conditions. The Mayan dances had another characteristic feature: the poses exhibited by the dancers. While almost every move in the ritual dance is usually charged with meaning, the pose, characterized by the defined positions of arms, legs, and feet, served instead as a “phrase” (Looper 111) conveying a clustered message in a more condensed way than possible by the set of moves or elaborate costumes.

Speaking of costumes, these too have a long history of prominent presence in the ritual dancing phenomenon. Some archeological finds of a Neolithic period contain props which are argued by some social archeologists to have been used for the dancing rituals. These most often include the wings of birds, most notably cranes, which aligns with the rather ancient and ethnographically widespread crane dance. Other costume elements include wild animal skulls and furs, which, in one case, were proven to be carried from distant locations, like the foxes from Southern California found on the Channel Islands and used for the fox dances (Russell 141). This further stresses the significance of these costumes to the performers.

In several cultures, the costumes went far beyond the set of simple animal parts. Almost all traditional ritual dances of the Native Americans feature the elaborate costume sets, to the point where the dancing resembles the theatrical performance. These dances also exhibit complex and rich plots, and besides the ritual meaning, often serve the narration purposes. Some of the costume elements, like masks in the Apache dances, are sacred to the extent where they may be used just once in a lifetime and are deemed significant after attaining the sacred characteristics by participating in the ritual (Copeland 32).

In all, any given element of the ritual dance is rarely random, with most of the costume elements, moves, music, and characters exhibiting symbolic or spiritual meaning and are important parts of the whole.

Works Cited

Copeland, Peter. North American Indian Dances and Rituals, New York: Dover Publications, 1997. Print.

Looper, Matthew. To Be Like Gods: Dance in Ancient Maya Civilization, Austin, Texas: University of Texas Press, 2010. Print.

Pearlman, Ellen. Tibetan Sacred Dance: A Journey Into the Religious and Folk Traditions, Rochester, Vermont: Bear & Co, 2002. Print.

Russell, Nerissa. Social Zooarchaeology: Humans and Animals in Prehistory, New York: Cambridge University Press, 2011. Print.