Abstract The paper examines the cultural underpinnings and history of one of the most popular dance and music styles in Brazil - Samba. The importance of this music in daily life is emphasized, as well as the religious and popular overtones, such as the annual Carnival. The paper also includes an interview with Jon Agasse, a guitarist and percussionist with a samba ensemble living in Los Angeles.
From the Paper "The crowd of almost one hundred thousand is restless. The night is moist, hot, and alive with a feeling in the air so palpable you can almost trace it with your finger. The bleachers are filled to maximum capacity, along a mile-long stretch of paved roadway adjacent to an old brewery. People from all races, classes, and countries are celebrating together at the culmination of the orgiastic, pre-Lenten, hedonistic festival of Carnival. Soon, the first marchers proceed down the corridor to the booming cacophony of bass, snare, and friction drums. The rattling of tambourines, bells, and scrapers add flavor and accent. Like a bird set free, the singing cavaquinho (ukulele) emits its high pitched cries, adding to the frenzy. The marchers and dancers, with their quick, physical movements, undulating hips and heel steps, embody the living sound. It is time for the annual celebration once again in Brazil, time for Carnival, a time once again for the ultimate physical expression of joy: Samba."
Tags: african, black, jazz, mamba, merengue, rhumba, rio
From the Paper "This paper will be concerned with African influences on Afro-American jazz and dance. The roots of Afro-American jazz can be traced back to the early 17th century, when African slaves were first brought to America from their homeland. These slaves came from various parts of Africa, and they brought a great variety of indigenous music and dance with them. In Africa, music and dance had played a vital role in both religious worship and everyday life. The tribal peoples of Africa had developed many types of songs for special occasions as well as specific dances which were intended to accompany the songs. The closely woven interrelationship between music and dance was thus strongly fixed in the minds of the early African slaves. As noted by one music historian, "in Africa . . . dance and song are intimately associated aspects of a single art" "
From the Paper "Between 1912 and 1916, Vaslav Nijinsky choreographed four works for the Ballets Russes. These works (L'Apres-Midi D'Un Faune, Jeux, Le Sacre Du Printemps, and Til Eulenspiegel) were radical innovations in the world of dance choreography. Serge Diaghilev, the director of the Ballets Russes, had a strong influence on this contribution by Nijinsky. In addition to making Nijinsky a star, Diaghilev provided the young dancer with his first opportunity to work as a choreographer. Diaghilev was a teacher and homosexual lover to Nijinsky, as well as his employer. The influence of Diaghilev on Nijinsky's career was so powerful, it can be said that he served as "a kind of father figure" to the dancer. In fact, Diaghilev tended to provide this role for most of the young male artists that he worked with. By introducing young dancers to artistic ... "
Abstract This paper explains that the pas de deux section in Balanchine's ballet "Agon" is a sculptural representation of a relationship, expressing only aspects of reality in the dance. The author believes through absurdity and grandeur the pas de deux of Balanchine's "Agon" creates the virtual emotions of a conflicted relationship.The author describes and interprets each part of the pas de deux.
From the Paper "The pas de deux begins with a series of relatively quick steps performed by both dancers, with the female being one full count ahead of the male. This creates the strong impression that the female is leading the male, and establishes her dominance in the dance from the opening. This is unusual in ballet, where the classical pas de deux is performed with the male leading and the female following. The slightly frenetic opening ends in a pose that is repeated later, with the man above the woman, her leg up in an extreme, attitude arabesque that wraps about his head. This pose is remarkable for the extremity of the movement, and its visual illusion of the woman trapping the man with her bent leg. This pose is one exemplification of the comments of Lincoln Kirstein about the pas de deux, with its "naked strength, bare authority, and self-discipline in constructs of stressed extreme movement" "
Abstract Based on the film "Isadora", this paper describes the life and dancing tradition promoted by Isadora Duncan. The paper highlights her non-conformist position in art and life.
Abstract This paper discusses eating disorder patterns among ballet dancers and non-dancers. The paper examines what anorexia is and presents the causes of anorexia and the reasons that it is seen so much in ballet dancers as opposed to non-dancers. The paper explores the impact of ballet dancing on children with respect to eating disorder patterns and identifies whether any difference is seen in the frequency of eating disorders in professional ballet dancers and non-professional ballet dancers.
From the Paper "Anorexia nervosa is a growing psychological and physiological disorder in the society of today. A surprisingly large number of people are affected by eating disorders, the major cause of which is anorexia nervosa. The cultural ideals especially of the western world cause young women to believe that they should maintain thinner bodies than intended by nature. This causes them to alter their eating patterns and this leads to eating disorders like anorexia nervosa. Anorexia nervosa is most prevalent in young girls from the upper middle classes and generally between the ages of eleven to eighteen. Anorexia nervosa is fatal in about twenty percent of the cases and this is the reason for concern. Psychiatric assistance is able to help about thirty percent of anorexics to overcome the disease. A person is considered as anorexic if the body weight of the individual is twenty percent less than the normal weight of a healthy person of that age and height."
Abstract The paper begins by introducing Adorno's theories on mass culture and commoditization, which were one of the fundamentals of post-modernism as it appeared in the 20th century. It then looks at how the tango dance is one of the most representative forms of manifestation of the Argentinean spirit and people. Born in the mid-1800s, tango was quickly exported to Europe and became a true success story, until its downfall in 1955. It was reborn in 1983 and has been a success ever since. This paper investigates Adorno's theories and applies them in the case of tango, and looks at whether this is the best example we may choose to argument the truth in Adorno's statements. It explains that, while on one hand, tango can be considered an element of mass culture because, in many ways, it has partly embraced the mercantile character of mass culture that Adorno insists upon, in many other ways, tango is still something in its own, a form of art, a form of expression.
Paper Outline:
Introduction
Adorno's Theory of Mass Culture
History of Tango
History of Tango
Adorno's Theories applied to Tango
Conclusion
From the Paper "Tango is still too imaginative and too expressive to be assimilated as a product of mass culture and classified as a commodity. If we were to pursue on this theoretical path, we would tragically arrive to the conclusion that feelings, emotions and passion are all for sale. However, there were inspired people, like in any other forms of cultural manifestation, that were keen to partly transform tango into a form of entertainment. As any for of entertainment, it could be sold and profit could be obtained by promoting something that was well received in its audience and segment of consumers. Passion sells, many might say. While this argumentation may work in some occasions, passion isn't always understood and passion only addresses a certain category of people. Passion is not a mass culture product."
Abstract This paper discusses how Graham transformed two areas of American dance: First was classical ballet that dated back several hundred years and included prescribed body positions, defined geometrical relationships among the dancers and, most of all, precision. Second were the folk dances of Asia, Africa and native America, which had long been considered popular art or craft forms instead of high art. The paper looks at her life's work, her contributions and achievements.
From the Paper "When she was a freshman in high school, Graham went with her parents to see the early modern dancers Ruth St. Denis and Ted Shawn in Los Angeles and was immediately hooked. She spent her next three summers at their Denishawn dance school and enrolled in the company after completing junior college. In 1920, Shawn created for himself and Graham his most original vaudeville spectacular "Xochitl" about the legends of the New World (Kendall 167). Shawn had already recognized Graham's outstanding dance and theatrical qualities and wanted to feature them. In the play Xochitl dances Salome-like for the emperor, then fights him off as he advances on her in a drunken state. The success of the melodrama was crucial to Graham's future. During her three years at Denishawn, she had begun to develop her new dance movements. "This production gave her the chance to experiment night after night with dynamics-that link between the visible dance shapes and the dancer's inner passion." "
Abstract This paper looks at the life and works of dancer Isadora Duncan. It explains that Duncan was unknown as a classical ballerina, in which she trained, but became famous once her style changed into a free modern style, which became her trademark. The paper discusses how Duncan's free style impacted the modern dance industry today.
From the Paper "At twenty, she arrived in London, having studied classical ballet in New York. She stayed in London one year, acted and danced in such plays as Shakespeare's "Midsummer Night's Dream" but she was restless, fame eluded her (she had then, and later, always expected that her every movement would win her applause and stardom). She started to learn about and love everything Greek. No wonder that, when she arrived in Paris, she utilized her version of a Greek dancing outfit: bare legs, a diaphanous long skirt, and grand gestures that defied the "classical" tradition. Her words were often as outrageous as her dancing. "Dance is a religion and should have its worshippers." (Terry, p. 27)."
Abstract This paper examines the history of ballet from 15th century Italy until present day. It then looks at the history of BalletNY, formerly DanceGalaxy and founded in 1997 by former New York City Ballet Principal Ballerina Judith Fugate and international guest artist, Medhi Bahiri.
Paper Outline:
Introduction
Humble Beginnings
The Emergence of Ballet
Opera Ballet
Liberation Ballerina
Social Change
A Decline In Interest
The New York City Ballet and BalletNY: Full Circle
Bibliography
From the Paper "Judith Fugate is a former principal ballerina with the New York City Ballet. She has danced roles in virtually every ballet in the NYCB repertoire counting Peter Martins and Mikhail Baryshnikov among her many famous partners. In 1997, she left the New York City Ballet Company to purse a career as a freelance Guest Artist and Co-Artistic Director of what is now known as BalletNY. In addition to touring extensively, Fugate has appeared on "Live from Lincoln Center" with Ray Charles in Peter Martin's "A Fool for You", and in the Metropolitan Opera's production of "La Traviata", conducted by Placido Domingo."
Abstract In this paper, the writer discusses that the Baile, Egyptian Cabaret, and Nritta represent a cross-cultural connection in world dance, which embodies the love that men and women share for each other. In this manner, the religious idioms of the cultures described here represent the manner of movement that depicts love, but through the sacred ideals of commitment and love. The writer points out that although these differ slightly in the accompaniment of dancers, or in the stylistics of the choreography, there is a archetypal cultural unifier that relates the desire and higher love of men and women across the world.
From the Paper "This study examines the multi-cultural aspects of "divine love" in Kathak, Middle Eastern, and Flamenco dancing. Within these dances there is a greater blend of different cultural values that make up each of the formats of these dances. In this manner, the chain of influence upon the Kathak, Middle Eastern, and Flamenco dances offer a multi-cultural depiction of how dance is not created within the limitations of geographical boundaries. By understanding the cultural similarities based in these dances, one can realize the power of movement that is a commonality within the religious and divine nature of love. The Kathak dance is a religiously based dance that formally uses the divinity of love for Indian gods, and their dance in the Cosmos."
Abstract This paper is about dance movement therapy as a form of expressive art therapies. The paper focuses on how dance therapy is about the release of emotional trauma or beliefs as well as feelings that have been suppressed, through appropriate movement. There is a brief history of development of dance therapy as well as a personal story about how fears can limit the ability to dance.
From the Paper "The expressive arts offer a multitude of opportunities for the human spirit to achieve balance, freedom, relief and potentially self-actualization. While great emphasis in class has been placed on the spirit of the human condition and spirit of the soul, after a brief discussion about the spirit, this paper will focus on what movement and dance therapy are about, the use of dance therapy as a way of unleashing burdensome emotions and psychological pathology in combinations of the arts and solely using dance and movement as the expressive medium. This paper will also include comments on the generally fear and shame based reasons why individuals might initially shy away from dance and movement therapy."
A discussion regarding the macrocosm and microcosm of 'Rock and Roll History in Coming of Age in Buffalo' by William Graebner and 'Flowers in the Dustbin' by James Miller.
1,125 words (approx. 4.5 pages), 2 sources, 2006, $ 44.95
Abstract This paper discusses the historical research of both Miller and Graebner rely on different macrocosmic and microcosmic approaches for understanding the rock and roll phenomenon. The paper further discusses how the Miller tends to apply a national approach to his understanding of rock and roll through fashion and musical trends, which often involves secondary sources in the media. Graebner also relies on secondary information to a certain degree, but certainly, he seeks deeper empirical data that reaches into the racial and ethnic barriers that Miller does apply.
From the Paper "The book review being analyzed here will analyze the microcosm and macrocosm of rock and roll history within Coming of Age in Buffalo by William Graebner and Flowers in the Dustbin by James Miller. By understanding the microcosm of history within a small historical location in Graebner's history, rock and roll is not as generalized as one finds in the more national perspective of music history. While Miller often defines national trends in music and fashion in rock and roll culture, both books offer different points of view on how music history should be analyzed."
Abstract In this article, the writer analyzes the film "The Red Shoes". The writer considers a number of aspects of the film including characters, lighting, dance sequences and color. Further, the writer highlights a number of the film's main themes including passion and jealousy. Overall, the writer maintains that the film's appeal should be attributed to the good taste of Michael Powell and the multitude of prestigious aids he employed such as Jack Cardiff, Robert Helpmann, composer Brian Easdale, and art director Arthur Lawson. Their contributions to the film are invaluable, making "The Red Shoes" a special film that offers overwhelming visual and aural sensations. The writer concludes that combined with the complicated philosophical and emotional issues, Powell and company produced a movie that should stand among the greatest in its genre.
From the Paper "By the time this plot has come fully to fruition, the film is nearly over. The second act last somewhere around one hundred minutes; it is not hard to imagine a less patient audience being bored with, if not entirely dismissive of, the film's long path toward a culmination that last only a matter of minutes. The Red Shoes, however, is not really a love story at all; the relationship between Craster and Paige is present only to set up some of the larger themes that are all resolved in the end. Thus, the concrete story must be approached as something to be dissected, a narrative with many layers to be pulled away and exposed.
The real goal of Powell's film is to examine the pressures and costs of passion. This theme is focused directly on Vicki Paige; she is the character most influenced by Lermontov and most willing to sacrifice everything for the ballet."
