Abstract This paper looks at ballet as the form of dance. The paper presents the major argument that ballet is used to create ideas of cultural superiority. The paper considers that at the same time this cultural superiority is used to make other cultures look inferior.
From the Paper "Art forms are filled with signs, messages, symbols and a whole range of other semiotic features. In Messages and Meanings II Marcel Danesi defines art as, "Disciplined expressive activity that provides the people who produce it and the community that observes it with a range of experiences that might be aesthetic, emotional, intellectual, or a combination of these (Danesi 2004: 332)." Many activities within human societies could be considered art. Singing, music, sculpting, drawing or painting, writing and acting are all activities preformed by societies that are considered art. Each piece of artistic work is filled with symbols, signs and meanings."
Abstract The paper explains the origin of ballet in relation to semiotics and aesthetics. The paper then discusses its appeal to diverse audiences, using the example of Chinese and Chinese overseas culture. The paper includes notes on the theory of aesthetics and how some may appeal across cultures, as opposed to others. The paper presents ideas of ballet as an institution and not just a form of classical dance, explaining that this depends on location.
From the Paper "Marcel Danesi explains that dancing is found in all cultures, sometimes as a 'body art' that can be a form of aesthetic communication. (2004, 61) This form of dance can express emotions, moods, ideas, or it can tell a story. Danesi refers directly to Western classical ballet as his example. This paper tells more of ballet and how it can appeal to people, too, who live beyond Western countries, and those who belong to non-Western cultures. As aesthetic communication, ballet has become part of Chinese culture in particular."
Abstract To be a successful dancer is to be a strong, flexible athlete who has found a balance between physical and mental strength and made the mind to body connection. This paper shows that strengthening is a key element to finding this mind to body connection and in both the physical and mental training of a dancer. This essay briefly discusses the importance of strengthening in the conditioning of a dancer, the best ways to strengthen and the advantages and disadvantages of strengthening."
Abstract The paper examines Butoh (earth dance), an avant garde performance art that originated in Japan following World War II. The paper looks at the history behind the dance. The dance is a form of expression that is purely Japanese and allows the body to speak for itself, through unconscious improvised movement. Butoh is valuable as a training method not only for artists, but for individuals of other disciplines as well, for it frees the body of social constraints. Butoh is actually a hybrid form of art, incorporating elements of dance, mime, theatre, Noh, Kabuki, and even the Chinese arts of Chi kung and Tai chi. By the 1970s Butoh had caught the imagination of many younger artists and had begun to gain worldwide attention. Today it is performed by a number of groups and solo artists in metropolitan cities throughout the world, including Vancouver and Toronto.
From the Paper "Butoh was founded by a rebellious modern dancer named Tatsumi Hijikata and his partner Kazuo Ohno (McLeod). It was first performed in 1959, and is a contemporary form of dance with little reference to either traditional Japanese dances or most Western forms of dance, however it does borrow elements from each (Hermon). Hijikata felt that the Japanese modern dance scene was simply an imitation of the Western mode, thus dissatisfied he sought to find a form of expression that was purely Japanese and also allowed the body to speak for itself, through unconscious improvised movement (McLeod). His first experiments were called Ankoku Butoh, or the Dance of Darkness, which basically referred to what was unknown to humans, including his surroundings and spiritually within (McLeod). Hijikata's dance attempted to touch upon the dormant genetic forces hidden within the "shrinking consciousness of modern man" (McLeod)."
Abstract This qualitative study seeks to examine the hip-hop dance form ethnologically and from the anthropological view, through administration of a survey/questionnaire and a review of peer-reviewed literature. This study finds that hip-hop is interwoven throughout the very fabric of modern media, music and art and is an integral expression in societal interaction and expression. Hip-hop is modern and yet primitive and will be around for many years to come.
Table of Contents
Abstract
Objective
Introduction
Research Questions
Research Instruments
Data Collection
Data Analysis
Literature Review
Discussion
Conclusions
Bibliography
From the Paper "The respondents to the data collection instrument (survey-questionnaire) were asked what was it that influenced them in listening to hip-hop music. The answers given were affirmations that imitation in society is alive and well in the present day. Because the hip-hop radio stations were readily available, the respondents state that this exposure was key in their music influences at an early age. When asked what influenced the respondents in their preference of the hip-hop dance form the answers given in unison stating that MTV was an influence and stating that imitation was the beginning of this dance form adoption by the respondents."
Abstract This paper discusses Islamic art, music and dance. It presents these three aspects of Islamic art in the form of an exhibition and details the history and practices of each art form. It begins by discussing five Islamic musical instruments, then goes on to discuss Islamic views on dance and finally looks at the different cultural influences that contribute to Islamic art.
Table of Contents:
Introduction
Music
Dance
Art
From the Paper "Muslims have had different views about dancing. Throughout Islam history, there have been times of greater acceptance or rejection of dance. Some believed there should be no dancing. To others, folk dancing between the same sex is acceptable, but not between mixed couples. Also, some see dancing as a way to become closer to Allah. Sa'adi, a Persian poet wrote about a band of travelers who came upon a boy who danced beautifully. Everyone was amazed by his talents, except a man who complained that dancing was wrong. However, his camel lifted his feet in dance and threw the rider to the ground. Those around said that even God's creatures could enjoy the dance, so why not he?"
An analysis of the life of dancer and choreographer, Martha Graham, in terms of Friedrich Nietzsche's description of the emergence of a superhuman in "Thus Spoke Zarathustra."
Abstract This paper discusses the life of dancer and choreographer, Martha Graham. The paper relates her life to the description of German philosopher Friedrich Nietzsche, in "Thus Spoke Zarathustra" of the progression and emergence of a superhuman. The paper describes Nietzsche's philosophy and discusses the various aspects of Graham's life in terms of the camel, the lion and the child that Nietzsche discusses.
Table of Contents:
The Camel--The Young Graham
The Maturing Graham--The Lion
The Graham Legacy--The Child
From the Paper "Martha Graham lived for ninety-six years, and was increasingly criticized for her refusal to stop performing in her own dances. However, Graham's unique physicality combined with her fortitude of mind gave birth, to a unique ideal of American dance. It is hard not to think of the Superman when one hears of Graham's own attempt, like Nietzsche, to harkens back to Greek mythology with dances such as "Cave of the Heart" (1946), which contains no sentimentality or beauty, as was still expected in dance of the day, to tell the tale of a woman who slays her children. Graham was also capable of creating life-affirming works like "Appalachian Spring" (1944), one of Copeland's most famous tunes that told the story of an American pioneer wedding with primitive intensity and love of nature. (Teachout, 1998, p.3)"
Abstract Describing ballet as a classical dance form characterized by grace and precision of movement and elaborate formal technique, the writer of this articles presents a history of ballet. The writer looks at the BalletNY company and notes that BalletNY has become a well known and respected dance Company. The writer discusses BalletNY's principal dancers. The writer concludes that the New York City Ballet has done what BalletNY hopes to do, acquire one of the largest, most faithful, intelligent, and enthusiastic audiences in the American theater world.
Outline:
Humble Beginnings
The Emergence of Ballet
Opra Ballet
Liberation Ballerina
Social Change
A Decline In Interest
The New York City Ballet and BalletNY: Full Circle
Bibliography
From the Paper "Formerly DanceGalaxy, BalletNY was founded in 1997 by former New York City Ballet Principal Ballerina Judith Fugate and International Guest Artist Medhi Bahiri. BalletNY is comprised of accomplished principals and soloists who have danced with leading American and international ballet companies such as New York City Ballet, American Ballet Theatre, Dance Theater of Harlem, and the Joffrey Ballet, among others."
"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."
Abstract This paper takes a look at Islam's view on dance and music. According to the paper, although there are many groups within Islam that profess that music and dancing are forbidden, it is clear that the Qu'ran itself does not explicitly prohibit these activities. The paper goes on to say that several avenues of worship within Islam have developed into the practice of reaching God through dance or music. The paper focuses specifically on the Quwalli and the Mevelevi Order, also known as The Whirling Dervishes.
From the Paper "More intentionally musical is the Sufic tradition of the Quwalli. Quwali means "word," and can be thought of as the physical and auditory manifestation of the divine voice. As with the Quri, the Quwallis use their voice as a tool of worship, but they move into the world of interpretation and individual expression of the words themselves. They can be likened to the Gospel singers of the Western world in this respect, though this may be a misleading comparison since the Sufi practice, from which the Quwalli find their beginnings and roots, is far more steeped in history and tradition and could be considered a more "serious" endeavor. Quwallis use the music of their voices to worship foremost, and to communicate and encourage their listeners to worship with them is a secondary concern."
Abstract This paper discusses various mediums of dance. It looks at jazz, ballet and studio dancing and discusses the discipline, rhythm and music used in each form of dance. The paper also discusses professional dancing and describes the training that is necessary, salaries that dancers can expect and the challenges of professional dancing life, such as expenses and injuries.
Table of Contents:
Jazz
Ballet
Studio Dancers And Dance Teams
Professional Dancers
From the Paper "The average salary that a dancer earns is $21,000. That means 50% of all dancers earned less, down to $14,570 and 50% earned more, up to $34,660. Dancers on tour earn additional allowances for room and board and overtime. Dancing is considered a part time job and is irregular. Supplementing income may be made by working as guest artists with other dance companies, teaching dance or taking a part-time job in unrelated fields. The dancer signs a contract to work. Union contracts govern those who perform in public, such as major opera ballet, classical ballet or modern dance corps. These belong to the AFL-CIO and those who appear on live or videotaped TV programs belong to the American Federation of Television and Radio Artists. Those in films and on TV belong to the Screen Actors Guild and those in musicals are members of Actors' Equity Association. Through the unions minimum salaries, hours, benefits and other conditions are specified before the dancer signs the contract (Munger 5)."
Abstract The paper relates that during the Renaissance period, dance acquired a great importance both as a social practice and as an emerging art in the form of ballet. The paper relates that this period is very important in the history of dance because it marked the beginning of women's participation in dancing activities. The paper notes that the choreography of the various types of dances reflected the main ethical principles of the Renaissance society and thus transformed dancing from a merely physical exercise to an artistic practice that was highly educative.
From the Paper "During the Renaissance period, dance acquired a great importance both as a social practice and as an emerging art, in the form of ballet. The main dance treatises that appeared during the fifteenth and sixteenth centuries by music masters such as Guglielmo Ebreo of Pesaro, Thoinot Arbeau and Fabritio Caroso contained descriptions of the types of social dances and ballets with their respective choreographies, drawings, musical excerpts and dance tablatures. Such treatises like Ebreo of Pesaro's On the Practice or Art of Dancing or Arbeau's Orchesographie are not only guiding manuals for dancing, but also good documentary sources for the ethics, aesthetics and social etiquette specific to the sixteenth century."
Tags: choreography, ballet, social, etiquette, ethics, theaters, art
Abstract The paper compares and contrasts two movies "Mad Hot Ballroom" and "Take The Lead", which deal with the ballroom dance school program and its impact on the children. The paper examines the importance that is placed on the voices of the children in both films. The paper relates that both films show how a short dance class can impact children and teenagers. The paper argues, however, that in "Mad Hot Ballroom" the voices of the children are better represented and the experiences and agendas of childhood are more realistically portrayed.
From the Paper "Both films deal with the same topic: introducing ballroom dancing to children and the impact that this exposure has on the childern. However, there are many differences between the two films in how this is done. One of the biggest differences is in the age of the children. While the students of the documentary are 4th and 5th graders and thus 10-12 years of age, those of the "Take the lead" are older teenagers in high school. The children in "Mad hot ballroom" are from different social, economic, religious and cultural groups, while the children in "Take the lead" are "ghetto" children (at least "ghetto" in the Hollywood sense), mostly black, from lower social and economic groups."
This paper describes zydeco music and dancing, popularized by Creole French speaking people of African decent living on the prairies of south-central and southwest Louisiana.
Abstract This paper explains that zydeco music, a form of dance music, is characterized by a syncopation or a shift of accent in a passage or composition that occurs when a normally weak beat is stressed. The author points out that the accordion and keyrub board, (also know as the washboard, scrub board or a froittoir) are essential parts of the zydeco sound, but there are no fiddles as in Cajun music. The paper relates that traditional zydeco dancing was done subtly, smoothly and upright by couples in a closed position; however, zydeco dancing appears to be evolving from a couples dance to individual free-style. The author relates that Clifton Chenier, who brought the zydeco genre to international attention, reigned as the "King of Zydeco" with a career lasting 30 years, and earned a Grammy award in 1984.
From the Paper "The changes that have taken place in zydeco music can be tracked by the type of accordion that is used. There were four different models of accordions that have been widely used in the zydeco musical genre, each type varying in the number of rows, and consequently the number of keys. The accordions were sturdy and could be easily heard in big crowds of people. Today, there are diatomic models as well as chromatic models. The diatomic models only play the full-step intervals found in major scales, while the chromatic "piano" accordions encompass half-step intervals..."
Abstract This paper provides information shared between two friends, a Cree Indian from Canada and a Nigerian. It describes the writers' backgrounds and their various cultures. The paper focuses on two very important aspects of their cultures - one being dance as it relates to their relevant religions and the other being the social order of their cultures and societies.
Table of Contents:
Introduction
Outing
My Culture: Cree
My partner's culture: Nigeria
Cultural Exchange
Beliefs, Values and Assumptions
Ambassador Comments
Examples Of An Open Question To Further Conversation
Examples Of Closed-Ended Questions To Prompt For Specifics
Use Of Body Language And Expression
Examples Of Stating What Was Heard
Active Listening
Conclusion
From the Paper "It is also important to realize that we can learn a lot from other cultures. For example, we can learn from a culture that may be more relaxed and less stressful about daily activities. It may be helpful for people in the United States to take an hour break after lunch to relax rather than going back to work right away as some cultures do."
"We all talk about the world becoming flatter, and communication between countries expanding through the Internet and other such vehicles. Soon, it will not matter where you live in relationship to someone else. You will be able to communicate as easily with that person across the world as someone next door. It is hoped that this will make the world a better place with more understanding. Many of the problems that exist between countries are due to the fear of something different. Once one sees how similar a group of people are, this mistrust can go away along with all the negative effects this has."
Abstract In this article, the writer discusses that the name Isadora Duncan stands for freedom of spirit and its universality. She is considered the founder of modern dance philosophy. The writer notes that due to her, among others, at the beginning of the twentieth century, dance became an academic object of study. The writer maintains that it is clear and beyond any doubt that Isadora Duncan brought innovations in the technique of the dance, but furthermore she also changed the role dance played in people's lives all over the world. The writer concludes that one may not have heard about Isadora Duncan, but people all over the world enjoy watching people dance on stage or dancing themselves on the ring dance without knowing that they owe some part of their pleasure to such pioneers as Isadora.
From the Paper "She lived a tumultuous life, always on the verge, like her dance. She had two unofficial relationships and one child from each of them. She was also married for a short period of time to the Russian poet, Serghei Esenin. Her life was full of terribly tragic, but also happy moments. She made life achievements, founded a dance school that brought her legacy to the next generations and changed dance forever. She danced as she lived: free of any restraints and ready to confront old mentalities and break the rules. She set an example for the women at the beginning of the twentieth century. She dared to go over the limits set by the narrow minded and brought her understanding of art and her talent all over Europe and the USA. She freed dance from the ritualism and the rigid form imposed by ballet and made it regain its natural roots, finding inspiration in the Greek forms of art among others. Nature itself was another of the important sources of inspiration in her work."
