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African-American Art, 2009.
A look at how African-American art represents an era of struggle and survival.
1,292 words (approx. 5.2 pages), 6 sources, MLA, $ 43.95
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Abstract
The paper relates that for enslaved African-Americans, art became a form of expressionism, hope, history and therapy. The paper discusses the slaves' tools, songs, dances and their stories that all demonstrate how they are survivors. The paper also looks at the literature from this time period, specifically the narrative of Frederick Douglass, that conveys a strong American spirit that refuses to let anyone or anything beat it down.
From the Paper
"Oral traditions go back as far as Africans do. While it might have been frowned upon in America, the tradition can be continued with songs and story telling. These stories and songs became specific to the African-American experience and they tell us so much about the endurance of slaves. Songs were used as tools of education as well as entertainment because reading was discouraged. Songs were not always sad as one might guess. While some songs told tales of agony and oppression, many were songs of hope that obviously lifted the soul in difficult times. We can learn about the tenacity of the human soul thought some of these songs. For example, one song asks, "didn't my Lord deliver Daniel . . . and why not every man." 1 Similar songs of freedom might have been the only hope that slaves could cling to when their lives seemed the darkest. How African-Americans sang is also significant because dance is very much a tradition that lives today."
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Dance As Art, 2009.
A look at ballet, ballroom, folk and modern dance and how they are essentially forms of art.
1,494 words (approx. 6.0 pages), 7 sources, MLA, $ 49.95
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Abstract
The paper discusses ballet, ballroom dancing, folk dancing, and modern dancing and shows how they are all forms of art. The paper asserts that dance utilizes the human form and this will always place dance at the most creative forms of art.
From the Paper
"Dance is perhaps one of the oldest forms of expression known to mankind. Rhythm is a part of life and moving the body in a type of rhythmic motion is a natural and fun response to life itself. Dance is also instinctive, allowing individuals to express themselves connect with one another. In a word, dance is human. There are as many reasons to dance as there are forms of it and they can include happiness, sorrow, thankfulness, celebration, and the simple reason that the act of expression is so easy with dance. Dance styles are diverse and each one can be defined as art because of the human element of expression. In addition, as art, dance forms have a background and a purpose. When we look at certain dance forms such as ballet, ballroom, folk, and modern dance, we are looking at a broad definition of dance but we are also looking at specific styles of art. From the complicated world of ballet and waltzes to the free world of modern dance, we have to admit that we are looking at art expressed in the most vivid of forms - the human form."
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Learning Styles, 2009.
A review of the learning styles of Emile Jaques-Dalcroze's eurhythmics and its relations to the Dunn and Dunn model.
2,947 words (approx. 11.8 pages), 11 sources, APA, $ 87.95
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Abstract
The paper states that learning styles are just as different as the individuals who utilize the various styles of learning. Taking these into consideration in the use of instructional strategies in music, education has long-term payoffs for the student in relation to educational outcomes. The paper examines the possibilities of using the Dunn and Dunn Model to teach music, specifically eurhythmics, a method of learning and experiencing music through movement. The paper notes that music instruction and the learning derived from instruction are referred to as declarative knowledge, while practical knowledge is the ability of the individuals to use sensory motor and cognitive skills.
Outline:
Introduction
Meaning and Ability
Types of Individual Learners
Five Characteristics of Learning
Intrinsic (Inner) & Extrinsic (External) Motivation
Application of Different Strategies
Performance Marks
Sensory Integration Into Music Categories
The Dalcroze Approach to Music Education
Summary and Conclusion
From the Paper
"There are both intrinsic and extrinsic rewards that motivate students meaning that they are motivated 'internally' or 'externally' by the promise of the reward. The learning environment is a 'key' aspect of the motivation of the student in learning and the work of Hallam states that the learning environment is the combined: "...complex interactions between the characteristics of the individual and the environment that they find themselves. [And that it also] refers to the cultural climate at the time, the place of learning, and the people who are in it, including teachers, family and peers."
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Samba Roots, 2008.
This paper studies the history and the culture of the Samba music and dance.
925 words (approx. 3.7 pages), 4 sources, MLA, $ 32.95
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Abstract
The writer notes that Samba is described by Ed Morales, an expert of Latin music in, 'The Latin Beat', as an amalgamation of Afro-European culture that has become one of the many Brazilian points of pride and independent culture. The writer then looks at the history of the word Samba and at the music and the dance. The writer maintains that Samba will likely grow in expression and development, as more and more people become aware of the cultural diversity and richness of the Brazilian social landscape. The writer further discusses that Samba is the backbone of the long procession that dominates the economy, ideals and cultural expression of Brazil. The writer concludes that there is a sense that Samba connects the celebration to the people and it also demonstrates the link between all those who watch and participate in the events.
From the Paper
"Though the music has more often been associated with various forms of civil unrest and been subverted officially, with raids of events and police action being taken against those who celebrate around samba. Once greater tolerance for African customs and ritual religious performance art was achieved in Brazil there was an establishment of an infrastructure that celebrated and promulgated the genre to its local and then global heights, known as samba schools.
"The origins of the musical genre, and its name are not completely agreed upon, it is thought that the word Samba is an amalgam of the word, semba, a Bantu word meaning to pray or invoke the African gods and as a noun it was meant as something akin to "the blues" a cry or complaint."
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"Teaching Children Dance", 2008.
This paper provides a book review of "Teaching Children Dance" by Theresa Purcell Cone and Stephen L. Cone.
913 words (approx. 3.7 pages), 1 source, MLA, $ 32.95
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Abstract
The paper examines the book, "Teaching Children Dance", which advises teachers of children from kindergarten to fifth grade how to teach dance in a meaningful and educational way. The paper relates that the text contains dance lessons that are simple enough to teach children, but still contains an overview and a philosophical belief in the value of dance as an art form. The paper maintains that this book should be read by all elementary school teachers anxious for practical advice on incorporating dance into their lesson plans, creating dances and explaining the need for dance to parents and administrators.
From the Paper
""I can't dance." How many times have you heard an adult say this, at a party or even at a family function like a wedding? Probably many times. How many times have you heard a child say this? Probably never. How do we lose this fluidity of motion and love of our own physical capabilities? Some might say that it is lost because school forces children to sit all day in their seats in an unnatural posture, and hems in their natural, human love of movement. One solution to this dancing dilemma is provided by the engaging, practical and informative text Teaching Children Dance."
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Afro-Brazilian Dance, 2008.
An analysis of the history and style of various forms of Afro-Brazilian dance.
854 words (approx. 3.4 pages), 5 sources, MLA, $ 30.95
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Abstract
This paper discusses Afro-Brazilian dance forms. It looks briefly at the history and origins of the dance form and discusses its importance in understanding the culture in Brazil. The paper then focuses on specific forms of Afro-Brazilian dance. It describes each dance form, the occasion in which the dance is used and how it is performed by the dancers.
Table of Contents:
Candomble
Samba
Capoeira
From the Paper
"The Candomble dancing is a ceremonial, religious dance, done during one of the numerous terreiros de candomble scattered throughout the city of Bahaia. Women wear long skirts, usually colored ones. They dance to be respectful to the orixas, or gods. "Each deity represents a given force or element in nature, and has a favourite colour and type of food. Yemanja, for example, is the goddess of the sea, who usually dresses in blue and white. The favourite colour of Oxun, the goddess of beauty, is yellow. In the religious ceremonies, practitioners dress in the colours of the orixas and place food at the altar before singing special songs and dancing precisely choreographed steps to the sacred drums. The anthropomorphic nature of the orixa allows an intimate contact between believer and deity, and the highlight of the Candomble ceremony is the epiphany, or possession, when the orixa takes over the believer's body" (Davis)"
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Dance Therapy, 2008.
A look at how dance therapy can be used to help an autistic child communicate.
1,965 words (approx. 7.9 pages), 11 sources, MLA, $ 62.95
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Abstract
This paper discuses autism and includes some personal accounts of living with autism. The author then goes on to discuss therapy for autism, focusing specifically on dance therapy as a form of psychotherapy in which patients are encouraged to express their feelings and inner conflicts through dance. The paper stresses that, by aiding and restoring connection and rhythm, dance and movement therapy helps autistic children who are out of sync with other persons involved in their lives and who experience problems connecting between their bodies and their emotional selves.
Table of Contents:
Autism
Personal Accounts
Dance Therapy
From "Out" to In Sync
From the Paper
"Children in the middle range, albeit usually know and prefer their caregivers' company over others, however children at the severe end of autism may experience challenges recognizing their own family members. Asperger Syndrome, which represents the greatest number of individuals with autism, ranks at the high-functioning end of the autism. Many children with Asperger's function well intellectually and verbally. By today's standards, Shore states, he would have been considered to have Asperger's."
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Martha Graham, 2008.
This paper discusses the life story of the American dancer, Martha Graham.
1,777 words (approx. 7.1 pages), 9 sources, APA, $ 57.95
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Abstract
The paper discusses the contribution of American dancer, Martha Graham, who pioneered a technique of her own that became part of the contemporary dance milieu. The paper relates the life story of Graham and looks at how she broke with traditions and made a name for herself in the dance world.
Outline:
The Late Blooming of a Dancer
The Martha Graham We Knew
The Evolution of Martha Graham
The Graham Technique and Expressionist Choreography
The Triumph and the Legacy
From the Paper
"Martha Graham's story as a dancer was unlike others whose lives were rags to riches stories or struggled through harsh economic conditions and braved all to be one of the greats not only in the world of dancing but in the annals of history as well. Graham was born into a wealthy family who traced their lineage back to Miles Standish - a New England hero who were with the Pilgrims aboard the Mayflower. In 1909 the family relocated to Santa Barbara, California (Gale Cengage Learning, 2007). "Her father, a doctor specializing in nervous disorders, was very interested in diagnosis through attention to physical movement. This belief in the body's ability to express its inner senses was pivotal in Graham's desire to dance. Athletic as a young girl, Graham did not find her calling until she was in her teens. (Public Broadcasting Service, 2007)" Graham's formal training in dance began at the University of Cumnoch where she studied theater and dance from 1913 to 1916. Thereafter, she joined the Denishawn School managed by the husband and wife tandem, Ruth St.-Denis and Ted Shawn. Denishawn became Graham's second home where she learned classical and modern dance. Denishawn also specialized in that which was novel and exotic to American sensibilities: Greek pageants, Japanese sword dances, sexy Spanish flamencos (Gale Cengage Learning, 2007). During her eight years at Denishawn, Graham was not only a student but she did some instructing on her own when she got better with her craft. It is at Denishawn also that Graham met the composer Louis Horst."
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The Life of Isadora Duncan, 2008.
This paper discusses the life of Isadora Duncan and looks at her influence in establishing dance as an art form.
1,013 words (approx. 4.1 pages), 3 sources, MLA, $ 35.95
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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."
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Cree Indian and Nigerian Cultures, 2008.
A cultural information exchange regarding religious dances and social order, between a Cree Indian from Canada and a Nigerian.
4,924 words (approx. 19.7 pages), 14 sources, MLA, $ 125.95
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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."
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Introducing Ballroom Dance to Children, 2007.
This paper compares the movies "Mad Hot Ballroom" and "Take The Lead".
1,214 words (approx. 4.9 pages), 2 sources, MLA, $ 41.95
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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."
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Dance in the Sixteenth Century, 2007.
This paper discusses the changes in the practice of dancing during the Renaissance period.
1,148 words (approx. 4.6 pages), 3 sources, MLA, $ 39.95
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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."
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Dance, 2007.
An analysis of jazz, ballet and studio dancing, as well as the requirements for professional dancing.
1,809 words (approx. 7.2 pages), 7 sources, MLA, $ 58.95
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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)."
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Dance and Music in Islam, 2006.
A discussion regarding the important role that dance and music play in Islam.
894 words (approx. 3.6 pages), 3 sources, APA, $ 31.95
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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."
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BalletNY and the History of Ballet, 2007.
This paper provides an overview of the history of ballet and looks at the BalletNY dance company.
1,909 words (approx. 7.6 pages), 11 sources, MLA, $ 60.95
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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."
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