Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Essays about history of dance
It maybe hard to believe but during the turn of the 19th century, dance competitors were content in winning a CAKE! The Cakewalk dance as how it came to be known in history initially drew in American black slaves as participants “often in the presence of their masters.” It has been said that “some of the better plantation owners would bake a special cake called a hoecake wrapped in cabbage leaf on Sundays and invite the neighbors over and have a contest of the slaves,” according to the popular dance website, streetswing.com. “Different prizes were given but originally it was a Hoecake for the males and molasses pulled candy for the ladies and whichever slave(s) won, would get the cake!” The Cakewalk As A Dance In the Autobiography of an Ex-Colored Man, James Weldon Johnson recounted the first time he saw the cake-walk. “A half-dozen guests from some of the hotels took seats on the stage to act as judges, and twelve or fourteen couples began to walk for a sure enough, highly decorated cake, which was in plain evidence. ..The couples did not walk round in a circle, but in a square, with the men on the inside.” …show more content…
“The fine points to be considered were the bearing of the men, the precision with which they turned the corners, the grace of the women, and the ease with which they swung around the pivots. The men walked with stately and soldierly step, and the women with considerable grace. The judges arrived at their decision by a process of elimination. The music and the walk continued for some minutes; then both were stopped while the judges conferred; when the walk began again, several couples were left out. In this way the contest was finally narrowed down to three or four
Each movement of the work corresponds accordingly to a different country in Europe at the time known for a particular style of dance. The Intrada would be the opening of the program, followed by the French Basse Dance, the English Pavane, the Italian Saltarello, the Spanish Sarabande, and finally concluding with the German Allemande. Even though the work was performed by a modern ensemble, where many instruments had not even been invented when music of this type was originally composed, the instrumentation of the brass section versus the woodwind section and the artistry of the musicians performing are able to recreate a much older style. Overall, the piece Courtly Airs and Dances, is an emulation of a style dating back to the Renaissance period of music, with each movement reflecting a particular style of dance characteristic to the culture of individual European
Ethnic group is a settled mannerism for many people during their lives. Both Zora Neale Hurston, author of “How It Feels to Be Colored Me; and Brent Staples, author of “Just Walk On By: A Black Man Ponders His Power to Alter Public Space,” realize that their life will be influenced when they are black; however, they take it in pace and don’t reside on it. They grew up in different places which make their form differently; however, in the end, It does not matter to them as they both find ways to match the different sexes and still have productivity in their lives.. Hurston was raised in Eatonville, Florida, a quiet black town with only white passer-by from time-to-time, while Staples grew up in Chester, Pennsylvania, surrounded by gang activity from the beginning. Both Hurston and Staples share similar and contrasting views about the effect of the color of their
Carter G. Woodson: Negro Orators ansd Their Orations (New York, NY, 1925) and The Mind of the Negro (Washington, DC., 1926).
John Howard Griffin’s chronicled experiences as a black man in his book, “Black Like Me” is an arrogant if well meaning book. It is arrogant because a 28 day experiment does not compare to the years (especially when learning right from wrong) of prolonged discrimination and racism suffered by African-Americans in the southern United States during the 1950’s.
“The history of the American Negro is the history of this strife, – this longing to attain self-consciousness, manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost. He would not Africanize America, for America has too much to teach the world and Africa. He would not bleach his Negro soul in a flood of white Americanism, for he knows that Negro blood has a message f...
Mr. Griffin was a middle age white man who lived with his wife and children. He was not oriented to his family. He decided to pass his own society to the black society. Although this decision might help most of the African Americans, he had to sacrifice his gathering time with his family. “She offered, as her part of the project, her willingness to lead, with our three children, the unsatisfactory family life of a household deprived of husband and father” (Griffin 9). Leaving Mrs. Griffin and his children would deprive them of the care they needed. Even though he was not oriented to his family, he was full of courage. He was willing to discuss topics that people hesitated to talk about, trying new ideas that people were afraid to do. After turning back to his own skin color, he attended most media conferences and also wrote books about what he had gone through. During those interviews, Griffin was very considerate. He requested Wallace, a reporter, to report carefully so that he would not hurt his African American friends. “Please… Don’t mention those names on the air.
In America, dance started as a social form. Typically, the dances that were popular during the time were correlated with how the people of the country were feeling. For example, in the 1920s, flappers would do the Charleston that consisted of flailing arms and legs in a patterned motion. This reflected their time in the speakeasies
We remember Mrs. Lithebe's words, "For what else are we born?" and we see that there are some white men who do care. We also learn of James Jarvis's suffering and fear.
Jonas, Gerald. Dancing: The Pleasure, Power, and Art of Movement. New York: Abrams, 1992. Print.
During the Renaissance Era musical instruments were used primarily to accompany dance. The most famous court dance style in the Renaissance Era was the basse danse, where couples would gracefully and quietly move across the dance floor. The couples used a gliding motion as they gracefully moved across the floor. This style was popular in the 15th and 16th centuries. Another famous style is the Calata, a 16th century Italian line dance in the measure of 3/4. With this style, couples would move across the floor using quick and elaborate movements. The last style which will be covered in our program is the ronde, also famous in Europe during the 15th and 16th centuries, the ronde took place outdoors and participants moved in a circular pattern.
It is surprising that tap began as a necessity for survival before it was an art form. It began during the slave trade when slave-holders found out that Africans were communicating coded messages through their traditional instruments and drums. The slave-holders had the use of these rhythm instruments banned to try and stop communication (Holmes par. 3).The Africans, desperate to make contact with other slaves, transferred the rhythms to their feet and tap dancing was born (Holmes par. 4).
In the 1400s, Ballet Masters, also known as choreographers, became known. They can be traced by the documents of their works. Domenico da Piacenza, Master Domenico, always had his works written down. Domenico began referring to dance as “ballo” rather than “danza.” He did this because ballo meant “dancing of varied rhythm,” and danza meant “dancing to music of unvarying rhythm” (Greskovic 6). To the English-speaker, ballo translated as ballet.
Born on April 16, 1919 in Centralia, Washington, Mercier Philip Cunningham was the second of three sons. His father, Clifford D. Cunningham, was an attorney in their small town and his mother, Mayme Joach Cunningham, an adventurous mother, who loved traveling the world, and Merce described to have, “an enormous energy and quite independent spirit (Merce Cunningham: A Lifetime of Dance).” At the beginning of his journey, Merce sparked his passion for dance under the study of Maude Barrett, a retired circus performer and vaudevillian (vaudeville was form of theatrical entertainment in the late 19th century and early 20th century, which utilizes pantomime, dance, dialog, and song, and is usually comical (Merriam-Webster)). Barrett was a fellow parishioner and neighbor of Cunningham’s, who ran the local Barrett School of Dance in Centralia. Here, he was paired up with Barrett’s daughter and learned the basics: tap dance. Eventually ballroom dancing would be added to his repertoire. Looking back in time, Merce would note that Barrett’s energy and passion shaped his outlook on dance stating, “It was a kind of theater energy and devotion
The first social dance explored was ballroom dancing. Ballrooms were a place of courtship; therefore, these dances were always performed by a male, female couple. Traditional gender roles began the dance as the men always asked the women to dance. As the dance began, the bodies were transformed into vehicles to connect these opposite sex partners. However, societal rules applied to this dance because partners must be from within the appropriate class, the intentions proper, and the movements executed in a specific manner. The woman’s role was essentially to avoid a misstep of tripping on the man’s feet, since the male always led the dance.
Dance has been a continuing art form in American culture. In the early 18th century, colonial dance was popular. Dance gatherings back then is what social media is now. Citizens would anticipate these parties because it is where they could meet new people, mostly for marriage purposes. People