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History of rock and roll
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Chubby Checker is a rock and roll musician who is responsible for the infamous dance “The Twist” during the 1960s. This changed the way in which people danced and topped the charts. The Twist changed the world because it showed how one person could invent a movement that would captivate an entire country. He proved that one person could change the world. This impacts our lives today because due to Chubby Checker showing us that one man could make up a dance and turn it into a worldwide craze, dances, such as “The Twist,” are still being used today and taking over the
world.
Unlike most of his contemporaries, Grossman’s dance movements vary from one production to another. In the 1975 production ‘Higher’ the dance movements were mainly using the whole body. The piece went for 15 minutes and was explicit in its design so that the audience could clearly see and understand the intended message/s. This piece received many awards and is what got Grossman noticed and brought into the dancing world.
Haskins, James. "Geoffrey Holder and Carmen De Lavallade." Black Dance in America. N.p.: n.p., 1990. 130-37. Print.
The concept that belly dance is a constantly evolving dance might surprise most people, as the static Orientalist image of the belly dancer is the one that pervades American popular culture. I and other scholars attempt to remove belly dance from the ridged framework of Orientalism and the harem fantasy. By the following how belly dance arrived in America, and how images of belly dancers and harems became part of the visual culture of the West I have attempted to demonstrate that there are aspects of power and a different reading of images of belly dance is possible. Through continued scholarly inquiry and research I look forward to the emergence of a new image of belly dance, one that represents the power and beauty of this dance, an image that is respectful of the many cultures that it represents.
Learning about Dance: Dance as an Art Form and Entertainment provides visions into the many features of dance and inspires scholars to keep an open mind and think critically about the stimulating, bold, ever-changing and active world of dance. Learning about Dance is particularly useful for those who do not have a wide and diverse dance contextual, such as students in a preliminary level or survey dance course. This book consists of twelve chapters. Chapter one dance as an art form focuses on the basic structures of dance. Dance is displayed through the human body, it has the control to communicate and induce reactions. Dance can be found in many different places, it enables the participants and seekers to touch and knowledge the joy of movement. Dance is discovered as being one of the oldest art forms worldwide. Dance existed in early cultures was recognized in a sequence of rock paintings portrayed dance. Since this discovery of rock paintings, several other forms of art have been found that depict dance. People used rituals in order to worship the gods and believed that the rituals held magical and spiritual powers. During the ancient period civilizations sentient decisions began to be made with regard to dance. Other periods that had an impact on dance were the medieval period, the renaissance period, and the contemporary period. Chapter two the choreographer, the choreographer is a person who comes up with the movements created into a dance routine. The choreographer expresses themselves through choreography because this is their way of communicating with the audience. In order to be a choreographer you must have a passion for dance. Each choreographer has their own approaches and ways of making up a routine. Choreographers ...
Breakdancing was born as a result of the song “Get on the Good Foot” by James Brown when it was featured on television. People would attempt to copy his moves in their living rooms. Clive Campbell, or more famously known as DJ Kool Herc, is credited with evolving breakdancing. Breakdancing started with fancy footwork and intricate tricks such as head spinning. Breakdancing became popular in dance and disco clubs. As breakdancing further evolved, there was the addition of groundwork with moves like handgliding, windmilling, and headspinning. This addition of groundwork helped shape what we know breakdancing to be today (Bedinghaus).
Alvin was born during the Great Depression to two working class parents in Rogers, Texas. His father abandoned the family when Alvin was a mere six months old, leaving him and his mother with the struggle of fending for themselves. The inability for Alvin’s mother to find work led to their move to California in 1942, where Alvin was introduced by a classmate to the most influential person that would be the foundation for his future successful career in modern dance, Lester Horton (DeFrantz 1). Alvin was captivated by Lester’s work, which focuses on building a strong body, and made the executive decision to start his dance training in 1949 when he was eighteen years old. Because Lester Horton’s dance company embraced diversity, and accepted dancers of all ethnicities and backgrounds, Alvin was given the opportunity to do something great with his
As the first African-American to create a multicultural, international concert dance company, Alvin Ailey’s dance company has been dubbed the “cultural ambassador of the world” (Gorman 36). Through his Alvin Ailey Dance Company, he addressed the racism and injustice faced by ethnic minorities across the globe. Ailey clearly revolutionized African American participation in 20th century concert dance as well as revived interest in modern dance. As an extremely talented dancer and choreographer, Ailey’s success is attributed to his dedication and passion for expression through dance, but what is often overlooked is his resilience to the hardships he faced, the mentors he had, and the opportunities
Trisha Brown is considered to be one of the most pivotal choreographers of the 1960’s as her work and practice shifted away from historically considered “appropriate” movement for choreography. This ideology references the modern era of choreographers, moving away from the aesthetics of Martha Graham and Merce Cunningham who worked with codified techniques, virtuosity and expressionism, whereas Brown saw dance as being of greater importance to the physical and mental process of the performer. Born in Aberdeen, Washington and studying dance at Mills College in California, Brown took improvisational workshops with Anna Halprin, discovering the concept of task orientated work. This knowledge would become central to her later experiments and work. She then shifted her life to New York to study composition with Robert Dunn to further her knowledge of movement and choreography. Physical research that was undertaken in these classes became publically presented programs, eventually leading to the evolvement of Judson Dance Theatre. In the late 1960’s, Brown constructed experiments to play with the dynamics and stability of gravity, using props such as ropes and harnesses to extend the dancers past their physical limitations. These experiments went on to become a working method for the work she created throughout her career and with her company which she founded in the 1970’s.
1.Jack Cole thought that dance wears are fantastic and the dancing itself is like a body architecture. Dancers are body architects. Then he studied how to dance from Ruth St. Denis and Ted Shawn. Cole learned a lot of dancing styles and tried to mix them together. He was known as the father of “theatrical jazz dance”, and he influenced many other dancers afterwards. In his dance, one of the most obvious features is that there was a small group of dancers on the stage rather than a large one. Cole instructed many actors and dancers after he retired from dancing.
Why was it awkward for him? A: There was a big rivalry between the 2 teams
gave the mic back to the DJ, who turned the music up. But since KayDe, Kelley, and their friends had always danced that way to hip-hop music, they couldn't believe Mr. Bennett would carry out his threat—so they kept on freak-dancing.
Throughout this analytical essay I will discuss, analyse and conclude the work of two contemporary modern dance pioneers, Alvin Ailey and Katherine Dunham. I will pay particular attention to the era 1935-1980 and focus on socio elements of this time period, using relevant literature to support my findings.
Brown Paper Bag Test was a discriminatory act within the African-American community in the United States that was based on skin color. The brown paper bag was used as a measurement to determine whether or not an individual could receive access to certain privileges; individuals were given preference if having a skin tone lighter than a brown paper bag.The test used to take place in the 20th century in many social institutions such as African-American sororities, fraternities, and churches. In addition, Brown Paper Bags were used in multi-racial social events, at which only individuals with complexions at least as light as the color of a brown paper bag were admitted. The term also refers to larger issues of class and social stratification within
The daycare that I visited was Rosemont Daycare and Preschool. This center is faith based and I was able observe the “Duck Class” which was the age group of four and five year olds. I went to observe on February 11th and 16th, from 9:00 a.m. to 12:00 and the 18th from 3:00 to 6:00. On the 11th and 16th, there were a total of 12 children in the Duck class. At 9:00 the children were engaged in circle time meaning that the children were learning about their bible verse for that month which was “For God so loved the world that he gave his only begotten son.” The children then discussed what they thought that meant. On the 11th I was present to see the children, the ones I decided to observe were Kali, Roslyn, Fiona, and Brayden. When the children were doing crafts I sat near the counter island in the class room so I was out of the way but still able to see and hear what the kids were doing and saying at the table.
c. The C-Walk was first originated in the 1970s in Los Angeles, California by a gang known as the Crips, hence the name of the dance. The Crips were a violent gang, who had a rivalry against another gang that opposes them, known as the blood. The Bloods also have their own style of dance. The crips created this dance because they wanted to use it as a symbol of themselves, and they used it as a victory dance as a celebration for a kill. This dance has later in 1990s arose across the world as a hip-hop dance, and sparked the interest of hip-hop dancers. The dance is usually something done outdoors, or on the streets, and is very informal. There’s no correct order as to how the dance should be done. It just like breakdancing, where the moves and such are done in improv, or are made up on one’s own. Today, the dance is known as the “Clown Walk”, to take away from the thought that it...