Dance Apprec Final Exam

-classically trained in ballet
-Travelled to West Africa& Haiti, movement shaped by these experiences
-own dance company
-Afro-Caribbean and Modern Dance movement
-influenced jazz, “Mother of Black Dance”

-student of Lester Horton
-started own company in 1950s
-combines modern, jazz, and world ethnic dance
-choreographed Revelations

-member of Katherine Dunham Dance Company
-blend of modern and jazz w/ African American themes
-The Road of the Phoebe Show (1959) life on railroad line
-formed own touring company

-Jamaican born
-Studied w/ Graham, Ailey, and Pearl Primus
-blends modern, jazz and world dance
-Choreographed the Lion King on Broadway

-brought attention to African and Afro-Caribbean dance in 1940s
-repertory based on African traditions and “mastered” native dances
-director of first performing arts organization of its kind in 1961 on African continent
-Strange Fruit

-border between modern dance and classical ballet is blurred
-Many contemporary choreographers cross over to different genres

-a rhythmic, percussive dance style performed wearing shoes w/ metal taps and executing intricate footwork
-first influences dance back to 16th century
-blend of Irish Jig, African dance, and European folk dance
-First appeared in Minstrel Shows

1830-1900
-parodies of black culture, often in ‘blackface’
-African Americans began performing after the Civil War

1870-1930
-popular form of entertainment by 1900 because of variety of performers and family oriented theaters

“Stormy Weather”
-rhythmic style and flashy

-soft shoe style
-First black performer to have regular employment in white theaters

-Broadway/Ballroom style “class act”

-known for rhythmic tap and improvisational skills
-found fame during tap renaissance of the 1980s
-starred in many tap films

-known for “hard core tap rap”
-Bring in da Noise, Bring in da Funk

-many film stars got started in Vaudeville and transitioned to Broadway

soundscape of Vaudeville era and first ‘jazz music’ w/ polyrhythms and freer style of play or improvisation

“melting pot” of ballet, tap, social, ethnic, and modern dance forms
-first influences back to 17th century w/ African Slave trade
-influenced by groundedness of African dance
-emotional response to social occurrences

in New Orleans. Syncopated rhythms w/ a strong beat (ragtime) and the blues in Chicago

-syncopated rhythms and music
-high energy
-fusion of many social dance forms, ballet and modern
-use of isolation
-groundedness
-changes w/ times

-exclusive clubs opened for high society whites
-Charleston, Blackbottom, Lindy Hop
-jazz dance inseparable from jazz music
-African American dancers and singers
-Savoy ballroom: no color lines, up to 7 bands every night

-Vaudeville circuit became obsolete w/ TV, radio, Broadway and film
-major events changed context of jazz dance
-dance moved northward, evolved to swing and ballroom

-set standard for theatrical jazz
-“Father of Theatrical Jazz Dance”
-innovative technique using movements from Indian and Asian cultures

-never stopped moving
-opposition
-invisible barre

Jack Cole, Luigi, Matt Mattox, Gus Giordano

-progressions
-powerful&challenging choreography
-created own syllabus and barre

-style emphasized strength and undulating movement from pelvis, chest and arms
-Anthology of American Jazz Dance

-famous for style of turned in knees, use of isolations, slouched shoulders, and precision of movement
-dancer, director and choreographer for Broadway, film and TV
-Chicago, Sweet Charity, Damn Yankees
-sensual style of choreography

The Black Cook was the first theatre piece to use dance to further the storyline

Shuffle Along became the first African American musical

popularized the Charleston, Blackbottom, and many other social dances of the 20s

Seymour Felix instituted the design of lyrics, script, music, and dance as equal partnerships

sense of athleticism and well-trained dancer, considered himself a dancer who happened to tap but not a tap dancer

Oklahoma choreographer

choreographed West Side Story

choreographed A Chorus Line

choreographed Contact

-reflective of the culture its in
-varies between cultures
-can be individual, group, w/ partner
-gender, race, and age can determine who dances
-traditional forms constantly evolving
-many forms have changed entirely due to social acceptance

-Created in Harlem nightclubs of the 1930’s
-Frankie Manning
-Athletic, fast paced, done w/ partner
-developed in African American communities
-led to Jitterbug of 1940s and Hustle of 1970s
-when white community did it: slower/less tricky
-known as “swing dance”

-originated in the 1950s
-more conservative
-Has roots in European, African, and South American dance
-has migrated to all parts of the world
-Originally performed exclusively by white dancers
-many hip movements omitted and balletic moves added in

-conservatism was abandoned by the younger generation
-white youths mimicked movements of black American singers
-Chuck Berry, Chubby Checker, Little Richard
-The Twist, the Monkey, Mashed Potato, Frug

-emerged in late 1960s
-direct reflection of times: Civil Rights Movement, Vietnam War, illegal drug use (Woodstock)
-overwhelming feeling of freedom

-new music and merge developed in 1970s
-Hustle
-Bus Stop
-Partner dancing popularized due to movies like Saturday Night Fever
-Set the scene: nightclubs, glamor, romance

-emerged in 1970s, popular in 1980s
-rap music, MTV
-became a voice for inner city minority groups
-often associated w/ graffiti art, DJ, certain fashion, language

-developed as a form of “street dance”
-African and jazz vocabulary with a new improvisational movement
-often adopted as a professional or concert dance form

-mainstream in 1983 from Flashdance movie
-was initially done by gangs as form of competition
-Virtuosity, B-Boys B-Girls
-popping and locking
-short, flashy demonstrations
-street style

-Slam Dancing/Moshing developed in 1980s
-Music video and pop culture dancing
-Rave dancing
-Krumping
-Competitive dance on TV shows

-crosses all dance genres, world concert dance forms, folk dances, and performance art
-wide variety and unpredictability for audiences
-reaches more audiences
-constantly changing w/ times
-hard to categorize by genre
-old traditions always revitalized
-vocabulary&language changing
-Technology/film/internet have changed how its filmed and viewed
-new wave of dance fusion genres

1)blend of theatrical dance forms, cultural folk dances, athleticism and minimalism
2)technique very specific to choreographer’s vision
3)subject matter is limitless
4)environments of where dance is performed is in correlation with the choreography
5)blurred gender lines
6)less restraints on costuming
7)extensive use of technology and imagery

-formed in 1971 as a result of an improvisational class at Dartmouth
-focus on collaboration to create works that are athletic, visually stimulating, and rely on the human body

-created by Moses Pendleton in 1981 after he split from Pilobolus
-more acrobatic and circus-like

-combines energetic, forceful movement w/ film and dialogue
-many pieces based on his personal experiences

-combines European folk dance, classical music, and storytelling in his choreography
-known for his ‘gender jokes’ and humor in subject matter

Proponent of Tanztheatre, a form of expressionalist and dramatic dance

-created by Billy Siegenfeld in 1980 in Chicago
-one of the only jazz specific companies still in existence in the US today
-focuses on ‘rhythm first’ method of choreography and performance

-known for her choreography and serves as a guest judge on So You Think You Can Dance
-has Emmy awards for her contemporary style of choreography

Improvisation, Creative Movement, Contemporary Dance, Lyrical Dance

-individualized movement dependent on the dancer
-often called organic or authentic movement
-relies on trail and error, experimental learning
-spontaneous and educational

-similar to improvisation but different in that it is about the exploration of ideas
-process not product

-fusion of jazz and modern
-limitless music, subject matter

fusion of ballet and jazz

-responsible for the overall aesthetic and artistic vision of the company
-makes all decisions relative to artistic issues
-choreography or hiring other choreographers

-“calling the show”
-gives direction for sound and lighting cues
-assumes a majority of the responsibility once the show is underway

-helps to provide a theatrical feel to the atmosphere
-blend of practicality and artistry

-designs, constructs costumes for dance shows
-gives audience insight into characters
-has to keep mobility in mind
-may also be responsible for hair and makeup

-have been collaborating w/ choreographers since 16th century
-set would enhance vision and mood of the show

-one of the most important collaborators
-live/original score versus pre-recorded
-financial constraints

-dancer
-choreographer
-teacher:university education
-program/managing director
-therapist
-private studio owners and teachers:
based on personal philosophy, requires payment for lessons

Najinsky, Balanchine, and Fokine

Appalachian Spring

free use of torso and limbs and use of parallel

a choreographer for Ballet Russes and created 5 reformation principles to govern choreography

developed by Petipa and created a castle system of dancers in the Classical Period

La Sylphide

create new forms of movement for each period, eliminate pantomime entirely, and ballets should be a collaborative effort

was considered the first ballet because it centered around one theme

Swan Lake, choreographed by Marius Petipa

the husband of Ruth St. Denis and co-creator of Denishawn

use of traditional forms in new ways, spontaneous and improvisational, and the use of irony

Merce Cunningham and Paul Taylor

the experimental dance company of Judson Dance Theatre

contraction and release

fall and recovery

choreographer known for the use of psychological themes in his/her work

emphasis on aerial footwork and technique

France to Russia to France

Movin Out and Baker’s Dozen

post modern choreographer known for his use of lighting, costumes, sets and music to create a strong visual stage environment

developed five basic positions of the feet in ballet

famous Romantic Era ballerina who toured Europe and the US with Marie Taglioni

ballet master to Catherine de Medici

known for his take on the post modern movement: “movement for movement’s sake”

famous work choreographed by and initially performed by Vaslav Nijinsky

dance focused on a shifting play of lights and colors on the costumes she wore, which she kept in constant motion and movement of her arms

served as the last choreographer for Ballet Russes until Diaghilev’s death in 1929

developed movement system of modern dance in Germany

rejected society’s conventions in dance and often gave dancers problems to solve while performing

choreographed Swan Lake and Don Quixote, among others

responsible for moving ballet from courts to Italian style stages

developed by Petipa to showcase the entrances, solos, and virtuosic spectacle of principal dancers

African American dancer and teacher whose pieces often dealt with bigotry and war, and who took his studies to the West Coast

created San Francisco Ballet

this was based on Greek mythology, crusade tales, Roman history, Christian ceremonials, and Old Testament stories and was developed in the Renaissance Period

1)outlet for creativity/expression
2)form of entertainment
3)form of social affirmation or tribal unity
4)religious worship
5)physical strength
6)social/recreational outlet
7)courtship
8)cultural education
9)occupation
10)therapy

Body
Action that becomes movement
Space
Time
Energy & effort

music, poetry, and movement

involved basic steps like walking, hopping and swaying, imitated animals and nature, and provided a connection w/ ancestors

religion, peers and family, and connection with the performers

with an open mind

rebirth

a series of rock paintings depicting dance

influenced by the cultures of China and India and were passed down from generation to generation

in the ballrooms of palaces and by courtiers

to enhance intellect

to change and advance with the times

the “dance mania” of the middle ages, the “dance of death” and the fanatical and unbalanced movements associated with the Black Plague

Paleolithic Period

China, Greece, and India

pavane, minuet, and allemande

1)Verbal LANGUAGE
2)organized religion
3)centralized gov
4)class distinctions
5)agricultural developments
6)writing