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52 Cards in this Set
- Front
- Back
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Elements of Dance: Body (what) |
body parts, body shape/design, balance/off balance, locomotor and non-locomotor movement, full body, isolation of parts, integration, distortion, distal limitation (moving from the "ends" of the body like fingertips, toes, top of head), proximal initiation (moving from the joints, such as shoulders, hips), core to distal, distal to core. |
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Elements of Dance Space (where) |
direction, level, size, pathway, focus, planes of motion (sagittal, frontal and transverse), location, personal space and shared space, positive and negative space, width, depth, height of space.
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Elements of Dance Time (when) |
speed/tempo, rhythm, duration, stillness, momentum (accelerating/decelerating), syncopation (varying of accents) |
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Elements of Dance Energy (how) |
amount of weight, flow, percussive, sustained, active/passive, strong/gentle, amount of force, bound, released, dynamic. |
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Elements of Dance Relationship (with whom/what) |
solo (relationship with space, to sound to self, to prop and to audience), duet, trio, group. Some words related to relationship: leading, following, mirroring, shadowing, flocking, meeting, splitting, passing, beside, over, under, around, near and far |
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The Planes of Motion Sagittal Frontal Transverse |
sagittal=forward or backward, the "doing plane." divides body to left and right halves frontal=side to side, "presentational plane," divides body into front and back halves transverse=horizontal plane, divides body into upper and lower halves |
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To choreograph
Choreography |
is to arrange bodies in time and space, as in a sequence.
is the act of framing relationships between the bodies, as external objects or entities and become a way of seeing the world |
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Types of Imagery Visual Kinesthetic
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Visual-a picture in the mind ex. visualize your body as a star
Kinesthetic-body feelings. what the body feels ex. imagine the feeling of your feet on a hot sidewalk
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Types of Imagery Direct Indirect |
Direct-similar to a mental rehearsal of an action or seeing specific movements in your mind ex. visualize yourself climbing stairs or performing a dance movement like a leap.
Indirect-a metaphor for the movement. Exists outside of your body. ex.move like a dry leaf as it floats to the groung |
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Types of Imagery Specific Global |
Specific - an image directed to a particular part of the body. ex. lift one arm and focus on the feeling of heaviness in that arm, as if it is a block of wood
Global-general images that include the entire body. ex. imagine your whole body as transparent
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Unit 2 Categories of dance |
religious social theatrical
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Unit 4 YORUBA |
Yoruba as a term relates to the specific culture, religion and language of currently 25 million people of live in Nigeria. Yoruba people are intimately connected to the earth, which represents in many ways the realm in which their spiritual deities and ancestors reside. |
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Unit 4 YORUBA |
Yoruba people occupy the southwestern corner of Nigeria, along the Dahomey border and north to the Niger River. Within the concept of ancestorism in Yoruba culture, the honored ancestors are mostly male and are represented by a figure called an "egungun" who participates in community rituals in a mask & heavily layered costume. |
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Unit 4 YORUBA Egungun |
The identity of the person embodying the "egungun" is always hidden, as it is the ancestor dancing the ritual who is the focus of the community's attention, visiting and bringing knowledge from another realm. |
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Unit 4 Bharata Natyam |
a classical dance form from Southern India, derived from the dances of "devadasis," or temple dancers that performed in both Hindu temples & royal courts. It was banned during the British rule of India (1858-1947) because it was considered explicit & suggestive. also thought that the form was confused with "the nautch," which was performed by prostitutes |
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Unit 4 Bharata Natyam |
revival began in the 1930s, coinciding with the end of the over a century of British rule over the country. BN evolved into a form that retains both secular & spiritual concepts w/i a highly theatrical strucure. BN reflects the philosophy that music, dance & theater should co-exist as an integrated performance entity. |
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Unit 4 Bharata Natyam Bhakti |
The concept of devotion is called Bhakti & is an underlying principle in many Indian art forms, including music, literature, sculpture, theater and dance. A BN dancer who successfully integrates the elaborate elements of her costume, with Bhakti, technical prowess and demonstration of musicality will be most connected to the audience and the deities. |
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Unit 4 Bharata Natyam |
The training of BN dances is codified, meaning that it is a highly regimented training, similar to ballet training. BN is now considered an important vehicle for becoming familiar with Hindu myths & traditional social values & has become an educational tool as well as an art form. |
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Unit 4 Bharata Natyam Mudras |
BN combines both narrative expression with abstract expression. Hindu devotional poems & stories are sung by a singer, accompanied by a musician who plays a percussion instrument of Indian origin called the tabla. The use of MUDRAS, an extensive system of hand designs & shapes that communicate ideas, spiritual deities & emotions to the audience. |
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Unit 7 Candomble |
Candomble is a danced religion. It serves as a means of preservation of African tradition & a source of Afro-Brazilian pride. It is worship of the gods & goddesses, otherwise known as ORIXAS, it is a ritual or ceremony. It is the music & dance of Afro-Brazilian people & it is a belief system of a transformed Yoruba tradition. |
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Unit 7 Candomble |
enslaved Africans brought to Brazil, forbidden to engage or practice their traditional religions. at the time Catholicism was the official religion of Brazil. |
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Unit 7 Candomble |
Syncretism is the combining or fusion of one's own belief system with other belief systems & philosophies, including elements of those systems. Syncretism is a phenom that occured throughout the world, particularly in areas where a group of people need to assimilate into the culture of another. |
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Unit 7 Candomble notes from video |
People of Cachoeria gather to honor Yimaja, Goddess of Candomble. Evolved out of the religious practices of Yoruba people of West Africa. Worshipers used dance and music to communicate with deities called Orishas, spiritual beings that represent the forces of nature |
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Unit 7 Candomble notes from video |
was created within the context of Catholicism & the Catholic priests had it a a goal to eliminate what they considered devil worship- anything that was Africa in origin. They tried to replace all African religious practices, including Yoruba religion, by Catholicism.
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Unit 7 Candomble notes from video |
The Africans kept their religion alive by hiding their deities in dance rituals behind the many saints and ceremonies of Catholicism. Yemanja, the mother of all Orishas, found an easy partner in the virgin Mary, the mother of Catholic church. And the water Yemanja ruled over was used in a blessing ritual, resembling Christian baptism. |
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Unit 7 Samba |
Originating in Rio de Janeiro, Brazil, samba celebrates both indigenous & African influences and is a great source of national pride. Samba represents the alliance of both indigenous & African peoples in resistance against European settlers. |
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Unit 7 Samba |
Barbara Browning, Prof of Perm Stdies of NYU, author of Samba: Resistance in Motion, discusses issues surrounding the documentation and preservation of indigenous dance forms, due to racism & early colonizations of Brazil.
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Unit 7 Samba |
In 1888, after the abolition of slavery, many historical docs were destroyed which was intended to erase the shame of slavery....Samba is now believed to be based on rhythms & dances from Angola in Africa, while absorbing other cultural influences including that of native Brazilians. |
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Unit 7 Samba |
Samba de roda (wheel) is a circle dance with clapping while people take turns going into center. The circle creates both an inclusive & exclusive boundary for the participants of the dance form
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Unit 7 Samba |
promoted through Escolas de samba, or samba schools, throughout the country of Brazil, whose principal purpose are to teach samba & organize carnival processions. Schools must create performances or spectacles based on a particular theme. Over 100 schools w/2000-4000 members. |
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Unit 7 Capoeira |
a true Afro-Brazilian art, fusing 2 (or more) cultures in response to colonization of Brazil. Practitioners of capoeria, aka capoeiristas, recognize that martial arts aesthetic & technique came from enslaved ppls brought from the Angola area of Africa, whereas blending of fighting & defensive moves & rhythmic dance developed in Brazil under specific political, cultural & social pressures |
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Unit 7 Capoeira |
form was developed by enslaved people as a form of both offense & defense against the slave owners, although practiced in secrecy. There are various theories that suggest that after the abolition of slavery people dispersed & came in contact with one another to influence each others dances & cultures
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Unit 7 Capoeira |
Although characterized by kicks, acrobatics & defensive moves, the capoeiristas involved say that one "plays" capoeira, rather than "fights" capoeira. The "roda de capoeira" is a circle or boundary where 2 players stay focused on one another while pivoting around during the game & motion is generally circular. |
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Unit 7 Capoeira |
Just like candomble, the practice of capoeira was prohibited & they both survived under the guise of the samba de roda, becoming an "innocent" samba with rhythms & movements & music shifting in between the forms. The "ginga" is the basic step of rocking, swaying laterally, back & forth in rhythm, from which the capoeiristas add sweeps & kicks. |
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Unit 7 Capoeira |
The main instrument is the berimbau, a percussive instrument of African origin, designed with a low strung wire that is attached to a gourd as a sounding board. The wire is tapped & beaten with a stick for sound. |
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Unit 7 Capoeira |
After slavery was abolished, capoeira became an urban art form as it migrated to the cities. It had the stigma of a ruffian sport for quite some time but evolved into a respected movement phenom that is studied & practiced internationally, with many world competitions. The first official scholl of capoeira was founded in 1932 in Salvador, capital of the State of Bahia in Brazil. |
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Unit 7 Capoeira |
arrived in the US in the 1950s & gained popularity in the 1970s, with the popularity of break-dancing. The 2 forms share a history of resistance, in regards to their marginalizations; capoeira perceived as a "ruffian sport" and break-dancing as a form of global street culture that evolved from people of color, usually from lower socio-economi classes. |
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Unit 7 Capoeira |
Both capoeira & break dancing have influenced the development & aesthetics of many other dance genres, including Eurocentric forms as ballet, which have been privileged in American culture. The elements of inversions & acrobatics are integral aspects of capoeira that exemplify the idea of resistance, both in motion & in ideology. |
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Unit 5 Court Dance |
"dances of political reinforcement" - through careful consideration of structure, form & aesthetic, various political agendas have been and can be communicated.
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Unit 5 Court Dance |
In some cultures, leaders may be both religious & political leaders, making it difficult to separate religious & court dances. Within the dances created for royal courts, the aesthetics of order, symmetry & control of body were paramount. They body was seen as a powerful symbol of proper behavior. Dancers to maintain composure, present dignity etc. |
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Unit 5 Court Dance |
Way to assert one's power to rule. The noble courts were the most logical refuge for artists who wished to produce & survive. Leaders & members could be fickle. Artists subjected to political pressure to conform their aesthetics to the ruling order or to make work that specifically upheld values & goals of the ruling regime |
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Unit 5 Court Dance |
Royal courts & political entities are often organized by rank, & establish settings in which everyone knows his place in the ruling order. Events being with a processional to introduce participants according to their rank. There is both predictability & conformity-(the lower levels of politicians or aristocracy enter first, before the king, queen, emperor, empress). |
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Unit 5 Court Dance |
Dances in political contexts offer a sense of ritual spectacle & contribute to an understanding of power in the human body in motion. Costuming plays a part in this, as the attire is often distinctly different than daily dress. As cultures develop, some of the arts born a the royal courts migrate & find acceptance w/i the audience of the general public/ |
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Unit 5 Court Dance |
The Baroque Court-Early Court Ballet Catherine de Medici - kna ballet was European Renaissance court dances. Catherine, Italian noblewoman, married King Henry II, French. Louis XIV-Sun King (at 14 played Apollo) "king of political proganda"-credited for advancing dance in many important ways. |
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Unit 5 Court Dance |
Louis XIV-responsible for development of ballet as professional art -founded Academie Royale de Musique et de Danse (Paris Opera) in 1672. Pierre Beauchamps, dancing master, established much of the codified vocabulary used in ballet to this day, including 5 ballet positions of the feet |
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Unit 5 Court Dance |
Bugaku of Japan-Japanese Imperial Court-part of the Buddhist religion in China, Korea, India & southeast Asia. Japanese know for cultural flexibility-integrate new forms while maintaining their own cultural integrity. Shintoism, the indigenous religion of Japan was integrated w/the Buddhist dance dramas in the 17th century to create Bugaku. |
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Unit 5 Court Dance |
The Asante of Ghana-established clear notions of power & socio-political based on pyramidal structure, with kings at the tops & lesser rulers w/subsequent standing & power. Members called courtiers, who have access to wealth & leisure, but expected to uphold the traditions & customs of the court at all times. Responsibility to dance well & pass on dances to next generation. |
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Unit 5 Court Dance |
Asante culture is to "stay cool" both literally & figuratively. Elements-flexibility, relaxation & an aesthetic of cool. Coolness important aspect. Not "cool"-people who are frantic, chaotic, uncontrolled, anxious-are thought not to have the personal & physical characteristics to move forward in the community as responsible & respected citizens. Umbrellas part of regalia |
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Unit 5 Court Dance |
The Bedoyo of Java-fourth largest island in Indonesia. Bedoyo is a dance performed at the Muslim courts & is attributed to an indigenous ocean deity. Incorporates Hindu myth & quiet aesthetic from Buddhism. Perform to proclaim the glory of the ruler, to affirm the court's ancestral ties to a divine source of power & teach principles of Java |
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Unit 5 Court Dance |
The essence of Bedoyo is balance & equilibrium. 9 is considered perfect number (9 human desires, 9 constellations, 9 ceremonial gates to the palace), performed by 9 identically dressed women, each representing an aspect or an individual or idea. Java under Dutch rule. |
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Unit 3 Where is Dance Types of theaters |
Proscenium stage-most common-looks like a picture frame with arch. Extended apron or thrust-stage projects into audience past the arch-no curtain 3 sided arena-extends far enough into audience that side seats are turned to face the stage Full arena-audience surround all sides Amphitheater-open air (roman coliseum) Black box-large rectangular room |
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Unit 3 Where is Dance Stage Definitions |
Entrance-when performer becomes visible Exit-when performer leaves view of audience Off-Stage-performer waits for their entrance On-Stage-where performer performs Stage left-side from performers perspective Stage right-side from performers perspective Upstage-back of wall of stage, back half of stage Downstage-toward the audience, front half |
