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28 Cards in this Set
- Front
- Back
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African Influences on Jazz Dance
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-gliding, dragging, and shuffling steps -foot stomping and tapping -bent knees and a body bent at the waist -body isolations -use of improvisation -movements coming from the hips -perform to a propulsive rhythm -imported from Africa and is characterized by poly-rhythms -varies rhythms happening simultaneously |
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Pina Baush |
-german lineage of expressionism interested in dance theatre, student of kurt joss, very well known in europe and studied at juliard
-choreographer in 1968 -first dance in 1968 was fragments -created another called "in the wind of time" -moved away from tradtional modern dance by 1970s -1975 she made righte of spring. in the right of spring it had basic human emotions and stage covered in dirt. it was non linear. -next dance she created was "carnations" and the stage was covered in carnations -1978 "cafe muller" it discussed fiminism using high heels and langerie -she was a fiminist -she redefined dance using non-dance movement and believe dancers to be actors |
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Tap
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-Many Variations -everyone tried to invent personal specialties defying imitation -form of dance characterized by using sounds of tap shoes striking as percussion -2 major variations:rhythm tap and broadway tap -broadway tap focuses on dance performed in musicals -rhythm tap focuses on musicality and practioners consider themselves apart of jazz tradition -sound of shoes hear a metal tap on heel and toe -soft shoe: a rhythm form of tap dancing that doesnt require special shoes - |
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jazz evolved into many different styles |
-lyrical -musical comedy/theatre -west coast -contemporary/modern -hip-hop -latin jazz |
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evolution of jazz |
-20th century term: minstrel shows, use of syncopated rhythm -1920s: generally upbeat and fun, charleston era -1930s: swing music, dance in movies -1940s-1950s: moved from social dance to professional dance -1960s:changes in music effect dance, variety of dance technique formed lyrical and modern -1970s: line dances, musicals very popular, breakdancing from low income neighborhoods (LA<-NY) -1980s: contemporary jazz, electric slide, jazz dance in studio, Fame - 1990s: acid jazz, contemporary dance continues, hip hop influences, and jazz dancing in studio |
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William Henry Lane -Master Juba |
-free born slave who was most known for minstrel performances -steps and leg movements were in tradition with traditional jigs, but ability to swing -jabbing quite different from any other blackface performer -minstrel shows were the first entree to be respected as performers -infused american variety theatre with unique blind of sarcasim, with new rhythms, and dancers - |
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Minstrel Shows (american jazz, tap, Musical Theatre) |
-shows used to imitate the life of African Americans -Hybrid dances (african and european cultures) that developed were 1st on stage while minstrel shows were nationwide in 1840s -white men blackfaced people in a happy-go-lucky rather simple technique -they shuffled, strummed banjos, and song as naturally as they picked cotton -for many years minstrel shows were the most popular form of entertainment |
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Grand Union (post modern) |
-Different then Judson church -an improvisation group showing up and doing whatever -started working on their own areas of choreographic inquiry -Trisha Brown and Douglass Dunn: incorporating voice into performance -steve paxton:contact improv -ended in 1976 -work is considered performance art |
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Bill T Jones/ Arnie Zane (post Modern) |
-studied at SUNY Brockport, met Arnie Zane (died in 1988-AIDS) -Athlete , studied caribean dance and worked with pearl Primus and garth Fegan. Arnie Zane experienced contact improv and photographer;duo visually opposite -formed American dance Asylum (11 members; very diverse)>Bill T Jones/Arnie Zane company ( reflect society 1982) -jones/zane take on social issues setting apart other choreographers at the time -Last supper at uncle tom's Cabin:dramatic text, many different techniques, collab with artist -still/ here -known to work with nudity and issues of race, class, gender, and sexuality |
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Trisha Brown |
-post modern choreographer interested in finding logical reductive systems -very prolific choreographer -equipment period where she explored using external supports (ex. mountain climbing) -1968: planes and dances moved on a vertical pegboard -1970: walking down the side of a building -1971: rummage sale on the floor of the forest: dancers perform on ceiling while the audience was buying clothes at rummage sale below. -became a liability for performers Accumulation period complex system -1971: Acummulation, roof piece; telephone game w/ movement -1983: set and reset |
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Yvonne Rainer |
-Post-Modern choreographer worked with judson church and grand union -dances seem unplanned (but very planned) -wrote the book " No! Manifesto" -1962: Trio A -task- oriented, dancers never face forward, graze to audience is minial |
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Jack cole |
-began his dance training with ruth st. Denis and Ted Shawn, then worked with doris humphrey and charles weidhem co. -he appeared in a number of broadway revues -his style reflected the dances of harlem, the caribean, and latin america in sexy blend of modern dance ,orientelism, latin and jazz dancing that was unlike anything seen before -Kismet (1953), Jamaica (1957), A funny thing happened on the way to the forum (1962) - His style of modern Jazz dancing abliterated nearly all traces of older, black derived jazz traditions |
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Steve Paxton |
-experimental dancer and choreographer -early background in gymnastics, 3 years with cunningham, and a year with jose limon -contact imrpovisation: laces of fiction, movement, gravity and inertia, relationship dancers -believed an untrained dancer could contribute to dance floor -interested in how body could create physical background -roots of contact improvisation to 1972 -contact improvistion can be done in any sized group and pulls elements from martial arts, social dance, sports and child play. |
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where jazz dance performed |
-dance in a variety of settings -concert dance and musical dance -musical videos -caberet/ loundge shows -dance competitions -street dance |
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Musical Theatre Dance |
-produced collabortively -Helen Tamiris pointed out the basic differences b/w working in concert dance and commercial dance -roots of musical theatre some are jazz and dance -performers could act, sing, and dance -1st quarter 19th century, americans romance burletts, burlesque, circuses variety shows, operas |
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molissa Finley |
- born in America -studied dance at Mills college. moved to NYC to login as choreographer and dancer -trained w/ merce cunningham, viola farber and Erick Hawkins school -formed Molissa Finley and dancers in 1977 -interested in untraining her body, performs workouts like running and etc. to achieve strength and endurance needed to execute her physically demanding choreography. -collaborated with kiki smith and richard long (visual artist) pjilip glass, pauline oliveras (composer) -1980 Energizer, 1988: state of darkness: solo work for NYC ballet - |
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Bill "Bojangles" Robinson |
- considered by other jazz dancers to be the best in field and beloved for congenial personality -51 years old and had been on stage for 38 years suddenly become on broadway in " Blackbird" of 1928 -Avoid flash elements, preferring easy-going style that tallied w/ billing as " The dark cloud of joy" -his style included ease and precision ; carried weight farther forward on toes. giving lightness inspite of " thickness" rame and contrasted style of toppers |
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American Musical Revue |
-Early American Revue borrowed other variety formats but differed in having texts, lyrics, and scores concieved w/ underlying and unifying theme -between 1907-1951, florenz zigfield set standard for this kind of show w/ formula molded after folies- bergere -glorified beautiful woman and surrounded them with best comedics, singers, and dancers -"follies to be little higher plan, but w/ enough snap and go to prevent being " highbrow" -created his own dancing steps somewhat less classical mold -needed performers who dance in variety styles, sing a little, and deliver comedic lines and wore beautiful costumes in production numbers. - 1 of his dancing stars specializes "refined hootchy" -pelvic grinds- and shuffle in " thumb-licking" dances |
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The Nicholas Brothers |
-After Bill "bojangles" Robinson, comes the Nicholas Brothers -Consisting f real life brothers Foyard and Harold, this team wowed audiences with their aerobrotic feeets incorporated into their classy style of dancing -a notable scene in the movie " stormy weather" features the pair dancing up a staircase and then decending the staircase in a series of leap frogs over each other into a full split which they rise w/o using their handa |
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The Cakewalk |
-Minstrel Shows always include walk-around/ cakewalk findle refer to south plantation life -when slaves dressed in their owner's discarded finerey and imitated white manners in a dance -cakewalk was a competition, with a cake award to the couple who produced the most spectatular effort -in 1903, black musical " In Dahomey" made the cakewalk an international fed. -Another specialty was a contest b/w buck and wing dancers- song and dance men performing to banjo music -improvised satrical mime and danced clogs and jigs to the point of exhaustion -other dances of minstrelsy- The Buzzed Lope, Slow Drag, Pigeon Wing, Snack Hip,and charleston |
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Innovation In Musical Theatre |
-next major shift in musical theatre come from the musical " show boat" -Lyrics, texts songs and dance were integrated into a believable story and audience were captivated ; leading to our current version of musical theatre as more than a rouderville-type show -Agnes de Mille: oklahoma! (1948), Cerousel (1945), Brigadoon(1947) -Helen Temiris: Up in Central Park (1945) -Hanya Holm- kiss ME, Kate (1948) -Jerome Robbins: west side story ((1957) -Bob Fosse- The Pajama Game -Micheal Bennett-A Chorus Line (1975) -Gregory Hines: Sophisticated ladies (1981) |
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Judson Church |
-Based in Manhattan -Home of post-modern -cunningham technique as authority and his concepts to push against -utilized chance technique -robert Dunn Taught choreography -Very well-known students- steve paxton, trisha brown, deborah hey, and yvonne rainer -1st concert 1962 -morphed to grand union comprised of david gordon, douglas Dunn, Trisha Brown , Steve Paxton |
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Whats Happening in Modern/ Contemporary Dance |
-Technology and dance -video work and collaborations w/ film artist -fusion of styles -contact improvision -release techniques: release of tension involved in modern technique -theatrical work/presentational/text-using txt while dancing (joe goode, liz lerman) -physicality- expectation of virtuousity (molissa finley, elizabeth stab) -martial arts influence on dance, arieal dance, inversions of body |
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Early Tap Dance |
-1 theory of birth of Tap: slaves not allowed to practice their own cultures and customs and mixed their form of dancing w/ irish step dance to create tap dances -black dancers of jazz age used 2 types of movements: jazz steps and full body movements that were a mix of early folkmaterial, dances of minstrelsy, and personal invention of no set -steps were called :" flash" steps-applause-getting "air" or jumped steps w/ expensive leg action -Taps could be added to either, tho they were not neccessary -1920s jazz dancers standard vocabulary included wide assertment of basic tap steps like falling off a leg, oror the tap, through the trenches, wings and riffs |
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Today's Known Names |
Yuri Kilson-Netherland Dance Theatre William Forsythe Alonzo king Peter Martins Ryle Abreham Douge Varone Matthew Bourne Robert Battle |
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Post Modern |
-next Generation pushed Cunningham's idea Further -Big Concept from this period is Happening -one shot performance events that are spontaneous and rejected technical velocity -late 50's -early 60's -Ex judson church, Grand Union |
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The Black Crook |
-operetta-style drama opened in NY in1886 -Musically unadventurous and dramatically ridiculous -but the show scored with its scenery and dances- included " amazon dances', a prototype of Zigfeld processionals of sttuesque beauties become expected attraction of musicals -Ballet section included the " pos de Floors" which was encored twice and the "pos de DEmos" -black crook went for 475 performances and by 1895 revived 18x in NYC w/ imitations -established that good dance was an important element in musical spectcles -denus derrived from black experience on southern plantations exerting influence as entertainment -prohibitions against 1740law referred to " beating drums, blowing horns or like" , which sleves inspired uprising, enslaved people devided subs: bone deppers, hand clapping, heel and toe and beet and bonja |
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Mark Morris |
-origionally from seatle, studied many styles and raised in musical family -morked w/ laura Deans twyla tharp -1980 started dance company and 1984 presented BAM in NYC -worked very eclectic -"angry young men of modern dance" and " Mozart of modern Dance" -use of music big issue, always follow forms of rhythm of music -sex and gender in his work, granted a 1.5 million in BEL as resident choreographer -1981: gloria -1988: L'allegro il penseroso ad il moderato -1991: The Hard Nut |
