Sign Up Now
Get instant access to over 1 million+ study documents
OR
Already registered? click here to login
By creating your account, you agree to our terms of service, privacy policy and student honor code.
Black dance performer Norma Savoy documents that this happened in the form, technique and structure in black ballroom dancing. Savoy specifically expresses her fears over loss of control over the form to whites who would appropriate them (ibid., 13).
Fusion is the combination of the two disparate above cultures. As documented above, the development of the Lindy Hop during the Harlem Renaissance is typical of this. At this time, millions of southern blacks migrated to northern cities where Afro-American dance fused with white ballroom dancing, especially in dance halls such as the Savoy Theater. On the white side of dialectic, we can find a European-American dancer such as Ernie Smith. He remarked that the Lindy was a black dance even though it was danced by whites because it arose from black culture and experience. However, as Smith documents, as it came into white ballrooms, it was no longer a "cool" dance but became jerky and something different: the Jitterbug. While form and technique...
Neither the Lindy or the Jitterbug were exclusively black or white. Rather, they were related and came from the fusion of the cultures (ibid., 14).
Conclusion
In this short essay, we considered the dynamic between confiscation and fusion in the development of modern dance. Confiscation and fusion have produced examples such as the Jitterbug and the Lindy during the Harlem Renaissance where non-European and European dance came together to form the foundations of a uniquely American modern dance in form, technique and structure. This fusion, though consensual inspired admiration and yet fear simultaneously, a fear and admiration that plays itself out in the cultural conflict as a whole and in the blending that happens in dance.
Works Cited
Rogers, R.A. (1998). A dialogics of rhythm: Dance and the performance of cultural conflict. The Howard Journal of Communications, 9, 5-27.
Works Cited
Rogers, R.A. (1998). A dialogics of rhythm: Dance and the performance of cultural conflict. The Howard Journal of Communications, 9, 5-27.
Dance Feelings The author of this report is asked to answer to a few questions relating to dance, how the author feels about it and why. As for the author's relationship with dance, the author is not heavily involved in dancing unless one counts the occasional jaunt to the dance club but the author is much more apt, and is enraptured by, watching dance via live performance or even on television.
Therefore, the incorporation of patterns that are decidedly symmetrical and geometrical has a greater effect in this dance. The staid, reserved forms of government and values that are crucial to Japanese political life are emphasized by this dance's reliance on unity and repetition. There are so many different aspects of Japanese culture that this dance signifies, that it was truly fascinating to view. The specific political cause that I am
Lyrical jazz, another jazz form has a more ballet feel and look to it. In jazz dance, the motions are mostly slower and also have a fluidity that goes on to create longer lines and also to express stronger emotional connections. The movements are more strongly based upon the lyrics of a song and they express a similar if not identical ideas. Street-funk is also very similar and is related
Dance in the 21st Century Worldwide history of dance Hip Hop dance Thesis- A thorough deconstruction of this sort of dance reveals that history and various tools today (most of which involve technology) have helped to catapult it to be one of the most influential styles of dance in contemporary times. First Support Type of Hip Hop dance Breakdancing to dance troupes Happy medium -- the Pharcyde Fluid, compelling, unique Second Support "Boy band" Hip Hop dancing New Edition Bobby Brown exemplifies
While not entirely Puerto Rican, the song has distinctly Latin tones that make it kind of a generic Hispanic song. It doesn't entirely embrace Puerto Rican culture specifically, but groups the Puerto Ricans in with Mexicans and other Hispanic cultures as a whole. This was not uncommon for the 1950s, and is still not uncommon today, as American society has had a lack of interest in distinguishing between the
Dance Peters The Pop Music Choreography of Michael Peters Few forms of dancing are more present in our popular culture than that associated with popular music. While the forms of tap, ballet and ballroom all occupy an obvious place in our academic understanding of dance, these are for the large part only seen in specialized contexts such as theatres and formal events. This contrasts the style of dance and choreography that accompanies