Tap Dancing The ways that humans express themselves artistically often reflects the social, political and religious contexts of the times of their development. Tap dancing and its evolution is no exception to this rule and the many interesting components that are contained within this artistic tradition indicate a rich history of this performance art. The purpose of this essay is to discuss and analyze the art of tap dancing by exploring

Dorrance Dance's ETM: Double Down The Dorrance Dance Company is the brainchild of MacArthur Genius Grant Winner Michelle Dorrance. Although the viewer might presume that tap-dancing is a relatively traditional, even hackneyed form of American dance, Dorrance infuses it with new life and gives it a hip-hop beat. As noted in its review of the most recent Dorrance Dance production by the NY Theater Guide, ETM: Double Down at the

Dance Final Summer Solstice Festival Ideally, this festival will take place during the summer solstice. The solstice is generally regarded as taking place on June 21. Due to popular demand and the intense international reputations that Davis Jr., De Keersmaeker, and Baryshnikov have garnered during so many years of enchanting audiences, the festival will take place during a three-day span -- from Friday through Sunday -- beginning on the 19th and culminating

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 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

Strangely, the sense of freedom is observable even as the viewer consciously recognizes that it is not really present in the dance. Rainer's complete and continued avoidance of the camera's gaze mimics the original relationship between the dancers of Trio A and the audience, and the feeling it gives is one of avoidance due to oppression rather than the dancer's choice. In many ways, this sort of controlled freedom can