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Flamenco Dancing, 2004.
Examines the origins of this form of Spanish dance.
825 words (approx. 3.3 pages), 4 sources, MLA, AU$ 44.95
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Abstract
Because Flamenco evolved over centuries of time in Southern Spain, historians are uncertain about the exact origins of Flamenco dance. However, Flamenco undoubtedly grew out of gypsy traditions, which had their origins in Indian and Middle Eastern cultures. The paper traces the origins of this dance form in gypsy culture and shows how it ultimately meshed with Spanish dance forms to become a symbol of Spanish dance.
From the Paper
"Performed mostly for family gatherings and cultural festivals, early Flamenco was not considered to be a specifically Spanish art form, as it is today. Rather, Flamenco was the express domain of gypsy culture in Southern Spain, symbolizing the uniquely colorful character and emotional quality of that much maligned group of people. Flamenco dance might have also incorporated elements from Jewish and Moorish cultures that existed in Spain, cultures that were persecuted alongside the gypsies."
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The Skill and History of Dance, 2004.
Explores the historical significance of dance in human development and culture.
1,329 words (approx. 5.3 pages), 4 sources, MLA, AU$ 67.95
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Abstract
This paper explores the social, artistic, and religious aspects of dance throughout history and how these forms of dance have been a part of human society since prehistoric times. The paper also looks at the health benefits derived from dancing and how dance has been used to tell stories, to record history, and as a form of therapy.
From the Paper
"The skill of dance today is often thought to be reserved for the participants of higher arts such as ballet or for young participants in hip-hop and rave dances. However, dance is an integral part of the history and culture of all humans, and remains alive in many forms within people of all walks of life. ?It is the wedding of movement to music. It spans culture from soaring ballet leaps to the simple swaying at the school prom,? (Burke) and every kind of human movements, from walking to breathing, are elements that make up dancing. However, dance actually ?goes beyond the functional purposes of the movements used in work or athletics in order to express emotions, moods, or ideas; tell a story; serve religious, political, economic, or social needs; or simply be an experience that is pleasurable, exciting, or aesthetically valuable.? (Art) Dance is an important and beneficial art in which to participate and to support because of its rich cultural history and diversity, spiritual significance, and health benefits."
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African-American Dance and Women, 2003.
Examines the influence of African-Americans in shaping the history of dance in the U.S.
1,125 words (approx. 4.5 pages), 5 sources, AU$ 60.95
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Abstract
Discusses contributions to dance, popular dances of the past, and female trend setters in African-American dance, including Aida Overton Walker and Katherine Dunham and her ballet group.
From the Paper
"African-Americans are credited with having been highly influential in shaping the history of dance in the United States. Since the introduction of the "cakewalk" launched social dancing in the 1800s, African-Americans ..."
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African-American/Canadian Culture, 2004.
Looks at the development of African-American/Canadian culture that resulted from the migration of many Southern African-Americans to the West and North.
960 words (approx. 3.8 pages), 6 sources, APA, AU$ 52.95
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Abstract
This paper looks at the culture that developed in the African-American and Canadian population. It discusses the main events that brought about this culture, how, in some ways, it represented a resistance to oppression, and how some within the African-American/Canadian community held conflicting views about the development and expression of their own ethnic culture.
From the Paper
"The music/dance culture became an all out rejection of Victorianism and middle class control. (LN, OCT 9) The popularity of this era could be attributed to the fact that the majority of African Americans/Canadians that immersed themselves in this culture were working class and the dance/music created in this era spoke the truth!"
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The Queen of Salsa, 2002.
A biography of Celia Cruz.
650 words (approx. 2.6 pages), 2 sources, AU$ 40.95
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Abstract
Thispaper details the history and accomplishments of Celia Cruz - "The Queen of Salsa."
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Dance Rehearsal, 2002.
This paper looks at the benefits of physical rehearsal over mental rehearsal in dance.
650 words (approx. 2.6 pages), 3 sources, AU$ 40.95
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Abstract
This paper discusses the nature of dancing in the act of rehearsing upper body movements. The writer shows that through the process of physical rehearsal, we can see how this might be a better representation of the memory process used to solidify the process in the mind. By using the psychological information available, the writer shows why physical rehearsal is better than the mental in the case of dancing.
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The Meaning of Arts, 2002.
This paper discusses the approach to their art by Ibsen, Graham and Craig.
1,400 words (approx. 5.6 pages), 6 sources, AU$ 80.95
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Abstract
This paper explains the work of playwright Henrik Ibsen, modern dancer Martha Graham and set designer Edmund Craig. The author shows that all three reflected how art is the search for the "truth" of the human condition.
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American Melodrama, 2002.
Discussion of the origins, evolution and impact of American melodrama.
1,150 words (approx. 4.6 pages), 5 sources, AU$ 67.95
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Abstract
Perhaps the most concise definition of a melodrama is that it is basically a theatrical performance consisting of a romantic plot in which the author manipulates events in order to act upon the emotions of the audience without very much professional regard for either character development, character motivation, plot consistency, or common logic. In the early years of the Nineteenth Century most of the melodramas presented in American theaters were romantic, exotic, or supernatural. By the 1820's the style had evolved somewhat regarding types of settings and traits of characters, and by the 1830's the content of melodramas had become much more elevated and gentlemanly compared to those popular a generation earlier.
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"Isadora", 2002.
Uses the 1968 film, "Isadora" to discuss the life of non-conforming dancer, Isadora Duncan.
650 words (approx. 2.6 pages), 1 source, AU$ 40.95
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Abstract
Based on the film "Isadora", this paper describes the life and dancing tradition promoted by Isadora Duncan. The paper highlights her non-conformist position in art and life.
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Sioux Culture, 2002.
This paper provides a cultural and historical background on the Sioux and the role of music in American Indian cultures.
10,689 words (approx. 42.8 pages), 31 sources, MLA, AU$ 322.95
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Abstract
This paper examines both what the Sioux cultures were like before European contact as well as what that culture has evolved into. The paper focuses on the music of this people set within a broader artistic and cultural and even political context. The paper is broken down into four chapters: An introduction into the Sioux people, their musical instruments, the songs of the people, and finally a larger cultural context. The final section of this paper examines the Sun Dance and the Ghost Dance as the two most important single types of musical performance.
From the Paper
"Traditional Sioux of the last century ? or the centuries before ? would have found the entire idea of putting on their best clothes and going to a concert hall to listen ? as relatively passive observers ? to a musical performance extremely odd. For them, as for other native peoples of the Americas (and arguably other native peoples throughout the world before the onset of industrialization) music was something that was integrated into the fabric of ritual and everyday life."
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AIDS in the Dance Community, 1994.
This paper discusses the reaction of the dance community to the problem of AIDS: Deaths, awareness & activism, benefits and reasons for delay in dealing with crisis (denial, secrecy).
1,575 words (approx. 6.3 pages), 5 sources, AU$ 84.95
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From the Paper
"AIDS has been especially devastating to the dance community, both in terms of personal lives lost and talent the world will never see. Well into the second decade of the AIDS virus, we tally the losses and wonder who will be next. The roster of victims reads like a who's who of incomparable talent from the fields of musical theater to classical ballet. New AIDS help groups are formed continuously, as each field rallies in support of its own membership. Professions allied to dance, such as theater, fashion, and music, have responded by creating their own support networks for artists terminated in their most germinal years.
Promoting AIDS awareness and activism are groups such as Gay Men's Health Crisis (GMHC), AIDS Coalition to Unleash Power (ACT UP), and Community Health Project (CHP). They in turn have encouraged professions severely affected by AIDS to rally. Several groups have already taken steps to confront the epidemic. In the arts, the theater, fashion, and music .... "
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Nijinsky, 1993.
A look at the choreography style, innovations, techniques, influences, public reactions, themes and plots of the ballets "L'Apres-Midi D'un Faune" and "Jeux".
4,275 words (approx. 17.1 pages), 14 sources, AU$ 205.95
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From the Paper
"This paper will discuss Nijinsky's choreography style, as seen in the ballets L'Apres.Midi D'un Faune and Jeux. Vaslav Nijinsky was born in 1889 or 1890 in the Russian town of Kiev. As a child, he was admitted to the Imperial School of Ballet where he soon established himself as a brilliant dancer. In 1909, he joined the Ballets Russes, which was run by Serge Diaghilev. Nijinsky became an international star in his work with the Ballets Russes, and he remained with the troupe until 1913. In 1919, Nijinsky's career was cut short when he suffered a nervous breakdown. He remained in sanitariums until his death in 1950.
During his relatively short career, Nijinsky choreographed only four works for the stage. L'Apres.Midi D'un Faune (1912) and Jeux (1913) were both based on the music of the French..."
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Vaslav Nijinsky and Serge Diaghilev, 1991.
This paper discusses Serge Diaghilev's influence on Vaslav Nijinsky's choreography for the Russian Ballet.
1,575 words (approx. 6.3 pages), 9 sources, AU$ 84.95
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From the Paper
"Between 1912 and 1916, Vaslav Nijinsky choreographed four works for the Ballets Russes. These works (L'Apres-Midi D'Un Faune, Jeux, Le Sacre Du Printemps, and Til Eulenspiegel) were radical innovations in the world of dance choreography. Serge Diaghilev, the director of the Ballets Russes, had a strong influence on this contribution by Nijinsky. In addition to making Nijinsky a star, Diaghilev provided the young dancer with his first opportunity to work as a choreographer. Diaghilev was a teacher and homosexual lover to Nijinsky, as well as his employer. The influence of Diaghilev on Nijinsky's career was so powerful, it can be said that he served as "a kind of father figure" to the dancer. In fact, Diaghilev tended to provide this role for most of the young male artists that he worked with. By introducing young dancers to artistic ... "
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Afro-American Jazz and Dance, 1990.
This paper discusses the African influences on Afro-American jazz and dance.
1,350 words (approx. 5.4 pages), 3 sources, AU$ 72.95
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From the Paper
"This paper will be concerned with African influences on Afro-American jazz and dance. The roots of Afro-American jazz can be traced back to the early 17th century, when African slaves were first brought to America from their homeland. These slaves came from various parts of Africa, and they brought a great variety of indigenous music and dance with them. In Africa, music and dance had played a vital role in both religious worship and everyday life. The tribal peoples of Africa had developed many types of songs for special occasions as well as specific dances which were intended to accompany the songs. The closely woven interrelationship between music and dance was thus strongly fixed in the minds of the early African slaves. As noted by one music historian, "in Africa . . . dance and song are intimately associated aspects of a single art" "
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Dance, 1972.
This paper discusses dance as a form of non-verbal communication, its role in early primitive cultures and argues that modern dance is a source of new channels of communication.
1,800 words (approx. 7.2 pages), 7 sources, AU$ 96.95
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From the Paper
"Dance, as a means of fulfilling the goal of nonverbal communication in today's society, along with other art forms is falling far short of its incredible potential. Most art today is separated from any real involvement with modern humanity by invisible, yet real and definite barriers. To see dance in its most successful form of nonverbal communication we must examine its role in early primitive cultures. The relationship of extant primitivism will serve as reemphasis for striking cultural differences.
Since development from an early shamanistic culture our technological society has evolved obvious changes in our perception and communication of ourselves in relationship to our universe.
Although early dance experiences were led by the shaman or .... "
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Samba: The Musical Lifeblood of Brazil, 2002.
This paper examines the history of the popular dance and music style in Brazil, the Samba.
2,227 words (approx. 8.9 pages), 5 sources, MLA, AU$ 105.95
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Abstract
The paper examines the cultural underpinnings and history of one of the most popular dance and music styles in Brazil - Samba. The importance of this music in daily life is emphasized, as well as the religious and popular overtones, such as the annual Carnival. The paper also includes an interview with Jon Agasse, a guitarist and percussionist with a samba ensemble living in Los Angeles.
From the Paper
"The crowd of almost one hundred thousand is restless. The night is moist, hot, and alive with a feeling in the air so palpable you can almost trace it with your finger. The bleachers are filled to maximum capacity, along a mile-long stretch of paved roadway adjacent to an old brewery. People from all races, classes, and countries are celebrating together at the culmination of the orgiastic, pre-Lenten, hedonistic festival of Carnival. Soon, the first marchers proceed down the corridor to the booming cacophony of bass, snare, and friction drums. The rattling of tambourines, bells, and scrapers add flavor and accent. Like a bird set free, the singing cavaquinho (ukulele) emits its high pitched cries, adding to the frenzy. The marchers and dancers, with their quick, physical movements, undulating hips and heel steps, embody the living sound. It is time for the annual celebration once again in Brazil, time for Carnival, a time once again for the ultimate physical expression of joy: Samba."
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