African-American Dance has evolved in the Black American community in the everyday spaces, rather than in studios, schools or companies. These dances usually center on folk and social dance exercises, although performance dance often provides a complementary aspect to this. Placing great value on improvisation, these dances are characterized by continuous change and development. There are a number of famous African-American modern dance companies that use African-American cultural dance as inspiration, among them Lindy Hoppers Whitey, American Dance Theater Alvin Ailey, Harlem Dance Theater, and Lula Washington Dance Theater. Unlike European-American dance, African-American dance is not taxed in European fields where it begins and has not been presented in theater production by generations of kings, tzars, and states. Instead, he lost his best dancer in conscription and began demanding taxes from the company in the form of federal excise taxes on the dance hall promulgated in 1944. The dance hall continued to be taxed across the country while the dance studio was not, and the African-American dance company was statistically receive less than taxpayer money than European Americans. However, Hollywood and Broadway have provided tremendous opportunities for African-American artists to share their work and for the public to support them. Michael Jackson and Beyoncà ©  © is the most famous African-American dancer.
Video African-American dance
Histori
The Greater Chesapeake region that includes Virginia, Maryland, and much of North Carolina is the earliest and most influential location of the black-and-white cultural exchange that produces an "African-American" dance. Captive Africa from various societies in some parts of Africa began to flow into the area as slaves from the late 17th century to the end of the 18th century. Given the heterogeneity of their culture, including music and dance, they mostly tend to learn to dance along with drawing on the "cultural grammar" scattered throughout much of West and Central Africa. Something like the regional Chesapeake tradition, something entirely new to the eyes of Europe, arose probably shortly before the 18th century had become the 19th century. In one or two generations the formation of these thick African forms, or perhaps simultaneously, elements of European dance were added. "Competitive individuality and improvisation" are also choreographic elements of the Seventeenth and Seventeenth Dance of West African Dance "continued in the region.
The dance history for blacks began in Thompson's book where he talked about a master slave who forced the boys to sing and dance as a form of entertainment as they continued to work throughout the night. The evolution of black dance thus emphasizes black dance as a real form of release from the history and recaptures dance as something that belongs to them and not belong to others.
Based on limited pictorial notes, the typical African practice of bending firmly at the waist and hips gives way to a more straight-forward and European-like style. This may reflect the practice of Africa carrying a heavy burden on the head, which requires a strong and balanced backbone. The black dance continues a strong preference of other African characteristics such as angularity and body position asymmetry, double body rhythms or polyrhythms, and a low center of gravity.
Jig, Clog, and Break Down Dancing have been linked to African Americans, although this is disputed. A visitor to the southern United States writes that "Hornpipes, jigs, strathspeys, and reels Put life and courage into their heels... There is no restraint of ballistic space etiquette... The luxury of motion... It is> dancing. spangles out of the ball-room. "
New York City and Harlem Renaissance
Just as Harlem Renaissance saw the development of art, poetry, literature and theater in Harlem during the early twentieth century, it also saw the development of rich musical and dance life: clubs (the Cotton Club), ballroom (Savoy Ballroom), house rental parties and other black spaces as the birthplace of new dance, theater and the transition from vaudeville to local "performances" written and choreographed by African-American artists; theater as a public forum to popularize African-American cultural dance.
Genres by period
pre-19th century
- Buck Dance
- Patting juba
- Stick Dance (African-American)
19th century
genre Dance :
- Ketuk menari
- Cakewalk
- Setikan flo '
1920-an hingga 1940-an
Alunan dan gerakan tari :
- Ayunan
- Lindy hop
- Charleston
- Texas Tommy
- Jitterbug
- Houston Dua Langkah
1950-an
- Melangkah
- Bus Stop
- The Stroll
1960s
Aliran musik :
- Funk
- Jiwa Utara
- Motown
- Rapping
- Tari Afrika-Amerika Dewasa
Gerakan tarian :
- Atur de flo '
- Monyet
- James Brown
- The Twist
- Bop
- Chicago Walk
- Fred Astaire
- Untai
- Tarian tangan
- Detroit Sosial
1970-an
Aliran musik :
- Disco
- Go-go
- Musik hip-hop
- suara Minneapolis
- jiwa Philadelphia
Swinging and dance movements :
- Reached
- Locked
- Robot
- The Worm
- Slide Electricity
1980s and 1990s
Music stream :
- Rap (beatboxing)
- Home music
- New jack shortcuts
- Pop rap
Alunan dan gerakan tari :
- Istirahat-menari
- Hip Hop
- Moonwalk
- Hammertime
- Voguing
- Crip Walk
- Primetime
- Cabbage patch
- Running Man
- Chicago melangkah
- KC Dua Langkah
- Ballroom Detroit
2000s dan 2010s
Music stream :
- Crunk
- Traps music
- viral beats
dance and dance moves :
- Krumping
- Turfing
- Jerkin '
- Harlem shake (technically there since the 1980s, popularization in the 2000s)
- Daddy's Cat
- Dougie
- Jookin
- Wop
- Gas Pedal
- Graham
- Dunham
- Ailey
- Get up
- Twerking (technically since the 1980s, popularization in 2010)
- Put
Maps African-American dance
Competition has long played an important role in social dance in African and African-American social dance, from "hip hop" and lindy hop to cakewalk. The show has also been integrated into everyday dance life, from the relationship between performances and social dance in tap dance to "shows" held at Harlem ball rooms in the 1930s.
Social dance space
- Juke together, street parties, party rentals and the importance of the front porch
- Ballroom, cabaret club, and church building
Competitive dance
- Cakewalks
- Harvest Moon Ball
- Breakdance
Tradition
In most African-American dance cultures, learning to dance does not occur in formal classrooms or dance studios. Children often learn to dance as they grow older, developing not only body awareness but also a special dance aesthetic for their community. Learning to dance - learning about rhythmic movements - takes place in the same way as developing a 'accent' of a local language or a set of specific social values. Children learn certain dance steps or 'how to dance' from their families - most often from older siblings, cousins ​​or other older children. Because cultural dances occur in the everyday spaces, children often dance with older community members around their homes and neighborhoods, at parties and dances, on special occasions, or when groups of people get together to 'have fun '. Cultural dance tradition, therefore, is often a cross-generational tradition, with younger dancers often 'reviving' dance from previous generations, albeit with new 'cool' variations and 'styling'. This is not to show that there is no social limitation on who dances with whom and when. The dance partner (or person to dance with) is chosen by various social factors, including age, gender, kinship, interests and so on. The most common dance groups often consist of people of the same age, background and gender (although this is a different factor).
Cultural expression
Lee Ellen Friedland and other writers argue that talking about dancing culture without talking about music or art or drama is like talking about a fish without talking about water. Music and dance are closely related in African-American cultural dance, not only as accompanist, but as an interrelated creative process.
The "African American Dance of Culture" is a description coined by the author and researcher of the National Dance Association, Frank R. Ross, who replaced the original "vernacular" definition of the old stereotype of African-American dance with the correct definition of "culture." "(Approved by the National Dance Association and International Dance Council - UNESCO).
Some of the most popular African-American dances today are the Detroit Ballroom and the Social-Chicago Steppin & amp; Walking, D.C. Baltimore, Cleveland Hand Dance, Calypso & amp; The NAACP Approved Grand March - National Black Wedding & amp; Reunion Dance. The popular black dance organization is the Ballroom couple from Cleveland Master Dancers of Akron, OH. Dance Fusion, World Class-Detroit, Majestic Gents - Chicago Smooth & amp; Easy D.C. Tri - State - Love to dance - Sugarfoot from Baltimore, MD. The new American dance art form of African-American dance and music is accepted into the dance curriculum of the New York City School of Dance.
Jacqui Malone describes the relationship between dancers traveling with bands in the early 20th century, describing how dancers tap work with musicians to create new rhythms. Much has been written about the relationship between improvisation in jazz and improvisation in jazz dance - both linked by their emphasis on improvisation and creative additions to compositions while they are in process - choreography and composition in place, in a social context - not from a strict division between ' creation 'and' performance ', as in middle-class ballet and European opera tradition. African dance should be about someone who is connected to the land and tells the story and their struggle using the dance. It also allows people to feel the vibrations of their dance under their feet, allowing them to dance as they see fit, making use of the space they have so they can express themselves freely.
It is equally important to talk about the relationship between DJ MCs, b-boys and b-girls and graffiti artists in hip hop culture, and John F. Szwed and Morton Marks have discussed the development of jazz and jazz dance in America from European sets of dance and dance suite in conjunction with the development of music artisans.
African-American modern dance
Modern African-American dance attracts modern dance and African-American and social folk dance along with African dance and Caribbean dance influences. Katherine Dunham founded Ballet NÃÆ'¨gre in 1930 and then Katherine Dunhan Dance Company, based in Chicago, Illinois. She also opened a school - Dance School and Theater Katherine Dunham - in New York City (1945). Pearl Primus drew African and Caribbean dances to create powerful dramatic works marked by great leaps in the air, often basing its dance on the work of black authors and on racial and African-American issues, such as Langston Hughes "The Negro Speaks of Rivers "(1944), and" Strange Fruit "Lewis Allan (1945). Alvin Ailey, a student of Lester Horton and Martha Graham, with a group of young African-American dancers featured as Alvin Ailey American Dance Theater in New York City in 1958. Ailey drew his "blood memories" of Texas, his blues, spiritual and gospel.
See also
- African-American Cultures
- African-American History
- African-American music
- Traditional Japanese traditional relaxed folk dance show
- Dancing in the United States
- Modern dance in the United States
- Go down
- Jazz dance
- Hip-hop dance
- Street dance
References
Further reading
- deFrantz, Thomas. Dancing Many Drums: Excavation in African-American Dance . Wisconsin: University of Wisconsin Press, 2002.
- Emery, Lynne Fauley. Black Dance in the United States from 1619 to 1970 . California: National Press Books, 1972.
- Glass, Barbara S. African American Dance . McFarland & amp; The company, 2007. ISBNÃ, 978-0-7864-7157-7.
- Gottschild, Brenda Dixon. Digging African Presence on American Performance . Connecticut and London: Greenwood Press, 1996.
- Hazzard-Gordon, Katrina. "African-American Vernac Dance: The Core Culture and Its Meaningful Meaning." Black Journal 15.4 (1985): 427-45.
- Hazzard-Gordon, Katrina. Jookin ': The Rise of Social Dance Formations in African-American Culture. Philadelphia: Temple University Press, 1990.
- Jackson, Jonathan David. "Improvisation in African-American Vernacular Dancers." Dance Research Journal 33.2 (2001/2002): 40-53.
- Malone, Jacqui. Steppin 'on the Blues: The Visible Rhythms of African American Dance . Urbana and Chicago: University of Illinois Press, 1996.
- Stearns, Marshall, and Jean Stearns. Jazz Dance: American Vernacular Dance Story . Third Edn. New York: Da Capo Press, 1994.
- Szwed, John F., and Morton Marks. "Afro-American Transformation of European Dances Set and Dance Suites." Dance Research Journal 20.1 (1988): 29-36.
- Welsh-Asante Your Care. "African-American Dance in the curriculum: inclusion mode." (Preparing for Aesthetic Literacy: Revealing Culture in Dance Curriculum) American Alliance for Health, Physical Education, Recreation and Dance (July 28, 2005)
- Welsh-Asante Your Care. The African Aesthetic: Keeper of the Traditions , Greenwood Press, 1993.
- Welsh-Asante Your Care. African Culture, Rhythms of Unity: The Rhythms of Unity Africa World Press , 1989.
External links
Discussion of African-American social dance roots with demonstrations. Duke University.
Source of the article : Wikipedia
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