| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "AFRO AMERICAN JAZZ DANCE": |
|
|
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, £ 32.95
»
Click here to show/hide summary
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" "
| |
|
Afro-Americans in American Film, 2002.
An overview of the stereotyping by American cinema of African Americans through a review of the movie "Black identity".
900 words (approx. 3.6 pages), 3 sources, £ 24.95
»
Click here to show/hide summary
Abstract
This paper will discuss the idea of film playing a part of in the media in the creation of stereotypes of harshness in "Black identity". By examining some of the film, which led to this, we can learn much about blacks are portrayed as 'hoods' or associated with crime in some or another. By making this distinction in film, we can learn how this image is clearly projected in black culture by white dominated media.
| |
|
Brief History of Afro-American Families, 2002.
This paper looks at the economic and social and psychological history of African-American families.
1,730 words (approx. 6.9 pages), 4 sources, MLA, £ 38.95
»
Click here to show/hide summary
Abstract
This paper is an overview of Afro-American history, beginning with slavery in the 1700s. The author looks at how slavery affected the nuclear family, both economically and psychologically, and how this pattern continues to be prevalent in today's Afro-American families. Some of the issues discussed include, the owner-slave relationship, marriages between slaves and how slavery affected children and their identity. The paper also looks at the post-Emancipation period and the hardships that the freed slaves continued to encounter including poverty, unemployment and racial discrimination. According to the author, migration from the South to the North was one of the most significant changes that occurred as a result of Emancipation. The Afro-American families' strong bond, which may not be categorized as a
'traditional' but 'extended' family can be traced back to the period of slavery and in this author's opinion, shows the strengths of the community as a whole.
From the Paper
"Roberson reported that some of the migrating families were quite large, with six or seven children. It could be very difficult to find housing to old a family of that size, even with extensive family and community support. So often, these parents would have to make hard decisions to break the family apart, at least temporarily. Some of the children would be taken in by aunts and uncles, but given that the extended family was so strong, connected and well bonded together, this wasn?t as wrenching as it might have been. The extended family continued to watch out for and support the new arrivals until they had work and a place to stay. (Roberson, accessed 2002)"
| |
|
Afro-American Women, 2006.
This paper examines the role as well as the progress of the African-American woman in feminism while comparing her to that of her white counterpart.
2,063 words (approx. 8.3 pages), 15 sources, MLA, £ 45.95
»
Click here to show/hide summary
Abstract
This paper focuses on the issue of African-American women and feminism, from the 1960s to the present, while focusing on the views and opinions of various authors such as Patricia Hill Collins. Collins, a powerful voice in matters of black feminist epistemology, contends that because black women have access to both the Afro-centric and feminist standpoints, then, for a full analysis, both traditions should be represented through an "alternative epistemology." Collins also states that the key dimension of an Afro-centric feminist epistemology is the black woman's centrality in families and community organizations.
The writer of this paper discusses the issues that pertained to many African-American women in the 1960s and 1970s, who felt that the objectives and practices of feminism pertained mainly to white women. In the early 1970s, black feminists challenged this situation, questioning the assumption that white feminists spoke for all women and demanded -and eventually were given- women's studies programs on the experiences, culture and literature of black women. At that time, the activist black women who made the demands were denounced for espousing black nationalism, nonetheless, appropriate courses on "women of color" were eventually added to the women's studies' curriculum, which are detailed in this paper. This paper examines the progress and empowerment of African-American women over the years who are now able to lead in ways they had never thought possible, prior to 1960.
Table of Contents:
Introduction
Main Body of the Paper: Literature Review
Epistemology
Conclusion
References
References Not Included in the Body of the Paper
From the Paper
"In her book, Collins suggests that the Black feminist thought processes speaks to "the importance that knowledge plays in empowering oppressed people." Moreover, Black feminist thought offers a "fundamental paradigmatic shift in how we think about oppression," though the process of reconceptualizing "the social relations of domination and resistance." Black feminist thought also empowers "subordinate groups" by infusing them with "new knowledge" that helps them define the reality of their own existence. What is impressive about Collins - besides the fact that clearly she's brilliant, alert to what real Black women are doing and feeling - is that she is fair-minded when it comes to her scholarship, and generally eschews long and emotional harangues about the white culture, and about white feminist epistemology that has in the past stood in the way of African-American feminists reaching out to the world with their vision."
| |
|
The Religious Afro-American, 2002.
A look at the religious way of the African American.
1,400 words (approx. 5.6 pages), 6 sources, £ 36.95
»
Click here to show/hide summary
Abstract
This six-page paper looks at the aspects of the African American and how the use of the Church within his community acts as a ritualized and cultural event within the African American family unit. Also discussing the ideals and values of attendance at church with a discussion and look at the effects of slavery had on the present religion. The methods adopted to control salves and their resistance is also considered.
| |
|
Afro-American Music, 2001.
A comparison of two new types of music - Gangsta Rap and Minstrelsy in the African American context.
2,335 words (approx. 9.3 pages), 10 sources, MLA, £ 49.95
»
Click here to show/hide summary
Abstract
This paper compares and contrasts the African American entertainment styles of minstrelsy and gangsta rap. The essay contains a lengthy discussion of the differences and similarities in these styles of music. Finally, it presents a discussion that supports the author's thesis that gangsta rap is the new minstrelsy.
From the Paper
"The development of African American music closely parallels the history of African Americans. African American history is rich and begins with the first slave capture in the 16th century. Decades of slavery followed, until the signing of the 1863 Emancipation Proclamation. Following the proclamation, African Americans were slowly integrated into American society as free people."
In the 21st century, exemplary African Americans like Rosa Parks, Martin Luther King, and Jesse Jackson slowly moved the African American population to greater equality with white Americans. The 21st century saw the end of segregation in schools and public places, the rise of black power, and the continued development of a rich and unique African American culture. "
| |
|
Afro-American Women and Competitive Sports, 2002.
A discussion on how the women's division of the National Amateur Athletic Federation in 1923 did not hold ground with the African-American communities.
1,400 words (approx. 5.6 pages), 4 sources, £ 36.95
»
Click here to show/hide summary
Abstract
This paper is written about C. H. Gissendanner. He, primarily, opines that the gender separatism and the distinction between competitive sport and the ideal of femininity as espoused by the Women's Division of the National Amateur Athletic Federation in 1923 did not hold ground with the African-American communities.
| |
|
Afro-Brazilian Dance, 2008.
An analysis of the history and style of various forms of Afro-Brazilian dance.
854 words (approx. 3.4 pages), 5 sources, MLA, £ 20.95
»
Click here to show/hide summary
Abstract
This paper discusses Afro-Brazilian dance forms. It looks briefly at the history and origins of the dance form and discusses its importance in understanding the culture in Brazil. The paper then focuses on specific forms of Afro-Brazilian dance. It describes each dance form, the occasion in which the dance is used and how it is performed by the dancers.
Table of Contents:
Candomble
Samba
Capoeira
From the Paper
"The Candomble dancing is a ceremonial, religious dance, done during one of the numerous terreiros de candomble scattered throughout the city of Bahaia. Women wear long skirts, usually colored ones. They dance to be respectful to the orixas, or gods. "Each deity represents a given force or element in nature, and has a favourite colour and type of food. Yemanja, for example, is the goddess of the sea, who usually dresses in blue and white. The favourite colour of Oxun, the goddess of beauty, is yellow. In the religious ceremonies, practitioners dress in the colours of the orixas and place food at the altar before singing special songs and dancing precisely choreographed steps to the sacred drums. The anthropomorphic nature of the orixa allows an intimate contact between believer and deity, and the highlight of the Candomble ceremony is the epiphany, or possession, when the orixa takes over the believer's body" (Davis)"
| |
|
Dance, 2007.
An analysis of jazz, ballet and studio dancing, as well as the requirements for professional dancing.
1,809 words (approx. 7.2 pages), 7 sources, MLA, £ 40.95
»
Click here to show/hide summary
Abstract
This paper discusses various mediums of dance. It looks at jazz, ballet and studio dancing and discusses the discipline, rhythm and music used in each form of dance. The paper also discusses professional dancing and describes the training that is necessary, salaries that dancers can expect and the challenges of professional dancing life, such as expenses and injuries.
Table of Contents:
Jazz
Ballet
Studio Dancers And Dance Teams
Professional Dancers
From the Paper
"The average salary that a dancer earns is $21,000. That means 50% of all dancers earned less, down to $14,570 and 50% earned more, up to $34,660. Dancers on tour earn additional allowances for room and board and overtime. Dancing is considered a part time job and is irregular. Supplementing income may be made by working as guest artists with other dance companies, teaching dance or taking a part-time job in unrelated fields. The dancer signs a contract to work. Union contracts govern those who perform in public, such as major opera ballet, classical ballet or modern dance corps. These belong to the AFL-CIO and those who appear on live or videotaped TV programs belong to the American Federation of Television and Radio Artists. Those in films and on TV belong to the Screen Actors Guild and those in musicals are members of Actors' Equity Association. Through the unions minimum salaries, hours, benefits and other conditions are specified before the dancer signs the contract (Munger 5)."
| |
|
Philadelphia Dance Theater, 2006.
This paper examines the theaters and dance companies in Philadelphia.
1,015 words (approx. 4.1 pages), 5 sources, MLA, £ 24.95
»
Click here to show/hide summary
Abstract
The paper discusses how the state of Philadelphia has more than thirty dynamic and successful dance companies and theaters. The paper describes these theaters that include modern ballet, jazz, tap dancing, modern dance forms, flamenco, African-American, Indian and other types of folk and ethnic dance forms. The paper also provides some background about the Dance Theatre of Pennsylvania and the Philadelphia Theater Company. The writer concludes that the Philadelphia Theater Company has throughout the years provided a veritable showcase for displaying the vicarious talents of many young dancers of the area and in some certain cases, siblings and their parents too.
From the Paper
"It is an interesting fact that the state of Philadelphia has more than thirty excellent and dynamic Dance Companies, and theaters as well, and some of the nations' oldest dance theaters are in existence in the state today. These theaters are based in Philadelphia, and they tour globally. For example, the Pennsylvania Ballet is today celebrating its fortieth year of existence, and the Group Motion Dance Company and the Philadelphia Dance Company are today preparing for their thirty fifth anniversaries. Although all these theaters and dance companies have been growing through a number of changes over the years, its artistic view point is as strong as it ever was. However, it must be noted that the newer and later hip hop dance companies are thriving in Philadelphia as well, and one reason for this is the nurturing type of nature of the Philadelphia Dance Community as such. (Group Motion Press Room, Kick up your Heels)
The Philadelphia Dance Theater includes modern ballet, jazz, tap dancing, modern dance forms, flamenco, African American, Indian, and other types of folk and ethnic dance forms. Philadanco, or the Philadelphia Dance Company, is already at the performing end of another ballet named the 'Horse's Mouth', and this is also reputed to be a first arte performance by Philadelphia's young artistes. This year's performance of the 'Nutcracker' by the Philadelphia Dance Theater, just like its previous ones, would allow families during the Holiday Season a few hours together to enjoy, uninterruptedly, the magical world created for them by the choreographers and the directors and the performers of the play. (Group Motion Press Room, Kick up your Heels) The Dance Theater of Pennsylvania today is more than twenty seven years old, and it still continues its traditional practice of staging beautiful and timeless ballet productions. The 2005 to 2006 season is under way today, and this is the season in which the Nutcracker is generally staged."
| |
|
Hip Hop Dance History, 2006.
The history of Hip hop dance and its effects on society.
4,296 words (approx. 17.2 pages), 7 sources, MLA, £ 78.95
»
Click here to show/hide summary
Abstract
The paper is an in-depth study of the history of hip hop dance, from before and after the 1970s, and its effects on society. It explores how this type of dance is unlike other dance forms and the elements that make it up. There are no fixed forms to dance, but only styles. The rest is up to the dancer. It is a style of dance for all society giving the freedom to all to dance according to their desires. The paper also shows how hip hop is very much an American product. The hip hop trend enables the path for several dancers, and at the same time it also fosters and promotes more suggestive dance moves. The paper provides clear indications of the effects on culture; some hip hop is racist in theme, while others are sexist. Many hip hop musicians concentrate on such issues like social inequity and the dangers of heroin use. The conclusion is that hip hop is more than just music. It is becoming the soul of pop culture as never before, and steadily moving from the street corners and music videos towards usage in the fitness centers, dance studios as well as television shows.
From the Paper
"Hip hop may be viewed as a culture and is often used to refer to commercial rap music, but hip-hop is not only music. It is loved by the American ghetto youth who claim that it is their method of self-expression and use hip hop to rise over their physical situations. The culture of hip hop has its roots based on truth, self-determination, courage and pride. This is the reason why it has grown to have its impact on almost every part of the world. (Hip-hop History) Some hip hop is racist in their themes, while others are sexist. At the same time, there are also many hip hop musicians who concentrate on such issues like social inequity and the dangers of heroin use. From its early days in the US, the music is being played in projects and some underground clubs, but, now it has achieved a profile that has led to include it in the 1992 presidential debates over Sister Soljah. In the 20th Century Fox movie, Bulworth, there is Warren Beatty playing a Senator who berates his opponents using rap. Hip hop, it would seem, has become a part of our lives. (Classified Hip-Hop or I wanna blow up like Marilyn Monroe's skirt) At the same time, hip hop is not only music. This form of dancing has become very popular and this is clear from the opinions of some experts. "There's a definite surge in the white neighborhood that wouldn't necessarily be exposed to hip-hop in their everyday life," says Keith Pinto, who is an MC and hip-hop dance teacher at the Dance Attack in Los Gatos, California. "They watch MTV, see other kids doing it and want to be a part of it. You can pretty much go to any dance studio in the Bay area and they'll have a hip-hop class." (Hip-hop dance fever)"
| |
|
Philadelphia Dance Company, 2006.
This paper discusses the Philadelphia Dance Company, which is also known as Philadanco.
1,006 words (approx. 4.0 pages), 8 sources, MLA, £ 24.95
»
Click here to show/hide summary
Abstract
In this article, the writer looks at the Philadelphia Dance Company, which was founded in 1970 by Joan Myers Brown and has become a leading American dance company since. The writer discusses the history of the Philadelphia Dance Company and examines the philosophy of the dance group. Further, the writer examines the techniques and teachings of this dance company. The inspiration of this dance troupe upon other companies is also mentioned. The writer concludes by explaining that the troupe has always promoted harmony and racial acceptance, but it has done so first by promoting the value of the dance and by bringing in the many different musical and ritualistic elements that make up the dance.
From the Paper
"The company was the pilot dance company to be part of the State of Pennsylvania, Comprehensive Education Training Act, arts training program and was one of the first companies to hire dancers on a 52 week salary as well as the first to own housing for the dancers and the first to own a debt-free facility. The company also founded the International Conference of Black Dance Companies and International Association of Blacks in Dance to address the special needs of the African American dance community.
In addition to the operation of the non-profit as a school, the organization sees its mission to present the highest quality professional dance performances and has been recognized as a mainstream modern dance company and not merely an African-American dance company."
| |
|
Modern Dance, 2004.
An overview of the history of modern dance.
1,117 words (approx. 4.5 pages), 3 sources, MLA, £ 26.95
»
Click here to show/hide summary
Abstract
This paper examines how European and American theatrical dance had always centered on ballet until the early 20th century, when it became fashionable in dance circles to rebel against the strictures of tradition. It looks at how modern dance, which resembles modern art and music in that it is experimental and iconoclastic, developed primarily in the United States and Germany. It discusses how, in the beginning, modern dance was often misunderstood by audiences and how, by the 1950s, modern dance was firmly established in the dance world. It also shows how modern dance is said to be based on the four principles of substance, dynamism, metakinesis, and form, and how, due to the creative efforts of the modern dance pioneers, dancers today use a broader range of techniques, styles, and source materials than ever before.
From the Paper
"The first American dancers to break from classical ballet were Isadora Duncan, Loie Fuller, and Ruth St. Denis (Modern pp). Although their styles differed, their unconventional approaches opened the door to a new era in dance history, namely the American modern dance movement of the 1920?s (Modern pp). Those involved in this movement based their works on personal experience, using their bodies as instruments to express emotions such as passion, fear, grief or joy (Modern pp). The dancer created form as an outgrowth of his or her own communicative impulses, rather than adhering to the set form and limited range of gestures of ballet (Modern pp)."
| |
|
"Teaching Children Dance", 2008.
This paper provides a book review of "Teaching Children Dance" by Theresa Purcell Cone and Stephen L. Cone.
913 words (approx. 3.7 pages), 1 source, MLA, £ 22.95
»
Click here to show/hide summary
Abstract
The paper examines the book, "Teaching Children Dance", which advises teachers of children from kindergarten to fifth grade how to teach dance in a meaningful and educational way. The paper relates that the text contains dance lessons that are simple enough to teach children, but still contains an overview and a philosophical belief in the value of dance as an art form. The paper maintains that this book should be read by all elementary school teachers anxious for practical advice on incorporating dance into their lesson plans, creating dances and explaining the need for dance to parents and administrators.
From the Paper
""I can't dance." How many times have you heard an adult say this, at a party or even at a family function like a wedding? Probably many times. How many times have you heard a child say this? Probably never. How do we lose this fluidity of motion and love of our own physical capabilities? Some might say that it is lost because school forces children to sit all day in their seats in an unnatural posture, and hems in their natural, human love of movement. One solution to this dancing dilemma is provided by the engaging, practical and informative text Teaching Children Dance."
|
|
|
