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The Multi-Cultural Connection of Dance, 2005.
This paper discusses the multi-cultural connection of dance presented through 'divine love' in Kathak, Middle Eastern and Flamenco dancing.
900 words (approx. 3.6 pages), 3 sources, £ 24.95
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Abstract
In this paper, the writer discusses that the Baile, Egyptian Cabaret, and Nritta represent a cross-cultural connection in world dance, which embodies the love that men and women share for each other. In this manner, the religious idioms of the cultures described here represent the manner of movement that depicts love, but through the sacred ideals of commitment and love. The writer points out that although these differ slightly in the accompaniment of dancers, or in the stylistics of the choreography, there is a archetypal cultural unifier that relates the desire and higher love of men and women across the world.
From the Paper
"This study examines the multi-cultural aspects of "divine love" in Kathak, Middle Eastern, and Flamenco dancing. Within these dances there is a greater blend of different cultural values that make up each of the formats of these dances. In this manner, the chain of influence upon the Kathak, Middle Eastern, and Flamenco dances offer a multi-cultural depiction of how dance is not created within the limitations of geographical boundaries. By understanding the cultural similarities based in these dances, one can realize the power of movement that is a commonality within the religious and divine nature of love. The Kathak dance is a religiously based dance that formally uses the divinity of love for Indian gods, and their dance in the Cosmos."
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Christianity, Culture and Dance, 2007.
This paper looks at dance and culture from the standpoint of Christianity.
4,314 words (approx. 17.3 pages), 28 sources, APA, £ 79.95
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Abstract
In this paper, the writer briefly traces Christianity's struggles on the subject of dance. The writer considers historical and Biblical interpretation and cultural developments and notes that the question of how Christians should engage culture in regards to this rather bodily activity is not easily or permanently answered. The writer also expresses her point of view than an appreciation of the physical body, along with its creative expressions is paramount in living out our faith in the Creator and in engaging our culture.
Outline:
Historically and Biblically
Various Church Responses
Where Christians Dance and Why
Conclusion - The Parable of the Lord of the Dance
References
Appendix 1 - The Shim Sham
Appendix 2 - Websites of Interest
Appendix 3 - Lord of the Dance
Appendix 4 - The Ark Brought to Jerusalem
From the Paper
"In the Hebrew tradition, dance was an integral part of celebrations. It was used both in worship, in ordinary life and on occasions of victory and festivity. Dance functioned as a medium of prayer and praise, as an expression of joy and reverence, and as a mediator between God and humanity. This understanding of dance permeated the faith of the early Christian church.
"However, by the time of the Reformation the church, both Catholic and Protestant, had eliminated dance from worship, forcing dance back into the secular realm, where it flourished."
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Mask Dance in Indian Culture, 2004.
An analysis of the mask dance in Indian culture.
1,369 words (approx. 5.5 pages), 2 sources, MLA, £ 31.95
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Abstract
This paper discusses the Indian culture's mask dance. The paper explains that the nation of India has a long history associated with dance as a form of communication and expression. The paper contends that dances are more than just a fusion of choreographic movements; dance in India represents a way of telling tales of historical events, passion, romance, and even tales of treachery and woe.
From the Paper
"Dance in the culture has always represented some of the more inner reflections regarding the country's combination of historical turbulence mixed with the nation's religious and inner peace oriented factions such as Hinduism. "The Arts of India are the illustration of the religious life of the Hindus. Like their faith, the arts have been preserved for the past three thousand years, from change and decay, from foreign invasions, and from the fury of the nature. We owe its preservation to the future generations. For, it exemplifies how life can indeed revolve around the arts." (Kamat, 2004) In other words, dance in Indian culture is seen as more than just a fusion of detailed and non-meaningful movements; it is more a system for delivering aspects of the culture to the masses."
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Music, Culture and Hip Hop Dance, 2007.
This paper examines hip hop dance and its place in music and culture.
861 words (approx. 3.4 pages), 3 sources, APA, £ 20.95
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Abstract
This qualitative study seeks to examine the hip-hop dance form ethnologically and from the anthropological view, through administration of a survey/questionnaire and a review of peer-reviewed literature. This study finds that hip-hop is interwoven throughout the very fabric of modern media, music and art and is an integral expression in societal interaction and expression. Hip-hop is modern and yet primitive and will be around for many years to come.
Table of Contents
Abstract
Objective
Introduction
Research Questions
Research Instruments
Data Collection
Data Analysis
Literature Review
Discussion
Conclusions
Bibliography
From the Paper
"The respondents to the data collection instrument (survey-questionnaire) were asked what was it that influenced them in listening to hip-hop music. The answers given were affirmations that imitation in society is alive and well in the present day. Because the hip-hop radio stations were readily available, the respondents state that this exposure was key in their music influences at an early age. When asked what influenced the respondents in their preference of the hip-hop dance form the answers given in unison stating that MTV was an influence and stating that imitation was the beginning of this dance form adoption by the respondents."
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Dance Therapy, 2008.
A look at how dance therapy can be used to help an autistic child communicate.
1,965 words (approx. 7.9 pages), 11 sources, MLA, £ 43.95
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Abstract
This paper discuses autism and includes some personal accounts of living with autism. The author then goes on to discuss therapy for autism, focusing specifically on dance therapy as a form of psychotherapy in which patients are encouraged to express their feelings and inner conflicts through dance. The paper stresses that, by aiding and restoring connection and rhythm, dance and movement therapy helps autistic children who are out of sync with other persons involved in their lives and who experience problems connecting between their bodies and their emotional selves.
Table of Contents:
Autism
Personal Accounts
Dance Therapy
From "Out" to In Sync
From the Paper
"Children in the middle range, albeit usually know and prefer their caregivers' company over others, however children at the severe end of autism may experience challenges recognizing their own family members. Asperger Syndrome, which represents the greatest number of individuals with autism, ranks at the high-functioning end of the autism. Many children with Asperger's function well intellectually and verbally. By today's standards, Shore states, he would have been considered to have Asperger's."
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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
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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)"
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Street Dance and Hip Hop, 2006.
An overview of the evolution and influence of street dance and hip hop.
2,985 words (approx. 11.9 pages), 12 sources, APA, £ 61.95
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Abstract
Hip hop can be termed as one of the most influential cultural movements of the early 1970's and thereafter. This paper studies the development and influence of hip hop dance: the cultural, sociological and dance style evolution of street dance.
Outline
Introduction
Literature Review
Methodology
Results
Conclusion
From the Paper
"While many consider the Hip Hop dance to be the most influential phenomenon, Carl S. Taylor and Virgil Taylor (2004) think otherwise. They believe that hip hop street dance phenomenon has taken a back seat. "Throughout the last 25 years, a new form of expression has continually evolved despite the efforts of many in the so-called 'establishment' to minimize its influence on young people. This form of expression that was once limited to urban music and dance has become a widespread form of communication and expression by young people throughout the world."
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Modern Dance, 2004.
An overview of the history of modern dance.
1,117 words (approx. 4.5 pages), 3 sources, MLA, £ 26.95
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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)."
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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
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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."
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"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
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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."
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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
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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)"
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Javanese Dance Rituals, 2004.
An analysis of Javanese dance rituals.
1,239 words (approx. 5.0 pages), 2 sources, MLA, £ 29.95
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Abstract
This paper examines and compares the erotic court dances of the 14th century Javanese culture and today's local folk-dancers, ronggeng. The paper explains that, in addition to expressing the age-old dichotomy between the masculine and feminine principles, Javanese dance is also useful in preserving what the Javanese believed would be lost through colonialism, their culture. The paper claims that the first schools of classical Javanese dance were founded out of a desire to retain and maintain the true Javanese culture, with its Hindu and Buddhist elements.
From the Paper
"Two sons of a Javanese sultan, both of whom were nationalists, founded a dance school, Kridha Beksa Wirama, in 1918. Moro notes that the school was "groundbreaking" as it was the first effort to make court dance democratic, and less 'feudal.' Its first students were the youth affiliates of Budi Utomo, the first nationalist organization in the region. However, because members in these somewhat avant garde groups were primarily aristocrats, the elite continued to have a hold over the arts. Still, graduates of that school went on to teach in the Taman Siswa schools, a system dating to 1922 that " linked education and experimental pedagogy to the goals of Indonesian nationalism" (Moro, 2004)."
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The Semiotics of Dance, 2005.
This paper discusses the semiotics of dance, with a focus on ballet.
1,575 words (approx. 6.3 pages), 4 sources, £ 42.95
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Abstract
This paper looks at ballet as the form of dance. The paper presents the major argument that ballet is used to create ideas of cultural superiority. The paper considers that at the same time this cultural superiority is used to make other cultures look inferior.
From the Paper
"Art forms are filled with signs, messages, symbols and a whole range of other semiotic features. In Messages and Meanings II Marcel Danesi defines art as, "Disciplined expressive activity that provides the people who produce it and the community that observes it with a range of experiences that might be aesthetic, emotional, intellectual, or a combination of these (Danesi 2004: 332)." Many activities within human societies could be considered art. Singing, music, sculpting, drawing or painting, writing and acting are all activities preformed by societies that are considered art. Each piece of artistic work is filled with symbols, signs and meanings."
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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
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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."
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