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"The Whole Body Should Speak" |
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Human, expression, selected movements, recognized, rhythmic |
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Rhythm, music, tempo, duration, stillness. |
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Bound/Free, Stacatto/Legatto, Strong/Light |
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Studied Native Americans, Mad dance research a serious study |
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40s-50s, Mexico/US natives, started ethnochoreology |
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Holistic cross-cultural studies of music and dance. Started by Gertrude Kurath |
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Study of dance and all cultural significance |
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Cultural significance of dance |
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religion, symbolism, social hierarchy |
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5 Aspects of culturally sensitive approach to dance |
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1. Dance is culture
2. Must feel it
3. Movement has to do with culture
4. Need to know cultual background to understand dance.
5. Movement is an immediate corporeal experience. |
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Relies on the insider through fieldwork. Affected by personal etic. |
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Comes from outsider. Relies on theories and comparison of cultures. |
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Trying to understand other cultures to establish one's own identity |
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Amusement, Welcoming, Special Occasions, Battle Prep, Intimidations |
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Hands, feet, voice, eyes, tongue, etc. |
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Ceremonial, motivational, free-form haka |
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Haka for funerals.
Not choreographed |
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Haka contortion of body features |
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Haka wild staring and face distortion |
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Haka quivering hand movements |
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Respected female power. Pukana was highly regarded. Traditionally participate in the dance. |
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Most famous Haka. Ngeri style. Story of chief who escaped warring tribe. |
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Haka specifically made for Rugby team. |
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Controversial Haka move.
Looks like slitting throat.
Actually means breath of life. |
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People who started Capoeira |
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Capoeira with emphasis on dance.
Traditional
Slower
Sneaky chess-like moves |
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More common form of Capoeira
Emphasis on fighting
Faster
Athletic
Quick Reflexes |
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Created Capoeira Regional
Convinced authorities of cultural value
Founded first Capoeira school |
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Codified Capoeira Angola to make it more respectable. |
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Circle of Players in Capoeira |
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Entrance to circle of capoeria. Where the game begins |
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Rocking step to prepare for movements in Capoeira |
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Main Instrument in bateria |
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Movements of attack in capoeira |
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no hand strikes fakes and feigns |
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Movements of defense in capoeira |
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Evasive Ducks Throw off balance |
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Other instruments in Capoeira |
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Gong, bell, drums, rasp, tambourines |
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Narrative solo sung by master |
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Call and repeat Beginning of game Lineage of teachers Thank God |
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Call and response while game is played |
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Classical Japanese Musical Drama All day performance Masks |
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Stylized Japanese dance-drama Elaborate Make-up bizzare Elaborare stage design |
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Long house made for teaching Usually used for Hula |
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Hula teacher Knows all aspects(culture,dance,music,etc.) |
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Missionaries, King David Kalakaua, Ruth Keelikokani, Hollywood/tourism |
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"Introduced" clothing to hula from the mainland Made hula in English |
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Saw hula as culture made it staple of pride new, cultured hula |
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Focused on the music of hula Composed new songs |
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Side to side steps in hula |
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Ancient Hula No ukelele, just ipu Told tales and praised chiefs and Gods Sacred Practice |
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Religious Revival for Native Americans All dancing together Led to Batttle at wounded knee Brought on by Wovoka |
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Native Messiah who organized ghost dance |
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Masks and crowns connected dancers to spirits Blindfolded |
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Flesh-ripping dance Hang from skewers Shows bravery and sincerity Done by plains indians |
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Cannibal tribe War dance to warn enemies Eye for eye was balance Ettiquitte of war |
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Dream wanderers of Borneo Use body to express character Explore self through dance Scrutinization of group Balance is important |
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Dance passed down rituals and information before writing |
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Why modern tribes don't represent prehistoric tribes |
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1. They are likely influenced by outsiders 2. When tribes were originally studied, dance was not recorded |
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1. Celebration 2. Congregation 2. Rituals 4. Spiritual 5. Information |
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1. Outer relation to environment 2. Outer relation to society 3. Inner aspects 4. Secondary Aspects |
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Relation to environment in dance |
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Tells basic subsistencce and type of environment in dance |
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Relation to society in dance |
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Recognizes the event Rites of Passage(Individual, group, seasonal) |
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Stimulation, transformation, unification |
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Secondary aspects of dance |
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1. Intiation/Rites 2. Hunting/Animals 3. Healing 4. Funerals 5. War and weapons |
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Harmonious Ecstatic Imageless Mimetic |
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Performers Movements Location Spacial arrangement Body adornments |
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Indian dance Act of devotion Embodiment of music |
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Rhythmic dance movements in Bharatha Natyam |
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Mime/Dance with dramatic elements in Baratha Natyam |
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Combination of nritta and natya |
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Manifestation of fire in body (India) |
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Celebrated in Bharatha Natyam |
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108 Key movements in Bharatha Natyam |
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Expressive Hand gestures (India) |
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Hand, neck, eye movements(India) |
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Codified Bharatha Natyam Made it respectable |
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Emphasized Bharatha Natyam as artistic expression, embodying culture. Made it respectable |
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Japanese Dance of darkness Erotic/Sacrificial Internal Dance Exaggerated faces Liberation through art |
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Butoh breakthrough by Hijikata Uncontrolled savagery |
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Started Butoh Set standard Butoh moves |
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Started Night Club Butoh Made a dance commune |
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Made slow Butoh Famous for hanging upside down |
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Rural commune (Butoh) Natural environments Made Rite of Spring |
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Loved "La Argentina" (Butoh) Danced about suicide Dancers have no relation to eachother |
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Wild/Extravagant Butoh "Internal Tiger" Audience is a part of the dance Dancers should not just dance Smashed watermelon |
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Worked with Hijikata to carry on tradition of Butoh Formed White Peaches |
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Butoh group made by Oshikawa All dancers are named Oshikawa for anonymity. |
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