Dance: Chapter 13

Fokine's Five Principal:

1. Create for each dance a new form corresponding to the subject, the most expressive from possible for the representation of the period and the character of the nation represented. 2. Engage mime only to express dramatic action and not as a mere divertissement or entertainment. 3. Utilize the whole body replacing gestures of the hand. 4. Develop expressiveness from the face through to the body and from the individual to the group. 5. Give complete liberty to all collaborators' creative powers aligning dancing with other arts.

Denishawn (1915-1931):

1921&195; The Denishawn was the highest oaid and most noteworthy dance company in the U.S. Traveling all over the country including 13 tours, they were seen by thousands of people, which spread their own choreographic ideas and also those of th modern dance movement. St. Denis was an excellent businesswoman who greatly contributed to their success as she knew how to commercialize exotic themes including Asia and India.

American bandstand:

1952; Featured prominent artists, songs, and their accompanying dances. Presented by the American Broadcasting Company, show started out as a music show but quickly turned to a dance show propelled by the first teenage revolution in the U.S. Performances highlighted trending dances of the day and introduced rock and roll in a respectable format. Some of the dances made popular by the show included the Jerk, Madison, Hand Jive, Hully Gully, & the Stroll.

Vaudeville:

A variety style show popular during the 1880s and 1940s and is considered the "heart of American show business". The term Vaudeville may have been fasely adapted as the French boulevard theater term vaux de vire.

Jazz dance:

An interest in oresenting vernacuular and popular social dances as concert forms. New form emerges know as Jazz dance. Before the 1950s, it referred to the social dance of the time that originated from African American vernacular dance. With roots in traditional dance from the Caribbean, jazz dance incorporates isolation of body movement and polyhythms. Typically has sexual undertones due to the body part isolations of the hips, shoulders, torso. Often played and very entertaining, jazz greatly leads to commercial dance for Broadway, tv, and film. During 1940s musics were enormously popular with nearly 11 million people attending Broadway shows. Some of the legendary jazz dancers, choreographers, and educators include Jack Cole, Eugene Louis Facciuto, and Gus Giordano.

Shimmy:

Another highly popular dance among the flappers is the Shimmy or Shimmie. Consisted of seductive shaking of the chest and torso. Involved whole body shakes or sways.

Prom (promenade):

Appeared in U.S for college students in northwest. Roots in the debutant ball. An attractive alternative for middle class white women who might not be able ti afford debutante balls. Co-ed prom parties were for the adult world. In 1920s, white high schools began proms to teens. When Great Depression hit, prom had becom such an important event that some principals cancelled it so poorer students who couldnt affort it, wouldnt be psychological hurt. After post war boom, proms became mainstay in 1950s. Included mal asking female to dance, picking her up, meeting her larents, presenting a corsage, dressing formal&semi formal, and dancing all night. Events have grown from dances in school gyms to decorations, themes, hotels, limos. Promposal. Each prom had same dress codes and rules. Segregation in 60s&70s white and black promes. In 1979, 2 students became the first gay men to attend prom.

Hip-Hop:

Art form, hip hop evolved from African dance form. In hip hop, the spine moves in different sections nd involves body part isolations typically found in African dance. There are a variety of hip-hop dance style, such as breaking, robot, waving, popping, locking, and jazz funk. Typically performed to hip hop music, hip hop involves isolation of the body and use of ground, especially for break dancing. Break dancing gets its name from the DJs repeating the "breaks" in disco music. The technique typically requires strong wrists and necks to support floor work. Breaking in the U.S appeared in 1970s.

Leonide Massine (1896-1979):

Ballet student at the Imperial Theater School, Leonide Massine becomes Diaghilev's principal choreographer from 1915-1921. Choreographed the worlds first symphonic ballet, Les Présages, choreographed over 100 ballets. Massines choreograohic language is notorious for its inventive use of diverse styles, ranging from modernism to commedia dell'arte and its combination of classical movements with folk dance. Some of his reowned roles were in his own comic works Can Can Dancer in La Boutique Fantasque,Le Beau Danbue,Gaite Paris. Massine collaborated with other artists. Parade famously with Jean, Erik, Pablo

Dance Marathons (Walkathons):

Began in 1920s as component of an endurance contest craze, The Great depression launched their popularity. The endurance events provided cheap entertainment for viewers&participants who kept dancing, meant shelter, food, opportunity to win cash prize during uncertain times. True endurance events lasting days, weeks, months. To not be disqualified, dancers had to keep going and do anything to keep awake including knitting, shaving, reading. Often, held up their sleeping partner and if their knees touched the floor, theyd be ineligible to continue and would forfeit prize money.

Conga:

Believed to have been introduced by African slaves in the West Indies and became a popular street dance in Cuba. Its typically performed in lines with three base marching steps and then a kick. The feet and kick alternate each time accenting the fourth count.

Mata Hari (1876 - 1917):

Born Margaretha Geertruida Zelle, found fame as a performer of exotic Asian-inspired dances, predominatly Indian and Javanese dances. Like St. Denis, her work lacked authenticty of the cultures Was emulated. However, she lacked houses with dancing, mostly slow stripping. Was also a courtesan who was accused of espionage by French for Germans during WWI. Convicted and sentenced to death, she was executed by firing squad in France.

Ruth St. Denis (1877-1968):

Born Ruth Dennis, started through the Francois Delsart method taught by her mother. Self taught, she started in Vaudeville in David Belsco's theatre company as a skirt dancer and toe dancer, but her interest in the exotic drove her to create work insoired by mystical themes, workd dance especially the far east, exotic-orientalism,& photographs. Choreographic principle of "music visualizations" drove much of her work. In 1914, she married Ted Shawn and together created the Denishawn company and school. She trained 100s in L.A dancers for film as the next generation of modern dancers including Martha Graham, Charles Weidman, Doris humphrey, Barton Mumaw, Jack Cole. She set the stage for a second generation of modern dancers.

"Happenings"-

Combined elements of dance, thester, music, poetry, and visual art to blur the boundaries between life and art. Oncluded anything that happens to more than one person in a sort of half planned, spontanous way and they forged a new artistic practice. Events were more visual than traditionam theater and instead of storytelling, the composition was flexible. An experienced shared, but each individual experiences it differently and has their oen unique take ways. Sometimes, there are performers and an audience and at other times the audience are themselves the participants, thus no separation between the two.

Concert dances& dancers entertain in 20th century:

Concert dances marked by a rebellion of a traditional form and the creation of a new form. The voice of the individual choreographer drives a new movement in dance, which mirrors desired freedom and personal expression. Its initially developed and driven by women to later become an internationally recognized dance form, which dominates the 20th century.

Modern dance:

Continues to develop with a second and third generation of choreographers and dancers driven to express their own vision, movement theories, and choreographic interests. This is a rich & full period of dance supported by the Works Project Administration. WPA emloyed tens of thousands of actors, dancers, musicians, writers,& other artists. Allows dance to invent their own movement that refelcrs their personal, cultural, ethnic, religious backgrounds and often presented the opportunity to express social and politcam ideals. Tends to be grounded, often utilizing the low level floor work, and unlike ballet, which is interested in etheral modern tends to be more grounded, communicates through human movement, conveys human emotions, and abstract a story.

Ted Shawn (1891-1972):

Contriubted to the education of modern dancers through his interest in training the male dancers whom he often recruited from high school or college athletic teams. He was especially interested in physic education and gymnastics and with training gancers to be more efficient in their movement. He founded the all male "Ted Shawn and His Men Dancers" troupe and established Jacobs Pille to train modern dancers. Jacob's Pillow and its Summer Program are one of the leading dance festivals in the U.S still operating today.

Ballet Folklorico de Mexico:

Created by Amalia Hernandez in the 1950s. Hernandez combined Mexican history and traditional dance with theatrical elements. She transformed these social dances to a concert form. This genre emphasized local folk culture but added ballet characteristics such as pointed toes. Performances are highly choreographed and include exaggerated movements meant for stage. The dancers are a synthesis of cultures from Mexico, Central American,& Southwestern United States and represent multiple regions and nations. The origin of the folkloric dances is from ancient people including the mixing of the races by foreign peoples and evolution of traditions and culture.

Salsa:

Dance and musical style with deep African and Caribbean roots. Includes a mixture of rumbas of African slaves, Danzon dance of French& Haiti immigrants, troubadour music like Flamenco of Spanish people, and Son of the Cuban people. Its origins include Puerto Rico, Cuba, & the U.S. In Puerto Rico, son of Cuban people. Its origin include Puerto Rico, Cuba, & U.S. In Puerto Rico, son and mambo musicians developed their own unique style in the 1930s. First performed during the end of the 19th century but it was politcal unrest in 20th century that brought many Cubans to Miami. Salsas true popularity came in NYC during 1970s. Its then that Cuban and Puerto Rican immigrants combined music and dancing of their homelands to create NY style, heavily influenced disco dancing & music.

Michael Fokine (1880-1942):

Dancer and choreographer who was trained at the Imperial Ballet School, and danced with the Mariinsky Ballet, before joining the Ballet Russes. Hes best known for his choreography Petrouchka (1911), Firebird (1910), and Les Sylphides (1909) and his five principals of ballet, which hevoresented in a letter to the London Times. (1914)

Early 20th Century (1900-1939)

Defined by ragtime music, distinguished by syncopation and "ragged" rhythm and Jazz music. Jazz emergered as social dance like Cakewalk, Black Bottom, Charleston, Jitterbug, Boogie Woogie, & Lindy Hop. This period also marked by the craze of "animal dances." Named after creature dances included the grizzly bear, camel walk, horse trot, crab step, chicken flip, kangaroo dip, & bunny hug appealing to Americans who seeked less standardized and serious dances. No dance was more controversial or popular than turket trot. Animal dance proclaimed to be vulgar with its frentic flapping wings of an excited turkey. Daughtes of the American Revolution tried to halt the dances and The US Naval Academy in Annapolis, Maryland, banned cadets from dancing. Advised against doctors, banned by many cities, denounced by President Woodrow Wilson who canceled the Inaugural Ball due to fear of turky tot, bunny hug, & other dances

Post Modern:

Departure from second generation of modern dance and emerges as an artistic movement that strips away the established boundaries of dance and the definition of the dancer. Post Modern dance choreographer believed that almost any movement could br considered dance and a dancer. Post modernists threw away the previous constructs of what dance was and allowed for games, play, chance, and something new. Choreographers believed their work to be disponsable dances to be seen once and then like a tissue, thrown away. These choreographers believed brought a new perspective to dance and questioned everything. Their shows became "happenings" and choreography was often improvised fully or included structured improvisation in some way.

Jack Cole (1911-1974):

Developed a basic movement vocabulary, Cole is remembered as the prime innovator of jazz, or fathet of American jazz dance. He trained at Denishawn and performed with Humphrey/ Weidman before going into commercial work. Much like Ruth Stm Denis, he was attracted to the exotic and utilized Indian dance in his work. Set a new standard for training dancers for film.

Samba:

Developed as urban music in the favelas (slums) of Rio de Janeiro, considered wild, thus not respected by the middle and upper classes. Long play records and radio promoted the dance withing Braxil and later internationally. Samba was another dance introduced at the World's Fair in the U.S in 1939. Brazilian style of music originated as a social dance performed at gatherings. Became popular during the turn of the century with some of the early recordings dating back to 1912. Over time, Samba gained influence over Brazil predecessors such as the maxixe and the marcha. Its now the staple dance synonymous with Brazil and Rios Carnival

Ballet Russes (1909-1929):

Diaghilev's company charged with creating new dazzling, provocative, avant-garde ballets each season. Recruiting dancers on summer break from the Imperiam Ballet of St. Petersburg, he ushered in a new era of ballet. Goal was to create astonishing works, each one new and different driven by the choreographer to push the envelope. 1909-1914, Fokine was principal choreographer and from 1915-1921, Leonide Massine was principal choreographer. Other choreographers for the Ballet Russes included Vaslav Nijinsky, Bronislava Nijinsky, George Balanchine. In 1923, became the official ballet of Monte Carlo (Les Ballets Russes de Monto Carlo). Success of the company is due to the talented artists working together to crafr contribute avant garde choreography, theatric design, costumes,&music. Company also made a lasting impact on American audiences, as they toured large and small cities throughout North and South America during World War I and American dancers who were inspired by and trained by Ballet Russe

Isadora Duncan (1877-1927):

Duncans movement based on instigation from the solar plexus and was inspired by Greek art and architecture. Began in San Francisco where she studied ballet and taught neighborhood children to dance. Joings Augustine Daly,s New York based company in 1895 but gains internation fame for her time in Europe where she toured and taught. Wherever she set up resdiences, she created a children's school and called her dancer, some which she adopted her "Isadorable." Contributed to the women's dress reform by costuming herself and her dancers in lightweight sheer tunics, which released the torso from the confines of restrictions and promoted the allusion of naturla and nude body. Freedom and expressiveness in her perfomances, included improvisation, inspired by other dancers and influenced the world of ballet.

Ballet

During the 1930s and 1940s, both immigrant and American choreographerers concentrate on finding the American style of ballet. Based on European technique, artists explore new choreographic themes, which include western themes which include western themes, Americana subjects, and charscters from everyday life. Ballet also finds a new home on Broadway when its utilized in musical theater. Some of the significant contributors during this time include Lincoln Kirstein, George Balanchine, Frederick Ashton, Anthony Tubor, Agnes de Mille, Eugene Loring, Maria Tallchief, Suzanne Farrell, Arthur Mitchell, Gelsey Kirkland, Alicia Markova, Mikhail Baryshnikov, Ballet Society, New York City Ballet, American Ballet,& Joffrey Ballet.

House:

Emerges from disco but is a "deeper" and more "raw" sound. Style oh high temp, electronic dance music, designed to inspire dance and movement. Born in Chicago clubs that catered to gay, black, and latino patrons, originated in the early 1980s and spread internationally. House catapulted the club DJ fo rock star status. Dancing perfomed to house music allows freedom for individuals as their movement isnt dependent on a partner. Dancer moves along in the midst of a crowd. Some commin steps include stomping, loose leg, train, farmer, swirl, hack in the box, salsa step, salsa hop, sidewalk, crosswalk, b boying, stepup, crossroads, tip tal toe, scribble for, kriss kross, state, heel toe, Melbourne shuffle, Roger rabbit, dolphins

Lindy Hop:

Evolved with swing music in the African American communities in Harlem. One possible source for the name of dance is that it was named after aviator Charles Lindbergh. Known as "lucky lindy", he "hopped the Atlantic" in 1927. Was a partner dance which allowed for improvisation and choreographed moves. It includes footwork borrowed from the Charleston and tap and consists of both six and eight count steps. Were many Lindy Hop competitions that showcased the diversity of dance, ranges from frenzied kicks and acrobatic movements to sophisticated and cool.

Radio City Rockettes:

Evolving from the Vaudeville lineage of variett shows, Radio City Rockettes was founded in 1925. Housed at the Radio City Music Hall in New York City, Rockettes are known for their dynamic kick line and precious unison dancing.

Jitterbug:

Extention of the Lindy Hop, Jitterbug originated from negative term used to describe jittery swing dancers, often white youth, who danced out of control. Dance may hve also gotten its name from dancers who been enjoying "jitter juice" or moonshine. This American style dance soread through Europe as Americans went to war across the Pacific and the Atlantic during WWII 1944. Like swing music, this youth dance movement symbolized freedom. Couple dance with a lead and follow, jitterbug was performed with and includes closed and open position, dancers connect hand to hand.

Mary Wigman (1886-1973):

German dancer, choreographer, and teacher. She created Wigman's Central Institute in Dresden as well as the Mary Wigman School in New York City, which was directed by her pupil Hanya Holm. Wigman was the leader of the German Ausdrucmstanz movment of 1920s and 1930s and focused on stark themes and working from inside to out.

Serge Diaghilev (1872-1929):

Gifted producer who brought talented artists from different areas together to create new works. After Oerioa, Serge Diaghilev was most important influencer of Russian ballet. Although born a member of the Ruisdian nobility, he raised money privately to support the company he founded, Ballet Russes. Due to Russian Revolution the company never performed there, but instead toured extensively throughout Europe and to North and South America. Diaghilev promoted ground-breaking artistic collaborations and brough artists such as Vasily Kandinsky, Alexandre Benois, Pablo Picasso, Henri Matisse, Igor Stravinsky, Claude Debussy, Sergeo Prokofiev, Erik Satie, Maurice Ravel, Leon Bakst,& Coco Chanel together. Responsible for creating some most dazzling theater.

Calypso:

Influences from Kaiso and other West African dances, Calypso developed in the Caribbean in the late 19th century. However, the first recording was in 1912 by Lovey's Orchestra. Calypso dance and music, like other forms of Caribbean music, is a blend of European music and West African musical rhythms. It became popular like other Afro-Caribbean dances in the 1950s.

Ziegfeld Follies (1907-1921):

Inspired by the Folies Bergeres of Paris (1872), The Follies were an elevation of vaudeville and variety shows and showcased the Ziegfeld Girls, were beautifully costumed chorus girls. Florenz Ziegfeld (1876-1932) was the producer behind the popular show that dominated the Jazz Age. His Broadway show that dominated the Jazz Age. His Broadway shows and revues reimagines American theater and transformed the showgirl industry.

Loie Fuller (1862-1928):

Inspired by the manipulation of fabric and material. Her skirt an scarf dances allowed her to create illusions and to push innovation. On stage, was accompanied by color transformations created by lighting effects reflecting upon the fabric. Utilizing movement with fabric, designed later projections by painting slides of frosted glass with liquefied gelatin. This idea of creating colored light or gels is a technique still utilized in stage productions throughout the world as well as other stage lighting concepts including from side and above& lights that come from below, also black box stage where the dancer is illuminated within stark stage and masked off sides. Born in Chicago, notoriety came from outside the U.S including dancing at Folies Bergere and performing at the 1900 international exposition.

Improvisation and "chance dance":

Interwinee in post modern dance. Includes creating movement in the moment, on the spot, without preplanning. Improvisation can drive the design of dance phrases to be utilized in choreography, but can also be a structure for choreography as well. Its often movement for movements sake improvisation tends to be non linear and random. In post modern dance, there may also be a component of chance involved. Chance dance may include rolling dice to determine events, structure, or order and the addition of other unrehersal elements. Post modern dance contact improvisation becomes one of post modern dances legacies. Contact improvisation can be utilized in performance or class as an improvisational tool in which dancers shar their body weight in an unanned interactive approach.

Rock 'N Roll:

Its interesting to note that this music and dance form gained in popularity and acceltance due to FM radio and these types of televised dance shows. However, there were still dances that caused controversy. Ex: the Twist drew scrutiny due to the evocative hip and torso isolations demanded of the body. Dance was also uniwue as it didnt require a partner and could be performed individually and with both the same sex and opposite sex partners. In this way, the Teist contributed to social and politcal movements of the 1969s includining civil rights, sexual liberation,& womens movement.

Geisha:

Loesely geishas translates to "artist" performing artist, or artisan, trace their culture to dancers and performances of the 11th century, the popularity continied to grow and by the 1920s and 1930s approximately 80,000 women were geisha. Japanese art form includes women who entertain through performing the ancient traditions of art, dance, and singing.

Eugene Louis Faccuito (1925-2015):

Luigi was the nickname Gene Kelly gave gim, developed warm uo exercises that he developed after serious injury inflicter by a car accident. Although, he originally started balet in training with Broniava Nijinska, he started teaching a jazz dance in 1951. This "Innovator" had a significant following becoming the "Pied Piper" or "Ambassador of Jazz." He danced in more than 49 films including On the Town, Annie Get Ur Gun, Sining in the rain, American in Paris,& white christimas.

Choreography for popular music:

Many dances in the 20th century evolved from a slecific song. The popularity and uniqueness of the song encouraged choreography to be created for it and was an integral part of it. This goes beyond the creation of a specific movement like the Moonwalk, Sprinkler, MC Hammer, Running Man, or but includes dance choreography for all or the majority of dance. Sometimes planned moves were for a section, like chorus and were created by the singer.

Vernon and Irene Castle:

Most famous ballroom dancers of the day and changed social dance in the U.S. The American and British team introduced dances from other cultures, created new dances and steps, and modernized versions of the waltz, polka, and gavotte. They were attempting to introduce more respectable dances. One of the reasons of their popularity was that they were married wholesome couple who alealed to even the strictest dance opponents.

Savoy Ballroom:

Most famous clubs for swing dance, 10,000 square feet space was the size of New York City block and its sprung wood floor often needed to be replaced. With the energy of the place and a 4,000 person capacity, the floors bounced up and down and "stomping at the Savoy" was known. Music and dances never stopped playing as one band ended the next started with the same song. Besides attracting the best Lindy Hoppers, Savoy was an integrated establishment. Typically, the clientele was 85% black, 15% white but patrons were only judged on their dancing skills, not the color of their skin.

Charleston:

Named after the city in South Carolina, created by Bea Jackson and didnt require physical contact. Could be performed with or without a partner, and in groups. Independent spirit of the dance mirrored the political shift and the 1920 ratification of the 19th amendment granting women right to vote.

New movement in concert dances&dancers that entertain:

New dance movement is reffered to as new dance, aesthetic dance, or early modern dance. Response to ballet and its codified positions, early modern dance focused on authentic movement and human emotion. It dispelled with the turned out legs and rounded arm positions of ballet instead opting for freedom of movement in a torso unrestricted by corsets barefoot and barefoot legs without the constraint of tights. Were acts of rebellion and freed. An American art form, early modern dance embodies the spirit of man, humanity, and people. New dance wasnt interested in fairy tales of past but aesthetics of pure authentic movement. Driven by each choreographers interest, style, and their personal mission.

Gus Giordano (1923-2008):

One of the foundrs of theatrical or Broadway jazz dance styles, Gus trained with Hanya Holm and Katherine Dunham. He helled define Broadway jazz and theatrical jazz dance and was the first to teach dance on television throug a 15-minute series broadcast in Chicago called Jazz Dance. He taught many dancers and perfomers including Patrick Swayze, George Hines, and Mia Michaels. In addition to his company, Gus Giordank Jazz Dance Chicago, which toured internationally and school, he codified his technique and established the American Jazz Dance World Congress in 1990.

Cumbia:

Originated in 17thcentury as African slaves imitated their Spanish captures, was in the 1950s that a following developed due to recorded distribution. Dance gets its name from African word Cumba= dance. Cumbia is a blend of indigenous,European,&African cultures. A courtship ritual in which the male pursues female. He dances all around the female and to entice her, gestures his hat on and off however, couples dont touch. Performed at night in a circle, women hold bundles of candles wrapped in color hankerchieds in their right hands. Traditional form, musicians are seated on the inside of the circle, surrounded by the women&men on outside. Women make small, shuffling steps as the man moves in an indirect zig zag pattern around her. The quality of the movement remains reserved during the dance dueto the coyness of the female and dance of lit candles.

Maxixe (Brazilian tango):

Originated in Brazil in 1910s. Has many variations in spelling including mattchich, mattchichem machichi, matchiche, macheech, maxiix, & max-cheese. Brazilian Maxixe is quick and lively and can be danced to any two-step, whereas the tango is slow and relaxed and can be danced only to tango music. Its essentially Africanized two steo or polka. Due to fiery lyrics and sensual movements, dance was believed to be a "forbidden dance", the Lambada dance, presented later in the century in the 1990 movie is related to and has many links to the Maxixe. The authentic maxixe was captured on film by Vernon and Irene Castle in Whirl of Life.

Mambo:

Originated in Cuba in 1930s, dance reached its popularity in the U.S during the mid-1950s. In New York City, the mambo mania took hold of the name "mambo revolution". Steps of the dance include mostly forward and backward movements with basic rock steps and side step. Also includes hip movements and punctuations of the music with kicks and flicks of the feet. Its high energy dance, which is enjoyed today as social and competitve dance levels. Made a revival due to Ricky Martin and by Lou Bega with "Mambo No. 5"

Cha-Cha:

Originated in Cuba, came out of necessity to support dancers who preferred a lower mambo dance than the danzon-mambo rhythm allowed. Violinst and composer Enrique Jorrin, created music that emphasized the first downbeat such thst thythm became less syncopated. This allowed dancers to develop a triple step, known as "one-two-cha-cha-cha," which produced cha cha soun with their shoes. From Cuba, it became popular in Mexico City, Latin American, & Western Europe. Around 1954, dance was introduced in the U.S and rapidly gained popularity. By 1959, the cha cha was one of the most popular dances in the country and remains a part of ballroom competitions along with samba, rumba, paso doble, and jive.

Black Bottom (Swanee Bottom):

Originated in New Orlean and made famous by Ann Pennington, star of the Ziegfeld Follies perfomance in 1926. Dance requires slapping one's bottom. One of the tunes, "Black Bottom Stomp," which accompanied the dance was composed by Jelly Rol Morton who entitles it after the Black Bottom area of Detroit. These dances were popular and in drastic contract to the earlier and set dances. Adopted by all types of people without extensive or formal training. Dances changed quickly that most dance teachers couldnt codify and teach them quickly enough. Biggest exception of significant dance teachers eas the husband and wife te Castles.

Tango dance:

Originated late 20th century in Bueno Aires, introduced in New York City by the Castles in 1913 after the craze took hold of Paris, and later London and Berlin. A high sensual dance performed to popular Argentine music combines elements from African, Native American, and Latin dances. although required close body contact lime the Waltz, Tango's sensuous movements were performed with chests pressed together and intereined limbs. Was even more scandelous than Fox Trot. Roman catholic church and Protestant priests and Ministers banned the dance. One of the most famous performances of Rudolph Valentino in 1921 film The 4 Horsemen of the Apocalypse.

Disco:

Performed to Soul-influenced and melodic music with regular bass bear includes couple, group, and solo dancing, which consists of two styles. Intricate choreograped couples and lines dances and simple pedestrian movement including posing. Started as a partner dance, but due to John Travolta's performance in Saturday Night Fever, the craze turned to freestyle solo dancing. Another reason couple dancing shifted to solo was because of the focus on heavy drinking in everincreasing discos. Solos freestyle and group dancing, like line dancing, didnt require dacers to be sober. Disco is also a club or party where people dance pop music. Most famous disco was Studio 54 New York City. Cultural phenomenon, brought together the famous and beautiful with the unusual and outrageous. Although challenging to get access, the doormen were extremely particular about whom they would permit inside so as to create a balance of characters. However, the dance floor was "democracy" according to artist Andy Warhol& a showcase of hedonsim and bacchanal.

Rumba:

Popularity has been confined to Cuba where its developed into two different styles. One; an informal social dance performed at celebrations with family and friends. Two; a concert form performance for tourists in theaters. Developed in Cuba due to large numbers of enslaved Africans by the 18th century. Became an international rage during the 1930s spreading through Africa. Was introduced to the U.S in 1936 at the World's Fair. In Cuba, before and after slavery was abolished, Rumba provided a social outlet for oppressed slaves and underclass. Typically danced by Afro-Cubans in the streets ir backyards asn an urban dance. However, as a result of the effects of the 1959 Cuban Revolution, dance gained popularity in 1950s as an equalizer and provided cultural identity. Defined by elaborate dancing, vocal improvisation , and polyrhythmic drumming. Based on son cubano, African soukous, it commonly referred as "Congolese rumba." in the U.S, its often "ballroom rumba".

In Dahomey: Negro Musical Comdey (1903):

Produced in N.Y.C; was the first full length musicam written and played by blacks to be performee at a major Broadway house and it became the first all-black musical to be presented in London. Touring for 4 years and with a casr of 100, the performance included the Cake walk and The Buck and Wing.

Animal dances: 1915

Resurgence of country dance in America with support of Cecil Sharp- traveled Between England & the U.S documenting dances and enthusiasm. Societal to turkey trot and tango lessoned as the world focused war. Except for Fox trot, animal dances continued to fall out of fashion. 1920s came, American youth began embracing such dances as the Charleston, Shimmy, & Black Bottom. Like Tango&Fox trot, was opposition to this new social dance craze as these dances were believed to be risque. Scandal surrounded the movements of dances like Charleston, but also "flapper" culture ingeneral. Roaring 20s was outrageous due to flapper fashion including short hair, short dresses, no corsets to loose fitting clothes, makeup, & jazz music, Prohibition and petting parties. "cuddling, snugglepupping, necking, spooning" parties provided an opportunity for young women and men to explore touching, kissing,& physical contact

Vaslav Nijinsky (1889-1950):

Russian ballet dancer and choreographer, joined the Mariinsky Theatre as soloist in 1907, later becomes an international star. Known for his spectacular leaps, legendary elevation, and passionate interpretations and was considered the "8th wonder of the workd" and the "Vestris of the North". Interested in movement invention and creatng a new form, he, along with his sister Bronislava Nijinsky joined the Ballet Russes in 190o and was Diaghilves lover for most of the time he was with the company. Fokine capitalized on Nijinskys charisma and talen by creating starring roles specifically of him. Nijimsky preferred to dance barefoot and as a choreographer he chose angular shapes in his work. Went against the ballet establishment and looked to dancers such as Isadora Duncan whom he danced with, for inspiration. Nijinsky is best known for his neo- Classical ballets including LApres-midi d'un faune (1912) which played a faun, Le Sacre du Printemps (1913) and Jeus and his performances as rose in Le Spectre de la Rose (1911), slave in Scheherazade (1910), and as pupper in Petrouchka (1911).

Fox Trot dance:

Social dances are created in ballroom often and then evolve into stage performances. The opposite is true on the Fox Trot. Dance created in 1914 by Arthur Carringford (1882-1959) for his company for the New York vaudeville theaters. Stage name Harry Fox, would "trot" through scenes of the show, tell a joke, then commence his movements of two slow walks followed by four quick steps. Steps easy to copy and led to its popularity on dance floor. Also didnt require complicated formations or sets to learn or memorize. Remains part of American and ballroom culture as it remains part of competition ballroom dancing today.

Social Dances in the 20th century:

Social dances including new forms & evolution of earlier dances from previous centuries. We have an abundance of detailed written sources to study the dances including instruction manuals, notations, magazines, newspapers, books, programs & posters. 20th century provides a plethora of recorded music. Music of these popular dances has been preserved on wax, shellac, vinyl, magnetic tape, compact disc & digital media. Invention of film & video has revolutionized our capability to capture, preserve, & analyze dance. With a lot amount of social dance, will investigate the abundance by seperating the century: Early 1900-1929 Middle 1930-1969 Late 1970-1999

Country Western:

Square dancing and country dancing have remained part of the American culture. In 1926, Henry Ford published an instruction manual for aspiring square dancing instructors, required his employees to attend the square dancing events he produced,& campaigned to bring swuare dancing to American schools physical educational classes. Due to Fords efforts and financial support, almost half the schools in America were teaching square dancing by 1928 and 34 American colleges started teaching early American dancing. In the 1940s, there was renewed interest in square dancing and folk dancing. 19 U.S states have selected it as their offical state dance.

Butoh 1959:

Starts as a reaction against Western influences in Japn after WWI and inspired by the Ankoku-Butoh movement. Its a collective name for a diverse range of motivations and techniques of modern dance and investigates humans most primitive instincts. It was an avant garde movement. In the beginning, butoh was a protest against the conventional. It later evolves to show the extremes of violence within oneself and eros, the need for love and a desire to dance true love. Often performed in non-typical theater spaces, butoh fully explores and investigates the dark side of life including the grotesque and ugly. It intentionally rejects a beautiful body, movement, & costumes.

Buddy Deane Show:

Televised dance and music show. Directed at a teenage audience, ran 2 1/2 hours a day, 6 days a week. The show included a committee of dancers, which appeared regularly. The movie Hairspray with it "Corny Collins Show" is loosely based on this Baltimore dance program. The Buddy Deane Show was a white only show except for "Negro Day" which aired every other Friday with an African American cast. Instead of integrating the nationally popular show, it was cancelled.

Bronislava Nijinsky (1891-1972):

Trained at the Imperial Ballet School and joined the Mariinsky Theatre company in 1908. In 1909, she joined the Ballet Russe with her brother Vaslav Nijinsky. An extention of ballet as a form of avant-garde expression, her choreography went against the classicism of the 19th century. Believed that classicism could stay alive only if continued to evolve. Best known for Les Noces, Le Traine Blue, Les Biches, and ballet sections of Max Reinhardts 1935 film A Midsummer Nights Dream. Nijinksy was a gifted teacher and some of her notable students include Marie Tallchief, Cyd Charisse, Allegra Kent. Also influenced Fredrick Ashton.

Major influences of the 20th century:

WWI, Great Depression, WWII, Holocaust, Cold War, Terrorist attacks, Collapse of several empires; Conflicts are also credited for causing nations to rapidly develop new welfare tactics, inventions, &revolutionary ideas that are still playing important roles in moder-day societies. There's tremendous industrialization and urbanization serving as a catalyst for challenge and change.

Anna Pavlova:

Well known dancer who was inspired by the early modern dance choreographers. Toured extensively and even went to South America and India, places that had never seen dancers on point. Pavlova inspired other dancers including Frederick Ashton. She premiered at the New York Metropolitan Opera House in 1910.

Debutanta ball (coming out parties):

Well orchestrated events to present young women to society. Daughters of the upper crust are recommended to the cotillion or ball committtee members who carefully select the young women. Originally served to mark when a young women was ready tk marry and signified their entrance into the adult world. Today, they serve to showcase the accomplishments of the women. Presentation includes choreographed dances danced with their father and thoughtfully chosen male escorts. As part of a longstanding tradition, debutant wear long white gowns, long gloves, &bouquetd. Escorts wore black ties and tails. With Religious undertones, age range was from 16-25 introducd to society for strictly social reasons.