DANCE 007

Ballet aesthetics value upward movements, which, according to Gerald Jonas, may be a reflection of the religious beliefs held by its European creators about divinity being "up above." T/F

#tru

In Earl "Snake Hips" Tucker's dance, his hips and legs move vigorously, while his upper body is mostly still. T/F

#tru

Which of the following minstrel performers helped popularize the cakewalk? - Thomas "Daddy" Rice -William Henry Lane (Master Juba) -Bert Williams -Bill "Bojangles" Robinson

-Bert Williams

Which famous dancer/choreographer is known for using "chance" methods to choreograph and for "divorcing" dance from music? -Yvonne Rainer -Merce Cunningham -Martha Graham -No answer text provided. -Isadora Duncan

-Merce Cunningham

What characterizes respectful ways of studying hula? (select all that apply) -learning from a teacher with a depth of knowledge -approaching the study of hula with discipline, patience, and perseverance -using hula primarily as a way of getting fit and looking sexy -keeping in mind that ultimately, hula is just for fun

-learning from a teacher with a depth of knowledge -approaching the study of hula with discipline, patience, and perseverance

Which of the following is a central component to Martha Graham's Dance Technique? -Contraction -Soft, beautiful lines -Pointed toes

Contraction

In Cahuilla Bird Singing, men never dance, only women do. T/F

False

According to guest speaker William Madrigal, Jr. Cahuilla bird singing is similar to modern dance, hip hop, and powwow dance practices in the ways it borrows dance steps from many cultures and incorporates those steps into its own dance vocabulary. T/F

False- - it is the opposite of what guest speaker William Madrigal, Jr. says. He talks about how "Bird Singing doesn't borrow from any other region other than our own region of Southern California, Baja, the Colorado river area...Bird singing is from this area, from this region..."

What is valued more in Tewa Deer dance? - Individuality, flair, and improvisation -Group unison, groundedness, and community

Group unison, groundedness, and community

Which of the following is not a movement quality highlighted in Tinikling? -Originality and flair -Uprightness -Connectedness -Lightness

Originality and flair

What does a Hula Ma'i honor? (Hint: the hula performed in the Kahiko Wahine Division: Hâlau Ke'alaokamaile - Mele: Kô Ma'i 'Aukâ performance from the 2011 Merrie Monarch festival was a Hula Ma'i)? -Hyper masculinity - The genitals of a particular chief -The beauty of a particular mountain -Surfing

The genitals of a particular chief

Which of the following is NOT one of the "Africanist aesthetics" described by Brenda Dixon Gottschild? -Embracing the Conflict -High-Affect Juxtaposition -the Vertically-Aligned Spine -Ephebism

The vertically aligned spine - Correct -- Brenda Dixon Gottschild (BDG) identifies the vertically-aligned spine as a Europeanist aesthetic. She identifies the others (Embracing the Conflict, High-Affect Juxtaposition, Ephebism) as Africanist aesthetics.

Footage of a live dance performance, filmed using a single static shot, is likely an example of dance ON film T/F

True

Outline two ways that advances in film technology have changed the way dances are being made and/or viewed.

Two ways that film technology have advanced and changed the way dances are being made and viewed are the way Hollywood movies were made, the camera work when somebody dances, and the technological advances in our society today. When Hollywood musicals were at its prime from the early 30's to 50's, this showcased dance to a wider audience. For example, stars like Shirley Temple have exemplified dance through movies. Scenes would be made where there is a hybrid of dance and everyday movement, where the scene beings and returns to the dancing body. For example, a person could start by walking on a sidewalk, break into dance, and end by walking along the sidewalk again, just like he started. While this is broadcasted to a wider audience, they start to see the different effects and interactions happening in choreography, which starts to reoccur in Hollywood and influences choreography to people who are exposed to these musicals. Another way film technology advanced and changed the way dances are being made is the camera work used in movies and television. The camera highly influences dances people are making. Effects such as: freezes, slow motion, and reversals has influenced people to make choreography to replicate the moves they see on the screen.The camera has influence on what is thought of, made, and seen to the public eye. For example, the stage work people use are parallel to the camera methods today. Technology also influences the understanding and ideas of dance as well. As time progressed, camera technologically advanced from the Sony Portapak in 1967, to camcorders in 1882, which were cheaper and had the ability to create home videos. Then as digital cameras and iPhones came out, this increased access to many people to showcase their type of cultural dances. Digital editing can now be done online, and people do not have to have any knowledge of editing to make a video. Everyone has the ability to record and this gives an open source to collaboration projects.

Dance for Film is choreographed with the intent to be filmed (it is not meant to be seen live). T/F

Trueee

Who wrote the "No Manifesto" and choreographed "Trio A"? - Ruth St. Denis -Martha Graham -Anna Halprin -Yvonne Rainer

Yvonne Rainer

Which of the following are NOT characteristics of a b-boy cypher? -a large space in which to dance -circular formation -can be "built" anywhere: doesn't require a stage, roof, particular type of dance floor -seen/experienced as the center of spiritual transcendence

a large space in which to dance

Recent examples of plagiarism in dance include: -Anne Teresa de Keersmaeker borrowing from Bob Fosse in the video "Achterland" -Beyoncé borrowing from Bob Fosse's choreography in the music video for "Get me Bodied" -Beyoncé borrowing from Anne Teresa de Keersmaeker in the music video "Countdown" -Bob Fosse borrowing from Beyoncé in the film "Sweet Charity"

both Queen B borrowing ...

Post-modern dance is most interested in expressing which of the following aesthetic choices? -Sexuality and sensuality -Virtuoso technique -Experimentation in all forms

experimentation in all forms

When was blackface minstrelsy most popular? -mid-1800s -1920s -1950s -today

mid-1800's

B-boying is related to which of the following dance practices?

the Lindy Hop the Charleston Brazilian Capoeira Disco

"Hula mua"means: forward hula, hula that evolves. T/F

tru

Dance in this course will be looked at in relation to race, gender, sexuality, class, and nation T/F

trueee

Powwow has its origins in Plains culture (Lakota, Anishinaabe, Pawnee), though is now practiced throughout the U.S., including California territory. T/F

truu

Which of the following dances emerged from minstrelsy and became the basis for tap dance? -Cakewalk -Buck and Wing -Lindy Hop -Charleston

-Cakewalk -Buck and Wing

In the twentieth century, what was hula used to "sell?" (select all that apply) -The idea that Hawaii should be a U.S. State -Tickets to Chicago's World Fair -Products like cigarettes and chewing gum -The Hawaiian Islands as a tourist destination

-The idea that Hawaii should be a U.S. State -Products like cigarettes and chewing gum -The Hawaiian Islands as a tourist destination

Which of the following are legacies (lasting effects) of blackface minstrelsy? -The perpetuation of stereotypes about African Americans -The restriction of black dancers to genres such as tap and jazz -The problem of determining what constitutes "authentic" black culture -The perpetuation of the idea that black culture is "available" to anyone

ALL

Who was a prominent Black vaudeville entertainer that was forced to darken his face during the era of blackface minstrelsy? - Bill "Bojangles" Robinson -Bert Williams -Savion Glover -The Nicholas Brothers

Bert Williams

Revelations (1960, choreography by Alvin Ailey) draws on which of the following dance forms?

Black vernacular culture modern dance b-boying African American pirituals tap

Which of the following is NOT a category for dance analysis in this course? -Movement -Facial Expression -Situation and Surroundings -Intention and Narrative -Historical and Societal Environment

Facial Expression

Modern dancers in the early 1900s wanted to be seen as more overtly sexually available than ballet dancers. T/F

False

The PRIMARY reason missionaries sought to ban the hula in 1859, according to scholar NoeNoe Silva, was because they saw it as too sexual. T/F

False (As the Hula History 1 lecture notes, Silva argues that the rhetoric for banning the hula in 1859 was actually NOT really (or only) about policing sexuality or religion, but instead was about the capitalist economy being established then. She notes missionaries' concern over LABOR and ways "the hula is adversely affecting the willingness of Kānaka Maoli [Native Hawaiians] to work". She notes that "a violation of the code against sexual expression is presented only as a secondary concern" (40) to the missionaries.)

Which of the following movement characteristics is most closely associated with waacking? -Rigidly held limbs -Fast arms -Lots of turns -Fluid spine

Fast Arms

Who first popularized dancing barefoot on Western concert dance stages? -Martha Graham -Isadora Duncan -Ruth St. Denis -Helen Tamiris

Isadora Duncan

According to author Jill Sweet, in Tewa dance, dancers are encouraged to dance hard, and to use dramatic gestures to try and stand out from the crowd. T/F

No, this is false -- it's the opposite. Sweet writes that for Tewa people, dancing in unison, rather than standing out, is aesthetically desirable (considered beautiful). She argues that this "underscores the Tewa notion that the needs of the individual are secondary to the needs of the whole community." She also notes that in Tewa dance, "gestures to not extend far from the body's center."

Which of the following ARE dance works of African-American anthropologist and dancer Katherine Dunham? Shute Shango L'ag'ya Frontier Stormy Weather Bal Negre

Shango Lag'ya Stormy Weather Bal Negre

Which of the following characteristics best describes the performance of the women dancers in Cahuilla Bird Singing and Dancing? -They exemplify ephebism -Their feet are turned out, emphasizing a frontal orientation -They sing and play a gourd rattle held in hand -Their movements have a controlled, graceful, and subtle style

Their movements have a controlled, graceful, and subtle style

Hapa Haole is a Hawaiian term for someone of mixed heritage who is part white. T/F

True

Which of the following is NOT one of the Africanist Aesthetics outlined by Brenda Dixon Gottschild? -Ephebism -Verticality of the Spine -Polycentrism -High Affect Juxtaposition

Verticality of the Spine

In Tewa Dance, the energy of the movement mostly goes upward. T/F

false

The five components of hip-hop include rapping, djing, graffiti, b-boying, and PLUR (Peace, Love, Unity, Respect). T/F

false

What is the name for 'traditional' style hula? -Hula 'auana -Wahine -Hula ma'i -Kane -Hula Kahiko

Hula Kahiko

Who first popularized the use of Eastern dance forms in modern dance in the United States? -Yvonne Rainer -Ruth St. Denis -Martha Graham -Isadora Duncan -Merce Cunningham

Ruth St. Denis

Sherrill Dodd argues that the camera work and music in the 'Maniac' scene construct and define dance as: -Driven, sexual, and sporting -Driven, sexual, and beautiful -Driven, beautiful, and sporting

-Driven, sexual, and sporting

According to guest lecturer Naomi Bragin, which of the following originally inspired dancers from Queer communities of color to create the dance form waacking? -Hollywood movies, silent films, and photographs of glamour actresses. -New York runway models and high fashion photography. -The movements of actors and improvisers working in Chicago.

-Hollywood movies, silent films, and photographs of glamour actresses.

How did missionary Hiram Bingham describe the hula he saw in 1821? (choose all that apply) -heathen song and dance -arranged in several equidistant ranks of considerable length -designed to promote lasciviousness -often fantastically decorated with figured or colored kapa, green leaves, fresh flowers, braided hair, and sometimes with a gaiter on the ankle, set with hundreds of dog's teeth...

- heathen song and dance - designed to promote lasciviousness

Why is the Cakewalk referred to as a "Merry-go-round of appropriation"? -Because it was invented by blacks drawing from (and imitating) white dancing, then used by whites drawing from (and imitating) black dancing, then danced by both blacks and whites. -Because it includes appropriate and inappropriate movements. -Because it requires up and down motion of the knees. -Because it is danced by both blacks and whites in a circular formation.

-Because it was invented by blacks drawing from (and imitating) white dancing, then used by whites drawing from (and imitating) black dancing, then danced by both blacks and whites.

In popular depictions of hula, male dancers are.. -featured prominently, often positioned in the foreground -rarely depicted, or if present, often appear in the background. -generally seen in a loving embrace with a female hula dancer -presented as sexually alluring with "come hither" looks.

-rarely depicted, or if present, often appear in the background. (Despite a strong tradition of male dancers in hula, it is the "hula girl" who seems to fascinate popular imagination when it comes to Hawai'i. She is often depicted as sexually alluring and available, a kind of fantasy for heterosexual male viewers. The male hula dancer, who potentially jeopardizes the hula girl's sexual availability, becomes a background figure, if he is depicted at all.)

Who was most concerned with the authenticity of hula dancers in the 1930s? -Hollywood producers and non-Hawaiians -Native Hawaiians -Hapa Haole residents of Hawaii -Asian immigrants to Hawaii

-Hollywood producers and non-Hawaiians

Which of the following statements about tap and gender are true? -Male tap dancers often try to emphasize "masculine" qualities of their form -Tap has largely been a female-dominated form -Though many male/female tap duets imply a romantic relationship, the age difference between Shirley Temple and Bill Robinson neutralizes any possible sexual dynamics -Historically, women have largely been confined to the role of chorus girl in tap dance

-Male tap dancers often try to emphasize "masculine" qualities of their form -Though many male/female tap duets imply a romantic relationship, the age difference between Shirley Temple and Bill Robinson neutralizes any possible sexual dynamics -Historically, women have largely been confined to the role of chorus girl in tap dance

Does the 1993 Public Law 103-150, signed by President Bill Clinton, do anything to change the balance of power between native Hawaiians and the United States Government? -Yes, it provides a legal framework for the redistribution of land to native Hawaiians. -No, it is just designed to recount the history of Hawaii in relation to the United States. -No, it is merely an apology for the forced annexation of Hawaiian territory and is not designed to settle any claims against the United States. -Yes, it provides a legal framework for the redistribution of land to native Hawaiians and suggests that residents of Hawaii should be allowed to vote on whether they want Hawaii to secede from the United States.

-No, it is merely an apology for the forced annexation of Hawaiian territory and is not designed to settle any claims against the United States.

Which of the following are characteristics of a b-boy cypher? (Choose all that apply.) - Requires a minimum of 10 people -Often seen or experienced as spiritual transcendence -Can be built anywhere -Circular formation -Must have at least three people dancing in the middle at any given time

-Often seen or experienced as spiritual transcendence -Can be built anywhere -Circular formation

Which of the following most accurately reflects Carol Clover's argument about Singin in the Rain? (select one) -Singin in the Rain does not credit African American dancers and feels guilty about this lack of credit. -Singin in the Rain was created by whites, for whites, and has no debt to African American culture. -Singin in the Rain responsibly gives credit where credit is due, and references the many African Americans whose work went into its creation. -Singin in the Rain gives some credit to African Americans and most of the credit to the whites who were immediately involved in its production.

-Singin in the Rain does not credit African American dancers and feels guilty about this lack of credit.

Which of the following statements about Soul Train are true (select all that apply) -Soul Train music was primarily Soul and R&B (later Hip-Hop) -Soul Train was a black culture performance forum created by the African American Community -Some of the dances considered foundational to hip-hop were recorded on this show. - Soul Train was created/hosted by dancer Tyrone Proctor

-Soul Train music was primarily Soul and R&B (later Hip-Hop) -Soul Train was a black culture performance forum created by the African American Community -Some of the dances considered foundational to hip-hop were recorded on this show.

In what part of the world did Cahuilla Bird Singing originate? -South Korea -Northern California -Maine and New Hampshire -Southern California and Arizona

-Southern California and Arizona

What does the camera primarily focus on in the 'Maniac' scene? -The dancer's butt/hips, head, and feet -The dancer's hair - Formations of dancers moving in unison -Two groups of dancers having a dance battle

-The dancer's butt/hips, head, and feet

What is kuleana? -A musical gourd used in hula Kahiko performances -A hula teacher or professor -The right or duty (for example, to teach hula) -Ancient hula

-The right or duty (for example, to teach hula)

According to Will Madrigal, Jr., how does one learn Cahuilla Bird Singing? - Through classes at local dance studios -Through instruction from elders in the community -Through online tutorials -Through improvisation and invention

-Through instruction from elders in the community

In her analysis of the "Maniac" scene from Flashdance, Sherril Dodds argues that the camera work presents the dancing body as which of the following? -a "driven body" -a "sexual body" -a "sporting body" -a "complete body"

-a "driven body" -a "sexual body" -a "sporting body" - Correct answer was 1, 2, and 3 but not 4. On page 42, Dodds writes about how the camera work in this scene commodifies the dancing body into fragments that DON'T show it as a complete body. Instead, she writes, the close-ups of the dancer's head show a "driven body"; the close-ups of the buttocks as they writhe and undulate, represent a "sexual body" and the close-ups on the feet depict "a sporting body".

When did African Americans begin to perform in blackface minstrel shows? -1950s -1865 -1830s -1890s

1865

How has the development of American Indian Activism since the 1970s influenced the practice and performance of Bird Singing and Dancing? What was it like before this activist movement and what is it like now?

Because of the period of decline with colonization of the U.S and Mexico, the U.S government stated the Boarding School Policy, where Native American children were taken from their family and educated from Euro-American standards. The Cahuilla people started to lose their knowledge of songs and their language because at school the natives were not allowed to speak their mother tongue. Through the 1940-1970's there was less transference of actual tradition of bird singing because of the kids in boarding school. There eventually was nobody to learn because children were off the reservation. Finally, the development of American Indian Activism started to arise and changed the political climate. Starting in the 1950's, Native Americans were federally terminated and asked to moved to urban cities. As it was not only the Cahuilla people who were asked to leave their homes, other people and tribes were banned as well and moved to the same urban areas creating pan-indian or international powwows. Because of this, various tribes would come together to share dances, food and art. This was a place where people can work together for political connectivity and share different cultures. In the 1970's, teachers and students saw the powwow culture for American indians and how it created a positive stance on American Indians, which were based off of Plain Culture ( feather head bow and drums). This created great connection and pride as they wanted this positivity towards California Indians. Bird singing grew out from this movement and eventually became their own cultural revival movement of their own. Because of academic and legislative support, Indian people were new allowed to teach students Bird Singing and Dancing through the Apprenticeship Program. Now students were learning bird songs and developed passion for their past, taught by elders of the Cahuilla tribe, who spent hours teaching and participating in an almost lost art. This program was mainly for younger people to have a chance to embrace culture and be proud of their identity as Native American. Before , bird songs included more than 300 songs that formed a cycle of stories, and sometimes preformed throughout the night. They were a song for the creation and migration for the first people traveling around the world and returning to their home islands.The Cahuilla tribe do these bird songs and dances to learn about the land, landscape, connect to their home, and to celebrate. Through colonization, some bird singing and dances were lost because of the Boarding School Policy, but not entirely as the youth were taught by the elders. Now, Cahuilla people sing and dance, which involves all young and old people, men and women, to sing, dance, and celebrate life.

Choreo hip hop is often taught in fitness centers and dance studios, and often to a population that is very different from the communities in which hip hop first developed. What issues does this raise? How does it compare to b-boy dance becoming a global phenomenon? Is this another example of the commodification of African American culture? Why and/or why not?

Choreo hip hop often taught in fitness centers and dance studios, and often to a population that is very different from the communities in which hip hop first developed raise many cultural issues. The issues that have been raised are that there are already many people who have been historically disenfranchised and not recognized for their dances. Whether it is Latino or African American culture that has been unrecognized with b-boy dance, it is very important to recognize Hip Hop and B-boy culture in a way that these cultures have contributed these forms of dances in multiple roots. This compares to b-boy dance becoming a global phenomenon because of the loss of history and tradition of knowing the foundations of b-boy dancing. In the article "Who Copped my Hip Hop" by Eric Prideaux, he discusses his trip to Tokyo and how b-boys seem to know and care little about African American Culture. This problem also comes down to trivialization, where there is controversy about how hip hop is just about flash mocks, fashion, and looking cool, rather than the true meaning of the dance and in the practice, as well as the community and connections that dancing creates and requires. Yes, I do believe this another example of the commodification of African American culture because it relates back to appropriation. There is this presumption that anyone can take whatever one wants without any recognition where it came from, with no responsibility to the community where it started. This also factors who makes the money from hip hip. The money does not generally to the b-boys who put their sweat, labor, and hours of practice. There is money being made, but it is through uncredited Black Labor and invisibilized indigenous bodies that these types of dances are available.

Which of the following does scholar Sally Ness explain that she learned by dancing in a tourist hotel performance of tinikling? -to twist and shout - strategies of other-oriented tuning -to dance the steps without touching her partner -fall and recovery techniques

Correct answer was "strategies of other-oriented tuning". On p. 136, Ness writes "knowledge of the tinikling step consisted of strategies of other-oriented tuning, tuning in and tuning out information arriving from sources beyond my own body. The conditions of the dance necessitated planning for the monitoring of and adjusting to other animate beings' behaviors." The other three choices were NOT what she learned. Twisting and shouting, and fall and recovery, are not part of this dance form, and this dance practiced required her to dance the particular steps she was given (single-step pattern) WHILE holding her partner's hands (see p. 136 for discussion of this).

three ideas/differences about dance ON film and dance For film

Dance on film are films for the camera, and interacts with the choreography of the camera. The dance is usually not for live audiences and is very popular not because of the access to film equipment, where the use of online media can be for a wider audience. Just like in the movie "Flashdance", Alex has close ups of specific body parts to emphasize what the movie is about and is not seen doing full choreography, but different shots from the camera showing different parts in close ups instead to create dramatic effects and highlight specific movements for the movie's understanding. Dance for film are recordings of performances that are meant to be performed live. These pieces of dances were not intended to be filmed.This is also used as an archival tool and can be one static shit it a variety of camera's being used for a specific television program. Just like in popular dancing shows such as "Dancing with the Stars", there are several cameras which incorporate a variety of different camera angles, effects, and edits for the television series, which can be shown for later preview.

Name 3 specific differences between modern and post-modern dance that the Yvonne Rainer teaching "Martha Graham" video plays with. Write a sentence about what this video suggests are some of the ways that Martha Graham's "modern" dancing differs from Yvonne Rainer's "post-modern" approach to dance movement.

Differences between modern and post-modern dance that Yvonne Rainer teaches "Martha Graham" are that Yvonne Rainer strips down movement or any expressive qualities that looks like drama, as well as articulates dance as not about emotion but neutral feelings instead. Rainer saw it as if there was not any phycological, social, or formal motives, with the intention not to express something emotional inside of you. Rainer's style of dance moreover focused on repetition, distribution of energy, and emphasizes a neutral performance. When she was teaching " Martha Graham" it looked like it consisted of task oriented actions, rather than expressing feelings or telling a story. Unlike Martha Graham, especially in her early period, she expression emotion, and something "inside you" , meaning she externalized personal, individual, experience, and made her dance into something we would all connect with universally. While Rainer focused on post modern dance, where the dancers were related to get away from narrative and motives from emotional "meanings" in dance, Graham performed in the modern era, where dancers expressed emotion and personal feeling through dance.

After the death of King Kamehameha in 1819, the kapu system-- a set of rules and beliefs that guided Hawaiian life-- was strengthened, making it difficult for puritanical missionaries to influence and convert Kānaka Maoli ways of life. T/F

False (King Kamehameha was known for uniting the Hawaiian islands into a single kingdom; the kapu system was a set of philosophical principles integral to his rule. After Kamehameha's death in 1819, the influence of the kapu weakened. When missionaries arrived the following year, the diminished power of the kapu system made it easier for missionaries to preach their ideas and persuade powerful Kānaka Maoli (Native Hawaiian) chiefs to change how they ruled.)

analysis of the hula dance of that includes discussion of the dance movement and the intention/narrative.

In Patrick Makuakane's choreographed dance, " Flower Factory", the dancers' hand motions are used very frequently during the song and chant. Their foot and hip movement also corresponded to the music. In the beginning, the men were dancing in unison while playing a native instrument, which are not usually danced with and the were evenly spaced, in a window formation. They were dancing behind the lead female dancer, which alternated every 30 seconds or so. All female dancers had Tahitian background, which concentrated on vigorous hip movements, a mix of Tahitian and Hawaiian background. After the solo performances with the men dancing in the back, all the women get together and get into a geometric formation, in lines and are evenly spaced in windows. Their torsos are raised upwards and their hips sway in response to their feet in rhythmic patterns. Their hands move from their hips to their arms outward, and they stay close to their center. They are all synchronized and presented in a group, and their spines are straight, as their hips respond to the footwork as their weight usually returns downward. All of the dancers' movements are aligned and exemplify counterintuitive movement, so if the motion is fast to work with, Patrick finds a way to slow the hip movements down, creating a power in moving slow with something that sounds so fast. The intention/narrative of this dance was an homage to Hawaiian flowers. This dance was a Polynesian dance experience for the Tahitian dancers. Patrick also practices Hula Mua at his dance company, where the dancers dance hula to non Hawaiian songs. The chant that Patrick says in the beginning of the set means the beauty and power of all Hawaiian flowers. The skirts used in the show are usually for Maui dancers. The songs Patrick used included a song by Coldplay, which is a a pop song. The dancers expressed poetry in the motion to the song because they were doing movements that went along with the lyrics. It went along with modern Hula, because when there is no lyric, the dancers use different motions to fill in the void. Patrick also emphasizes employing different movement from other dances. Hula dancers utilize hip movements, which tell stories. The synchronization of the dancers shows the dancers ability to be all together and have a connection. There is no star of the show towards the second part of the set which exemplifies commonality.Since everyone is visible, everyone is important. The way their weight is rooted downwards shows the rootedness with the ground and earth. As their hips are swaying to their feet, their hips represent beauty and power, which is held with strength, and shows control and stability.

What are some of the negative stereotypes that hula costumes reinforce (name at least two). How might these be construed as disrespectful?

Some negative stereotypes that hula costumes reinforce is that during Halloween, when people dress up, they are usually things that are "make believe" or not real, meaning Hula dancers are addressed with the negative connotation that they are not considered real people. They resemble the dancers who actually study the art and pop culture imitates their costumes, rather than realizing that hula is a part of Hawaiian culture. Another stereotype is that hula is all that an individual sees when visiting the island. Although Hawaii is a very popular tourist destination, advertisements as well as many pop culture TV shows and movies, make is seem as once an individual sets foot Hawaii, Hula is a reoccurring sight they see throughout their visit. These negative stereotypes can be constructed as disrespectful because Hula is not the only part of Hawaiian culture. There is so much history within the island, and limiting it to just their native dance is not fair. The people, food, landmarks, and overall lifestyle defines the natives who live there and proves that their culture does not stop at Hula dancing.

Write a description of the dance's situation and surroundings that includes discussion of: Cahuilla Bird Singing

The Cahuilla people sing and dance at many social and cultural events. In the example videos, they preformed in places such as UCLA and special banquets. The music consists of bird singing, and the rattle playing, which is a necessity when the Cahuilla people dance. There are about 3 to one dozen people from the Cahuilla tribe who participate in this dance. About 6-10 are male and females singers each, plus those in the audience who are invited to join. The outfits for men consisted of a ribbon shirt, bandanas , and jeans, while women where ribbon dresses, which adapted through modern times as they used to wear grass skirts. They usually preform in an outdoor setting, for example in community events with no lighting or set, just on the main floor where everyone is. The dancers and singers consist of both young and old native Cahuilla people and their body types are regular body weight. The natives are highly skilled when they dance and have learned this dance together as well as follow cues, where they study and take time to practice this dance learned from their elders. The dance they do is very simple, and anyone, even the audience can join. Those who do have knowledge behind the dance have a lot of strength, focus, and attention, as this dance can last all night.The relationship between the dancers and those watching the dance is that usually when the natives are preforming they are encircled with their audience, usually at a cultural event. The relationship is reflected in the video, as it is dance on screen. The surroundings include the changes in clothing, which shows influence of non-native cultures over time and how Cahuilla Bird Singing is now a contemporary dance and practice. The natives who preform at community events and occasions such as banquets and on college and grade school campuses where students are exposed shows importance of their local community.

What are the four guidelines for dance analysis we will use in this class? Briefly describe each category.

The four guidelines of dance include: Dance Movement, Dance Situation and Surrounding, Dance Intention and Narrative, and Historical and Societal Environment Around Dance. Dance movement is the active body doing different types on movement which include: the speed, the use of space, and the weight and lightness of how the dancer is moving. It is also the history of the dance, how it was circulated throughout society, if this type of dance was well funded of forbidden and where is it practiced among different communities. Dance Situation and Surrounding is a particular situation of an event, and the surrounding of them. For example, what is the dancer and audience wearing, what music is being played, and where this type of dance is being taken place. Dance Intention and Narrative si the story the dance tells and the intention of why it is currently being practiced. Dance makes meaning in narrative forms, so as the audience we would like to know what the piece tells us and what story is taking place. We would also like to know the kind of knowledge and background information the dance comes with, like why there is repetition, or what stories the dancers need to know in order to perform the specific choreography. Historical and Societal Environment Around Dance is when the audience asks where the dance practice/form is from and what place/ community performs it. We would also like to know what political, societal, economical, and cultural events happened in order for this dance to emerge.

In the article "Classical Dance Theater," Gerard Jonas traces ballet vocabulary and staging practices to the European court tradition. In "Up From Under: The Africanist Presence," Brenda Dixon Gottschild also links ballet's aesthetics to the European political structure of monarchy. Which of the following do they mention? -the way a ballet dancer's turnout from the hips ensures maximal opening of the body toward the front -the strongly frontal orientation of ballet staging -the way in ballet, the torso must be held upright, and the way this erect, vertically aligned spine is the center -- the hierarchical ruler --from which all movement is generated. - all of the above

all of the above - That's right. On page 131 of the Jonas article, Jonas traces the ballet dancer's turn out of the legs and hips, and the frontal orientation of ballet staging, to "the European court tradition that directed the performance toward the sovereign in attendance", particularly the way "early court performers could never turn their back on the royal "Presence." On page 8 of the Brenda Dixon Gottschild chapter, Dixon Gottschild argues that in ballet, "the straight, uninflected torso indicates elegance or royalty and acts as the absolute monarch, dominating the dancing body." She adds, "This vertically aligned spine is the first principle of Europeanist dance, with arm and leg movements emanating from it and returning to it."

Describe Tinkling (Dance movement, history, etc).

it is very well known and is very similar to jump rope. Instead, there are two bamboo sticks that are hit and raised against blocks on the floor with a 3/4 beat. There are two people standing in front and facing each other, usually male and female, who are jumping in and out of the bamboo poles in different directions. These two people are usually an arms length away and holding hands at various points of the dance. When the two dancers move, their spine is upright and their torso is straight. Their legs move in the response to the beat of the sticks and the music so their leg does not get caught in the sticks. Their face does is not always downward moreover looking at their partner, gazing and smiling each step. There are also two people sitting at the ends of each of the bamboo sticks creating the 3/4 beat for the dance. The energy/weight seem to be going down, as the dancers are trying to " get out of the bamboo trap"/ The movement is very fast and swift, as this dance is also accompanied by guitar players and singers, in addition to the beats of the bamboo sticks. The body part used the most are the legs and footwork, as it is crucial in this dance. Tinikling is usually a group dance and consists of people from the Philippines and are very skillful. The age range goes from the youth to middle aged people, dressed in traditional Filipino clothing, like the emphasized shoulder pads that women wear. This favored Filipino dance which originated from the Visayan Islands is from from imitating a bird called tikling. This bird, whose neck and legs were very long, would be exceptionally fast and would walk between grass stems, run over tree branches, and dodge bamboo traps. As the Philippines were colonized by the Spanish, those working too slow in the fields would be punished by standing between two bamboo poles, where thorns would stick out from the segments, and clapped the native's feet. This punishment then became a dance in correlation to trying to trying to escape the bamboo sticks during punishment. This became not only a challenge, but an art and dance as well.

Which dancer insisted that the camera remain as still as possible while filming tap dance? -Busby Berkeley -Bill "Bojangles" Robinson -Fred Astaire -Eleanor Powell

Fred Astaire

In the eyes of most post-modern dance, anyone can be a dancer. T/F

TRU

Hip-hop includes which of the following categories? -Graffiti -Knowledge -B-boying -DJ-ing -Rapping

ALL

According to the Hula History Part 2 lecture (presenting scholar Adria L. Imada's research), what happened when hula became part of the entertainment for the developing tourist trade in the islands? (choose all that apply). - Female hula dancers became the ripe "fruit" of the territories, and were themselves marketed as commodities to promote tourism and "sell" Hawai'i. (At first the icon of the "hula girl" helped to sell commodities like pineapple, as when hapa-haole (part white, part Hawaiian) women served thousands of plates of pineapple to visitors at World's Fairs, as a way of marketing the islands' fruit. But as the economy shifted from agribusiness to tourism, female dancers themselves became the commodities that were "selling" Hawaii as a tourist destination). -Hula repertoire and costuming changed to accommodate the tastes of the tourists: shorter skirts, fewer verses, and English-Language lyrics. -Some Hawaiian-run tourist performances not only catered to tourists, but also encouraged Native Hawaiians in the learning of native arts, hula, and Hawaiian language. For example, they provided opportunities for elders to pass their knowledge on to younger Hawaiians. -Hula troupes were brought to New York and other locations in the U.S., to show people what hula was like - and make them want to go to Hawai'i

ALL OF THEM

Which of the following is NOT a dance choreographed by José Limón? -La Malinche -The Moor's Pavane -Frontier -Danzas Mexicanas

Frontier

What is the difference between Waacking and Voguing? Name and discuss at least three similarities and/or differences.

Other than waacking and vogueing both created in gay communities, sharing an uplifted focus by having an expanded torso, and including elements of posing and arm movements, they have differences as well. Unlike Vogueing, waacking began in the 1970's in LA, and took inspiration from silent films, Hollywood movies, and photographs of glamour artists, vogueing started in the 1960's in New York, inspired by runway models and high fashion photography. Voguing movements usually consist of angular freezes and linear movements with both body and space. Waacking, moreover, creates theatrical dynamics, and affected poses.

Dance Studies challenges ___________, an Enlightenment ideal that assumes thinking makes you exist and privileges the brain over the body. -the mind/body split -bodily intelligence -narrative -ephemerality

the mind/body split

Hapa haole means half white, half Hawaiian T/F

tru

Choreo hip-hop is a style of hip-hop dance choreographed to music where the moves are learned ahead and set to particular song. T/F

true

Kumu hula Patrick Makuakāne choreographs traditional hulas as well as what he calls "hula mua" (forward hula, hula that evolves). T/F

true