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Study of past
People in power record it |
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| Form of movemet to experess or convey emotion and connects us to art |
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| SPACE: the body exists in space, which gives the body shape and design, the body creates positive and negative space, dance occurs in space whether is a stage bedroom or park. TIME: dance is temporal, existing within a period or sequence of time, incorporates rhythm, and exists over a course of time. FLOW: amount of energy released or constricted. FORM & STYLE: form; broad over reaching rules, ballet, style is romantic. FUNCTION: the role of dance for the individual or culture ex: therapeutic. CHOREOGRAPHIC FORM: the overall structure of a specific dance, or reoccurring use of overall structure of a particular choreographer or during a particular historical and cultural time. CHOREOGRAPHIC CONTENT: the specific movements and ideas within a dance, or the reoccurring for a particular choreographer or during a particular historical and cultural time. CHOREOGRAPHIC FUNCTION: the function of dance for the choreographer, individual and culture. FEELING/EXPRESSION: subjective motivation and experience of movement. WORKING DEFINITION: dance is without goal, but always with intent to express your self |
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| : Dance differs between cultures, but each share uses for dance. Dance is used for education, social reasons, theater, recreation, and expression |
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| Wrote Art and Intimacy which explained that baby talk exists in every culture but differs between them |
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| Paleolithic, Old Stone Age |
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| 20,000 years ago, hunting and gathering |
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| idea that if you do a movement which is perhaps of prey and go outside and the prey is actually outside. Reality experienced as one and emotionally understood. |
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| first inhabitants of Australia, represent a society that uses dance as an integral part of daily life. |
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| choreographer of the Netherlands Dance Company creates his own contemporary dance while being inspired by the aborigines, thought important because the culture was diminishing, dancing is telling a story. |
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| Netherlands Dance Theater |
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| Contemporary Dance Theater existing since 1959 breaks away from traditional oriented Dutch National Ballet. Focuses on new ideas and experimentation of new forms and techniques of dance |
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| Jiri Kylian choreographed, inspired by aboriginal culture, modern ballet, and roots came from inside the human being |
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| 15,000 to 10,000 years ago, hunting and gathering, and animalistic perspectives |
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| restored power, eagle has healing power, way of dance. |
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| Objects and animals effect people spiritually (need to be appeased) |
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| Cradle of Western Civilization |
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| Mesopotamia-Sumeria 5,000 years ago, invented the wheel and writing, advanced bronze work, laws protected unprivileged. |
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| 3 dance patterns often seen in anceint times |
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| sacred circle, linear, and procession. |
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| Lineage-based cultures and dance |
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| a Utilitarian and omnipresent art, dance was used as a mean of worship, a way of expressing and reinforcing tribal unity and strength, communication and therapeutic experience. |
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| A dance and magic to heal people, energy of group was focused on an individual. *Can be said to be first choreographers. |
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| Dance was apart of many religions that represented rituals, Gods, etc. |
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| Pharaohs are divine, religious, immortality- funerals (dancing in mourning), acrobatics- dwarf god Bess (dancing away evil) |
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| Dance of the Hebrews, 12 Verbs |
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| One forgiving God, nomadic, music is a direct communication to god, 12 verbs for the word dance, religious, joyous, celebration, weddings, and circle dance |
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| A Turkish dance that lasts for hours |
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| dance) Bali, religions believed in more than one god, altered mental state/spiritual enlightenment: girls would walk through flames and not get burned. |
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| Influences Greece (3,000-1400 BCE), circle dance that worshipped woman Goddess- Supreme Earth Goddess |
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| private and communal, religious, education, military, entertainment, and theater. Myths into dance: Zeus and protectors, Minotaur, and Sparta Family turn |
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| he was the god of dance, especially of emotional excess; his followers were called maenads, identified with wine and sexual ecstasy, fertility, celebrated by cults. |
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| city dances or festivals that city fathers seek to control and try to get their daughters out of the Dionysus cult. |
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| considered the first actor, 535 BC, at a dithyramb he left the group and spoke by himself. |
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| tragedies stories being acted out |
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| dance troupe with stylized gestures and dance phrases, underscored or related to tragic verse drama |
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| god of light inspired harmonious forms of dance (Emmeleia) |
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Wrote laws of dance
well educated = good dancer
dance should be taught at a young age |
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| cultured in arts. Myths into dance: Zeus and protectors |
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| city-state, warlike military training, 8,000 citizens out of 400,000 the rest were slaves. |
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| dance of peace and harmony, which was inspired by Apollo |
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| war dance, which was inspired by Zeus |
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| Greek dance that was commix. Involved leather phallus (penis), and was best performed when drunk |
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| generates into violence and spectacle, popular entertainment, and performed by slaves, acrobats, and jugglers. |
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| too many languages so they used gestures and cloak instead of words, it tells a story and has different characters but only one pantomime. |
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| Vigorous culture, Italian peninsula, 20 tombs with dance scenes, no religious or sacred dance, couple is equal, and freer, individual, recreational. |
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| uneasy about dance see it as suspicious, believe that dancing is received as sex, oppose Pagan worship because had to be done with dance, seizes “sixes” = chorus boys perform in church. When Christianity moved outside of Europe, different cultures adapted to it in their own way (with dance) |
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| Pagans believed in more than one god, and non-pagans believed in only one god |
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| Rise of the Roman Catholic Church, dancing means moral poisoning against dancing because St. Augustine says, “ dancing feels good”. |
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| Middle Ages/Medieval and dance |
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| time of king Arthur, religious plays in church, public entertainment, peasants dance, courts rise of middle class, pageantry, tournaments, dance of death, dance Maria. |
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| Mystery, miracle, and morality plays |
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| significant because it occurred in the church, usually consisted of devil dance based on the bible. |
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| another peasant dance, dancers perform circle dances around a tall pole that is decorated in garlands, pointes stripes, flowers, flags and other emblems |
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| dance that used props. Consisted of contests and trials (sword dance) |
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| outside church, performed in private homes, traveling entertainers, and the first dancing master |
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| feet did not leave the floor |
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| Pageantry and tournaments |
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| outside of the church royalty, ceremony: colorful processions, display skill and virtuosity, masks and disguises (to score women) lead to theatrical performances |
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| outside of the church, rise of the middle class, death equalizer, signs of democracy, preoccupations with death, peasants pagan death rituals, and church prohibits this. |
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| Dance mania outside church |
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| variation, ecstatic dancing, escape reality, hysteria, compulsive Epileptic, dance to death= die from exhaustion. |
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| Bubonic plague/black death |
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spread through Europe, 1/3 of Europe dies.
• Troubadours: public entertainers who traveled great distances, not approved by the church. |
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| public entertainers who traveled great distances, not approved by the church |
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| rebirth, arts, literature, courts, and power. SOCIAL: aligned with manners, 4-part musical Sonata suite (Allemande, Courante, Sarabande, Gigue), dancing masters became powerful (Arbeau Pupil Capirol=dance master in French court, wrote orcheostrography). More structured dance-told a story and more specific music fit. THEATRICAL: renaissance festivals, affirm monarchy, 3 parts, royal entrance, mock tournaments, indoor divertissement, balls, development of theatrical dance, influence from Catherine de Medici and then Louis XIV |
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| dance master in the French court, whole orcheostrography: about both dance and social life manners. |
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| Sonata, musical suite and dance |
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4 part musical Sonata Suite: 1. Allemande= slow serious german dance, simple and grave, flowing and sentimental characteristics. 2. Courante = pantomime, flirtatious, came from Italy. 3. Sarabande= religious processional dance, solemn structure, cam from Spain. 4. Gugue= lively, wild, high -spirited dance, danced with fiddle music.
• Pavane: originated in the court of Spain, solemn and religious, derived from Latin pavo “peacock”, used in some religious occasions. |
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| originated in the court of Spain, solemn and religious, derived from Latin pavo “peacock”, used in some religious occasions. |
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| blithe and lively dance, 20 different versions, leaping, kicking, leg thrusting, immodest. |
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| Queen Elizabeths favorite dance, renaissance dance for couples from the later renaissance, done to the same music as Galliard and consisted of turn and lift in a sort of closed position. |
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| Ballet of the Provinces of France, 1573 |
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preferred for people coming from abroad, shown to wealth and power, 1 hour long of patterns and movements.
• Equestrian ballet: horses choreographed to make geometric patterns, done in a field. |
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| horses choreographed to make geometric patterns, done in a field. |
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| Italy, beginnings of ballet |
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| Italian, shrewd, smart, and manipulative; comes to France to marry Henry II, brings Italians, ballet steps are given French names, she brings fashion and makeup, 119 mirrors in the castle where she lived used for light, development of theatrical dance, shows power and prestige. |
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| Ballet Comique de la Reine, 1581 |
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| 1st ballet a one themed story based on Greco-roman mythology, was 6 hours long in the great hall, Choreographed by Beaujoyeux , danced by nobles, Circe holds man prisoner god defeats Circe honors queen of France. Virtues= fortitude. |
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| Choreographed ballet Comique de la Reine in 1581 |
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| father of Louis XIV who loved dance and passed it down to his son. |
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| King of France 1661-1714, combined the music and dance academy together, which grew into the Paris Opera. Loves to dance, stars in ballets, establishes academics, dancing master and choreographer codifies the S position of the feet |
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| Louis XIV loved to play Apollo (the sun god god of light (political)) nobles identified him as a god. |
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| the palace of Louis XIV and nobles, if you weren’t a good dancer you were banished from Versailles. |
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| composer and head of academy Royale de Musique, powerful individual and had ear of Louis XIV, he was shrewd, respected but feared. |
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| Louis XIV’s choreographer, ran the academy with Lully. Codified the 5 positions of the feet |
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| framed the stage like a painting, stages were not seperate from audience allowed audience to sit up front as opposes to around the sides, made performance frontal. |
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| The Academie royale de Musique and dance 1671 |
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| Run by Beauchamps and Lully 1671, opened by Louis XIV in 1669. |
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| grew out of the academy Royale de Musique and Dance, opens in 1713; now people who are not in courts can learn how to dance. Paris Opera Ballet, the dance company associated with it is the oldest dance company in the world; opened school= rise of the professional dancer. |
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| Professional ballet dancers |
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| Came out of the academy de la Musique, school allows possibility of profession. |
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| most popular dance in the 18th c., court dance that was a courtship ritual and about a couple flirtation. It is also seen and judged, goes from court to theatrical. Intricate floor patterns and delicate hand holding. |
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| 18th c. 3 categories of dance |
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| NOBLE: slow, serious, dignified; dancers wore masks. Subject: hero, mystery, and myth. Louis Dupre and gaetan vestris- male dance stars “ gods of dance” DEMI-CHARACTER : lively, faster and younger then noble, costumes allowed for more movement. Subjects: peasants, regular people. COMIC/GROTESQUE: servants, rustic roles, evil. Jean Dauberval: dancer and choreographer, blended classical and peasant. Portrayed ordinary people and ordinary life |
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| grew out of early court dances; only kind of dance that requires an audience |
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| In contrast to ballet de Action;technically oriented, non-expressive, dancers wore masks. Courts of Europe establish ballet companies in response to dance d’Ecole. |
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| light, dramatic, expressive, choreographs beginning in 1715 Les Characters de la Danse, loves solos and popular dances, portrayed women and men and his pupils were Salle and Camargo |
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| Considered plain, yet her dancing was very expressive, 1729 re choreographed Les Characters de la danse; wore no masks and huge at this time. |
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| considered beautiful, she was highly technical, well schooled in dance de Fole, danced men’s steps, shortened skirt, lowered heel, worldly and had many lovers, fan clubs, retired in 1751 with huge pension, and the rivalry with Salle was in the eyes of stage; they were actually friends |
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| successor to Salle and Camargo, known for her speed and agility, became a nun so she could get married. |
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| a male star noble dancer of the 18th centurt, called “god of dance” whoe came before Gaetan and Vestris. |
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| male dance star, dance noble, and god of dance |
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| dance notator and good at the notation of dance |
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| 1760 book Letters on dancing |
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| rebellion against Dance d’Ecole, wants unity and expressive gestures, dance unifies, no technical display, no masks, simpler costumes, Ballet d’Action. |
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| dancer and choreographer of the style “ comic/grotesque” and blended classical and peasant. |
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| La Fille Mal Gardee, the Ill-guarded girl, 1789 |
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| date of the French revolution, a play about regular people, no god or godess, girl loves peasant and wants to marry him for love, mother wants her to marry a wealthy man, peasant gets girl, weeks before French revolution. |
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| monarchy beheaded, Napoleon comes to power |
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| Changes in dance after French revolution |
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| radical change, Paris Opera Ballet used to reflect aristocracy, now about ordinary citizens, freer costumes and movement, ideals about individuals grow, men and women equal on stage, supernatural theme, 1820: women pose briefly on pointe |
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| came to Paris Opera, disappear from performing in Paris Opera; women play roles on men. |
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| Carlo Blasis, Elementary treatise 1820, Code of Teropsichore 1828 |
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| teacher who wrote treatise in 1820, understanding of how the body worked= physics, created attitude position, came from statue of mercury, rigorous classes. |
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| a time of social upheaval caused by the French Revolution. Ideas of individual, monarchy beheaded, sciences gains greater importance. Middle class rises, idealization of nature time of enormous change. Capitalism because of industrial revolution. Romanticism and dance: romantic tutu skirt and tight bodice. |
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