British Influence on American Dance
Sandy Navarro
Square Dancing is the official national folk dancing in America. This type of dance first started in New England when the first settlers and the immigrant groups that followed, brought with them different national dances, which are now called folk dances (Dillander, 2003). As settlers and immigrants were building there homes and settling in a new environment, the community would gather together on Saturday evenings and dance their favorite dances (Dillander, 2003). As the community grew with different people from different backgrounds, the dances also grew.
In order to lead a group, settlers would pick a person also known as the caller, that knew all the steps and this way people could follow if they were to forget what was next. This person would also learn dances from other groups and teach them to various groups, some men would create their own routines and dances (Dillander, 2003). This is how the manner of square dancing developed. As the population spread around, so did the dances and people felt that they needed a recreational area where they could dance with wooden floor, music, and a person that can lead (Dillander, 2003).
Around the 20th century, fashion started to appear and new dances were starting to form. In which square dancing was starting to get left behind. Later on a man named Henry Ford became interested in the revival of square dancing as his restoration project in New England. His efforts captured the attention of many individuals and the dance became modernized so it would appeal to the public (Dillander, 2003). By 1948, square dancing became very popular and is enjoyed by millions of Americans in the world.
New ideas and figures are introduced each year, insuring that square dancing will not become boring. This dance can be fun and it can be learned by anyone, the young and old. There are basic movements and combinations that need to be practiced before joining a square dance event, but they are not difficult to learn. Square dancing is a cooperative activity involving the dancers themselves (Dillander, 2003). This typical style of folk dancing is to be known around the world and it is already known in places, such as England, Germany, Australia, Japan, and other countries as well.
References
Dillander, Tom. July 23, 2003. Western Square Dancing. Square Dance History in the U.S. Retrieved from http://www.dosado.com/articles/hist-maca.html
Terrance Lewis
For centuries now, dancing has become a way for people to express themselves as well as to have a good time with loved ones and friends. Many different styles of dance have come and gone from country to country from city to city and has been expressed by cultures in many different ways. English Country Dance has made an impact on different countries, by bringing their people together for a better cause then themselves. It was a dance style that no one person could resist as it raised its popularity on the timeline and took over as one of the fastest and popular dances of its time.
English Country Dance is a form of folk dance that has been dated back to as late as the 1400s. In the 16th century, English Country Dance was brought to the courts of Queen Elizabeth I by great dancers from different countries around the world. Since there was not a sure answer as to where the English Country Dance had originated at this time, it was thought that great dancers from countries such as, Italy had combined with other countries to make this courtly new dance. With Queen Elizabeth being bedazzled by the new English Country Dance that was brought to her attention, it had quickly spread around her country and on ward as her whole country was in tune with the new dance (Murrow, 2006).
In 1651, John Playford had a collection of the new dance and published descriptions and tunes naming it The English Country Dancing Master. With these country dances published, Playford had opened the doors for many other editions of English Country Dance to come out. The country dances were written to folk tunes, popular ballads, stage music as well(Murrow, 2006).With country music becoming more and more popular, many composers such as Beethoven and Mozart had found use for the dance by writing country dance music.
Playford’s son, Henry Playford, and other publishers produced many more additions to the already proclaimed English Country Dancing Master (Winston, 2001). They were adding and deleting different dances as the fads and fashions came and went. The earliest kind of English Country Dance was formed in large groups of three to four couples and smaller square for two couples. (2010), States that early dancers also danced nonprogressive long ways dances for three or four couples, and progressive long ways dances for as many couples as were interested. It was recognized as a simple but yet boring type of dance to the English.
English Country Dance had become popular within North America when the colonists had brought it with them in the 1800s (Murrow, 2006)). In New England country music became very popular with people overjoyed with the release of new dance books form England. New England later started to write books of music on their own to stay with ‘swing’ of things. Around the late 18th century Country Dance had reached it peak and it quietly started to die down with the upcoming of polka, the waltz and other dances (Murrow, 2006). With little popularity as before it had started, English Country dance started to dwindle down back to England and to smaller towns in New England and more country sides around America (Winston,2001). With it becoming a dance of the past, it is more likely to enjoy the dance at old country clubs and over in Europe where English Country Dance first took flight into a revolutionary dance.
Reference Page
(2010). Williams heritage dancers. Retrieved from http://www.colonialdance.org/history.html
Murrow, Gene. (2006). English country dancing-origins and evolution. Retrieved from http://www-ssrl.slac.stanford.edu/~winston/ecd/origins_and_evolution.htmlx
Winston, Alan. (21 Jan 2001). English country dance and its American cousin: history and comparison. Retrieved from http://www-ssrl.slac.stanford.edu/~winston/ecd/history.htmlx
English Country Dance is a form of folk dance that has been dated back to as late as the 1400s. In the 16th century, English Country Dance was brought to the courts of Queen Elizabeth I by great dancers from different countries around the world. Since there was not a sure answer as to where the English Country Dance had originated at this time, it was thought that great dancers from countries such as, Italy had combined with other countries to make this courtly new dance. With Queen Elizabeth being bedazzled by the new English Country Dance that was brought to her attention, it had quickly spread around her country and on ward as her whole country was in tune with the new dance (Murrow, 2006).
In 1651, John Playford had a collection of the new dance and published descriptions and tunes naming it The English Country Dancing Master. With these country dances published, Playford had opened the doors for many other editions of English Country Dance to come out. The country dances were written to folk tunes, popular ballads, stage music as well(Murrow, 2006).With country music becoming more and more popular, many composers such as Beethoven and Mozart had found use for the dance by writing country dance music.
Playford’s son, Henry Playford, and other publishers produced many more additions to the already proclaimed English Country Dancing Master (Winston, 2001). They were adding and deleting different dances as the fads and fashions came and went. The earliest kind of English Country Dance was formed in large groups of three to four couples and smaller square for two couples. (2010), States that early dancers also danced nonprogressive long ways dances for three or four couples, and progressive long ways dances for as many couples as were interested. It was recognized as a simple but yet boring type of dance to the English.
English Country Dance had become popular within North America when the colonists had brought it with them in the 1800s (Murrow, 2006)). In New England country music became very popular with people overjoyed with the release of new dance books form England. New England later started to write books of music on their own to stay with ‘swing’ of things. Around the late 18th century Country Dance had reached it peak and it quietly started to die down with the upcoming of polka, the waltz and other dances (Murrow, 2006). With little popularity as before it had started, English Country dance started to dwindle down back to England and to smaller towns in New England and more country sides around America (Winston,2001). With it becoming a dance of the past, it is more likely to enjoy the dance at old country clubs and over in Europe where English Country Dance first took flight into a revolutionary dance.
Reference Page
(2010). Williams heritage dancers. Retrieved from http://www.colonialdance.org/history.html
Murrow, Gene. (2006). English country dancing-origins and evolution. Retrieved from http://www-ssrl.slac.stanford.edu/~winston/ecd/origins_and_evolution.htmlx
Winston, Alan. (21 Jan 2001). English country dance and its American cousin: history and comparison. Retrieved from http://www-ssrl.slac.stanford.edu/~winston/ecd/history.htmlx
Bruce Morgan
Dancing is truly an extension of the body and it can tell a story and even create and
inspire deep emotion and thought just as painting and poetry do. Instead of pen, paper and paint,
the artistry of dance is primarily created with one’s body. In some cases however, outside
influences such as long colorful ribbons, feathers and even fire can be utilized to reinforce or
highlight ones movement of expression. This beautiful expression of dance can be done alone,
with a single partner, in a small or even very large group. Examples of a small dance groups are
commonly known in American today as square dancing. Country line dancing can be viewed as a
large form of group dance because participants step in rhythm with one another and the
maximum allowed size is only limited by the number of participants and dance area available.
Throughout history people danced for many different reasons. In the very early days of
Monarchies dancing was used as a way to align social classes on the rungs of the social ladder.
In these early days of dance, Kings often used this form of entertainment to highlight their
wealth and power to others such as foreign dignitaries (2007, American Antiquarian Society).
In early Colonial America, the greatest principle of thought was to separate people who
came to the new world from all European culture and control of law. However, dance did not
follow this trend. People who came here from Europe may have left laws of the British Empire
behind but they did not leave the heritage of dance. They brought these dances which were
taught to them by their forefathers to the new land and over time, these rituals evolved into
dances that are still very popular and widely socially accepted today.
The history of Cotillion dance in Britain began in 1766 when French dancing masters
Morgan 2
introduced this four couple formation into the London area social scene. Four couples arranged
in a square formation were directed by a caller. The term “Cotillion” refers to the coats that the
male participants would be wearing and the flash that these coats would present to the audience
while spinning around (2011, Dictionary.com). Cotillion dance was brought to America in 1772.
Based on newly found freedoms from English rule and religious persecution, the people who
traveled to the new world did not feel the restraints from established aristocracies like they did in
England at these times. Instead, they felt free and willing to practice and share dances such as the
Cotillion which was clearly a part of their former culture with others.
Following generations of these English settlers worked, saved and began to obtain
wealth. These cultural changes bred new life into the desire of more common type people to be
educated. Because of this desire, education very slowly began to be spread to the masses with the
publication of books. Many varieties of books were created and items such as dance manuals
were highly sought after because people wanted to be able to use dance as an example of their
newly formed education and intelligence level. As a result of newly formed wealth, newly
obtained levels of education and the wide spread desire for upward movement in social classes,
dance gained movement among more and more people. As a result large and highly decorated
dance halls began to be constructed in larger cities. Instead of dancing to thumb their noses at the
thrones of England, people dance to be seen and noticed. This mindset created divisions in the
colonies based geographical proximities and class divisions. The social divisions that so many
wanted to leave in England began to form here as well.
As the civil war began to rage, French fighters were brought into northern areas to
reinforce the northern armies. These Frenchmen began to host many Cotillion balls which the
people in the north widely accepted at the time. They would come to these dances and parties in
Morgan 3
order to gain knowledge of Cotillion dance as a way to break the label of being referred to as
unrefined and disorderly which are the way people in the south viewed yanks at the time.
Later Cotillion dance moved away from a tool of education and social class standing and
another movement and usage began prevalent in this culture. Cotillion dance had become a tool
of romance. The dance became more a way to introduce oneself to the opposite sex. Fashion
became an accessory of the Cotillion dance during this time period and items such as hats, fans
and handkerchiefs’ became an actual avenue of non-verbal communication. A woman could tell
a gentleman if she was attached to another simply by the way she held her handkerchief. Then in
the late 1700 and early 1800 hundreds as people began to expand westward, they took with them
the love and knowledge of Cotillion dance. Even thought so much about our culture and our
system of education which has been so dramatically changed over the past two-hundred years,
the basic principles of Cotillion dance still remain true to their roots.
If somehow you could magically bring a socialite from the early colonial period to a barn
in Mississippi on a sticky Saturday evening, they would not recognize the digital instruments that
all the young men and women are holding and staring into in the palms of their hands but they
would recognize the caller and the four couple formation of the participants in the Cotillion
dance which we so commonly refer to as square dancing today.
Work Cited
American Antiquarian Society. (2007). An Invitation to Dance; A History of Social Dance in
America. Retrieved from the Web on July 26, 2011. From:
http://www.americanantiquarian.org/Exhibitions/Dance/fashion.htm
Dictonary.com. (2011, July 26). Retrieved from the web on July 26, 2011. From:
http://dictionary.reference.com/browse/cotillion.
inspire deep emotion and thought just as painting and poetry do. Instead of pen, paper and paint,
the artistry of dance is primarily created with one’s body. In some cases however, outside
influences such as long colorful ribbons, feathers and even fire can be utilized to reinforce or
highlight ones movement of expression. This beautiful expression of dance can be done alone,
with a single partner, in a small or even very large group. Examples of a small dance groups are
commonly known in American today as square dancing. Country line dancing can be viewed as a
large form of group dance because participants step in rhythm with one another and the
maximum allowed size is only limited by the number of participants and dance area available.
Throughout history people danced for many different reasons. In the very early days of
Monarchies dancing was used as a way to align social classes on the rungs of the social ladder.
In these early days of dance, Kings often used this form of entertainment to highlight their
wealth and power to others such as foreign dignitaries (2007, American Antiquarian Society).
In early Colonial America, the greatest principle of thought was to separate people who
came to the new world from all European culture and control of law. However, dance did not
follow this trend. People who came here from Europe may have left laws of the British Empire
behind but they did not leave the heritage of dance. They brought these dances which were
taught to them by their forefathers to the new land and over time, these rituals evolved into
dances that are still very popular and widely socially accepted today.
The history of Cotillion dance in Britain began in 1766 when French dancing masters
Morgan 2
introduced this four couple formation into the London area social scene. Four couples arranged
in a square formation were directed by a caller. The term “Cotillion” refers to the coats that the
male participants would be wearing and the flash that these coats would present to the audience
while spinning around (2011, Dictionary.com). Cotillion dance was brought to America in 1772.
Based on newly found freedoms from English rule and religious persecution, the people who
traveled to the new world did not feel the restraints from established aristocracies like they did in
England at these times. Instead, they felt free and willing to practice and share dances such as the
Cotillion which was clearly a part of their former culture with others.
Following generations of these English settlers worked, saved and began to obtain
wealth. These cultural changes bred new life into the desire of more common type people to be
educated. Because of this desire, education very slowly began to be spread to the masses with the
publication of books. Many varieties of books were created and items such as dance manuals
were highly sought after because people wanted to be able to use dance as an example of their
newly formed education and intelligence level. As a result of newly formed wealth, newly
obtained levels of education and the wide spread desire for upward movement in social classes,
dance gained movement among more and more people. As a result large and highly decorated
dance halls began to be constructed in larger cities. Instead of dancing to thumb their noses at the
thrones of England, people dance to be seen and noticed. This mindset created divisions in the
colonies based geographical proximities and class divisions. The social divisions that so many
wanted to leave in England began to form here as well.
As the civil war began to rage, French fighters were brought into northern areas to
reinforce the northern armies. These Frenchmen began to host many Cotillion balls which the
people in the north widely accepted at the time. They would come to these dances and parties in
Morgan 3
order to gain knowledge of Cotillion dance as a way to break the label of being referred to as
unrefined and disorderly which are the way people in the south viewed yanks at the time.
Later Cotillion dance moved away from a tool of education and social class standing and
another movement and usage began prevalent in this culture. Cotillion dance had become a tool
of romance. The dance became more a way to introduce oneself to the opposite sex. Fashion
became an accessory of the Cotillion dance during this time period and items such as hats, fans
and handkerchiefs’ became an actual avenue of non-verbal communication. A woman could tell
a gentleman if she was attached to another simply by the way she held her handkerchief. Then in
the late 1700 and early 1800 hundreds as people began to expand westward, they took with them
the love and knowledge of Cotillion dance. Even thought so much about our culture and our
system of education which has been so dramatically changed over the past two-hundred years,
the basic principles of Cotillion dance still remain true to their roots.
If somehow you could magically bring a socialite from the early colonial period to a barn
in Mississippi on a sticky Saturday evening, they would not recognize the digital instruments that
all the young men and women are holding and staring into in the palms of their hands but they
would recognize the caller and the four couple formation of the participants in the Cotillion
dance which we so commonly refer to as square dancing today.
Work Cited
American Antiquarian Society. (2007). An Invitation to Dance; A History of Social Dance in
America. Retrieved from the Web on July 26, 2011. From:
http://www.americanantiquarian.org/Exhibitions/Dance/fashion.htm
Dictonary.com. (2011, July 26). Retrieved from the web on July 26, 2011. From:
http://dictionary.reference.com/browse/cotillion.
Natalie Papini
Before owning the responsibility of being the United State’s national dance, square dancing held roots in the United Kingdom. In fact, the modern day square dance has been traced all the way back to the Morris Dance, a type of court entertainment. The first record of the Morris Dance is in 1448, and the dance itself envelops six men under the title of “Morris Men” to execute synchronized dance movements in a formation with two rows of three (Reese, 1995). These men often times attach bells to their legs as a way of increasing the entertainment value of the dance. It is believed that this dance was also an expression of the anticipation of a coming event or season: “…it is interesting that summer and Christmas were expected to be their special seasons” (Cawte, 1963). Once the sixteenth century came around, the Morris Dance had established itself within church festivals spanning across the United Kingdom (Rattlejag Morris). Only men were allowed to participate in this Morris Dance, and the numerous styles and forms are noteworthy:
“…You could open out into a circle and ‘weave the ring’ or ‘form a star.’ You could execute ‘pass through.’ All of these things they did. But all the time you would need to be ringing those bells, and you would do a sort of polka step in which instead of hopping on the last beat, you ‘kicked’ that foot vigorously straight forward until the bells rang like mad” (Shaw, 2000).
From the Morris Dance came the “Country Dance” in England. It has been assumed that this “Country Dance” is the product of the Morris Dance. The first recorded country dance descriptions come from John Playford’s The English Country Dancing Master in 1651 (Winston, 2001). These dances were executed to folk tunes, as was the Morris Dance in the mid fourteen hundreds. As colonists began immigrating to the United States, they brought with them various customs and lifestyles from their homelands. At the time immigrants from England arrived in the United States, the schottische, the quadrille, the jigs and reels, and the minuet had all been established (Western Square Dancing, 2003). As more and more communities in the early United States began developing and intermingling, so did the dances. Square dancing continued to spread, but it was not a sensation until the early 1930’s when Henry Ford revived it in an Early New England restoration project effort (Western Square Dancing, 2003). “Square dancing, along with quadrilles, two-steps, waltzes, and other old fashion dances, became a part of life for Ford employees and school children across the United States. Ford and Lovett believed square dancing taught social training, courtesy, good citizenship, along with rhythm. They felt it should be a part of every school's teaching of physical education (Save Square Dancing). “In 1928, Boards of Education across the United States implemented the use of square dancing in physical education classes. By 1944, Ford began broadcasting “The Early American Dance Music” radio program for thirty minutes twice on Saturday nights (Save Square Dancing). The show created widespread enthusiasm for square dancing, and rapidly recruited more dancers across North America. By 1948 square dancing had reached a high in terms of participation, and has since been widely participated in the United States, while still over time evolving into a unique (but related) version of its predecessor, the “Morris Dance.”
Cawte, E. C. (1963, December). The Morris Dance in Herefordshire, Shropshire and Worcestershire. Journal of the English Folk Dance and Song Society, 9(4), 197-212. Retrieved from http://www.jstor.org/stable/4521671
Rattlejag Morris. History of morris dancing. Retrieved from http://www.rattlejagmorris.org.uk/history-of-morris-dancing
Reese, K. (1995, June 25). History of square dancing (the english heritage). Retrieved from http://eaasdc.de/history/sheengli.htm
Save square dancing. Square dancing history. Retrieved from http://www.save-squaredancing.com/history.htm
Shaw, D. (2000, May 2). History of square dancing (morris dance). Retrieved from http://eaasdc.de/history/shemorri.htm
Western Square Dancing, . (2003, July 23). Square dance history in the u.s.. Retrieved from http://www.dosado.com/articles/hist-maca.html
Winston, A. (2001, June 21). English country dance and its american cousin. Retrieved from http://www-ssrl.slac.stanford.edu/~winston/ecd/history.htmlx
“…You could open out into a circle and ‘weave the ring’ or ‘form a star.’ You could execute ‘pass through.’ All of these things they did. But all the time you would need to be ringing those bells, and you would do a sort of polka step in which instead of hopping on the last beat, you ‘kicked’ that foot vigorously straight forward until the bells rang like mad” (Shaw, 2000).
From the Morris Dance came the “Country Dance” in England. It has been assumed that this “Country Dance” is the product of the Morris Dance. The first recorded country dance descriptions come from John Playford’s The English Country Dancing Master in 1651 (Winston, 2001). These dances were executed to folk tunes, as was the Morris Dance in the mid fourteen hundreds. As colonists began immigrating to the United States, they brought with them various customs and lifestyles from their homelands. At the time immigrants from England arrived in the United States, the schottische, the quadrille, the jigs and reels, and the minuet had all been established (Western Square Dancing, 2003). As more and more communities in the early United States began developing and intermingling, so did the dances. Square dancing continued to spread, but it was not a sensation until the early 1930’s when Henry Ford revived it in an Early New England restoration project effort (Western Square Dancing, 2003). “Square dancing, along with quadrilles, two-steps, waltzes, and other old fashion dances, became a part of life for Ford employees and school children across the United States. Ford and Lovett believed square dancing taught social training, courtesy, good citizenship, along with rhythm. They felt it should be a part of every school's teaching of physical education (Save Square Dancing). “In 1928, Boards of Education across the United States implemented the use of square dancing in physical education classes. By 1944, Ford began broadcasting “The Early American Dance Music” radio program for thirty minutes twice on Saturday nights (Save Square Dancing). The show created widespread enthusiasm for square dancing, and rapidly recruited more dancers across North America. By 1948 square dancing had reached a high in terms of participation, and has since been widely participated in the United States, while still over time evolving into a unique (but related) version of its predecessor, the “Morris Dance.”
Cawte, E. C. (1963, December). The Morris Dance in Herefordshire, Shropshire and Worcestershire. Journal of the English Folk Dance and Song Society, 9(4), 197-212. Retrieved from http://www.jstor.org/stable/4521671
Rattlejag Morris. History of morris dancing. Retrieved from http://www.rattlejagmorris.org.uk/history-of-morris-dancing
Reese, K. (1995, June 25). History of square dancing (the english heritage). Retrieved from http://eaasdc.de/history/sheengli.htm
Save square dancing. Square dancing history. Retrieved from http://www.save-squaredancing.com/history.htm
Shaw, D. (2000, May 2). History of square dancing (morris dance). Retrieved from http://eaasdc.de/history/shemorri.htm
Western Square Dancing, . (2003, July 23). Square dance history in the u.s.. Retrieved from http://www.dosado.com/articles/hist-maca.html
Winston, A. (2001, June 21). English country dance and its american cousin. Retrieved from http://www-ssrl.slac.stanford.edu/~winston/ecd/history.htmlx
Karen Montero
American folk dance has been characterized as a traditional dance particularly in England (Warta, 2011). The history of folk dance dates back to medieval times, where people danced for celebratory purposes, rather than for style or technique as it is found in many dance forms of today. Folk dancing has documented many spontaneous choreography including rites of passages and sacred rituals. English folk dance has been influential in the history of folk dance. Beginning in medieval times where people would create intricate dance formations, hold hands, and join in celebratory movement together. Folk dance was also part of life in the court of royalty (Warta, 2011). The official folk dancers were perhaps from England and other parts of Europe during medieval times. Currently, folk dancing has been perhaps replaced with many other dance forms.
In an article by V. Belaiev (1965), where he discusses the history of music, he states that modern musical notation, high forms of polyphony, harmony, and establishing the tempered scale as a universal tonal system has become widely accepted. It began in the early eighteenth century and the individual who introduced it was Johann Sebastian Bach. This new notion of music led to the development of folk music. Folk music became significant in: Italy, Germany, France, Great Britain, Russian, Norway, Ukraine, Czech Republic, Hungary, Poland, and Bulgaria (V. Belaiev, 1965). The first folk song that was introduced to Europe was “From the new world” by Dvorak (V. Belaiev, 1965).
According to Volk (1994), the demographic makeup of the United States changed radically from 1900 to 1916. Due to the heavy influx of people from Southern and Eastern Europe and the schools, in particular, felt the impact of this immigration. In order to integrate these immigrants into America’s culture, school officials decided to also integrate folk dance in their curriculums. Generally, many music educators and colleagues gradually came to know and accept folk dances and songs from many European countries (Volk, 1994). The integration resulted in an increase musical diversity that perhaps marked the beginnings of multicultural music education in the public schools (Volk, 1991).
There are different styles of folk dance: clogging, maypole, and Irish dance, to name a few. Clogging is similar to tap dancing, it involves double taps on both the heel and the ball of the foot, allowing for a wide range of sound and movement (Warta, 2011). This form of dancing is popular in the United States and Europe, especially in Wales. The second style is maypole which is often danced on May Day in various European nations such as Germany and Sweden. This dance consists of a pole decorated with floral garlands, flags and streamers with ribbons attached to the pole and everyone grabs one as they begin to dance around. It is especially popular with children. (Warta, 2011). The thirds style is Irish dance which consists of another form of step dancing. People wear traditional Irish dresses and the dance includes of stomping their feet rhythmically. (Warta, 2011).
Warta (2011), states that the history of folk dance teaches us that early dances such as this one was very influential on today’s modern disciplines. For example, hip-hop dance can be compared to folk dance history due to its spontaneity on the fly choreography (Warta, 2011). Hip- hop was also taken from urban culture, just as folk dance. There is also no formal authority or a qualified teacher for folk dancing just as there is no choreographer for hip- hop dancing, unless one is involved in a dance team. Therefore, hip-hop takes a cue from folk dancing’s impromptu style (Warta, 2011).
Bibliography
Belaiev, V. (1965). Folk Music and the History of Music.
Studia Musicologica Academiae Scientiarum Hungaricae.
Volk, M., T. (1994). Folk Music and Increasing Diversity in American
Music Education:1900-1916. Volume 42, Number 4. Pages 285-305.
Warta, T. (2011). History of Folk Dance. http://dance.lovetoknow.com/History_of_Folk_Dance. Retrieved 26 July 2011.
Chelsey Laurito
Dance has been around for centuries, with one of the most famous dances continuing to be practiced today, ballet. Ballet is stylized movements that present poise and grace. This style was said to be started in Renaissance Italy where they used painting, poetry, music and dancing to make up their shows. In Paris, ballet was developed more and had a violinist playing with dancing along with poetry spoken with the dances. However, today most ballets are simply dancing to music without words. That influence came from British style dancing developed by John Weaver.
John Weaver was around dance since he was a little kid because his father was a dance teacher. His father is who influenced him to go to London to become a dance master and from there history was created. John weaver decided to eliminate words, and use dance as a way to convey dramatic stories. That style gives people the chance to be in touch with our mind body experience with dancing and give the audience the same chance. This influence is used today in American ballet. Ballet today is basically orchestra music created by composers performed without words. The New York ballet company performs classical ballets such as swan lake, the nutcracker, or Giselle which are strictly orchestra based. This style is all thanks to the influence of a British dancer/choreographer.
A fun fact that I found on the internet that is not completely based off of British style but had some significance in American ballet is that Lincoln Kirstein who came up with the idea of the New York City Ballet met George Balanchine in London who was a big part in making it happen. After several struggling years, following War World 11, the idea was presented by the two to the Center of Music and Drama in New York City where the dream came alive.
Dance has several origins from different countries and I believe that America has taken those origins to create its own style. Dance style is more risky now in America consisting of hip and modern, but all are based back to styles of different countries. Ballet has been practiced for several years and will continue to be practiced due to the major influenced of time and different countries. London style has influenced American Ballet in many ways from the start of the NYCBC to its style of dance without words.
Works Cited
Wulff, H. (2008). Ethnography. Sage, 9(4 518-535 ), Retrieved from
http://eth.sagepub.com/content/9/4/518.full.pdf+html doi:
10.1177/1466138108096990
Au, Susan. (2000). Ballet. Microsoft Corporation, Retrieved
fromhttp://autocww.colorado.edu/~toldy2/E64ContentFiles/Dance
AndDancers/Ballet.html
Brief history. (1998). Retrieved from http://www.nycballet.com/
company/history.html
Sean Pinckard
Ballroom dancing started out as a way of the social elite entertaining themselves but transformed itself into a staple of social life for decades. Many people today feel that ballroom dancing has run its course to be replaced with the grinding and hip hop dancing of the youth, but there is something so magical, so elegant about a couple that truly connects on the dance floor that is why because of the World Dance Council established a standard for judging international ballroom dancing competition. Ballroom dancing came from before the 19th century but didn’t reach its peak in popularity until the early 1900’s (A little learning...ballroom dancing, 2002). Ballroom dancing was originally the dance of high society; it was a crucial element of status to be able to dance. Nobles were taught the steps primarily to the waltz as to not appear uncultured, it wasn’t until much later that there came forms from other parts of the world, Latin America with Chacha, salsa, etc. (A little learning...ballroom dancing, 2002), and also the integration of the lower classes into Ballroom dancing. For the lower class it was predominantly folk music and folk dances. Ballroom dancing has generally been done in high society with live music, and as with the musical changes of the time period the bands that played at these ballroom dances also grew substantially. Ballroom dancing was being done for decades before they started building places specifically designed for ballroom dancing in the 1700’s. A very big misconception about Ballroom dancing is that it’s not an athletic dance and it doesn’t take skill but in 1997 the International Olympic committee recognized it as a sport (A little learning...ballroom dancing, 2002). In the early 1900’s there were a few people who were instrumental in the massive increase of popularity of ballroom dancing both back in the states and in the UK. Their names were; Vernon and Irene Castle, who were a couple in New York that opened their own school and club, Fred Astaire and Ginger Rogers, who were actors who’s on film dances invigorated the youth market to try ballroom dancing, and Josephine Bradley and Victor Sylvester, who analyzed, published, and taught many standardized ballroom dance moves.
Works Cited A little learning...ballroom dancing. (2002, March 26). The Guardian.
Works Cited A little learning...ballroom dancing. (2002, March 26). The Guardian.
Lauren Lyons
In the article “Continuity, change and performativity in leisure: English folk
dance and modernity 1900–1939,” Robert Snape said that “Folk dancing is a geographically distributed leisure activity which is practiced in many countries, notably UK, Canada, France, Ireland, New Zealand and the USA.” “The patterns of the English country dances are similar to those of Irish set dances and of Scottish country dances such as reels and strathspeys. The step work of English dances, however, is simpler and the styling less formal (2011, Country Dance.) “The term folk dancing is reserved for dances which are to a significant degree bound by tradition and originated in the times when the distinction existed between the dances of "common folk" and the dances of the "high society (2011, Folk Dance).” There are many different types of folk dance. Some of these include clogging, English country dance, international folk dance, and square dancing (2011, Folk Dance). Cecil Sharp claimed that the English country dance was the national dance of England (2011, Folk Dance). Cecil Sharp published 15 collections of dances between 1904 and 1924 from John Playford’s The English Dancing Master (2011, Folk Dance).”
Square Dancing is another category of Folk Dancing. “The origin of the square dance can be traced to English derivation and to the stately French cotillion performed in square formation that was popular at the court of Louis the fifteenth later replace by the quadrille (another square dance) (2009, Official American Folk Dance of Alabama).” On May 31, 1995 the square dance was adopted as Missouri’s official American folk dance (State Symbols of Missouri).” This shows that folk dance did influence America, since Missouri adopted the square dance as there official American folk dance. Another popular folk dance that began in England is the Appalachian Big Circle Dance.
Here are some dancers that are associated with folk dancing. One of them was a young school principal, Lloyd Shaw, who danced European folk dances and the quadrilles (2003, History of Square Dancing). Another dancer, Benjamin B. Lovett, was from “rural New Hampshire to Dearborn, Michigan (2003, History of Square Dancing).” Some of the things Lovett did were organizing an orchestra, prompted recordings, and radio shows (2003, History of Square Dancing).
In conclusion to this British folk dance did influence American dance. “Square dances are derived from folk and courtship dances brought to the United States by European immigrants (State Symbols of Missouri).” Sometimes it is surprising to think that folk dance did not start in America, since it is so popular now, but it was the immigrants who brought the folk dances to America. Although, I think that there was more information on American folk dancing then there was on British folk dancing.
Work Cited
country dance. (2011). In Encyclopedia Britannica. Retrieved from http://www.britannica.com/EBchecked/topic/140377/country-dance
Snape, R. (2009). Continuity, change and performativity in leisure: English folk dance and modernity 1900-1939. Leisure Studies, 28(3), 297-311. doi:10.1080/02614360903046235
State Symbols of Missouri. Retrieved on July 26, 2011.
Retrieved from http://www.sos.mo.gov/symbols/symbols.asp?symbol=folk
Heiner Fischle, Hannover. (2003). History of Square Dancing.
Retrieved from http://www.heinerfischle.de/history/history.htm
Janaye Asher
Jazz was first known in the United Kingdom as old school jazz dance. DJ Paul Murphy is known for playing music that started this up beat dancing style. In the UK the dance was performed in night clubs. Late night dancers would gather around in a circle while one of them would perform in front of all the rest, each taking turns to try and out dance the one who was dancing before them. Old school jazz dance is a blend of many dance styles. Its said to be influenced by breakdance, hip-hop, and tap. (Thilmany,1995)
In America old school jazz dance is known as Jazz. It was introduced in a number of shows from Bab Fosses work. As far as the founder of Jazz, there seems to be an absurd number of claims. It was originated from Africans, branched into the European culture, and then spread through the world. In my own personal opinion I would say that jazz originated from the African American slaves that sang music to make their days go by faster. I did consistently find two important names in the jazz world. “Considered the father of jazz dance technique, Jack Cole developed techniques that are used today in musicals, films, television commercials and videos.” (Bedinghaus,2007) He was an American dancer, theatre director, and a choreographer. Bob Fosse was another so called a pioneer of Jazz. He was a “Musical theater choreographer and director, and a film director.” (Bedinhaus, 2007) He was an actor in his younger years then took up directing and choreographing after he began to bald prematurely. These were two significant founders of the dance, Jazz.
This style of dance is traditionally made up of center control, spotting, and pointing. (Bedinghaus, 2007). Having center control is in other words saying one has a center of balance. It is a point on one’s body that is balanced when applied forces are at hand. This allows the dancer to have control over the movements being made, and balance while executing movements throughout the dance routine. Spotting is a way to reduce the sense of dizziness when repeating a rotation around in the same motion. The goal of a dancer when spotting is to obtain the dancers head and eyes and enhance the dancer’s control. Pointing of the toes is another common practice. The dancer will stretch their ankles and extend their toes so that it makes their feet aligned with the legs. Jazz dance is a dance that encourages the dancer to be unique. It is a known dance in most countries of the world. It can be performed by the young or the old, and is a great way to express ones unique personality through their artistic dance abilities.
Reference
Bedinghaus, Treva. (2007). Jazz 101. Retrieved from http://dance.about.com/od/typesofdance/p/Jazz.htm
Thilmany, Patrick. (1995). Nature’s Song. Retrieved from http://www.naturessong.com/history.html
In America old school jazz dance is known as Jazz. It was introduced in a number of shows from Bab Fosses work. As far as the founder of Jazz, there seems to be an absurd number of claims. It was originated from Africans, branched into the European culture, and then spread through the world. In my own personal opinion I would say that jazz originated from the African American slaves that sang music to make their days go by faster. I did consistently find two important names in the jazz world. “Considered the father of jazz dance technique, Jack Cole developed techniques that are used today in musicals, films, television commercials and videos.” (Bedinghaus,2007) He was an American dancer, theatre director, and a choreographer. Bob Fosse was another so called a pioneer of Jazz. He was a “Musical theater choreographer and director, and a film director.” (Bedinhaus, 2007) He was an actor in his younger years then took up directing and choreographing after he began to bald prematurely. These were two significant founders of the dance, Jazz.
This style of dance is traditionally made up of center control, spotting, and pointing. (Bedinghaus, 2007). Having center control is in other words saying one has a center of balance. It is a point on one’s body that is balanced when applied forces are at hand. This allows the dancer to have control over the movements being made, and balance while executing movements throughout the dance routine. Spotting is a way to reduce the sense of dizziness when repeating a rotation around in the same motion. The goal of a dancer when spotting is to obtain the dancers head and eyes and enhance the dancer’s control. Pointing of the toes is another common practice. The dancer will stretch their ankles and extend their toes so that it makes their feet aligned with the legs. Jazz dance is a dance that encourages the dancer to be unique. It is a known dance in most countries of the world. It can be performed by the young or the old, and is a great way to express ones unique personality through their artistic dance abilities.
Reference
Bedinghaus, Treva. (2007). Jazz 101. Retrieved from http://dance.about.com/od/typesofdance/p/Jazz.htm
Thilmany, Patrick. (1995). Nature’s Song. Retrieved from http://www.naturessong.com/history.html