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Course notes Fall 2014

by: Jodi Lipschitz

Course notes Fall 2014 Dance 165

Jodi Lipschitz
World Dance Cultures
Marlene Skog

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About this Document

These are all my notes from the entire semester in World Dance Cultures.
World Dance Cultures
Marlene Skog
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This 17 page Bundle was uploaded by Jodi Lipschitz on Wednesday August 19, 2015. The Bundle belongs to Dance 165 at University of Wisconsin - Madison taught by Marlene Skog in Fall 2014. Since its upload, it has received 92 views. For similar materials see World Dance Cultures in Dance at University of Wisconsin - Madison.


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Date Created: 08/19/15
World Dance Cultures Dance in Japan ceremonial Gagaku Japanese Imperial the opera musicians singers dancers Househould musician amp Dancers houses all people of arts all male membership heredity gt father to son gt must be born into club Bugaku dance form of gagaku pure and stately style paired dances erect spine contouring head disrespectful moments forward side etc amp symmetrical mask and heavy costuming only seen by court until WWll m offshoot of Bugaku gt always male 15th century religious ceremonial and cyclical based on myths and story minimalist moveent art of walking big toe is last to leave the floor drama singing dialoguem storytelling acting Kabuki form of theatre all male as female popular for the masses common folk emphasis on dance and acrobatics reminder of people s tie with nature myths morality good vs evil nature origin Okuni danced with group to get money for shrine closed for prostitution started women impersonating male dancers more seriousdiff invention entrepreneurship African Dance commonalities shared characteristics or qualities Seven Senses Oral Principle ancestral connection to Africa Epic memorv collective unconscious many generations shared history etc body of work comes from epic memory Seven Senses palm different rhythms going at the same time many drums at same time mm moment from different centers of the body at same time to different rhytms Dimensionalitv perception of dance what we understand from feeling other senses Curvilinear round shape headtale connection Epic Memory blood memory of a people spirituality gt calling upon ancestors to get power to do something Em intensifying movement until satisfaction is reached more intense more you repeat mm energies or tensions juxtaposed in body Call and Resoonse dialogue between leader and participants Aesthetic of the cool attitude coo detachment Ephamism losing oneself in the movement Marathoning doing what need to be done takes time until satisfaction has been reached Multi le focii circle rules gt everyone is spectator and participant Collective and Communal Trust censorship gt stop if not acting appropriately trust within community needed for dance Oral Principle importance of spreading stories of tradition storytelling past on through word of mouth and dance Griant chosen storyteller of communityconscious teaches community song and dance Improvisation structured individuality Musician drummer driving force of dance constant dialogue between dancers and musicians m parts of creation not emphasized on whole every part is as important as sound Gender Roles women wear sorrong gt respect to where they are M1 Nature Embracing m songdances try to find balance between good and evil Journey is as important as destination have commonalities wherever you are Catherine Dunham American African dance technique taught at Alvin Ailey dance is part of spiritual life Kind s Court in Ghana at dawn gt sends people to call others to the festival each chief brings the drummers and dancers priests bless occasion with their own dance show hierarchy by gold they display play homage to king chosen for diplomatic skills and dancing ability anyone can dance in the court king is more majestic when he is walking slow World Dance Cultures Notes What is dance movement universal language art cuture expression exercise reigious profession emotiona movement amp scholarship persona meditation reease of energy physica behavior How is it different from Sports ntent and quality of movement experienced promotes emotional experience special feeling human body instrument movement medium How do vou view dance as an artistic expression cuture defines beauty emotiona expression based on self and personal feeling nonverba communication can tell a story societa role roe dance plays in society coective unconscious embodies cultural history of a people Culture defines beautv based on commonly accepted values What is culture way of life that expresses value and meaning of a people in a given time art supports what society vaues most Lineade based societv Native Americans cutura groups with highly evolved society primitive doesn t resemble our society own structure religions ancestor worship stories passed through generations as a way of worship may be isolated economicay independent non literate have their own way of life religion and government are intertwined Roots of Dance Dance in Cultural Context part of business of living in tribal cultures spiritual dance forms embodies spiritual needs expressing and reinforcing unity therapeutic experience Primarv Dance Forms directly embodies spiritual powers spiritual tribal ritual fertility death war etc specific dance rituals wedding Cyclical same time every year important to survival of group rain harvest etc part of community Tribal Ritual cyclical and specific in order to fulfill needs of community gt communicate with gods embody spiritual powers Sacrifice symbolizes somethings log in river kiing Ritual Elements constant components in tribal dance Sound chanting singing clapping Body Decoration embody spirits masks summon magic power Setting hides responsibility and who you are to become something else cave hut woods decoration of space place of ritual becomes sacred Fire focal point in sacrifice Movement Circle Formation to circle take into possession circle creates community defines space enemies out and secrets in Drums sacred Gods speaks through drums Shamin high priest of community Movement Characteristics harmonious and ecstatic how body moves to communicate Harmonious movements simple patterns gt shuffling stamping lunging swinging bending of knees efficient and lowkey Ecstatic movements intense and climate member is possessed by spirit development of speed and increase of gesture trembling ends in trance state repetition gt lose sense of self if faking state profanity Gender roles men do hunt or war dance ecstatic women planting and caring modest and suppressed Ritual set of fixed actions done birth dead puberty etc m Mask of Ramda struggebalance of good and evil in nature Ramda evil witch destroys balance Barong good witch protects from evil Kris exorcise dance sprite and cooperation trance state dance puts water to get out of state stabbing with knives but don t bleed because protected by trance state children watch and participate good and evil learn to recognize and find balance ecstatic movements passed down through generations Two prepubescent girls dance oversee good of community beautiful and ornate embody gods awaken with incense and water dancing on men s shoulder in trance chanting and fans female gt more modest and harmonious movements spiritually important and essential to their living Ethnic Dance traditional dances performed by the people of a given nation or region Primary gt classical Classical form art form Function preserve spiritual values of the society no longer feel necessity to communicate with gods for business of living needs to preserve but no longer embody for function of sacrifice no more trance Characteristics of Classical Form cultivation of senses by dancers aesthetic consciousness stylized gestures and movements costumes props extension of spiritual powers complex many years of practice for it to have meaning spiritual aura but for pleasure of performance m Legong evolved into classical story doesn t change but form changes dance in unison gt choreographed refined and cultivated for aesthetics of movements fluid movement whole body is used expressive movement gt random gender roles bold vs modest Java Bedota Gamelon female ceremonial dance Gamelon musicians who play for Javanese dances clothing and artifacts gt beautifully crafted everything was planned makeup moves etc based on tradition war dance doesn t exist without masks beautiful and flowy movements harmonious perfectly crafted choreography makeup no one was allowed to stand out or be better unison strength of whole when dance is mastered you become something else m Bharatanatya oldest form of Hindu dance practiced in temples Gods Shiva and Krishna in salutations of gods triumphs of good over evil coexistance in nature and harmony 33 mudras hands that tell a story men and women dance together facial expression gt no masks crucial natya dance Bhaba expression tana rhythm of music less reserved World Cultures Final Exam Modern Ballet Mikael Fokine Choreographer Petrouchke appaud after spectable gt dancers became crowd pleasers did not like this created own ballet gt not accepted by tzar baet meaningfu collaboration production Serge Diaghilev Russian nobility studied ballet amp music 1909 essembled leading dancer gt season in Paris Fokine was 1st choreographer supported Fokine known as Ballet Russes de Monte Carlos Petrouchke puppet love story modern ballet pedestrian costumes smeared makeup gt twisted Nijinsky choreographer in Ballet Ruse George Belanchine ast choreographer in Ballet Ruse Russian dancer invited to go to New York by Kristein started Neo classicism style School of American Ballet created New York City Ballet potessabstractminimal costume amp set evoked moods amp personal relationships exaggerated movement gt 20th century speed leg work style gestures gt flexed baet body gt created fashion movement School of American Ballet New York funded by ticket sales American Ballet Theatre hierarchy gt star centered cassics such as Balenchine bring in European choreographers Peter Martins cassics such as Balenchine bring in European choreographers Arthur Mitch premiere dancer from NYCB African American took old garage in Harlem and opened school Balenchine supported and funded Joffrey Ballet born in 1950s in NYC now in Chicago wanted to excite new generation invited Rock Ballets refected what was going on in country San Francisco Ballet oldest in country Modern Dance Definition movement reflecting values of 20th century chaenges traditions and seeking for new not based on Ballet technique techniques based on impulses feelings design Func on expressing individual feeling amp abstract design previous dance was no longer relevant Movement free swinging motion of body stage was now 3 dimensional could face backward own movement expressed own ideas gt individuals we as a unit American Modern Dance Pioneers Isadora Duncan inspired by Greeks amp nature danced in tunics amp barefoot made political statements known as rebel French Germans Russians embraced her would bare breasts in public dramatic in life and death influenced ballet that she disposed politically vocal swinging hopping leaping Loie Fuller multi media dancer costumes with yards of fabric to pick up lights skirt dancer huge amount of fabric when she danced moving art no formal dance education lunging arching popular in France Maude AIIen admired Greeks influenced by Isadora vision of Salomi gt transparent chiffon no teachable system gt improvised Ruth St Denis infamous by work of Europeans interested in Asian cultures India Japan etc tried caoturing spirits the incents scene of life in India audience conscious Ted Shawn married Ruth St Denis more analytical adaption of Classical ballet drew from European technique culturally infused dances shared passion for ethnicity most important dance school in America split from Ruth amp created fst made dance company renovated rundown bar for theatre expression humanitarian plight technique teachable system that progressed European Rudolph Laban fashioned after Greek art Kurt Jooss student of Laban Mary Wigman student of Laban twisted death and dark subjects universasocia elements of life amp society acrobatic amp improvisational in unison communications as a whole Modern Dance Founders gt Denishawn School Martha Graham HumphreyWedman Technique Doris Humphrey Charles Weldman Lester Horton based on dif architecture Graham contract amp release of center school of contemporary dance sti performed method of teaching choreography twisted shapes internal discourse no French terms If you re going to make a mistake make it big emphasized torso costume amp set modernistic Humphrey amp Weldman built company fall amp recovery equilibrium physics Humphrey greatest teacher gift of releasing Wedman gift for pantomime amp satire split amp continued solo careers real life situations amp people West Coast Lester Horton most culturally diverse company first theatre for modern dance in LA plague of minorities created own technique linear based amp humanitarian based 1926 UW Madison 1st dance dpt Post Modern Movement Definition focus on materials of art and rebelling against conventional standard theme development climax solution New avant garde celebration of mundane Innovators Merce Cunningham created technique father of post modern dance movement not emotion expressionless faces moving through space movement has no gender spine acts as spring based on collaboration John Cage sound design Andy Warhol Andy Reuschenberg director work was disliked chance dance liked breaking convention created dance events Alwin Nikolais student of Hania Home focus on motion not emotion theatrical component non collaborative amp multi media choreographer Post Post Modern 1960s present Judson Dance Theatre new avant garde Steve Paxton created contact improv Mariyn Munk music amp poetry J DT ideas of pedestrian activities coab art dance amp theatre reease flow with influence of yoga amp somatic practice FINAL PART TWO Jazz was born in America of African parents origin rhythmdrumming of African slaves dance developed from Jazz music sensual and sultry sound rhythms syncopated gt polyrhythms Black Dance Forms dance forms indigenous to Afro American groups embrace variety of techniques and vocabulary drumming was important drummingdrummer created body percussion and shuffles etc music came first gt central to dance Harlem NY gt influenced white culture indy hop and swing dance and politics were so intertwined Concert Dance movement learnedstudied in a studio to be performed for an audience represents artistic expression Katherine Dunham created first jazz technique 1945 opened a studio to create a technique for blacks and whites take our dance out of burlesque characature gt unce tom amp africans to make it more dignified art researched dance in Caribbean Shango ritual from Caribbean community Asadata Dafore The Ostrich went to Africa to research rituals amp brought it back to US poycentrism drums respect for nature Pearl Primus scholar dancer humanitarian composed work on black experience based on Graham promoted this genre Caribbean influence Tap Dance form of jazz polyrhythms Movement characteristics bent knees flowy not straight avaHabHHy loosefexibe spine dynamicattack of movement pelvis initiates poy centrism isoations shimmying amp attitude Alvin Ailey studied with Horton choreographed study dance amp created company Alvin Ailey American Theatre Reveations South in 20th century people in church and dance hall cuture based on spirituals amp hymns Eleo Pomare urban gt showed poverty poverty due to drugs poor neighborhoodchaotic Luigi technique Mattox Giordano Bob Fosse minimalist bumps grinds etc Chicago zoot suites overly big men costumes swag outfit rhythms poly rhythms


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