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Danc 101 Weeks 2, 3 notes

by: paigekw Notetaker

Danc 101 Weeks 2, 3 notes Danc 101

Marketplace > University of South Carolina > Danc 101 > Danc 101 Weeks 2 3 notes
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These notes cover exactly what Flach covers in class. Make an A with these notes!
Dance Appreciation
Cindy Flach (P)
Class Notes
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This 4 page Class Notes was uploaded by paigekw Notetaker on Thursday September 22, 2016. The Class Notes belongs to Danc 101 at University of South Carolina taught by Cindy Flach (P) in Spring 2016. Since its upload, it has received 2 views.


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Date Created: 09/22/16
DANCE APPRECIATION – LECTURE OUTLINE – WEEKS  TWO AND THREE Medieval Period – Middle Ages 400 to 1400 A.D. The Bubonic Plague – The Black Plague Danse Macabre – “The Dance of Death” Fall of the Roman Empire Early Christian Church Dictated Artistic Endeavors Dance, because it was physical and pleasurable, was frowned upon and even banned  unless created specifically for the purpose of glorifying the Church Symbols of death and dying abound – skulls, skeletons, black masks and black draping Dance and other artistic pursuits flourished during this time in the Islamic cultures Aesthetic elements flourish in the East – Baghdad ­ cultural center of Islam  Medieval period: o People flocked to the cities for jobs, and celebration of group activities o Medicine had not flourished yet o The bubonic plague - the black plague  Disease came from rats  They threw trash and feces out the window and they carried the filth with them at the bottom of their long clothes o Baghdad - cultural center of Islam o The early Christian church was very corrupt  All about money  Church cut out creative arts, no dancing because the body is "evil"  Dance Macabre - "The dance of death" - the "dance" is seizures/tremors from the plague with a high fever o The plague lead to the fall of the roman empire  Halloween decorations nowadays were used to put on the doors of people's houses who were infected with the plague (skulls, crossbones, masks, etc.) Renaissance Period 1400 to 1700 A.D. A rebirth – renewed interest in the arts and culture of the Ancient World The long, rich history of ballet dates back to the fifteenth century Catherine de Medici (1519­1589) Dance Masters from Italy to France (1559) Court of Henri, Duc d’ Orleans Court Ballets Dazzling spectacles of ballroom and ballet often consisted of simple floor patterns and  poses that revolved around the king Always a bow or reverence to the king Balthasar de Beaujoyeulx (c.1535­1587) Ballet de Polonais (1573) Comique de la Reine (1581)  Pierre Beauchamp (1631­1705) Dance Master, first Ballet Master of the Royal Academy of Damce Created the five ballet positions used today, developed the technique of using the turned­ out leg as well as began a system of dance notation Development of turn­out and increased tecthical proficiency Creation of the proscenium stage in late 16  Century brought a more serious, theatrical  and pre­professional quality to the ballet Folk Dance for Commoners and Working Class Citizens Minuet, Pavan, Galliard, Volta Louis XIV (1638­1715)  Louis XIV was King of France from 1643­1715 and commissioned many ballets in which he himself performed The Sun King – Patterned after Apollo, The Sun God The Palace at Versailles Dance became a weapon of state – a way to control the aristocracy Courtiers must be as well versed in the art of dance as they are in the military arts Desired Outcomes: Courtly Manners – Memory of Sequence of Steps – Awareness of  time and space The Royal Academy of Dance – The Academy Royale de la Danse (1661) Jean Baptiste Lully (1632­1687) Dancer and Composer, Director of the Royal Academy of Music and Dance Royal Academy of Music and Dance (1672) John Georges Noverre (1727­1810) Letters on Dancing and Ballet Noverre brings ballet d’action to the forefront of ballet choreography Ballet d’action emphasizes plot and adds greater authenticity and expressiveness Pantomime featured in ballets Paris Opera (Paris Opera Ballet)  Renaissance Period: o 1400 to 1700 A.D. o Ballet began to come about in Europe o It was known as court dancing o Nobles danced for other nobles, they danced for each other  Italy: o Catherine de Medici (1519-1589)  She had a major say in the decisions of the King o Balthasar de Beaujoyeulx came to France with Catherine, they worked together o Political dance ****  Ballet de Polonais (1573)  Dance of political intent  Dance to honor and glorify the province o Comique de la Reine - theatrical event by the ruling class (1581) ****  Way to show off power, and wealth  The purpose of the party was to show off the wealth of France  The artistic values of France were spread all around the world  Louis XIV (1638-1715) o Man of great style o Became King at 5 years old o Decided to take the reins of the nation at 13-15 years old o Developed dance as a weapon of state - way to control the aristocracy o Built the Palace of Versailles for nobles to live and study dance o Studied dance 8 hrs a day o Dance choreography was similar to the patterns of warfare o Advertised that he was The Sun King - descendent of Apollo (The Sun God) o Louis' established the school of Ballet - "Royal Academy of Dance" o Considered to be the 1st star of ballet o Nobles must be as good at dance as they were in military arts  Pierre Beauchamp (1631-1705) o Dance master of the Royal Academy of Dance o Director o He created the 5 positions of ballet - all positions, the feet are turned out o Developed the precise technique of ballet  John George Noverre (1727-1810) o Wrote "letters of dancing and ballet"  1st book about the technique, illustration, and activeness of Ballet o Short steps, starts the routine with a bow to the king (audience) o He brought action to Ballet  Tells a story o The Royal Academy of Dance is still today in the form of the Paris Opera Ballet Dance in non­Western and non­European Courts – Differences and Similarities Still strong ties to the privileged and the ruling class Court of the Emperor of Japan Court of the Sultan of Java Court of the King of the Ashanti – Ghana The past comes to life in the time capsule of court ritual The history of a nation often tied to its dance history – social and cultural connections  revealed in the dance  Text:  Chapter One and Chapter Five  Video:  Dance at Court and Lord of the Dance


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