DANCE HISTORY 2020

Cheyenne Moore

[cheyennemarie0923]

Dance and Religion

I grew up in the Pentecostal church where dance and religion went hand in hand along with song and shouts. After reviewing the readings and videos form this week’s unit of Dance and Religion, I learned this was not the only branch of religion in which dance was a major aspect of expression. In Pentecostal churches we shout and speak in tongues when we feel the “holy spirit” inside our body and soul. The dance that is derived from the Orishas felt a lot like the types of dance I see at church: the older women performing in their white skirts mixing shout and song with grounded to the Earth either in plie or dropping to the floor. When viewing “Oshun” Deity of Sweet Waters it took me back to the hot summer days at church in North Carolina when the women of all ages would perform for the Pastor’s and Apostles as well as for the rest of the congregation. I do not think it is a coincidence that the dances coming from Africa and the dance I see at church have many similarities, especially considering Pentecostal churches came from ancestors of African American slaves.

In Chapter 2 of Dancing: the pleasure, power and art of movement, Gerald Jonas speaks on the many religions across the world throughout history and how dance is viewed in each. In India, the Shiva is the Lord of the Dance and their influence is seen throughout China, Japan, and the south pacific islands. West African dance has influenced not only Caribbean and American dance but has changed the entire world’s view and form of the art. To quote the reading, “dance opens direct channels of communication to the word of the gods and/or ancestors.” This is seen primarily in Indian and African influenced dance and religion much like in the Pentecostal church.

The Candomblé religion developed in Brazil and is based on the three African divinities (Orixá, Vodun, and Nkisi) brought over by the slaves to the New World. The religion is taught that these three divinities spoke to the slaves when they were away from the slaveholders and were able to help one find their axé, or vital energy, which was vital to those slaves in Brazil compared to those in Africa since the slaves were not given freedom and privacy. Once slaves were emancipated in Brazil, Candomblé houses multiplied, however religious activities that came from African decent were banned in Brazil. For them to practice their religion, the houses had Catholic figures and images in their front yards to give a façade to those who passed by. By the year 1937 there were about 100 Candomblé houses in Salvador alone. This religion existed centuries before the first Catholic priest arrived in Africa, and today is still practiced all over the world from those who come from African descent. Its focus on nature and reusing sources of energy one can derive from nature means they rely on natural artifacts and sources to receive these energies. This can make one question how the fires in the Amazon have effected those who practice this religion in Brazil and how it is affecting their energies if the nature used to protect said energies are being torn down and burned to a crisp.  

[cheyennemarie0923]

Classical Ballet

Classical ballet began to popularize in Russia from 1890-1910, setting the tone for the future ballets of today’s society. How most currently think of ballet is what classical ballet has to offer. The short tutus showcasing the ballerina’s long legs, the elaborate and difficult turns are more noticeable, and schools for many different techniques and thought were the foundations for this art form. Some of the key players during this time were: Marcus Petipa, Lev Ivanov, Michel Fokine, and Pytor Tchaikovsky. Out of the 4, Tchaikovsky is the only non-dancer. He was a famous composer and pianist who started composing ballets later in his career. Two of the most famous classical ballet pieces to this day were composed by him: The Sleeping Beauty and The Nutcracker.

           This new type of ballet has instilled what is, not only to dancers but the audience as well, known to be ballet. Some elements were taken from the romantic ballet period such as the use of folk dance, the metanarrative, binary opposition, etc., however some elements were brought to the spotlight and were given the same amount of importance in order to harmonize the ballets. Pointe training and flexibility now played a part in technique as well as being able to pull off elaborate turns, jumps, and lifts. The choreography was clearer and had an order that was not exuded in romantic ballet. Another major key is the music: the music drives the ballets and motifs are heard throughout. There is now a hierarchy within ballets when casting: principle dancer, soloists, quarter ballet, and apprentices. This hierarchy ties into the stronger female character portrayed by the principle dancer, an example being Aurora in The Sleeping Beauty where instead of her suiters being picked for her, she is able to pick her own husband out of the men lined up.

           Classical ballet has not changed much since its origin. Much of the ballets created are still performed with different variations to this day. One could see the Nutcracker by three separate ballet companies all of which portray it differently. As classical ballet continues to be a prestigious art form, many are breaking barriers of what is known as the “norm”. It is amazing to see how far this art form has come in ways of diversity and inclusivity while practicing the original technique forms made centuries ago.

[cheyennemarie0923]

Romantic Ballet

Romanticism was an artistic movement from the late 18th century Europe and was a reaction to the new industrial revolution taking place as well as a revolt against aristocrats and the politics of the Age of Enlightenment. This movement was seen across not only literature, but music and dance as well. The stories created during this time were the themes or inspiration behind ballets made. Many of these ballets express the importance of marriage (in your class) while giving the audience a sense of the supernatural world (life after death). Ballets during this time period very much included social norms for men and women and portrayed what life was like with a twist of fantasy and mystery.

More dancers are seen going up on full point and female dancers are of importance during this time. The light but still extreme movements underneath the long, A-line tutus worn only added a more airy, supernatural feeling when watching while allowing the dancers to increase their range of movements. Marie Taglioni was an important dancer during this time. Many ballerinas (men and women) aspired to achieve her technique where she is known for her lightness as well as her leaps and jumps. Many ballets were made with Taglioni in mind, causing all ballerina’s during this time to set out to train as she did: multiple practices a day which lasted 2-3 hours each.

Very few ballets from this time period are still performed today, those including La Sylphide (1832), Giselle (1841), and Coppelia (1870). Throughout these ballet’s the themes of love mixed with supernatural elements are seen throughout. Giselle is the perfect example of the elements within the Romantic Ballet time period. The ballet is about love and betrayal, Giselle, a peasant girl, falling in love with a duke who was already engaged to someone of the same class. She dies of a broken heart and comes back in the second act as an angry ghost, for during this time it was said if a female dies unmarried her soul will never rest. Very much in the second act (for almost all ballets of this time period) is where the supernatural elements come into play: ballerinas portraying ghosts, the ominous mood within the graveyard, the dark stage lighting only having the dancers illuminated by a blue/purple spotlight, etc. Choreographers knew the audience wanted to feel mystery and excitement, and these ballets offered no less.

[cheyennemarie0923]

Ballet Before it Became Ballet

Today's society views ballet as a dance form offered to many but achieved by few with years of specific training to build the skills and technique needed to perform at a high level. Some even view this art to be done mostly by women with men being an afterthought throughout the performances. Long legs are showcased with tutu’s and tights, the slippers fitting the foot of the dancer to perfection in order to show the lines used within the dance. However, ballet wasn’t always filled with grace alongside difficult patterns using specific steps, jumps, and turns. Ballet is offered in almost every town and city in the U.S. for all ages and skills. The dream of being a principal dancer for a ballet company has never been so tangible yet ambitious than right now.  

In the earliest forms of ballet during the 16th and 17th centuries, Louis XII used court ballet to establish his authority as king[1] and to leave a memorable mark after his reign. During this time, ballet was performed by noblemen and women led by the king and queen. The shows started late at night and lasted between 4- and 5-hours showcasing grace and elegance rather than strength and technique. The dancers performed to music as well as spoken word and song versus derived from literary texts most popular at the time. The audience would receive what we know today as a programme, or show pamphlet, to explain the theme and intention of the performance. The main purpose of the ballets was to “glorify the state”[2], or the ruling monarchs of the time. Eventually commoners were able to perform alongside the noblemen and ballet was about ability and not so much about ranking within the hierarchy. The peak of the French court ballet was reached during the reign of Louis XIV.

The high degree of training and skill that is seen in ballet today was not executed until the mid-17th century. In 1661 Louis XIV granted letters to the Academic Royale de Danse to create a patent to improve dance instruction, training, prepare aspiring masters, and sharpen the skills of dancers. The five positions of the body that is taught at the beginning levels of ballet was codified by Beauchamp as well as the basic technical skills we know today. These positions and movements came from social dances during this time period. Most performances were much like the minuet, men and women danced at a polite distance in straight, linear lines, only touching when placing hands gently on top of one another’s for a mere moment while dancing in a circular pattern for 4 counts to break away and continue to dance at a distance. This style was adapted for 120 years until the 18th century when the allemande became popular. This dance had more articular footwork and inspired a dance revolution- the intertwined hands along with the small space between man and woman were this dance’s signature. The allemande could be compared to how Swing dance revolutionized dance in the 20th century.

[1]  Au, Susan, and Jim Rutter. Ballet and Modern Dance. Third edition /ed. Thames & Hudson World of Art. (London: Thames & Hudson, 2012), 15.

[2]  Ibid, 12.