Category Archives: Dance

Ballet manga

ballet manga

Ballet manga, in which the heroine withstands numerous trials to become a notable dancer, is very popular among Japanese girls and women, and has greatly contributed to the establishment of ballet in Japan.

The genre emerged during the 1950s; with an increase in its popularity, more children began attending private ballet classes, since Japan had no official ballet schools. After some decades now, many Japanese dancers have begun winning international dancing competitions.

While most ballet manga is fictional, some examples have been based on the lives of famous ballet dancers such as Vaclav Nižinskij and Maria Tallchief.

This according to “The relationship between ballet and manga in Japan” by Yukiyo Hoshino, an essay included in Writing dancing/Dancing writing (Birmingham: Society of Dance History Scholars, 2014, pp. 103–106).

Above, the first volume of Swan, a popular serialized ballet manga from the 1970s; below, the related genre of ballet anime.

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Filed under Curiosities, Dance, Visual art

Danse apache and violence

danse apache early 1950s

What is partnered social dance but a ritualized embodiment of the battle of the sexes? The inevitable symbolism of women and men moving and touching, from 18th-century cotillions and reels, to 19th-century European style waltzes, to the ragtime dances of the early 20th century, has repeatedly ignited accompanying public discourses rife with vexed questions about sexuality, gender roles, class, race, morality, and modernity.

The dramatic metaphoric possibilities of social dance reached one extreme in the danse apache of the early 20th century, which was a stylized imagining of the violent lifestyle of Parisian pimps and prostitutes. Here a male and female dancer participated in a dummy display of violence and sexual attraction, combining one-step dancing with gymnastics and theater.

This dance was appropriated by professionals, often as a cabaret act, and was interpolated into several films—sometimes mistaken for real violence by other characters that try to intervene to comic effect. Pretense or not, the footage of this dance displays an alarming level of violence that makes us fear for the dancers’ well-being.

This according to “Dancing with a vengeance: Ritualized sexual aggression in social dance of the ragtime era and beyond” by Eden E. Kainer, an essay included in Dance and the social city (Birmingham: Society of Dance History Scholars, 2012, pp. 141–148).

Above, souvenirs of a reconstructed danse apache from the early 1950s; below, a film from 1934.

BONUS: A 21st-century version.

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Knutsford Royal May Day

SONY DSC

This year marks the 150th anniversary of Knutsford Royal May Day!

On this day in 1864 all of the children in the parish schools marched in procession with flowers and wreaths, along with the Cheshire Rifle Volunteers Band and a cart carrying the May Queen and her ladies-in-waiting. Then, as now, the procession ended on the Heath in the center of town, where the Queen was crowned.

Today the tradition is augmented with several dances, both as part of the procession and as displays before and after the crowning; morris, hornpipe, and sword dances are among the perennial favorites. Maypole dances round out the proceedings.

This according to “Royal May Day!” by Derek Schofield (English dance and song LXXVI/1 [spring 2014] pp. 32–35). Below, selections from the 145th celebration.

BONUS UPDATE: The 2017 celebration.

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Snowball gets down

Snowball

Snowball, a male sulphur-crested cockatoo, was brought to the rescue shelter Bird Lovers Only in 2007; his caregiver had gone off to college, and the family was having trouble managing him.

The family gave a CD to Irena Schulz, the shelter’s director, and told her to play it and watch Snowball. She was amazed to see the cockatoo dance to the music, accurately keeping time with his head, shoulders, legs, and claws!

A video that Schulz made of Snowball ended up on YouTube, where it went viral; he went on to appear in several television shows and ads.

The video was brought to the attention of Annirudh D. Patel and John R. Iversen, two researchers interested in connections between animal behavior and music; they were astonished, and Schulz allowed them to conduct experiments to verify that Snowball was actually listening to the music and responding with physical rhythmic mimicry. Their vindicating study, “Experimental evidence for synchronization to a musical beat in a nonhuman animal” (Current biology XIX/10 [26 May 2009] pp. 827–830) carries a byline for Schulz along with Patel, Iversen, and Micah R. Bregman.

Below, a brief video about Schulz and Snowball, followed by more videos of Snowball in action.

Related article: A sea lion in Boogie Wonderland

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Goth belly dance

Snake_edited-1

Goth belly dance or raqs gothique—a term coined from the Arabic raqs sharqi (dance of the East)—fuses the already Westernized interpretative dance style of the Middle East with Goth subculture.

This new experimental dance involves different musics (from goth rock to world music), altered costuming, and new performance settings. Although rooted in belly dance and its ties to colonialism, Goth belly dance transforms Orientalism and embodies decolonization as process and product.

This according to “Raqs gothique: Decolonizing belly dance” by Tina Frühauf (TDR: The drama review LIII/3 [fall 2009] pp. 117-138). Above, Maiiah with her snake, Maharet (photo by Pryor Dodge; click to enlarge); below, the late JeniViva Mia performs.

Related article: Subversive belly dancing

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From Bollywood to fusion

dola re dola

Performances of Bollywood dances among Indian diasporic populations are sites of Hindi film reception, and part of understanding this involves analyzing the dances as they exist in the films and the processes surrounding their transformation into performed works.

A comparison of the choreography of the song Dola re dola in Sanjay Leela Bhansali’s Devdas (2002) with a newly choreographed version by the U.S. fusion dance troupe Chamak demonstrates how the latter dispensed with the former’s plot-driven elements and Bollywood glitz to become a display of the troupe’s perceptions of both their Indian-American identities and their cultural heritage.

This according to “Swaying to an Indian beat: Dola goes my diasporic heart—Exploring Hindi film dance” by Sangita Shresthova (Dance research journal XXXVI/2 [winter 2004] pp. 91–101.

Above and below, the Bollywood version; further below, Chamak’s version (performance begins around 0:25).

Related article: Globalized Bollywood

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Swinging at the Savoy

Savoy Ballroom 1

The development of the Lindy hop must be understood within the context of Depression-era black culture and the Savoy Ballroom in New York City.

For some young black dancers the Savoy became a way of life, and for serious Lindy hoppers the crucial part of the evening was showtime, when the best dancers took the floor and tried to eliminate each other. The improvisational section—known as the breakaway, when couples broke into solos—spawned many new steps and maneuvers that were subsequently incorporated into the dance.

This according to “Swinging at the Savoy” by Barbara Engelbrecht (Dance research journal XV/2 [spring 1983] pp. 3–10). Above, a moment at the Savoy Ballroom in the 1930s; below, a tribute to the great Frankie Manning includes vintage footage from the Savoy.

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Pungmul and dance

pungmul

Pungmul is played with your heel!” say many celebrated performers of this percussion genre, underscoring the inseparability of the music and the musicians’ dance moves.

Merely listening to the music of pungmul is not sufficient for differentiating between passages where the meter does not change but the instruments play cross-rhythmically and those where the meter does change and the instrumental parts reflect this change. Such passages can only be differentiated through a choreological analysis that demonstrates the relationships between the stepping patterns of the dancing musicians and the music that they are simultaneously playing.

This according to “‘Pungmul is played with your heel!’ Dance as a determinant of rhythmic construct in Korean percussion band music/dance” by Nathan Hesselink (Eum’ag gwa munhwa/Music and culture IV [2001] pp. 99–110). Below, a taste of pungmul from the Gungnip Minsok Bangmulgwan (National Folk Museum) in Seoul.

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Cholly Atkins and American vernacular dance

 

Charles “Cholly” Atkins was a tap dancing star before the bottom dropped out for the genre in the 1940s.

In 1953 he was hired to coach the Cadillacs on their stage presentation, and he was so successful that he was given a steady job at Motown Records in the early 1960s; he went on to coach and choreograph for their top groups, including The Supremes, The Temptations, and Gladys Knight and the Pips, almost single-handedly keeping much of American vernacular dance alive for a new generation.

This according to “‘Let the punishment fit the crime’: The vocal choreography of Cholly Atkins” by Jacqui Malone (Dance research journal XX/1 [summer 1988] pp. 11–18).

Today is Atkins’s 100th birthday! Below, rehearsing with The Temptations in 1986.

BONUS: The celebrated duo Coles & Atkins (Atkins is on the right).

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Isadora Duncan and nature

Isadora

Even as she evoked a utopian vision of classicism, Isadora Duncan was creating a new image of the stage dancer as a noble-spirited woman, bold yet pliant, freely using her imagination and her body as she wished.

Duncan emphasized nature and the connectedness of body and soul, countering the effects of the Industrial Revolution and Victorian prudery; she championed simplicity and organic design in the face of the public’s taste for elaboration in both design and decorum; and she made herself into an emblem of freedom from conventions, particularly those of dance and femininity.

This according to “Images of Isadora: The search for motion” by Deborah Jowitt (Dance research journal XVII–XVIII [fall–spring 1985–86] pp. 21–29. Below, a reconstruction of one of Duncan’s dances.

Related article: St. Denis and Radha

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