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Feminism throughout history
Feminism throughout history
Feminism throughout history
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Katherine Dunham not only significantly contributed to the rise of modern dance, but she was also a pioneer in the field of dance anthropology; and a staunch political and social activist. Dunham was born in Chicago, Illinois and primarily raised in nearby Joliet, Illinois. Dunham first became interested in dance when she was a teenager and trained with Ludmilla Speranzeva, formerly of the Moscow Theatre, Vera Mirova, Mark Turbyfill and Ruth Page in Chicago before and during her college education. She even started her own private dance school, Ballet Négre, in 1930, while at the University of Chicago where she first began to cultivate her own technique that would change modern dance. At the University of Chicago, Dunham decided to study anthropology with a focus on African and Caribbean ritual dances. Here, she studied under many of the best anthropologists of the time, and in 1935, she was awarded a grant from the Julius Rosenwald Fund to study dance in any way she wished. So, she decided to use this money to travel to the islands of the West Indies and document the ritual dances of the people. She visited such islands as Jamaica, Trinidad, Martinique and Haiti; however, she found a special connection with the people of Haiti and the dances they performed, particularly in their Vodoun rituals. In 1936, Dunham received a bachelor of philosophy from the University of Chicago, and after gathering her research and materials from her work in the Caribbean, she submitted her thesis, Dances of Haiti: Their Social Organization, Classification, Form, and Function,” to the University of Chicago in 1938. Throughout her college career, Dunham continued to dance in various venues. In 1933, she opened the Negro Dance Group, her first dance... ... middle of paper ... ...exiled Haitian president, Jean-Bertrand Aristide, and Jesse Jackson asked her to stop risking her life for the cause. After this, she was awarded Haiti’s highest medal of honor by President Aristide. Katherine Dunham led a rich and full life not only as a dancer, but as someone who studied the people she loved, wrote extensively, and stood for causes that meant so much to her. Her legacy lives on not only in the great anthropological studies she did or the important political and social stances she took, but in the modern dance of today. Modern dance, or dance in general for that matter, wouldn’t be what it is today without her studies and influence. References: http://www.pbs.org/wnet/freetodance/biographies/dunham.html http://kdcah.org/katherine-dunham/ http://kdcah.org/katherine-dunham-biography/ http://en.wikipedia.org/wiki/Katherine_Dunham
Alvin Ailey played a large role in the diversification and cultural storytelling that can be seen in modern dance today. With the founding of the Alvin Ailey American Dance Theater, his dance company stands strong as one of the most respected and prosperous dance companies because of its artistic representation of the beauty that is otherwise known as the African culture. His work absolutely changed the atmosphere of modern dance because he was able to provide the modern dance community with a wider variety of content that had otherwise not been popularized before. Not only did he draw his inspiration from the African culture, but he also amalgamated this with his personal experience growing up as a black child during times of segregation. Alvin was born during the Great Depression to two working class parents in Rogers, Texas.
At eleven years old, she was discovered by Gus Edwards and performed in a dinner show called the Vaudeville Kiddie Revue. In her teenage years she could often be found dancing in clubs. Then, she started auditioning for Broadway shows. The reason she started tap dancing was because the fact that every audition she went to, she was asked to tap dance. So, she enrolled in the Jack Donahue School in New York. After her first class, she didn’t want to come back because she felt so behind. Jack called her and told her to come back, so she did. By her seventh lesson, she was finally getting good.
When one first hears the word Vodou, immediately images of curses and little model dolls come to mind. We tend to synonymize it with words like sinister, evil and revenge. However, Vodou is nothing like what mainstream North American media has brainwashed people into believing. As best put by Patrick Bellegarde-Smith, “Vodou is far more than [a religion] it's a spiritual system” (Tippet and Bellegarde-Smith 145). Haitian Vodou is a spiritual system that syncretizes the practices of Roman Catholicism with West African spirituality. This paper will contextualize Vodou and give a brief history on what it is, explain how I came to gain an interest in Vodou and close off with an introduction to Chouk Bwa Libète a traditional Haitian Mizik Rasin—roots
She read her poem “On the Pulse of the Morning: The Inaugural Poem” (1992) at the inauguration of President Bill Clinton.Wouldn't Take Nothing for My Journey Now (1993) tells of her journey from obscurity to fame as a performer and civil rights activist. . . In addition, she has directed films and plays, composed music, and served as writer-in-residence and lecturer at several universities. She has had a variety of occupations in what she describes as "a roller-coaster life". In her twenties she toured Europe and Africa in the musical Porgy and Bess. In New York she joined the Harlem Writers Guild and continued to earn her living singing in night-clubs (as Maya Angelou - Maya from a childhood nickname, and Angelou from her Greek husband's surname) and performing in Jean Genet's The Blacks. Her multi-volume autobiography, In 1993 she published a collection of personal reflections, Wouldn't Take Nothing for My Journey Now, and in the same year she read her poem "On the Pulse of Morning" at President Clinton's inauguration. She has continued to write stories A Song Flung up to Heaven (2002). She was awarded the National Medal of Arts in 2000 and the Lincoln Medal in 2008. Her Letter to My Daughter, which is part memoir and part guide to life, was published in 2008.(Marguerite
Voodooism is a fascinating way of life. Ever since living in Haiti in the early 1980's, the constant thumping of drums in the twilight has intrigued me. Their melody and rhythm seemed to consume the moist evening air like a pungent odor that will not dissipate. Life is very different in Haiti than it is in the United States, and however odd it seems to Western mentality, I could feel the presence of spirits in and around almost every aspect of life in Haiti.
Robert Harris Thompson illuminates the philosophy and ancient heritage of the Haitian Vodun religion and art in his writings Rara of the Universe. Thompson goes into detail and elaborates on the spiritual aspects of Haitian Vodum and incorporates his anthropologist, religious and philosophical perspectives. His main focus is the art of the African Diaspora in Haiti. He portrays an exotic appeal of Vodum in Haiti society.
With the themes of different types of dance styles discussed and the history behind dance, we can see how dance has evolved over time. I feel that elements of blackface minstrelsy and African dance forms has increased my knowledge of dance. These two styles of dance were emphasized in this course that wasn't discussed in other dance classes I have taken in the past. Thus, learning these styles specifically help me connect the different dance styles together to understand the history of them and their influences in dance culture. Some elements that I felt were important to help me understand the blackface minstrelsy module were the influences of African American culture in the dance world. Some dances like the jig and the ring shout are similar
According to Katherine, “A creative person has to create. It doesn’t really matter what they create. If such a dance wanted to go out and build the cactus gardens where he could, in Mexico, let him do that, but something that is creative has to go on. (Katherine, Dunham, Dancing a life, 2002)”. It has been said that an idol is someone whom everyone looks up to because of the great things they accomplished throughout their life span. Acknowledged as an African American dancer, choreographer, anthropologist, civil activist and writer. Katherine Dunham, not only normally known for the generous acts of kindness but also for the huge impact she had in incorporating different dance styles and creating them into her very own ballet pieces. An influential woman who supported African American culture and believed there shouldn’t be any divisions between people. Not completely another mother of modern dance but a women who greatly influenced modern dance to enhance it in many ways. Katherine is and was famous for her anthropology movement in the world of dance, her creativity and dedication.
Peña, Manuel H. "Ritual Structure in a Chicano Dance." University of Texas Press: Latin American Music Review Spring- Summer 1980 1.1 (1980): 47-73. Print.
tyranny and was willing to sacrifice her life for true freedom in her country. She truly deserves to
...Merce Cunningham continues to be on the pioneering edge of dance. His innovative techniques continue to astound audiences around the world with his creativity and expertise. In every time period throughout history, there has always been a select few who have changed the times. Whether it is Abraham Lincoln, Albert Einstein, or Merce Cunningham, society will always be indebted to these individuals for the contributions they have made in various aspects our lives.
Ms. Katherine Dunham is known as one of the most influential African American woman who contributed a lot of her style and inspiration to the dance world. “ Katherine Dunham is a dancer, choreographer and educator she is known as the matriarch of black dance.” (Joanna Dee Das) When Dunham participated in dance she established the African-American dance as an art in its own. Katherine was born the youngest child in Chicago to Albert Millard Dunham and Fanny June. Her cultural background included Indian, French Canadian, English, Malagasy and African ancestry. According to Mandell while growing up Dunham was seen as the average African American girl, until her mother passed away in 1913 leaving her mothers family to care for Katherine and her
The fine art of modern dance is like many other fields in that it is based on the actions and deeds of those who were pioneers in the field. These pioneers helped to mold modern dance into what it is today. Of the many people who are partially responsible for this accomplishment is Isadora Duncan. Duncan, often referred to as the “mother of modern dance,” inspired many other dancers to the extent that the art of dance would not be the same today without her many contributions.
Katherine Dunham’s theoretical model “Socialization Through the Arts” is where art forms such as dance and music could bring all people together to socialize with each other without discrimination. Furthermore, this theoretical model could help people with many things such as self-exploration and creates self-esteem. Through art, many individuals could explore themselves by collecting information about their interests, skills, values, and personality. Additionally, art is also an important key for individuals to create their self-esteem because it could increase opportunities for self-expression. For example, Dunham believes that dance was not just simply moving the body but it is a way for someone to show others how they
The start of American Modern dance began in the 20th century as dancers began to pull away from traditional forms of choreographed dance like ballet. One of the founders of this rapidly modernizing dance movement was Isadora Duncan. Isadora Duncan seeked to create dances that were free with out the rigorous or confined movements of ballet. As a result Isadora Duncan formed a dance style that was reflective of her free spirit. She looked for inspiration in classical Greek arts, social dances and nature. In a speech entitled The Dance of the Future she stated that the future of dance would be similar to the dance of the ancient Greek, natural and free. Consequently she developed a dance style based on improvisation and interpretation. Her dance movements consisted of running, rising, falling and skipping all movements that became the foundation of her dance style.