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THE CULTURE of DANCE the Power to Create, Connect, and Master

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THE CULTURE of DANCE the Power to Create, Connect, and Master THE CULTURE OF DANCE The Power to Create, Connect, and Master Newly Revised Second Edition Wendy Guess, PhD Florida International University Bassim Hamadeh, CEO and Publisher Kassie Graves, Director of Acquisitions and Sales Jamie Giganti, Senior Managing Editor Jess Estrella, Senior Graphic Designer Jennifer McCarthy, Acquisitions Editor Natalie Lakosil, Licensing Manager Kaela Martin, Project Editor Christian Berk, Associate Production Editor Copyright © 2018 by Cognella, Inc. All rights reserved. No part of this publication may be reprinted, reproduced, transmitted, or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information retrieval system without the written permission of Cognella, Inc. For inquiries regarding permissions, translations, foreign rights, audio rights, and any other forms of reproduction, please contact the Cognella Licensing Department at [email protected]. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Printed in the United States of America. ISBN: 978-1-5165-2042-8 (pbk) / 978-1-5165-2049-7 (br) I AM a peculiar breed of dance … I am tireless … I AM elemental, springing from the every lives of nameless common people of every land … preserved, perpetuated, relatively unchanged since physiologically man has changed so little … yet I take on the characteristics of the race and conditions through which I pass, partaking of their joys and of their sorrows … expressing the deepest emotions of their lives. I AM debtor to Greek and Barbarian … to Jew and Gentile … to sinner and saint. I AM you, as you seek to recapture the essence of understanding of another race as tied up in its rhythm and melody of motion. I BUILD … I heal … I ennoble … I am that within which unifies all mankind … I am the essence of oneness. You can misuse and subvert me, yet I will triumph. That which is elemental within me will eventually permeate the whole and lift it. You cannot keep me down. For a short time you can change me, yet I will break out of your bonds. I AM the spirit of freedom … I sing in the heart of slaves … I raise up to new strength, the fallen … I am the timeless urge of the nameless masses of men seeking expression … I AM THE FOLK DANCE. —Author unknown iii Contents Foreword ix By Pierre Dulaine Acknowledgments xi Preface xiii By Wendy Guess, PhD Part One The Power to Create Understanding, Meaning, Purpose CHAPTER ONE: WHAT IS DANCE? WHY DO WE DANCE? 3 Chapter Terms 5 Studying Dance Cultures Around the World 7 By Pegge Vissicaro CHAPTER TWO: CREATING UNDERSTANDING 15 Chapter Terms 17 Dance in the Island Cultures 19 By Darlene O’Cadiz Dance: A Creative Art Experience 29 By Margaret N. H’Doubler Dancing and Its Relations to Education and Social Life 35 By Allen Dodworth CHAPTER THREE: CREATING MEANING AND PURPOSE 47 Chapter Terms 49 Dancing: The Pleasure, Power, and Art of Movement 51 By Gerald Jonas Societies of the Plains Indians 63 By Clark Wissler African Dance: Bridges to Humanity 77 By Tracy D. Snipe; ed. Kariamu Welsh-Asante Part Two The Power to Connect Communicate, Bond, Heal CHAPTER FOUR: DANCE AS A COMMUNICATION TOOL 89 Chapter Terms 91 American Ballroom Theater 93 By Pierre Dulaine Headspin: Capoeira’s Ironic Inversions 95 By Barbara Browning; ed. Ann Dils and Ann Cooper Albright Dancing at the Crossroads: Memory and Mobility in Ireland 105 By Helena Wulff Merengue and Dominican Identity 113 By Julie A. Sellers Sex and Symbol in the Treatment of Women: 119 The Wedding Rite in a Libyan Oasis Community By John P. Mason CHAPTER FIVE: FUSION—BONDING ACROSS DANCE CULTURES 129 Chapter Terms 131 Vibrant Andalusia: The Spice of Life in Southern Spain 133 By Ana Ruiz Bhangra: From Farming to Pop Culture 141 By Dr. Wendy Guess Creole Quadrilles of Guadeloupe, Dominica, Martinique, St. Lucia 147 By Dominique Cyrille The History of Breakdancing 157 By Mr. Fresh and the Supreme Rockers Southeast Texas: A Hot House of Zydeco 159 By Roger Wood; ed. Lawrence Clayton and Joe W. Specht Forró: A Dance for All 167 By Wendy Guess, PhD vi CHAPTER SIX: HEALING AND FITNESS TOOLS 171 Chapter Terms 173 Harnessing the Healing Power of Movement 175 By Carol Krucoff and Mitchell Krucoff, M.D. A Therapeutic Dance Program for Parkinson’s Patients 183 By Jennifer Valdes Zumba Fitness 185 By Bradley George Yoga and Integrative Medicine 191 By Wendy Guess, PhD Does Partnered Dance Promote Health? The Case of Tango Argentino 197 By Gunter Kreutz Somatics: Reawakening the Mind’s Control of Movement, Flexibility, and Health 205 By Thomas Hanna Part Three The Power to Master Excel, Perform, Compete CHAPTER SEVEN: DANCE AS A PERFORMANCE ART (FINE ART) 215 Chapter Terms 217 Movement Notation and the Fields of its Applications 219 By Rudolph von Laban Interesting Moments in the History of Ballet 229 By Anneliese Burns Wilson Dancing: The Pleasure, Power, and Art of Movement 239 By Gerald Jonas The Mothers of Invention: Founding Females of Modern Dance 247 By Anneliese Burns Wilson Dancing: The Pleasure, Power, and Art of Movement 257 By Gerald Jonas vii CHAPTER EIGHT: DANCE AS A CREATIVE ART 261 (COMPETITIVE AND RECREATIONAL) Chapter Terms 263 Dancing Till Dawn 265 By Julie Malnig Introduction: Jazz, the American Soul 283 By Janice LaPointe-Crump and Kimberly Staley Tap Dance Fundamentals 289 By Colleen N. West CHAPTER NINE: EDUCATION—PASSING ON THE LEGACIES 295 Chapter Terms 297 Education Through Dance 299 By Margaret N. H’Doubler A Teacher’s Resource Guide: Addressing Health and Dance Issues 303 By Wendy Guess, PhD A Career in Dance 311 Institute for Career Research Index 313 Image Credits 317 viii Acknowledgments any individuals have influenced me I acknowledge my appreciation to Pierre and have shaped and encouraged Dulaine, John Ross and the Dancing Classrooms my journey to this point. I wish to program. The Dulaine Method is a life-changing Mexpress my gratitude to so many who have been a effort. My thanks also goes to Anneliese Burns part of that journey. First, to my father and late Wilson for her inspiration and contributions, as mother, who instilled in me a passion for learn- well as to David Roberts for his creative genius ing. Second, to my sons, Tavita and Mataio, who and insight. I acknowledge my appreciation constantly inspire me and are the source of my to Anthony Miyazaki at Florida International joy and creativity. University, whose vision for expanding health As a university student, I was privileged to be and fitness marketing has continued to challenge among the Folk and Ballroom dance legacy of me professionally and continue to impact lives. Brigham Young University. There, I was inspired Last, but certainly not least, I am grateful by Mary Bee Jensen, Charles West, and Lee and to Jennifer McCarthy, Acquisitions Editor for Linda Wakefield with their best-practice teaching. Cognella Publishers and the many professionals This is where I discovered the powerful nature of who worked on this book. Now I truly under- dance as a performer and competitor in the U.S. stand why almost every author thanks her/his and Europe. Their influence has impacted the editor. Jennifer has made a reality out of a project world of dance in so many ways. I had only dreamed about! She inspired in me As I continued my professional pursuits, I the confidence to believe that it was a worthwhile was mentored and encouraged by the following project. She researched with me, spent countless professors of Texas Women’s University and the hours on the phone encouraging me, found a way University of North Texas: Gladys Keeton, Janice to connect all the missing pieces, had pictures La Pointe Crump, and Jean Pekara. Their devo- from her own professional collection, and made tion motivated me to continue my own pursuit the daunting task of publishing much less of a of dance knowledge. Under their mentorship, burden. Jennifer, you are the best! I have expanded my teaching, performing, and education while becoming involved with the Texas Association of Health, Physical Education, Recreation, and Dance. This involvement has of- fered many opportunities to interact with excellent professionals for which I am also most grateful. ACKNOWLEDGMENTS xi Preface By WENDY GUESS, PhD f you ever watched a movie or concert or show with dancing in it, you probably imagined yourself dancing right along with the performers. You would likely feel incredibly vibrant and healthy, Ienjoying the spontaneous thrill of the moment! Getting in touch with spontaneity is one of dance’s healing qualities. Modern day life discourages spontaneity, and the result can be stress and disease. Spontaneous expression and creativity are good for exercising the soul, or nurturing one’s spirit. Spontaneous activity brings an uninterrupted flow back into one’s life, like play in childhood: living on the edge, movement to movement, without fear, just reflex. —Paul Pellicoro, Dancesport Studio, NYC Welcome to The Culture of Dance: The Power to Connect, Communicate, and Create!From my experience in studying multiple dance forms, anthropology, and health, I have discovered a universal theme for living. I call this theme the “Elements of Interaction: Create, Connect, and Master,” and it can be found in all positive and successful aspects of the human interaction experience. This anthology is a compilation of this rich history and culture that serves to create, connect, and master the world of dance and has been shared by many exciting dance authors throughout the last century. The purpose of this anthology is to provide a multifaceted resource for exploring the world of dance by experiencing it from a cultural perspective that blends people and their dance.
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