Queens College Student Choreography Showcase 2021

Total Page:16

File Type:pdf, Size:1020Kb

Queens College Student Choreography Showcase 2021 Queens College Student Choreography Showcase 2021 About the Choreographers Alisha Anderson is a professional dancer who works every day to fulfill the highest expression of herself as a human being and an artist. Alisha has studied various genres of dance for over 20 years and specializes in tap, Afrobeat and African dance. She began her dance career at her family owned dance school, Dance Arts Repertory Theater, which had a well known company called Yori that specialized in African dance; and inspired her to become a professional African dancer. Alisha has studied under Randi Lloyd, Lancelot Theobald, Shandella Molly, Jewel Love, Chet and many more. She is currently attending Queens College where she is graduating with a Minor in Dance and a MaJor in Education. Alisha has traveled to Ghana, Senegal and other countries in West Africa to further her studies in African dance. Alisha has performed professionally with Salsa Ache which is a salsa and Afro Caribbean dance company, and currently performs with two of the top African dance companies in New York City, Harambee and Bambara. In 2014 Alisha joined Harambee which is directed by Shandella Molly and located in Bronx, NY. With Harambee Alisha has performed for the African American Museum, Nick Cannon, Vice the TV show and many more. In 2015 she joined Bambara which is directed by Jewel Love, and with the company she has performed for the Tira Banks show, Dance Africa (BAM), numerous African festivals, weddings and much more. Alisha began her teaching career at Layla Dance and Drum school where she has taught for the past three years and enjoys working with the students. Alisha is also the mom to a wonderful six year old, Chloe. Anna Artinger is an NYC based dancer, choreographer, and musician. She began dancing at age three in College Point, NY at Strut Your Stuff dance studio. She later studied at Nadia’s Performing Arts Centre where she competed with the NPAC Company for twelve years, in addition to assisting and then teaching a range of classes from creative movement to teen Jazz at NPAC for six years. Anna is a graduating senior and Dance major at Queens College, with a minor in Business and Liberal Arts. She choreographed for the 2019 student concert Synergy, and again for the 2020 student concert that was inevitably canceled due to the pandemic. She is delighted to revisit the work she started in 2020 and give it a new life. Anna began dabbling in music at a young age picking up and putting down various instruments until high school where she became serious and spent her high school career studying music theory and production. She released her debut EP Too Young to Know What Love Is in March 2020. As an artist Anna strives to keep learning and creating. Outside of her art, Anna is an avid gamer and proud parent to a bearded dragon, a veiled chameleon, a five-legged frog, two tanks of fish, and most recently, a rescue pup. Dana Mongelli is a Rockaway Beach based dancer, choreographer and actress that has performed with Dances Patrelle, Nashville Ballet, and Rockaway Theatre Company. In 2020, she co-choreographed and performed in the dance film The Restless, directed by choreographer Yin Mei Critchell in collaboration with Marshall Davis and the theater group What Will The Neighbors Say? Dana received her classical ballet and modern dance training from LaGuardia High School, the School of Nashville Ballet, Ballet Academy East, and Central Pennsylvania Youth Ballet. She has a BA from Hunter College in Italian Language and Civilization and is a Substitute Teacher with the NYC Department of Education. She is taking dance classes at Queens College and Hunter College as she applies to Master’s programs in Dance Education. Dana blends her ballet and modern dance background with her theater experience to create dance works that promote healing and encourage the development of empathy in order to bring people together. Isobel Seabrook is a dancer and choreographer based in the Hudson Valley, New York. She began her training in traditional Irish dance at age five with Joel Hanna at The Rhinebeck Dance Centre. Since then, she has explored her passion for myriad dance genres from percussive dance styles and traditions to contemporary and more. As a Dance MaJor at Queens College CUNY, Isobel performed in Out of the Ashes by Brittany Stewart, and unthought known by Robyn Cascio for the 2018 Showcase; as well as uniTy - The Rhythm of the Movement by Marshall Davis, Jr., and #Hyperlink by Richard Move for the 2018 Fall Dance concert. In addition, she stage managed the 2019 Showcase. She has had the joy of performing with The D’amby ProJect Dance Company at The Fisher Center for the Performing Arts at Bard College, The Riverside Theatre, the Irish Arts Center, the Irish Festival at Chelsea Piers, and Steps on Broadway; as well as the following works by Queens College Dance colleagues unthought known by Robyn Cascio at CUNY Baruch; and DEFINE: |value| by Stephen Jeltsch at Marymount Manhattan College. Isobel has had internships in arts administration at Hudson Hall and Mount Tremper Arts, and is currently interning with the theater group, What Will the Neighbors Say? Isobel is extremely interested in bringing together her experience in movement with her love of film, and is excited to premiere her debut dance film, Tranglam, at this year’s virtual showcase! Jiemin Yang, originally from China, is a dancer, choreographer, and graphic designer based in Queens. He holds a MA in Contemporary Dance from London Contemporary Dance School. He toured and taught workshops with EDGE Dance Company in multiple cities in Europe and the UK. He received a BS in graphic design and dance from Macaulay Honors College at Queens College and Farah Marcelus Choreography Award upon graduation. There he had the honor performing works by Yin Mei Critchell, Kristin Jackson, Nia Love, Joseph Mills, Carolyn Webb, and Edisa Weeks. He was granted scholarships to study at The School at Jacob’s Pillow, Bates Dance Festival and American Dance Festival. He trained with Akram Khan Summer Intensive, B12, P.A.R.T.S., and Hofesh Shechter Dance Company. He was selected to attend Goa Dance Residency’20 in India. He is a recipient of the 2020 New Works Grant from Queens Council on the Arts. He was commissioned to create dance works for the Making Moves Dance Festival’19 hosted by Jamaica Performing Arts Center (JPAC) and Emerging Choreographer Series’17 hosted by Mare Nostrum Elements and LaGuardia Performing Arts Center. He also presented his works at Ailey Citigroup Theatre, The Mark O’Donnell Theatre, and Auditório do Parque da Devessa in Portugal. As a visual artist, he has collaborated and performed with Lane CoArts at 92nd Street Y, Kaatsbaan International Dance Center and Boston Center for the Arts. He has performed in outdoor-site-specific dance projects with Kinesis ProJect at Riverside Park and Snug Harbor Cultural Center. He is currently a CUNY Dance Initiative artist in residence at Queens College. Edisa Weeks (Showcase Director) is a choreographer, educator, curator and founder of DELIRIOUS Dances. She creates interdisciplinary interactive work, that merges theater with dance to explore our deepest desires, darkest fears and sweetest dreams. Her work has been performed in a variety of venues including the Brooklyn Botanic Garden, Works & Process at the Guggenheim Museum and Mount Tremper Arts; as well as in swimming pools, storefront windows, senior centers, sidewalks and living rooms, including living rooms in Berlin, Germany, as part of Haus der Kulturen der Welts 50th anniversary celebration. Weeks choreographed for the play “Novenas for a Lost Hospital” (2019) by Cusi Cram at Rattlestick Theater, for which she was nominated for an inaugural Antonyo award for Best Choreography; and “The Transfiguration of Benjamin Banneker” (2020) by Theodora Skiptares at La Mama Theater. Weeks appeared in the movie “Rachel Getting Married”, Dir. Jonathan Demme, and has been on the cover of several magazines including Wired and La Fotografia. She grew up in Uganda, Papua New Guinea and Brooklyn, NY. She has a BA from Brown University, and received a full fellowship to attend New York University’s TISCH School of the Arts where she obtained an MFA in choreography. She has had the Joy of performing with Annie–B Parsons Big Dance Theater, Bill T. Jones/Arnie Zane Dance Co., Dance Brazil, Homer Avila, Jane Comfort, Jon Kinzel, Muna Tseng, Reggie Wilson Fist & Heel Performance Group, Sally Silvers, Spencer/Colton Dance, among others. In addition, she danced in the 2016 "Bessie" award-winning performance by The Skeleton Architecture. She is on the Board of Directors for Movement Research and is an Associate Professor of Dance at Queens College, where she teaches modern technique, improvisation, choreography and mentors emerging artists. deliriousdances.com .
Recommended publications
  • Cross‐Cultural Perspectives on the Creation of American Dance 1619 – 1950
    Moore 1 Cross‐Cultural Perspectives on the Creation of American Dance 1619 – 1950 By Alex Moore Project Advisor: Dyane Harvey Senior Global Studies Thesis with Honors Distinction December 2010 [We] need to understand that African slaves, through largely self‐generative activity, molded their new environment at least as much as they were molded by it. …African Americans are descendants of a people who were second to none in laying the foundations of the economic and cultural life of the nation. …Therefore, …honest American history is inextricably tied to African American history, and…neither can be complete without a full consideration of the other. ‐‐Sterling Stuckey Moore 2 Index 1) Finding the Familiar and Expressions of Resistance in Plantation Dances ‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 6 a) The Ring Shout b) The Cake Walk 2) Experimentation and Responding to Hostility in Early Partner Dances ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 14 a) Hugging Dances b) Slave Balls and Race Improvement c) The Blues and the Role of the Jook 3) Crossing the Racial Divide to Find Uniquely American Forms in Swing Dances ‐‐‐‐‐‐ 22 a) The Charleston b) The Lindy Hop Topics for Further Study ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 30 Acknowledgements ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 31 Works Cited ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 32 Appendix A Appendix B Appendix C Appendix D Moore 3 Cross‐Cultural Perspectives on the Creation of American Dance When people leave the society into which they were born (whether by choice or by force), they bring as much of their culture as they are able with them. Culture serves as an extension of identity. Dance is one of the cultural elements easiest to bring along; it is one of the most mobile elements of culture, tucked away in the muscle memory of our bodies.
    [Show full text]
  • WED.0M.Y! §Teel
    V- \ ■ 'V . TUESDAY, JUNE 26, 19M Arcragt Ouiljr Net P rtu Rnnx Tht WtaUicr FACE SDREElf Fa r Um Waak Baton Fateaaa* HV.U. WaaOwr Oam a HmtrliP^r lEufttins ^ Jaaa It. IN t iieauttful gifts while PWr toalght, lew aeaw tt. f t t t Surprise Shower neath a large' *hlte bell, with 12,065 eemfortaMe temperature*, lew Til* family pot luck aupper of I Billwell, Murphy | AbHcnleeiftm High EmcrK^ncy Doctor* ahowera of pink alreamera and the choir member* of Emanuel. (erand Knight Maaahiar * t «ka A atit heaiMIty Theratoy. Rigli aeer M. AboutTown ' Lutheran Church u ill be held For Miss Miller miniature rainbow umbrella*. Wcdneaday. 6 p.m.. at the home of To Allend SchoolIn Typing Class Physicians of the Menrhpster A feature of the delicious lunch­ M anchester— ‘A .C ity o f Viflttga Charm Mr. aiid Mr*. Everett «Tohn«on, Medical Assn., who will re-* eon served by the hoatesse* waa a Vtr. iM i Mn. WlUlun F. Tag* spond to emergency calls to- Mias Lonl Mtller.'^47‘ ». Oiarter shower cake, mkde by Mr*. Hell- g ilt. *T1 Atom * St., w*r* vt*it*d Beelzebub Bd., South Wlndeor. Raymond Bldwell and Joaeph A serious amount of absenteeism ntorrcAv afternoon and evening Oak St., waa honored with a eur- stix>m and decorated writh tiny um- (deeaUlei AtoerOaiaf ea Pege M) tht* w«ek«iid by their »on, Sttort, Murphy, employe* In the office of among typing students marked the ' piisa mlecellaneou* shower Sunday ■ YOU UCX\% NO. n s (TWENTY-EIGHT PAGES—TWO SECTIONS) MANCHESTER, CONN^ WEDNESDAY, JUNE 27, 1<5< PRICE nVE CENTS The midweek eervice* e*ch| Tax Asaesaor Henry Mutrle.
    [Show full text]
  • African American Philosophy
    African American Dance - Philosophy, Aesthetics, and “Beauty” Thomas F. DeFrantz “A metaphysics, ontology, epistemology, or aesthetics is necessarily distorted by communicative practices which invariably include inherited and privileged structures, forms, assumptions, and codes that remain unstated. The subject, on such accounts, may be considered problematic because the subject may inappropriately present its ideas as ones that surmount the limitations of what it is to be a subject - contextually bounded.” (Harris, 1996: 197) Aesthetics in dance, and especially the terms of “beauty” as they might relate to African American artistry, remain extremely difficult to discuss. How can aesthetic theory be engaged in relation to African American dance practice? What sorts of aesthetic imperatives surround African American dance and how does black performance make sense of these imperatives?” Who names the quality of performance, or who determines that a performance may be accurately recognized as “black? More than this, how can African American dance participate on its own terms in a discourse of “beauty?” This essay offers portions of my current research project to consider the recuperation of “beauty” as a productive critical strategy in discussions of African American dance. I argue that black performance in general, and African American concert dance in particular, seek to create aesthetic sites that allow black Americans to participate in discourses of recognition and appreciation to include concepts of “beauty.” In this, I suggest that “beauty” may indeed produce social change for its attendant audiences. I also propose that interrogating the notion of “beauty” may allow for social change among audiences that include dance theorists and philosophers.
    [Show full text]
  • How the History of Hip Hop Dance Has Led to a Struggle for Integration Into Collegiate Dance Programs
    How the History of Hip Hop Dance Has Led to a Struggle for Integration into Collegiate Dance Programs By Alexandra Rosen Center for Dance, Music and Theater Goucher College Baltimore, MD Abstract This essay, How the History of Hip Hop Dance has Led to a Struggle for Integration into ​ Collegiate Dance Programs, was written by Alexandra Rosen. Rosen is a senior (2020) at ​ Goucher College in Baltimore, Maryland where she has conducted this research through the Center for Dance, Music and Theater. According to the Merriam Webster dictionary the term hip hop is defined as, “a cultural movement associated with especially rap music.” Nonetheless, the term has always included 4 elements; breakdancing, rapping, Djing/MCing and graffiti writing. All of these individual art forms can be referred to as hip hop and each has its own rich history worth exploring (this research will solely focus on hip hop dance). Additionally, it is important to note that hip hop goes beyond art forms. It is a culture. With hip hop being known as a street born culture it has sometimes been difficult to gain the respect of academia. However, it is clear to those who have learned and lived hip hop that the genre is built on the preservation of history and political resistance. Hip hop dance has evolved over time and has become a big part of American culture within the last decade (Hazzard-Donald). Many students are becoming interested in the dance form and have embodied the movement into their social culture. However, it is important for those doing the movement to understand the history behind it.
    [Show full text]
  • What Is Contemporary Dance in Africa?
    What is Contemporary Dance in Africa? Today’s African choreographers may change what you think you know about dance coming from the Continent by Darlisa Wajid-Ali When we think about African dance, what do we think? What kinds of sights, sounds, and associations does the phrase “African dance” conjure? Where do these ideas come from? The dance documentary Movement (R)evolution Africa (directed by Joan Frosch, 2007) seeks to redefine existing definitions of African artistry, dismantle colonial stereotypes, and reveal the presence of current contemporary artists creating work in Africa. This film can expand Western audiences’ knowledge about contemporary African artists and their respective creative processes. African dance as a relevant form, not frozen in time This documentary challenges the notion that African dance exists solely as a traditional form. “Traditional,” in this sense, refers to dances that are centuries old and continue to be taught and performed around the world. In West Africa, popular dances include Lamban, Sunu, Marjaani, and Adzogbo, to name just a few. In this film, prominent artists from different countries in Africa convincingly argue that their movement should be defined as contemporary dance. This title is justified because they are creating new work that speaks to their current environment. This film reveals how artists in Africa are engaging in new forms of expression. Many African dance classes in America are focused on the traditional steps, and I believe this creates an incomplete view that African dance stopped evolving after the 17th century. Many dancers might recognize and acknowledge the presence of African dance in forms like jazz and hip hop.
    [Show full text]
  • Plan De Estudios 3–5 POWER
    Plan de Estudios 3–5 POWER Autores Eddie Stern Courtney McDowell Melanie Jane Parker Christina Reich Barbara Verrochi Con Agradecimientos Especiales para Dr. Deepak Chopra Dr. Murali Doriaswamy Dr. Marshall Hagins Dr. Jan Magee Sharon Salzberg 3—5 Diseño e Ilustración Kristen Copham Plan de Estudios Diseño del Cuaderno de Reflexión e Ilustraciones Originales Courtney McDowell POWER Concepto del Cuaderno de Reflexión e Ilustraciones Originales Cam Vokey Diseño, Maquetación e Ilustraciones Originales del Libro de Texto Betsy Bell Diseño, Maquetación e Ilustraciones Originales del Libro de Texto Fotografía Michael Halsband Dana Meilijson Robert Moses Picture Farm Barbara Verrochi Con Agradecimientos para las siguientes Productores de Activos Creativos Denise Bentulan Fuentes Brainflower y Moonflower Caleb Kimbrough Texturas de Lost and Taken Fotografía Unsplash Fotografía Freeimages.com Franz Jeitz Pure Edge, Inc. Derechos de Autor © 2016 Pure Edge, Inc. Texturas y pinceles de fudgegraphics Al descargar y/o imprimir esta obra, Ud. muestra su acuerdo con los términos de esta licencia— Folkert Gorter www.pureedgeinc.org/license Fotografía de Superfamous PALM BEACH, FLÓRIDA. Todos los derechos reservados, incluyendo el derecho Vecteezy de reproducir, re-publicar o reimprimir cualquier parte de este libro. Vectores generales y gráficos Impresión Impreso en los Estados Unidos de América. Indice i. Introducción a Pure Edge, Inc. | Página 1 ii. Orientación Filosófica | Página 1 iii. Pure Edge, Inc. Descripción del Programa y Resumen | Página 3
    [Show full text]
  • Mining the Third World for Cultural Transfusions Or Afro-Billy and the Search for Meaning
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2000 Gap| Mining the Third World for cultural transfusions or Afro-Billy and the search for meaning Jeanne Christopherson The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Christopherson, Jeanne, "Gap| Mining the Third World for cultural transfusions or Afro-Billy and the search for meaning" (2000). Graduate Student Theses, Dissertations, & Professional Papers. 2427. https://scholarworks.umt.edu/etd/2427 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen andMike MANSFIELD LIBRARY The University of Montana Permission is granted by the author to reproducethis material in its entirety, provided that this material is used for scholarlypurposes and is properly cited in published works and reports. **Please check "Yes" or "No" andprovide signature** Yes, I grant permission No, I do not grant permission Author's Signature: Date ^ T jL c c / ■ ^ " W Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. MSThesi8\Mansfjeld Library
    [Show full text]
  • Dance As a Cultural Element in Spain and Spanish America
    University of Northern Iowa UNI ScholarWorks Presidential Scholars Theses (1990 – 2006) Honors Program 1992 Dance as a cultural element in Spain and Spanish America Amy Lynn Wall University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©1992 Amy Lynn Wall Follow this and additional works at: https://scholarworks.uni.edu/pst Part of the Other Arts and Humanities Commons Recommended Citation Wall, Amy Lynn, "Dance as a cultural element in Spain and Spanish America" (1992). Presidential Scholars Theses (1990 – 2006). 151. https://scholarworks.uni.edu/pst/151 This Open Access Presidential Scholars Thesis is brought to you for free and open access by the Honors Program at UNI ScholarWorks. It has been accepted for inclusion in Presidential Scholars Theses (1990 – 2006) by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Dance as Cultural Element 1 Dance as a Cultural Element in Spain and Spanish America Amy Lynn Wall University of Northern Iowa Submitted in partial completion of University of Northern Iowa Presidential Scholars Board and Scholarship requirements. Submitted the 6th day of May, 1992 A.O. Running head: Dance as a Cultural Element Dance as Cultural Element 2 Table of Contents Introduction 3 History 4 Purpose of Dance 1 0 Recent Dance Styles 1 3 Northern Provinces l 8 Pais Vasco 21 Mediterranean Provinces 28 Central Plateau Provinces 30 Southern Region 33 Liturgical Dance 37 Gypsy Culture 43 Spanish Influence m America 46 Uruguay 47 Argentina 50 Central America 53 Discussion 54 Conclusion 55 Bibliography 57 Appendices A-Glossary of Names and Places 6 3 B-Glossary of Dance, Music, Instruments 7 0 Continental Maps 7 6 Dance as Cultural Element 3 Dance, a performing and recreational art throughout the world, plays an important role in Spanish and Hispanic culture.
    [Show full text]
  • Sabbatical Report / Fall 2019 Meghan Cardwell-Wilson, Professor of Dance Acknowledgements
    Sabbatical Report / Fall 2019 Meghan Cardwell-Wilson, Professor of Dance Acknowledgements: I extend a sincere thank you to Dr. Matkin, the Board of Trustees, the Sabbatical Leave Committee, Dr. Weasenforth, Dr. Gunderson, and Dr. Tinnen for the opportunity to take a sabbatical leave in Fall 2019. Sabbatical Purpose: The primary purpose of this sabbatical was to research global perspectives in dance that extend beyond my current expertise in Western dance forms. As the sole full-time Dance Professor at the Frisco Campus, it is my responsibility to share a comprehensive understanding of dance with students. However, there was, and will always be, room for me to better fulfill this responsibility. My dancing body is the product of a Western education that often upholds ballet and modern as the pillars of dance. While I have long conducted research via scholarly readings on global dance forms and engaged in an occasional dance studio class that is non-Western, this sabbatical was a necessary step toward focused embodiment of global dance forms. Sabbatical Summary: I began sabbatical by enrolling in a weekly Bharatanatyam dance studio class taught by Sarita Venkatraman of Arathi School of Dance. I also audited the 16-week Dance & Globalization (DNCE 2143) dance studio course at Texas Woman’s University, and the six-week Dance History: Global, Cultural, and Historical Considerations course through the National Dance Education Organization (NDEO) Online Professional Development Institute (OPDI). Additional sabbatical activities included attending the Women in Dance Leadership Conference in Philadelphia, PA and conducting selected readings on global perspectives in dance. Studying Bharatanatyam, one of the eight classical dances of India, was part of my original sabbatical plan, as was enrolling in the Dance & Globalization course at TWU.
    [Show full text]
  • Reaching Back While
    RICE UNIVERSITY The African American Dancing Body: A Site for Religious Experience through Dance By Shani Diouf A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE Master of Arts APPROVED, THESIS COMMITTEE Claire Fanger Associate Professor Co-Director of MA Studies Elias Bongmba Professor of Religion, Harry & Hazel Chavanne Chair in Christian Theology, Department Chair Niki Clements Watt J. and Lilly G. Jackson Assistant Professor of Religion, Allison Sarofim Assistant Professor of Distinguished Teaching in the Humanities, Director of Undergraduate Studies for the Department of Religion HOUSTON, TEXAS April 2021 Abstract African American religious dance is not a topic previously explored in detail beyond dance that has historically existed in the church within the confines of Christianity. However the African American religious experience is not limited to Christianity and is inclusive of various religious practices extending beyond the church and thus required deeper exploration of what constitutes an African American religious experience, especially as it relates to dance. In an effort to explore this, careful exploration of the Ring Shout was necessary as a tool in discussing the evolution of the African American religious dances. Using the Ring Shout as a lens for viewing subsequent dances of the diaspora within my thesis, I acknowledge it as the first African American Religious dance with special emphasis being placed on its purpose and function as a form of communal action and way of achieving oneness by the practitioners, ultimately laying the foundation for subsequent dances. I also include interviews that I conducted with dance practitioners of different dance genres about their perceived notions and personal experiences of what makes a dance religious.
    [Show full text]
  • The Debaprasad Das Tradition: Reconsidering the Narrative of Classical Indian Odissi Dance History Paromita Kar a Dissertation S
    THE DEBAPRASAD DAS TRADITION: RECONSIDERING THE NARRATIVE OF CLASSICAL INDIAN ODISSI DANCE HISTORY PAROMITA KAR A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN DANCE STUDIES YORK UNIVERSITY TORONTO, ONTARIO DECEMBER 2013 @PAROMITA KAR, 2013 ii Abstract This dissertation is dedicated to theorizing the Debaprasad Das stylistic lineage of Indian classical Odissi dance. Odissi is one of the seven classical Indian dance forms recognized by the Indian government. Each of these dance forms underwent a twentieth century “revival” whereby it was codified and recontextualized from pre-existing ritualistic and popular movement practices to a performance art form suitable for the proscenium stage. The 1950s revival of Odissi dance in India ultimately led to four stylistic lineage branches of Odissi, each named after the corresponding founding pioneer of the tradition. I argue that the theorization of a dance lineage should be inclusive of the history of the lineage, its stylistic vestiges and philosophies as embodied through its aesthetic characteristics, as well as its interpretation, and transmission by present-day practitioners. In my theorization of the Debaprasad Das lineage of Odissi, I draw upon Pierre Bourdieu's theory of the habitus, and argue that Guru Debaprasad Das's vision of Odissi dance was informed by the socio-political backdrop of Oriya nationalism, in the context of which he choreographed, but also resisted the heavy emphasis on coastal Oriya culture of the Oriya nationalist movement. My methodology for the project has been ethnographic, supported by original archival research.
    [Show full text]
  • Olabisi African Dance & Drum Ensemble
    Olabisi African Dance & Drum Ensemble Performing Arts Las Vegas, NV (702) 900-1362 [email protected] Olabisi African Dance & Drum Ensemble is dedicated to teaching drum and dance influenced by the culture of West Africa. The Program Types ensemble of dancers and drummers are a diverse and unique group Performances, workshops, of men, women, and children. Their repertoire celebrates West African festivals & classes traditions including music through joyous rhythms, electrifying drum Language Proficiencies and dance workshops, performances, storytelling and song. Some of English the traditional West African repertoire includes, but is not limited to, Guinea Fare, Djole, Kakilambe, and Mamaya, the music of which is Fees primarily played via traditional African drums (djembe and djun djun). Call to Inquire Availability Call to inquire Olabisi creates energetic performances that are exciting and filled with cultural details. For example, the drum was an ancient means of Audiences Schools (grades pre-K-12) , communication throughout the African Diaspora. Today the drum is adults, seniors still a vital element of the rituals and dances of West African traditions. Drumming is a very powerful method of building children’s confidence Venues Schools; theaters; colleges; and self-esteem. They love learning rhythms and traditional African festivals; communities songs and chants to accompany the drumming. Olabisi’s highly skilled performers and Master teachers give drum and dance workshops that Technical requirements provide students with the chance to experience the joy and dynamism Call to inquire of African culture first hand. Our energetic dancers and drummers Counties ensure that everyone gets involved and discovers something new. In Statewide addition, through storytelling and song, participants are taken on an inspirational journey through West African culture.
    [Show full text]