DOCSLIB.ORG

Folk Dance I INTRODUCTION

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Folk Dance I INTRODUCTION Folk Dance I INTRODUCTION Traditional Irish Dancing Irish dancing comprises mainly reels and jigs and may be accompanied by lively folk music played on the fiddle, harp, or bagpipes. The tradition of Irish dancing survives to the present day. These dancers from Dublin are performing at the 2005 Folk Festival (Europeade) in Quimper, Brittany. Miriam Smith Folk Dance, recreational or ceremonial dance performed usually by members of the community to which the dance is traditional. Varying criteria have been used to differentiate folk dance from other kinds of dance: For example, the dancers are said to belong to a certain economic level or come from certain locales; the steps are simple and repeated, so that any member of the community can participate; the dances require no audience; and they are passed down through many generations. Each of these criteria can be contradicted by dances that are indisputably folk dances, and in each of these criteria, folk dance overlaps with other kinds of dance. II THE DANCERS Folk dance is sometimes defined as dance performed by agricultural peoples who live in close-knit communities—a definition that reflects the division of preindustrial Europe into a peasant class and an aristocracy. People in modern industrialized cities, however, participate regularly in what are called folk dances, which were brought to the city by immigrants from rural areas or, sometimes, from other nations. Although the dances of rural Europe are called folk dances, in Africa—which has no peasant-aristocracy division comparable to that of 18th-century Europe—rural dances that in function and complexity are comparable to European folk dances are instead often called tribal dances; confusingly and inconsistently, African traditional stories are often called folktales. III SPECTATORS Morris Dancing Morris dancing has been performed for centuries in England and was once an important part of spring rituals. The dancers wear white pants, shirts, and hats, all brightly decorated with bells, rosettes, and ribbons. The energetic dancing is usually done outside, in the streets of villages. Hulton Deutsch Folk dance is usually viewed as being strictly for the pleasure of the participants, as not requiring an audience, and, despite the dancers' enjoyment, as often being of little interest to spectators. If participant pleasure is the only criterion, folk dance overlaps somewhat with much tribal dance and with modern social dance, for example, the waltz and the twist. Paradoxically, some traditional ritual and ceremonial dances, such as the English morris dance and the Romanian caluşari, have for generations attracted local informal audiences. On the other hand, when a traditional recreational dance is performed onstage in a formal concert, its origin, steps, and patterns may be those of folk dance, but it has been removed from the context of folk culture. IV LEVEL OF COMPLEXITY Highland Games and Dances Highland dances are part of the Highland Games, a series of events held annually in various parts of Scotland, Canada, and the United States. Dance historians point out that warriors from the Scottish Highlands once went into battle dancing and playing the bagpipes. Highland dances, performed to music played on bagpipes or fiddles, remain an important part of Scottish culture. Courtesy of BBC Worldwide Americas. All Rights Reserved. Folk dances are usually thought to be simple dances composed of repetitive, easy-to-learn steps. Many folk dances, however, are highly complex and may even be performed as solo virtuosic pieces, an example being the Highland fling of Scotland. Although folk dancing may be considered a nonprofessional activity, some people make their living by performing staged adaptations of folk dances. V TRADITION Folk dances are defined as being passed from generation to generation, with no known choreographer. Folk dances continue to be invented, however, and in many cases the composer of the dance is known; most Israeli folk dances, for example, were created in the 20th century. At the same time, the choreographers of popular social dances (such as the jitterbug) are usually anonymous; but because these dances remain popular only for a brief time and do not gradually become part of tradition, they are generally not considered folk dances (See also Popular and Social Dance). The many forms of folk, popular, court, and theatrical dance, however, may be closely related. The waltz, for example, originated in Alpine folk dances, was popular for more than a century as an urban social dance, and persisted in folk tradition after its popularity had otherwise lapsed. VI CONTEXT To clarify the contradictions that occur in defining folk dance, it is helpful to divide this body of dance into two major categories: folk dance in its first existence and folk dance in its second existence. Hopi Snake Dance The Snake dance is a ritual performed in North America by the Snake and Antelope societies of the Hopi. There are many stages to this ritual, including fasting and preparing the altars. Four days are spent collecting 50 to 60 snakes. On the 16th day of the festival, performers catch snakes in their teeth and dance. The day after the ceremony the snakes are returned to their natural environment to spread the word that the Hopi are in harmony with the spiritual and natural world. UPI/THE BETTMANN ARCHIVE Folk dance in its first existence is an integral part of community activities. The dances are learned by individuals as they grow up in the society. Each dance is a living form that changes over time. Folk dance in its second existence refers to dances that have been removed from their original context. No longer performed as part of communal life, they are danced in other contexts, either for recreation (perhaps in folk dance clubs in cities or in foreign countries) or as stage adaptations to entertain an audience. Not learned by the dancers as they grow up, the dances must often be taught through formal instruction. At this point in their existence, they may cease to change or develop variations—unlike the folk dances that flourish within a community. VII ROLE IN SOCIETY As long as folk dances exist as an integral part of community life, they are sometimes linked to specific occasions, and they may be associated with specific groups of people. A Eligibility to Participate Ritual Hopi Kachina Music Part of Hopi religious practice is to make connections with spirit beings, or kachinas. During Hopi festivals and ceremonies, dancers impersonate kachinas by wearing sacred costumes. Songs and prayers are presented to these spirits during rituals in the hope that they will help bring a good harvest for the coming year. This song is from a Hopi rain dance. The photograph shows a carved and painted kachina doll; such dolls were given to Hopi girls to teach them about the kachinas. "Mud Head Katchina" from Hopi Katchina Songs (Cat.# Folkways FE 4394) (p)1964 Smithsonian/Folkways Recordings. All rights reserved./Art Resource, NY Most folk dances are open to everyone in the community. In some dances, however, participation is limited by age, sex, skill, or status. Certain dances, for example, are meant only for children; dances of this category may overlap with games such as ring-around-a-rosy. Other dances may be reserved for older members of a community or for specific groups, such as unmarried girls, as in the Balinese rejang. Separate dances for men and women are common. Some dances may be limited to people who have attained given levels of social or ritual status. Dance clubs, fraternities, or secret societies—such as the Mexican Concheros or the Pueblo Kachina societies—may possess exclusive rights to certain dances, or, as with morris dancers in the late 19th century, they may compete with other groups in perfecting a shared repertoire of dances. B Occasions for Dancing Holidays and other annual festivals, as well as the events of a person's life cycle, may be marked by dancing. Folk dance may also accompany the celebrations of special organizations such as craft guilds, religious or social societies, family groups, and societies based on sex or age roles. Examples include the stave dances of the working- class women's friendly societies of 19th-century England and dances of the Hasidim, a Jewish religious group. Folk dancing may be sacred or secular, although in many cultures this distinction is difficult to make because religion pervades all the society's activities. Almost all ritual dances, however, have a social element, and many dances formerly performed for ritual reasons are today danced simply for recreation. B1 Seasonal Dances Korean Folk Dance A Korean folk dance known as the farmer's dance was traditionally performed by farmers to assure a plentiful harvest. But today it can be performed for celebrations at any time of year. Drumming accompanies the dance. The leader, known as the ribbon hat dancer, spins a long ribbon from his hat as he twirls. Yoon Sangsik/Asia Network Co., Ltd. Dances celebrating the cyclical events of the year are usually related to the economic life of the community, marking, for example, the stages of the agricultural year or the hunting and fishing seasons. Other reasons for dancing may include changes in seasons, the phases of the moon, and political and religious holidays. Dances related to the events of the agricultural cycle—from clearing the land to harvesting—are extremely common. Dances at planting time may involve symbolism related to fertility. Springtime rituals celebrate the first fruits and the resurgence of life, and the dances may take the form of symbolic combats between winter and summer, as in the many ceremonial dances based on the battles between Moors and Christians in the Balkans and in Latin America.
Load more

Recommended publications
  • Dancing Modernity: Gender, Sexuality and the State in the Late Ottoman Empire and Early Turkish Republic
    Dancing Modernity: Gender, Sexuality and the State in the Late Ottoman Empire and Early Turkish Republic Item Type text; Electronic Thesis Authors van Dobben, Danielle J. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 19:19:19 Link to Item http://hdl.handle.net/10150/193284 1 DANCING MODERNITY: GENDER, SEXUALITY AND THE STATE IN THE LATE OTTOMAN EMPIRE AND EARLY TURKISH REPUBLIC by Danielle J. van Dobben ______________________________ Copyright © Danielle J. van Dobben 2008 A Thesis Submitted to the Faculty of the DEPARTMENT OF NEAR EASTERN STUDIES In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2008 2 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Danielle J. van Dobben APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: __________________________ August 7, 2008 Dr.
    [Show full text]
  • Sweden As a Crossroads: Some Remarks Concerning Swedish Folk
    studying culture in context Sweden as a crossroads: some remarks concerning Swedish folk dancing Mats Nilsson Excerpted from: Driving the Bow Fiddle and Dance Studies from around the North Atlantic 2 Edited by Ian Russell and Mary Anne Alburger First published in 2008 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN 0-9545682-5-7 About the author: Mats Nilsson works as a senior lecturer in folklore and ethnochoreology at the Department of Ethnology, Gothenburg University, Sweden. His main interest is couple dancing, especially in Scandinavia. The title of his1998 PhD dissertation, ‘Dance – Continuity in Change: Dances and Dancing in Gothenburg 1930–1990’, gives a clue to his theoretical orientation. Copyright © 2008 the Elphinstone Institute and the contributors While copyright in the volume as a whole is vested in the Elphinstone Institute, copyright in individual contributions remains with the contributors. The moral rights of the contributors to be identified as the authors of their work have been asserted in accordance with the Copyright, Designs and Patents Act 1988. This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. 8 Sweden as a crossroads: some remarks concerning Swedish folk dancing MATS NILSSON his article is an overview of folk dancing in Sweden. The context is mainly the Torganised Swedish folk-dance movement, which can be divided into at least three subcultures. Each of these folk dance subcultural contexts can be said to have links to different historical periods in Europe and Scandinavia.
    [Show full text]
  • Manx Traditional Dance Revival 1929 to 1960
    ‘…while the others did some capers’: the Manx Traditional Dance revival 1929 to 1960 By kind permission of Manx National Heritage Cinzia Curtis 2006 This dissertation is submitted in partial fulfilment of the degree of Master of Arts in Manx Studies, Centre for Manx Studies, University of Liverpool. September 2006. The following would not have been possible without the help and support of all of the staff at the Centre for Manx Studies. Special thanks must be extended to the staff at the Manx National Library and Archive for their patience and help with accessing the relevant resources and particularly for permission to use many of the images included in this dissertation. Thanks also go to Claire Corkill, Sue Jaques and David Collister for tolerating my constant verbalised thought processes! ‘…while the others did some capers’: The Manx Traditional Dance Revival 1929 to 1960 Preliminary Information 0.1 List of Abbreviations 0.2 A Note on referencing 0.3 Names of dances 0.4 List of Illustrations Chapter 1: Introduction 1.1 Methodology 1 1.2 Dancing on the Isle of Man in the 19th Century 5 Chapter 2: The Collection 2.1 Mona Douglas 11 2.2 Philip Leighton Stowell 15 2.3 The Collection of Manx Dances 17 Chapter 3: The Demonstration 3.1 1929 EFDS Vacation School 26 3.2 Five Manx Folk Dances 29 3.3 Consolidating the Canon 34 Chapter 4: The Development 4.1 Douglas and Stowell 37 4.2 Seven Manx Folk Dances 41 4.3 The Manx Folk Dance Society 42 Chapter 5: The Final Figure 5.1 The Manx Revival of the 1970s 50 5.2 Manx Dance Today 56 5.3 Conclusions
    [Show full text]
  • Round Dances Scot Byars Started Dancing in 1965 in the San Francisco Bay Area
    Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2016 – FINAL 7/31/2016 In Memoriam Floyd Davis 1927 – 2016 Floyd Davis was born and raised in Modesto. He started dancing in the Modesto/Turlock area in 1947, became one of the teachers for the Modesto Folk Dancers in 1955, and was eventually awarded the Lifetime Achievement Award for dance by the Stanislaus Arts Council. Floyd loved to bake and was famous for his Chocolate Kahlua cake, which he made every year to auction off at the Stockton Folk Dance Camp Wednesday auction. Floyd was tireless in promoting folk dancing and usually danced three times a week – with the Del Valle Folk Dancers in Livermore, the Modesto Folk Dancers and the Village Dancers. In his last years, Alzheimer’s disease robbed him of his extensive knowledge and memory of hundreds, if not thousands, of folk dances. A celebration for his 89th birthday was held at the Carnegie Arts Center in Turlock on January 29 and was attended by many of his well-wishers from all over northern California. Although Floyd could not attend, a DVD was made of the event and he was able to view it and he enjoyed seeing familiar faces from his dancing days. He died less than a month later. Floyd missed attending Stockton Folk Dance Camp only once between 1970 and 2013. Sidney Messer 1926 – 2015 Sidney Messer died in November, 2015, at the age of 89. Many California folk dancers will remember his name because theny sent checks for their Federation membership to him for nine years.
    [Show full text]
  • Europeanfolkdanc006971mbp.Pdf
    CZ 107911 EUROPEAN FOLK DANCE EUROPEAN FOLK DANCE .-<:, t "* ,,-SS.fc' HUNGARIAN COSTUME most elaborate costume in Europe EUROPEAN FOLK DANCE ITS NATIONAL AND MUSICAL CHARACTERISTICS By JOAN LAWSON Published under the auspices of The Teachers Imperial Society of of Dancing Incorporated WITH ILLUSTKATIONS BY IRIS BROOKE PITMAN PUBLISHING CORPORATION NEW YORK TORONTO LONDON First published 1953 AHSOOrATKI) SIR ISAAC PITMAN & SONS. I/TT>. London Mblbourne Johannesburg SIR ISAAC PITMAN & SONS (CANADA), LTD. Toronto MADB IN QIUtAT DRTTACN AT TTIK riTMAN PRBSB^ BATH For DAME NZNETH DB VALOIS With Gratitude and Admiration Hoping it will answer in some part Iter a the request for classification of historical and musical foundation of National Dance Preface MrlHE famous Russian writer has said: and warlike Gogol "People living proud lives I that same in their a free life that express pride dances; people living show same unbounded will and of a diniate A poetic self-oblivion; people fiery express in their national dance that same and passion, languor jealousy," There is no such as a national folk dance that a dance thing is, performed solely within the boundaries as are known political they to-day. Folk dances, like all other folk arts, follow it would be to define ethnological boundaries; perhaps possible the limits of a nation from a of the dances the and the arts study people perform they practise. The African native of the Bantu tribe who asks the do great stranger "What you dance?" does so because he that the dance will knows, perhaps instinctively, stranger's him to understand of that man's life.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Arm Aitor MI 48106-1346 USA 313/761-4700 800/521-0600 V,: "he dreamed of dancing with the blue faced people ..." (Hosteen Klah in Paris 1990: 178; photograph by Edward S. Curtis, courtesy of Beautyway). THE YÉ’II BICHEII DANCING OF NIGHTWAY: AN EXAMINATION OF THE ROLE OF DANCE IN A NAVAJO HEALING CEREMONY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Sandra Toni Francis, R.N., B.A., M.
    [Show full text]
  • Living Culture Embodied: Constructing Meaning in the Contra Dance Community
    University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2011 Living Culture Embodied: Constructing Meaning in the Contra Dance Community Kathryn E. Young University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Anthropology Commons, and the Dance Commons Recommended Citation Young, Kathryn E., "Living Culture Embodied: Constructing Meaning in the Contra Dance Community" (2011). Electronic Theses and Dissertations. 726. https://digitalcommons.du.edu/etd/726 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. LIVING CULTURE EMBODIED: CONSTRUCTING MEANING IN THE CONTRA DANCE COMMUNITY __________ A Thesis Presented to the Faculty of Social Sciences University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Master of Arts __________ by Kathryn E. Young August 2011 Advisor: Dr. Christina F. Kreps ©Copyright by Kathryn E. Young 2011 All Rights Reserved Author: Kathryn E. Young Title: LIVING CULTURE EMBODIED: CONSTRUCTING MEANING IN THE CONTRA DANCE COMMUNITY Advisor: Dr. Christina F. Kreps Degree Date: August 2011 Abstract In light of both the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage and the efforts of the Smithsonian Center for Folklife and Cultural Heritage in producing the Smithsonian Folklife Festival, it has become clear that work with intangible cultural heritage in museums necessitates staff to carry out ethnographic fieldwork among heritage communities.
    [Show full text]
  • Dancing Postcolonialism
    Sabine Sörgel Dancing Postcolonialism TanzScripte | edited by Gabriele Brandstetter and Gabriele Klein | Volume 6 Sabine Sörgel (Dr. phil.) teaches the history and theory of theatre and dance at Johannes Gutenberg-University Mainz. Her current research includes cross- cultural corporealities, contemporary performance and postcolonial theory. Sabine Sörgel Dancing Postcolonialism The National Dance Theatre Company of Jamaica Die vorliegende Arbeit wurde vom Fachbereich 05 Philosophie und Philologie der Jo- hannes Gutenberg-Universität Mainz im Jahr 2005 als Dissertation zur Erlangung des akademischen Grades eines Doktors der Philosophie (Dr. phil.) angenommen. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2007 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Cover illustration: Rex Nettleford, NDTC’s »moving spirit«, co-founder, princi- pal choreographer, and current Artistic Director. Here seen in lead role of »Myal«. Credits: Photographs: cover illustration and pages 100, 102, 103, 110, 112, 119, 131, 175, 176, 177 courtesy and copyright by Maria LaYacona and NDTC ar- chives; page 140 courtesy and copyright by Denis Valentine and NDTC ar- chives; page 194 courtesy and coypright by W. Sills and NDTC archives. All video stills: courtesy
    [Show full text]
  • Connecting with the Arts
    PRESENTS Connecting with the Arts Mexican Folk Music and Folklorico Dancing Modern folk dance traditions in Mexico are blended from Indigenous, African and European cultures. From 1520 to 1750 there was a sweeping change in Mexican folk dance; much of which was influenced by European dances, music and instruments. Many traditional dances were richly influenced by pagan religious practices, but were modified to reflect the Christian religious practices brought over by European settlers. The 1930s were a definitive time for folk dance in Mexico. It became so popular that educational centers for dance were opened across the country. Interest declined in the 50s and 60s, but today dance is a defining element of Mexican culture and continues to evolve with influences from popular culture. Mexican folk dance celebrates indigenous practices rather than disregard it as part of history. Many historical aspects of Mexican folk dance have remained the same. One area which has seen the most change is in costuming. The costumes used to be made of hides and feathers but are now made with synthetic fabrics and added modern elements. Ballet Folklorico is Mexico’s best known folk dance troupe. It was founded in 1952 by Amalia Hernandez and since her death in 2000 has been directed by her grandson Salvador Lopez. The group began small with only 8 dancers and has grown to 40 dancers, a mariachi band and sixteen other musicians. They travel around the world, performing an average of 250 times each year. CREATE YOUR OWN MEXICAN FOLK DANCE: Watch the following videos: https://www.youtube.com/watch?v=ytfTVOWJyAA https://www.youtube.com/watch?v=_mkqUffnzjk Break into groups of 5-6.
    [Show full text]
  • Creolizing Contradance in the Caribbean
    Peter Manuel 1 / Introduction Contradance and Quadrille Culture in the Caribbean region as linguistically, ethnically, and culturally diverse as the Carib- bean has never lent itself to being epitomized by a single music or dance A genre, be it rumba or reggae. Nevertheless, in the nineteenth century a set of contradance and quadrille variants flourished so extensively throughout the Caribbean Basin that they enjoyed a kind of predominance, as a common cultural medium through which melodies, rhythms, dance figures, and per- formers all circulated, both between islands and between social groups within a given island. Hence, if the latter twentieth century in the region came to be the age of Afro-Caribbean popular music and dance, the nineteenth century can in many respects be characterized as the era of the contradance and qua- drille. Further, the quadrille retains much vigor in the Caribbean, and many aspects of modern Latin popular dance and music can be traced ultimately to the Cuban contradanza and Puerto Rican danza. Caribbean scholars, recognizing the importance of the contradance and quadrille complex, have produced several erudite studies of some of these genres, especially as flourishing in the Spanish Caribbean. However, these have tended to be narrowly focused in scope, and, even taken collectively, they fail to provide the panregional perspective that is so clearly needed even to comprehend a single genre in its broader context. Further, most of these pub- lications are scattered in diverse obscure and ephemeral journals or consist of limited-edition books that are scarcely available in their country of origin, not to mention elsewhere.1 Some of the most outstanding studies of individual genres or regions display what might seem to be a surprising lack of familiar- ity with relevant publications produced elsewhere, due not to any incuriosity on the part of authors but to the poor dissemination of works within (as well as 2 Peter Manuel outside) the Caribbean.
    [Show full text]
  • 2002 Scottish Games
    Try our Lindsay's 80/- (Shilling) Brewed Especially for the St. Louis Scottish Games. Schlafly Beer 2t DO Locust, Saint Louis, MO 63 t 03 3t 4-24t -BEER www.schlafly.com CeudMile Failtel ~ ~ "A Hundred Thousand Welcomes!" Table of Contents Greetings, and welcome to our Second Annual l Scottish Games & Cultural Festival of the 21st Ceud Mile Failte century! CEO's Message. 2 Ceremonies .. 3 It seems almost like yesterday when we were at the Help ....... ... 4 fun-filled 2001 Games, rain and all. Although a lot has Animals & Birds . ... 5 changed around us, other traditions have been revived Athletics. ...... 6 and solidified. The modern Scottish Games are a British Car Show & Clubs ...... 10 celebration of the deep and rich cultural heritage that Children's Activities .. ..... 11 originated in Scotland and is recognized throughout Entertainment 12 America. We are pleased to continue to present such Overview Schedule ........._.... .... 17 a festive and exciting occasion within Forest Park. Site Map ..................................... 18 The uplifting spirits of Scotland and America will again be intertwined with History/Storytelling 20 culture, heritage, and celebration during the St. Louis Games. We encourage Scottish Genealogy . ..22 you to take the opportunity to be entertained by the wonderful skills of Photo Opportunity ..... ... _.23 competing dancers, athletes, pipers, and drummers. Listen to the folk musicians, Highland Dancing .. 24 storytellers, and Clan historians. View some classics at the British car show, Piping & Drumming ..... 26 and watch the sheepdogs perform. Sample some great food and find unique Clan History ... .... _28 gifts. I guarantee that the assembled tartans of the Clans and the full force of Gaelic .............._.......
    [Show full text]
  • 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]