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... The inspiration for movement came from the music provided by a superb pianist, Olga Mendoza, who played Brahms, Schubert, Schumann, and other classics.(NDA, 2007, p. 555) Although Van Tuyl's comments may seem mundane at first... more
... The inspiration for movement came from the music provided by a superb pianist, Olga Mendoza, who played Brahms, Schubert, Schumann, and other classics.(NDA, 2007, p. 555) Although Van Tuyl's comments may seem mundane at first glance, they reveal the attitudes of the ...
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In September of 2003, Bolshoi Ballet dancer and media star Anastasia Volochkova, 27, was fired from her job. The main reason given was that at 5′7″ and 110 lbs., she was too tall and too heavy for her partners to lift. Yekaterina... more
In September of 2003, Bolshoi Ballet dancer and media star Anastasia Volochkova, 27, was fired from her job. The main reason given was that at 5′7″ and 110 lbs., she was too tall and too heavy for her partners to lift. Yekaterina Norikova, spokeswoman for the Bolshoi, said: “The problem is that male dancers complained of her height and weight and refused to dance with her” (quoted in Isachenkov 2003). Yevgeny Ivanchenko, her former partner, publicly declared her too heavy to lift, saying that he risked injury in working with her. The Russian newspaperVremya Novosteiused the headline “Not even bears could hold [her]” (Kishkovsky, 2003, A1).In her interviews with the press, she said that she is in excellent shape and follows a strict diet. “I don't eat ice cream now,” said Ms. Volochkova, who once told a Russian interviewer that she adores it. “I eat spinach leaves and vegetables.” She also declared that “Height and weight are not the test of a great ballerina” (2003, A1).
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This forward-looking chapter considers the challenges and opportunities of jazz dance within a race-conscious framework. It follows three different themes, including the discussion of jazz as a Black American art form; interconnections... more
This forward-looking chapter considers the challenges and opportunities of jazz dance within a race-conscious framework. It follows three different themes, including the discussion of jazz as a Black American art form; interconnections between jazz music and jazz dance; and the future of jazz studies in the academy.
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This chapter examines the status of jazz dance in the non-profit, professional dance world using three empirical measures: 1) budgets of professional and semi-professional jazz dance companies, relative to modern/contemporary and ballet;... more
This chapter examines the status of jazz dance in the non-profit, professional dance world using three empirical measures: 1) budgets of professional and semi-professional jazz dance companies, relative to modern/contemporary and ballet; 2) awards and grants, namely, how many have been awarded to jazz dance artists and companies; and 3) a brief overview of professional training programs for jazz dancers. Grant information from Capezio, Kennedy Center, Samuel Scripps, Dance Magazine and more is included. This research shows that although jazz dance has a long-term presence in North America, it is often overshadowed by ballet and modern dance; more education about the importance of this form to dance is vital.
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... View full textDownload full text Full access. DOI: 10.1080/15290824.2011.620536 Wendy OliverEdDMFA a ... Last in this section, Michael Engel reflects on his many years of work in the public schools as a dance teacher, and how it has... more
... View full textDownload full text Full access. DOI: 10.1080/15290824.2011.620536 Wendy OliverEdDMFA a ... Last in this section, Michael Engel reflects on his many years of work in the public schools as a dance teacher, and how it has changed since the advent of hip-hop culture ...
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Chapter 1 introduces the relationship between dance and gender, inquiring into the ways dance is gendered in Western society today and the significance of these findings. An extensive review of literature covers feminist perspectives,... more
Chapter 1 introduces the relationship between dance and gender, inquiring into the ways dance is gendered in Western society today and the significance of these findings. An extensive review of literature covers feminist perspectives, social construction of gender, gender equity, men in dance, queer theory and GLBT studies, plus gender roles in modern dance, ballet, social, religious, popular and recreational dance. Two of the most-discussed issues within the literature since the mid-1990s are the presentation of women’s bodies onstage, and how male dancers disrupt traditional ideas of masculinity. Dance outside the gender binary is also considered. Gender roles onstage, in class, in rehearsal, in company leadership, in postsecondary dance departments, and in choreographer funding are sites of inquiry within this book of empirical research studies and essays.
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Research Interests: Art and Visual Arts
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Master the art of writing about dance! And learn about dance at the same time. This comprehensive guide provides students with instructions for writing about dance in many different contexts. It brings together the many different kinds of... more
Master the art of writing about dance! And learn about dance at the same time. This comprehensive guide provides students with instructions for writing about dance in many different contexts. It brings together the many different kinds of writing that can be effectively used in a variety of dance classes from technique to appreciation. In addition, it offers strategies for improving critical thinking skills, and shows how writing and critical thinking are closely linked. Part I focuses on informal writing such as freewriting, with sample exercises and prompts. Part II outlines approaches to writing three different kinds of formal papers: critiques, essays and research papers. Writing about dance teaches on two levels. First, the writer is learning dance content as s/he writes. Engaging in the writing assignment causes the writer to take a look at an aspect of dance and to become a 'momentary expert'. Secondly, writing itself is a way of learning. Writing involves the brain i...
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... View full textDownload full text Full access. DOI: 10.1080/15290824.2011.620536 Wendy OliverEdDMFA a ... Last in this section, Michael Engel reflects on his many years of work in the public schools as a dance teacher, and how it has... more
... View full textDownload full text Full access. DOI: 10.1080/15290824.2011.620536 Wendy OliverEdDMFA a ... Last in this section, Michael Engel reflects on his many years of work in the public schools as a dance teacher, and how it has changed since the advent of hip-hop culture ...
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This forward-looking chapter considers the challenges and opportunities of jazz dance within a race-conscious framework. It follows three different themes, including the discussion of jazz as a Black American art form; interconnections... more
This forward-looking chapter considers the challenges and opportunities of jazz dance within a race-conscious framework. It follows three different themes, including the discussion of jazz as a Black American art form; interconnections between jazz music and jazz dance; and the future of jazz studies in the academy.
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This chapter examines the status of jazz dance in the non-profit, professional dance world using three empirical measures: 1) budgets of professional and semi-professional jazz dance companies, relative to modern/contemporary and ballet;... more
This chapter examines the status of jazz dance in the non-profit, professional dance world using three empirical measures: 1) budgets of professional and semi-professional jazz dance companies, relative to modern/contemporary and ballet; 2) awards and grants, namely, how many have been awarded to jazz dance artists and companies; and 3) a brief overview of professional training programs for jazz dancers. Grant information from Capezio, Kennedy Center, Samuel Scripps, Dance Magazine and more is included. This research shows that although jazz dance has a long-term presence in North America, it is often overshadowed by ballet and modern dance; more education about the importance of this form to dance is vital.
Research Interests: Art, Contemporary Dance, Visual Arts, Dance, Jazz, and 3 moreBallet, Dance improvisation, and Jazz Dance
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Jazz dancing is an important modern art form that developed in tandem with jazz music between the 1910s and 1940s in America. Emanating from African-American folk and vernacular practices of the early 20th century, jazz dancing reflects... more
Jazz dancing is an important modern art form that developed in tandem with jazz music between the 1910s and 1940s in America. Emanating from African-American folk and vernacular practices of the early 20th century, jazz dancing reflects the evolving freedoms of modern African-Americans as well as the racial tensions of the modern era in which it was created. Indeed, jazz dance displays the complexity and exuberance of modern American culture and history. The many manifestations of jazz dancing range in style from vernacular to theatrical and embrace, to varying degrees, fundamental movement qualities such as a weighted release into gravity, rhythmic complexity, propulsive rhythms, a dynamic spine, call and response, a conversational approach to accompanying rhythms, and attention to syncopation and musicality.
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Aaron Douglas and Katherine Dunham were pioneers in setting a definitive course for African American artistic expression in the first half of the twentieth century. Their innovative positions revolved around the reclamation and... more
Aaron Douglas and Katherine Dunham were pioneers in setting a definitive course for African American artistic expression in the first half of the twentieth century. Their innovative positions revolved around the reclamation and integration of African and African diasporic sources into their work, which established the foundation for a new respect for African cultural inheritance. The two artists pursued this goal through their individual research and artistic inclinations and via an important link between them: the African American philosopher Alain Locke. Locke called for the theoretical foundation for the reclamation of African heritage and for its proud embrace. He knew the works of Douglas and Dunham well, and laid the groundwork for their lifelong focus on African heritage. Douglas and Dunham brought Locke's words to life through art, fulfilling a common mutually reinforcing mission.
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This article focuses on the development of a theoretical framework for jazz dance in which researchers hypothesized how motif notation concepts from Laban Movement Analysis (LMA) and Language of Dance® (LOD) could be used to help learners... more
This article focuses on the development of a theoretical framework for jazz dance in which researchers hypothesized how motif notation concepts from Laban Movement Analysis (LMA) and Language of Dance® (LOD) could be used to help learners understand how the roots and branches of jazz dance styles are related.We began by investigating the Africanist aesthetics of jazz dance to better grasp how each element influences the feel of jazz as it exists within various jazz dance styles. To differentiate between the styles, we deciphered how the Africanist aesthetics blend with Europeanist aesthetics and movement vocabulary to merge into a variety of distinctly American dance forms. Notation-based dance theory offers a unique lens for analytical observation that helps to support theory discussion surrounding the essence of jazz as it is felt in the body. The Africanist aesthetic framework we created provides conceptual tools for comprehending thescope of jazz dance and a movement analysis perspective that might contribute to social, concert, and commercial or entertainment research. We hope this framework proves useful to others in their jazz inquiries by offering fertile conceptualground for jazz dance research and pedagogical development within academic and artistic practices. COMMENTARY: “AFRICANIST AESTHETICS, JAZZ DANCE, AND NOTATION WALK INTO A BARRE” Crystal U. Davis, MFA, CLMA, Susan R. Koff, EdD and Selene Carter, MFA, Certified Evans Somatic Instructor University of Maryland, College Park, MD; New York University, New York, NY; Indiana University, Bloomington, IN Journal of Dance Education, 20: 51–54, 2020 Copyright © National Dance Education Organization ISSN: 1529-0824 print / 2158-074X online DOI: https://doi.org/10.1080/15290824.2020.1711664
Research Interests: Dance Education and Dance
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Chapter 1 introduces the relationship between dance and gender, inquiring into the ways dance is gendered in Western society today and the significance of these findings. An extensive review of literature covers feminist perspectives,... more
Chapter 1 introduces the relationship between dance and gender, inquiring into the ways dance is gendered in Western society today and the significance of these findings. An extensive review of literature covers feminist perspectives, social construction of gender, gender equity, men in dance, queer theory and GLBT studies, plus gender roles in modern dance, ballet, social, religious, popular and recreational dance. Two of the most-discussed issues within the literature since the mid-1990s are the presentation of women’s bodies onstage, and how male dancers disrupt traditional ideas of masculinity. Dance outside the gender binary is also considered. Gender roles onstage, in class, in rehearsal, in company leadership, in postsecondary dance departments, and in choreographer funding are sites of inquiry within this book of empirical research studies and essays.
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Research Interests:
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... The inspiration for movement came from the music provided by a superb pianist, Olga Mendoza, who played Brahms, Schubert, Schumann, and other classics.(NDA, 2007, p. 555) Although Van Tuyl's comments may seem mundane at first... more
... The inspiration for movement came from the music provided by a superb pianist, Olga Mendoza, who played Brahms, Schubert, Schumann, and other classics.(NDA, 2007, p. 555) Although Van Tuyl's comments may seem mundane at first glance, they reveal the attitudes of the ...
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... Issues Continued from page 12 be the biggest issue for schools, but this equipment could help physical educators in elementary and intermediate schools to plan new activities for students. Joey Scroggins, undergraduate student,... more
... Issues Continued from page 12 be the biggest issue for schools, but this equipment could help physical educators in elementary and intermediate schools to plan new activities for students. Joey Scroggins, undergraduate student, University of Central Arkansas, Conway, AR. ...
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In September of 2003, Bolshoi Ballet dancer and media star Anastasia Volochkova, 27, was fired from her job. The main reason given was that at 5′7″ and 110 lbs., she was too tall and too heavy for her partners to lift. Yekaterina... more
In September of 2003, Bolshoi Ballet dancer and media star Anastasia Volochkova, 27, was fired from her job. The main reason given was that at 5′7″ and 110 lbs., she was too tall and too heavy for her partners to lift. Yekaterina Norikova, spokeswoman for the Bolshoi, said: “The problem is that male dancers complained of her height and weight and refused to dance with her” (quoted in Isachenkov 2003). Yevgeny Ivanchenko, her former partner, publicly declared her too heavy to lift, saying that he risked injury in working with her. The Russian newspaperVremya Novosteiused the headline “Not even bears could hold [her]” (Kishkovsky, 2003, A1).In her interviews with the press, she said that she is in excellent shape and follows a strict diet. “I don't eat ice cream now,” said Ms. Volochkova, who once told a Russian interviewer that she adores it. “I eat spinach leaves and vegetables.” She also declared that “Height and weight are not the test of a great ballerina” (2003, A1).
Research Interests:
Research Interests:
Rhode Island has recently mandated a new kind of arts requirement for high school graduation that involves proving proficiency in one of four art forms: music, visual art, theater, or dance. How the state came to mandate this law, how... more
Rhode Island has recently mandated a new kind of arts requirement for high school graduation that involves proving proficiency in one of four art forms: music, visual art, theater, or dance. How the state came to mandate this law, how proficiency is currently defined and assessed in dance, and what effects the cuts in arts education funding will have upon the requirement are the issues that we will discuss in this article. In addition, we will take a look at pilot programs where some of the preliminary results have been encouraging. Although it is too soon to know how all of the challenges facing the program will be overcome, considerable progress has been made in achieving its design and implementation.