Wendy Oliver and Doug Risner (eds)
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780813062662
- eISBN:
- 9780813051956
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813062662.001.0001
- Subject:
- Society and Culture, Cultural Studies
Driven by exacting methods and hard data, this volume reveals gender dynamics within the dance world in the twenty-first century. It provides concrete evidence about how gender impacts the daily ...
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Driven by exacting methods and hard data, this volume reveals gender dynamics within the dance world in the twenty-first century. It provides concrete evidence about how gender impacts the daily lives of dancers, choreographers, directors, educators, and students through surveys, interviews, analyses of data from institutional sources, and action research studies.
Dancers, dance artists, and dance scholars from the United States, Australia, and Canada discuss equity in three areas: concert dance, the studio, and higher education. The chapters provide evidence of bias, stereotyping, and other behaviors that are often invisible to those involved, as well as to audiences. The contributors answer incisive questions about the role of gender in various aspects of the field, including physical expression and body image, classroom experiences and pedagogy, and performance and funding opportunities.
The findings reveal how inequitable practices combined with societal pressures can create environments that hinder health, happiness, and success. At the same time, they highlight the individuals working to eliminate discrimination and open up new possibilities for expression and achievement in studios, choreography, performance venues, and institutions of higher education. The dance community can strive to eliminate discrimination, but first it must understand the status quo for gender in the dance world.Less
Driven by exacting methods and hard data, this volume reveals gender dynamics within the dance world in the twenty-first century. It provides concrete evidence about how gender impacts the daily lives of dancers, choreographers, directors, educators, and students through surveys, interviews, analyses of data from institutional sources, and action research studies.
Dancers, dance artists, and dance scholars from the United States, Australia, and Canada discuss equity in three areas: concert dance, the studio, and higher education. The chapters provide evidence of bias, stereotyping, and other behaviors that are often invisible to those involved, as well as to audiences. The contributors answer incisive questions about the role of gender in various aspects of the field, including physical expression and body image, classroom experiences and pedagogy, and performance and funding opportunities.
The findings reveal how inequitable practices combined with societal pressures can create environments that hinder health, happiness, and success. At the same time, they highlight the individuals working to eliminate discrimination and open up new possibilities for expression and achievement in studios, choreography, performance venues, and institutions of higher education. The dance community can strive to eliminate discrimination, but first it must understand the status quo for gender in the dance world.
Bob Borossm
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780813049298
- eISBN:
- 9780813050119
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813049298.003.0015
- Subject:
- Music, Dance
As a teacher and choreographer for more than 30 years, Frank Hatchett has been a driving force in taking the latest steps and trends from street and social dance and translating them into a jazz ...
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As a teacher and choreographer for more than 30 years, Frank Hatchett has been a driving force in taking the latest steps and trends from street and social dance and translating them into a jazz dance style he calls “VOP.” From the 1960s twist to 1990s hip-hop, Frank Hatchett has been the conduit from the street to the commercial stage. VOP is based in strong concert and ethnic dance techniques, and a dancer who becomes proficient in VOP understands technique and has attitude and flair. Hatchett’s VOP attitude found a home in NYC when he first began teaching at JoJo’s Dance Factory in 1980, and flourished in 1984 when he became co-owner of a new studio at that very same location – the legendary Broadway Dance Center. Hatchett spent subsequent years as a mainstay at Broadway Dance Center, leading daily classes in his legendary style.Less
As a teacher and choreographer for more than 30 years, Frank Hatchett has been a driving force in taking the latest steps and trends from street and social dance and translating them into a jazz dance style he calls “VOP.” From the 1960s twist to 1990s hip-hop, Frank Hatchett has been the conduit from the street to the commercial stage. VOP is based in strong concert and ethnic dance techniques, and a dancer who becomes proficient in VOP understands technique and has attitude and flair. Hatchett’s VOP attitude found a home in NYC when he first began teaching at JoJo’s Dance Factory in 1980, and flourished in 1984 when he became co-owner of a new studio at that very same location – the legendary Broadway Dance Center. Hatchett spent subsequent years as a mainstay at Broadway Dance Center, leading daily classes in his legendary style.
Indira Etwaroo
- Published in print:
- 2019
- Published Online:
- September 2020
- ISBN:
- 9780252042959
- eISBN:
- 9780252051814
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042959.003.0003
- Subject:
- Music, Dance
Reinterpreting the works of choreographers Kariamu Welsh and Ronald K. Brown as ethnographies of Brooklyn, New York’s Bedford-Stuyvesant neighborhood, Indira Etwaroo situates Welsh’s and Brown’s ...
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Reinterpreting the works of choreographers Kariamu Welsh and Ronald K. Brown as ethnographies of Brooklyn, New York’s Bedford-Stuyvesant neighborhood, Indira Etwaroo situates Welsh’s and Brown’s respective bodies of work from two historical periods as artistic expressions shaped by the Great Migration, the Black Arts and Black Power movements, and the daily realities of mid and late 20th Century African-American urban life. As examples of “Neo-traditional African dance,” Etwaroo explores how Welsh and Brown recalibrated traditional African dance aesthetics for North American and European performance contexts that were quite distinct from those rooted in traditional African societies. As Welsh and Brown addressed current African-American political events in their works, they secured a contemporary relevance for the historically rooted dance aesthetics they pioneered. Etwaroo also places Welsh and Brown within a long tradition of African-American dance choreographers and explores Welsh’s influence on Brown as evidence of an established neo-traditional African dance ethos in the United States, which constitutes a tradition in its own right.Less
Reinterpreting the works of choreographers Kariamu Welsh and Ronald K. Brown as ethnographies of Brooklyn, New York’s Bedford-Stuyvesant neighborhood, Indira Etwaroo situates Welsh’s and Brown’s respective bodies of work from two historical periods as artistic expressions shaped by the Great Migration, the Black Arts and Black Power movements, and the daily realities of mid and late 20th Century African-American urban life. As examples of “Neo-traditional African dance,” Etwaroo explores how Welsh and Brown recalibrated traditional African dance aesthetics for North American and European performance contexts that were quite distinct from those rooted in traditional African societies. As Welsh and Brown addressed current African-American political events in their works, they secured a contemporary relevance for the historically rooted dance aesthetics they pioneered. Etwaroo also places Welsh and Brown within a long tradition of African-American dance choreographers and explores Welsh’s influence on Brown as evidence of an established neo-traditional African dance ethos in the United States, which constitutes a tradition in its own right.
Lindsay Guarino and Wendy Oliver (eds)
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780813049298
- eISBN:
- 9780813050119
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813049298.001.0001
- Subject:
- Music, Dance
This multi-author textbook provides an in-depth look at the rich and varied history of jazz dance, from its African roots in early American society until today. The book is divided into six main ...
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This multi-author textbook provides an in-depth look at the rich and varied history of jazz dance, from its African roots in early American society until today. The book is divided into six main parts, each addressing a different aspect of jazz dance. The opening section explores the nature of jazz dance from the perspective of four different authors, and is capped by descriptions of the many different styles of jazz dance. The second section focuses on jazz dance history, giving an expansive overview beginning with African dance, through the jazz era of the 1920s-40s, the immense diversification of the late 20th century, and up to the present. The third part looks at master teachers and choreographers who shaped the way jazz dance was codified and performed from 1930-1980. The fourth section discusses dance genres which are closely related to jazz dance, including tap dance, musical theater dance, African-American concert dance, hip-hop dance, and dance in pop culture. Education and training is the focus of the fifth part, including an examination of jazz dance in colleges and universities, as well as private dance studios. Lastly, the sixth section looks at current topics in the jazz dance world including race, jazz dance in France, England, and Japan, and jazz dance aesthetics. The sum of these many parts is both a broader and deeper understanding of a uniquely American dance form, with its African roots and multiple permutations that have evolved as it has mixed with other dance forms and styles.Less
This multi-author textbook provides an in-depth look at the rich and varied history of jazz dance, from its African roots in early American society until today. The book is divided into six main parts, each addressing a different aspect of jazz dance. The opening section explores the nature of jazz dance from the perspective of four different authors, and is capped by descriptions of the many different styles of jazz dance. The second section focuses on jazz dance history, giving an expansive overview beginning with African dance, through the jazz era of the 1920s-40s, the immense diversification of the late 20th century, and up to the present. The third part looks at master teachers and choreographers who shaped the way jazz dance was codified and performed from 1930-1980. The fourth section discusses dance genres which are closely related to jazz dance, including tap dance, musical theater dance, African-American concert dance, hip-hop dance, and dance in pop culture. Education and training is the focus of the fifth part, including an examination of jazz dance in colleges and universities, as well as private dance studios. Lastly, the sixth section looks at current topics in the jazz dance world including race, jazz dance in France, England, and Japan, and jazz dance aesthetics. The sum of these many parts is both a broader and deeper understanding of a uniquely American dance form, with its African roots and multiple permutations that have evolved as it has mixed with other dance forms and styles.
Halifu Osumare
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780813056616
- eISBN:
- 9780813053530
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813056616.003.0007
- Subject:
- Society and Culture, Cultural Studies
As the longest section, chapter 6 covers sixteen years of the author’s career as dancer, choreographer, dance educator, and arts administrator. During this period, she solidified her reputation in ...
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As the longest section, chapter 6 covers sixteen years of the author’s career as dancer, choreographer, dance educator, and arts administrator. During this period, she solidified her reputation in the San Francisco-Oakland Bay Area as a leader in the growing black dance and multicultural arts movements when she founds the non-profit dance institution Everybody’s Creative Arts Center (ECAC). She assess her development as a dancer-choreographer, discussing some of her key dance works as well as the creation of the center’s resident dance company, CitiCentre Dance Theatre, which was an important contemporary dance company that operated from 1983 to 1988. She also explores her simultaneous adjunct dance position at Stanford University and several of her choreographic and directorial commissions. The chapter articulates how, in 1989, her accumulated artistic and administrative experience culminated in her founding a major national initiative in black dance: Black Choreographers Moving Toward the 21st Century. She concludes with how she eventually transitioned from the arts to academia after going to graduate school, and how dance and “writing dancing” are similar.Less
As the longest section, chapter 6 covers sixteen years of the author’s career as dancer, choreographer, dance educator, and arts administrator. During this period, she solidified her reputation in the San Francisco-Oakland Bay Area as a leader in the growing black dance and multicultural arts movements when she founds the non-profit dance institution Everybody’s Creative Arts Center (ECAC). She assess her development as a dancer-choreographer, discussing some of her key dance works as well as the creation of the center’s resident dance company, CitiCentre Dance Theatre, which was an important contemporary dance company that operated from 1983 to 1988. She also explores her simultaneous adjunct dance position at Stanford University and several of her choreographic and directorial commissions. The chapter articulates how, in 1989, her accumulated artistic and administrative experience culminated in her founding a major national initiative in black dance: Black Choreographers Moving Toward the 21st Century. She concludes with how she eventually transitioned from the arts to academia after going to graduate school, and how dance and “writing dancing” are similar.
Kara Anne Gardner
- Published in print:
- 2016
- Published Online:
- August 2016
- ISBN:
- 9780199733682
- eISBN:
- 9780190246082
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199733682.003.0008
- Subject:
- Music, Dance, History, American
The concluding chapter discusses de Mille’s Broadway career after the 1940s. Although she continued to work on Broadway through 1969, her work never again achieved the level of success she attained ...
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The concluding chapter discusses de Mille’s Broadway career after the 1940s. Although she continued to work on Broadway through 1969, her work never again achieved the level of success she attained in Oklahoma!, Carousel, and Brigadoon. She developed a reputation for being a difficult collaborator, which was grounded on past behavior but may also have been influenced by her gender. Rodgers and Hammerstein put less emphasis on dance in South Pacific, the musical that followed Allegro, and did not hire de Mille again. Other choreographers, including Jerome Robbins and Bob Fosse, surpassed her in prominence. Their stylistic innovations made her work seem dated.Despite this, she produced several works that were either financially lucrative or important for her legacy, including Gentlemen Prefer Blondes, Paint Your Wagon, and Kwamina. She also became an activist, serving as one of the founders of the Stage Directors and Choreographers Society, still in existence today.Less
The concluding chapter discusses de Mille’s Broadway career after the 1940s. Although she continued to work on Broadway through 1969, her work never again achieved the level of success she attained in Oklahoma!, Carousel, and Brigadoon. She developed a reputation for being a difficult collaborator, which was grounded on past behavior but may also have been influenced by her gender. Rodgers and Hammerstein put less emphasis on dance in South Pacific, the musical that followed Allegro, and did not hire de Mille again. Other choreographers, including Jerome Robbins and Bob Fosse, surpassed her in prominence. Their stylistic innovations made her work seem dated.Despite this, she produced several works that were either financially lucrative or important for her legacy, including Gentlemen Prefer Blondes, Paint Your Wagon, and Kwamina. She also became an activist, serving as one of the founders of the Stage Directors and Choreographers Society, still in existence today.
