1: Dance History - Global Perspectives
- Page ID
- 286045
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- 1.1: Introduction- Global Perspectives
- This page emphasizes the significance of studying cultural dance forms as a transient mode of expression through rhythmic movements. It discusses how dance varies globally, serving different societal functions, and helps individuals connect with their identities while appreciating diverse cultures. The chapter highlights the importance of a global perspective in dance history to foster empathy, unity, and cultural understanding.
- 1.2: Why Do Humans Dance?
- This page discusses the role of dance as a kinesthetic form of expression that promotes social cohesion and collective identity. It references Émile Durkheim's idea of "collective effervescence," emphasizing how dance brings people together beyond societal divides.
- 1.3: Why Learn Dance History with Global Perspectives?
- This page emphasizes the importance of studying global dance history to overcome ethnocentrism and appreciate diverse cultures. It highlights dance as an expression of ethnic pride rooted in historical contexts, promoting healing and global unity. Understanding various dance forms fosters connections across borders and enhances our perspective on humanity and its shared experiences.
- 1.4: African Dances
- This page explores African dances and their cultural significance, including roles in rituals like weddings and rites of passage. It highlights various forms, such as healing, welcome, and warrior dances, revealing spiritual connections and community support. Notable dances like the Wodaabe Gerewol emphasize courtship, while the Zulu Indlamu trains for battle. The Kakilambe from Guinea reveres fertility.
- 1.5: Asia
- This page examines the significance of dance in Asian religions and philosophies, emphasizing its community-unifying role through shared traditions. It categorizes dances as sacred or secular, reflecting their spiritual importance. By exploring these forms, the page sheds light on cultures engaging in animism, polytheism, or monotheism, revealing the intricate relationship between dance and cultural identity.
- 1.6: Dances from Polynesia
- This page discusses the suppression of indigenous Polynesian dance by European colonizers who deemed it barbaric. Despite this, dancers played a crucial role in preserving cultural identity and knowledge. Their resistance led to a post-colonial revival of dance, fostering empowerment and social unity across the Pacific, especially in Hawaii, Tahiti, Samoa, Tonga, and New Zealand.
- 1.7: Dance in the Americas
- This page discusses dance as a cultural expression in colonized North America and Latin America, focusing on the Potlatch dance of the Kwakwaka’wakw and Tlingit, Pueblo dances in the Southwest, and Mexican and Peruvian dances like Jarabe Tapatío and La Marinera. It highlights the roles of spirituality, community, and regional heritage, while emphasizing enculturation and syncretism in dance as cultural elements fuse through interaction and adaptation.
- 1.8: Dances of the Levant
- This page explores the evolution of Greco-Roman dance, highlighting its cultural significance through artifacts like Bacchanal dances associated with Dionysius. Influences from early philosophers like Socrates and Plato shaped its development, while vulgar pantomime contributed to its reclamation in Judea as a spiritual expression. Additionally, dance transformed within Christian worship, moving from pagan roots to a tool for spiritual purification and political expression during the Middle Ages.
- 1.9: Islamic Dance Traditions
- This page discusses Islamic dance traditions, particularly various forms of belly dance like Saidi, Khaligi, and Zeffa, which originate from Near Eastern and North African cultural practices. Originally, these dances served functional purposes, such as aiding childbirth. Saidi includes stick movements, Khaligi emphasizes hair flipping and dress displays, and Zeffa features dancers in wedding processions with candles.
- 1.10: Conclusion
- This page discusses the cultural importance of dance as an art form, means of healing, and a marker of community identity. It emphasizes an emic approach to understanding dance to prevent ethnocentrism and promote global awareness. Additionally, it highlights diverse cultural practices, such as the Vimbuza healing dance and Kathakali, while advocating for the appreciation of cultural heritage through myths and storytelling.
Thumbnail: Dancing in action. (Unsplash Lisense; pavan gupta via Unsplash)