1 / 43

Dancing Women and Dancing Social Issues

Dancing Women and Dancing Social Issues. Lauren Bach Annie Humphers-Ginther Sarah Jesseman Katie Westermayer . Honors World Dance Course. Explored World Dance Forms Learned about the Dancing Body

gina
Télécharger la présentation

Dancing Women and Dancing Social Issues

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Dancing Women and Dancing Social Issues Lauren Bach Annie Humphers-Ginther Sarah Jesseman Katie Westermayer

  2. Honors World Dance Course • Explored World Dance Forms • Learned about the Dancing Body • Dancing Body- the physical manifestation of the human body during the act and production of movement • Researched the Dancing Body as a Social and Cultural Construct

  3. Our Project • Research: • ACultural Dance • Women’s Social Issue • How does the dance form reflect women’s social issues?

  4. Our Research Topics • The Irish Step-Dance • The French LaSylphide Ballet • The Brazilian Carimbo • The Argentinian Tango

  5. Irish Step-Dance Paper: An Irish Buille an Chroí Presenter: Lauren Bach

  6. Location of Ireland (Micheal 1952, Creative Commons)

  7. Irish Step-Dance: History(A Cultural Practice Suppressed) • 19th Century • Aspect of Every Day Life • Houses, Crossroads, Fairs • Roman Catholics • Considered it Rowdy Behavior • Banishment • Kept Dance Alive • Dance Masters • Barns (Jim Bates / The Seattle Times, 2004)

  8. Irish Step-Dance: History (A Tool for Cultural Change and Recognition) • Gaelic League: • Desired to gain Ireland’s Independence • Used Step-Dance as a Cultural Symbol • Irish Dancing Commission (1929) • Official Exam for Teachers • Competitions: Feiseannas • Eurovision Song Contest (1994) • RiverdanceStep-Dance Performance (7 min) • Went Global: Altered Perceptions of Ireland

  9. Irish Step-Dance: The Dancing Body • Upper Body: Erect & Poised • Back Straight and Head Up • Arms on Hip or Loose at Side • Lower Body: Elaborate • Intricate steps • Leg Movements • Two Types: • Hard Shoe: Forceful & Fast • Soft Shoe: Graceful & Intricate (Creative Commons, James Jordan)

  10. Irish Step-Dance Videos • Soft Shoe • http://www.youtube.com/watch?v=bDV3_jpi-OI • Hard Shoe • http://www.youtube.com/watch?v=S5DS-GJZbTA

  11. Women’s Social Issues& Irish Step Dance (Creative Commons, ThinkO)

  12. Personal Expression • Talking about Physical Pleasure was a Taboo (Throop 321). • Exterior Physical or Emotional Expression was Unacceptable • Step-Dance: “An expression of individual identity” (Foley 35) • Broke the Taboo of Overt Expression

  13. Perceptions of “Working Women” • Roman Catholics: Two Accepted Female Occupations (Nun or Mother) • Earn 75% of the typical wage given to men (Throop 316) • Constitution: “Mother” and “Woman” used Interchangeably • Step-Dance: Work as a Dancer • Still Able to Support the Family • Decent Wages • Respect (Creative Commons, James Jordan)

  14. Control Over Child Bearing • Roman Catholics: Limitations in the control of Reproduction • Difficult to acquire Contraceptives and Birth Control • Abortion Prohibited (Throop 316) • Pregnant Women not Allowed to Travel • Step-Dance: Control with Travel • Access to Contraceptives and Birth Control • Able to Abort

  15. Irish Women’s Cultural Role • Previously allowed a Small Role in Cultural Representation • Step-Dance: “Considered representative of the national perception of Irish step-dance” (Foley 36). • Gaelic League: Symbols of Ireland’s Independence • Riverdance: National Representatives of Ireland (Creative Commons, Tory Lindstrand)

  16. French Ballet Paper: French Ballet: La Sylphide Presenter: Annie Humphers-Ginther

  17. Location of France (lonelyplanet.com-Map of France)

  18. 19th Century France – A History • Second Empire ruled • Urbanization • Industrialization • Economic growth • Citizen social classes: • Aristocrats • Middle class (bourgeoisie) • Lowest class (workers) • Fin de Siècle • Movement to modernism • Women vocalize their opinions; look toward a new social status (social class had less social relevance than gender) • Solving the “woman question” • Civil, economic, and political status (danceviewtimes.com - Mark Haegeman)

  19. La Sylphide – The Dance • Ballet genre: • Ballet is a “spectacle, music, and physical virtuosity in pursuit of a highly stylized ideal of social behavior” (Jonas) • Idealizes the female body • 19th Century Ballet: • La Sylphide= one of the first Romantic ballet performances • New Trends: • En pointe - on one’s toes • Bouffant skirts - tutus • Trend effects: weightlessness, grace, and surrealism (Wikemedia _La Sylphide)

  20. http://www.youtube.com/watch?v=QDxpnRmqKhM • La Sylphide: • Symbolizes male quest for the unattainable • A Scottish man falls in love with a sylph, but cannot catch her • He seeks out a witch who gives him a scarf that will capture the sylph • When he captures the sylph with the scarf, her wings fall of and she dies • Prevalent dance societal reflections: • Marriage • Male dominance • Female idealism • Infidelity • Male power over other males • Characteristics of social classes (not necessarily economically) • Scottish humans • Sylphs • Witches

  21. The Social Issue La Sylphide represents and symbolizes France’s social issue of women’s lost identity (to dominating men – especially in ballet coaching).

  22. The Social Issue • Women had no voice • Men trying to solve the “woman question” • Low status • Degraded in the workplace • Laws limited working hours • Same laws for children • Degraded domestically • Physical violence as “retributive punishment” acceptable • Little say in marriage • Divorce • Land ownership • Child custody (balletbag.com – Johan Persson)

  23. Brazilian Carimbo Paper: The Carimbo: A Cultural Blend When Words Run Dry Presenter: Sarah Jesseman

  24. Brazil: The Country • Portuguese Colony • Multiple Cultural Influences (My Adventure – Brazil)

  25. The Dancing Body • Men and women dance together, women are the dominant partners • Sexual dance involving long flowing skirts which fly up to reveal underwear • Handkerchief drop demonstrates female dominance • Hip movements emphasized • Light and free (Eyes on Brazil)

  26. African Slave Trade Cultural Influences Portuguese Male Dominance Sexuality of dance liberated women Combination of all peoples Social Issues and the Dance (AbstractEconomics)

  27. Brazilian Carimbo Video https://www.youtube.com/watch?v=d23kRAQLRHc

  28. Argentinean Tango Paper: The Argentine Tango: Overcoming Society’s Gender Standards through the Power of Dance Presenter: Katie Westermayer

  29. Location of Argentina (Cia World Factbook)

  30. Tango History • Ambiguous origins • Buenos Aires 1860’s-1890’s (Cohen 91; Moss) • African slaves attributed to early creation (Perez-Dothie) • Brothels • Alternating sexual encounters & sexual dancing • Songs based on encounters (Viladrich273) • Males=tough guy or pimp role • Females=seductive role

  31. The Tango Develops • Upper-class disliked tango • Immoral, sexual connotations vs. morals and chastity • 1907: tango went to Paris • Elite increased tempo • Calmer characters (Viladrich273) • Argentinean elite willing to practice new version of the tango

  32. Music in the Tango Culture • Music vital to tango • Singers, dancers, musicians • Instrument variety help create dancing body • Violins, guitars, bandoneón • Singers: sing poems or songs about lost love, life misfortunes, or social issues (Cohen 92; Viladrich281)

  33. The Tango • Variety of cultural influences • Mix of dances: mazurka, waltz, polka • African influences (Cohen 91) • Partner variety (thelovelyplanet.net/tango-dance)

  34. The Dancing Body • Movement depends on type of tango • Improvisational • Basic movements: • “Grapevine” step, (forward, side, back, side) • “Figure eight” (Chensvold) • Body: • Upright posture • Look ahead or to sides • Stiff, outstretched hands (clubtango.com.au)

  35. Video of the Dancing Body http://www.youtube.com/watch?v=US21f5XyqVo&list=PLqjaWjta40IWzCjcUefVh2BhtvXH1d8cp

  36. Women’s Social Issues and Argentinean Tango

  37. Defying Society’s Standards • Roman Catholic Church: Stereotypical gender roles • Expected to be a mother, housewife • Sacrificed happiness, lives to ensure their children were happy and prosperous • “Good women are not sexual, but maternal” (Borland 23)

  38. Falling Short of Freedom • Many hoped for freedom but relied on the tango to earn a living • Resorted to sexual acts in exchange for material goods • Tango Lyrics • Male pseudonym • It was known that “even when female singers wrote and signed their own tangos . . . they mostly became acknowledged as tango interpreters and not as tango poets and writers” (Viladrich 280).

  39. Expectations Remain • Tango Culture: Pressure to bear children • Looks associated with reproduction • Women could be too beautiful: • If so, she would eventually “[exercise] too much sexuality and too much freedom” and because of this, no man would want to be with her (Viladrich 278) (thelovelyplanet.net/tango-dance)

  40. Conclusion

  41. Overview • Irish Step-Dance: • Defied social mores • Gained cultural status • French La Sylphide: • Feminine ideals conceived and regulated under male dominance • Brazilian Carimbo: • Helped women gain control and hope • Sexual liberation • Argentinean Tango: • Challenged typical roles • Express sexuality, but some relied on sexuality for means of support

  42. Dancing body: cross-cultural reflection of women’s social issues • Further research: • Universal practice of dance • Social/cultural influences of dancing • Dances’ cultural meanings and representations change • Studying the dance of a different culture is vital to understanding that culture, its values, and the social issues that are present within

  43. References • Appleby, David. The Music of Brazil. American Folklore Society, 1985. Print. • Ballet La Sylphide POB Mathieu GanioAurelieDupont. Perf. Mathieu Ganio, AurelieDupont. YouTube. YouTube, 17 May 2006. Web. 15 Apr. 2013. <http://www.youtube.com/watch?v=QDxpnRmqKhM>. • Belem Para Brazil Carimbo. Antonio Rosado Jr. Youtube. Youtube, 9 Jul. 2006. <https://www.youtube.com/watch?v=d23kRAQLRHc>. • Borland, Elizabeth. "Argentina." The Greenwood Encyclopedia of Women's Issues Worldwide. Vol. 2. Westport, CT: Greenwood, 2003. 13-45. Print. • Brown, Stephen. "Styles of Argentine Tango." Tango Styles. Web. 01 Apr. 2012. <http://www.tejastango.com/tango_styles.html>. • Canale di mauripatuelli. (2012, May 6). Tango argentino - venezia - padova - treviso - J. Sepulveda & Chicho Frumboli - N. 3 - 15/10/2011 [Video file]. Retrieved from http://www.youtube.com/watch?v=US21f5XyqVo&list=PLqjaWjta40IWzCjcUefVh2BhtvXH1d8cp • "Carimbo Dance in Brazil." Timeline Beta. N.p., n.d. Web. 10 Apr 2012. • Chensvold, Christian M. "Three To Tango." Dance Spirit 7.6 (2003): 38. EBSCO MegaFILE. Web. 2 Apr. 2012. • "CIA: The World Factbook: Argentina." CIA: The World Factbook. Central Intelligence Agency, 19 Mar. 2012. Web. 1 Apr. 2012. https://www.cia.gov/library/publications/the-world-factbook/geos/ar.html • “Club de Tango”. Web. 08 Apr. 2013. <http://www.clubdetango.com.au/> • Cohen, Selma. "Tango." International Encyclopedia of Dance. Vol. 6. New York: Oxford UP, 1998. 91-94. Print. • Danca do Carimbo - Belem - Para. Film. • Durable Hardwood Flooring - Irish Dance Video. Armstrong Floors. You Tube. You Tube, 15 Mar 2011. Web. 16 Apr. 2013. <http://www.youtube.com/watch?v=S5DS-GJZbTA> • Fleck, Danita and Linda Inson Choy. “Paris in the Nineteenth Century.” Social Classes.n.d. Web. 29 Mar. 2012. • Foley, Catherine. "Perceptions of Irish Step Dance: National, Global, and Local." Dance Research Journal 33.1 (2001): 34-45. International Index to Performing Arts Full Text. Web. 30 Mar. 2012. • Guizar, Florentino, and Isabelle Kay. "TANGO DANCE CONCEPTS!" Argentine Tango Dance Terms. Web. 01 Apr. 2012. <http://www.tangoconcepts.com/terms.html>. • "Harvard Ballroom." Waltz & Tango. Web. 01 Apr. 2012. <http://www.harvardballroom.org/lessons/waltz_tango>. • Jonas, Gerald. (1992). Dancing: The Pleasure, Power, and Art of Movement. New York, NY: Harry N. Abrams, Inc. DATE OF PUBLICATION. Print. • Jordan, James. “Irish Dancer.” Photograph Photostream. Flickr, 6 Sept. 2009. Web. 1 April 2013. • La Sylphide. N.d. Photograph. Wikipedia. Wikimedia Foundation, 04 Feb. 2013. Web. 03 Apr. 2013. <http://en.wikipedia.org/wiki/La_Sylphide>. • Lindstrand, Tory. “Riverdance.” Photograph. Flickr, 27 Mar. 2007. Web. 1 April 2013. • Micheal 1952. “Map of Ireland.” Photograph. Flickr, 22 Feb. 2009. Web. 1 April 2013. • Rodrigues, Jose. The Influence of Africa on Brazil and of Brazil on Africa. Cambridge University Press, 1962. Print. • "South America: Brazil." CIA - The World Factbook. N.p., 2 April 2012. Web. 10 Apr 2012. • The Huntsville Irish Dancers with Hooley - Soft Shoe Reel Step-About. Ospire1. Tennessee Valley Scottish Festival. You Tube. You Tube, 1 Oct 2011. Web. 16 April 2013. <http://www.youtube.com/watch?v=bDV3_jpi-OI> • Throop, A Elizabeth. “The Republic of Ireland.” Walter, Lynn. The Greenwood Encyclopedia of Women's Issues Worldwide. Westport, Conn.: Greenwood Press, 2003. Print. • Unknown. “19th Century.” France by europe-cities.n.d. Web. 29 Mar. 2012. • Viladrich, Anahí. "Neither Virgins Nor Whores: Tango Lyrics And Gender Representations In The Tango World." Journal Of Popular Culture 39.2 (2006): 272-293. SPORTDiscus with Full Text. Web. 2 Apr. 2012.

More Related