The History of Dance

The dance is one of the three major arts of antiquity, next to the theater and music. It is characterized by the use of body movements by following previously established (choreography) or improvised (free dance). In most cases, the dance, with cadenced steps is accompanied by sound and rhythm of music and involves the expression of feelings boosted by it.

The dance can be as artistic expression or as a form of entertainment and / or ceremony. Like art, dance is expressed through the signs of movement, with or without musical link, to a certain audience, which over time was unrelated to the particular theater. Currently, the dance demonstrates in the streets at events such as "Dance in transit" in the form of video, the so-called "video dance", and in any other environment in which contextualized for the purpose of art.

Contents

1 History of dance

2 Dance & education

3 Classification and genres

The history of theatrical dance represents a change of meaning of artistic purposes over time. In Classical Ballet, the narratives and environments is illusory that guided the scene. With the social changes of modern times, began to question certain virtuosity present in the ballet and began to appear different movements of modern dance.

It is important to note that at that time, the social infer much in artistic achievement, making then the American Modern Dance to eventually become quite different from European modern dance, even with some elements in common. Contemporary dance has emerged as a new art form, both suffering influences of all past movements, and new technological possibilities (video, installation). That was also very influenced by new social conditions - increasing individualism, urbanization, and spread amounts of media, giving rise to new proposals for art, it also led to mergers with other artistic areas such as the theater for example.

Dance and Education

Rodrigo Amorim (2000) considers education as evolution and transformation of the individual, considering the dance as a continuum of physical education, expression and embodiment of considering the movement a way to view the embodiment of our students, the dance school should provide opportunities for students to develop all areas of human behavior and, through diversification and complexity, the teacher can contribute to the formation of more complex body structures. The physical educator using the dance but the biological aspect that is your area of expertise. It must be clear that physical education teacher is not a dance teacher. Although this work is to use dance as a tool in health clubs for physical fitness and improve the quality of life for example. The Physical Education courses do not form or qualify for professional dance, ballet is the artist, dancer or choreographer, teacher much less of these artistic activities. It is necessary that physical education professionals have this moral respect, because artists are not much less teachers of any artistic activities including dance. The teaching of dance in Brazilian schools must be addressed within the contents of Arts, according to the National Curriculum Parameters (www.mec.gov.br source) is required curricular component, looking for elementary school visual arts, dance, music and theater, and for the school, and these languages already mentioned, there is the inclusion of Audiovisual Arts. (PCN - BRAZIL, 2000, p.46) The approach of dance within the context of physical education is complementary and should assist in preparing for the physical arts professionals can act. Dance is an autonomous area of knowledge, even within the Arts, and must be respected and recognized as such. Training for teachers and artists of dance is gained in courses in dance (and bachelor degrees) and the profession is regulated by Law 6533/78 the Law of the Artist.

Classification and genres

Dance BharatanatyamVárias classifications of dances can be made, taking into account different criteria. On how to dance: solo dance (eg, soloist choreography in ballet, tap); dance in pairs (eg, tango, salsa, waltz, forró etc.); dance group (eg, round dances, tap). On Origin folk dance (eg catira, carimbó, Epiphany etc); historical dance (eg, sarabande, bourré, gavotte etc.); ceremonial dance (eg Indian ritual dances); ethnic dance (eg, traditional dances from countries or regions). The purpose: erotic dance (for example, can can, striptease, pole dancing); performative or theatrical dance (eg ballet, belly dancing, tap dance); social dance (eg, ballroom dancing, ax); religious dance / dance prophetic (eg, Sufi dancing).

music art

Forró

Who knew that one day people would see the major Brazilian cities, used to worship foreign artists crazed because of a pace that until recently suffered great prejudice ..... Well, that's what's going on with the dance, this mixture "highly flammable" African rhythms and European that arrived in Brazil at the beginning of the century.

The name "forró" is already controversial because some say it comes from "for all" (in English "for all") and stated that the free access to the dances promoted by the British who built railroads in Pernambuco in the early; However, some argue the thesis that the word forró comes from the African "Forrobodó" which means party, mess. And if the word itself has this dual version of its meaning, imagine the rhythms that make up the dance! There are so many and so diverse, that leave no doubt about where it comes from a very musical of forró. After all, the music that has influences from its rhythms as diverse as the ballad, the Quixote, the xaxado, coconut, and vanerão juninas, could only lead to a dance that leaves no one stopped.

The pen, for example, was danced in a circle and was born in northeastern Brazil in the nineteenth century.

Since the Quixote, has its origins in the late nineteenth century and is a pace of European origin that appeared in the aristocratic salons of the Regency era. And so are you.

But if they are many and diverse musical influences that gave rise to forró and there is controversy as to the appearance of the word itself, there is one point on which all agree: if it was Luiz Gonzaga, the dance would not have fallen in popular taste and not would be the success it is today. The "Old Moon", as it was known, was the one who took the dance of northeastern ghettos and presented it to the public from other regions of the country. This happened in 1941 when he entered and won a National Radio was looking for new talent. But before playing on the Old Moon stage of a bitter little money and prestige, animating the night in brothels and bars of Rio de Janeiro.

However, after overcoming the bias of the artistic director of radio, which forbade even use the costumes of the rustic and northeast which would then be his trademark, Luiz Gonzaga, was slowly conquering the whole country with his forró. For these and other, Luiz Gonzaga became known nationally as the "King of Baião" consecrating north and south of the country and even abroad, the rate that currently heats up the nights of 9 out of 10 capitals of Brazil. Currently, the dance is back at the height of success and is gaining support among young people all around the country.

This demand for a pace that until recently, was viewed with prejudice, is again changing the "face" of forró. Text taken from the site http://www.projetoequilibrio.com.br/

HIP HOP

In the 60's, proliferated to a great discussion on human rights and, in this order of events, the marginalized of society in New York were combined to enforce its proposals in the disposal of their concerns.

This is how great black leaders like Martin Luther King and Malcolm X, and groups that fought for human rights as the Black Panther Party (Black Panthers).

Meanwhile in Jamaica came the sound systems, which were placed in the streets of the Jamaican ghetto to cheer dances. These balls served as background for the discourse of 'Toasters', authentic MC's (Masters of Ceremony) who said, with a kind of spoken song, issues such as violence in the slums of Kingston and the political situation in Jamaica, while talking, you course, issues such as sex and drugs. In the late 60's, many young Jamaicans were forced to emigrate to the United States, due to an economic and social crisis that hit the island. And one in particular, the Jamaican DJ Kool Herc introduced the balls on the outskirts of New York tradition of the 'Sound Systems' and the spoken song. Inspired by DJs (Disc Jockeys) Americans, including the DJ Grand Master Flash, inventor of the scratch, the invention sophisticated corner spoken. Soon, the MC's (Masters of Ceremony) and the rappers, who built speeches indignant, angry, full of references to racial and social conflicts. They were heirs to the voices of the radical Black Panther Party (Black Panthers), that joining the bases sound effects and dancing as the scratch created the RAP (which stands for Rhythm And Poetry, and Rhythm and Poetry, in Portuguese) that consist of a base Music dancing together of rhymes spoken that followed the pace.

The Break dance was invented by a Puerto Rican, through which they expressed their dissatisfaction with politics and the Vietnam War. He was inspired, among other things, martial arts moves, such as Kung Fu. The Break has spread along with the gangs of New York, that by the end of the 60s, in response to social oppression with brutal violence. It was common for the armed confrontation. Traditionally American ethnic groups did not mix, hence we had gangs of Hispanic and black gangs. Each had its code group, called TAG (signature of graffiti), and demarcate the territories with graphite on the walls of the neighborhoods of New York. Yet in moments of relaxation, these gangs danced the Break.

The Movement Hip Hop is a social movement that was created by teams Bailes U.S., circa 1968, in order to appease the quarrels of the young black and Hispanic gangs grouped. Its name comes from the words Hip (hip, in English) and Hop (jump, in English). Therefore, the term Hip Hop (jump swinging the hip) was referring to the Break, the most popular dance of the season. Teams organized dances and the Block in the streets, in gyms and schools, encouraging young people to the Break dancing instead of squabbling among themselves. Teams also encouraged the Graffiti as an art form and not just as a way of marking territory. The most famous of these teams was the Universal Zulu Nation, which had as leader the DJ Afrika Bambaataa, recognized as the official founder of Hip-Hop.

Afrika Bambaataa was born and raised in the Bronx and as a young man was part of a gang called the Black Spades (Black Spades in Portuguese), but saw that the fights between the gangs do not lead anywhere. Many of the original members of the Zulu Nation were also on the Black Spades, which was one of the largest and most feared gangs of new york. Bambaataa was used in many existing recordings of different types of music to create Raps. Using sounds, ranging from James Brown (Master of Soul Music) to the electronic sound of the song "Trans-Europe Express" (the band Kraftwerk Europe), and mixing the spoken song brought the Jamaican DJ Kool Herc, Bambaataa created music "Planet Rock", which is now a classic. Bambaataa was also one of the leaders of liberation movements James Brown, created when the master of Soul Music was arrested and, years later, was the first 'Hip-Hopper' to work with James Brown recording "Peace, Love & Unity."

In addition, the Zulu Nation organized lectures called 'Infinity Lessons "(Infinite classes, good in Portuguese), which were lessons on knowledge, disease prevention, mathematics, science, economics, among other things, that served to change the thoughts of gangs. According to his own leader, Afrika Bambaataa, Zulu Nation to support the knowledge, wisdom, understanding, freedom, justice, equality, peace, unity, love, fun, work, faith and the wonders God. This true 'nation' also traveled around the world to preach the good word of Hip-Hop, doing many shows and fundraising campaigns for Anti-Apartheid (Anti-Racist) and assembled up to 10,000 members around the world. According to the Zulu Nation, in the relaxed space of the street was, and still is, possible to express opinions and have fun. The people outside, in contact with their peers (the group), they could feel and experience the rare opportunity of free expression through art, without repression