Dance Final

Second chimurenga

African dance

Liberation war between the British colonizers and ZANU (1964-1979)

First chimurenga

British forces defeated Africans, resulting in the creation of the settler colony of Rhodesia (1896-1897)

Third Chimurenga

(2000) practice of jambunja intensified before this revolution, and pungwes mobilized indigenous Zimbabweans

Evidence of precolonial (before 1887) dance includes

written accounts by missionaries, travelers, and colonial representatives

rock paintings

oral tradition

In what ways did colonial policies transform the context and production of the dance?

they barred indigenous citizens from practicing their dances

locals continued to practice their dance and music despite bans

western-style dances, such as ballet and cha-cha, were introduced in schools

they filled the gaps with European dances

Kariamu Welsh Asante’s Zimbabwe Dance Company began training “professional dancers” in the 1970s which was a foreign concept, because dance knowledge and skills were typically transmitted orally through participation and through ___

observation

The major characteristics of indigenous dance in Zimbabwe are the

expressive and mimetic movements

importance of community

spiritual representation

relationship to rhythm and indefinite duration of performance

The multiple roles of indigenous dances in Zimbabwean life include

expresses life experiences and unhu/ubuntu philosophy

honors kings

celebrates good harvests and rites of passage

repository for cultural identity

polyrhythm is the simultaneous sounding of two or more independent rhythms

true

the muchongoyo dance was traditionally performed to prepare for war; now it is used to greet visitors at the airport and to welcome foreign diplomats

true

Zimbabwe’s indigenous are often recontextualized —taken from their original context and performed for entertainment purposes instead of ritual or ceremonial purposes

true

The seven aesthetic senses in African dance (Kariamu Asante Welsh)

dimensionality, polycentrism, repetition, curvilinear, epic memory, polyrhythm, holistic

dimensionality

the texture sense; the presence beyond the visual presence

polycentrism

the representation of the cosmos in the body

repetition

the intensifying of one movement, one sequence, or the entire dance

curvilinear

the circular quality of the form, shape, and structure

epic memory

the embodiment of the spiritual element

polyrhythm

the motion sense; the most distinguishable of the senses

holistic

neither parts of the dance nor the individual are accentuated beyond the whole

match the Irish dance with its description

set dance, figure dance, step dance, pantomimic dance

European ___ were introduced to Ireland by British dance masters in the mid-18th century and were the precursor of quadrille and square dances in the United States

cotillions

Gaelic Revival dance schools called instructors “dance teachers” rather than “dance masters” and the teachers rarely traveled. They taught a ___ dance canon and movement style

standardized

The British influenced Irish dance during the colonial era in what ways

introduced country dances and court dances

travelers documented Irish dance and customs

inspired the Irish dance master system

The Gaelic Revival contributed what changes to Irish dancing?

formal structures created by Irish Nationalists promoted native Irish art forms, including dance

Feisanna (competitive dance events) increased in popularity

Social events (céilithe) were closely monitored by clergy

What were some distinguishing features of early Irish step dancing?

early men’s technique was distinguished by its groundedness —movements included downward battering actions danced in hard-soled shoes

early women’s technique was distinguished by its lightness, with an upward focus to the body and a fast, flowing dynamic

movement included batters, drums, and rocks

Jean Butler and Micheal Flatley were the lead dancers and two of the choreographers for the 1994 performance “Riverdance” that modernized the approach to Irish dance

true

The Public Dance Halls Act was established in 1985 to restrict activity in dance halls to events that were overseen by guards and clergy

false

The shoes used in Irish dance are either soft black laced-up shoes called ghillies or shiny black hard-soled batter shoes

true

Traditional Irish Dance was eventually theatricalized through groups like Siamsa Tire to preserve and promote Irish Dance as an art form

true

_ is the art of expression used in classical Indian dance; it leads the audience toward an experience (bhava) of a sentiment (rasa)

abhinaya

Classical Indian dancers perform namaskaram (also termed bhumi pranaam). What is true of this practice?

the namaskaram creates a sacred space for what follows

dancers perform this short sequence at the beginning of a dance practice

dancers honor the dance space by bowing to the earth, to the teacher, and to the teachings

Why is the Natyashastra, written by Bharata Muni, important to Indian classical dance?

the ancient treatise on the performing arts (including dance) connects the arts to spiritual and religious realization?

It is still used as a resource guide, and the dances contained in the text embody religious tenets

Mudras

are hand gestures that range from complex to simple in classical Indian dances. Some are abstract and have no direct meaning; the are used decoratively. Others have direct meaning and represent ideas, things, people, and places

Natya

Indian form of dance

the dramatic acting and storytelling aspect of dance

Nritya

Expressive dance with mudras and facial expression (abhinaya) that relate to the lyrics of accompanying songs

Nritta

Pure decorative dance in which the movement of the body, steps of the feet, and gestures of the hands serve to reflect the rhythms and phrases of the music

Because of the Indian indenture system under the British, Indian dance forms traveled to Trinidad and Tobago in the Caribbeantru

true

What were the societal roles in devadasis in Indian history?

The devadasis were ritually married to regional Hindu gods and were respected and treated as auspicious

the duties of a devadasi included performing the temple’s ritual practices of dancing and singing

Under British rule the devadasis were considered prostitutes, were removed from the temple, and no longer received financial patronage for their dance and music

true

Navarasa

is translated as the nine emotional “tastes”that form the cardinal emotional states transmitted by a dancer to the audience (love, laughter, anger, compassion, disgust, fear, heroism, wonder, and peace)

The eight major styles of classical Indian dance share what elements?

elaborate costuming, jewelry, and makeup

storytelling through dance (natya), exploring navarasa, the ninemain emotional states conveyed by the dancer

facial expressivity (abhinaya), using complex eye, eyebrow, and cheek movements for indicating mood (bhava)

mudras (hand gestures), as decorative motifs and as Kathakalistorytelling

Kathakali

Indian dance

style of dance-drama danced mostly by men that is known for its elaborate costume and makeup and for hours-long performances

Mohiniyattam

Indian dance

style of dance that is considered “feminine” (lasya); danceers wear white costumes with a gold border

Kathak

A style of dance with origins in the Mughal courts of North India that emphasizes rhythmic foot movements and virtuosic turns

Odissi

A style of dance that features the tribhangi, a unique triple-bend position of the body

Sattriya

A style of dance-drama that originated in monasteries and was traditionally performedby bhokots (monks) in daily rituals and for religious festivals

Bharatanatyam

A style of dance that uses aramandala, a primary positions with the legs turned outand knees bent deeply

Manipuri

Style of dance-drama that is also called Jagoi and is known for the depiction of the Raslia, the dance of the god Krishna with milkmaids

Kuchipudi

Style of dance founded by Siddhendra Yogi that features dancers singing

_ was originally an exuberant folk dance from Punjab; now it is a global style influenced by hip-hop and dance music

bhangra