Individualized Research Topics for Midterm Assignment
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The document contains research questions from 5 different students about various topics related to the influence of social and cultural factors on the development of different art forms: Student 1 asks about how jazz music and dance originated in the 1920s America and how racial biases affected their growth. Student 2 asks about the origins of hip-hop culture and its branches like Krump that evolved in response to oppression. Student 3 asks about differences in body aesthetics between Romantic and Neo-classical ballet and how the "ballet body" ideal contributed to oppression in dance. Student 4 asks about what led to the creation of modern dance and how postmodern dance differs from modern dance in terms of origins and an example
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2. Explain why the dancer, choreographer and audience member are all "equal partners in the event" when talking about a live dance concert. What does each of the three bring to the prduction experience. Alternatively what can each of the three gain from the experience? Speak to the choregrapher's traits, the dancer's training and the audience member's understanding and etiquette.
3. Identify major figures and events to highlight the development of court ballet, ballet d'action, romantic ballet, classical ballet, contemporary ballet and neo-classical ballet. How is contemporary ballet similar and different from classical ballet? Specifically what is different between contemporary ballet and modern dance?
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8. What importance does the artistic director have regarding the success of the dance company? To whom does the artistic director answer? What are the artistic and business duties and decisions that an artistic director must make? What is the relationship of the artistic director to the board of directors? Support staff? Artistic collaborators? Other choreographers and dance companies?
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http://www.jstor.org
Post-Salvagism: Choreography and Its Discontents in the Occupied Palestinian Territories
Author(s): Nicholas Rowe
Source: Dance Research Journal, Vol. 41, No. 1, Dance, the Disciplines, and Interdisciplinarity (
Summer, 2009), pp. 45-68
Published by: Congress on Research in Dance
Stable URL: http://www.jstor.org/stable/20527623
Accessed: 04-05-2015 13:34 UTC
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/
info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content
in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
For more information about JSTOR, please contact [email protected]
This content downloaded from 147.4.36.65 on Mon, 04 May 2015 13:34:58 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org
http://www.jstor.org/action/showPublisher?publisherCode=crd
http://www.jstor.org/stable/20527623
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/page/info/about/policies/terms.jsp
Post-Salvagism:
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nostalgically imagined impressions of dance in times gone by.
These two comments illustrate a particular problem for local cultural innovation. Be
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yet doomed refusal to accept the passage of time. Together ...
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1. Explain the differences between Improvisation and Creative move.docx
1. Explain the differences between Improvisation and Creative movement including the benefit of each. How can these be used in education and with special populations. What about someone who would like to have a career in dance as a movement specialist? How would they employ improvisation and creative movement in their everyday work? With what specific types of populations would they be likely to work with and what results would the movement specialist expect?
2. Explain why the dancer, choreographer and audience member are all "equal partners in the event" when talking about a live dance concert. What does each of the three bring to the prduction experience. Alternatively what can each of the three gain from the experience? Speak to the choregrapher's traits, the dancer's training and the audience member's understanding and etiquette.
3. Identify major figures and events to highlight the development of court ballet, ballet d'action, romantic ballet, classical ballet, contemporary ballet and neo-classical ballet. How is contemporary ballet similar and different from classical ballet? Specifically what is different between contemporary ballet and modern dance?
4. Modern Dance evolved from the early 1900's to a current dance form today. Define it's beginning process, major dance figure's and their individual styles. Identify the mid-century evolution of modern dance including major dance figure's and what changes occured. How is modern dance different today? What makes it so different from Ballet? Jazz dance? Tap dance?
5. The social dances of the 1980's reflected many important issues of the time and how they affected society! What were these dances? Where were they found? Among which groups were they popularized. How did these dances affect society? Who were some of the major artists of this era and what influences did they exert? Where is social dance headed?
6. What are the differences and similarities between World Concert/Ritual Dance and Folk Dance? How do they relate to specific cultures? What part do rituals play? What are the contemporary influences uopn these dances? What are the positive/negative ramifications of these influences? What part does having an audience and/or participation play in the presentation of these dances?
7. What are the steps in the production process of a dance concert? What is the beginning point of the process? What other factors are important and who makes those decisions? Speak specifically regarding the choreographer, dancer and actual performing space.
8. What importance does the artistic director have regarding the success of the dance company? To whom does the artistic director answer? What are the artistic and business duties and decisions that an artistic director must make? What is the relationship of the artistic director to the board of directors? Support staff? Artistic collaborators? Other choreographers and dance companies?
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Congress on Research in Dance is collaborating with JSTOR to.docx
Congress on Research in Dance is collaborating with JSTOR to digitize, preserve and extend access to Dance Research Journal.
http://www.jstor.org
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Author(s): Nicholas Rowe
Source: Dance Research Journal, Vol. 41, No. 1, Dance, the Disciplines, and Interdisciplinarity (
Summer, 2009), pp. 45-68
Published by: Congress on Research in Dance
Stable URL: http://www.jstor.org/stable/20527623
Accessed: 04-05-2015 13:34 UTC
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/
info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content
in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
For more information about JSTOR, please contact [email protected]
This content downloaded from 147.4.36.65 on Mon, 04 May 2015 13:34:58 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org
http://www.jstor.org/action/showPublisher?publisherCode=crd
http://www.jstor.org/stable/20527623
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/page/info/about/policies/terms.jsp
Post-Salvagism:
Choreography and Its Discontents
in the Occupied Palestinian Territories
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Introduction
While researching dance within the Occupied Palestinian Territories, comments
made by the choreographers of local performance troupes resonated in my mind
because they exemplify how foreign hegemony controls notions of modernity. The first
was a lament: "But cant they understand that this is our contemporary dance?" It followed
the rejection of the group s application to a European contemporary dance festival, on
the basis that their dance production was not contemporary enough and that it would
be better suited to a folkloric festival. For those engaged in creative innovation in dance,
this rebuke can feel like being sent to a home for the elderly: packed off to a place where
everybody dances in circles, reminiscing about the glorious golden past of their own
particular civilization. The second comment cropped up in numerous conversations with
local dance practitioners and audiences: "I dont like the modern dance." This comment
was generally directed at any foreign or local dance production that did not fit within
nostalgically imagined impressions of dance in times gone by.
These two comments illustrate a particular problem for local cultural innovation. Be
ing denied the label "contemporary" can feel like being denied a collective cultural visa
to the twenty-first century; rejecting the term "modern" can appear to be an obstinate
yet doomed refusal to accept the passage of time. Together ...
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Amherst
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You close your eyes and feel the music. Your head bobs up and down. You see the color of the lights
through your eyelids.
Are you close to the stage, with bodies and sweat pressed to your shoulders, or do you hang back? Do
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reflect your experiences or do they transport you into another perspective? Where are you? A packed
underground club? A stadium? Or a library cubicle, listening on Beats headphones?
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Thinking in this way, burritos and Beyoncé, athleisure and college athletics, juggalos and graffiti all uncover
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begin to think about culture from a sociological perspective. Ămile Durkheim allows us to think about how
much of social life works via culture: he notes that symbols (material or immaterial objects that groups affix
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Culture Jonathan R. Wynn, University of Ma
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Jonathan R. Wynn, University of
Massachusetts Amherst
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Page 2
Culture
J O N A T H A N R . W Y N N , U N I V E R S I T Y O F M A S S A C H U S E T T S A M H E R S T
WHAT IS CULTURE?
Material culture vs. symbolic culture
High culture vs. popular culture
Culture as values vs. culture as a way of life
CULTURE IS A CYCLE
The romantic image of an artist
How is culture produced?
Consuming culture
Subcultures
HOW CULTURE WORKS
How culture creates inequalities
How culture creates groups and boundaries
THE CULTURE JAM
Culture jam as a mix
Culture jam as a problem
Culture jam as a solution
Culture (Fall 2021)
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INTRODUCTION
ïŁ How does music help us understand the complexity of culture?
You close your eyes and feel the music. Your head bobs up and down. You see the
color of the lights through your eyelids.
Are you close to the stage, with bodies and sweat pressed to your shoulders, or do you
hang back? Do you feel a connection with the surrounding strangers? With the band? What
kind of music is it? Do the lyrics reflect your experiences or do they transport you into another
perspective? Where are you? A packed underground club? A stadium? Or a library cubicle,
listening on Beats headphones?
Music is a powerful force in our lives. It is also a multibillion-dollar industry, with
organizational and technological changes that shape how music is made and experienced.
Music is just one kind of culture, shaping our views of the world, connecting people near and
far.
What kind of music is this crowd listening to? (Source)
https://pixabay.com/en/audience-band-celebration-concert-1867754
Culture (Fall 2021)
Page 4
We humans produce far more than what we need for mere survival. Our intellect allows
for expansive creativity, self-reflection, and communication. We transform our living
environment. We share ideas and values. Culture, broadly, is everything we make and
consumeâincluding our ideas, attitudes, traditions, and practicesâbeyond that bare
necessity. Music may very well be one of the earliest forms of culture humanity produced.
âCultureâ is one of the most difficult words for a sociologist to use. Sociological research
on culture varies, but most sociologists are committed to the idea that the symbolic and
expressive aspects to social lifeâthe beliefs and values we hold, as well as the practices and
activities we engage inâare worth examination. Thinking in this way, burritos and BeyoncĂ©,
athleisure and college athletics, juggalos (fans of the band Insane Clown Posse) and graffiti all
uncover great sociological questions.
Opening this chapter with a few questions about how you experience music illustrates
how we can think about culture from a sociological perspective. Ămile Durkheim allows us to
think about how much of social life works via culture: he notes that symbols (material or
...
Culture Jonathan R. Wynn, University of Massac
Culture
Jonathan R. Wynn, University of Massachusetts
Amherst
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Page 2
Culture
J O N A T H A N R . W Y N N , U N I V E R S I T Y O F M A S S A C H U S E T T S
A M H E R S T
WHAT IS CULTURE?
M aterial cu ltu re v s. sy m b olic cu ltu re
H igh cu ltu re v s. p op u lar cu ltu re
C u ltu re as v alu es vs. cu ltu re as a way of life
CULTURE IS A CYCLE
The rom antic im a ge of an a rtist
H ow is cu ltu re p rod u ced ?
C on su m in g c u ltu re
Su b cu ltu res
HOW CULTURE WORKS
H ow cu ltu re creates in eq u alities
H ow cu ltu re creates g rou p s an d b ou n d aries
THE CULTURE JAM
C u ltu re jam as a m ix
C u ltu re jam as a problem
C u ltu re jam as a solu tion
Culture
Page 3
INTRODUCTION
ÂŁ How does music help us understand the complexity of culture?
You close your eyes and feel the music. Your head bobs up and down. You see the color of the lights
through your eyelids.
Are you close to the stage, with bodies and sweat pressed to your shoulders, or do you hang back? Do
you feel a connection with the strangers around you? With the band? What kind of music is it? Do the lyrics
reflect your experiences or do they transport you into another perspective? Where are you? A packed
underground club? A stadium? Or a library cubicle, listening on Beats headphones?
Music is a powerful force in our lives. It is also a multibillion-dollar industry, with organizational and
technological changes that shape how music is made and experienced. Music is just one kind of culture,
shaping our views of the world, connecting people near and far.
What kind of music is this crowd listening to? (Source)
We humans produce far more than what we need for mere survival. Our intellect allows for
expansive creativity, self-reflection, and communication. We transform our living environment. We share
Culture
Page 4
ideas and values. Culture, broadly, is everything we make and consumeâincluding our ideas, attitudes,
traditions, and practicesâbeyond that bare necessity. Music may very well be one of the earliest forms of
culture humanity produced.
âCultureâ is one of the most difficult words for a sociologist to use. Sociological research on culture
varies, but most work is committed to the idea that the symbolic and expressive aspects to social lifeâthe
beliefs and values we hold, as well as the practices and activities we engage inâare worth examination.
Thinking in this way, burritos and Beyoncé, athleisure and college athletics, juggalos and graffiti all uncover
great sociological questions.
Opening this chapter with a few questions about how you experience music illustrates how we can
begin to think about culture from a sociological perspective. Ămile Durkheim allows us to think about how
much of social life works via culture: he notes that symbols (material or immaterial objects that groups affix
meaning to), deployed thr ...
Music And Fashion.pdf
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We will spend the next two modules looking at how humans communicate
We will spend the next two modules looking at how humans communicate. The ways are so many and varied, both conscious and unconscious, that it is helpful if we break these down into two discussions. In this first discussion we will look at the fine and performing arts as vehicles through which people can communicate complex ideas. The arts communicate directly, without the limitations of language, and often strive to make an emotional impact on an audience.
In this discussion you are asked to consider art as a vehicle that raises awareness by communicating concerns and needs of others in communities and groups around the world by exploring the life and work of the Chinese artist Ai Weiwei. He is world famous and has paid an enormous personal price for giving voice to the social justice issues that people in China face. The arts can be a powerful tool to convey these concerns and raise awareness across communities and around the world.
For this discussion you are asked to conduct research into the work and treatment of Chinese artist, Ai Weiwei and read the article on
The Dancing Wheels Company (Links to an external site.)Links to an external site.
from Cleveland, Ohio and consider how their work helps to raise cultural awareness of issues facing others, offering new perspectives on the way we view social justice and disability.
Your initial post will contain a link to the information you found about Ai Weiwei and answer the following questions:
What issues and concerns has the work of The Dancing Wheels and Ai Weiwei brought to the public consciousness?
Why might art be preferable to speech in raising awareness of these issues?
What might be the effects of raising awareness (positive and/or negative) and why?
How has publicity impacted the ability of The Dancing Wheels Company and Ai Weiweiâs to communicate their message? What are the positive and negative aspects of publicity in communicating in this form?
...
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We will spend the next two modules looking at how humans communicate
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Individualized Research Topics for Midterm Assignment
- 1. Student #1 (K) Research Q: How is the development of different art forms affected by social structure? Investigate the social and cultural changes in America during the 1920âs/Jazz Age. From what dance styles did jazz music and dance originate, and who were the people who started them? How did racial & cultural biases affect the growth of this dance and music form in the movies and on Broadway? How does culture/race play differently into the arts today? Student #2 (A) Research Q: Hip-hop began as a cultural movement of rap, breakdance, and graffiti. Discuss its origins and the people who created these forms. In time, branches of hip-hop such as Krump have evolved in response to oppression and dissatisfaction. Name some of those extensions and how they came to be. What is the conflict between the treatment of people of color in this country and the mainstreaming of hip-hop music and dance? What are your thoughts about the appropriation of these forms? Student #3 (C) Research Q: What is the difference in the body aesthetics we see in Romantic ballet vs. Neo-classical ballet? In what ways has the âballet bodyâ contributed to an aesthetic of oppression within the dance field? Has that aesthetic changed today, why or why not? Can you think of any preventative measures or steps that can be taken to help establish healthy relationships with our bodies in the dance space? Student #4 (I) Research Q: What led to the creation of modern dance? How is post-modern dance different from modern dance? How and when did this variation of modern dance come about? Provide an example of one modern and one post-modern choreographic work to compare and contrast. Student #5 (L) Research Q: Find an example of how a time period or world event had significant influence on the development of a dance form, and the arts in general. How do you think this dance form would have developed without the influence of the social & cultural experience of that time? How do you think the current state of the world is influencing dance and the arts, and what kind of art trends do you foresee as a result?