Throughout history people have danced. Long before the use of language to communicate people showed their thoughts and feelings through dancing. Today dance is of significant social importance to many cultures and there are many forms - social, theatrical, religious, etc.

Dance can be described as....

• A means of telling a story or expressing a theme, emotion or idea

• Moving through space

• Controlling and releasing energy

• Communicating without speaking

• Making rhythmic patterns in time

• Being aware of the body in movement

People dance throughout the world because they want..

• To have fun with friends

• To learn new dance forms

• To entertain other people

• To keep fit and healthy

• To express themselves

• To demonstrate cultural traits

• To express their faith

 

 

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Ballet Dance- The Technique

Movements and positions which were first named in France have been stylised, elaborated and further codified over centuries to form ballet technique, hence French is the international language of ballet. The turned out position of the legs and feet- achieved by rotating the leg outward from the hip forms the basis of ballet . There are five numbered positions of the feet and gently curved or lined arms that lyrically coordinate with the legs. The verticality of the dancer is emphasised and to achieve this the dancers body must have a strong centre and be well aligned to allow movements to flow upward and outward from this vertical axis. Elevated steps such as leaps, springs, jumps further challenge the downward pull of gravity and beautiful lines create a harmonious relationship between the legs, arms, torso and head.

A Brief History

The Italian court ballets of the 15th Century took place in large banquet halls or ballrooms and were elaborate entertainments incorporating dancing, music, painting and poetry. During the Middle Ages dancing had been claimed a sin but the Renaissance in the 1400's brought with it renewed dance popularity. In France and Italy they competed for the most impressive court spectacles by employing the best musicians, artists and poets.

These 'Ballet de Cour' would feature grand processions, speeches, poetry, music and dance and be presented with elaborate stage effects, ornate scenery and rich extravagant costumes. At this time a plot was not of prime importance since the ballets were designed primarily to impress dignitaries and aristocrats by demonstrating wealth and power in the hope of achieving political gains. The score for a 5 hour ballet named 'Comique de la Reine' (1581) survived and is the first known ballet. It was staged by Balthazar de Beaujoyeux who was a dancing master and musician in the court of Catherine De Medici. The audience would have had an aerial view from the galleries on the three sides of the court so the choreography emphasised the creation of floor patterns.

During the reign of Louis XIV the ballet would reach its peak and the development of ballet would be given new impetus. King Louis loved to dance and would feature in the ballets earning himself the title of the sun king for his role in 'Le Ballet de la Nuit' 1653. A subtle turned out angle of the foot had developed so that steps could be carried out more easily and dancers could move sideways whilst still facing the front on the proscenium stage (the theatre design used today), which came into favour in the mid 1600's. King Louis set up his Dancing Academy in 1661. His employees Jean Baptiste Lully and choreographer Pierre Beauchamp are said to have defined the five foot positions. In 1670 King Louis stopped dancing and it was about this time that dancing became professional as dancers trained longer and harder.

The first professional female dancers were now seen on stage as previously men had danced female roles in masks. The costumes of these dancers were heavy and cumbersome , women wore panniers- large hooped, draped skirts, and men wore a knee length hooped skirt called a tonnelet. These would be accompanied by head-dress and low heeled shoes. Marie Camargo (1710-1770) challenged the fashion ideas of the day by shortening her skirt to above the ankle and adopting heel-less slippers so audiences could see her sparkling feet. She moved freely with intricate footwork and complex jumps to rival male dancers. Previously dancing had been sedate and lilting steps were kept close to the floor. Marie Salle (1707-1756) would also shock the public by removing her corset in favour of Greek robes, the era of the ballerina had begun!

Great male dancers also came to fame such as Gaetano Vestris (1697-1774) known for his jumps and leaps. Despite the brilliance of French dancers outside France choreographers like John Weaver in England and Franz Hilverding in Austria were achieving greater dramatic expression through experimenting with dance, opera, pantomime, themes and gestures. The main themes for these Opera Ballets were classical mythology. Jean Georges Noverre (1927-1810) strongly believed that all elements of a ballet should work in harmony so that the theme be expressed with dramatic truth. In his writings 'Letters on Dancing and Ballets' (1760) he asks for the abandonment of masks and for the use of more natural movement.

Noverre's pupils were Jean Dauberval (staged La Fille mal Gardee), Salvatore Vigari and Charles Didelot often remembered for his ballet in which invisible wires helped dancers appear to fly. These dancers would go on to produce other famous dancers such as Carlo Blasis.

In the 19th Century The Romantic Movement would effect all areas of the arts as people sought escapism from troubled and changing times, for example, the French revolution, Napoleonic wars and increasing industrialisation. Characters within ballets were now ordinary people incorporated into dual themes of love versus death, madness and melancholy and elements of the supernatural, fairies, witches, spirits etc. The invention of gas lighting made it possible to create atmosphere on stage such as mist, moonlight or darkness usually in scenes of woods, forests, lakes etc in foreign countries. The calf length, bell shaped white muslin skirt also contributed to the unique atmosphere of the romantic ballet.

During the romantic period (1820's-1850's) ballerinas began to dance on their toes for momentary fleeting balances to create the illusion of flight. Filippo Taglioni choreographed'Les Sylphides' in 1832 incorporating pointe work to emphasise his daughters lightness and grace. Contrastingly the dancer Fanny Essler was voluptuous and dramatic and remembered for being a great 'Giselle'. Emma Livry, Taglionis favourite pupil died tragically when her dress caught fire in rehearsal.

In the second half of the 19th century ballet in Paris lost its popularity and the focus shifted to St Petersburg Russia. Whilst in Paris virtuosic displays and spectacle had overtaken the original poetic quality in Russia the essence of Romantic ballet was preserved. In St Petersburg Jules Perot, Arthur St Leon and Marius Petipa would reach their peak in the so called 'Golden years' (end of the 19th century). Petipa produced 'La Bayadere' (1877), Sleeping Beauty (1890) Nutcracker (1892) and Raymonda (1892)

Michael Fokine (1880-1942) was a young dancer and choreographer who completely revolutionized ballet. He wasn't a dancer but an 'impresario' - a person who manages arts events. He was employed by The Imperial Theatre and wasn't an immediate success but in 1909 persuaded Benois to bring the Russian ballet to Paris. He chose a repertoire of Fokine's innovative work and this 'Ballet Russe' season was an immediate success displaying the abilities of Pavlova, Karsavinsa and Njinksy in a variety of exciting and novel works. The male dancers were particularly admired as good male dancers were rare in Paris. Diaghilev even commissioned Western European artists such as Massine, George Balanchine and Serge Lifar.

The lineage of dancers and the ballet tradition would continue as dancers trained by Ballet Russe would go and train other dancers. For example Anna Pavlova founded her own company, Dame Marie Rambert founded Ballet Rambert and Ninette de Valois our Royal Ballet School . Rambert students would include Frederick Ashton and George Balanchine who founded American ballet. Alicia Markova and Anton Dolin set up Markova-Dolin Ballet.

Margot Fonteyn joined the Vic-Wells Ballet (later to become the Royal Ballet) when she was 14 and made her debut as a Snowflake in nutcracker in 1934 . By 1939 she was the company's star and the inspiration for many of Ashton's ballets. She became the embodiment of the so called 'English' style with an innate musicality, elegance and understated eloquence.

Popular dance forms (modern and jazz) would enrich ballet. American choreographer Jerome Robbins would create 'Fancy Free' a jazz based ballet in 1944. In the 1940's both New York City Ballet and American Ballet Theatre were founded and American choreographers became known for a new sort of pure, abstract ballet, far less dependent on literary plot, often using modern rock and electronic music with simplified decor and costuming. In 1956 Russian ballets performed in the West for the first time and defected Soviet dancers such as Natalia Markova, Mikhail Baryshnikov would further influence the development of ballet.

In the 1960's Margot Fonteyn was partnered with the Russian ballet dancer, Rudolf Nureyev, under the direction of Ninette De Valois, despite rumours of Margot's retirement her career would be extended by another 15 years. Margot received the honorary title of Dame Commander of the British Empire in 1956.

Tap Dance- The Technique

Tap is derived from a merging of Irish step dancing, English clog dancing and African dance. The name 'Tap Dance' was first seen in print in 1928 and 'tap' can specifically develop musicality, the use of the body as a percussive instrument and a good understanding of rhythm, accents and syncopation. The style can be distinguished by it's percussive footwork where precise rhythmic patterns on the floor are marked or beaten and amplified by hard shoes with metal taps on the toes and heels. This requires concentration, practice, the mobility and articulation of the foot, knee and ankle and the overall control and balance of the whole body to ensure beats are clearly audible and visible. The challenge is to ensure rhythmic structures of sequences are maintained whilst complimented with a natural use of arms! Steps are given descriptive names such as shuffle scuff, brush, flap, ball change, cramp roll, time step etc.

A Brief History

In South America, slave-holders forbade the use of drums becoming increasingly concerned that their slaves could secretly communicate with each other via a drum code. Compelled to find another outlet, another means for expression, the African slaves transferred the rhythm to their feet. At the beginning of the 19th Century folk styles emerged such as American clogging and buck and wing dancing, both of which required a leather soled shoe. By the late 19th century minstrel shoes and showboat routines were to incorporate a fast style of dance in wooden shoes and a soft leather shoe style. In 1900 the Flora dora Sextet performed the first synchronized tap routine, the 50 girls of the first Ziegfeld Follies (1907) constituted the first tapping chorus line. In the 1920's-30's an acrobatic tap style was promoted predominantly by black dancers whilst others developed a slow syncopated style. These forms would combine to be danced in metal plated shoes and jazz would serve to provide tap with varied and complex rhythms. Tap dancing evolved in the various clubs, streets and theatres around Harlem not as one might assume on the silver screen. Tap had become a way of earning money on the streets before it's popularity In the mid 1930's. The Jig and the shuffle of black performers on street corners was a familiar sight as they tried to earn money through performing. Dancers would steal steps and perform their own interpretations, challenging other dancers in 'dance offs' and fuelling the development of tap. Bill 'Bojangles' Robinson became America's most famous tap dancer and dancers like Fred Astaire and Gene Kelly would expand the conventional style by incorporating movements from ballet and modern. Tap dancing has often been defined by the glamour of Hollywood musicals and lines of chorus girls as in 42nd Street but today shows like 'stomp' or 'tap dogs' present tap in a a tough, modern, cutting edge approach. This so called 'rhythm tap' can be danced to any music and is based on improvisation and experiment which offers the dancer greater versatility and freedom.

Modern Dance- The Technique

Today's modern dance reflects a need for freedom of movement, particularly the modern syllabus which combines modern dance, jazz and other dance styles to train versatile dancers who would be receptive to the innovative creations of current choreographers. The principle differences to ballet are the use of the parallel or natural leg alignments from the hip, the dramatic shifts in weight towards the floor and between low and high levels that are used and the complex differentiated use of arms. Arms can be curved, straight, lyrical, dynamic, forceful, contracted, extended, fingers together or apart, symmetrical or asymmetrical- anything goes! Today it is appreciated that ballet develops the core strength and strong centre necessary to equip the modern dancer for movements that challenge the controlled use of limbs, gravitational pull, and the creation and return from positions that seem temporarily suspended in mid air.

A Brief History

Whilst the title ' Modern dance' has been applied to 20th Century ballroom dances, it usually refers to the ever changing 20th century concert dance that we know at Counterpoint. Unlike ballet its vocabulary is only limited by the imagination of the teacher. Modern Theatre Dance cannot sustain a permanent definition since it adapts, develops and evolves with dance fashions of the day. Like modern art, modern dance is experimental and challenges preconceived notions of dance. Pioneers rebelled against what they found to be the rigid, restrictive, meaningless ballet form with its strict rules on how to stand and move.

Inspirational modern dancers sought to communicate or express themselves, chosen stimuli or concepts throughout their dancing. Loie Fuller, in 1891, experimented with the effect that gas lighting created on silk costumes and developed natural movement and improvisation techniques. Isadora Duncan believed that ancient Greek dancing was the dance of the future and her ideas for dance were rooted in natural and spiritual concepts and Friedrichs Nietzsche 's philosophy. Ruth St Denis developed her translations of Indian culture and mythology by using elaborate costumes and improvised movements to suggest Indian and Egyptian dance. In 1915 St. Denis formed the Denishawn company, this would raise the popularity of modern dance throughout the United States and abroad in addition to producing future leaders of modern dance such as Martha Graham and Doris Humphrey.

Graham would develop a famous dance theory based on coordinating contraction and release to our natural inhalation and exhalation and in 1966 The London Contemporary Dance Theatre was founded on Martha Graham's principles. Whereas Graham looked internally to the human soul for inspiration, Doris Humphrey looked at the interaction between the person and external forces.

Jazz Dance- The Technique

Today, jazz dance has little to do with Jazz music and although it has a strong ballet background each jazz teacher has their own specific style. At Counterpoint efforts are made to ensure that students experience routines in a variety of fast, high powered and lyrical styles commencing with a thorough warm up. Jazz dancing might look fun but a dancer has to master ballet technique and be very fit to excel in advanced jazz choreography. Movements are usually large and an obvious attitude is conveyed depending on the style. Today jazz dancing is conveyed in differing forms and scenarios, for example; jazz to pop music as on top of the pops, jazz used for show girl type shows like in Las Vegas or Paris and of course jazz dance within musicals such as Fosse, Fame, and Chicago. Modern dance was once a more lyrical form of free movement but since it now encompasses the 'jazz dance trend' please read the paragraph on modern dance technique to understand the way the body moves for both forms.

A Brief History

Over 60 years ago Jazz dance began as a fusion of European and African movements and was associated with the first Jazz music from New Orleans. Since the early 20th century jazz dance has been seen in Chicago in the form of theatrical and social dance. Jazz dancing was visible in cabarets and nightclubs in addition to the vaudeville stage. Joe Frisco was an early vaudeville jazz dancer in the early 1900's, and he danced in a loose-limbed style with eccentric steps close to the ground whilst juggling his derby and cigar. In the forties and fifties people presented dance concerts that introduced audiences to jazz steps such as the 'Charleston' and 'Black bottom'. Jazz music had become less easy to dance to and as a result by the 1960's jazz would emerge as a blended ballet and modern form. In Chicago companies would develop to demonstrate this trend like Gus Giordano Jazz Dance Chicago (1968), Joel Hall Dancers (1974), Joseph Holmes Dance Theatre (1974-1995), and Hubbard Street Dance Chicago (1977). Chicago has played a continuing role in jazz dance development - the Jazz Dance World Congress developed in Chicago, the Jump Rhythm Jazz Project relocated from New York to Chicago, and swing dancing such as lindy hop in local nightclubs escalated there. Famous jazz directors and choreographers include Bob Fosse, Gus Giordano, Gwen Verdon, Jack Cole, and Eugene Luigi Faccuito . The fundamental purpose of Jazz dance is to entertain people, as famous choreographer Alvin Ailey said, 'the dance came from the people, and should always be given back to the people'. Today many people enjoy jazz dance as a leisure activity as it is an enjoyable way of keeping muscles firm and toned and of keeping fit in general.