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Dance has been a part of human history since the earliest records
of human life. Cave paintings found in Spain and France dating from
30,000 -10,000 BC. have vivid drawings of dancing figures in
association with ritual illustrating the prominence of dance in early
human society. Many peoples around the world see life as a dance
from the movements of the heavens and the turn of the seasons to the
unique dance of every creature. The history of dance reflects the
changes in the way people see the world, relate to their bodies and
experience the cycles of life. In India among the Hindus, the Creator
is a dancer, Siva Nataraj, who dances the world through the cycles of
birth, death and rebirth. In the early churches of Europe, Christian
worship included dance while at other times in western history dancing
was outlawed and banned. This brief history of dance focuses primarily
on the Western world and serves as a glimpse into the power of dance
in shaping and being shaped by culture.
Dance in the Ancient World:
From Egyptian Pharaohs to the Ecstatic Dance of Dionysus
Written records combined with pictorial relief provide the windows
into the world of dance in the early civilizations of Egypt, Greece and
Rome. In the court of Ancient Egypt, ceremonial dances were enacted by
the pharaohs as a dancing priest- king representing his people. These
dances, culminating in ceremonies representing the death and rebirth of
the god Osiris became more and more complex until ultimately they could
only be performed by a highly valued professional class of dancers
primarily from the neighboring states of Africa. In Ancient Greece,
Egyptian dance influences were carried over by Greek philosophers who
went to Egypt for general study. The philosopher Plato (c. 428-47 BC)
was among these cultural catalyst and he became an influential
theoretician and advocate of Greek dance.
The dance rituals of the Gods and Goddesses of the Greek pantheon
are recognized as the origins of contemporary Western theater.
Around Dionysus, the god of transformation and generation celebrated
through wine, grew a cult of primarily of women followers known as
the maenads who worshipped with ecstatic dance. These dances eventually
evolved to include praise songs and myths that were enacted by trained
dancers and actors. By the end of the 5th century BC, these dance dramas
were part of entertainment and provided social and political commentary
on the times.
Amongst the Romans, dance waxed and waned in acceptance by the powers
that ruled. Until 200 BC, dance brought life to Roman processions,
festivals and celebrations. However, in 150 BC all of the dancing schools
were closed as Roman nobility considered dance as suspicious and even
dangerous activity of the masses. The power of movement could not be
stopped and under the emperor Augustus (63 BC- AD 14) a form of dance
emerged as pantomimi today known as pantomime in which wordless,
stylized gestures and movements became a non-verbal language for
multicultural Rome. The Christianization of Rome ushered in a new
era in which the body, sexuality and dance became linked and the
subject of controversy and struggle.
The Middle Ages:
The Banning of Dance and Underground Dance Raves
The attitude of the Christian Church towards dance from 300 AD throughout
the middle ages was one of ambivalence. On the one side was the rejection of
dance as the catalyst for sexual permissiveness, lust and ecstasy by church
leaders such as Roman St. Augustine (354-430 AD) whose influence continued
through the middle ages. On the other side, early church fathers tried to
incorporate the dances prevalent amongst the tribes of the North such as
the Celts, Anglo-Saxons and the Gaul into Christian worship. Dances for
seasonal celebrations were often incorporated into Christian feast days
which coincided with ancient rites of expelling the winter and celebrating
fertility with the arrival of spring. At the beginning of the 9th century
Charlemagne, the Holy Roman emperor officially prohibited dancing, however,
the ban was not observed. Dance continued as part of the religious rites of
European peasantry although camouflaged with new names and new purposes.
During the Middle Ages, an underground dance mania known as the dance of
death emerged under the suppression of dance by the church and the grave
need for healing in the face of the black plague. Originating in ecstatic
underground dances during the 11th and 12th centuries, the dance of death
began as a response to the black plague which claimed some 50 million lives
over 200 years. This traveling mania spread from Germany to Italy in the
14th and 15th century and was described as a wild leaping dance in which
people screamed and convulsed with a fury to sweat the disease out of the
body.
The Dawn of the Renaissance and the Birth of Ballet
The Dawning of the Renaissance brought about a new attitude towards the body,
the arts and dance. The courts of Italy and France became the center of new
developments in dance providing patronage to dancing masters and musicians
who created large scale social dances for the proliferation of celebrations
and festivities. Dance was also becoming a subject of serious studies and a
group of intellectuals calling themselves La Pleiade aimed for a revival of
the theater of the ancient Greeks combining music, song and dance. In the
court of Catherine de Medici (1519-89), the Italian wife of Henry II, the
first forms of ballet were born through the genius of dancing master,
Balthazar de Beauhoyeulx. In 1581, Balthazar staged the first ballet de
cour, an idealized dance that told the story of a mythic legend by combining
spoken texts, elaborate settings and costumes with highly stylized group
dance. In 1661, Louis XIV of France granted the establishment for the first
Academie Royale de Dance.
Over the following centuries, ballet developed into a codified discipline
and art form evolving with the changing politics and aesthetics of the time.
Social couple dances such as the minuet and the waltz began to emerge as a
dynamic show of greater freedom and expression.
In the 19th century, the era of romantic ballet reflected the cult of the
ballerina and the struggle between an earthly world and a spiritual world
that transcended the earth exemplified in such ballet classics as Giselle
(1841), Swan Lake (1895), and the Nutcracker (1892). At the same time, the
political powers of Europe were colonizing Africa, Asia and Polynesia where
dancing and drumming became banned as it was considered earthy and sexual.
This misunderstanding of dance in other cultures eventually began to reverse
in the early 1920's when dance from Africa, the Caribbean and Latin America
created new forms of dance in Europe and the United States.
Dance in the 20th century: Individuality and Expression
At the turn of the century, with the threat and disruption of World War I,
the arts reflected a radical questioning of values and a frantic search for
new forms that reflected individual expression and a more dynamic way of life.
The Russian impresario, Sergey Diaghilev, became the leading visionary of dance
in Europe reviving ballet with some of the brightest choreographers, composers,
visual artists and designers of his time. His Ballet Russes created a total
theater experience and his company collaborators included Ana Pavlov, Claude
Debussy, Stravinsky, Pablo Picasso, George Ballanchine and the iconoclastic
choreographer Vaslav Nijinsky, specializing in turned in body movements and
unusual footwork. His unconventional ballet, Le Sacre du Printemps was
considered scandalous almost causing a riot in 1913 at its premiere in Paris.
Parallel to the revolution within ballet was the first stirrings of modern
dance. As a reaction to the stylized movements of ballet and rising out of
the women's emancipation movement, a new form of dancing emerged valuing
free expression. The pioneers of this new dance were Isadora Duncan (1877-1927)
who stormed across the European stages in her loosely flying tunic, inspiring
a host of disciples and imitators and Ruth St. Denis (1877-1968) who
integrated world dance into her choreography. In 1915, St. Denis founded
the Denishawn company which became the cradle for the forerunners of American
modern dance including Martha Graham, Doris Humphrey and Chrales Weidman.
Martha Graham formed her own company which started a lineage of important
choreographers and companies up to the present time and a host of schools
of defining modern dance technique to train dancers.
As dance continued to expand limitations on stage, social dance in the
20th century was also breaking all of the rules. From the early 1920's
until the present, new freedom to move parts of the body were part of
changes in social values and attitudes towards the body. Music with a
Latin, African and Caribbean influence inspired the cross-fertilization
of dance in clubs and ballrooms with dances such as the rumba, tango,
samba and cha cha cha. The Harlem Renaissance brought the rage of
African-American dance such as the lindy-hop and jitterbug into the
mainstream. From the energetic partner dances of the 30's & 40's, dance
became more individualistic with such rock and roll dances as the twist
of the 50's and free-style dance of the 60's. Out of the disco dancing of
the 70's and street-based dances of the 80's (breakdancing, punk, new wave),
emerged a social dance of the 90's.
Dance of the 90's has undergone another artistic revolution through the
medium of music videos. Michael Jackson was a pioneer in the use of
dance in music videos with his Thriller album spawning a new wave of
dance in the media. The prime choreographers for the stage in the 90's
such as Mark Morris, Bill T. Jones, and Pina Bausch to name a few have
incorporated multi-media onto the stage once again reflecting the power
of dance as a vehicle for expressing individual creativity and the
zeitgeist - the spirit of the times.
Below are listed some of the training I have received in dance studies
and how to get more information about their cirriculum.
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Centre Stage School of Dance - Roswell, Georgia
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Hillari still continues her dance training, adding hip-hop to
her extensive dancing repetoire, being taught by the
award-winning instructors at Centre Stage School of Dance in
Marietta, Georgia. Centre Stage, having taught over 1200
students since 1983, trains dancers of all ages in intense
classes and programs. For more information about Centre
Stage and what they are doing for Hillari, contact them
"snail mail" at:
Centre Stage School of Dance
2520 Shallowford Road
Marietta, Georgia 30066
You may also reach them voice at 770-928-4900.
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Ballet Memphis - Memphis, Tennessee
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Hillari began taking Ballet at Ballet Memphis at the turn of the new century,
and loves the focused and strict group of students at her training level.
Being the leading source of Ballet instruction in the Mid-South area, Ballet
Memphis has supporters from groups and organizations such as Federal Express,
AutoZone and American Airlines. They are also a proud part of the Tennessee
Arts Commission and the Greater Memphis Arts Council. You can contact them
"snail mail" at:
Ballet Memphis
7950 Trinity Road
Cordova, Tennessee
You may also reach them voice at 901-737-7322 or visit them at
www.balletmemphis.org.
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Dance Dyanmix - Barlett, Tennessee
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Hillari began group and solo instruction and choreography at Dance Dynamix during
the turn of the new millenium, and adapted well to their progressive and fast-paced
style of dance, based on her studies with Peggy Holden Armstrong of Peggy Holden
Armstrong Studios. The faster and more complex style of dance has helped Hillari
grow in many ways. For more information about Dance Dynamix and what they are doing
for Hillari, contact them "snail mail" at:
Dance Dynamix Studios
8059 Stage Hills Blvd.
Bartlett, Tennessee
You may also reach them voice at 901-371-2255.
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Peggy Holden Armstrong School of Dance - Memphis, Tennessee
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Hillari has been a student of and working with Peggy Holden Armstrong from 1992 to 1999, at
the Raleigh Studio of Peggy Holden Armstrong Dance Studios in Memphis, Tennessee
(one of four different locations in the Memphis area). Under "Miss Peggy", as all
her students and children affectionately call her, Hillari has been trained in
several areas of dance, inluding Character and Production Tap, Jazz Tap, Aerobic Dance,
and Ballet. She has not only competed in large production numbers at the national
level, but in a solo capacity since 1995, when she turned 5. Since that time,
Hillari has performed or competed on stage over one hundred times, at
times in front of hundreds of people. For more information about Peggy
Armstrong, what she has done for Hillari and what she can do for you, contact
her "snail mail" at:
Peggy Holden Armstrong Dance Studios
2850 Austn Peay Highway
Memphis, Tennessee
You may also reach her voice at 901-388-1156.
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Latest Experience Content Currently Being Gathered
Regency Talent Regional Competition, Cook Convention Center,
Memphis, Tennessee (2/20/99)
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Character Ballet Dance Solo (Ages 7-8) 1st Place -
"Reflections" (Pop Version)
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Character Tap Dance Solo (Ages 7-8) 2nd Place -
"Put A Lid on It" by the Squirrel Nut Zippers
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Large Character Dance Group 1st Place -
" " by the Squirrel Nut Zippers
Peggy Holden Armstrong Winter Recital, Shrine's Temple,
Memphis, Tennessee (12/98)
Shining Stars Talent Competition, Singleton Community Center,
Bartlett, Tennessee (1998)
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Character Tap Dance Solo (Ages 7-8) 3rd Alternate Place -
"Put A Lid on It" by the Squirrel Nut Zippers
Regency Talent National Competition,
Branson, Missouri (07/01-04/98)
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Aerobic Dance Solo (Ages 6-7) 1st Place -
"Land of 1000 Dances"
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Character Tap Dance Solo (Ages 6-7) 2nd Place -
"Put A Lid on It" by the Squirrel Nut Zippers
Peggy Holden Armstrong Summer Recital, Shrine's Temple,
Memphis, Tennessee (5/98)
Shining Stars Talent Competition, Singleton Community Center,
Bartlett, Tennessee (1998)
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Character Tap Dance Solo (Ages 6-7) 1st Place -
"Put A Lid on It" by the Squirrel Nut Zippers
Regency Talent Regional Competition, Cook Convention Center,
Memphis, Tennessee (12/13/97)
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Character Jazz Dance Solo (Ages 6-7) 2nd Place -
"Land of 1000 Dances"
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Character Tap Dance Solo (Ages 6-7) 3rd Place -
"Ice Cream Man" by Van Halen
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Large Production Dance Group 1st Place -
"Sing-Sing-Sing"
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Large Character Dance Group 1st Place -
"The Ole Ball Game"
Peggy Holden Armstrong Winter Recital, Shrine's Temple,
Memphis, Tennessee (12/97)
Shining Stars Talent Competition, Singleton Community Center,
Bartlett, Tennessee (1997)
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Character Jazz Dance Solo (Ages 6-7) 1st Alternate Place -
"Rockin' at Midnight" Tap Dance by The Honeydrippers
Our Lady of Sorrows Annual Octoberfest, Our Lady of Sorrows Catholic Church,
Memphis, Tennessee (10/97)
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Production Tap Dance Solo "Rockin' at Midnight"
by The Honeydrippers
Tipton County Fair, Tipton County Park,
Covington, Tennessee (09/01/97)
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Overall (Ages 5-7) 1st Place -
"Rockin' at Midnight" Tap Dance by The Honeydrippers
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Large Production Dance Group (3rd Place) -
"Sing-Sing-Sing"
Peggy Holden Armstrong Summer Recital, Shrine's Temple,
Memphis, Tennessee (05/97)
Peggy Holden Armstrong Winter Recital, Shrine's Temple,
Memphis, Tennessee (12/96)
Regency Talent Regional Competition, Adams Mark Hotel,
Memphis, Tennessee (12/08/96)
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Production Tap Solo (Ages 6-7) 2nd Place -
"Rockin' at Midnight" by The Honeydrippers
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Large Character Dance Group (1st Place) -
"Grease"
Our Lady of Sorrows Annual Octoberfest, Our Lady of Sorrows Catholic Church,
Memphis, Tennessee (10/96)
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Production Tap Dance Solo "Rockin' at Midnight"
by The Honeydrippers
Peggy Holden Armstrong Summer Recital, Shrine's Temple,
Memphis, Tennessee (05/96)
Peggy Holden Armstrong Winter Recital, Shrine's Temple,
Memphis, Tennessee (12/95)
Regency Talent Regional Competition, Cook Convention Center,
Memphis, Tennessee (12/10/95)
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Large Character Dance Group 1st Place Overall -
"Island" Dance
Peggy Holden Armstrong Summer Recital, Shrine's Temple,
Memphis, Tennessee (05/95)
Peggy Holden Armstrong Winter Recital, Shrine's Temple,
Memphis, Tennessee (12/94)
Peggy Holden Armstrong Summer Recital, Shrine's Temple,
Memphis, Tennessee (05/94)
Peggy Holden Armstrong Winter Recital, Shrine's Temple,
Memphis, Tennessee (12/93)
Peggy Holden Armstrong Summer Recital, Shrine's Temple,
Memphis, Tennessee (05/93)
Peggy Holden Armstrong Winter Recital, Shrine's Temple,
Memphis, Tennessee (12/92)
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What is a dance section without pictures? Below are the links
to both on-site and off-site images of Hillari B. Fowlkes
pertaining to competitive dance. We are currently working on MPEG versions
of some dances, so look for the them soon.
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Works Cited and Related Links
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Listed below are some popular dance sites and where to find
more information about this incredible art. Each link will open up in a new browser
window.
Works Cited in the Introduction:
Sony.
Sony Music Entertainment Inc. History of the Power of Dance.
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