Moore, K. (2004). A Commitment to Clubbing. Peace Review, 16(4), 459-465.
Karenza Moore is a research associate at Salford University. Her main focus is on clubbing culture and some work on gender and technology. This journal gives an overview of clubbing culture in the United Kingdom and America. It discusses the club atmosphere with reference to social dance and its sexuality, DJs and club music and drug consumption. It highlights the negative perception of club culture and its financial and physical toll as well as the recreational enjoyment of clubbing. This journal supplies useful description of social dance and the conflicting views of club culture that hinder the progression of its perception as an art form.
Dixon, B. (1990). Black Dance and Dancers and the White Public: A Prolegomenon to Problems of Definition. Black American Literature Forum, 24(1), 117-177.
Brenda Dixon is an associate professor in the dance department at Temple University and a critic for Dance Magazine. This journal discusses the conflict associated with American social dance because of its strong foundation in Black culture. It details consequence of exoticism and other issues faced when white dancers are exposed to the black genre of dance and compares it in the same manner to when a black person is seen performing a dance form dominated by whites. It also explains how this social association hinders black choreographers of dance theatre in their creations and acceptance in any genre. For journalists concerned with social dance, this article gives insight into racial reasons for its struggle to gain respect in America.
Risner, D. (2007). Rehearsing masculinity: Challenging the 'boy code' in dance education. Research in Dance Education, 8(2), 139-153.
Doug Risner, Ph.D., is Chair and an associate professor of dance in the Maggie Allesee Department of Dance at Wayne State University. His article discusses the social stigma placed on male dancers. It provides information on how the reputation that comes with being a male dancer can hinder men from being open to any genre of dance and how that relates to perceptions of success of different dance genres. It also discusses gender norms and dominant culture in relation to dance training and education and the difference in pleasure men receive from dancing. The concepts of this article spark interesting issues when juxtaposed with gender issues of social dance since it is a male dominated dance genre. This provides good background information for an angle on social dances struggle in relation to how each gender receives the concept of dance as a whole.
Newspaper or Magazine Articles
Ulrich, A. (2004). Who’s Dancing? Who’s Watching? Dance Magazine, 78(8). 27-27.
Featured in Dance Magazine, this article details the analysis of the Survey of Public Participation in the Arts taken by the National Endowment for the Arts. It draws conclusions from the survey’s findings to establish the differences between those who are watching dance and those who are doing the dancing. It also describes the demographic for the ballet audience, and differentiates how ballet is received compared to all other forms of dance as a whole. The article serves as a rare reference to statistical findings relating to the pursuit for the reason behind the separation between the dances people watch and the dances that they do.
Sherman, S. (2000, February). The History of Black Dance in America. New Crisis(1559-1603), 107, 60.
This periodical gives an overview of the history of black dance in America. It explains how today’s American social dance is rooted in plantation dances and the rhythm embraced by black slaves. It also discusses how the form was not readily accepted by whites or any upper class and therefore resonated with a lower class stigma. The point of physical difference hindering blacks from taking part in prestigious forms of dance such as ballet is also analyzed. For a journalist researching social dance, this article provides history on the long time struggle of black dance in relation to economic and racial status and how that has still carried on in how American social dance is perceived today due to its black influence.
Conover, K. (1997, April). Social Dancing Sweeps America. Christian Science Monitor, 98, 1.
The social dance this article refers to is ballroom and other sorts of partner dancing. It notes the open acceptance to social dances of this style and their increasing growth as a favorite American pastime. The article discusses ballroom’s appeal as a chance for competition, method for physical fitness and playful hobby to take up with family or friends. The differentiation between the American outlook on ballroom dance versus the more commonly practiced club social dances is important because it highlights the varied characteristics like competition, fitness and sharing of a social experience that can interest people in dance. It also raises the question of why these characteristics are not more easily related to club social dance as its sexual stigma is and points out the difference organized classes could make in legitimizing this genre as it has worked for other social dances.
Featured in Dance Magazine, this article details the analysis of the Survey of Public Participation in the Arts taken by the National Endowment for the Arts. It draws conclusions from the survey’s findings to establish the differences between those who are watching dance and those who are doing the dancing. It also describes the demographic for the ballet audience, and differentiates how ballet is received compared to all other forms of dance as a whole. The article serves as a rare reference to statistical findings relating to the pursuit for the reason behind the separation between the dances people watch and the dances that they do.
Sherman, S. (2000, February). The History of Black Dance in America. New Crisis(1559-1603), 107, 60.
This periodical gives an overview of the history of black dance in America. It explains how today’s American social dance is rooted in plantation dances and the rhythm embraced by black slaves. It also discusses how the form was not readily accepted by whites or any upper class and therefore resonated with a lower class stigma. The point of physical difference hindering blacks from taking part in prestigious forms of dance such as ballet is also analyzed. For a journalist researching social dance, this article provides history on the long time struggle of black dance in relation to economic and racial status and how that has still carried on in how American social dance is perceived today due to its black influence.
Conover, K. (1997, April). Social Dancing Sweeps America. Christian Science Monitor, 98, 1.
The social dance this article refers to is ballroom and other sorts of partner dancing. It notes the open acceptance to social dances of this style and their increasing growth as a favorite American pastime. The article discusses ballroom’s appeal as a chance for competition, method for physical fitness and playful hobby to take up with family or friends. The differentiation between the American outlook on ballroom dance versus the more commonly practiced club social dances is important because it highlights the varied characteristics like competition, fitness and sharing of a social experience that can interest people in dance. It also raises the question of why these characteristics are not more easily related to club social dance as its sexual stigma is and points out the difference organized classes could make in legitimizing this genre as it has worked for other social dances.
International Sites
Dance Tutors. (2007). African Dance. Retrieved Mar. 16, 2008, from http://www.dancetutors.co.uk/african-dance.html
This is a United Kingdom resource created by an organization called Dance Tutors. The mission of this organization is to serve as a reference point for people trying to find a genre of dance they might like to learn. This page highlights the practice of African dance including its technique, importance of emotion and body movements and its ritual and cultural value. It also discusses the common influence African dance has had on many dance forms and the genres status in the dance world today. This source is useful to inform a reporter of the originating style that inspired American social dance. Also, through its analysis a reporter could determine what aspects of African dance are clearly still prominent in American social dance today. This site also includes links to other various genres of dance with the same classifications of information for each.
Salsa and Merengue Society . (1999). Salsa: The Dance. Retrieved Mar. 16, 2008, from http://www.salsa-merengue.co.uk/revealit/dancesal.html
This is a reference page created by the Salsa and Merengue Society in efforts to inform on Latin music, dance and culture. This site provides information on salsa technique, relation to beat, history and its change in “flavor” as it has spread to other cultures. It also supplies the same technical and historical information for another prominent style of Latin dance, Merengue. For a journalist interested in social dance, this site provides detailed description of a performance dance genre that has had much influence on a variety of culture’s social dance style and especially so on the American practice. It also offers a discussion of how dance grows with the change of music, links to learning Latin dance online and a glossary of dance terminology.
This is a United Kingdom resource created by an organization called Dance Tutors. The mission of this organization is to serve as a reference point for people trying to find a genre of dance they might like to learn. This page highlights the practice of African dance including its technique, importance of emotion and body movements and its ritual and cultural value. It also discusses the common influence African dance has had on many dance forms and the genres status in the dance world today. This source is useful to inform a reporter of the originating style that inspired American social dance. Also, through its analysis a reporter could determine what aspects of African dance are clearly still prominent in American social dance today. This site also includes links to other various genres of dance with the same classifications of information for each.
Salsa and Merengue Society . (1999). Salsa: The Dance. Retrieved Mar. 16, 2008, from http://www.salsa-merengue.co.uk/revealit/dancesal.html
This is a reference page created by the Salsa and Merengue Society in efforts to inform on Latin music, dance and culture. This site provides information on salsa technique, relation to beat, history and its change in “flavor” as it has spread to other cultures. It also supplies the same technical and historical information for another prominent style of Latin dance, Merengue. For a journalist interested in social dance, this site provides detailed description of a performance dance genre that has had much influence on a variety of culture’s social dance style and especially so on the American practice. It also offers a discussion of how dance grows with the change of music, links to learning Latin dance online and a glossary of dance terminology.
Specialized Print Reference Books
Butler, J. (1975). Encyclopedia of Social Dance. New York: Albert Butler Ballroom Dance Service.
Josephine Butler was a past president of the International Dance Council and former dance professor, historian and author. Although a little outdated, this encyclopedia has quality information on all aspects of social dance up until its publication. It had entries detailing technique, fads, European dance of the 18th and 19th century, court dances, party dances, elimination dances, square dances and more. For a journalist, this source provides important background knowledge on the detailed development, social role and technique of social dance. It would help to forming a theory of how social dance has reached its current position in American society.
Vaughen, D. (1977). The Encyclopedia of Dance and Ballet. London: Peerage Books
David Vaughen was a british dancer, administrator and writer. He studied at the American School of Ballet in New York. This reference too is a little outdated, but once again provides high quality and detailed information available until its publication. It provides articles concerning technique, performance, art and expression, Renaissance dance, and court dance associated with ballet. It also includes reference to other forms of performance dance including modern, jazz and tap. This source serves as a thorough reference on the technique, history and development of ballet and performance dance. Its analysis would be beneficial for use in comparison of the development of the prestigious form of ballet and performance dance to that of social dance.
Josephine Butler was a past president of the International Dance Council and former dance professor, historian and author. Although a little outdated, this encyclopedia has quality information on all aspects of social dance up until its publication. It had entries detailing technique, fads, European dance of the 18th and 19th century, court dances, party dances, elimination dances, square dances and more. For a journalist, this source provides important background knowledge on the detailed development, social role and technique of social dance. It would help to forming a theory of how social dance has reached its current position in American society.
Vaughen, D. (1977). The Encyclopedia of Dance and Ballet. London: Peerage Books
David Vaughen was a british dancer, administrator and writer. He studied at the American School of Ballet in New York. This reference too is a little outdated, but once again provides high quality and detailed information available until its publication. It provides articles concerning technique, performance, art and expression, Renaissance dance, and court dance associated with ballet. It also includes reference to other forms of performance dance including modern, jazz and tap. This source serves as a thorough reference on the technique, history and development of ballet and performance dance. Its analysis would be beneficial for use in comparison of the development of the prestigious form of ballet and performance dance to that of social dance.
Specialized Online Reference Sites
Intute: Arts and Humanities. (2008). Music and Performing Arts. Retrieved March 9, 2008 from http://www.intute.ac.uk/artsandhumanities/cgi-bin/browse.pl?id=artifact140
This online reference site provides over 400 links to dance related sources. It initially divides its sources into categories relating to dance history, companies, education, choreography, organizations, sexuality, genre, theory and additional reference. It also allows for a researcher to limit their search to find certain kinds of sources referencing dance and to search for specific topics not mentioned in the above categories in a specific search bar for dance. The site would aid any reporter researching dance or any subtopic relating to it by allowing them to search from a site that is already limited to their topic of interest and has a wide variety of different kinds of sources relating to dance.
Cohen, S. (2008). International Encyclopedia of Dance. Retrieved March 9, 2008, from http://www.oxford-dance.com/?authstatuscode=202
Selma Cohen holds a Ph.D. from the University of Chicago. She was also the former editor of Dance Perspectives magazine and studied dance with the likes of Martha Graham and Jose Limón. This encyclopedia covers all aspects of dance. It included almost 2,000 entries that have a relation to theatrical dance, ritual dance, dance-drama, folk dance, traditional dance, ethnic dance, or social dance. With references from scholars from over 50 different countries, it also provides a broad cultural and national overview of dance forms. This is a valuable resource to anyone researching dance because it provides so much analysis in each entry and is very easy to search.
This online reference site provides over 400 links to dance related sources. It initially divides its sources into categories relating to dance history, companies, education, choreography, organizations, sexuality, genre, theory and additional reference. It also allows for a researcher to limit their search to find certain kinds of sources referencing dance and to search for specific topics not mentioned in the above categories in a specific search bar for dance. The site would aid any reporter researching dance or any subtopic relating to it by allowing them to search from a site that is already limited to their topic of interest and has a wide variety of different kinds of sources relating to dance.
Cohen, S. (2008). International Encyclopedia of Dance. Retrieved March 9, 2008, from http://www.oxford-dance.com/?authstatuscode=202
Selma Cohen holds a Ph.D. from the University of Chicago. She was also the former editor of Dance Perspectives magazine and studied dance with the likes of Martha Graham and Jose Limón. This encyclopedia covers all aspects of dance. It included almost 2,000 entries that have a relation to theatrical dance, ritual dance, dance-drama, folk dance, traditional dance, ethnic dance, or social dance. With references from scholars from over 50 different countries, it also provides a broad cultural and national overview of dance forms. This is a valuable resource to anyone researching dance because it provides so much analysis in each entry and is very easy to search.
Recent Books
Wright, J. P. (2003). Social Dance: Steps to success (Rev. ed.). Illinois: Human Kinetics.
The author, Judy Patterson Wright, PhD, is an accomplished dancer who has been a professor of social dance since 1971. Dr. Wright's dance experience includes a wide variety of styles: ballroom, social dance, tap dance, jazz, modern dance, ballet, folk dance, square dance, country western dance, line dance, and aerobic dancercise. This book provides information on the technical qualities of moving like a dancer and the aspects incorporated into dance from the music accompanying it. Following chapters also highlight more classic forms of social dances and the attitude associated with each such as the fun in the Polka, romance in the Rumba and flirtation in the Cha-ha. The source could be used to contribute to the analysis of the progression of social dance and the sexual attitude of it as well as the influence classic social dance had on performance dance and modern social dance.
Lihs, H. (2002). Appreciating Dance: A guide to the World’s Liveliest Art. New Jersey: Princeton Book Company.
Harriet Lihs is an associate professor of dance at Lamar University. She is a former professional dancer who performed with the Radio City Balled and Brooklyn Ballet. This book informs of the origin of dance itself and different genres including social, modern and ballet. It also provides specifics on American based styles like tap, jazz, musical and film dance as well as some discussion of careers in dance and dance issues during the early 21st century. This would be valuable for historical reference to the formation of the current social dance style and in describing the foundation of current dance issues.
Mulac, C. M. (2007). Social Dancing in America: A History and Reference. Social Dancing in America: A History and Reference, 132(4),.
Carolyn Mulac is an employee of the Chicago Public Library as a specialist on dance literature. This reference illustrates the progression of social dance throughout the 20th century and the role it has played in America with recreational, religious and socioeconomic effects. It includes an examination of the bias performance dance styles, such as ballet, receive not only in society but in research. This source supplies a time-lined progression of dance and highlights social dance’s unique importance accomplished in contrast to artistic value. It also displays contemporary and period photographs.
The author, Judy Patterson Wright, PhD, is an accomplished dancer who has been a professor of social dance since 1971. Dr. Wright's dance experience includes a wide variety of styles: ballroom, social dance, tap dance, jazz, modern dance, ballet, folk dance, square dance, country western dance, line dance, and aerobic dancercise. This book provides information on the technical qualities of moving like a dancer and the aspects incorporated into dance from the music accompanying it. Following chapters also highlight more classic forms of social dances and the attitude associated with each such as the fun in the Polka, romance in the Rumba and flirtation in the Cha-ha. The source could be used to contribute to the analysis of the progression of social dance and the sexual attitude of it as well as the influence classic social dance had on performance dance and modern social dance.
Lihs, H. (2002). Appreciating Dance: A guide to the World’s Liveliest Art. New Jersey: Princeton Book Company.
Harriet Lihs is an associate professor of dance at Lamar University. She is a former professional dancer who performed with the Radio City Balled and Brooklyn Ballet. This book informs of the origin of dance itself and different genres including social, modern and ballet. It also provides specifics on American based styles like tap, jazz, musical and film dance as well as some discussion of careers in dance and dance issues during the early 21st century. This would be valuable for historical reference to the formation of the current social dance style and in describing the foundation of current dance issues.
Mulac, C. M. (2007). Social Dancing in America: A History and Reference. Social Dancing in America: A History and Reference, 132(4),.
Carolyn Mulac is an employee of the Chicago Public Library as a specialist on dance literature. This reference illustrates the progression of social dance throughout the 20th century and the role it has played in America with recreational, religious and socioeconomic effects. It includes an examination of the bias performance dance styles, such as ballet, receive not only in society but in research. This source supplies a time-lined progression of dance and highlights social dance’s unique importance accomplished in contrast to artistic value. It also displays contemporary and period photographs.
Multimedia
kgbrooklyn. (2007). How to Dance 1 [video]. Retrieved March 2, 2008 from http://www.youtube.com/watch?v=ZEzVOgAZJ7U&feature=related
This video is a visual example of common social dance being broke down into technical steps and being taught as performance dance is. It is the first video in a series of 11 videos which are all linked to this site. The series not only teaches step-by-step social dance techniques but also explains the reasoning behind each with references to the sexual aspects of the movement and the interaction between partners. It also exemplifies the different approaches to dance in general from a female and male perspective.
Kerkoshj. (2007). Save the last dance [video]. Retrieved March 2, 2008 from
http://www.youtube.com/watch?v=Y9E87c1-aYA
This is a clip from film Save the Last Dance (2001). It is the climactic dance performance where the main character is trying out for a place at the prominent dance school, Julliard. The film showcases the experience of a white suburban girl once she is transferred to a predominantly black school and has to make her own way. The girl regains her former love of ballet while gaining new understandings of hip hop in her new urban environment. This clip showcases the outcome of a dance she choreographed that clearly demonstrates the blending of ballet with social hip hop styling. It resonates as a prime visual example of how the influence from each genre despite its varied level of respect can artistically mesh together with the other into an impressive expression of performance dance. This would be of interest to anyone researching the gap between social and performance dance.
Kinberg, J. (Director & Producer). (2002). Born to be Wild: the Leading Men of American Ballet Theatre [Motion picture]. New Jersey: Kultur Video.
This movie investigates male success in ballet at the prestigious American Ballet Theatre. It includes biographies of four of the theatres principle male dancers and tells of the different paths they took to reaching an interest and success in ballet. A number of their performances are included in the video as well. This video provides an important visual display of the technique in ballet, commonly considered the most prestigious form of performance dance. The source is also useful because it can be used as a reference when researching the aspect gender plays in success and practice of dance since ballet is a female-dominated form of dance like most are where social dance is considered a male-dominated dance form.
This video is a visual example of common social dance being broke down into technical steps and being taught as performance dance is. It is the first video in a series of 11 videos which are all linked to this site. The series not only teaches step-by-step social dance techniques but also explains the reasoning behind each with references to the sexual aspects of the movement and the interaction between partners. It also exemplifies the different approaches to dance in general from a female and male perspective.
Kerkoshj. (2007). Save the last dance [video]. Retrieved March 2, 2008 from
http://www.youtube.com/watch?v=Y9E87c1-aYA
This is a clip from film Save the Last Dance (2001). It is the climactic dance performance where the main character is trying out for a place at the prominent dance school, Julliard. The film showcases the experience of a white suburban girl once she is transferred to a predominantly black school and has to make her own way. The girl regains her former love of ballet while gaining new understandings of hip hop in her new urban environment. This clip showcases the outcome of a dance she choreographed that clearly demonstrates the blending of ballet with social hip hop styling. It resonates as a prime visual example of how the influence from each genre despite its varied level of respect can artistically mesh together with the other into an impressive expression of performance dance. This would be of interest to anyone researching the gap between social and performance dance.
Kinberg, J. (Director & Producer). (2002). Born to be Wild: the Leading Men of American Ballet Theatre [Motion picture]. New Jersey: Kultur Video.
This movie investigates male success in ballet at the prestigious American Ballet Theatre. It includes biographies of four of the theatres principle male dancers and tells of the different paths they took to reaching an interest and success in ballet. A number of their performances are included in the video as well. This video provides an important visual display of the technique in ballet, commonly considered the most prestigious form of performance dance. The source is also useful because it can be used as a reference when researching the aspect gender plays in success and practice of dance since ballet is a female-dominated form of dance like most are where social dance is considered a male-dominated dance form.
Blogs
Christian, R. (March 2, 2008) Dance and Social Revolution. Message posted to http://ballroom-dance-classes.blogspot.com
This blog post contains information on dance and its play in the social revolution of America. It discusses the influences and progression of social dance with socio-economic change and the emergence of technical dance styles being taught in a social atmosphere. The blog also provides a variety of links to related discussion of social, ballroom and Latin dancing with photography and video examples accompanying each post as well.
Fox, D. (October 31, 2005) TV Dance Shows Grow in Popularity. Message posted to http://greatdance.com/danceblog/archives/tv/000338.php
This post contains information on new popular dance shows and the possible reasons for their quickly growing popularity. It provides links to a list of dance shows including Dancing with the Stars, So you Think you can Dance and Strictly Come Dance, along with information on the dances performed on each show and each show’s ratings and reviews. This post is also part of a blog called Dancing into the future which has a variety of posts relating to how styles of dance might progress in the future. The blog also links you back to GreatDance.com which is a gateway site that allows you to search through over 200 dance-related blogs and many articles, journals and essays concerning dance in its archives. Overall it provides information on the role dance will play in the future and links to more related sources.
This blog post contains information on dance and its play in the social revolution of America. It discusses the influences and progression of social dance with socio-economic change and the emergence of technical dance styles being taught in a social atmosphere. The blog also provides a variety of links to related discussion of social, ballroom and Latin dancing with photography and video examples accompanying each post as well.
Fox, D. (October 31, 2005) TV Dance Shows Grow in Popularity. Message posted to http://greatdance.com/danceblog/archives/tv/000338.php
This post contains information on new popular dance shows and the possible reasons for their quickly growing popularity. It provides links to a list of dance shows including Dancing with the Stars, So you Think you can Dance and Strictly Come Dance, along with information on the dances performed on each show and each show’s ratings and reviews. This post is also part of a blog called Dancing into the future which has a variety of posts relating to how styles of dance might progress in the future. The blog also links you back to GreatDance.com which is a gateway site that allows you to search through over 200 dance-related blogs and many articles, journals and essays concerning dance in its archives. Overall it provides information on the role dance will play in the future and links to more related sources.
Statistics
(2007). National Statistics Company List [Data file]. Available from Dance USA’s website, http://www.danceusa.org/facts_figures/national.htm
This website provides a spreadsheet and statistical facts collected by the Dance USA organization. The spreadsheet supplies a list of dance companies around the nation, the genre the company specializes in and the company’s income and contact information. This data could be used to compare the prevalence of technical to modern or more social dance companies and their financing in order to highlight the support of each as an art form.
National Endowment for the Arts. (2002). [Displays multiple tables and written analysis of the results to the survey, who is participating in performing arts, performing or creating arts and watching and listening to performing arts]. Survey of Public Participation in the Arts. Retrieved from http://www.nea.gov/research/notes/81.pdf
This website provides four tables documenting the results of the survey and written analysis of each. There is a table displaying each of the following: U.S. Adults Participating in the Arts at Least Once in Past 12 Months: 1982, 1992, 2002, U.S. Adults Who Watched or Listened to Performing Arts on TV, Radio, Recordings or the Internet in the Past 12 Months: 1982, 1992, 2002, U.S. Adults Performing or Creating Art at Least Once in Past 12 Months: 1982, 1992, 2002 and Percent of U.S. Adults Participating in the Arts at Least Once in the 12 Months Ending August 2002. There is a specific section surveyed for dance in each table which gives perspective to how many people participate, perform, create and watch dance (either dance in general or in specific genres of dance). It also tables what gateways people use to view dance. This could be used to further analyze the bias performing arts receives when being recognized through research, the progression of the presence of different genres of dance in America and how and why certain genres are more recognized than others.
This website provides a spreadsheet and statistical facts collected by the Dance USA organization. The spreadsheet supplies a list of dance companies around the nation, the genre the company specializes in and the company’s income and contact information. This data could be used to compare the prevalence of technical to modern or more social dance companies and their financing in order to highlight the support of each as an art form.
National Endowment for the Arts. (2002). [Displays multiple tables and written analysis of the results to the survey, who is participating in performing arts, performing or creating arts and watching and listening to performing arts]. Survey of Public Participation in the Arts. Retrieved from http://www.nea.gov/research/notes/81.pdf
This website provides four tables documenting the results of the survey and written analysis of each. There is a table displaying each of the following: U.S. Adults Participating in the Arts at Least Once in Past 12 Months: 1982, 1992, 2002, U.S. Adults Who Watched or Listened to Performing Arts on TV, Radio, Recordings or the Internet in the Past 12 Months: 1982, 1992, 2002, U.S. Adults Performing or Creating Art at Least Once in Past 12 Months: 1982, 1992, 2002 and Percent of U.S. Adults Participating in the Arts at Least Once in the 12 Months Ending August 2002. There is a specific section surveyed for dance in each table which gives perspective to how many people participate, perform, create and watch dance (either dance in general or in specific genres of dance). It also tables what gateways people use to view dance. This could be used to further analyze the bias performing arts receives when being recognized through research, the progression of the presence of different genres of dance in America and how and why certain genres are more recognized than others.
Government Documents
National Endowment for the Arts. (2006). NEARTS: A Moving Partnership (Vol.1). Washington DC: Retrieved March 17, 2008, National Endowment for the Arts: http://www.nea.gov/about/Nearts/10-2006vol1/NEAARTS10.pdf
This document compiles the accomplishments the National Endowment of the Arts has achieved in dance before its 40th anniversary. It highlights the overall progression of the legitimacy of dance through education, financing, and important performance avenues. Also discussed is how slow moving the endeavor to legitimize dance as an art form was despite its financial backing. This source expresses the difficulty in legitimizing dance in general as an art form and can be used to compare the struggles many genres of performance dance have faced to those that current social dance are enduring now.
Aldrich, E. (1998). Western Social Dance: An Overview of the Collection. Washington, DC: Retrieved February 11, 2008, via GPO Access, Library of Congress: http://memory.loc.gov/ammem/dihtml/diessay0.html
This is a link to a collection of documents compiled by the Library of Congress. The documents are organized in time-lined manuals ranging from the time of the late Middle Ages to the end of the 19th century. Each manual gives a detailed analysis of the social dance of that time period and its role in society. Most manuals discuss a much different atmosphere in which social dance was practiced almost as a performance and had a more technical base than current social dance. A manual of referencing literature through out that range of time that contained anti-dance emotions is also included. This is a great source for historical reference that could be used to illustrate how the practice, role, and views of social dance have greatly changed in society.
This document compiles the accomplishments the National Endowment of the Arts has achieved in dance before its 40th anniversary. It highlights the overall progression of the legitimacy of dance through education, financing, and important performance avenues. Also discussed is how slow moving the endeavor to legitimize dance as an art form was despite its financial backing. This source expresses the difficulty in legitimizing dance in general as an art form and can be used to compare the struggles many genres of performance dance have faced to those that current social dance are enduring now.
Aldrich, E. (1998). Western Social Dance: An Overview of the Collection. Washington, DC: Retrieved February 11, 2008, via GPO Access, Library of Congress: http://memory.loc.gov/ammem/dihtml/diessay0.html
This is a link to a collection of documents compiled by the Library of Congress. The documents are organized in time-lined manuals ranging from the time of the late Middle Ages to the end of the 19th century. Each manual gives a detailed analysis of the social dance of that time period and its role in society. Most manuals discuss a much different atmosphere in which social dance was practiced almost as a performance and had a more technical base than current social dance. A manual of referencing literature through out that range of time that contained anti-dance emotions is also included. This is a great source for historical reference that could be used to illustrate how the practice, role, and views of social dance have greatly changed in society.
Goverment Agencies
California Arts Coucil. (n.d.). California Arts Coucil. Retrieved March 9, 2008, from http://www.cac.ca.gov/
This is the official site of the California Arts Council. The agency's mission is to advance California through the enrichment of the arts and creativity. This site provides a detailed grant list including all of their donations to dance related causes and links to dance organizations they are affiliated with. California has been a base for progression in social dance as a respected practice and art. From this source a reporter can analyze the kinds of genres the state is supporting through the government and use it for comparison to the genres California supports culturally or to the genres other states with a lesser growth of social dance support.
National Endowment for the Arts. (n.d.). National Endowment for the Arts. Retrieved February 11, 2008, from http://www.nea.gov/
This is the official site of the National Endowment for the Arts. It is a government agency that sponsors projects furthering a variety of art forms in America. It provides a list of grants it has supplied for projects supporting the growth and presence of dance in America. Many are to a variety of dance companies to tour the nation as well as some dance education initiatives. This would be a source a reporter could evaluate to gain perspective on the genres of dance the government has merited to highlight in American culture. It also provides a large list of links to various dance studios, companies, schools and other organizations across the nation that could aid a reporter's research.
This is the official site of the California Arts Council. The agency's mission is to advance California through the enrichment of the arts and creativity. This site provides a detailed grant list including all of their donations to dance related causes and links to dance organizations they are affiliated with. California has been a base for progression in social dance as a respected practice and art. From this source a reporter can analyze the kinds of genres the state is supporting through the government and use it for comparison to the genres California supports culturally or to the genres other states with a lesser growth of social dance support.
National Endowment for the Arts. (n.d.). National Endowment for the Arts. Retrieved February 11, 2008, from http://www.nea.gov/
This is the official site of the National Endowment for the Arts. It is a government agency that sponsors projects furthering a variety of art forms in America. It provides a list of grants it has supplied for projects supporting the growth and presence of dance in America. Many are to a variety of dance companies to tour the nation as well as some dance education initiatives. This would be a source a reporter could evaluate to gain perspective on the genres of dance the government has merited to highlight in American culture. It also provides a large list of links to various dance studios, companies, schools and other organizations across the nation that could aid a reporter's research.
For-profit Businesses
Social Dance Studio (1999). Retrieved March 7,2008 from the Social Dance Studio website http://socialdancestudio.com/index.php
This is a professional dance studio that focuses on “the kind of dance you do at parties, nightclubs and weddings” as its site says. Based in Minneapolis, they offer classes for a variety of social dance forms including hip-hop, salsa and ballroom varieties. This business serves as a source that highlights the celebratory and recreational aspects of social dance that are generally accepted in America, demonstrates the organization of social dance movements in to a technical setting and could be used for comparative purposes against other performance studios.
Les Deux Nightclub (2006). Retrieved March 7, 2008 from the Dolce Group website http://www.dolcegroup.com/
Les Deux is noted as one of the most popular nightclubs in Los Angeles. It is a high-class restaurant, bar and dance atmosphere all rolled into one that is known for attracting celebrities as well as the Los Angeles elite. It is a prime spot to observe social dance in its natural form being practiced by people who feel the need to perform as they always have the spotlight on them. This site details the nightclubs amenities and press and also shows photos of people enjoying the club. For a journalist reporting on dance, this establishment could be used as a reference to an ideal atmosphere for social dance, and source of links to other news on dance and to photgraphed examples.
This is a professional dance studio that focuses on “the kind of dance you do at parties, nightclubs and weddings” as its site says. Based in Minneapolis, they offer classes for a variety of social dance forms including hip-hop, salsa and ballroom varieties. This business serves as a source that highlights the celebratory and recreational aspects of social dance that are generally accepted in America, demonstrates the organization of social dance movements in to a technical setting and could be used for comparative purposes against other performance studios.
Les Deux Nightclub (2006). Retrieved March 7, 2008 from the Dolce Group website http://www.dolcegroup.com/
Les Deux is noted as one of the most popular nightclubs in Los Angeles. It is a high-class restaurant, bar and dance atmosphere all rolled into one that is known for attracting celebrities as well as the Los Angeles elite. It is a prime spot to observe social dance in its natural form being practiced by people who feel the need to perform as they always have the spotlight on them. This site details the nightclubs amenities and press and also shows photos of people enjoying the club. For a journalist reporting on dance, this establishment could be used as a reference to an ideal atmosphere for social dance, and source of links to other news on dance and to photgraphed examples.
Non-profit Associations
American Dance Guild. (n.d.) American Dance Guild. Retrieved January 20,2008, from http://americandanceguild.org/home/
This is the official site for the American Dance Guild. After going through a free membership sign up, the site offers many valuable resources with information about the history of dance in America and ways to get in touch with others who are knowledgeable about the history of dance. You can find prospective people for interviews or seek out specific information from people educated about dance in American culture by participation in or porting your own blog. The site also has a whole database with information about the history of dance put together by the members of the American Dance Guild and lists suggestions of additional journals and books to research about dance in America.
The Hip-Hop Dance Conservatory. (n.d.) The Hip-Hop Dance Conservatory. Retrieved January 21, 2008, from http://www.hdcny.com/index.html
This is the official site for The Hip-Hop Dance Conservatory. The mission of this non-profit association is to further legitimize hip-hop as an art form through the education of dance students. It was established by Safi Thomas who is accomplished in both performing and dance academics. The site explains the reasoning behind HDC’s cause, and provides a historical and technical explanation of some classic social dance moves, videos of performances, and a notice of events furthering their cause. The conservatory serves as a great example of how some dance specialists are working to close the gap between social and performance dance through legitimizing it in the education system.
This is the official site for the American Dance Guild. After going through a free membership sign up, the site offers many valuable resources with information about the history of dance in America and ways to get in touch with others who are knowledgeable about the history of dance. You can find prospective people for interviews or seek out specific information from people educated about dance in American culture by participation in or porting your own blog. The site also has a whole database with information about the history of dance put together by the members of the American Dance Guild and lists suggestions of additional journals and books to research about dance in America.
The Hip-Hop Dance Conservatory. (n.d.) The Hip-Hop Dance Conservatory. Retrieved January 21, 2008, from http://www.hdcny.com/index.html
This is the official site for The Hip-Hop Dance Conservatory. The mission of this non-profit association is to further legitimize hip-hop as an art form through the education of dance students. It was established by Safi Thomas who is accomplished in both performing and dance academics. The site explains the reasoning behind HDC’s cause, and provides a historical and technical explanation of some classic social dance moves, videos of performances, and a notice of events furthering their cause. The conservatory serves as a great example of how some dance specialists are working to close the gap between social and performance dance through legitimizing it in the education system.
Experts
T. Gatling (personal communication, February 25, 2008)
This was a personal interview. Travis Gatling is an associate professor at the Ohio University School of Dance. He has a Master of Fine Arts in Dance degree from The Ohio State University and experience as a choreographer and performer with a variety of universities and dance companies. This interview provides an insightful outlook from the technical dance specialist on the subjects of commonly admired dance forms in America, the relationship between sexuality and social and performance dance, the establishment of artistic value in social dance and the underlying reasons for contrast between social and performance dance.
C. Szeto (personal communication, March 4, 2008)
This was a personal interview. Chihoe Szeto is a professional dancer, choreographer and instructor who specializes in the genres of hip hop, club dance, freestyle and salsa. He offers personal instruction of his specializing genres as well as go-go dance, night club dance, reggaeton, rave dance, wedding dance, cardio hip hop and stretching and flexibility classes at four studios located around California. This interview provides a look into the views of sexuality in dance and its relationship to the contrast between social and performance dance from a social dance specialist’s perspective. Szeto’s views highlight the artistry and skilled use of sexuality in social dance and how the workings of instructors like himself supply credibility to social dance as an art form.
A. Corvino (personal communication, March 4, 2008)
This was a personal interview. Andra Corvino has been a professor specializing in ballet at the Juilliard School since 1995. She has performed with the Metropolitan Opera Ballet Company, Maryland Ballet and many others across the U.S. and Canada. This interview provides an outlook on the presence of sexuality in performance dance and a comparison of performance to social dance from the point of the accomplished technical dance specialist. Corvino explains the importance of dance as an art form and how ballet and other technical dances have gained that respect. She also discusses the natural sexuality in dance no matter what genre.
T. Randall (personal communication, March 5, 2008)
Tresa Randall is an assistant professor at the Ohio University School of dance. She has experience as a performer with many companies and has also done much award-winning scholarly work on dance topics. She has published articles and book reviews in Dance Research Journal and regularly presents papers at national and international conferences to organizations such as the Society of Dance History Scholars, Congress on Research in Dance, and National Dance Education Organization. Randall is a valuable contact because of her developed skills in researching dance and her wide range of knowledge of dance in general and of other valuable sources of dance information. In this communication specifically she cites sources of dance information she has used and provides tips on finding information on different dance genres.
C. Green (personal communication, March 5, 2008)
Conrad Green is an award-winning television producer noted for his work on reality television shows. He has helped produce shows like Red Handed, Big Brother and Popstars, and he has worked with accomplished television networks like BBC and 19 TV. Green is currently working as the executive producer of ABC's Dancing with the Stars. In this communication he discusses his work on Dancing with the Stars and explains the showmanship aspect of performance which they highlight in the show to appeal to viewers. He also gives his views on the artistic value of the show and describes the elements of dance the producers utilize to create the hit show. This source would be useful for quotations about how to reach America's interest in dance from a business perspective.
This was a personal interview. Travis Gatling is an associate professor at the Ohio University School of Dance. He has a Master of Fine Arts in Dance degree from The Ohio State University and experience as a choreographer and performer with a variety of universities and dance companies. This interview provides an insightful outlook from the technical dance specialist on the subjects of commonly admired dance forms in America, the relationship between sexuality and social and performance dance, the establishment of artistic value in social dance and the underlying reasons for contrast between social and performance dance.
C. Szeto (personal communication, March 4, 2008)
This was a personal interview. Chihoe Szeto is a professional dancer, choreographer and instructor who specializes in the genres of hip hop, club dance, freestyle and salsa. He offers personal instruction of his specializing genres as well as go-go dance, night club dance, reggaeton, rave dance, wedding dance, cardio hip hop and stretching and flexibility classes at four studios located around California. This interview provides a look into the views of sexuality in dance and its relationship to the contrast between social and performance dance from a social dance specialist’s perspective. Szeto’s views highlight the artistry and skilled use of sexuality in social dance and how the workings of instructors like himself supply credibility to social dance as an art form.
A. Corvino (personal communication, March 4, 2008)
This was a personal interview. Andra Corvino has been a professor specializing in ballet at the Juilliard School since 1995. She has performed with the Metropolitan Opera Ballet Company, Maryland Ballet and many others across the U.S. and Canada. This interview provides an outlook on the presence of sexuality in performance dance and a comparison of performance to social dance from the point of the accomplished technical dance specialist. Corvino explains the importance of dance as an art form and how ballet and other technical dances have gained that respect. She also discusses the natural sexuality in dance no matter what genre.
T. Randall (personal communication, March 5, 2008)
Tresa Randall is an assistant professor at the Ohio University School of dance. She has experience as a performer with many companies and has also done much award-winning scholarly work on dance topics. She has published articles and book reviews in Dance Research Journal and regularly presents papers at national and international conferences to organizations such as the Society of Dance History Scholars, Congress on Research in Dance, and National Dance Education Organization. Randall is a valuable contact because of her developed skills in researching dance and her wide range of knowledge of dance in general and of other valuable sources of dance information. In this communication specifically she cites sources of dance information she has used and provides tips on finding information on different dance genres.
C. Green (personal communication, March 5, 2008)
Conrad Green is an award-winning television producer noted for his work on reality television shows. He has helped produce shows like Red Handed, Big Brother and Popstars, and he has worked with accomplished television networks like BBC and 19 TV. Green is currently working as the executive producer of ABC's Dancing with the Stars. In this communication he discusses his work on Dancing with the Stars and explains the showmanship aspect of performance which they highlight in the show to appeal to viewers. He also gives his views on the artistic value of the show and describes the elements of dance the producers utilize to create the hit show. This source would be useful for quotations about how to reach America's interest in dance from a business perspective.
Subscribe to:
Posts (Atom)
