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As my body begins to sway with the rhythm, I am immersed in the freedom that social dance offers. No boundaries constrain my movements; no rules dictate the expression unfolding through my dance. I choose to engage in this art form because it serves as a canvas for my self-expression, allowing me to communicate through the language of movement. However, social dance hasn't always been as casual and liberated.
If we were to journey back in time, we might find ourselves in France, gracefully waltzing during the Renaissance.
On the exotic island of Rarotonga in the Cook Islands, men would skillfully move their legs, and women would sway their hips in sync with the beat.
Traveling further to North Africa, specifically Morocco, we encounter a culture where women, shrouded in clothing that reveals only their eyes, engage in dances involving rifles, daggers, and swords, while strict separation between men and women is dictated by Islamic principles.
The kaleidoscope of social dance unfolds across different societies, each reflecting its unique culture and values.
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To understand this evolution, let's delve into the distinctive dance styles of Rarotonga, North Africa, and the historical periods from the Renaissance to the late 19th century.
The island of Rarotonga, nestled in the South Pacific, treats dance with profound significance, weaving it into the fabric of individual identity for both men and women.
Four main types of social dances grace the shores of this island, with the traditional Rarotongan dance involving highly trained teams comprising both men and women.
Unlike the freedom enjoyed in Rarotonga, Morocco's dance culture is bound by stringent laws that dictate the interaction between men and women. Quoting Jonas (1992), "Islam has insisted on a strict separation of men and women in many parts of the Muslim world."
Similarities emerge, however, in the existence of warrior dances in both cultures. Rarotonga boasts the Drum dance, a traditional form used for warrior training, while Moroccans emphasize athletic prowess, incorporating warlike props such as swords and rifles (Jonas, 1992).
Interestingly, men in Morocco often take the role of spectators, gathering in hotel nightclubs to enjoy the performances of women dancers, contrasting with Rarotonga where men actively participate by flapping their legs rhythmically.
Transcending continents and cultures, the West during the Renaissance showcased its own social dance tapestry. Dances such as branles and pavans, characterized by simplicity and requiring minimal practice, echoed the communal spirit found in Rarotonga.
However, stark differences arise in the clothing of these eras. Renaissance attire, bulky and restrictive, contrasts sharply with the more revealing clothing of Rarotonga and the covered garments of Moroccan women. The societal norms reflected in dance attire are as diverse as the dances themselves.
Renaissance choreographed dances, often requiring the guidance of a dance master, paralleled Rarotonga's team dances performed for audiences. Yet, the unbreakable rule of interdependent movement in couple dancing during the Renaissance diverges from the practices of Morocco and Rarotonga.
Footwork, a cornerstone of Renaissance dance, encompassed a rich vocabulary, including walking steps, cutting steps, sliding, stamping, leaping, jumping, and intricate tours en l'air—demonstrating the detailed and rigorous nature of Renaissance dance (Aldrich, 1998).
Reflecting on the pages of history, social dance metamorphoses through time, evolving with changes in style, attire, and occasions. The mid-century simplification of the waltz epitomizes this evolution, allowing individuals to dance freely without adhering to strict steps, symbolizing a shift towards self-expression.
Whether it's the Renaissance or present times, the makeup of our culture shapes our dance forms. Social dance, with its diverse faces, has embedded itself within the tapestry of societies worldwide, a dynamic art continually adapting to the changing currents of time.
Within the vibrant world of social dance, we find glimpses of rebellion against societal norms. In the Renaissance era, the waltz underwent simplification, breaking free from the shackles of intricate steps. Men and women found solace in dancing as equals, breaking away from the traditional norms dictating who leads and who follows. This shift mirrored the changing dynamics of society, where the rigid hierarchies of the past began to give way to more egalitarian ideals.
Fast forward to the late 19th century, and we witness the emergence of choreographed dances that could be performed with up to eight people. The concept of 'duets' evolved into more elaborate group performances, reflecting the communal nature of social dances. These group dances weren't just a spectacle; they were a celebration of unity, a testament to the collective joy found in synchronized movement.
The diversity of dances during this period, such as branles and pavans, mirrored the varied expressions of joy, love, and camaraderie. These dances, displayed in circles, lines, or columns, demonstrated a shared language that transcended individual differences. The clothing of the Renaissance era, characterized by bulky attire and restrictive accessories like corsets, dictated a distinct focus on footwork, showcasing an emphatic energy that resonated through the dance floors.
Unlike the Renaissance, the people of Rarotonga embraced a team dance culture. Teams, consisting of both men and women, would perform for audiences, extended families, communities, or paying tourists. The unity in Rarotonga's dance reflects a communal identity, where individuals contribute to a collective expression of culture.
Meanwhile, in Morocco, the dance scene took on a different flavor. Women, confined by strict Islamic principles, engaged in dances that showcased athletic prowess, often wielding warlike props such as swords and rifles. Men, in contrast to Rarotonga, assumed the role of spectators, gathering in hotel nightclubs to revel in the performances of women entertainers.
The Renaissance era left an indelible mark on social dance, particularly in its emphasis on intricate footwork. The extensive step vocabulary, designed for music in triple and duple meter, included walking steps, cutting steps, sliding and stamping of the feet, leaping and jumping, including tours en l'air, and hopping (Aldrich, 1998). This exhaustive approach to dance surpassed the policies of Moroccan dance and the people of the South Pacific, highlighting the rigorous nature of Renaissance dance.
The focus on footwork was not merely a stylistic choice; it was a reflection of the societal constraints of the time. Renaissance clothing, characterized by bulkiness and tight lacing for men and corsets for women, restricted head movements with the wearing of ruffs around the neck. Dance became a means to express oneself within these physical confines, turning the spotlight onto the intricate footwork that conveyed a dancer's skill and energy.
Contrastingly, the people of Rarotonga, unburdened by such restrictive clothing, could revel in the freedom of revealing skin, donning bikini-like tops with grass skirts. The dance culture of Rarotonga, with its emphasis on team dances, showcased a different facet of self-expression. Men and women, unrestricted by the societal norms of the Renaissance, could express themselves through coordinated movements that celebrated their cultural identity.
As we navigate through the annals of social dance history, a notable chapter unfolds during the mid-century—the waltz revolution. Simplifying the intricate steps of the waltz allowed it to transcend gender norms, enabling both men and women to partake in the dance without the need for extensive training. This shift in dance dynamics mirrored the broader societal changes occurring during this era.
The choreographed dances of the Renaissance, once requiring services from a dance master, gave way to a more accessible form of dance. The waltz became a dance for the people, breaking away from the elitist confines of exclusive dance classes. It symbolized a democratization of dance, where individuals could express themselves freely without the constraints of formal training.
This democratization of dance resonates with the spirit of Rarotonga's dance culture, where men and women, irrespective of training, could participate in the joyous act of dancing. The waltz, in its simplified form, became a symbol of liberation, reflecting the evolving values of a society that sought inclusivity in its cultural expressions.
In conclusion, the evolution of social dance unveils a rich tapestry of cultural expressions, each thread woven with the distinct hues of identity, rebellion, and unity. From the graceful waltzes of the Renaissance to the rhythmic beats of Rarotonga and the warlike dances of Morocco, social dance encapsulates the essence of self-expression throughout history.
As we continue to dance through the corridors of time, we contribute to this ever-changing narrative. Social dance, with its ability to adapt and transform, remains a dynamic art form that reflects the spirit of the societies in which it thrives. It is a testament to the enduring significance of movement as a language—one that speaks volumes about who we are and where we come from.
Social Dance as My Self-Expression. (2017, Feb 21). Retrieved from https://studymoose.com/social-dance-as-my-self-expression-essay
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