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How to use History of Dance

By Gayle Kassing How to Use This Book Studying the history of dance from prehistory to the present can seem overwhelming. Vast numbers of people, dances and dance forms, dates, events, causes and effects, and historical periods can easily blur into an incomprehensible jumble of information that is difficult to connect to a specific period. To achieve a basic understanding of any history, you have to use tools to help you achieve the desired results. History of Dance offers various ways to dig up the past and a systematic method to guide your study of dancers, dance, and dance works chronologically by linking them to historical periods. In this part of the book we’ll look at how each chapter has been designed to help you learn the history of dance. Here are the features that will help you find your way through the book. Glance at the Past Each chapter begins with a snapshot of the historical scene, sketching in the major cultural, political, and economic events during the period covered. A look at the society and arts of the time completesthe picture. A time line identifies the major historical, societal, artistic, and technological events and gives you a visual sense of the entire period. Less attention is paid to history and society in part IV, the20th century, since it is assumed that readers have studied American history; instead those overviews function as triggers for memories of the events. Theinformation about 20th-century society includes fashion, trends, and arts movements. Gaining an essential understanding of history and society prepares youfor the primary focus of the chapter: dance. Dancers, Dance, and Dance Works Through the Centuries Each chapter centers on three topics: dancers, dance, and significant dance works and literature. These topics provide you with an initial exposure to the major elements in dance history and a starting point for further research. Dancers and Personalities This section presents the major dancers, choreographers, and personalities of the period. Each entry begins with a brief biography that includes the person’s early history, career accomplishments,significant works, and contributions to dance. Dance The second topic, dance, identifies and briefly describes the major dances of the period, including their purpose, forms, and supporting arts. In parts II and III, a section called Dance Designs categorizes the features of dance forms and dances. Underlying any dance design are the elements of space, time, and force or energy. These elementsare then incorporated into a dance structure that relates to the dance accompaniment, costuming, and performance space. Not all of the design elements relate to every dance or dance form.Although each dance is unique, those with similar design elements or structures can be grouped into categories, thereby providing a basis for comparison between categories and historical periods. The design elements include the types of movements or steps, the number of people, relationships or formations, dance structure and type, dance accompaniment, costumes and other accoutrements, and the performing space (which may include the time of day, if important). Dance design has changed through the ages; some elements have been supplanted in importance by others. Chapters 3 through 7 look at design in terms of individual, community, social,and professional performance. As dance became a performing and theatrical art, it separated from dance as an amusement or social pursuit found in the ballroom and other settings. Dance innovation in society; ballrooms; on the musical, theatrical, or concert stage; and in dance clubs has played an important and enduring role in cross-fertilizing new danceideas and movements. This continued exchange among dance forms in various settings and within the context of society, arts, and history enriches dance performance, whether a social pursuit or a performing art. In parts III and IV, the attention to design fades out and the exploration of significant works appears, as dance formsemerge. Like dance design, musical accompaniment is an important collaborating art that influences and is in turn influenced by dance. The types of music and the composers who  supported dance are interrelated with dance’s development as both a social and performing art. Also important are the street wear of the time and dancers’ costumes and other adornments. A summary of dance costuming,shoes, and other paraphernalia paints a picture of the dancer during a specific period. Costume design was a significant part of dance’s transition from social amusement to performing art. Performance spaces too have varied considerably throughout history; those spaces, along with the technological innovations that transformedthem, are important elements in the development of dance as a performance art. Significant Dance Works and Literature In this section, major choreographic works of the period are listed with the choreographer, date of initial performance, and in some cases, additional information. Important dance authors and scholars add another perspective about some historical periods, and provide avenues for further research. Four Continuing Questions At the end of each chapter, four questions prompt the reader to review and summarize important points. Developing a Deeper Perspective of Dance The main text of each chapter provides concise information about dancers, dance, and significant dance works of the historical period. A fundamental study could stop there, but more remains to be explored. A series of learning activities builds on this foundation and allows further delving into the history of dance. Your course of study may be a survey or an in-depth history of dance; how deep you dig into that history depends on your motivation, time, and the extensiveness of your course. Developing a Deeper Perspective of Dance consists of eight learning activities that provide more intensive study of the material presented in chapters 3 through 14. The activities include options and can be used in various ways. You and your teacher can select one, several, or all the activities as chapter assignments or as a basis for a more extended study that crosses one or more centuries or time periods. Some of the activities provide the basis for extended projects. A template for eachchapter can be found on pages xvii-xviii. A preview of the template, along with explanations of each activity, can be found on pages xii-xiii. In part II, Developing a Deeper Perspective concentrates on community dancers (e.g., a shaman or wedding or funeral party) or specific groups of people (e.g., peasants, clergy, or nobility). Parts III and IV focus on dancers, choreographers, and other personalities who emerged as prominent figures in the history of dance (from Louis XIV to dancers recognized for their technical prowess, such as Mikhail Baryshnikov, or for their choreographic ideas, such as Twyla Tharp).

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