![]() ![]() Finally, I investigate the notion of ' the realness'- or artistic and cultural authenticity in b-boying. I introduce the term 'self-as-dancing-body' to discuss this unique manifestation of social identity that is constructed and performed through participation in a dance practice and community. Next, I draw from George Mead's theory of self-as-object and self-as-process, as well as Pierre Bourdieu 's notion of habitus, to argue that b-boying is not a dance form per se, but rather an expression of identity through dance practice. ![]() First, l present the structural and stylistic differences between b-boying as it is practised in Montreal, and breakdancing as it is represented in Hollywood movies and instruction manuals produced from 1982 to 1986. l follow the grounded theory approach as described by Kathy Charmaz, and draw from Suzanne Youngerman' s approach to dance analysis to develop a conceptual frame work that explores the choreological, sociological, and symbolic elements of these two dances. I employ a methodological approach known as grounded theory ethnography, and use qualitative interviews, participant observation, artifact collection, literature review, and movement notation inspired by Laban Movement Analysis and Alien Ness' 5 Elements of Battle Style to explore how dancers in Montreal, Quebec (Canada) feel their embodied dance experience of 'b-boying' differs from commercial representations of 'breakdancing' from the 1980s. Through its three main styles of popping, locking, and breaking, hip-hop dance has evolved into one of the most popular and influential styles of dance.This empirical study investigates 'b-boying', the original dance form of hip-hop culture, focusing specifically on how it differs from popular representations of 'breakdancing'. Hip-hop dance is a vibrant form of dance that combines a variety of freestyle movements to create a cultural piece of art. How many types of hip hop dance are there? In the first part, a series of movement phrases, or themeA, is stated and manipulated. The ABA form is derived from a musical form and has two sections, A and B, followed by an ending A section. The AB form is a simple choreographic form that consists of a beginning section, A, followed by a second section, known as B. How do you describe ABA choreographic form? Tools of the choreographer used for the creation of dances such as canon, motif, contrast, accumulation, repetition, reversal, retrograde, inversion, fragmentation, and embellishment. Dynamics Space Relationships Actions Body Parts Each part is like a jigsaw piece and which join to create an effective dance.Ĭhoreographic. What are the 5 basic principles of choreography?Īll choreography (regardless of genre) is based on the following five principles. B-boying (Breakdancing) Thought to be one of the very original styles of Hip Hop, B-boying is characterized by acrobatic Vigour Movements, upright movements, and footwork.What is the choreography forms of hip hop dance?ĩ of the Most Popular Hip Hop Dance Styles Phrase A and Phrase B are connected by a transition. Although A and B share a common feeling/mood, they contain elements that contrast in tone or quality. It consists of a beginning phrase/section, A, followed by a second phrase/section, known as B. NARRATIVE FORM The AB choreographic form is one of the simplest forms. What are the 5 choreographic elements of dance?įinally, a great way to remember the five elements is by thinking of the acronym BASTE: Body, Action, Space, Time and Energy. They’re a great way to give a class or a group of children ownership over their dance. Why are choreographic devices useful in dance?Ĭhoreographic devices are the tools we use to manipulate movement in order to enhance, exaggerate and embody actions. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |