Pavement, By Kyle Abraham

Tap dance is an uniquely American dance form. The percussive use of one’s feet combined with the use of rhythms and amplification of sound, has a complex history that involves the intercultural fusions of English, Irish and African musical and dance traditions. The evolution of tap dance in America is further complicated by issues of race, class and gender. Unlike ballet with its formal technique, tap dance emerged from people listening to and watching each other dance, in a variety of settings, where steps were shared, stolen and reinvented. Through its metamorphosis the dance form has progressed from local entertainment, to Vaudeville shows, to Broadway shows, to the Silver Screen and to Concert Halls across the world. The legacy of the art form is characterized by the rise, fall and reemergence of popularity. Savion Glover, a 21st century American dancer, is credited with bringing tap into a new era of popularity as he has wowed the masses with his unique style focusing on African American rhythms. Tap dance, uniquely American in that it is a true melting pot of dance forms, is a dance form rich in rhythms, sounds and amplifications and has transcended social and cultural barriers.

In terms of actions and dynamics for this piece, Bruce has used a few elegant balletic movements, such as arabesque and attitude, to show control and strength of what dominance

Cole explored all spatial level in his choreography. Knee slides and floorwork were common, and it was normal for dancers to spring from the deepest plie into high, suspended leaps. He also abhorred the smiling, happy face seen in most jazz and tap dance of the time. Instead, he preferred a cool, almost cold look in the eyes. He danced with a piercing gaze, much like a newly caged tiger, that could prod and intimidate an audience.

In this article, the speaker must be an expert in politics, ethnicity and the music industry. There is a linkage between the above fields hence the speaker must have had a superlative background on these issues. The audience targeted by this literature were seemingly music enthusiasts to be educated on understanding what Hip-Hop entails and hoped to achieve this as it was established. The subject was Hip-Hop as a music genre that was largely developed by African American men to express their plight on injustice and oppression. The principal issue was how Hip-Hop has been used as a form of resistance and need for deliverance of the African Americans.

In order to understand hip-hop dance, it is important to recognize hip-hop music and where it came from. Many scholars of rap music relate the founding of rap to African and African American oral and musical traditions, specifically African griots and storytellers. They link the rhythm of rap to the use of drums in Africa and to African American music in the United States, from slave songs and spirituals to jazz and R&B. Scholars have found very interesting connections between rap music and Black nationalist traditions (traditions historically practiced by black people that serve as part of their racial identity). Rap is similar to the “call and response of the black church, the joy and pain of the blues, the jive talk and slang of the hipsters and jazz musicians, the boasting of street talk, the sidesplitting humor of comedians, and the articulateness of black activists.” All of these African American oral traditions, including rap, can be traced back to West African oral traditions. In traditional African societies, the spoken word and oral culture included poetry, storytelling, and speaking to drumbeats. The links between rap music and African American oral and musical traditions demonstrate that hip-hop music represents more than just sound. It represents history. This aspect of it, in my opinion, makes this type of music very unique and makes it carry more value.

Another style is Black dances, specifically, twerking. “Twerking” did not originate from Miley Cyrus. As said by Debbie Allen; “Well twerking is nothing but African isolations. It’s an African dance. It’s been given a new name. They’ve been twerking for 500 centuries”.

Alvin Ailey’s movement style has been shaped and moulded constantly as he moved through his life. Whether it was personal experiences or key dancers he worked with, each individual story is told through his works and tells the story of Ailey’s life.

The beat in this section builds up as more percussion is added. Similarly, dancers gradually feed on to the stage as the levels of percussion increase. The dancers walk, isolating their hips down stage Right then break off into trios as they rise and fall with the syncopating drum. E.g. with steps, turns, leg lifts and back bends.

Hip-Hop is a complex cultural movement formed during the early 1970s by African Americans in the slums of South Bronx, New York (Dyson 6), it propagated outside of the African American community in late 1980s, and by the opening of the 21th century it became the most spread culture in the world. Hip-Hop consists of four elements: Deejay, Break-Dancing, Rapping, and Graffiti. (Kenon 112)

Kyle Abraham’s “Absent Matter” is the newest dance performed by the Abraham In. Motion company and the Joyce Theater located on 175 8th Avenue in New York, NY was debuted on November 10, 2015. This is another racially driven performance by Pittsburgh born Kyle Abraham dancer and choreographer (Kourlas). The dance is broken down into three separate sections including “The Quiet Dance”, “Absent Matter”, and “The Getting”. All three sections are performed with a sense of spontaneity and sincerity which is inspired from both Jazz and Hip-hop music and dances (Kourlas). It is believed this most recent production is inspired by the police brutality around the United States, and the Black Lives Matter movement.

We can surmise, then, that Obama’s image is directly related to the notion of the “post-racial” through his failure to explicitly discuss racism, which in turn, affects how notions of race and raciality are conceived and discussed in the American socio-political landscape as a whole; in contrast, hip hop is in a position to deal more explicitly with race and racism. As Jeffries argues, “Poverty, disorder, and ghetto culture are central to analyses of hip-hop meaning, thanks to the symbolic importance of the ghetto as an element of hip-hop authenticity and the historical importance of neglected urban space as the birthplace of hip-hop culture” (Thug Life 28). Thus, hip hop remains firmly rooted in traditionally Black spaces and experiences which lends hip hop and rap artists the

During this Lecture, the UC Merced Hip Hop Movement group educated us about the history of hip hop and what it is, and what it has evolved to. Hip Hop is a way of expression. The four pillars of hip hop are graffiti, Dj, Mci-ing/ spoken word, and dance. Hip hop first started out as just break dancing in the 1960s in Bronx, New York by immigrants. During the financial frustrations of WW II, immigrants used break dancing, as an outlet and form of expression. Break dancing can be so intense that it can be a battle of dance between two dancers. It can be a way to settle arguments. Later on, the Jamaican tradition of “impromptu toasting/boasting through rhythmic poetry over/with the music developed into “rapping” a.k.a. “Mc-ing.” (Movement) Dj-ing

Petipa’s production of Swan Lake is a beautiful example of the structure movements that dancers must perform; in the clip titled Odile entrance & Black Swan pas de deux, you see “The Black Swan” perfect posture and balance, dancing on en Pointe all the while managing to gracefully seduce the prince through her seductive movements and entrancing expressions. In contrast Modern dance focus is on the dancer expressing their inner most emotions and feelings through free flowing movements. The modern dancer uses their whole body more naturally and fluidly to convey what their current emotional state is, unlike classical ballet where the ballerina at all times keeps an upright posture, and performs with structured, angular lines. Martha Graham’s “Frontier” is a great example of the free movements of Modern dance; In this performance Martha Graham uses her whole body to move to the rhythmic sounds of the drums and music, you can clearly see that there is no confined structure in this performance, she is completely moving organically to how she is feeling and what she is trying to convey through her movements.

Hip Hop culture has come from a inner city expression of life to a multi-billion dollar business. At the beginning of the new millennium it was the top selling genre in the pop charts. It had influences not only on music, but on fashion, film, television, and print. In 2004 Hip Hop celebrated its 30th year anniversary. It wasn’t big for the fact that it was still kicking. It was big because the once Black/Brown inner city culture had grown into a multi-billion dollar global phenomenon (Reeves). Hip Hop culture has provided a platform for all walks of life to speak their mind. Over the past 36 years it has provided us with both entertainment and controversy alike and had a huge impact on our nation’s history. `

Hip-Hop is a cultural movement that emerged from the dilapidated South Bronx, New York in the early 1970’s. The area’s mostly African American and Puerto Rican residents originated this uniquely American musical genre and culture that over the past four decades has developed into a global sensation impacting the formation of youth culture around the world. The South Bronx was a whirlpool of political, social, and economic upheaval in the years leading up to the inception of Hip-Hop. The early part of the 1970’s found many African American and Hispanic communities desperately seeking relief from the poverty, drug, and crime epidemics engulfing the gang dominated neighborhoods. Hip-Hop proved to be successful as both a creative outlet for