Theater Dance in the United States

Dances and Society

Dances, similar to various forms of cultural expression, reflects the society that practices it. Theater dances are performed for entertaining an audience. Enslavement in USA started immediately as an exploration of America in 1619 with eventual population of slave increased and constituting to approximately 40% in the south in 1820 (Merkel 595). Close connection between culture of African slaves in the south and that of colonial Europeans facilitated growth of theater dance in the US in various ways.

African Influence

The long and varied history of music and dance from African continent is attributed to the development of theater dance in the USA. Slaves from central and western Africa carried their cultures to the south. For instance, Congolese fair in New Orleans emerged as a vital scene for African dances in the 19th Century (Krasner 177). The slaves developed modes of movement to outsmart efforts of whites to discourage communication between them. Consequently, African slaves led to the establishment of soft shoe, Jazz and tap dance. Earlier in the 19th century, the Europeans started to admire and recognize African dance and music in theatres.

Also, skills in African dancers contributed to the development of theater dances. For instance, Henry lane, who was also known as master juba, was the most popular black American entertainer in the 19th century (Krasner 178). Juba and Jube were nicknames for slaves who engaged in music and dances. The other African slaves were thrilled. Hence they embraced his style hence its popularity among them. African slaves developed step dance that resembled a jig and practiced it whenever they dwelled (Krasner 179). A variation included folding and uncrossing of hands against the knees which Charleston theater dance later assimilated. Hence, the skills and thrilling nature of African dancing and music culture led to the establishment of theater dances in the USA.

Influence of Colonial Europeans

The need for colonial masters to model their culture after England led to popularity in dancing (Ackermann 6). The colonial Europeans started to organize dances in taverns, plantation homes, and halls for entertaining formal parties. Consequently, a market developed for dance masters, professional instructors who were expected to explore the latest dance in Europe. From perspectives of colonial masters, being a skilled dancer was a manifestation of good upbringing. By 1790s, there was the establishment of dancing schools, and dancing lessons were available especially in Virginia where these lessons were delivered for all classes (Ackerman 8).

Technological advancement in the USA compelled European masters to progress in entertainment and music in the form of theater dances. For instance, George Smith, an inherent of USA, was the first début dancer (Ackermann 9). He first performed publicly in 1838 and created theater and ballet up to 1990. At the start of 19th century, dancers of ballet dwelled much on tricks and acrobats and started to perform with their corresponding artist (Ackerman 12). Many whites were fascinated by these dances. Due to the rapid advancement of science and music, there was a burning desire for performances in art. A new form of dancing was sought that would incorporate political and social movements, hence the rise of theater dance.

Conclusion

Theater dances are performed for entertaining an audience. A close connection between the African slaves and their European masters led to the development of theater performances. Slaves practiced Rich and varied African culture in plantations. Besides, the persistent culture of slaves in audience performance displayed their expertise, hence the emergence of theater dances. Colonial Europeans wanted to model English culture of dances. Hence they supported theater dances. Furthermore, technological advancement made colonial masters to support theater dances. To sum up, a close connection between African and European cultures led to progress of theater dances in the USA.

Works Cited

Ackermann, Andreas. “Cultural hybridity: Between metaphor and empiricism.” Conceptualizing Cultural Hybridization. Springer, Berlin, Heidelberg, 2012.

Krasner, David. ”The Cambridge Companion to African American Theatre. Edited by Harvey Young. Cambridge: Cambridge University Press, 2012; 313 pp.; illustrations. 94.00cloth, 30.99 paper, e-book available.” (2014).

Merkel, William G. ”A Founding Father on Trial: Jefferson’s Rights Talk and the Problem of Slavery during the Revolutionary Period.” Rutgers L. Rev. 64 (2011).