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Everything here are from www.wikipedia.com

 

A Story..

Sebuah Kisah….

Aku menengadah…

Menerawang jauh ke depan.

Lampu-lampu bagaikan jutaan bintang menerangi.

Butiran debu halus soelah peri-peri kecil mengepakkan sayapnya, seakan mengundangku masuk.

Nafasku memburu…

Getaran di dada merambat hingga telapak tangan.

Aku menunduk…. Mengepalkan kedua tangan.

Menatap sepasang pointe shoes yang kukenakan.

Ya, inilah yang kuinginkan.

Ini yang kuimpikan, kini ada di depan mata.

Lalu, mengapa aku bimbang?

Mengapa keraguan ini terus menyelimuti diriku?

Aku mampu!

          (Aku tidak yakin aku mampu)

Waktu seakan berhenti berjalan.

Keramaian di belakangku seakan sunyi.

Bagaimana ini? Aku takut. Apa yang harus kulakukan?

Sebentar lagi giliranku…

Sepuluh….

Sembilan….

Delapan….

Tujuh….

Enam….

Lima…..

Empat….

Tiga…

Dua…

Tiba-tiba seorang meraih tanganku.

Menggenggamnya dengan erat. Tersenyum padaku.

Memberikan kehangatan. Keberanian.

Matanya seolah mengatakan, “Jangan takut. Kamu tidak sendirian. Kamu pasti bisa. Percayalah kepadaku.”

Satu….

Tirai mulai terangkat…

Satu ruas…dua ruas…tiga ruas…

Cahaya meredup.

Aku menyambut uluran tangannya.

Melangkah dengan pasti.

Gelap….

Lampu sorot tunggal menyinari kami.

Pertunjukkan dimulai…

Aku tersenyum… Aku seorang penari…

Harlem Shake

 “Harlem Shake”, not to be confused with the hip hop dance style, is the title of a 2012 heavy bass instrumental track produced by Baauer. In February 2013, the song spawned a series of dance videos that begin with a masked individual dancing alone in a group before suddenly cutting to a wild dance party featuring the entire group. Despite what the name suggests, the videos present a wide range of hip hop dances, including the Bernie,Twerking as well as improvisations.

 

Origin    

“Harlem Shake” by Baauer, the stage name of American music producer Harry Rodrigues, was uploaded to YouTube on August 23rd, 2012. The lyric “do the Harlem Shake” is a sample from the 2001 track “Miller Time” by Philadelphia party rap crew, Plastic Little. The lyric was taken from an incident in member Jayson Musson’s life where he got into a fight and finished by getting up and doing the dance. Bauuer’s song was met with positive reception from electronica & trap music blogs, as well as other artists including Diplo, Brodinski, and Flosstradamus. On January 30th, 2013, video blogger Filthy_Frank uploaded an episode that opens with four people dressed in latex suits dancing to Baauer’s “Harlem Shake” (shown below, right).

 

The Dance

The Harlem Shake is a style of dance that involves pivoting the shoulder out while popping the other shoulder out at the same time. Introduced in 1981 by a Harlem, New York City resident named “Al Bm,” the dance was initially referred to as “albee” after his name, but later became known as the Harlem Shake as its prominence grew beyond the neighborhood. The popularity of the dance reached its peak around 2001, when it was featured or referenced in songs by several New York-based hip hop artists such as Jadakiss, Cam’ron and P. Diddy.

 

Spread

The dance itself is defined by Urban Dictionary as ‘An eccentric upper body dance move that involves the shaking of the upper torso and shoulders.’ On February 2nd, 2013, several parodies of DizastaMusic’s video were uploaded by YouTubers TheSunnyCoastSkate and PHL_On_NAN, the latter of which would go viral on February 5th, amassing 300,000 views within 24 hours and prompting further parodies from other YouTubers shortly after.

On February 7th, YouTuber hiimrawn uploaded a version titled “Harlem Shake v3 (office edition)” (shown below) featuring the staff of online video production company Maker Studios. The video instantly went viral, amassing more than 7.4 million views in the first week, as well as inspiring a notable subset of contributions from well-known Internet companies, including BuzzFeed, CollegeHumor, Vimeo and Facebook among many others.

 

Versioning

The majority of early Harlem Shake videos adhered to the title format denoting its numeric version (ex: “The Harlem Shake v2”), but the practice soon became redundant and phased out as the volume of uploads continued to grow on YouTube.

 

Notable Examples

Throughout the second week of February 2013, more than 4,000 “Harlem Shake” videos were uploaded to YouTube each day, according to YouTube’s official trend report. By February 13th, approximately 12,000 “Harlem Shake” videos had been posted, gaining more than 44 million views.

Vogue

Vogue or voguing is a highly stylized, modern house dance that evolved out of theHarlem ballroom scene in the 1980s. It gained mainstream exposure when it was featured in Madonna's song and video "Vogue" (1990), and when showcased in the 1990 documentary Paris is Burning (which went on to win the Grand Jury Prize at the 1991 Sundance Film Festival). After the new millennium, Vogue returned to mainstream attention when the dance group Vogue Evolution competed on the fourth season of America's Best Dance Crew.

History

Inspired by Vogue magazine, voguing is characterized by model-like poses integrated with angular, linear, and rigid arm, leg, and body movements. This style of dance arose from Harlem ballrooms by African Americans and Latino Americans in the early 1960s. It was originally called "presentation" and later "performance". Over the years, the dance evolved into the more intricate and illusory form that is now called "vogue". Voguing is continually developed further as an established dance form that is practiced in the gayballroom scene and clubs in major cities throughout the United States—mainly New York City.

Formal competitions occur in the form of balls held by "houses"—family-like collectives of LGBT dancers and performers. Some legendary houses include the House of Garcon, the House of Icon, the House of Khanh, the House of Evisu, the House of Karan, the House of Mizrahi, the House of Xtravaganza, the House of Ebony, the House of Revlon, the House of Prodigy, the House of Escada, the House of Omni, the House of Aviance, the House of Legacy, the House of Milan, the House of Infiniti, the House of Pend'avis, the House of LaBeija, the House of McQueen, the House of Ninja, and the House of Andromeda among others ("Legendary" in ballroom terms refers to a house that has been "serving", that is, walking or competing on the runway, for twenty years or more). The House of Ninja was founded by Willi Ninja, who is considered the godfather of voguing. Members of a house are called "children". Sometimes children legally change their last name to show their affiliation with the house to which they belong.

Styles

There are currently three distinct styles of vogue: old way (pre-1990); new way (post-1990);^[7] and vogue femme (circa 1995). Although vogue "femme" has been used in the ballroom scene as a catch-all phrase for overtly effeminate voguing as far back as the 1960s, as a recognizable style of voguing, it only came into its own around the mid-1990s.

It should be noted that the terms "old way" and "new way" are generational. Earlier generations called the style of voguing the generation before them practiced "old way". Voguers, therefore, reuse these terms to refer to the evolutionary changes of the dance that are observable almost every ten years. Ten years from now, today's "new way" will likely be deemed the "old way".

Old way

Old way is characterized by the formation of lines, symmetry, and precision in the execution of formations with graceful, fluid-like action. Egyptian hieroglyphs and fashion poses serve as the original inspirations for old way voguing. In its purest, historical form, old way vogue is a duel between two rivals. Traditionally, old way rules dictated that one rival must "pin" the other to win the contest. Pinning involved the trapping of an opponent so that he or she could not execute any movements while the adversary was still in motion (usually voguing movements with the arms and hands called "hand performance" while the opponent was "pinned" against the floor doing "floor exercises" or against a wall).

New way

New way is characterized by rigid movements coupled with "clicks" (limb contortions at the joints) and "arms control" (hand and wrist illusions, which sometimes includes tutting and locking). New way can also be described as a modified form of mime in which imaginary geometric shapes, such as a box, are introduced during motion and moved progressively around the dancer's body to display the dancer's dexterity and memory. New way involves incredible flexibility.

Vogue femme

Vogue femme is fluidity at its most extreme with exaggerated feminine movements influenced by ballet and modern dance. Styles of vogue femme performance range from dramatics style (which emphasizes stunts, tricks, and speed) to soft style (which emphasizes a graceful, beautiful, easy flow). There are six elements of vogue femme: hand performance, catwalk, duckwalk, floor performance, dips, and spins (unofficial). When competing in a vogue femme battle, contestants should showcase all six elements in an entertaining fashion.

Hand performance refers to the illusions and movements of the arms, wrists, hands, and fingers. The catwalk is the upright sashaying in a linear fashion. The duckwalk refers to the crouched, squatted, foot-kicking and scooting movements requiring balance on the balls of the feet. Floor performance refers to the movements done on the floor using primarily the legs, knees, and back. The dip is the fall, drop, or descent backward onto one's back with one's leg folded underneath. Mainstream dance forms popularized the dip, which is occasionally called the "death drop" when done in dramatics style. Due to popular media, the dip is sometimes incorrectly termed the "5000", "shablam", and "shabam".

Modern Dance

Modern dance is a term usually referring to 20th-century concert dance, although it has also been applied to a category of 20th-century ballroom dances. Modern dance refused classical ballet's stress on feet as the primary catalyst for dance movements. It, instead, put stress on torso employing such elements as contact-release, floor work, fall and recovery, and improvisation. It was usually performed in bare feet, often with non-traditional costuming.

Predecessors

Isadora Duncan, born in San Francisco in 1877, was a predecessor of modern dance with her stress on the torso movements, bare feet, loose hair, free-flowing costumes, and incorporation of humor into emotional expression. She was inspired by classical Greek arts, folk dances, social dances, nature, natural forces, and new American athleticism such as skipping, running, jumping, leaping, and abrupt movements. She thought that ballet was ugly and meaningless gymnastics. Although she returned to the United States at various points in her life. Her work was not very well received there. She returned to Europe and died in Paris in 1927.

Free dance

·         1891: Loie Fuller (a burlesque skirt dancer) began experimenting with the effect that gas lighting had on her silk costumes. Fuller developed a form of natural movement and improvisation techniques that were used in conjunction with her revolutionary lighting equipment and translucent silk costumes. She patented her apparatus and methods of stage lighting that included the use of coloured gels and burning chemicals for luminescence, and also patented her voluminous silk stage costumes.

·         1905: Ruth St. Denis, influenced by the actor Sarah Bernhardt and Japanese dancer Sada Yacco, developed her translations ofIndian culture and mythology. Her performances quickly became popular and she toured extensively while researching Orientalculture and arts.

Expressionist and early modern dance in Europe

In Europe, Mary Wigman, Francois Delsarte, Émile Jaques-Dalcroze, and Rudolf von Laban developed theories of human movement and expression, and methods of instruction that led to the development of European modern and Expressionist dance.

·         Émile Jaques-Dalcroze (Eurhythmics)

·         Rudolf Laban

·         Kurt Jooss

·         Mary Wigman

·         Harald Kreutzberg

Radical dance

Disturbed by the Great Depression and the rising threat of fascism in Europe, the radical dancers tried to raise consciousness by dramatizing the economic, social, ethnic and political crises of their time.

·         Hanya Holm, a student of Mary Wigman and instructor at the Wigman School in Dresden, founded the New York Wigman School of Dance in 1931 (which became the Hanya Holm Studio in 1936) introducing Wigman technique, Laban's theories of spatial dynamics, and later her own dance techniques to American modern dance. An accomplished choreographer, she was a founding artist of the first American Dance Festival in Bennington (1934). Holm's dance work Metropolitan Daily was the first modern dance composition to be televised on NBC and her labanotation score for Kiss Me, Kate (1948) was the first choreography to becopyrighted in the United States. Holm choreographed extensively in the fields of concert dance and musical theater.

·         Anna Sokolow—A student of Martha Graham and Louis Horst, Sokolow created her own dance company (circa 1930). Presenting dramatic contemporary imagery, Sokolow's compositions were generally abstract, often revealing the full spectrum of human experience reflecting the tension and alienation of the time and the truth of human movement.

·         José Limón—In 1946, after studying and performing with Doris Humphrey and Charles Weidman, Limón established his own company with Humphrey as artistic director. It was under her mentorship that Limón created his signature dance The Moor’s Pavane (1949). Limón’s choreographic works and technique remain a strong influence on contemporary dance practice.

·         Merce Cunningham—A former ballet student and performer with Martha Graham, he presented his first New York solo concert withJohn Cage in 1944. Influenced by Cage and embracing modernist ideology using postmodern processes, Cunningham introducedchance procedures and pure movement to choreography and Cunningham technique to the cannon of 20th-century dance techniques. Cunningham set the seeds for postmodern dance with his non-linear, non-climactic, non-psychological abstract work. In these works each element is in and of itself expressive, and the observer (in large part) determines what it communicates.

·         Erick Hawkins—A student of George Balanchine, Hawkins became a soloist and the first male dancer in Martha Graham's dance company. In 1951, Hawkins, interested in the new field of kinesiology, opened his own school and developed his own technique (Hawkins technique) a forerunner of most somatic dance techniques.

·         Paul Taylor—A student of the Juilliard School of Music and the Connecticut College School of Dance. In 1952 his performance at the American Dance Festival attracted the attention of several major choreographers. Performing in the companies of Merce Cunningham, Martha Graham, and George Balanchine (in that order), he founded the Paul Taylor Dance Company in 1954. The use of everyday gestures and modernist ideology is characteristic of his choreography. Former members of the Paul Taylor Dance Company included Twyla Tharp, Laura Dean, Dan Wagoner, and Senta Driver.

·         Alwin Nikolais—A student of Hanya Holm. Nikolais's use of multimedia in works such as Masks, Props, and Mobiles (1953), Totem(1960), and Count Down (1979) was unmatched by other choreographers. Often presenting his dancers in constrictive spaces and costumes with complicated sound and sets, he focused their attention on the physical tasks of overcoming obstacles he placed in their way. Nikolais viewed the dancer not as an artist of self-expression, but as a talent who could investigate the properties of physical space and movement.

Popularization in America

In 1927, newspapers regularly began assigning dance critics, such as Walter Terry, and Edwin Denby, who approached performances from the viewpoint of a movement specialist rather than as a reviewer of music or drama. Educators accepted modern dance into college and university curricula, first as a part of physical education, then as performing art. Many college teachers were trained at the Bennington Summer School of the Dance, which was established at Bennington College in 1934.

Of the Bennington program, Agnes de Mille wrote, "...there was a fine commingling of all kinds of artists, musicians, and designers, and secondly, because all those responsible for booking the college concert series across the continent were assembled there. ... free from the limiting strictures of the three big monopolistic managements, who pressed for preference of their European clients. As a consequence, for the first time American dancers were hired to tour America nationwide, and this marked the beginning of their solvency." (de Mille, 1991, p. 205)

Legacy of Modern Dance

The legacy of modern dance can be seen in lineage of 20th-century concert dance forms. Although often producing divergent dance forms, many seminal dance artists share a common heritage that can be traced back to free dance.

Postmodern dance

Postmodern dance occurred in the 1960s in United States when society questioned truths and ideologies in politics and art. This period was marked by social and cultural experimentation in the arts. Choreographers no longer created specific 'schools' or 'styles'. The influences from different periods of dance became more vague and fragmented.

Contemporary dance

Contemporary dance emerged in the 1950s as the dance form that is combining the modern dance elements and the classical ballet elements. It can use elements from non-Western dance cultures, such as African dancing with bent knees as a characteristic trait, and Butoh, Japanese contemporary dancing that developed in the 1950s. It is also derived from modern European themes like poetic and everyday elements, broken lines, nonlinear movements, and repetition. Many contemporary dancers are trained daily in classical ballet to keep up with the technicality of the choreography given. These dancers tend to follow ideas of efficient bodily movement, taking up space, and attention to detail. Contemporary dance today includes both concert and commercial dance because of the lines being blurred by pop culture and television shows