Since the founding of New York City people from all around the world have flocked there in search of a better reality and fulfillment of their dreams. Some of them found what they were looking for and others did not. Nevertheless, the constant fluctuation of masses from every corner of the world to New York City only increased in the course of time. At the beginning of a new era filled with hectic and rushing, this city has become a symbol for movement, regardless of its form and purpose. The spatial, financial, cultural movement, the movement of information or myriad of immigrants is of essence in this city. Movement in space and time is in its every shape also the primary subject matter of Terpsihora´s art- the dance. Aside from that, dance as art discipline focuses on the human body using it as clay in its “moulding“ process just like the city “moulds“ in a certain way its inhabitants. The founder of Modern dance for men in America, Ted Shawn, is said to have commented: “Dance is the only art of which we ourselves are the stuff of which it is made“. When it is taken into consideration that the energy of movement in all its forms in New York City relates to the energy of movement in dance, it is not curious at all that a number of dancing styles have been developed or have experienced an incredible flourishing in New York City. The striving to pursue an artistic career in this city is for a lot of dancers the sheer energy for dancing itself. Their life motto - `If you can make it there, you can make it anywhere'. The sublime relationship between the city and the artist and the overwhelming impression New York City gives on an artist is very perspicuously ilustrated in a comment of the young architectural critic Lewis Mumford:
The world, at that moment, opened before me, challenging me, beckoning me, demanding something of me ... Here was my city, immense, overpowering, flooded with energy and light ... transmitting through me the great mysterious will ... and the promise of the new day that was still to come (Lewis Mumford 1982:130).
Table of Contents
1. Introduction
2. Dance development in New York City
3. Connection Artist/Dancer-City
4. Hollywood´s image of New York´s dance scene
5. 9/11 in the dance world
6. Conclusion
Objectives and Themes
This paper examines the evolution and transformation of theatrical dance forms in New York City, exploring how the city’s unique socio-cultural environment acts as a catalyst for artistic innovation. The research investigates the symbiotic relationship between the city and its dancers, the impact of commercial media representations, and the role of the dance community in responding to major crises.
- The development of diverse dance styles in NYC from the early 20th century to the present.
- The influence of New York City as an "artistic hub" on creative processes and professional identity.
- The portrayal of NYC’s dance culture in Hollywood cinema and its discrepancy with reality.
- The resilience of the dance community and the role of art in response to the September 11 terrorist attacks.
Excerpt from the Book
1. Introduction
Since the founding of New York City people from all around the world have flocked there in search of a better reality and fulfillment of their dreams. Some of them found what they were looking for and others did not. Nevertheless, the constant fluctuation of masses from every corner of the world to New York City only increased in the course of time. At the beginning of a new era filled with hectic and rushing, this city has become a symbol for movement, regardless of its form and purpose. The spatial, financial, cultural movement, the movement of information or myriad of immigrants is of essence in this city. Movement in space and time is in its every shape also the primary subject matter of Terpsihora´s art- the dance. Aside from that, dance as art discipline focuses on the human body using it as clay in its “moulding“ process just like the city “moulds“ in a certain way its inhabitants.
When it is taken into consideration that the energy of movement in all its forms in New York City relates to the energy of movement in dance, it is not curious at all that a number of dancing styles have been developed or have experienced an incredible flourishing in New York City. The striving to pursue an artistic career in this city is for a lot of dancers the sheer energy for dancing itself. Their life motto - `If you can make it there, you can make it anywhere'. The sublime relationship between the city and the artist and the overwhelming impression New York City gives on an artist is very perspicuously ilustrated in a comment of the young architectural critic Lewis Mumford.
Summary of Chapters
1. Introduction: This chapter outlines the historical importance of New York City as a hub for human movement and artistic expression, establishing the central research focus on the evolution of dance in relation to the city's environment.
2. Dance development in New York City: This section details the historical progression of NYC dance styles, covering the shift from European-influenced ballet to the rise of American modern and contemporary dance pioneers.
3. Connection Artist/Dancer-City: This chapter explores the symbiotic bond between the artist and the city, discussing how NYC’s diverse environment provides both creative energy and a struggle for identity for performers.
4. Hollywood´s image of New York´s dance scene: The text analyzes how films like "Fame" and "Center Stage" have shaped public perception of NYC’s dance world, noting the contrast between Hollywood’s romanticized portrayals and the complex reality.
5. 9/11 in the dance world: This chapter examines the profound impact of the September 11 terrorist attacks on the dance community and how artists utilized their work to provide healing and solidarity.
6. Conclusion: The concluding chapter synthesizes the main findings, emphasizing that New York City remains the global epicenter for dance because it fosters the artistic spirit and acts as an embodiment of the "American Dream."
Keywords
New York City, Dance History, Modern Dance, Contemporary Dance, Choreography, Hollywood, Artistic Identity, 9/11, Broadway, Performance, Cultural Evolution, Urban Environment, Merce Cunningham, Martha Graham, Community.
Frequently Asked Questions
What is the fundamental focus of this paper?
The paper explores the development and transformation of theatrical dance in New York City and how this evolution reflects the city's broader historical and cultural changes.
What are the central themes covered in the text?
The central themes include the rise of modern and contemporary dance, the influence of the urban environment on artistic creativity, the impact of commercial media, and the role of the arts in times of crisis.
What is the primary objective of this work?
The primary objective is to depict how dancers and dance forms have evolved in New York City as a direct reflection of the city's own development and its role as a global artistic center.
Which scientific methods were used?
The author employs a qualitative approach, analyzing American dance history, critical commentary on architecture and art, and specific media case studies to synthesize the relationship between the city and its artists.
What is discussed in the main body of the paper?
The main body covers the transition from traditional European ballet to American modern dance, the role of NYC as a creative "melting pot," Hollywood’s portrayal of the dance world, and the community's response to the 9/11 attacks.
Which keywords best characterize the work?
The work is defined by terms such as NYC dance culture, artistic evolution, modern dance history, and the intersection of politics, society, and the performing arts.
How did 9/11 change the NYC dance world?
9/11 initially caused paralysis and uncertainty, but the dance community eventually used performance as a means to express solidarity, maintain dignity, and foster healing within the city.
Why does the author argue that Hollywood's depiction of NYC dance is limited?
The author suggests that Hollywood films often prioritize professional success and commercial appeal, thereby disregarding the multifaceted reality of the diverse and often struggling off-Broadway and independent dance scenes.
- Quote paper
- Aleksandra Pendarovska (Author), 2005, The dance world in New York, Munich, GRIN Verlag, https://www.grin.com/document/41250
