Their cultures are treasured for the immense color and meaning they give to dance. Their dance performances are also attended thoroughly because these groups of culture are given credit due to the immense meaning they hold to culture. They are believed to have strong roots in their beliefs and culture is a virtue to them. Moreover, other cultures do feel that they are not represented entirely during on stage dance performances. They feel that choreographers do not do enough to ensure that dance represents all cultures equally in stage performance.In the 1950s and 1960s, there was a change of how dance revolved around culture. There was a new integration of dance into the political arena (Goldberg 1998). Major artists did their performances based on their philosophical agenda or based on the candidates they supported. Mostly, dancers and choreographers created dances that aimed at fulfilling the theme in the political field. It therefore was a competition of the might in order to lure more audience to support their esteemed candidate. By then, there was vast competition and rivalry among artists and the pressures was upon them to create pieces of dance that could signify political might. However, this did not entirely replace, the relationship between dance and culture because the two go in handy. It was until then that artists later embarked on concerts aimed at luring the audience in their performance. Dance therefore proved to attract different feeling on stage because the question of representing culture was a big concern.Zollars piece of work was one of a kind. Her dances were ones that involved vast research in order to produce the desired output based on the cultural complexities involved. She was inspired by Dianne McIntyre and the great African-American choreographers Pearl Primus. She was connected to the legacy of a primus piece of work that led her into performing an original artwork of Zaire’s dance. It was entitled Bushasche it was a great project that saw collaboration with college students that primus had worked with. This was because she wanted to grasp the intensity, passion and spirituality of an aesthetic they were unfamiliar with. The dance was to memorate the Zaire culture because it was performed every twenty years. She was so deeply connected to Primus that their dance was based on the African roots of
Carter, Alexandra. The Routledge dance studies reader. London: Routledge, 1998. Print.
Goldberg, Roselee. Performance. New York: Harry N. Abrams Publishers, 1998. Print.
Banes, Sally. Terpsichore in sneakers. Middletown, Conn.: Wesleyan University Press, 1987. Print. (Banes 1987)
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