The gavotte is an old French dance form. It originated in the southeast of France, in the Pays du Gap region; its inhabitants were called Gavots, and their folk dance, the gavotte (Dias, 2017).
Gavotte, lively peasants’ kissing dance that became fashionable at the 17th- and 18th-century courts of France and England. Supposedly originated by the natives of Gap (Gavots) in the southeastern French province of Dauphiné, the gavotte was danced in royal ballrooms as a round with skipping steps adapted from the branle. Couples concluded improvised duet performances by kissing their partners. Later the dance developed more formal figures, and flowers were exchanged instead of kisses. At the French court in the 18th century, the gavotte was at first stately and later more ornate; its slow walking steps were in 4/4 time, with upbeats on beats 3 and 4 (Britannica, n.d.).
The dance was a very spacious dance and had a interesting benefit, after the group danced for a while the lead couple would dance in the middle of the room, when the male lead would end the passage, he would kiss his partner (Kewl!) then he would kiss all the rest of the ladies in the room, the lady follower would do the same. Dance Master Vestris created many of the rules for this dance.
The dance was performed to a medium to fast tempo music (4/4), however it was slower than the Bouree. The gavotte remained popular till the French Revolution (18th. century.) Marie Antoinette (1755-1793) was a great admirer of this dance. Usually the Minuet would follow a Gavotte.
In 1910 the Dance Masters of America held conference and decided to honor President Rosevelt with a new dance called the Rosevelt Gavotte, however after much debate they decided to call it the Credo Waltz which was a gliding, Stately Waltz. Prof. Oskar Duenweg of Terra Haute created the dance (Streetswing, n.d.).
Kathak, one of the main forms of classical dance-drama of India. Kathak is indigenous to northern India and developed under the influence of both Hindu and Muslim cultures. The Indian dance is characterized by intricate footwork and precise rhythmic patterns that the dancer articulates by controlling about 100 ankle bells. It takes its movements from life, stylizes them, and adds the complex rhythmic patterns. It is danced by both males and females; many of the dances convey moods of love (Britannica, n.d.).
The technique is built by the use of an intricate system of foot-work. Pure dance (nritta) is all important where complex rhythmic patterns are created through the use of the flat feet and the control of sound of the ankle bells worn by the dancer. As in Bharatnatyam, Odissi and Manipuri, Kathak also builds its pure dance sequences by combining units of movement. The cadences are called differently by the names tukra, tora, and parana, all indicative of the nature of rhythmic patterns used and the percussion instrument accompanying the dance. The dancer commences with a sequence called That where soft gliding movements of the neck, eyebrows and the wrists, are introduced. This is followed by a conventional formal entry known as the Amad (entry) and the Salami (salutation).
Then follow the various combinations of rhythmic passages all punctuated with and culminating in a number of pirouettes. The pirouettes are the most characteristic feature of the dance style in nritta portions. Recitation of the rhythmic syllables is common; the dancer often pauses to recite these to a specified metrical cycle followed by execution through movement. The nritta portion of Kathak is performed to the nagma. Both the drummer (here the drum is either a pakhawaj, a type of mridangam, or a pair of tabla) and the dancer weave endless combinations on a repetitive melodic line. The metrical cycle (tala) of 16, 10, 14 beats provides the foundation on which the whole edifice of dance is built.
In the mime portions (nritya or abhinaya), words are not used in simple numbers called the gata, which is performed in a lyrical manner to gentle rhythm. These are short narrative pieces which portray a brief episode from Krishna’s life. A poetic line set to music is interpreted with gestures in other numbers, such as the tumri, bhajan, dadra – all lyrical musical compositions.
In these sections, there is a word to word or line to line synchronisation in the same fashion as in Bharatnatyam or Odissi. Both in nritta (pure dance) and the abhinaya (mime) there is immense scope for improvisation of presenting variations on a theme. The interpretative and the abstract dance techniques are interwoven into each other, and the dancer’s greatness lies in his capacity for improvisation on the melodic and metric line on the one hand and the poetic line on the other.
Today, Kathak has emerged as a distinct dance form. Being the only classical dance of India having links with Muslim culture, it represents a unique synthesis of Hindu and Muslim genius in art. Further, Kathak is the only form of classical dance wedded to Hindustani or the North Indian music. Both of them have had a parallel growth, each feeding and sustaining the other (Centre for Cultural Resources and Training, n.d.).
Salsa is a popular form of social dance that originated in the Caribbean. The movements of salsa have origins in Puerto Rican bomba and plena, Cuban Son, cha-cha-cha, mambo and other dance forms. The dance, along with salsa music, originated in the mid-1970s in New York. Different regions of Latin America and the United States have distinct salsa styles of their own, such as Cuban, Puerto Rican, Cali Colombia, Los Angeles and New York styles. Salsa dance socials are commonly held in night clubs, bars, ballrooms, restaurants, and outside, especially when part of an outdoor festival.
In many styles of salsa dancing, as a dancer shifts their weight by stepping, the upper body remains level and nearly unaffected by the weight changes. Weight shifts cause the hips to move. Arm and shoulder movements are also incorporated. Salsa generally uses music ranging from about 150 bpm (beats per minute) to around 250 bpm, although most dancing is done to music somewhere between 160–220 bpm. The basic Salsa dance rhythm consists of taking three steps for every four beats of music. The odd number of steps creates the syncopation inherent to Salsa dancing and ensures that it takes 8 beats of music to loop back to a new sequence of steps.
In many styles of salsa dancing, as a dancer shifts their weight by stepping, the upper body remains level and nearly unaffected by the weight changes. Weight shifts cause the hips to move. Arm and shoulder movements are also incorporated. The Cuban Casino style of salsa dancing involves significant movement above the waist, with up-and-down shoulder movements and shifting of the ribcage.
The arms are used by the “lead” dancer to communicate or signal the “follower,” either in “open” or “closed” position. The open position requires the two dancers to hold one or both hands, especially for moves that involve turns, putting arms behind the back, or moving around each other, to name a few examples. In the closed position, the leader puts the right hand on the follower’s back, while the follower puts the left hand on the leader’s shoulder.
In the original Latin American form, the forward/backward motion of salsa is done in diagonal or sideways with the 3-step weight change intact.
In some styles of salsa, such as the New York style, the dancers remain mostly in front of one another (switching places), while in Latin American styles, such as Cuban style, the dancers circle around each other, sometimes in 3 points. This circular style is inspired by Cuban Son, specifically to the beat of son montuno in the 1920s. However, as it is a popular music, it is open to improvisation and thus it is continuously evolving. Modern salsa styles are associated and named to the original geographic areas that developed them. There are often devotees of each of these styles outside their home territory. Characteristics that may identify a style include: timing, basic steps, foot patterns, body movement, turns and figures, attitude, dance influences and the way that partners hold each other. The point in a musical bar music where a slightly larger step is taken (the break step) and the direction the step moves can often be used to identify a style.
Cuba
Buenos Aires
Incorporating other dance styling techniques into salsa dancing has become very common for both men and women: shimmies, leg work, arm work, body movement, spins, body isolations, shoulder shimmies, rolls, even hand styling, acrobatics and lifts.
Salsa dance socials are commonly held in night clubs, bars, ballrooms, restaurants, and outside, especially if part of an outdoor festival. Salsa dancing is an international dance that can be found in most metropolitan cities in the world. Festivals are held annually, often called a Salsa Congress, in various host cities aimed to attract variety of salsa dancers from other cities and countries. The events bring dancers together to share their passion for the dance, build community, and to share moves and tips with each other. These events usually include salsa dance performers, live salsa music, workshops, open dancing, and contests (Wikipedia, n.d.).
Square dancing is a folk dance developed in America from adaptations of the English running sets and the stately French cotillion which later developed into the less formal quadrilles, and in America, the Virginia Reel.
In square dancing four couples are in square formation, dancing always as a group. Under the direction of a caller, or as he was formerly known, a prompter, they perform intricate figures and patterns, often changing partners, to the rhythm of stringed instruments playing lively tunes.
The old-time square dancing of the Ozarks brought here by early settlers from the mountains of eastern Tennessee and Kentucky followed the basic folk pattern. The old way was to have each of the four couples in turn lead the others in the same dance. Couple number one would go as directed by the caller to other couples in turn to “Take a Little Peek” or lead the others in the “Wild Goose Chase.” Then couple number two would lead in the same call, going to the other three couples in turn. Depending on the dance, sometimes couples would stand for periods of time doing nothing, waiting their turn while the other couples were dancing. The jig step which is characteristic of some dancing in this area, probably developed as a way of participating or filling the time so that everyone was dancing all the time.
Square dancing in more recent years, especially Western style, involves all dancers most of the time and has developed some more involved patterns and movements. However, the dances usually do not last as long nor allow dancers as much individuality. The old time way, with each couple taking turns leading and going through several variations, could last twenty minutes if the caller had an energetic group. Also, to vary the dance a caller with experienced dancers might call a different dance for each couple. Couple one might do “Cowboy Loop,” couple two “Sally Goodin,” couple three “Roll the Ball” and couple four “Form a Star” with a variety of figures between the couples. (Mulrenin & Saeger, n.d.)
Traditional square dance can be distinguished from modern Western square dance by the following characteristics:
A limited number of basic movements, or “calls,” enabling the average dancer to join the group by assimilation rather than by taking a series of lessons.
Dance figures (sequences of basic movements) that are called in a set order and repeated, rather than improvised by the caller. (In Southeastern style the caller chooses figures from a repertoire of a dozen or two and can call them in any order, but the order of movements within each figure does not change.)
The use of live music as the norm.
In addition, because there is no governing body to set standards for traditional square dancing, each caller decides which basic movements and dance figures he or she will use. There are regional variations in how dancers execute the basic movements, usually having to do with hand or arm position. The same dance figure may have different names in different regions; the same name may refer to different dance figures, or even different basic movements. This lack of standardization does not present a problem to the dancers, because at least one of two conditions is always true: either the caller walks the dancers through the figures before calling them to music, or the event is attended almost entirely by local people familiar with that caller’s repertoire (Wikipedia, n.d.).
Soco Gap Junior Square Dance Team dancing at the Mountain Music Festival, Asheville, North Carolina. [between 1938 and 1950] from Library of Congress, LC-DIG-ppmsc-00460
Adumu is the world famous traditional jumping dance performed by the iconic Maasai tribe of Tanzania and Kenya.
Adumu is a dance performed in a coming of age ceremony for young men in the Maasai tribe. It is a ceremony for warriors that involves jumping. Adumu is a Maasai word for jump and used in certain contexts it means to jump up and down in dance.
To perform the adumu warriors form a circle, one or two at a time will enter the circle and begin jumping while maintaining a narrow and stiff posture. It is very important that they never let their heels touch the ground. members of the group will raise the pitch of their voices based on the height of the performers jumps.
Girlfriends of the warriors parade themselves in the most spectacular and intricate costumes to partake in the celebration. The mothers of the warriors sing songs in order to pay tribute to the courage and daring acts of their sons.
Oxfam has recently claimed that the lifestyle of the Maasai should be embraced by all as a response to global change. They have a unique ability to farm in desserts and scrub land. Many of the Maasai tribes throughout Tanzania and Kenya welcome visitors to their village. They are happy to share their culture, traditions, and lifestyle. Luckily for us they also like showing off their dance! It is unlikely a tourist would witness the formal Adumu because it is part of a larger ceremony that lasts 10 days (African dance site, 2016).
The haka is a type of ceremonial Māori dance or challenge. Haka are usually performed in a group and typically represent a display of a tribe’s pride, strength and unity.
Actions include foot-stamping, tongue protrusions and rhythmic body slapping to accompany a loud chant. The words of a haka often poetically describe ancestors and events in the tribe’s history.
When is the haka performed?
Traditionally, the haka was performed when two parties met as part of the customs around encounters.
For example, the haka was used on the battlefield to prepare warriors mentally and physically for battle, but it was also performed when groups came together in peace.
Today, haka are still used during Māori ceremonies and celebrations to honour guests and show the importance of the occasion. This includes family events, like birthdays and weddings.
Wedding haka
Haka dances can be performed at weddings as a show of respect, to show reverence for the couple and their guests or to mark the important milestone.
At weddings, women may also join the haka performance.
Haka at a Maori wedding
Rugby haka
Haka are also used to challenge opponents on the sports field. The New Zealand rugby team, the All Blacks, perform the haka before each match in a stunning show of strength and physical prowess.
The All Blacks use ‘Ka Mate’ as their haka, which was composed in the 1820s by the Maori chief Te Rauparaha. The words to this particular haka dance have become famous around the world since it became a part of the pregame ritual of the All Blacks.
Ahead of the final of Rugby World Cup 2011 in New Zealand, the French team formed an arrow as the All Blacks performed their pre-match tradition – the haka.
The Black Ferns, New Zealand’s women’s rugby team, are also famous for performing rousing haka. The haka they perform before an international match is called ‘Ko Uhia Mai’ which means ‘Let it be known’ and was composed by Whetu Tipiwai.
Regular haka waiata sessions enable the Black Ferns to honour their cultural roots and traditions.
Who can perform the haka?
One common misconception around haka is that it should only be performed by males.
While there are some haka that can only be performed by men, there are others that can be performed by anyone and even some women-only haka.
Many young Māori people perform in kapa haka groups which have local and national competitions.
Youth perform a haka during a students vigil near Al Noor mosque on March 18, 2019, in Christchurch, New Zealand. (Carl Court/Getty Images)
File: Jorge Silva/Reuters
CHRISTCHURCH, NEW ZEALAND – MARCH 08: Members of Waihirere from Gisborne perform during the Te Matatini National Kapa Haka Festival 2015 at Hagley Park on March 8, 2015 in Christchurch, New Zealand. The National Kapa Haka festival is a biennial event celebrating Maori traditional performing arts. (Photo by Martin Hunter/Getty Images)
Non-Māori are welcome to learn the haka, however, it’s important that you respect the culture and traditions behind the dance. Learn the words and make sure you understand the meanings behind the chants, the significance of a particular haka and what you are trying to express when performing it.
The origin of the haka
The Māori legend describing the origin of the haka paints it as a celebration of life.
The story goes that Tama-nui-te-ra, the sun god, and his wife Hine-raumati, who embodies summer, had a son named Tane-rore.
On hot summer days, Tane-rore would dance for his mother, causing the air to quiver. This light, rapid movement was the foundation of all haka (Tourism New Zealand, n.d.).
To know which dances I was going to go deeper into, I did a first research on the different continents and their dance cultures.
I think research in advance is very important. This way you already have some insight into the subject and you can get some inspiration. In this case I found it very important to understand what content I could use.
Before I start an assignment, I’ll make a debrief first. I write down what the intention is and what things need to be created. Then I have a little brainstorming session with myself. I write down what’s on my mind. Some things I go deeper into, some I leave like this.
After a while I look back at these ideas. Then I brainstorm further, or choose an idea.
Here are a few examples:
Then I categorized all these ideas. After that I came up with some related terms. Like places but also ways of output.
After doing this I put some more terms together. In turn I was able to come up with things that were related to it.
At this moment, the idea of a dance booth at the airport stands out the most. The target audience is very diverse, and it seems to me a very interesting place to launch such a project.
CME 5 PROCESS WEBSITE 
