Dance: Diversity and Inclusion - Case Study Example

Dance: Diversity and Inclusion \ Introduction Dance in its simplest form is a means of self-expression. It is varied,unique and ever evolving. Dance is as old as the human race itself, therefore, it’s pure survival and growth over the last centuries is truly testament to its integral role within the human society. As a matter of fact, dance forms, and serves a very integral part in a people’s culture. It can be attributable to a particular people who in turn may relate to specific events and occurrences within their society (Kassing, 2007). This argument is significantly evidenced in the United States where a significant aspect of the American culture is the fast growth in dance; not just as a performing art but as a form of creative learning (Richard G. Kraus, 1991). Dance involves far much beyond the physical movements of the performer (Dils & Albright, 2001). It encompasses all aspects of the performance including but not limited to the costumes worn by the performer, the setting of the dance, the message being conveyed through the dance and so much more. To this end, dance has now evolved into a professional art that not only displays the creativity and originality of the performance but to a given extent serves as an identity of a generation and a culture. The need, therefore, arises of identifying whether dance is an art or a science. Surely, if it can be analyzed and taught to others through formative processes then definitely this is a valid basis for its reference as a science. This argument notwithstanding, another might argue that dance is intrinsically motivated (in light of its definition as a means of personal expression) and that its application does not follow pre-defined criteria and methodologies. Therefore, can dance be both a science and an art? What about its growth? Can anyone lay claim to a dance? Which criteria are used in identifying and relating a certain dance to a specific people? Above all these,-perhaps-is what roles do dance play to any society? Can such roles be influenced, controlled, directed? The above may be a few of the many questions which behavioral scientists, scholars and dance enthusiasts alike may find themselves grappling with in a bid to better understand the dance phenomenon. Whichever the case may be, this essay addresses the role of dance examining its ability in practice to achieve goals of inclusivity in diversity with particular regard aspects of gender and race. The performing piece that serves as the specimen for this analysis is Beyonce’s video for her popular 2011 hit single, Run the World (Girls) (Run the World (Girls), 2011). Discussion In this piece, we shall examine the performance under several headings, which we believe are constituent element of a dance. These elements include the setting, character roles, the dance itself (also referred to as the choreography), use of symbolism and (therefore in relation to) the message. 1. The Message The performance focuses on the feminine gender, reiterating their role as “those who run the one”. The piece is predominantly pro-feminine perhaps with the intention of intimating similar feelings and reactions within the greater female body in the world (especially those from within under-develop states) to the awakening of their strong role in progress and sustenance. It serves to motivate and persuade them to break free of the chains of male dominance and historically defined roles that have served only to further feminine inferiority and insignificance. 2. The Setting At the beginning of the performance, the setting is one of semi-arid vegetation surrounded by a mountain terrain visible towards the horizon. There is evidence of destruction of housing facilities creating the semblance of the consequences of an attack. This transits into one of an abandoned warehouse with sand covered floors. The setting throughout the performance shifts between these two settings. The significance of the first setting is to generate the impression of women as builders and in particular re-builders. It is an open secret that women are very industrious and it would take too much effort in fulfilling the same task repeatedly before giving up. The sand serves the purpose of creating analogy of women as sustainers of life similar to the earth. Despite significant developments in the field of medicine that can allow for test-tube babies, the female remains the primary bearer of life. In addition to this, she is (almost naturally) appointed the role of nurturing the new born and giving a strong foundation that will ultimately set the child off to the path of independence and self-sustenance. 3. The Costumes The costumes used in the dance have a variation from the traditional Asian sari (although with modern alterations) to police uniforms and anti-riot gear such as helmets, baton and shields. There is also the use of lingerie-like costumes mainly by the feminine participants in the dance transiting into what can best be described as a futuristic dress that seemingly is made out of metallic components. The purpose of the police uniform is to highlight the transiting roles of women into careers that were previously considered a male-oriented profession. It serves to encourage women to venture into any profession for which they have an interest in relying on the rallying cry that ‘what men can do; women can do better’. The revealing sensual costumes of the women display insight into the American culture where sexuality is an open phenomenon. The ‘feel good and express’ argument seems to hold water in this dance where the female participants vigorously make use of their costumes to this effect. We also observe that the color theme for the dance is red. The color has been used in many of the costumes worn by the participants. Recently, the color was used as a means of a uniting the voice of dissent against the ruling authority in Thailand (www.humblerooster.com, 2010). The color seemingly mastered the anger, courage and unity of the citizens against the military led government eventually leading to a democratic process that has seen the election to the highest seat of power handed to the Pheu Thai-the party that coordinated the red protests in 2010. Perhaps a similar effect was desired through the adoption of this color theme. The Asian-like costume may serve to target females in this part of the world. 4. The Roles The characters are drawn from both the male and female genders. There also is the use of animal characters in the dance. The male characters are portrayed as violent and aggressive through their anti-riot police gear. The female characters play the role of the dissenting group against the antagonistic male characters. The female character is presented as assertive with a clear vision of what they are capable of and want to become. This is constantly echoed throughout the dance. The use of animal characters serves a special role in relation to the general attributes of the particular animal. The use of the lion helps to represent the woman as a brave individual who does not wane in the face of disaster e.g. the destruction of the village and the violently dressed anti-riot policemen. The use of the buffalo presents the woman as enduring; a symbol of continuity within the family setting. The hyena despised for his scavenging attributes has also been used in the dance and ably put in chains. This perhaps may represent the dependence of the female gender on their counterpart especially in matters financial. It serves to encourage the breaking of this dependency by women. 5. Use of Symbolism The spinning tire represents the changing trends in roles of women in society. It is a wheel that must be encouraged to continue turning thereby, inspiring progress and development for both the feminine gender but the whole of mankind too. The cage has been used to showcase the historical injustice upon women through role discrimination where the woman was left to attend to housework and matters home. The use of the cross has also served the purpose of highlighting this “crucifixion” of the female gender by their male counterpart. 6. The choreography or dance movements There is a fine blend of American choreography and dance movements with the fast, rhythmic movements of the native South of Africa Zulu dancers (as seen in the leading two male dancers). This shows the warm integration or inclusion of dance from varied cultures providing a good basis for further social interactions. The vigorous shaking of the shoulders and swinging back and side-ways of the hair is a sign of dissent against male superiority. It encourages women to take a bolder active role in deciding their fate and in the overall process of development. The running into each other by the participants represents the conflict that arises in less developed states where women attempt to take a more pro-active and even equal role in their determination of their roles and careers. This is also in developed countries where the pursuit of career excellence versus bringing up a family is a serious source of conflicts in marriages and relationships. The clenching of fists high up in the air represents the resolve by women not to lurk in the shadows of their male counterparts. It is a call to women worldwide to stand firm for their principals and to pursue them in a more pro-active manner. Conclusion The performance piece serves to empower and encourage women worldwide to the realization that their desires are equally important as that of their male counterparts. They are called to action; to rise out of their historically confined roles of child-bearing and housekeeping and take up varied and greater roles within the society regardless of which part of the world one comes from. It is a call for them to “run the world”. The piece certainly delivers in inclusivity under the two areas of gender and race. Reference Dils, A. & Albright, A.C., 2001. Moving History/Dancing Cultures: A Dance History Reader. Wesleyan. Guida West, R.L.B., 1990. Women And Social Protest. Oxford University Press. Hanna, J.L., 1988. Dance, Sex, and Gender:Signs of Identity, Dominace, Defioanceand Desire. University of Chicago Press. Kassing, G., 2007. History of Dance: An Interactive Arts Approach. Human Kinetics. Labonte, R., 2004. Social inclusion/exclusion: dancing the dialectic. Oxford Journal of Medicine, pp.115-121. Michelle Zimbalist Rosaldo, L.L.J.B., 1974. Woman, Culture, and Society. Stanford University Press. Richard G. Kraus, S.C.H.B.D.G.B.D., 1991. History of the dance in art and education. Prentice Hall. Run the World (Girls). 2011. [DVD] Directed by Francis Lawrence. USA: Columbia. www.humblerooster.com, 2010. Red Shirt Protest. [Online] Available at: HYPERLINK "http://www.humblerooster.com/wp/photography/documentary/red-shirt-protest/" http://www.humblerooster.com/wp/photography/documentary/red-shirt-protest/ [Accessed 14 April 2012]. Read More