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African-American cultural dance has developed which Black American communities in everyday spaces, rather than in studios, schools or companies.〔Ross, Frank Russel. ''Soul Dancing! The Essential African American Cultural Dance Book''. Reston: National Dance Association, 2010.〕 these dances are usually centered on folk and social dance practice, though performance dance often supply complementary aspects to this. Placing great value on improvisation, these dances are characterized by ongoing change and development. There are a number of notable African-American modern dance companies using African-American cultural dance as an inspiration, amongst these are the Alvin Ailey American Dance Theater, Dance Theatre of Harlem, and Lula Washington Dance Theatre. == History == The Greater Chesapeake area encompassing Virginia, Maryland, and much of North Carolina was the earliest and perhaps most influential location of the black-while cultural interchange that produced "African-American" dance.〔Julie Malnig, ''Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader''. Edition: illustrated. University of Illinois Press. 2009. ISBN 9780252075650.〕 Captive Africans from numerous societies in several African regions began pouring into the area as slaves from the late 17th to the late 18th centuries. Given their cultural heterogeneity, including music and dance, they mostly likely learned to dance together by drawing on the "grammar of culture" shared across much of Western and Central Africa.〔 Something like a regional Chesapeake tradition, a thing entirely novel in European eyes, arose perhaps not long before the eighteenth century had become the nineteenth.〔 Within one or two generations of establishing these creolized African forms, or perhaps simultaneously, elements of European dances were added.〔 "Competitive individuality and () improvisation" were also Choreographic Elements of Seventeenth and Eighteenth Century West African Dance" that were continued in this region.〔Jurretta Jordan Heckscher, "All the Mazes of the Dance". PhD dissertation. 2000.〕 Based on the limited pictorial record, the typical African practice of bending emphatically at the waist and hips gave way to a more upright, European like style. This may have reflected the African practice of carrying heavy loads on the head, which requires a strong, balancing spine.〔 Black dancing continued strong preferences of other African characteristics such as angularity and asymmetry of body positions, multiple body rhythms or polyrhythms, and a low center of gravity.〔 Jig, Clog, and Break Down Dancing have been attributed to African Americans, although this is disputed.〔(''Jig, clog, and breakdown dancing'' ). New York: E. James, 1873.〕〔It should be noted, though, that Irish Jig and clogging were both in existence when, in the 1840s in the Five Points area of New York, occupied in part by many Irish, William Henry Lane, aka Masta Juba, combined the shuffle with the Irish jig, a style called a break-down, attracting attention from Charles Dickens who visited Charles Almakck, later called Pete Williams' place, a black American dance hall.〕 A visitor to the southern United States wrote that "Hornpipes, jigs, strathspeys, and reels Put life and mettle into their heels...No restraint of the etiquettish ball-room...What luxury of motion... This is ''dancing''. It knocks the spangles out of the ball-room." 〔Foster Rhea Dulles, ''A History of Recreation''. 1940. 1965. Appleton-Century-Crofts, p. 159. Library of Congress # 65-25489.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「African-American dance」の詳細全文を読む スポンサード リンク
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