Folk Dance Essay Example

behind these dances is to represent national or cultural traditions rather than an international tradition as a whole. It should be emphasized that being part of a particular ethnic group is not necessary for individuals participating in international folk dancing.

Dancing serves various purposes, including preservation, recreation, and performance. Different groups of dancers have unique approaches to dances and select different types. Recreational dancers unconsciously alter dances based on their preferences and natural changes that happen over time. On the other hand, performers favor dramatic, flamboyant, or athletic dances that frequently incorporate stylized techniques and exaggerated movements.

The selection and choreography of stage shows usually involve both recreational and performance dances, with a significant overlap between the two. Dancers in both categories commonly prioritize preserving dances due to their cultural importance. The dance culture of Trinidad and Tobago has been influenced by various sources throughout history, including Amerindians, colonial influences, West Africa, Northern India, and different parts of Europe.

During the 1930s, 40s, and 50s, ballet was limited to a specific group. Yet, Beryl Mc Burnie and Boscoe Holder transformed this scenario by incorporating Trinidad and Tobago folk dances into performances, thereby increasing the accessibility of formal dance. Gradually, formal dance became even more widely available. In the 1970s and 80s, Astor Johnson fused traditional movements with contemporary dance styles influenced by Graham and Horton techniques.

During the 1970s, other young modern dance performers and choreographers like Carol La Chapelle and Noble Douglas gained recognition. They were trained in Trinidad and Tobago as well as abroad and rose to prominence under Astor Johnson’s Repertory Dance Theatre. They later formed their own

dance companies, where they continue their careers as teachers, choreographers, and artistic directors. In the following decades, more young dancers had the chance to pursue their dance ambitions elsewhere. Many of them chose to study at renowned institutions like Juilliard and the Ailey School in New York.