Level 1 Dance
External Exam Revision Resource
Contemporary and
Hip Hop
Dance Genres
Name _________________________ Form _________
Revision resource for External Exam 1.6 - Demonstrate knowledge of a
dance genre or style.
Exam content and context details
In this exam you will be given a question and answer booklet containing FOUR
questions, you are to answer THREE. Read all the instructions and questions
carefully before beginning to answer your chosen questions. You will be able
to answer questions in paragraphs or in bullet points. Ensure you include
specific examples to support all your answers. There will be space provided for
you to illustrate your answers with labelled stick figure diagrams. All your
answers, including sketches, must be in pen. You will be given some bullet
point suggestions in the questions, this should not limit your answers but should
be considered examples of what you may like to talk about.
Questions this year will focus on:
 the performance setting and the conventions (protocols) for performers
using this setting
 status of dancers within the dance genre/style and within society
 the use of body parts and the purpose of the dance genre/style
 movements that reflect the circumstances/conditions or what was
happening during a chosen time period
Achievement criteria
Achievement
Achievement with Merit
Achievement with
Excellence
Demonstrate knowledge of a
dance genre or style.
Demonstrate in-depth
knowledge of a dance genre
or style.
Demonstrate comprehensive
knowledge of a dance genre
or style.
To Achieve you need to:
 Use descriptions, diagrams and/or drawings to show your knowledge of
the features and/or the background of contemporary dance genre.
To gain Merit you need to:
 Use detailed descriptions, diagrams and/or drawings to show knowledge
of a number of aspects of features and/or background of contemporary
dance genre.
To gain Excellence you need to:
 Use detailed and thorough explanations to show knowledge of the
connection between features, or between a feature and the background or
context of contemporary dance genre.
Features of a dance genre include:
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characteristic movements
design elements
performers and/or practitioners
roles
setting
terminology
themes or ideas
variations within the genre or style
Background of the dance genre include:
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function
origin
purpose
setting
significance
status
Using supporting evidence to back up your statements is important, ensure
each time you make a statement you link it to a specific dance or
choreographer.
Contemporary Dance History
Contemporary Dance developed out of ideals found in Modern and Post-Modern Dance
styles. Modern being that which rejected the restraints of classical ballet, and Post-Modern
which celebrated everyday movement. Martha Graham preferred the term Contemporary
to Modern, as it is constantly evolving. Graham’s Contract and Release technique is widely
used across many different styles of contemporary dance, as is her use of Fall and Recovery.
As a contrast to classical ballet, with the emphasis on lightness and seemingly effortless
movement, contemporary dance uses weight and momentum. Contemporary dance is
constantly evolving and driven by the background of the choreographer which might also
include training in Ballet, Jazz or Kapa Haka.
Early pioneers of contemporary dance searched for ease of movement using the body’s
natural lines and energy, which allowed for greater range of movement. By working with
the bodies natural alignment it allows the dancers to push new boundaries in movement.
Contemporary dance expresses ideas through the whole body, and the movement uses
gravity, momentum, moving on and off balance and suspension. Dancers often have
contact with the floor and spatially make use of all levels.
Significant People and Groups
Isadora Duncan
Form the early 1900’s, Isadora danced barefoot and created a sensation. She rejected Ballet
to stress Improvisation, Emotion and Human form. Much of her work was based on Greek
Mythology and Renaissance Art. She dressed in scarves and Greek inspired tunics, and
danced with smooth, lyrical body motions. Duncan is just as famous for the tragic way she
died, by being strangled by her own scarf as it was caught in the wheel of a motorcar she
was travelling in.
Mary Wigman
German born choreographer interested in Human Emotions, Superstitions and
Relationships. She often wore masks and used tribal motifs in her dances.
Original New Dance Group (New York)
A political group inspired by the teachings of Mary Wigman. The New Dance Group was
established in 1932 by a group of artists and choreographers dedicated to social change
through dance and movement. Their philosophy attracted a wide student base of ordinary
workers and dancers. For a dime students received an hour long dance class, an hour of
improvisation based on a social theme, and an hour of discussion on social issues. New
Dance Group welcomed members of all races and religions at a time when American society
was laced with discrimination. From it’s inception, up until 1960’s, the New Dance Group
was a major hub of activity in the vibrant New York dance scene.
Martha Graham
Known for her dark themes and drab unflattering costumes. Her work was seen as ugly
initially compared to Duncan’s “Isadorabelles”. Graham portrayed real emotions not
fairytales and believed “Dance is the hidden language of the soul”.
New Dance Group (Wellington)
Many people believe that Modern Dance arrived in NZ with Limbs Dance Company in the
1970’s. Formed by idealist physical education students, who believed that society could be
challenged and reflected through dance, The New Dance Group pioneered modern dance in New
Zealand in the 1940s. It was controversial and many years ahead of its time. At the end of WW2,
they drew together ideas of American Modern Dance, NZ physical education and global anticapitalism. They saw dance as a way to express social issues, not just something appealing
to look at.
During the 1930’s – 50’s New Zealand Dance was influenced by German and American
dance innovators such as Isadora Duncan, Martha Graham and Mary Wigman, through the
arrival of European immigration.
The New Dance Group had a direct link with Martha Graham. When New Zealander Rona
Bailey (then Rona Stephenson) was in New York studying for a degree in Physical Education
in the 1930s, she took dance classes from Martha Graham and Doris Humphrey. Back home
in New Zealand she joined forces with Phillip Smithells, who had recently arrived from
England, to design the country's new Physical Education school syllabus. Smithells believed
passionately in the need for movement such as modern dance to be part of Physical
Education, and he persuaded some of his colleagues and students to get involved.
For three years the group's performances were a magnet for those in Wellington who
craved a taste of sophistication and novelty in the provincial, conservative atmosphere of
the 1940s. Modern dance, in a group that involved dancing in bare feet and tunics instead of
tutus was bound to be controversial. Rona Bailey and some of her friends already had a
colourful reputation for their interest in left-wing politics. The group used contemporary
situations and themes for their dances - from the factory production line, to the bombing of
Hiroshima.
Paul Taylor
Was a soloist in the Martha Graham Dance Company, before forming his own company in
1954. Doulgas Wright was a member of his company from 1983 -87.
Limbs Dance Company
Limbs, founded in 1977, was one of many dance companies started in NZ in the 1970’s. The
company studied clowning and based dances on popular themes that were entertaining and
assessable to the average New Zealander. By performing in streets, shopping malls and
touring all over New Zealand they brought Contemporary Dance to the mainstream public.
Limbs dancers achieved rock star status at the time and they are significant today for the
many choreographers and teachers still working and influencing another generation of
dancers. Limbs members include Douglas Wright, Catherine Chappell, Taiora Royal, Shona
McCullagh, Mary-Jane O’Reilly, Chris Jannides, Marianne Schultz, Joanna Kelly and Felicity
Molloy. Limbs folded in 1989 and since the demise there has not been a full-time
contemporary equivalent to the Royal New Zealand Ballet until 2012 when The New Zealand
Dance Company was formed.
Douglas Wright
Danced with Limbs, Paul Taylor Company and DV8 Physical Theatre (London).
Choreographed for Paul Taylor Dance Company and Limbs before forming Douglas Wright
Dance Company in 1989.
Black Grace
Formed in 1995 by Neil Ieremia and Taiora Royal. Started as an all male Pacific Island and
Maori dance company, that combined traditional and contemporary dance forms.
Catherine Chappell
Danced with Limbs from 1986-88. Studied Dance Ability (Integrated Dance) with Alito Alessi
in America. Formed Touch Compass Dance company in 1997 and is credited with pioneering
Contact Improvisation and Integrated Dance in New Zealand.
Shona McCullagh
One of New Zealand’s outstanding cross platform artists and the co-founder of The New
Zealand Dance Company, Shona McCullagh (MNZM, NZ Arts Laureate) is choreographer of
dance, theatre and film and also a director, dance filmmaker, teacher and interactive
installation artist.
As a choreographer she often works with NZ composers and has choreographed for Limbs,
Footnote, Douglas Wright Dance Company, The Royal New Zealand Ballet, Southern Lights,
tertiary institutes and her own company The Human Garden, which was established in 1992
and continued until 2007.
Awards include Metro Magazine’s Best Dancer (1988) North & South magazine’s feature on
“100 New Zealanders Who Made A Difference” (1999) and in 2000, she became a Member
of the New Zealand Order of Merit for her services to dance and in 2007 became an Arts
Laureate.
Atamira Dance Collective
Founded in 2000 as a platform for Maori dancers and choreographers to explore their
cultural heritage by Jack Gray, with core members Dolina Wehipeihana, Louise Poitiki Bryant
and Justine Hohaia. The four met during 1999 while Gray and Wehipeihana were studying
contemporary dance at UNITEC, subsequently becoming acquainted with Hohaia and Bryant
at a tertiary dance festival. At that point Bryant was studying Maori Studies at University of
Otago and Hohaia at Wellington’s New Zealand School Of Dance. Upon meeting Gray,
Wehipeihana and Hohaia, Bryant saw their love of dance and decided it was time for her to
follow her passion too, and gave up her studies to transfer to the dance programme at
UNITEC.
All dancers and choreographers involved with the company have links to New Zealand Iwi
and Atamira is a platform with which they can have a voice. In 2007 Atamira formed the
Atamira Dance Collective Charitable Trust to promote Maori contemporary dance. Moss
Patterson took over in 2010 as Artistic Director.
New Zealand Dance Company
Founded by Executive/Artistic Director Shona McCullagh and General Manager Frances
Turner,in 2012 the vision for The New Zealand Dance Company is to be a hotbed of creative
collaboration to inspire a dedicated and growing audience.
The company has been officially recognised by Creative New Zealand and will receive
generous funding each year over the next two years. Additionally, the development of
dynamic and significant partnerships with Designworks, UNITEC and Performing Arts Venue
THE EDGE, along with a 3 year sponsorship association with Westpac, has created a solid
foundation for the company to launch from.
Hip Hop History
Hip Hop began on the streets of the Bronx New York in the 1960’s. At the time the area was
dominated by gangs, and was a dangerous place to be if you were caught in a rival gangs
patch wearing the wrong colour. The Hip Hop movement replicated what had happened 30
years previously when the Lantino community had developed Mambo dance. Hip Hop
became an alternative to fighting and a way out of the drug and crime culture that was
prevalent. The development of Hip Hop included Dance, Music and Graffiti.
The Ghetto Brothers (Musicans)
Forming in the Bronx streets during the 1960s, they set out to eradicate pushers from their
neighborhood, cleaning up parks and garbage-strewn empty lots, and enlisting interest in
community involvement. “Choose guitars over guns, and let music be your mayhem.”
Hoe Avenue Peace Meeting on December 7, 1971 was called to propose a general truce and
an unprecedented inter-gang alliance. The impetus for the meeting was the murder of
"Black Benjie", a leader of the gang Ghetto Brothers. The meeting was a success but while
no lasting peace was ever established, a subsequent negotiation established a procedure for
dealing with conflicts to avoid street "warfare". The meeting is notable for being one of the
first attempts by street organizations to broker a truce between groups of different ethnic
backgrounds.
Kevin Donovan (born April 19, 1957), better known by the stage name Afrika Bambaataa, is
a DJ from the South Bronx. He is notable for releasing a series of genre defining electro
tracks in the 1980s that influenced the development of Hip Hop culture. Afrika Bambaataa
is one of the originators of break-beat.
Taki 183 (Graffiti Artist)
Sometimes called the Godfather of modern graffiti. He had a high profile due to an article in
the New York Times in 1971, which spurred many copy cat tags.
Zepher (Graffiti Artist)
Identified as a graffiti ‘elder’, Zepher was one of the first wave of graffiti artists to make the
transition to galleries, collectors and commercial work. Many of the styles and standards he
developed are still seen today.
Dondi (Graffiti Artist)
Possibly one of the most influential graffiti artists, he joined several gangs in the 1970’s to
avoid being attacked. His most famous work was Children of the Grave Parts 1, 2 and 3 –
which covered 3 whole cars on the New York Subway between 1978 and 1980.
Rock Steady Crew
The Rock Steady Crew was established in 1977 by Bronx b-boys Jimmy D and Jimmy Lee.
When they started in the Bronx they had no idea that someday it would take them all
around the world. They had rivals in all five boroughs of New York and for every rival there
were ten kids who wanted to join them. However, getting into the original crew was not
easy. To get in you had to battle one of the other b-boys in the crew. It was a competition
few people won.
Crazy Legs
President of the Rock Steady Crew, his real name is Richard Colon. He took the form to
London and Paris in 1983. He has won numerous awards for choreography.
The Lockers
Originally named The Campbell Lockers, they were formed by Toni Basil and Don Campbell
in 1971. Active throughout the 1970s, they were pioneers of street dance. Don Campbell is
the founder of the locking dance style and originally, Locking was called The Campbellock - a
style that was based on the dance and song that Don Campbell created. Toni Basil met
Campbell at a club in 1971 and together they formed The Lockers as a dance group. Toni
Basil also served as The Lockers' manager, and was responsible for staging the act.
The Electric Boogaloos
A group formed in 1977 by Boogaloo Sam, who had developed the styles of popping and
boogaloo, after seeing The Lockers performing.
Tommy the Clown
Known as the Father of Krumping, he developed the clowning style of dance that became
krumping. This was a response to the Los Angelos Riots of 1992, where 53 people died in
protests following the acquittal of four police officers for the beating of construction worker
Rodney King.
Parris Goebel and ReQuest
Goebel started dancing formally at the age of 10 and soon discovered a love of hip hop
music to express her style of dancing known as ‘Polyswagg’. At 15, she was offered a spot to
be part of another dance crew but declined to form her own crew, ReQuest, and opened
The Palace Dance Studio with the help of her father. Goebel led ReQuest to second place at
the Street Dance New Zealand (SDNZ) Nationals in 2007, which was the qualifying
competition for the Hip Hop International (HHI) World Championships. In 2008, she became
a show cast member with Monsters of Hip Hop, and is now a member of the Faculty that
teaches all through the USA.
ReQuest competed at the World Hip Hop Dance Championships in 2009, and in their debut
appearance they placed first in the Varsity Crews division in Las Vegas. In the same year,
they also placed first at the 2009 World Supremacy Battleground in the Varsity division in
Australia. ReQuest returned in 2010 competing in the Adult Crews division, dominating
competition along the way and went on to become the number one Adult crew in the
world, while becoming the first crew to win back-to-back gold medals and in both divisions.
In 2011, ReQuest was the second crew outside America to compete on MTV’s Americas Best
Dance Crew in Season 6. They were eliminated in Week 4 of the competition. ReQuest later
competed in the 2011 World Hip Hop Championships as defending champions, where all
five of Goebel’s crews from the Royal Family dominated over 37 countries altogether.
ReQuest won silver placing second behind U.K group Plague. Goebel’s Royal Family won four
medals in total for New Zealand with Bubblegum winning gold in the Junior Crews division,
Sorority winning gold in the Varsity Crews division, and Royal Family winning gold in the
Mega Crews division.
In 2012, Goebel was hired by Jennifer Lopez to choreograph her ‘Dance Again World Tour’,
and also performed with Lopez on the season 11 finale of American Idol, and featured in
Lopez’s music video for the single, ‘Goin In’. Goebel also performed during season 15 of the
US version of Dancing with the Stars, along with several members of ReQuest crew and the
Royal Family.
At the 2013 World Hip-Hop Dance Championship in Las Vegas, The Royal Family was
successful in defending its world championship title in the Mega Crew division for the third
year in a row, and last year’s gold medalists in the Junior division, Bubblegum, took silver
this year.
Goebel’s success has made The Palace Studios one of the top studios in the world, while at
the same time becoming one of the top choreographers in the world. Goebel has taught
throughout the USA, Europe, Asia, Australia and all throughout New Zealand.