Lindsay M.

Farr Dance History 2 April 2013 Dance Pride Cycle Cycles, or patterns, can be found in virtually every trend throughout historyfashion, politics, and entertainment. Even American fad dances are not exempt. As we study these cycles, we can find similarities within individual disciplines as well as in cross-disciplinary and interdisciplinary fields. Although few have recognized the association between dance styles and societal trends, an analysis of these styles offer surprisingly deep insight into a societys moral, social, and cultural patterns. If applied and understood, these dance patterns can be just as accurate in recognizing past events and predicting future trends as any other historical discipline. The Book of Mormon: Another Testament of Jesus Christ recounts the rise and fall of numerous early North American civilizationsthe largest of which was called the Nephites. The history of this mighty civilization, along with the histories of the other civilizations, peoples, and individuals recorded in The Book of Mormon, follow a repeating pattern of societal moral and ethical code often referred to by readers as the pride cycle (Welch). Quite simply, the pride cycle address the relationship between a societys pride, moral priorities, cultural practices, and temporal success. As asserted in the Book of Mormon, the more humble and moral a society is, the more temporal success they receive. However, the more temporal success they receive, the more prideful they become, resulting in moral decline. When the

immorality and recklessness leads to a dissolution of famililal and societal ties and destruction seems imminent, trust in temporality finally crumbles and the people humble themselves, receive more prosperous circumstances, and begin the cycle again. Although found in an ancient religious text, this cycle has proven to be applicable in societies past and present, not only in their moral, cultural, and temporal beliefs and practices, but in their dance forms. One of the clearest examples of the pride cycle in American society is exhibited in social dance styles and lifestyle practices of the 1920s. The 1920s instigated the rise, heyday, and decline of American flapper dance stylesrising during the post-World War I period of humility, peaking during the affluent early and mid 1920s, and declining following the 1929 Great Depression. This pattern, similar to the pride cycle found in the Book of Mormon, offers substantial insight into dance cycles and their moral, social, and cultural implications and similarities. As we explore dance styles in conjunction with the pride cycles defining characteristics, it becomes clear that the dance and pride cycles of the 1920s not only support one another, but are central in proving the others existence and impacting 1920 America. HUMILITY AND ADVANCEMENT The Great War of 1917 was a difficult period for the United States of America and her people. The sinking of The Lithuania not only preceded the United States declaration of war, but sunk her hopes of developing powerful international relations and worldwide prowess without being involved in international conflict. For the first time in United States history, Americans were no longer secluded to the

North American continent fighting North American battlesthey found themselves moving to the front and center of the worlds stage, a stage that, at least for the time being, appeared to be desecrated with the costs of war. It was a period of national humbling politically, socially, and economically. As the war came to a close and the world stage began to clear; however, what appeared to be desecration transformed into roads of opportunity. The humbling that occurred during the First World War prepared the United States for a political, social, and economic boom: national pride increased, social advancements flourished, and factories dedicated to producing ammunition and machinery during the war transformed overnight into factories producing the latest technology and modes of transportation. The late 1910s to the beginning of the 1920s was a period of new beginnings, brighter tomorrows, and hope in the future. Although the thoughts, opinions, and lifestyles of the turn of the century were more open and advanced than they were a mere ten years earlier, from todays perspective, 1910 America leading up to World War I would still be considered classically old fashioned. Womens skirt hems were rising, but only to the ankleboneanything shorter would have been considered publically inappropriate. Lighter, brighter colored, and more comfortable fabrics were being introduced, as were lower necklines; however, as far as womens fashion was concerned, more skin was covered than exposed. The beginning of the prohibition movement in 1918 ushered in some illegal alcohol production and consumption, but nothing like the speakeasies of the 1920s. Families were still relatively intact and the majority of Americans were religiously active. In fact, many Americans gave credit to Christianity

for the nation's prosperity, and they saw their own material successes as God's reward for their virtue, industry and thrift. (Smitha). Thus, the decade preceeding the 1920s could be considered one of moral awareness; though far from perfect, it was virtuous enough to maintain, or at least loosely adapt, the previous more rigid 19th century lifestyles. 1910 American dance styles were a reflection of the moral, social, and cultural state of individuals and society during this time period. Popular social dances included the waltz, tango, and cakewalk (Wikipedia). Although each of these social dances consist of different steps and rhythms and were derived from a variety of diverse backgrounds, their commonalities offer artistic insight and interpretation into cultural trends of the period. A common theme among all three dance styles was a sense of confined freedoma theme that would later be used to define the entire decade. They maintained the structure and dignity of 19th century dance forms while offering dancers the opportunity for occasional personal expression and interpretation. The waltz, although far from a new dance development, changed decade-bydecade and culture-by-culture according to the aesthetic preferences and societal tastes of its dancers. For this reason, the waltz is a consistent indicator of cultural changes and advancements. In general, the waltz is executed by a partnership distinguished by their proper alignment, rhythmic precision, elegance and floating grace (couple dance in the 1910s). In this regard, waltz styles of the early 1900s are no different. The flowing, yet controlled movement reflected the continuation of a very strict 19th century moral code focused on gender roles, social decency, and

humble morality. However, the decade of 1910 left its own mark on the waltz as moral and dance codes were modified to better fit modern times. This 1914 video clip of the Aeroplane Waltz is a prime example of the constrained freedom typical of the social dance forms and moral restraints of the 1910 era (Aeroplane Waltz). Although, like most social dances, the Aeroplane Waltz was a partner dance, there were occasional solo moments in which the partners would separate for a brief moment and execute unison steps side by side. This simple adaptation signified the slowly changing gender roles of the 20th century in which women, in both society and dance, were increasing in importance and equality. Dance figures continued to be distinct and methodic, yet there was a sense of artistic and personal interpretation that waltzes of the previous decade seemed to lack. Outstretched arms imitated the wings of an airplane in flight and heads floated airily as if positioned in the clouds. Thus, the Aeroplane Waltz and the 1910s were successfully able to maintain the refinement and moral soundness of previous decades while adapting and refining details to better fit their rapidly changing times and society. PRIDE AND PEAK Rapidly increasing technological and social advancements in the early 1920s led to the rise of a solid middle class and the development of a very affluent upper class. Money saved from the thrift and industry following the turn of the century was turned around and spent merely a decade later on lavish clothes, coveted automobiles, extravagant parties, and booze. As stated by historian, Ann Beth

Presley, From 1920 to 1930, the world was one big party (Presley 314). With car horns blaring, music blasting, and soaring laughter, the roaring 1920s began. The decade lived up to its nameorganized crime ran rampant, illegal bars were commonplace, and morality was on its decline (Price). Womens skirt hemlines, which were previously raised inch by inch, jumped from a foot to a foot and a half overnight, revealing the entire lower leg. Even masculine pajama suits and trousers became popular (Presley 314). Adultery and divorce rates skyrocketed. Illegal bars, known as speakeasies, thrived as alcoholism became more and more commonplace. Americans were fighting and partying their way to the top of the social ladder, trying anything and everything to rise above their neighbors, coworkers, and acquaintances in wealth, accomplishments, and social status. As it did in the decade previously, 1920s social dance styles became an artistic and social expression of the moral, social, and cultural lifestyles of Americans of the era. Dance steps became more self-expressive and playful. Body parts moved independently of each other and were less connected to the spine and center of the body. Dancers posture was no longer restricted to a straight upright line; rather, dance stance became twisted, off-balanced, and asymmetrical. Solo dancing was becoming more and more common and partner dancing was becoming less and less structured. Dance, in virtually every aspect, was moving away from what society previously defined it to be: a source of refinement and sophistication in which you could interact with other refined and sophisticated individuals. It became less involved in the process of social advancement, and more consumed with personal freedom of expression.

The Shag, Charleston, and Blackbottom were all very popular dances during the 1920s (Wikipedia). The Charleston and the Blackbottom could be performed as solos; in fact, it was more common for them to be performed individually than in their couple figures. The emphasis on individual movement and expression was a continuation of Americans growing independence: women felt more independent from their husbands, children felt more independent from their parents, and citizens felt more independent from the law and government. Thus, independence in dance and society abounded both inside and outside of American homes as freedom of movement and expression was popularized. The Blackbottom was a unique dance derived from African American slaves. Feet stomped, legs swung, and hips swiveled to an irregular rhythm as arms were raised in the air, circled, or flapped according to the dancers personal preference and style (Youtubeblackbottom). Due to its individualistic nature and every dancers personal interpretation, it was virtually impossible to inaccurately perform the Blackbottom. Dancers who felt confident and looked confident performing a series of loosely established dance steps were executing the Blackbottom correctly; a large percentage of correct execution was determined by dancing the Blackbottom in the manner and method that was right for the individual. Another distinctive characteristic of the Blackbottom was its sense of performance. Social dances of the previous decade were performed either for a partner or for an audience, whereas the Blackbottom was performed primarily for oneself. Large smiles, batting eyes, and a sense of flirtatiousness and playfulness portrayed the roaring 20s much more

appropriately than did the air of regal superiority common among dance styles of the early 1900s. DISAPPOINTMENT AND DECLINE The riotous living and loose lifestyles of the 1920s came to an abrupt halt in October of 1929 when the United States stock market crashed unexpectedly. The United States was plunged into a depression so serious that by 1932, 13 million Americans were unemployed (Goodson). Average Americans who had fretted over fashion and fortune in the 1920s couldnt afford excess food or clothes by the end of the frivolous short-lived decade. Fear swept the country as people scrambled from city to city in an attempt to find work. For the second time in a little over ten years, American citizens found themselves facing personal, national, and international crisis. The car horns, loud music, and parties of the previous decade quieted as Americans across the country focused on providing basic life necessities for themselves and their families. As national wealth decreased, so did American citizens personal pocketbooks. Their inability to purchase cars, clothes, and booze, and in some cases basic life necessities, compelled them to become more humble and simplify their previously extravagant wants and desires. As their expectations decreased so did their lasciviousness and pride; morality was once again a more driving force among American society. Personal freedoms and expression took a back seat to personal comfort and security. People sought familiarity and structure over the adventurous uncertainty that drove the 1920s, they wanted more food, not necessarily more fun.

Yet, even in the United States years of greatest depression and difficulty, dance continued to prevail among her people, but with a different face than it had showed the decade previous. Citizens desire for structure and certainty drove dance back to a more couple-oriented dance form. Partner dances kept the upbeat rhythms and quick steps inherited through the evolution and fusions of dance over the years; however, specific counts, steps, and figures were once again adopted and widely used as they were in the 1910s, unlike the wild interpretations and experimentation of dance steps in the 1920s. In this sense, the 1930s generated a more structured dance style from the ashes of the more free and rebellious flapper fad dances of the previous decade. Dance of the 1930s and 40s by no means returned to the dance style of 1910, but rather found a compromise between the sophistication, order, and structure of social dances from the turn of the century and the innovation and exploration that occurred among dance styles in the 1920s. A few popular dances from the 1930s included Swing, Tap, and the Jitterbug; however, the waltz along with a few other turn-of-the-century couple dances continued to be widely embraced (Wikipedia). These dances once again incorporated a more stable posture and structured spine; a solid body center provided the ability to execute quick, articulated footwork and flexibility in partnering. Although distal movement was more independent and alignment more asymmetrical from its 1910 social dance prototypes, movement was still motivated and executed by a solid, albeit more fluid, spine. The transition from flapper social dance styles of the 1920s to the swing dance styles of the 1930s could be described

from arbitrary to more coordinated and spontaneous to more orderly; the same adjectives could be used to describe the time period as well. In conclusion, as 1920s dance styles are analyzed from an interdisciplinary perspective, the influence of flapper social dance styles on the United States of America widens to include more than just artistic fads and trends of the period. The dance styles of both the previous and following decade along with moral, cultural, and social trends support the possibility of a dance cycle, similar to the pride cycle found in the Book of Mormon. Dance and society were more restrained, controlled, and partner-based during historical periods of humility, moral reasoning, and growth whereas it was more free, exploratory, and solo-based during periods of pride, moral questioning, and strength. Thus, such societal cycles are directly supported and influenced by the popular social dance forms of particular eras. This find is not restricted to just the 1920s; however, this dance cycle, once established in conjunction with the Book of Mormon pride cycle, can be used to address the moral, cultural, and social status of American periods at any time during history. For this reason, social dance forms are not only interesting to understand in regards to dance history, but essential to better understand U.S. history.

Works Cited Goodson, Steve. "The Great Depression." The Great Depression. The University of West Georgia, n.d. Web. 22 Apr. 2013. <http://www.westga.edu/~hgoodson/The Great Depression.htm>. Presley, Ann Beth. "Fifty Years of Change: Societal Attitudes and Womens Fashions1900-1950." The Historian 60.2 (1998): 307-24. Print. Price, Sean. "What Made the Twenties Roar?" Scholastic Update 131.10 (1999): n. pag. Print. Smitha, Frank E. "The United States: Morality, Feminism and Class, 1901 T0 1910." The United States: Morality, Feminism and Class, 1901 T0 1910. N.p., 2013. Web. 22 Mar. 2013. <http://www.fsmitha.com/h2/ch03-2.htm>. Welch. "Charting the Book of Mormon." Byustudies.byu.edu. Brigham Young University, 1999. Web. 22 Mar. 2013. <https://byustudies.byu.edu/book_of_mormon_charts/charts/144.pdf>. "Historical Dance." Wikipedia. Wikimedia Foundation, 27 Mar. 2013. Web. 22 Mar. 2013. <http://en.wikipedia.org/wiki/Historical_dance>. Couple dance in the 1910's. Fantastic style, film15. Huntley Film Archives, 2012 YouTube. Web. 22 Mar. 2013. <http://www.youtube.com/watch?v=MhmdPWo7mCQ>. The Aeroplane Waltz Dance (c. 1914). Sonny Watson, 2013. Youtube. Web. 22 Mar. 2013. <http://www.youtube.com/watch?v=HA_HLvV1Mag>. Black Bottom 1926, and The Black Bottom Dance. YouTube. YouTube, 06 Oct. 2010. Web. 22 Mar. 2013. <http://www.youtube.com/watch?v=jTR6xBeC2xA>.

The Black Bottom. YouTube. YouTube, 23 Oct. 2009. Web. 22 Mar. 2013. http://www.youtube.com/watch?v=n5UnEB23YCI