| African dance's central trait is that it is diffused. This | | | | to work. African slaves in America were forbidden by |
| means that the body is infused with the entire | | | | their white masters to express their religion, social |
| rhythm of the dance and movement may start with | | | | and cultural practices and were made to follow |
| any part of the body (shoulders, chest, pelvis, arms, | | | | practices that were entirely alien to them. The |
| legs etc.) and naturally integrate the rest of the | | | | influence of their master's culture combined with their |
| body, very unlike other dances of the world wherein | | | | indigenous culture and produce new hybrid forms. |
| the body is treated as a "stiff" unit. Unlike the | | | | African American dance is normally not learned in |
| movement through space of the whole body that | | | | formal dance schools. Very young African American |
| plays the most important role in many European | | | | children often learn to dance as they grow up, |
| dances (e.g. Classical Ballet), the resulting complex | | | | developing not only a body awareness and |
| movements that seem to come from "inside" the | | | | coordination but also learning the soul and rhythm of |
| body is what makes African dance distinct. | | | | the dance which are particular to their community. |
| African American "vernacular dances" are | | | | These children learn to dance in a natural and social |
| characterized by ongoing change and development | | | | manner, by mimicking what they hear and see around |
| and places great value on improvisation. Vernacular | | | | them. Children learn specific dance steps or 'how to |
| dances are dances which have developed 'naturally' | | | | dance' from their families - most often from older |
| as a part of 'everyday' culture within a particular | | | | brothers and sisters, cousins or other older children. |
| community. This kind of dancing is very organic in the | | | | The natural progression from African Dance in Africa |
| sense that it adapts to changes in the environment. | | | | to African American Dance in America is a distinct |
| Because they exist in social spaces the main purpose | | | | and inevitable process of infusion of a culture |
| of African American dance is self-expression, they | | | | meeting another culture. The variety of dances that |
| are continually changing to reflect the needs, | | | | came out of this infusion can be seen in different |
| interests and personalities of their participants. | | | | regions of the United States. Stepping is a direct |
| Because these dances are vernacular, they have a | | | | product of that infusion and the movements |
| tendency to incorporate steps from other dance | | | | developed are uniquely African American. |
| traditions and any particular African American dance | | | | Stepping, as an art form, can not be anything but |
| shows clear evidence of its relationship to other, | | | | African American. The loose limbed movements and |
| earlier dances. | | | | rhythmic poundings of the dancer's body are |
| African American dance was a response to the | | | | indigenous to African culture. The factors (history, |
| conditions of slavery in the United States in the early | | | | religion and culture) that influenced stepping in its |
| 1600s. Life for African slaves in America was | | | | early stages of development have made it the |
| controlled mainly by slave owners or "masters" and | | | | unique, exciting dance it is now. |
| local communities in which these slaves were made | | | | |