"Dance as the narration of a magical story; that recites on lips, illuminates imaginations and embraces the most sacred depths of souls." ― Shah Asad Rizvi
Dance is an integral part of experiencing folk music. The prevalence of folk dancing in society can clearly be seen in Pittsburgh, where folk music exploded in 1960s during the social rights and women rights movements. The Pittsburgh Folk Music Society was created in the late 60s when local and traveling artists performed in George Balderose’s ten-bedroom mansion. Each artist would occupy a different room so guests could peruse the music and join when they wanted. A decade later the Calliope House was created as a formalized space for folk music and dancing, which was open to all cultures and genders. A song named “Calliope” was created whose lyrics were:
This house is haunted
This house is haunted
And it’ll make your
Blood run cold. (Balderose 3)
Despite these haunted sentiments, the Calliope house was truly a unique place where people of all kinds could participate in performing folk music. In the late ‘50s the annual Pittsburgh Folk Festival launched, which celebrated every culture’s folk music and dancing traditions. At this festival one can watch traditional Indian dances, coed Slovak dances, male Polish Polkas, female Irish dances and more. Dozens of ethnic folk-dance societies formed in the ‘50s and ‘60s such as the Lado National Folk Dance Society and the Pittsburgh Area Slovak Ensemble. Music and dance of every culture was celebrated in this city, no exclusions. During this time, the steel industry was still alive and well. As the Pittsburgh Magazinestates: “By the dawn of the 1960s, Pittsburgh was already rising to high noon in Renaissance I” (May 1). The National Organization for women had just launched in Pittsburgh, bringing women’s rights to its modern-day form. And because of this bolstering economic climate and growing acceptance of gender and cultural rights, the folk music scene was open to all. Women were welcome to participate in these folk concerts. Since the ‘60s women have been seen performing at the Calliope house, dancing with Lado society, and participating in the folk festivals. Although the city has faced its ups and downs since then, the prevalence of folk music and dance continues to flourish, constantly pushing boundaries and breaking norms. Phil Smith, a folk artist and professor emeritus at the University of Pittsburgh states:
Folk music in the broadest sense always has to include dance because people like to feel music by expressing it in movement. Dances account for a great deal of the instrumental music passed on in folk traditions…In Pittsburgh for the last 50-60 years there’s been an important dance component to the folk music scene. (Smith)
The original Calliope house served a perfect space to allow for interpretive dancing, encompassing the true culture of folk music. Pittsburgh’s rich culture of folk-music history continues to impact the city today. As Italo Calvino wrote regarding fictional cities in his book Invisible Cities:
The city, however, does not tell its past, but contains it like the lines of a hand, written in the corners of the street, the gratings of the windows, the banisters of the. Steps, the antennae of the lightning rods, the poles of the flags, every segment marked in turn with scratches, indentations, scrolls. (Calvino 11)
Pittsburgh’s cultural history cannot be removed from its roots. It is deeply ingrained in the city like scratches engraved in the pavement. The present moment is forever affected by where the city has been, which shapes where the city is going.
Gender Divide in Folk Dancing
Although dancing is a native form of expression for music, a sexist divide exists in the dance culture. “Ladies, don’t think, just follow” is a phrase used dozens of times a day in dance classes. These aren’t your typical ballet or rhythmic gymnastics classes where the female is encouraged as a solo artist. Rather, this phrase is exclusively used in traditional partner dances such as square dancing, polkas, waltzes, and any other kind of partner folk dance. In these dances, the man is known as the “lead” and the woman is the “follower.” Although dancing is at the heart of expressing folk music, a gender dichotomy exists that has extended through the modern day. One of the main characteristics that defines folk dances according to sociologist McNees is that “they are handed down from generation to generation” (McNees 4). Because of this, the sexist tendencies are passed down as well.
This type of culture is dangerous to many females, promoting the justification for a rape-culture in modern day America. Earlier this year, a Utah school implemented a rule where the girls had to accept the boy’s proposal to the dance. An article in CNN reports:
Natalie Richard was shocked when her sixth-grade daughter told her she couldn't refuse a dance with a boy at the upcoming dance. The teacher said she can’t. She has to say yes. (Zdanowicz 6)
After parent protests, this issue became national news and the school issued a public apology, explaining that they were trying to teach the children to be polite and include everyone. They quickly recanted their rule after the severe backlash. However, the rule cannot be ignored. Instead of teaching girls about inclusion and manners, the teachers were showing the girls that they have to say yes while teaching the boys that girls can’t say no. This gender dichotomy which is taught at a very young age supports a culture where girls have no consent in the situation. And when people try to fight it, they often deal with negative repercussions. An article in the National Post details:
A Toronto woman says she was kicked out of a modern jive class after trying to lead her male partner. (“Taking the Lead” 1)
And furthermore:
Zoe Balfour said she enjoys taking the leading role, but it’s not always welcomed in a class setting, even in a liberal city like San Francisco where she lives. (8)
Because these instances of sexism are taking place in a recreational facility, the marginalization of women is further complicated. Women don’t want to make a scene and ruin the class’s experience. The oppression of female rights is masked by the fun and alluring dance, and thus it feels inappropriate to be upset.
However the good news is that every day, women are pushing boundaries and fighting for equality. In the British television show Strictly Come Dancing, a female-duo is featured as dancers. And in California, same-sex ballroom dance clubs and competitions are opening their doors. While it’s not yet a social norm, women are slowly starting to take the lead dancing.
Works Cited
Balderose, George. “Calliope House History.” Calliopehouse.org, Pittsburgh Folk Music Society, 2018, calliopehouse.org/calliope-house-history-by-george-balderose/.
Calvino, Italo. Invisible Cities. Picador, 1979.
May, Mike. “Pittsburgh's Real '60s ‘Mad Men.’” Pittsburgh Magazine, WiesnerMedia, 26 Jan. 2010, www.pittsburghmagazine.com/Pittsburgh-Magazine/February-2010/Those-Soaring-60s/.
McNees, Pat. “Folk Dancing in the Capital Area.” Pat McNees, Folk Dancing, Contra Dancing, and Square Dancing, 1 Mar. 2018, www.patmcnees.com/folk_dancing_contra_dancing_and_square_dancing_32015.htm.
Rizvi, Shah Asad. “She’s Not the Jack of All, She’s the Master!” Talentraters.com, Talent Raters, 2017, www.talentraters.com/blog/shes-not-the-jack-of-all-shes-the-master.
Smith, Phil. “Folk Dance in Pittsburgh.” 8 Apr. 2018. Personal Interview.
“Taking the Lead: So You Think You Can Challenge Gender Roles in Dance?”National Post, 6 May 2012, nationalpost.com/news/canada/taking-the-lead-so-you-think-you-can-challenge-gender-roles-in-dance.
Zdanowicz, Christina. “A School Tells Girls They Can't Say No If a Boy Asks Them to Dance.” CNN, Cable News Network, 13 Feb. 2018, www.cnn.com/2018/02/13/health/utah-school-children-dance-trnd/index.html.