“He who knows only his own generation always remains a child.” This quote from George Norlin echoes the edification that cultural exposure can provide. How does African dance relate to modern dance? The two are so heterogeneous in their makeup that you wouldn't think they have any similarities. The truth, however, is that all dance forms are connected in one way or another; they all strengthen and refine each other. Modern dance has its roots in African dance with an emphasis on the connection between weight and gravity. Brenda Dixon Gottschild names five aesthetics present in African dance. One particular piece that draws attention to the relationship of the five aesthetics to modern dance is “Split Sides,” choreographed by Merce Cunningham. In the piece the dancer is very characteristic and powerful in his movements. He often holds positions in a position of asymmetry, a quality that comes from balancing ephebism. Ephebism is one of the five African aesthetics that applies vitality, power, flexibility, drive and attack in its movements. Maintaining the various positions requires great strength and demonstrates endurance similar to the strength and endurance needed for the long hours in which African dances are performed. Of course, stamina and strength for African dances require a much longer building period, however, training your body to maintain and sustain an unnatural position is no small feat. In addition to this characteristic of ephebism, the dancer's arm movements throughout the piece adhere to an attack such as a gasp or abrupt movement and further enhance the component of ephebism by creating the youthful movements to which the word ephebism is related. The flexibility in this dance piece is seen dramatically......center of the card......re of different dance cultures within the vocabulary of their scope, so the results would be so amazing to give that dancer an unexpressed quality that sets them apart from their peers. Knowledge of movement is cultural knowledge, and remembering that each culture is beautiful and different in its own way can help create a dancer that will resonate with any audience member. Works Cited “Split Sides.” dancecapsules.mercecunningham.org. Dance capsules. Network. November 15, 2013.Cunningham, Merce, dir. Merce Cunningham Dance Company at BAM: Split Sides. Perf. Silas Riener. BAM Organization, 2003. Web. 15 November 2013. Smith, Sophia. "Africanist Aesthetics in American Dance Forms." sophia.smith.edu. Np, April 13, 2012. Web. November 15, 2013. “George Norlin (1871-1942).” ucblibraries.colorado.edu. University Libraries, University of Colorado Boulder. Network. November 15 2013.