Friday, October 19, 2007

VOLLEYBALL


SportsKnowHow.com - VOLLEYBALL HISTORY- Page 1 of 2
The history of volleyball is closely linked to that of another popular court game. In fact, just eight miles and four years separate the historic development of volleyball and its cousin basketball.

A Game for the (Middle) Ages
In 1895, William G. Morgan was the education director as the Holyoke, Massachusetts, YMCA. Four years earlier, his colleague James Naismith had invented the game of basketball just down the road at the Springfield YMCA. Naismith’s game was catching on quickly but there was a drawback. Not everyone could keep up with the fast pace of basketball—and that was even before the fast break was created. Morgan needed a game that could be enjoyed by middle-aged men.

Morgan conceived a court game he originally called mintonette. He chose the name because his new sport was related to badminton. Mintonette was played on a court divided by a six-foot, six-inch net. Teams volleyed the ball back and forth across the net until one team missed. The first competitive game of volleyball was played July 7, 1896.

Things They Are a Changing…Quickly
Changes were immediately made to Morgan’s game. One of the first changes was the name itself. Alfred Halstead is credited with renaming the sport with the descriptive words “volley ball.” (Can you imagine Karch Kiraly playing for a gold medal in Olympic beach mintonette?) The number of players on each team also was limited. Originally, a team was allowed to have as many players as it could fit into its half of a 50- by 25-foot court. The number of players was set at nine per side and later reduced to six. Rotating players to various positions on the court has been part of the game from the beginning.

The number of times a team could touch the ball before it went over the net was eventually established at three. The first rules allowed an unlimited number of hits. The earliest games in Morgan’s gym were played with the rubber bladder from inside a basketball. Spalding made the first official volleyball in 1896. By 1900, the standard shape and weight of the ball were almost identical to those used today.

The height of the net was raised to make play more challenging. Today, the net is just under eight feet for men’s competition (2.43 meters) and just over seven feet (2.24 meters) for women’s. Under the original rules of volleyball, a team had to score 21 points to win a game. In 1917, that number was reduced to 15.

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Men play volleyball at a YMCA in 1918.
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This picture shows a 1945 intramural volleyball team from the University of Arizona.
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Giving the Game Away
YMCA workers took the game from Holyoke to US missionary schools in Asia. The game became very popular in the East as was played in the Oriental Games as early as 1913. Volleyball also caught on in Russia. When regular international competition began in the 1950s, Russia was the dominant team. During the World War I, United States troops introduced volleyball in Europe.

You know a sport has really arrived when official governing bodies are established. For volleyball, this happened in 1928 when the United States Volleyball Association was formed. The organization later became USA Volleyball. The Fédération Internationale de Volley-ball (FIVB) was founded in 1947. In 1949, the first men’s world championship tournament took place in Prague, Czechoslovakia.

Not Just for Middle-Aged Men
It quickly became apparent that volleyball had appeal far beyond the middle-aged men it was originally introduced to. Colleges and high schools began to adopt the sport for both men and women. Volleyball became the competitive fall sport for girls. The first US national volleyball championships for women were played in 1949, 54 years after women began competing in the game. The first international championships for women were played in 1952 in Moscow.

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The NCAA added a women’s volleyball championship in 1981. USC won the first women’s collegiate title.

The first men’s NCAA volleyball championship was played in 1970. UCLA won six of the first seven men’s volleyball titles.

NCAA Volleyball Champions (mens)
Year Champion
1970 UCLA
1971 UCLA
1972 UCLA
1973 San Deigo State
1974 UCLA
1975 UCLA
1976 UCLA
1977 Southern Cal
1978 Pepperdine
1979 UCLA
1980 Southern Cal
1981 UCLA
1982 UCLA
1983 UCLA
1984 UCLA
1985 Pepperdine
1986 Pepperdine
1987 UCLA
1988 Southern Cal
1989 UCLA
1990 Southern Cal
1991 Long Beach State
1992 Pepperdine
1993 UCLA
1994 Penn State
1995 UCLA
1996 UCLA
1997 Stanford
1998 UCLA
1999 Brigham Young
2000 UCLA
2001 Brigham Young
2002 Pepperdine
2003 Lewis
2004 Brigham Young
2005 Pepperdine

NCAA Volleyball Champions (Womens)
Year Champion
1981 Southen Cal
1982 Hawaii
1983 Hawaii
1984 UCLA
1985 Pacific
1986 Pacific
1987 Hawaii
1988 Texas
1989 Long Beach State
1990 UCLA
1991 UCLA
1992 Stanford
1993 Long Beach State
1994 Stanford
1995 Nebraska
1996 Stanford
1997 Stanford
1998 Long Beach State
1999 Penn State
2000 Nebraska
2001 Stanford
2002 Southern Cal
2003 Southern Cal
2004 Stanford
2005 Washington





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World War II POWs play a game of volleyball.
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Volleyball is played in a women’s gym class
circa 1950s.
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From the Gym to the Sand
In the 1940s, another style of volleyball was developing up and down the California coast. Teams of two or four players would square off on sand volleyball courts. Young and old players would form impromptu competitions on the beach. Spectators would often gather to watch the volleyball matches. Before long, the best teams were traveling up and down the coast to play in beach volleyball tournaments. The first two-man volleyball tournament was held at State Beach, California in 1943.

In 1965, The California Beach Volleyball Association was founded. It was responsible for standardizing the rules of the beach and for organizing official tournaments. By 1976, the very best players on the beach were competing for prize money as professionals. Male players formed the AVP, the Association of Volleyball Professionals, in 1983. Women beach volleyball players formed their own association in 1986.

When former college and Olympic indoor volleyball stars began playing on the beach the sport became even more popular. Beach volleyball spread from California to Florida and then to other states—even to some that don’t have beaches. In some areas, beach volleyball is played indoors in arenas filled with sand. By 1993, beach volleyball had become so popular in the United States, that tournaments were broadcast on national television.

In 1987, two-men beach volleyball teams competed in the first world championships. The first two-women’s world championships were played in 1993. Four-player beach teams became popular in the 1990s.

Volleyball Goes for the Gold
Today, men’s and women’s competition in both indoor and beach volleyball are part of the Olympic games. Indoor volleyball became an Olympic sport in 1964. The host team, Japan, won the women’s gold medal. In the first four women’s Olympic volleyball competitions, Japan and the Soviet Union met in the finals. The Soviets prevailed in 1968 and 1972. Japan won again in 1972.

In the men’s medal competition, the Soviet Union has been dominant. After winning gold at the first Olympic volleyball competition, the Soviet men won a medal in each of the next five Olympics they competed in—three golds, one silver and one bronze. The US men’s team won back-to-back gold medals in 1984 and 1988.

Beach Volleyball became on Olympic sport at the 1996 Atlanta games. The US, Brazil and Australia have been the teams to beat on Olympic sand.

Olympic Volleyball Champions
Year Mens Indoor Gold Womens Indoor Gold
1964 Soviet Union Japan
1968 Soviet Union Soviet Union
1972 Japan Soviet Union
1976 Poland Japan
1980 Soviet Union Soviet Union
1984 United States China
1988 United States Soviet Union
1992 Brazil Cuba
1996 Netherlands Cuba
2000 Yugoslavia Cuba
2004 Brazil China

Olympic Volleyball Champions
Year Mens Beach Gold Womens Beach Gold
1996 United States Brazil
2000 United States Australia
2004 Brazil United States


A Game for the Best
Hardly anyone watching the fast, powerful sport of modern volleyball would recognize it as a game originally designed as a less-strenuous form of recreation for middle-aged men. Today, some of the world’s very best athletes are digging, setting and spiking the ball in gyms and on beaches throughout the wor

SOCCER


SportsKnowHow.com - HISTORY OF SOCCER - Page 1 of 5
Soccer: Its Elementary and Its Popular
An object to kick.
A foot.
A goal.

The elements of soccer are really very simple which is one reason it is the most widely played sport in the world. Unlike basketball, no elevated hoop is necessary. A goal can be as simple as a defined space—the area between two trees or across a line drawn in chalk on a street. Unlike baseball, no equipment beyond a ball is required. Unlike American Football, the rules of soccer are few (17 to be exact) and relatively easy to understand.

The roots of soccer can be traced back to the Han Dynasty in second century China. The game tsu chu, or “kicking a ball,” was included in military physical training. An elaborate game of tsu chu was played on the emperor’s birthday. Teams would attempt to kick a feather-filled ball through a small goal that consisted of a net attached to bamboo poles. The stakes were high. Legends say the winners were treated to a feast while the losers were sometimes beheaded.

Kemari was played in Japan dating back to the seventh century. In this circular game, players had to pass the ball to each other without letting it touch the ground, similar in some ways to what we call hacky sack or footbag.

In 16th century Italy, a game called calico was played on holidays. Teams would gather in the city squares of Florence and Venice and compete in this game that involved kicking as well as handling the ball. Each team had 27 players who wore ornate costumes.

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England—The Birthplace of Soccer
Even though games that involved kicking a ball were played in other parts of the world, England is without doubt the birthplace of the game now known as soccer, or Association Football. (Trivia note: the word “soccer” is actually a shortened form of the word “association.”) You can even visit the actual birthplace of modern soccer—the Freemasons Tavern in London. It was here in 1863 that the Football Association was founded, but we’re getting ahead of ourselves.

Ancient England had its own form of a soccer-type game. The earliest English games may have been played to celebrate military victories. Some historians say that after a victory against the Danes, the English played a soccer-type game with the head of defeated prince. The real roots of soccer came not from the battlefields but from the streets of England and Scotland. Games of mob football were played in village streets and squares. Unlimited numbers of men from opposing villages would attempt to kick an inflated pig’s bladder. According to an early handbook, any means short of murder and manslaughter could be used to get the ball across the goal.

In spite of such “rules” these violent street games often did involve the injury and even death of both players and spectators. This led to the game being banned by the King. Even when it was illegal to play, people couldn’t help themselves; they just had to kick the ball. Despite laws and edicts, soccer-type games continued to be played for the next 500 years, particularly by working class men who played on Sundays, the one day each week they took off from the fields and factories.

A School Boy’s Game
In the 1820s, modern soccer began to take shape in the public schools of England. Schoolmasters recognized that the game promoted health and strength and could be “civilized.” So schools including Eton, Harrow, Rugby and Westminster began playing recreational games with a “ball” that was flat on both top and bottom. Each school developed their own rules and defined their own field of play. Before these schools began to organize the sport, matches were played in open spaces without boundaries.


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Edict of 1314 describing the prohobition of soccer by the King of England
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In 1846, Dr. Thomas Arnold of Rugby (the school that would give birth to the game of the same name) wrote down some of the first standardized rules. These rules allowed both kicking and carrying the ball. The rules also allowed players to intentionally kick an opponent in the shin or ankles, as long as you didn’t hold the opponent still while kicking him.

Schools remained deeply divided over the issue of whether or not players should be allowed to handle the ball. This issue would finally be settled in 1863.

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Laying Down the Law
Graduates of English schools wanted to continue to play ball-and-goal games so they began to form clubs. In 1862 some of the grads drew up the Cambridge Code—10 rules that allowed the ball to be handled only to stop it in the air and place it back on the ground.

On October 26, 1863, representatives from 11 schools and clubs met at the Freemasons Tavern to hash out official rules of the game. One club, Blackheath, eventually withdrew from the debates after the group voted not to allow running with the ball or hacking an opponent. When that decision was made, the break between the games that would become soccer and rugby became official. The remaining 10 representatives formed the Football Association and published the original 14 Laws of the Game in December 1863.

Remarkably, these first laws contained no mention of fouls, penalties or referees. Despite its violent heritage, soccer at this time was considered a gentlemen’s sport. No gentlemen, it was thought, would attempt to foul to gain an advantage. Early matches were officiated by two umpires, one provided by each team. In the 1880s, a referee was added to keep time and settle disputes. When a disagreement arose, umpires would refer to this official—hence the name “referee.” By 1891, the referee had been moved on to the field of play and the umpires had become linesmen. Today, linesmen are called assistant referees.

Today, there are 17 Laws of the Game that determine everything from the size of the pitch or playing field, to proper attire for soccer players (see sidebar), to number of players per side and the length of the game. The Laws of the Game are now preserved and modified when necessary by the International Football Association Board (

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Soccer Becomes a Worldwide Sport
Within eight years, the Football Association had 50 member clubs and inter-school inter-club matches were being played before enthusiastic spectators. The first Football Association League Cup was awarded in 1872.

In that same year, the first international match was played between Scotland and England. Some 2000 spectators watched the match that ended in a 0-0 tie. The Scots used a passing attack that was new to the English players who were used to muscling the ball up the field in what resembled a scrum. By the 1880s, teams of professional soccer players were forming in parts of Europe.

English colonists took soccer to the corners of the globe. Soon teams throughout Europe, in Africa, South America and New Zealand were playing the game.

In 1904, football associations from seven countries met in Paris and founded the Fédération Internationale de Football Association (FIFA). The original members of FIFA were Belgium, Denmark, France, The Netherlands, Spain, Sweden and Switzerland. Germany joined the federation immediately. Surprisingly, England originally snubbed FIFA, feeling that soccer was an English game and should be governed by the English Football Association. England joined FIFA in 1906 and an Englishman, Daniel Burley Woolfall became FIFA President. Today, FIFA has 205 member associations.

Determining the Best in the World
Nearly as soon as it was formed, FIFA began discussing holding a world championship tournament. The first World Cup competition came about in 1930 in Uruguay. Uruguay had won the Olympic soccer gold medals in both 1924 and 1928. There were no qualifying tournaments for the first World Cup, but only 13 countries decided to send teams on the long trip to South America. Uruguay won the first World Cup with a 4-2 defeat of Argentina in the final round.

To date, 17 World Cup trophies have been awarded in men’s competition and four in women’s. See the chart listing the World Cup Champions.

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English colonist spread the game of soccer throughout the world.
This picture shows a young men’s team in 1917 India.
(Click image to enlarge)


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FIFA Men's World Cup Champions
Year Champion Score
1930 Uruguay 4-2 over Argentina
1934 Italy 2-1 over Csechoslovakia
1938 Italy 4-2 over Hungary
1950 Uruguay 2-1 over Brazil
1954 Germany 3-2 over Hungary
1958 Brazil 5-2 over Sweden
1962 Brazil 3-1 over Czechoslovakia
1966 England 4-2 over Germany
1970 Brazil 4-1 over Italy
1974 Germany 2-1 over the Netherlands
1978 Argentina 3-1 over the Netherlands
1982 Italy 3-1 over Germany
1986 Argentina 3-2 over Germany
1990 Germany 1-0 over Argentina
1994 Brazil 3-2 over Italy
1998 France 3-0 over Brazil
2002 Brazil 2-0 over Germany

FIFA Women's World Cup Champions
Year Champion Score
1991 United States 2-1 over Norway
1995 Norway 2-0 over Germany
1999 United States 5-4 over China
2003 Germany 2-1 over Sweden

A League of Their Own
Frescos from third century China show women playing a soccer-type game. By the 17th century, women were playing organized soccer matches. In the town of Inveresk Scotland, records show that the married women beat the unmarried women in a football game.

Development of the women’s game was hampered somewhat by their attire. Women were originally required to wear bloomers and to keep their hair under caps. Fortunately this changed during the World War I. During the War, women’s teams attracted large crowds as they played exhibition games, sometimes against men.

The first women’s international match was played in 1920. An English team composed primarily of members of the famous Dick Kerrs Ladies beat Scotland 22-0. In 1921, an English women’s soccer match attracted 53,000 spectators. Unfortunately, the Football Association decided that women’s soccer was “distasteful” and banned women’s games from association pitches. Women formed their own association and began playing on rugby fields. The Football Associations ban against women was not lifted until 1971.

RUGBY


Would You Know a Scrum if You Saw One?

The scrum.
The try.
The lineout.

These sports terms may be relatively unfamiliar in North America, but much of the rest of the world knows exactly what they mean. They are key elements of rugby—a game that shares its earliest history with soccer and American football.

The history of rugby and these other ball games can trace its roots back to ancient England. As early as the 10th Century, great mobs would get involved in games that involved kicking and throwing an inflated pig bladder through town streets and squares. Villages would compete against each other and any means short of murder could be used to get the ball across the goal.

To no one’s surprise such games were frowned upon by ruling authorities. In the 12th and 13th Centuries, no less than nine European monarchs banned these ball games. The kings weren’t so much opposed to the violence and the property destruction, but to the distraction the games caused from military training.

The Legend of Rugby
In the late 1700 and early 1800s, a more civilized type of mob football was a common pastime at English boy’s schools. Such games had very loose rules, but it was apparently understood that running with ball was right out. According to legend, that changed in 1823 when young William Webb Ellis, a student at Rugby School, picked up the ball and ran toward the goal. After Webb’s scamper, the attitude among spectators and players seemed to be, “Forget the rules, running the ball is cool!” (We admit they most likely didn’t say “cool” in 1823, but you get the idea.)

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A player scores a try by grounding the ball across the opponent’s goal line.
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We will never know for sure if the legend of Webb Ellis and his jaunt down the field is completely true, but we do know that the debate over whether or not the ball should be carried continued for 40 years. On October 26, 1863, representatives from 11 schools and clubs met at the Freemason’s Tavern in London to once and for all hash out official rules of the game. One club, Blackheath, eventually withdrew from the debates after the group voted not to allow running with the ball or hacking an opponent. The other schools went on to form what became association football (soccer). The break between rugby and soccer was now official.

Laying Down the Law
Rugby students took the game, carrying the ball and all, with them when they graduated and soon rugby clubs were forming throughout England. The first known club in rugby history was started at Cambridge University in 1839. Matches were still played under fairly informal rules. In 1845, three Rugby School students established the first set of written rules. Still, not all clubs knew these rules or chose to abide by them. It was clear that if they game were to survive, some type of central organization was necessary.

In December 1870, Edwin Ash, secretary of the Richmond Rugby Club, placed a notice in the paper inviting all clubs to a meeting where the rules could be standardized. Twenty-two clubs attended the meeting and agreed to form the Rugby Football Union. By June 1871, the first formal set of rules in the history of rugby were called the 59 laws of the game. From that point they were written and adopted. (Quite a bit more complicated than soccer’s seven laws.)

TINNES


SportsKnowHow.com - TENNIS HISTORY - Page 1 of 3
The history of tennis goes all the way back to ancient Egypt and Persia where pictures indicate a type of game in which in ball was stroked over a net was played. The history of modern tennis officially began in 19th century Britain with a man named Major Walter Wingfield.

What a Name for a Game
“Hey, how about a game of sphairistike?”

Fortunately the game survived but the name did not. Major Wingfield chose sphairistike, a Greek word meaning “ball game,” for the game he sought to patent in 1874. Much of Wingfield’s “invention” was based on a game played in 13th Century France called jeu de paume—literally “game of the palm.” This game was played indoors by hitting a ball over a net with a bare hand. The game was a popular recreation among monks in their monasteries.

Jeu de Paume evolved into a game called real tennis or royal tennis that became popular among French royalty. In the early 1500s, the French monarch, Francis I even had a royal tennis court built on his personal battleship.

Tennis Anyone?
By the time Major Wingfield introduced his friends to sphairistike at a Christmas party, there is evidence that similar games were already being played in England. Major T.H. Gem of Britain and J.B. Perera of Spain had marked out a tennis court on a lawn as early as 1858. But they were not the one’s who wrote down what they had done and sought a patent, so today it is Wingfield who is considered the father of the game. (Note to self: be sure to write down all those games you’re dreaming up.)

The name “tennis” apparently also goes back to jeu de paume. The French would yell, “Tenetz!” before they hit the ball. The word means, “Take heed.”

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Prior to 1919, women played tennis in long sleeves and long skirts like these. The hats
were optional.
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You’d Recognize it If You Saw It
Major Wingfield’s game looked much like the tennis we know today. Two or four players with rackets (click here to learn more about the history of the tennis racket) played on a court that was shaped like an hourglass—narrower in the middle at the net and wider along the baselines. Historians report the height of the net as being from five to seven feet in Wingfield’s version of the game. Today, the top of the net is three feet high in the center of the court. Courts now are rectangular and measure 78 feet long and 27 feet wide for singles play and 36 feet wide for doubles.

Click to read about the history of tennis rackets

Lawn tennis, as it soon came to be called (the name sphairistike was quickly ditched even after it was shortened to, “sticky”) spread quickly through the upper and middle class of Britain. It was a popular party game. British army officers began to take the game to other parts of the world. Mary Outerbridge learned tennis from a British officer in Bermuda. In 1874, she brought the game, including the equipment, back to the New York where her brother set up a court at the Staten Island Cricket and Baseball Club. Tennis had come to America.

Not Just for Fun Anymore
Lawn Tennis was invented a social activity but it quickly evolved into a highly competitive game. The first United States tennis tournament dates back to August 1876 in Nahant, Massachusetts. Dr. James White, who owned the court, was the winner. The first tennis championship in England took place in 1877 sponsored by the All England Croquet Club at a little place called Wimbledon. In that first championship, only men’s singles were played. Spencer Gore won the tournament and took home the Silver Challenge Cup and a Gold Championship Prize worth 12 guineas (about $22). By comparison, Roger Federer, the 2004 Wimbledon champion won more than $1.08 million. The first recorded women’s tournament was played in Dublin in 1879 and won by May Langrishe. In 1884, women began to compete at Wimbledon.

BASKETBALL


Violations

The ball may be advanced toward the basket by being shot, passed between players, thrown, tapped, rolled or dribbled (bouncing the ball while running).

The ball must stay within the court; the last team to touch the ball before it travels out of bounds forfeits possession. The ball-handler may not move both feet without dribbling, known as traveling, nor may he dribble with both hands or catch the ball in between dribbles, a violation called double dribbling. A player's hand cannot be under the ball while dribbling; doing so is known as carrying the ball. A team, once having established ball control in the front half of the court, may not return the ball to the backcourt. The ball may not be kicked nor struck with the fist. A violation of these rules results in loss of possession, or, if committed by the defense, a reset of the shot clock.

There are limits imposed on the time taken before progressing the ball past halfway (8 seconds in international and NBA; 10 seconds in NCAA and high school), before attempting a shot (24 seconds in the NBA; 35 seconds in NCAA), holding the ball while closely guarded (5 seconds), and remaining in the restricted area (the lane, or "key") (3 seconds). These rules are designed to promote more offense. Note: most high school games do not employ a shot clock.

No player may interfere with the basket or ball on its downward flight to the basket, or while it is on the rim (or, in the NBA, while it is directly above the basket), a violation known as goaltending. If a defensive player goaltends, the attempted shot is considered to have been successful. If a teammate of the shooter goaltends, the basket is cancelled and play continues with the defensive team being given possession.

Points are scored by passing the ball through the basket from above; the team with more points at the end of the game wins. The ball can be advanced on the court by bouncing it (dribbling) or passing it between teammates. Disruptive physical contact (fouls) is not permitted and there are restrictions on how the ball can be handled (violations).

Through time, basketball has developed to involve common techniques of shooting, passing and dribbling, as well as players' positions, and offensive and defensive structures. While competitive basketball is carefully regulated, numerous variations of basketball have developed for casual play. In some countries, basketball is also a popular spectator sport.

While competitive basketball is primarily an indoor sport, played on a basketball court, less regulated variations have become exceedingly popular as an outdoor sport among both inner city and rural groups.

History
The first basketball court: Springfield College.
The first basketball court: Springfield College.

In early December 1891, Dr. James Naismith,[1] a Canadian physical education student and instructor at YMCA Training School[2] (today, Springfield College) in Springfield, Massachusetts, USA, sought a vigorous indoor game to keep his students occupied and at proper levels of fitness during the long New England winters. After rejecting other ideas as either too rough or poorly suited to walled-in gymnasiums, he wrote the basic rules and nailed a peach basket onto a 10-foot (3.05 m) elevated track. In contrast with modern basketball nets, this peach basket retained its bottom, so balls scored into the basket had to be poked out with a long dowel each time. A soccer ball was used to shoot goals. Whenever a person got the ball in the basket, they would give their team a point. Whichever team got the most points won the game. [3]

Naismith's handwritten diaries, discovered by his granddaughter in early 2006, indicate that he was nervous about the new game he had invented, which incorporated rules from a Canadian children's game called "Duck on a Rock", as many had failed before it. Naismith called the new game 'Basket Ball'.[4]

The first official basketball game was played in the YMCA gymnasium on January 20, 1892 with nine players, on a court just half the size of a present-day National Basketball Association (NBA) court. "Basket ball", the name suggested by one of Naismith's students, was popular from the beginning.

Women's basketball began in 1892 at Smith College when Senda Berenson, a physical education teacher, modified Naismith's rules for women.

Basketball's early adherents were dispatched to YMCAs throughout the United States, and it quickly spread through the USA and Canada. By 1895, it was well established at several women's high schools. While the YMCA was responsible for initially developing and spreading the game, within a decade it discouraged the new sport, as rough play and rowdy crowds began to detract from the YMCA's primary mission. However, other amateur sports clubs, colleges, and professional clubs quickly filled the void. In the years before World War I, the Amateur Athletic Union and the Intercollegiate Athletic Association of the United States (forerunner of the NCAA) vied for control over the rules for the game.

Basketball was originally played with an association football ball. The first balls made specifically for basketball were brown, and it was only in the late 1950s that Tony Hinkle, searching for a ball that would be more visible to players and spectators alike, introduced the orange ball that is now in common use.

Dribbling was not part of the original game except for the "bounce pass" to teammates. Passing the ball was the primary means of ball movement. Dribbling was eventually introduced but limited by the asymmetric shape of early balls. Dribbling only became a major part of the game around the 1950s as manufacturing improved the ball shape.

Basketball, netball, dodgeball, volleyball, and lacrosse are the only ball games which have been identified as being invented by North Americans. Other ball games, such as baseball and Canadian football, have Commonwealth of Nations, European, Asian or African connections.

Although there is no direct evidence as yet that the idea of basketball came from the ancient Mesoamerican ballgame, knowledge of that game had been available for at least 50 years prior to Naismith's creation in the writings of John Lloyd Stephens and Alexander von Humboldt. Stephen's works especially, which included drawings by Frederick Catherwood, were available at most educational institutions in the 19th century and also had wide popular circulation.

College basketball and early leagues

Naismith was instrumental in establishing college basketball. Naismith coached at University of Kansas for six years before handing the reins to renowned coach Phog Allen. Naismith's disciple Amos Alonzo Stagg brought basketball to the University of Chicago, while Adolph Rupp, a student of Naismith's at Kansas, enjoyed great success as coach at the University of Kentucky. In 1892, University of California and Miss Head's School, played the first women's inter-institutional game. Berenson's freshmen played the sophomore class in the first women's collegiate basketball game at Smith College, March 21, 1893. The same year, Mount Holyoke and Sophie Newcomb College (coached by Clara Gregory Baer) women began playing basketball. By 1895, the game had spread to colleges across the country, including Wellesley, Vassar and Bryn Mawr. The first intercollegiate women's game was on April 4, 1896. Stanford women played Berkeley, 9-on-9, ending in a 2-1 Stanford victory. In 1901, colleges, including the University of Chicago, Columbia University, Dartmouth College, University of Minnesota, the U.S. Naval Academy, the University of Utah and Yale University began sponsoring men's games. By 1910, frequent injuries on the men's courts prompted President Roosevelt to suggest that college basketball form a governing body. And the Intercollegiate Athletic Association of the United States (IAAUS) was created.

Teams abounded throughout the 1920s. There were hundreds of men's professional basketball teams in towns and cities all over the United States and little organization of the professional game. Players jumped from team to team and teams played in armories and smoky dance halls. Leagues came and went. And barnstorming squads such as the Original Celtics and two all African American teams, the New York Renaissance Five ("Rens") and (still in existence as of 2006) the Harlem Globetrotters played up to two hundred games a year on their national tours. Women's basketball was more structured. In 1905, the National Women's Basketball Committee's Executive Committee on Basket Ball Rules was created by the American Physical Education Association. These rules called for six to nine players per team and 11 officials. The International Women's Sports Federation (1924) included a women's basketball competition. 37 women's high school varsity basketball or state tournaments were held by 1925. And in 1926, the Amateur Athletic Union backed the first national women's basketball championship, complete with men's rules. The first women's AAU All-America team was chosen in 1929. Women's industrial leagues sprang up throughout the nation, producing famous athletes like Babe Didrikson of the Golden Cyclones and the All American Red Heads Team who competed against men's teams, using men's rules. By 1938, the women's national championship changed from a three-court game to two-court game with six players per team. The first men's national championship tournament, the National Association of Intercollegiate Basketball tournament, which still exists as the National Association of Intercollegiate Athletics (NAIA) tournament, was organized in 1937. The first national championship for NCAA teams, the National Invitation Tournament (NIT) in New York, was organized in 1938; the NCAA national tournament would begin one year later.

College basketball was rocked by gambling scandals from 1948 to 1951, when dozens of players from top teams were implicated in match fixing and point shaving. Partially spurred by an association with cheating, the NIT lost support to the NCAA tournament.

U.S. high school basketball

Before widespread school district consolidation, most United States high schools were far smaller than their present day counterparts. During the first decades of the 20th century, basketball quickly became the ideal interscholastic sport due to its modest equipment and personnel requirements. In the days before widespread television coverage of professional and college sports, the popularity of high school basketball was unrivaled in many parts of America.

Today virtually every high school in the United States fields a basketball team in varsity competition. Basketball's popularity remains high, both in rural areas where they carry the identification of the entire community, as well as at some larger schools known for their basketball teams where many players go on to participate at higher levels of competition after graduation. In the 2003–04 season, 1,002,797 boys and girls represented their schools in interscholastic basketball competition, according to the National Federation of State High School Associations. The states of Illinois, Indiana and Kentucky are particularly well known for their residents' devotion to high school basketball, commonly called Hoosier Hysteria in Indiana; the critically acclaimed film Hoosiers shows high school basketball's depth of meaning to these rural communities.

National Basketball Association

Main article: National Basketball Association

In 1946, the Basketball Association of America (BAA) was formed, organizing the top professional teams and leading to greater popularity of the professional game. The first game was played in Toronto, Canada between the Toronto Huskies and New York Knickerbockers on November 1, 1946. Three seasons later, in 1949, the BAA became the National Basketball Association (NBA). An upstart organization, the American Basketball Association, emerged in 1967 and briefly threatened the NBA's dominance until the rival leagues merged in 1976. Today the NBA is the top professional basketball league in the world in terms of popularity, salaries, talent, and level of competition.

The NBA has featured many famous players, including George Mikan, the first dominating "big man"; ball-handling wizard Bob Cousy and defensive genius Bill Russell of the Boston Celtics; Wilt Chamberlain, who originally played for the barnstorming Harlem Globetrotters; all-around stars Oscar Robertson and Jerry West; more recent big men Kareem Abdul-Jabbar and Karl Malone; playmaker John Stockton; crowd-pleasing forward Julius Erving; European stars Dirk Nowitzki and Drazen Petrovic and the three players who many credit with ushering the professional game to its highest level of popularity: Larry Bird, Earvin "Magic" Johnson, and Michael Jordan.

The NBA-backed Women's National Basketball Association (WNBA) began 1997. Though it had an insecure opening season, several marquee players (Sheryl Swoopes, Lisa Leslie and Sue Bird among others) helped the league's popularity and level of competition. Other professional women's basketball leagues in the United States, such as the American Basketball League (1996-1998), have folded in part because of the popularity of the WNBA.

In 2001, the NBA formed a developmental league, the NBDL. The league currently has eight teams, but added seven more for the 2006-2007 season.

International basketball



The International Basketball Federation was formed in 1932 by eight founding nations: Argentina, Czechoslovakia, Greece, Italy, Latvia, Portugal, Romania and Switzerland. At this time, the organization only oversaw amateur players. Its acronym, in French, was thus FIBA; the "A" standing for amateur.

Basketball was first included in the Olympic Games in 1936, although a demonstration tournament was held in 1904. This competition has usually been dominated by the United States, whose team has won all but three titles, the first loss in a controversial final game in Munich in 1972 against the Soviet Union. In 1950 the first FIBA World Championship for men was held in Argentina. Three years later, the first FIBA World Championship for Women was held in Chile. Women's basketball was added to the Olympics in 1976, with teams such as Brazil and Australia rivaling the American squads.

FIBA dropped the distinction between amateur and professional players in 1989, and in 1992, professional players played for the first time in the Olympic Games. The United States' dominance continued with the introduction of their Dream Team. However, with developing programs elsewhere, other national teams started to beat the United States. A team made entirely of NBA players finished sixth in the 2002 World Championships in Indianapolis, behind Yugoslavia, Argentina, Germany, New Zealand and Spain. In the 2004 Athens Olympics, the United States suffered its first Olympic loss while using professional players, falling to Puerto Rico (in a 19-point loss) and Lithuania in group games, and being eliminated in the semifinals by Argentina. It eventually won the bronze medal defeating Lithuania, finishing behind Argentina and Italy.

Worldwide, basketball tournaments are held for boys and girls of all age levels. The global popularity of the sport is reflected in the nationalities represented in the NBA. Players from all over the globe can be found in NBA teams. Chicago Bulls star forward Luol Deng is a Sudanese refugee who settled in Great Britain; Steve Nash, who won the 2005 and 2006 NBA MVP award, is Canadian; Kobe Bryant is an American who spent much of his childhood in Italy; Dallas Mavericks superstar and 2007 NBA MVP Dirk Nowitzki is German; All-Star Pau Gasol of the Memphis Grizzlies is from Spain; 2005 NBA Draft top overall pick Andrew Bogut of the Milwaukee Bucks is Australian; 2006 NBA Draft top overall pick Andrea Bargnani of the Toronto Raptors is from Italy; Houston Rockets Center Yao Ming is from China; Cleveland Cavaliers big man Zydrunas Ilgauskas is Lithuanian; and the San Antonio Spurs feature Tim Duncan of the U.S. Virgin Islands, Manu Ginobili of Argentina (like Chicago Bulls player Andrés Nocioni) and Tony Parker of France. (Duncan competes for the United States internationally, as the Virgin Islands did not field a basketball team for international competition until well after Duncan started playing internationally, and all U.S. Virgin Islands natives are United States citizens by birth.)

The all-tournament teams at the two most recent FIBA World Championships, held in 2002 in Indianapolis and 2006 in Japan, demonstrate the globalization of the game equally dramatically. Only one member of either team was American, namely Carmelo Anthony in 2006. The 2002 team featured Nowitzki, Ginobili, Peja Stojakovic of Yugoslavia (now of Serbia), Yao Ming of China, and Pero Cameron of New Zealand. Ginobili also made the 2006 team; the other members were Anthony, Gasol, his Spanish teammate Jorge Garbajosa and Theodoros Papaloukas of Greece. The only players on either team to never have joined the NBA are Cameron and Papaloukas. The only Japanese NBA player is Kenny Nakazawa.

Rules and regulations

Main article: Rules of basketball

Measurements and time limits discussed in this section often vary among tournaments and organizations; international and NBA rules are used in this section.

The object of the game is to outscore one's opponents by throwing the ball through the opponents' basket from above while preventing the opponents from doing so on their own. An attempt to score in this way is called a shot. A successful shot is worth two points, or three points if it is taken from beyond the three-point arc which is 6.25 meters (20 ft 6 in) from the basket in international games and 23 ft 9 in (7.24 m) in NBA games.

Playing regulations

Games are played in four quarters of 10 (international) or 12 minutes (NBA). College games use two 20 minute halves while most high school games use eight minute quarters. Fifteen minutes are allowed for a half-time break, and two minutes are allowed at the other breaks. Overtime periods are five minutes long. Teams exchange baskets for the second half. The time allowed is actual playing time; the clock is stopped while the play is not active. Therefore, games generally take much longer to complete than the allotted game time, typically about two hours.

Five players from each team (out of a twelve player roster) may be on the court at one time. Substitutions are unlimited but can only be done when play is stopped. Teams also have a coach, who oversees the development and strategies of the team, and other team personnel such as assistant coaches, managers, statisticians, doctors and trainers.

For both men's and women's teams, a standard uniform consists of a pair of shorts and a jersey with a clearly visible number, unique within the team, printed on both the front and back. Players wear high-top sneakers that provide extra ankle support. Typically, team names, players' names and, outside of North America, sponsors are printed on the uniforms.

A limited number of time-outs, clock stoppages requested by a coach for a short meeting with the players, are allowed. They generally last no longer than one minute unless, for televised games, a commercial break is needed.

The game is controlled by the officials consisting of the referee ("crew chief" in the NBA), one or two umpires ("referees" in the NBA) and the table officials. For both college and the NBA there are a total of three referees on the court. The table officials are responsible for keeping track of each teams scoring, timekeeping, individual and team fouls, player substitutions, team possession arrow, and the shot clock.

Equipment
Traditional eight-panel basketball
Traditional eight-panel basketball
A diagram of a FIBA basketball court.
A diagram of a FIBA basketball court.

The only essential equipment in basketball is the basketball and the court: a flat, rectangular surface with baskets at opposite ends. Competitive levels require the use of more equipment such as clocks, scoresheets, scoreboard(s), alternating possession arrows, and whistle-operated stop-clock systems.

A regulation basketball court in international games is 28 by 15 meters (approx. 92 by 49 ft) and in the NBA is 94 by 50 feet (29 by 15 m). Most courts are made of wood. A steel basket with net and backboard hang over each end of the court. At almost all levels of competition, the top of the rim is exactly 10 feet (3.05 m) above the court and 4 feet (1.2 m) inside the baseline. While variation is possible in the dimensions of the court and backboard, it is considered important for the basket to be of the correct height; a rim that is off by but a few inches can have an adverse effect on shooting.

Fouls


Main articles: Personal foul, Technical foul

The referee signals that a foul has been committed.
The referee signals that a foul has been committed.

An attempt to unfairly disadvantage an opponent through physical contact is illegal and is called a foul. These are most commonly committed by defensive players; however, they can be committed by offensive players as well. Players who are fouled either receive the ball to pass inbounds again, or receive one or more free throws if they are fouled in the act of shooting, depending on whether the shot was successful. One point is awarded for making a free throw, which is attempted from a line 15 feet (4.5 m) from the basket.

The referee may use discretion in calling fouls (for example, by considering whether an unfair advantage was gained), sometimes making fouls controversial calls. The calling of fouls can vary between games, leagues and even between referees.

A player or coach who shows poor sportsmanship, for instance, by arguing with a referee or by fighting with another player, can be charged with a more serious foul called a technical foul. The penalty involves free throws (which unlike a personal foul, the other team can choose who they want to shoot the free throws) and varies between leagues. Repeated incidents can result in disqualification. Blatant fouls with excessive contact or that are not an attempt to play the ball are called unsportsmanlike fouls (or flagrant fouls in the NBA) and typically will result in ejection.

If a team surpasses a preset limit of team fouls in a given period (quarter or half) – four for NBA and international games – the opposing team is awarded one or two free throws on all subsequent fouls for that period, the number depending on the league. In the US college game if a team surpasses 7 fouls in the half the opposing team is awarded a one-and-one free throw (make the first you have a chance at a second). If a team surpasses 10 fouls in the half the opposing team is awarded two free throws on all subsequent fouls for the half. A player who commits five fouls, including technical fouls, in one game (six in some professional leagues, including the NBA) is not allowed to participate for the rest of the game, and is described as having "fouled out".

After a team has committed a specified number of fouls, it is said to be "in the penalty". On scoreboards, this is usually signified with an indicator light reading "Bonus" or "Penalty" with an illuminated directional arrow indicating that team is to receive free throws when fouled by the opposing team. (Some scoreboards also indicate the number of fouls committed.)

The number of free throws awarded increases with the number of fouls committed. Initially, one shot is awarded, but after a certain number of additional fouls are committed the opposing team may receive (a) one shot with a chance for a second shot if the first shot is made, called shooting "one-and-one", or (b) two shots. If a team misses the first shot (or "front end") of a one-and-one situation, the opposing team may reclaim possession of the ball and continue play. If a team misses the first shot of a two-shot situation, the opposing team must wait for the completion of the second shot before attempting to reclaim possession of the ball and continuing play.

If a player is fouled while attempting a shot and the shot is unsuccessful, the player is awarded a number of free throws equal to the value of the attempted shot. A player fouled while attempting a regular two-point shot, then, receives two shots. A player fouled while attempting a three-point shot, on the other hand, receives three shots.

If a player is fouled while attempting a shot and the shot is successful, typically the player will be awarded one additional free throw for one point. In combination with a regular shot, this is called a "three-point play" because of the basket made at the time of the foul (2 points) and the additional free throw (1 point). Four-point plays, while rare, can also occur.

Common techniques and practices

Positions and structures
Basketball positions in the offensive zone
Basketball positions in the offensive zone

Although the rules do not specify any positions whatsoever, they have evolved as part of basketball. During the first five decades of basketball's evolution, one guard, two forwards, and two centers or two guards, two forwards, and one center were used. Since the 1980s, more specific positions have evolved, namely:

1. point guard: usually the fastest player on the team, organizes the team's offense by controlling the ball and making sure that it gets to the right player at the right time
2. shooting guard: creates a high volume of shots on offense; guards the opponent's best perimeter player on defense
3. small forward: often primarily responsible for scoring points via cuts to the basket and dribble penetration; on defense seeks rebounds and steals, but sometimes plays more actively
4. power forward: plays offensively often with his back to the basket; on defense, plays under the basket (in a zone defense) or against the opposing power forward (in man-to-man defense)
5. center: uses size to score (on offense), to protect the basket closely (on defense), or to rebound.

The above descriptions are flexible. On some occasions, teams will choose to use a three guard offense, replacing one of the forwards or the center with a third guard. The most commonly interchanged positions are point guard and shooting guard, especially if both players have good leadership and ball handling skills.

There are two main defensive strategies: zone defense and man-to-man defense. Zone defense involves players in defensive positions guarding whichever opponent is in their zone. In man-to-man defense, each defensive player guards a specific opponent and tries to prevent him from taking action.

Offensive plays are more varied, normally involving planned passes and movement by players without the ball. A quick movement by an offensive player without the ball to gain an advantageous position is a cut. A legal attempt by an offensive player to stop an opponent from guarding a teammate, by standing in the defender's way such that the teammate cuts next to him, is a screen or pick. The two plays are combined in the pick and roll, in which a player sets a pick and then "rolls" away from the pick towards the basket. Screens and cuts are very important in offensive plays; these allow the quick passes and teamwork which can lead to a successful basket. Teams almost always have several offensive plays planned to ensure their movement is not predictable. On court, the point guard is usually responsible for indicating which play will occur.

Defensive and offensive structures, and positions, are more emphasized in higher levels in basketball; it is these that a coach normally requests a time-out to discuss.

Shooting
Player releases a short jump shot, while her defender is either knocked down, or trying to "take a charge."
Player releases a short jump shot, while her defender is either knocked down, or trying to "take a charge."

Shooting is the act of attempting to score points by throwing the ball through the basket. While methods can vary with players and situations, the most common technique can be outlined here.

The player should be positioned facing the basket with feet about shoulder-width apart, knees slightly bent, and back straight. The player holds the ball to rest in the dominant hand's fingertips (the shooting arm) slightly above the head, with the other hand on the side of the ball. To aim the ball, the player's elbow should be aligned vertically, with the forearm facing in the direction of the basket. The ball is shot by bending and extending the knees and extending the shooting arm to become straight; the ball rolls off the finger tips while the wrist completes a full downward flex motion. When the shooting arm is stationary for a moment after the ball released, it is known as a follow-through; it is incorporated to maintain accuracy. Generally, the non-shooting arm is used only to guide the shot, not to power it.

Players often try to put a steady backspin on the ball to deaden its impact with the rim. The ideal trajectory of the shot is somewhat arguable, but generally coaches will profess proper arch. Most players shoot directly into the basket, but shooters may use the backboard to redirect the ball into the basket.

The two most common shots that use the above described set up are the set shot and the jump shot. The set shot is taken from a standing position, with neither foot leaving the floor, typically used for free throws. The jump shot is taken while in mid-air, near the top of the jump. This provides much greater power and range, and it also allows the player to elevate over the defender. Failure to release the ball before returning the feet to the ground is a traveling violation.

Another common shot is called the layup. This shot requires the player to be in motion toward the basket, and to "lay" the ball "up" and into the basket, typically off the backboard (the backboard-free, underhand version is called a finger roll). The most crowd-pleasing, and typically highest-percentage accuracy shot is the slam dunk, in which the player jumps very high, and throws the ball downward, straight through the hoop.

A shot that misses both the rim and the backboard completely is referred to as an air ball. A particularly bad shot, or one that only hits the backboard, is jocularly called a brick.

Rebounding

Main article: Rebound (basketball)

The objective of rebounding is to successfully gain possession of the basketball after a missed field goal or free throw, as it rebounds from the hoop or backboard. This plays a major role in the game, as most possessions end when a team misses a shot. There are two categories of rebounds: offensive rebounds, in which the ball is recovered by the offensive side and does not change possession, and defensive rebounds, in which the defending team gains possession of the loose ball. The majority of rebounds are defensive, as the team on defense tends to be in better position to recover missed shots.

Passing

See also: Assist (basketball)

A pass is a method of moving the ball between players. Most passes are accompanied by a step forward to increase power and are followed through with the hands to ensure accuracy.

A staple pass is the chest pass. The ball is passed directly from the passer's chest to the receiver's chest. A proper chest pass involves an outward snap of the thumbs to add velocity and leaves the defense little time to react.

Another type of pass is the bounce pass. Here, the passer bounces the ball crisply about two-thirds of the way from his own chest to the receiver. The ball strikes the court and bounces up toward the receiver. The bounce pass takes longer to complete than the chest pass, but it is also harder for the opposing team to intercept (kicking the ball deliberately is a violation). Thus, players often use the bounce pass in crowded moments, or to pass around a defender.

The overhead pass is used to pass the ball over a defender. The ball is released while over the passer's head.

The outlet pass occurs after a team gets a defensive rebound. The next pass after the rebound is the outlet pass.

The crucial aspect of any good pass is being impossible to intercept. Good passers can pass the ball with great accuracy and touch and know exactly where each of their teammates like to receive the ball. A special way of doing this is passing the ball without looking at the receiving teammate. This is called a no-look pass.

Another advanced style of passing is the behind-the-back pass which, as the description implies, involves throwing the ball behind the passer's back to a teammate. Although some players can perform them effectively, many coaches discourage no-look or behind-the-back passes, believing them to be fundamentally unsound, difficult to control, and more likely to result in turnovers or violations.

Dribbling
A U.S. Naval Academy ("Navy") player, left, posts up a U.S. Military Academy ("Army") defender
A U.S. Naval Academy ("Navy") player, left, posts up a U.S. Military Academy ("Army") defender

Main article: Dribble

Dribbling is the act of bouncing the ball continuously, and is a requirement for a player to take steps with the ball. To dribble, a player pushes the ball down towards the ground rather than patting it; this ensures greater control.

When dribbling past an opponent, the dribbler should dribble with the hand farthest from the opponent, making it more difficult for the defensive player to get to the ball. It is therefore important for a player to be able to dribble competently with both hands.

Good dribblers (or "ball handlers") tend to bounce the ball low to the ground, reducing the travel from the floor to the hand, making it more difficult for the defender to "steal" the ball. Additionally, good ball handlers frequently dribble behind their backs, between their legs, and change hands and directions of the dribble frequently, making a less predictable dribbling pattern that is more difficult to defend, this is called a crossover which is the most effective way to pass defenders while dribbling.

A skilled player can dribble without watching the ball, using the dribbling motion or peripheral vision to keep track of the ball's location. By not having to focus on the ball, a player can look for teammates or scoring opportunities, as well as avoid the danger of someone stealing the ball from him/her.


Height

At the professional level, most male players are above 1.90 meters (6 ft 3 in) and most women above 1.70 meters (5 ft 7 in). Guards, for whom physical coordination and ball-handling skills are crucial, tend to be the smallest players. Almost all forwards in the men's pro leagues are 2 meters (6 ft 6 in) or taller. Most centers are over 2.1 meters (6 ft 10 in) tall. According to a survey given to all NBA teams, the average height of all NBA players is just under 6 ft 7 in (2.01 m), with the average weight being close to 222 lb (101 kg). The tallest players ever in the NBA were Manute Bol and Gheorghe Mureşan, who were both 2.31 m (7 ft 7 in) tall. The tallest current NBA player is Yao Ming, who stands at 2.29 m (7 ft 6 in).

The shortest player ever to play in the NBA is Muggsy Bogues at 1.60 meters (5 ft 3 in). Other short players have thrived at the pro level. Anthony "Spud" Webb was just 5 feet 7 inches (1.70 m) tall, but had a 42-inch (1.07 m) vertical leap, giving him significant height when jumping. The shortest player in the NBA today is Earl Boykins at 5 feet 5 inches (1.65 m). While shorter players are often not very good at defending against shooting, their ability to navigate quickly through crowded areas of the court and steal the ball by reaching low are strengths.

Variations and similar games

Main article: Variations of basketball

Variations of basketball are activities based on the game of basketball, using common basketball skills and equipment (primarily the ball and basket). Some variations are only superficial rules changes, while others are distinct games with varying degrees of basketball influences. Other variations include children's games, contests or activities meant to help players reinforce skills.

Wheelchair basketball is played on specially designed wheelchairs for the physically impaired. The world governing body of wheelchair basketball is the International Wheelchair Basketball Federation [5] (IWBF). Water basketball, played in a swimming pool, merges basketball and water polo rules. Beach basketball is played in a circular court with no backboard on the goal, no out-of-bounds rule with the ball movement to be done via passes or 2 1/2 steps, as dribbling is not allowed.[6]

There are many variations as well played in informal settings without referees or strict rules. Perhaps the single most common variation is the half court game. Only one basket is used, and the ball must be "cleared" - passed or dribbled outside the half-court or three-point line - each time possession of the ball changes from one team to the other. Half-court games require less cardiovascular stamina, since players need not run back and forth a full court. Half-court games also raise the number of players that can use a court, an important benefit when many players want to play.

A popular version of the half-court game is 21. Two-point shots count as two points and shots from behind the three-point line count three. A player who makes a basket is awarded up to three extra free throws (or unlimited if you are playing "all day"), worth the usual one point. When a shot is missed, if one of the other players tips the ball in with two while it is in the air, the score of the player who missed the shot goes back to zero, or if they have surpassed 13, their score goes back to 13. This is called a "tip". If a missed shot is "tipped" in, but the player who tips it in only uses one hand, then the player who shot it is out of the game and has to catch an air ball to get back in. The first player to reach exactly 21 points wins. If they go over, their score goes back to 13. Jonathan

Other variations include streetball, knockout, and one-on-one; a variation in which two players will use only a small section of the court (often no more than a half of a court) and compete to play the ball into a single hoop. Such games tend to emphasize individual dribbling and ball stealing skills over shooting and team play.

HISTORY OF DANCE


Dance

It is the wedding of movement to music. It spans culture from soaring ballet leaps to the simple swaying at the school prom. It is dance, a means of recreation, of communication--perhaps the oldest, yet the most incompletely preserved, of the arts. Its origins are lost in prehistoric times, but, from the study of the most primitive peoples, it is known that men and women have always danced.

There are many kinds of dance. It can be a popular craze, like break dancing, or ballets that feature superstar performers such as Mikhail Baryshnikov and Suzanne Farrell. It can be folk dances that have been handed down through generations, such as the square dance, or ethnic dances that are primarily associated with a particular country. It can be modern dance or musical comedy dancing, both fields that were pioneered by American men and women.

Dances in primitive cultures all had as their subject matter the changes experienced by people throughout their lives, changes that occurred as people grew from childhood to old age, those they experienced as the seasons moved from winter to summer and back again, changes that came about as tribes won their wars or suffered defeats.

Two sorts of dance evolved as cultures developed: social dances on occasions that celebrated births, commemorated deaths, and marked special events in between; and magical or religious dances to ask the gods to end a famine, to provide rain, or to cure the sick. The medicine men of primitive cultures, whose powers to invoke the assistance of a god were feared and respected, are considered by many to be the first choreographers, or composers of formal dances.

Originally rhythmic sound accompaniment was provided by the dancers themselves. Eventually a separate rhythmic accompaniment evolved, probably played on animal skins stretched over wooden frames and made into drums or similar instruments. Later, melodies were added; these might have imitated birdcalls or other sounds of nature, or they might have been a vocal expression of the dancers' or musicians' state of mind. The rhythmic beat, however, was the most important element. This pulsation let all the dancers keep time together, and it helped them to remember their movements too. By controlling the rhythm, the leader of a communal dance could regulate the pace of the movement.

Primitive dancers also shared certain gestures and movements, which were drawn from their everyday lives. People planting seeds swing their arms with unvarying regularity. People who are hungry rub a hand on their empty bellies. People who want to show respect or admiration bend down or bow before another individual. These gestures, and others like them, were part of the earliest dances.

There is also a large vocabulary of gestures that originated as a means of expressing bodily needs. Caresses are universally taken to signify tender feelings. Clenched fists mean anger. Hopping up and down indicates excitement. Primitive dancers used all of these movements in both their social and religious or magical dances. These dances were not created and performed for entertainment, as many dances are today. One of the major reasons for them was to help tribes survive. Long before the written word could guarantee that traditions would be passed on and respected, it was dance that helped the tribe preserve its continuity.

SOCIAL DANCING

As known today, social dancing is an activity that can be traced back to three sources: the courts of Europe, international society, and primitive cultures. Among noblemen and women of 16th- and 17th-century Europe, ballroom dancing was a popular diversion. After the political upheavals of the 18th and 19th centuries, dances once performed by the aristocracy alone became popular among ordinary people as well. In America, too, dances that were once confined to the gentry who first led the republic passed to the common folk. By the mid-19th century, popular dances attracted many participants who performed minuets, quadrilles, polkas, and waltzes--all of European origin.

None of these dances grew more popular than the waltz, which was first introduced to the Austrian court in the 17th century. Its gliding, whirling movements immediately became the rage throughout the entire population. Some people, however, found waltzing undignified, and in 1760 the performance of waltzes was banned by the church in parts of Germany. Nevertheless, the mania continued, and by the late 18th century waltzing was common in the cosmopolitan cities of London and Paris. People felt the same spirit in the dance that they perceived in the great political events of the day--the French and the American revolutions.

The waltz stood for freedom of expression and freedom of movement. Unlike more courtly dances, with their restricted steps and predetermined poses, the waltz allowed the performers to sweep around the dance floor, setting their own boundaries and responsible to nobody but their partners.

By the early 20th century the waltz as an art form was exhausted. It found a final admirer in the French composer Maurice Ravel, whose orchestral piece 'The Waltz' both celebrates the dance's traditions and mourns its passing out of fashion.

Around the time of World War I, when America's attention was fixed on other lands around the globe, a dance craze developed that had strong international influence. From South America came the tango and the maxixe. European dances inspired the American couple Irene and Vernon Castle to develop many new sophisticated dances that won vast popularity and that were performed nationwide.

As the 20th century evolved, African and Caribbean rhythms and movements increasingly influenced social dancing. Swing, the jitterbug, the twist, boogie, and disco dancing all share a free and improvised movement style and a repetitive, percussive rhythm that can be traced to more primitive sources.

Another important influence was felt from Ireland, whose clog dances were first brought to America in the 1840s. After being adapted by local performers, clog dance steps became the tap dances done by generations of minstrels and music hall performers. Tap dancing was originally performed as an accompaniment to song. With costume, makeup, and scenery, it was another of the entertainer's accessories, its percussive and rhythmic patterns heightening a song's effectiveness.

Modern dancers, however, made tap an art form of its own. Rhythms grew more intricate, and movements became larger. Greater emphasis was placed on elements of dance composition and design, and greater value was shown to the music made by the taps themselves. Among the greatest tap dance artists are Bill "Bojangles" Robinson, who refined the minstrel tradition, and Fred Astaire, whose performances are unsurpassed for their musicality and grace (see Astaire).

Folk dancing preserved its own identity as these popular dances developed. By folk dance is meant a dance that originated in a particular country or locality and has become closely identified with its nation of origin. The czardas, for example, is unmistakably Hungarian, and the hora is linked to Israel. These dances are often performed by dedicated groups of amateurs who want either to preserve the dance tradition of their ancestors or to share in another country's culture. (See also Folk Dance.)

DANCE AS AN ART FORM



Ancient Egypt

The first great culture to infuse its entire society with the magic of dance was that of Egypt. Far more than mere pastime, dancing became an integral part of Egyptian life. It evolved from the most simple rituals used by hunters to find their prey. Performing the dances was believed to help in later hunts. A leader, called a priest-dancer, was responsible for seeing that the dances were performed correctly so that the hunt would be successful.

Eventually these dances were separated from their ritual and became an art of their own. This development paralleled the emergence of Osiris as the Egyptians' most important god. With his mythical sister and wife, Isis, he was a symbol of a more developed civilisation on Earth, and belief in him guaranteed everlasting life. Dance was a crucial element in the festivals held for Isis and Osiris. These occurred throughout the year--in the summer, for instance, when the Nile River began to rise and the corn was ripening, and in the fall on All Souls' Night--the ancient ancestor of Halloween. Dance was also important in the festivals dedicated to Apis, the bull associated with fertility rituals, and also in a ceremony in which priests portrayed the stars in celebration of the cosmos, or harmonious universe.

As was true in more primitive cultures, music was a part of these celebrations but not as important as the dancing itself. Egyptians had developed stringed, wind, and percussion instruments as well as different sorts of whistles and harps.

Dance figured, too, in private life. Professional performers entertained at social events, and travelling troupes gave performances in public squares of great cities such as Thebes and Alexandria.

Movements of Egyptian dances were named after the motion they imitated. For instance, there were "the leading along of an animal," "the taking of gold," and "the successful capture of the boat." Probably many of the poses and motions were highly acrobatic, though in certain instances Egyptian dance steps look remarkably like steps in classical ballet.

Ancient Greece

Myths associated with the Greek god Dionysus are remarkably similar to those that surround the Egyptians' Osiris, suggesting that the early culture of Greece was influenced by that of Egypt. According to the philosopher Aristotle, Greek tragedy originated in the myth of Dionysus' birth. He relates that the poet Arion was responsible for establishing the basic theatrical form, one that incorporated dance, music, spoken words, and costumes. There was always a chief dancer who was the leader of these presentations. As the form evolved, the leader became something close to what would now be considered a combination choreographer and performer, while other participants assumed the role of an audience. By the 6th century BC, the basic form of theatre as known today was established.

No matter how far Greek theatre moved from its original ritual sources, it was always connected with the myths of Dionysus. Participation in dance and drama festivals was a religious exercise, not merely an amusement. In Greek plays dance was of major importance, and the three greatest dramatists of the era--Aeschylus, Sophocles, and Euripides--were familiar with dance in both theory and practice. Sophocles, for example, studied both music and dance as a child, and, after the defeat of the Persians in the 5th century BC, he danced in the triumphal celebration. In his childhood Euripides had been affiliated with a troupe of dancers, and in plays such as 'The Bacchae', his last great work, a dancing choir plays a role of major importance.

Even in earlier times dancing was popular among the Greek people. It was thought to promote physical health and to influence one's education positively. These attitudes were passed on from generation to generation. For instance, in Homer's epics, which date from the 11th to 10th century BC, dance is portrayed as a kind of social pastime, not as an activity associated with religious observances. By the end of the 4th century BC, dancing had become a professional activity. Dances were performed by groups, and the motion of most dances was circular. In tragic dances--where mimed expression, or wordless action, was important--the dancers would not touch one another. Generally, in fact, Greek dances were not based on the relationship between men and women. Most were performed by either one sex or the other.

Greek dance can be divided into large and small motions--movements and gestures. Movements were closely related to gymnastic exercises; schoolchildren had to master series of harmonious physical exercises that resembled dance. Gestures imitated poses and postures found in everyday life and conveyed all the emotions ranging from anger to joy. For musical accompaniment the Greeks used stringed instruments such as the lyre, flutes such as the panpipe, and a wide variety of percussion instruments, including tambourines, cymbals, and castanets.

Altogether there were more than 200 Greek dances designed for every mood and purpose. There were comic pieces, warlike works, and dances for athletes, spectacles, and religious worship. For purely social purposes there were dances for weddings, funerals, and seasonal celebrations connected with harvest time. Yet these dances were not as important as those connected with the theatre. By the 5th century BC, dancing had become recognised as an art.

Roman Empire

As early as 364 BC entertainers from Greece were imported to Rome to perform theatrical pieces in honour of the gods and to amuse a population weary from a plague. These performers inspired the local population to develop plays of their own--mimes and bawdy farces that included elements of dance.

Roman culture, which eclipsed the Greek in approximately the 3rd century BC, was in many ways influenced by Grecian models. In dance, however, the Romans distorted the balance and harmony that characterised the Greeks, putting the most emphasis on spectacle and mime. Dancing itself almost disappeared.

Roman theatre had originated in 240 BC, when public games were held after the victory in the first Punic Wars. As part of these celebrations comedy and tragedy were performed, including drama, music, and dance. According to the writer Plutarch, dance included three elements: motion, posture, and indication, the last a gesture that pointed out some object near the performer.

Performances such as these fed the Romans' love of spectacle. Their desire to see a bustling stage full of people led to performances that took place in ever-larger spaces. Conventional theatres were replaced by the circus and the arena. To get his meaning across to such a large audience, a performer's gestures had to become cruder and coarser. Eventually the artist's skill was blunted, and with this loss of craftsmanship came a loss of social prestige. Dancers, who were honoured and respected by the Greeks, became little more than slaves to the Romans.

Though spectacles provided the Roman population with most of its dancing, social and domestic dances were also performed to a limited extent. Most of these had a religious or ritualistic nature. They prophesied events or appeased the gods. Dances were also designed for entertainment, with battle pieces the most common.

In general, however, dancing was not highly thought of. The famous orator Cicero said in a speech that "no man, one may almost say, ever dances when sober, unless perhaps he be a madman; nor in solitude, nor in a moderate and sober party; dancing is the last companion of prolonged feasting, of luxurious situation, and of many refinements."

As the Roman Empire expanded, secular dances showed exotic influences. People from Africa to Britain fell under Roman rule, but their strange, foreign movements and gestures were never truly integrated into a style of dance the Romans could call their own. Like the artworks among their plunder, the dances were merely novelties and curiosities.

While dance itself was diminished by the Romans, pantomime became an art form worthy of respect in itself. Under the reign of Caesar Augustus in about 22 BC, the pantomime dance-drama became an independent form of artistic expression. Most of the pieces were tragedies, and dancers made liberal use of costumes and masks. According to the writings of the 2nd-century Greek satirist Lucian of Samosata, Roman pantomime was a highly developed art form that made lavish and creative use of dance. Though the Romans showed little use for the dance as developed by the Greeks, they excelled in this new form of pantomime dance-drama.

Christian Era

With the rise of Christianity throughout the first millennium, dramatic rituals developed for use during prayer. The Latin mass is the best-known of these rites. Originally dance movements were part of these pieces as well as music and a dramatic dialogue. By the Middle Ages these works moved from inside the churches to the out-of-doors. On cathedral porches, church squares, and marketplaces, miracle plays, mystery plays, and morality plays that taught the church's lessons were enacted in a theatrical way. Rather than being part of the ritual, however, these pieces had become a form of entertainment.

Dance was also observed in two other sorts of activity. In dramatic ritual games with dance movement the passing of the seasons was celebrated, even as it had been by primitive tribes; and in the works of troubadours and other wandering minstrels, dance and song were used to express the full range of human emotions.

Another important rite of the Middle Ages was known as the dance of death. A ritual procession performed throughout Europe from the 14th to the 16th century, it was a sort of danced parade that was led by a figure representing death. It was performed perhaps with the most intensity in the years of the Black Death, a bubonic plague that swept across Europe beginning in 1373. At once grotesque and graceful, the piece expressed the anguish of a diseased civilisation.

The dance of death reflected the rituals performed by primitive peoples, who had also danced to acknowledge the passing of the seasons of the year and of a human life on Earth. Other dances in the Middle Ages did the same. During the annual May games, for example, dances were performed that celebrated the greening of the countryside and the fertility of the land. During saints' days, which echoed the rites dedicated to Dionysus, large groups of women danced in churches. Similar to earlier pieces associated with battles, sword dances were performed in Germany, Scotland, and elsewhere in Europe. Similar to the sword dance is the Morris dance, which was performed at secular festivals from Scotland to Spain.

Development of Ballet - Italy

Out of the many styles in the late Middle Ages--religious dancing, folk dancing, and performances by minstrels--emerged the art form now known as ballet. An early pioneer whose work led in this direction was Guglielmo Ebreo, better known as William the Jew, from the Italian town of Pesaro. A teacher of dance to the nobility, he also wrote a study of dance that includes one of the first examples of recorded choreography. These dance steps were not designed for the stage or for professional dancers but for amateurs to perform at festive balls.

At the same time when William was active, dancing was on the move. First performed as part of feasts and then in ballrooms, dances finally found a home in theatres. Performed between the acts of classical comedies, tragedies, or operas, they became known as intermezzos. Gradually the word balletti, which originally referred to dances performed in ballrooms, was used for the dramatic works in theatres. Ballet as it is known now was just around the corner.

'Circe', a work created in 1581, is said to be the first ballet. Original in its mixture of theatrical elements that had been found for more than a decade in Italy and France, 'Circe' was the work of an Italian who became a Frenchman, Balthasar de Beaujoyeulx.

His work was the inspiration of the Ballet Comique de la Reine, a sort of grand theatrical presentation that entertained the nobles at court in the last two decades of the 16th century. These rich pieces brought together in a unified way the separate elements of tournament presentations, masquerade, and dramatic pastorals, or rural scenes.

In 1588, a few years after 'Circe', a book crucial in the development of ballet, 'Orchesographie' by Thoinot Arbeau, was published. It set forth the dance steps and rhythms that became the ballet postures and movements in the 17th and 18th centuries.

The next great pioneer was another Italian-born Frenchman, Jean-Baptiste Lully, who was born in Florence and served Louis XIV at Versailles. Though best known as an opera composer, his influence on dance was profound. In 1661 he established a department of dance in the Royal Academy of Music, and he played an important role in making ballets more coherent and unified. He also improved the musical scores to which dancers performed as well as the scenic designs and the librettos, or texts, on which the dances were based. In 1664 Lully began to work with the playwright Moliere. They produced many works that had a major effect on both music and dance. In his opera-ballets Lully expanded the scope of dance. There was greater use made of dancers' arms and legs and a more adventurous attitude toward the space on the stage. (See also Lully.)

Growth of Ballet - France

By the 18th century the centre of dance activity had moved from Italy to France. For this period the best guide is Pierre Rameau, whose book 'The Dancing Master' is primarily a guide to social dances performed not just in France but throughout all of Europe. As with earlier treatises, 'The Dancing Master' also describes stage presentations, for both social and stage dancing shared the same steps.

In the decades preceding Rameau's book, the public's appetite for dancing had been stimulated. This hunger was satisfied by the opera-ballets that flourished in the first half of the 18th century. These works were operas of a sort, but dancing and orchestral music overshadowed the dramatic elements. The balance that Lully had established between drama, dance, and music had been destroyed. Now, in the opera-ballets, dance was the main element, with music of next importance and drama far behind.

Choreographers of the time tried to avoid an old-fashioned style of movement and aimed instead for a new sort of expressive gesture. Dancing became highly personal and creative for both dancer and choreographer. Individual performers often added steps and gestures of their own, and it was during this time that the first great soloists were recognised.

Among the most beloved dancers during the first half of the 18th century was Marie Anne de Dupis, called Camargo, who was brilliant technically and daring; she is credited with shortening her skirt a few inches to allow audience members to better see and appreciate her intricate footwork. Marie Salle was also a great favourite and brought a new freedom to the dance through her expressive use of costume and masterful use of gestures. Gaetano Vestris was the first among male dancers, known for his elegance and delicacy.

All of the advances made by these and other artists, and by choreographers of the time, were classified and recorded by the writer Jean-Georges Noverre, whose 'Letters on the Dance' became the authority for succeeding generations. The 'Letters' also proposed to reform dance of the day by getting rid of all movements and gestures not justified by the drama. Like the opera reformer-composer Christoph Willibald Gluck, with whom he was associated, Noverre wanted to purify his art form and make it even more effective for the audience. Noverre's reforms would be remembered and applied into the 20th century.

Salvatore Vigano was another dancer who ultimately changed the course of his art. After performing in his youth in Italy and Spain, he went to Vienna, where he collaborated with Beethoven, among others. The dances he created were notable for their innovative use of groups and their fine attention to detail. More than any of his peers, Vigano made works that recalled the art of sculpture.

Romantic Ballet and Beyond

An Italian master was also responsible for some of the 19th century's most important creations. Carlo Blasis, who was schooled in the ideas of Noverre, published in 1830 his 'Code of Terpsichore', a book of ballet instructions that became the standard manual through all of Europe and even in Russia.

It was Blasis' technique that formed the great ballerinas of the era: Marie Taglioni, Fanny Elssler, Fanny Cerrito, Carlotta Grisi, and Lucille Grahn. Each embodied a different aspect of the romantic ideal for the period. Taglioni thrilled audiences with her virtuoso technique, for example, and Elssler excelled in character dances that evoked exotic lands.

The choreographer who developed and defined romantic ballet was Marius Petipa. He arrived in St. Petersburg from Italy in 1847, and during his reign as ballet master the Russian school eclipsed all others in theatrical splendour and brilliant dancing. With his assistant Lev Ivanov, he created the core repertoire of the Russian ballet--works such as 'Don Quixote', 'Swan Lake', and 'The Nutcracker'--and his influence is still felt.

It was not a choreographer or even a dancer who spread the Russian ballet through Europe and the Americas but an impresario, or promoter-manager. Sergei Diaghilev's genius was in bringing together some of the foremost artists of his time (see Diaghilev). His Ballets Russes, formed in 1909, drew on talents that had been formed at the Maryinsky Theatre in St. Petersburg. Michel Fokine, trained as a dancer, developed into a choreographer of great distinction. A work such as 'Les Sylphides' brought to the romantic ballet a new purity. A piece like 'Sheherazade' brought a colourful and exotic strain to the ballet stage (see Fokine). Collaborating with him, under Diaghilev's watchful eye, were superb designers such as Leon Bakst; musicians such as Igor Stravinsky; dancers such as Vaslav Nijinsky, Tamara Karsavina, and Anna Pavlova; and choreographers such as Leonide Massine and George Balanchine. (See also Nijinsky; Pavlova; Balanchine.)

Although America had seen ballet dancers as early as the late 18th century, it was not until the 20th century that the art form took root in the United States. Spurred by visits of Diaghilev's troupe, American-born performers showed a new interest in the art. After the Ballets Russes was dissolved in 1929, many of its dancers immigrated to the United States.

Around those performers who remained in Europe--artists such as Alexandra Danilova, Alicia Markova, and Massine--companies such as the Ballet Russe de Monte Carlo and the Original Ballet Russe were formed. In the 1930s they toured the United States from coast to coast. The first major American company to be established was the Ballet Theatre--now the American Ballet Theatre (ABT)--founded in 1940. Conceived of as a repository of great works from differing dance styles, it had difficulty in establishing an identity of its own, even though it often presented world-class artists such as Alicia Alonso, Nora Kaye, and Cynthia Gregory. Among its finest choreographers have been Antony Tudor, Jerome Robbins, Agnes de Mille, Twyla Tharp, and Mikhail Baryshnikov. The superstar Baryshnikov was artistic director of the ABT from 1980 until his resignation in 1989.

The New York City Ballet, which was founded in 1948 with Balanchine as its principal choreographer, set new standards for the world of ballet. Ballet technique became even more virtuosic and gestures more economical. In the more than 150 works that he created for the company, Balanchine devised some of the century's most profound and beautiful productions. Among his masterpieces are 'Agon' and 'Orpheus', both to music of Igor Stravinsky; 'Serenade', Tchaikovsky; and 'Concerto Barocco', Bach. Robbins, who also worked with the ABT, became a ballet master with the company in 1969 and created two of his finest works for its dancers--'Dances at a Gathering' and 'The Goldberg Variations'. Among the company's best dancers were Diana Adams, Violette Verdy, Suzanne Farrell, Jacques d'Amboise, Edward Villella, and Peter Martins, who took over the company with Robbins after Balanchine's death in 1983.

Arthur Mitchell, the first black dancer to perform with the New York City Ballet, founded his own company, the Dance Theatre of Harlem, in 1971. This interracial company won a new audience for ballet and opened opportunities for young black dancers. Another pioneer was Alvin Ailey, whose American Dance Theatre performed a stylistically wide variety of worksdash;from modern dance classics by Ted Shawn to ballet-influenced works by Ailey himself. The company was composed exclusively of black dancers until Ailey integrated it in 1963.

In the mid-20th century interest in dance also increased in England. The Royal Ballet evolved under choreographer Frederick Ashton into a company of impeccable style and feeling. The pieces Ashton created made perfect use of his dancers, among whom were Margot Fonteyn and Rudolf Nureyev (see Nureyev).

In Russia the tradition begun in the 18th century continued to flourish in the 20th century through the country's two venerable companies--the Bolshoi in Moscow and the Kirov, known to Petipa and Diaghilev as the Maryinsky, in St. Petersburg. (See also Ballet.)

Modern Dance

At about the same time that Fokine was reforming the traditional ballet in St. Petersburg, an American woman was developing a revolutionary concept of dance. Isadora Duncan was trained in ballet but later found that these movements did not allow her as much expression of herself as she desired. Rather than modifying the conventional postures and steps, Duncan threw them out. Her new form of dance was spontaneous and highly personal and let her feel that her spirit had been liberated. (See also Duncan.)

Because it was so personal, this new kind of dance was an art form that could not be passed on to the next generation. Duncan, however, inspired younger people also to express themselves through dance. This was the beginning of the form now called modern dance. Among those included with Duncan as modern-dance pioneers are Ruth St. Denis and Ted Shawn, who specialised in highly theatrical and exotic tableaux, or stage pictures. Like the opera-ballets of the 18th century, their pieces satisfied an audience's hunger for a glimpse of foreign people and places.

Though dancers such as the German Mary Wigman, a highly dramatic performer, had a wide following both in America and Europe, no modern dancer was as influential as the American Martha Graham. A pupil of St. Denis and Shawn, she invented a style of dance that did not just ignore traditional ballet steps but contradicted them completely. Graham's revolutionary technique denied the primary importance of the classical positions of ballet. For her the source of interest and energy was the centre of the body, not its extremities. Through her company and her school, which trained successive generations of disciples, Graham influenced every modern dancer of importance--titans such as Jose Limon, Paul Taylor, Merce Cunningham, and Twyla Tharp are included on this list--and made America the centre of creativity for modern dance.

Dance in Musical Comedy

Americans also created the most vital forms of theatrical dancing. The first musical stage performance seen in the United States was a ballad opera called 'Flora', produced in Charleston, S.C., in 1735. More than a century later, 'The Black Crook' (1866) also scored an enormous success. It was not until the 20th century, however, that dancing and drama became truly integrated. Credit for this breakthrough goes to Agnes de Mille, whose 'Oklahoma!' (1943) made dancing an integral part of the story. Performed by dancers who had studied ballet, the dances in 'Oklahoma!' included not just ballet steps but folk dance and modern dance as well (see De Mille). Equally successful were the dances choreographed by Jerome Robbins for 'West Side Story', which brought a new vitality to the musical theatre. Robbins, in his turn, influenced other choreographers such as Bob Fosse and Michael Bennett.

ETHNIC DANCE

Older than folk dances are dances performed and preserved by ethnic groups throughout the world. Every culture has developed its own means of expression through movement. These dances were part of tribal rituals, designed to be performed at crucial moments in the life of both the individual and the tribe.

American Indians

Despite similarities in purpose among all tribal dances, differences existed from culture to culture. American Indians, for example, had separate dances for men and for women and others in which men, women, and children took part. These dances emphasised various movements for the feet and postures for the head. Arms were not considered as important. As in many other tribal cultures, drums beat out an accompaniment.

Far East

Dancing in the Orient is different from that in the West. In Eastern dance every movement has a specific meaning. Each gesture of the hands, the head, the arms, and the feet conveys a specific message that unschooled Western observers can only guess at.

India

In India, as in Western cultures, dances celebrate various festivals and rites of passage. The most important is the Hindu classical dance-drama bharata natya, which comes from the southeast. Performed by one woman, this dance has a great variety of bodily movement and is accompanied by rhythms stamped out by the performer's feet. Kathakali, from southwestern India, is performed only by men and young boys. The movements of these highly theatrical dances are extremely energetic, and drums and other percussion instruments accompany the performers.

Japan

Traditional dances in Japan have been performed for centuries. Among the best-known forms are No and Kabuki, both dance-dramas that combine mime and dance steps. Unlike dancing in the Western world, Japanese dancing is very formal and moves at a slow and stately pace.

China

Chinese dancing was developed thousands of years ago, when formal dances were performed at the ancient Chinese court. Dancing was also an important part of Chinese religion and philosophy. Through the ages these dances were largely forgotten and abandoned. Chinese dancing today is most often performed as a part of Chinese opera.

Indonesia

In Indonesia, however, the people have kept their dances alive and infused them through the years with new steps and movements. Instead of clinging to ancient traditions, the Indonesian people have adapted and modernised their dances.

Spain

Some native dances from Spain can be traced back to Greek times. Spanish dancers were known throughout the Roman Empire for their artistry. During the Renaissance the saraband and the pavane were developed and performed by the ruling classes, while the common people created their own dances like the fandango, bolero, and cachucha.

Perhaps the best-known Spanish dance is the flamenco, a Gypsy dance thought to be of Indian or Persian origin. A dance of great exuberance and intensity, a flamenco is improvised as the performer works within traditional forms according to the mood of the moment. A guitarist follows the rhythms, and friends clap, stamp, and shout encouragement.

Africa

The origins of African dance are lost in antiquity, but it is known that tribal peoples throughout Africa relied on dance to a remarkable degree. An integral part of everyday life, dances were used to express both joy and grief, to invoke prosperity and avoid disaster, as part of religious rituals, and purely as pastimes.

Although traditional African dance all but vanished as the continent yielded to Western culture, several dances survived. Fertility dances in Cote d'Ivoire are performed in the shape of a circle. Performers move rhythmically to the beat of drums, and many wear masks depicting birds and beasts. Also found in Cote d'Ivoire is a highly dramatic hunting dance. With vivid pantomimed gestures, two men carrying bows and arrows pursue a boy who wears an antelope mask. In a totem dance in Burkina Faso (formerly Upper Volta), a dozen men wearing animal masks take turns doing acrobatic leaps and jumps to the beating of drums until all but their leader is exhausted.