Dance Is a Type of Art That Generally Involves Movement

Performing fine art consisting of movement of the torso

Members of a contemporary dance boogie troop performing a group routine

Saman trip the light fantastic from Indonesia, the dance is characterized by its fast-paced rhythm and mutual harmony betwixt dancers

Trip the light fantastic toe is a performing art form consisting of sequences of movement, either improvised or purposefully selected. This movement has aesthetic and oft symbolic value.^{[nb one]} Dance tin can be categorized and described past its choreography, by its repertoire of movements, or by its historical period or place of origin.^[4]

An of import stardom is to be drawn between the contexts of theatrical and participatory trip the light fantastic,^[5] although these two categories are not always completely separate; both may have special functions, whether social, ceremonial, competitive, erotic, martial, or sacred/liturgical. Other forms of homo movement are sometimes said to have a trip the light fantastic toe-like quality, including martial arts, gymnastics, cheerleading, figure skating, synchronized swimming, marching bands, and many other forms of athletics.

Performance and participation [edit]

Members of an American jazz dance company perform a formal group routine in a concert dance setting

Theatrical dance, likewise chosen functioning or concert dance, is intended primarily equally a spectacle, unremarkably a performance upon a stage past virtuoso dancers. It frequently tells a story, perhaps using mime, costume and scenery, or else it may simply interpret the musical accompaniment, which is oft specially composed and performed in a theatre setting merely it is not a requirement. Examples are western ballet and modern dance, Classical Indian trip the light fantastic toe such every bit Bharatanatyam and Chinese and Japanese vocal and trip the light fantastic dramas such as dragon trip the light fantastic. Most classical forms are centred upon dance solitary, merely performance dance may also appear in opera and other forms of musical theatre.

Participatory dance, on the other mitt, whether it be a folk dance, a social trip the light fantastic, a grouping trip the light fantastic toe such as a line, circumvolve, concatenation or square trip the light fantastic toe, or a partner dance such equally is common in Western ballroom dancing, is undertaken primarily for a common purpose, such every bit social interaction or practise, or building flexibility of participants rather than to serve whatsoever benefit to onlookers. Such dance seldom has any narrative. A group trip the light fantastic and a corps de ballet, a social partner dance and a pas de deux, differ profoundly. Even a solo trip the light fantastic may be undertaken solely for the satisfaction of the dancer. Participatory dancers oftentimes all employ the aforementioned movements and steps merely, for example, in the rave culture of electronic trip the light fantastic toe music, vast crowds may engage in complimentary trip the light fantastic, uncoordinated with those around them. On the other manus, some cultures lay down strict rules as to the particular dances in which, for example, men, women and children may or must participate.

History [edit]

Mesolithic dancers at Bhimbetka

Archaeological evidence for early trip the light fantastic toe includes 9,000-year-onetime paintings^{[ citation needed ]} in Bharat at the Stone Shelters of Bhimbetka, and Egyptian tomb paintings depicting dancing figures, dated c. 3300 BC. It has been proposed that before the invention of written languages, dance was an important office of the oral and performance methods of passing stories down from one generation to the next.^[six] The utilise of dance in ecstatic trance states and healing rituals (every bit observed today in many contemporary "primitive" cultures, from the Brazilian rainforest to the Kalahari Desert) is thought to have been another early on factor in the social evolution of dance.^[7]

References to dance can be constitute in very early on recorded history; Greek dance (horos) is referred to past Plato, Aristotle, Plutarch and Lucian.^[8] The Bible and Talmud refer to many events related to dance, and comprise over 30 unlike dance terms.^[9] In Chinese pottery equally early on equally the Neolithic menstruum, groups of people are depicted dancing in a line belongings hands,^[10] and the earliest Chinese word for "dance" is found written in the oracle bones.^[11] Trip the light fantastic is further described in the Lüshi Chunqiu.^{[12] [xiii]} Primitive dance in aboriginal Cathay was associated with sorcery and shamanic rituals.^[fourteen]

Greek bronze statuette of a veiled and masked dancer, third–2nd century BC, Alexandria, Arab republic of egypt

During the first millennium BCE in Bharat, many texts were equanimous which attempted to codify aspects of daily life. Bharata Muni'southward Natyashastra (literally "the text of dramaturgy") is one of the earlier texts. Information technology mainly deals with drama, in which dance plays an important part in Indian culture. It categorizes trip the light fantastic toe into four types--secular, ritual, abstruse, and, interpretive--and into four regional varieties. The text elaborates various manus-gestures (mudras) and classifies movements of the diverse limbs, steps and so on. A strong continuous tradition of dance has since continued in India, through to modern times, where it continues to play a role in civilisation, ritual, and, notably, the Bollywood amusement industry. Many other contemporary dance forms can likewise be traced dorsum to historical, traditional, ceremonial, and indigenous dance.

Music [edit]

Dance is generally, however not exclusively, performed with the accompaniment of music and may or may not be performed in fourth dimension to such music. Some dance (such as tap dance) may provide its own audible accessory in place of (or in addition to) music. Many early on forms of music and dance were created for each other and are frequently performed together. Notable examples of traditional trip the light fantastic/music couplings include the jig, waltz, tango, disco, and salsa. Some musical genres have a parallel dance form such as baroque music and bizarre dance; other varieties of trip the light fantastic toe and music may share nomenclature but developed separately, such every bit classical music and classical ballet. The choreography and music get hand in hand, every bit they complement each other to express a story told by the choreographer and or dancers.^[15]

Rhythm [edit]

Rhythm and dance are deeply linked in history and practice. The American dancer Ted Shawn wrote; "The conception of rhythm which underlies all studies of the dance is something about which we could talk forever, and still not finish."^[16] A musical rhythm requires two primary elements; first, a regularly-repeating pulse (also called the "shell" or "tactus") that establishes the tempo and, second, a blueprint of accents and rests that establishes the graphic symbol of the metre or bones rhythmic design. The basic pulse is roughly equal in duration to a simple step or gesture.

Dances generally accept a feature tempo and rhythmic design. The tango, for instance, is usually danced in ²
_iv time at approximately 66 beats per infinitesimal. The basic slow step, called a "slow", lasts for one vanquish, and so that a full "correct–left" step is equal to one ²
_iv mensurate. The basic forrard and backward walk of the dance is so counted – "slow-tiresome" – while many additional figures are counted "slow – quick-quick.^[17]

Just as musical rhythms are defined by a pattern of strong and weak beats, then repetitive torso movements often depend on alternating "strong" and "weak" muscular movements.^[18] Given this alternation of left-correct, of forward-astern and ascent-fall, along with the bilateral symmetry of the human body, information technology is natural that many dances and much music are in duple and quadruple meter. Since some such movements require more than time in i phase than the other – such every bit the longer time required to lift a hammer than to strike – some dance rhythms fall as naturally into triple metre.^[19] Occasionally, as in the folk dances of the Balkans, dance traditions depend heavily on more than complex rhythms. Further, complex dances composed of a stock-still sequence of steps e'er crave phrases and melodies of a certain fixed length to accompany that sequence.

Lululaund – The Dancing Girl (painting and silk material. A.L. Baldry 1901, before p. 107), The inscription reads; "Dancing is a form of rhythm/ Rhythm is a form of music/ Music is a form of thought/ And idea is a form of divinity."

The very human action of dancing, the steps themselves, generate an "initial skeleton of rhythmic beats" that must have preceded any separate musical accompaniment, while dance itself, every bit much equally music, requires fourth dimension-keeping^[20] just equally utilitarian repetitive movements such as walking, hauling and digging take on, as they become refined, something of the quality of dance.^[18]

Musical accessory, therefore, arose in the primeval trip the light fantastic, and then that ancient Egyptians attributed the origin of the dance to the divine Athotus, who was said to have observed that music accompanying religious rituals caused participants to move rhythmically and to take brought these movements into proportional measure. The same idea, that dance arises from musical rhythm, is nevertheless found in renaissance Europe in the works of the dancing master Guglielmo Ebreo da Pesaro who speaks of dance every bit a physical movement that arises from and expresses inward, spiritual motion like-minded with the "measures and perfect concords of harmony" that fall upon the human ear,^[18] while, earlier, Mechthild of Magdeburg, seizing upon dance as a symbol of the holy life foreshadowed in Jesus' saying "I take piped and ye have non danced",^[21] writes;

I tin not trip the light fantastic unless thou leadest. If thou wouldst have me spring aloft, sing one thousand and I volition spring, into dear and from love to knowledge and from knowledge to ecstasy higher up all human being sense^[22]

Thoinot Arbeau's historic 16th-century trip the light fantastic-treatise Orchésographie, indeed, begins with definitions of over eighty distinct pulsate-rhythms.^[23]

Equally has been shown in a higher place, dance has been represented through the ages equally having emerged as a response to music withal, equally Lincoln Kirstein implied, it is at least as likely that primitive music arose from dance. Shawn concurs, stating that dance "was the first art of the human being race, and the matrix out of which all other arts grew" and that even the "metre in our poetry today is a result of the accents necessitated by trunk movement, equally the dancing and reciting was performed simultaneously"^[xvi] – an assertion somewhat supported by the mutual use of the term "foot" to depict the fundamental rhythmic units of poetry.

Scholes, not a dancer but a musician, offers support for this view, stating that the steady measures of music, of ii, three or four beats to the bar, its equal and balanced phrases, regular cadences, contrasts and repetitions, may all be attributed to the "incalculable" influence of dance upon music.^[24]

Émile Jaques-Dalcroze, primarily a musician and instructor, relates how a study of the physical movements of pianists led him "to the discovery that musical sensations of a rhythmic nature phone call for the muscular and nervous response of the whole organism", to develop "a special grooming designed to regulate nervous reactions and issue a co-ordination of muscles and fretfulness" and ultimately to seek the connections between "the art of music and the art of dance", which he formulated into his system of eurhythmics.^[25] He concluded that "musical rhythm is only the transposition into sound of movements and dynamisms spontaneously and involuntarily expressing emotion".^[26]

Hence, though doubtless, every bit Shawn asserts, "it is quite possible to develop the trip the light fantastic without music and... music is perfectly capable of standing on its ain feet without any assistance from the dance", still the "two arts will e'er be related and the relationship can be profitable both to the dance and to music",^[27] the precedence of 1 art over the other being a moot point. The mutual ballad measures of hymns and folk-songs takes their proper noun from trip the light fantastic toe, as does the carol, originally a circle trip the light fantastic. Many purely musical pieces have been named "waltz" or "minuet", for example, while many concert dances accept been produced that are based upon abstract musical pieces, such as ii and 3 Role Inventions, Adams Violin Concerto and Andantino. Similarly, poems are often structured and named after dances or musical works, while trip the light fantastic and music take both drawn their conception of "measure" or "metre" from poetry.

Shawn quotes with approving the argument of Dalcroze that, while the art of musical rhythm consists in differentiating and combining time durations, pauses and accents "according to physiological law", that of "plastic rhythm" (i.e. trip the light fantastic) "is to designate movement in infinite, to interpret long time-values by slow movements and short ones by quick movements, regulate pauses by their divers successions and limited sound accentuations in their multiple nuances by additions of actual weight, by means of muscular innervations".

Shawn yet points out that the organisation of musical time is a "man-fabricated, artificial thing.... a manufactured tool, whereas rhythm is something that has always existed and depends on human being not at all", being "the continuous flowing time which our homo minds cutting up into user-friendly units", suggesting that music might exist revivified by a return to the values and the time-perception of dancing.^[28]

The early-20th-century American dancer Helen Moller stated simply that "it is rhythm and form more than than harmony and color which, from the beginning, has leap music, poetry and dancing together in a matrimony that is indissoluble."^[29]

Approaches [edit]

Theatrical [edit]

Concert dance, like opera, more often than not depends for its large-calibration course upon a narrative dramatic structure. The movements and gestures of the choreography are primarily intended to mime the personality and aims of the characters and their function in the plot.^[30] Such theatrical requirements tend towards longer, freer movements than those usual in non-narrative dance styles. On the other mitt, the ballet blanc, developed in the 19th century, allows interludes of rhythmic trip the light fantastic toe that developed into entirely "plotless" ballets in the 20th century^[31] and that allowed fast, rhythmic dance-steps such every bit those of the petit allegro. A well-known example is The Cygnets' Dance in act two of Swan Lake.

The ballet developed out of courtly dramatic productions of 16th- and 17th-century France and Italia and for some time dancers performed dances developed from those familiar from the musical suite,^[32] all of which were defined by definite rhythms closely identified with each dance. These appeared equally grapheme dances in the era of romantic nationalism.

Ballet reached widespread faddy in the romantic era, accompanied by a larger orchestra and grander musical conceptions that did non lend themselves easily to rhythmic clarity and past trip the light fantastic that emphasised dramatic mime. A broader concept of rhythm was needed, that which Rudolf Laban terms the "rhythm and shape" of movement that communicates grapheme, emotion and intention,^[33] while only certain scenes required the exact synchronisation of step and music essential to other dance styles, so that, to Laban, mod Europeans seemed totally unable to grasp the meaning of "primitive rhythmic movements",^[34] a situation that began to alter in the 20th century with such productions as Igor Stravinsky's The Rite of Spring with its new rhythmic language evoking primal feelings of a primitive past.^[35]

Indian classical trip the light fantastic styles, similar ballet, are ofttimes in dramatic class, and so that there is a similar complementarity betwixt narrative expression and "pure" dance. In this instance, the two are separately defined, though not always separately performed. The rhythmic elements, which are abstract and technical, are known as nritta. Both this and expressive trip the light fantastic toe (nritya), though, are closely tied to the rhythmic system (tala). Teachers have adapted the spoken rhythmic mnemonic system called bol to the needs of dancers.

Japanese classical dance-theatre styles such equally Kabuki and Noh, like Indian dance-drama, distinguish betwixt narrative and abstract dance productions. The three main categories of kabuki are jidaimono (historical), sewamono (domestic) and shosagoto (trip the light fantastic toe pieces).^[36] Somewhat similarly, Noh distinguishes between Geki Noh, based around the advancement of plot and the narration of activity, and Furyū Noh, trip the light fantastic toe pieces involving acrobatics, stage backdrop, multiple characters and elaborate phase action.^[37]

Participatory and social [edit]

A contra dance, a grade of participatory social folk dance with mixed European roots

Social dances, those intended for participation rather than for an audition, may include various forms of mime and narrative, simply are typically fix much more closely to the rhythmic pattern of music, so that terms like waltz and polka refer equally much to musical pieces as to the dance itself. The rhythm of the dancers' anxiety may fifty-fifty class an essential part of the music, as in tap trip the light fantastic toe. African trip the light fantastic toe, for case, is rooted in fixed bones steps, but may also allow a high caste of rhythmic estimation: the feet or the body mark the basic pulse while cross-rhythms are picked up by shoulders, knees, or head, with the all-time dancers simultaneously giving plastic expression to all the elements of the polyrhythmic pattern.^[38]

Cultural traditions [edit]

Africa [edit]

Ugandan youth trip the light fantastic toe at a cultural celebration of peace

Trip the light fantastic in Africa is securely integrated into club and major events in a community are ofttimes reflected in dances: dances are performed for births and funerals, weddings and wars.^{[39] : 13} Traditional dances impart cultural morals, including religious traditions and sexual standards; give vent to repressed emotions, such every bit grief; motivate community members to cooperate, whether fighting wars or grinding grain; enact spiritual rituals; and contribute to social cohesiveness.^[40]

Thousands of dances are performed around the continent. These may be divided into traditional, neotraditional, and classical styles: folkloric dances of a particular society, dances created more than recently in imitation of traditional styles, and dances transmitted more formally in schools or private lessons.^{[39] : eighteen} African trip the light fantastic toe has been contradistinct past many forces, such as European missionaries and colonialist governments, who ofttimes suppressed local dance traditions equally licentious or distracting.^[40] Trip the light fantastic toe in contemporary African cultures however serves its traditional functions in new contexts; dance may celebrate the inauguration of a hospital, build community for rural migrants in unfamiliar cities, and be incorporated into Christian church building ceremonies.^{[40] [41]}

Asia [edit]

An Indian classical dancer

In the Mintha Theater (Mandalay) a master instructor of the Inwa School of Performing Arts demonstrates traditional hand movements.

All Indian classical dances are to varying degrees rooted in the Natyashastra and therefore share mutual features: for example, the mudras (hand positions), some torso positions, leg movement and the inclusion of dramatic or expressive acting or abhinaya. Indian classical music provides accompaniment and dancers of nearly all the styles clothing bells around their ankles to counterpoint and complement the percussion.

There are now many regional varieties of Indian classical dance. Dances like "Odra Magadhi", which afterward decades-long debate, has been traced to present day Mithila, Odisha region's dance form of Odissi (Orissi), bespeak influence of dances in cultural interactions between dissimilar regions.^[42]

The Punjab area overlapping Republic of india and Pakistan is the place of origin of Bhangra. It is widely known both as a fashion of music and a trip the light fantastic toe. It is mostly related to ancient harvest celebrations, love, patriotism or social bug. Its music is coordinated past a musical musical instrument called the 'Dhol'. Bhangra is not just music but a dance, a celebration of the harvest where people beat the dhol (drum), sing Boliyaan (lyrics) and trip the light fantastic. It developed further with the Vaisakhi festival of the Sikhs.

The dances of Sri Lanka include the devil dances (yakun natima), a carefully crafted ritual reaching far back into Sri Lanka's pre-Buddhist past that combines ancient "Ayurvedic" concepts of affliction causation with psychological manipulation and combines many aspects including Sinhalese cosmology. Their influence can be seen on the classical dances of Sri Lanka.^[43]

Indonesian dances reflect the richness and variety of Indonesian ethnic groups and cultures. There are more than than i,300 ethnic groups in Republic of indonesia, it tin can be seen from the cultural roots of the Austronesian and Melanesian peoples, and various cultural influences from Asia and the westward. Dances in Indonesia originate from ritual movements and religious ceremonies, this kind of trip the light fantastic toe usually begins with rituals, such every bit war dances, shaman dances to cure or ward off disease, dances to call rain and other types of dances. With the acceptance of dharma religion in the 1st century in Republic of indonesia, Hinduism and Buddhist rituals were celebrated in diverse creative performances. Hindu epics such equally the Ramayana, Mahabharata and as well the Panji became the inspiration to be shown in a dance-drama called "Sendratari" resembling "ballet" in the western tradition. An elaborate and highly stylized trip the light fantastic method was invented and has survived to this day, peculiarly on the islands of Java and Bali. The Javanese Wayang wong dance takes footage from the Ramayana or Mahabharata episodes, but this trip the light fantastic toe is very dissimilar from the Indian version, indonesian dances practice not pay as much attending to the "mudras" equally Indian dances: even more than to evidence local forms. The sacred Javanese ritual trip the light fantastic Bedhaya is believed to date back to the Majapahit period in the 14th century or even earlier, this dance originated from ritual dances performed by virgin girls to worship Hindu Gods such as Shiva, Brahma, and Vishnu. In Bali, dance has go an integral part of the sacred Hindu Dharma rituals. Some experts believe that Balinese trip the light fantastic toe comes from an older dance tradition from Coffee. Reliefs from temples in Due east Java from the 14th century feature crowns and headdresses like to the headdresses used in Balinese trip the light fantastic today. Islam began to spread to the Indonesian archipelago when indigenous dances and dharma dances were still popular. Artists and dancers nevertheless use styles from the previous era, replacing stories with more Islamic interpretations and habiliment that is more closed according to Islamic teachings.^[44]

The dances of the Heart Eastward are usually the traditional forms of circle dancing which are modernized to an extent. They would include dabke, tamzara, Assyrian folk trip the light fantastic, Kurdish dance, Armenian dance and Turkish dance, among others.^{[45] [46]} All these forms of dances would usually involve participants engaging each other by holding hands or arms (depending on the way of the dance). They would brand rhythmic moves with their legs and shoulders as they curve effectually the dance floor. The head of the dance would generally agree a cane or handkerchief.^{[45] [47]}

Europe and Northward America [edit]

Folk dances vary across Europe and may date dorsum hundreds or thousands of years, merely many have features in mutual such every bit group participation led past a caller, hand-holding or arm-linking betwixt participants, and fixed musical forms known as caroles.^[48] Some, such as the maypole trip the light fantastic toe are common to many nations, while others such as the céilidh and the polka are securely-rooted in a single culture. Some European folk dances such equally the square dance were brought to the New Globe and subsequently became part of American culture.

2 classical ballet dancers perform a sequence of The Nutcracker, one of the best known works of classical trip the light fantastic.

Ballet adult first in Italy so in France from lavish court glasses that combined music, drama, poetry, song, costumes and dance. Members of the court dignity took part as performers. During the reign of Louis 14, himself a dancer, trip the light fantastic became more than codification. Professional person dancers began to take the place of court amateurs, and ballet masters were licensed by the French government. The first ballet trip the light fantastic academy was the Académie Royale de Danse (Purple Trip the light fantastic toe Academy), opened in Paris in 1661. Soon thereafter, the beginning institutionalized ballet troupe, associated with the Academy, was formed; this troupe began every bit an all-male ensemble only by 1681 opened to include women as well.^[6]

20th century concert trip the light fantastic brought an explosion of innovation in dance style characterized by an exploration of freer technique. Early pioneers of what became known every bit modern dance include Loie Fuller, Isadora Duncan, Mary Wigman and Ruth St. Denis. The relationship of music to dance serves as the basis for Eurhythmics, devised by Emile Jaques-Dalcroze, which was influential to the development of Modern dance and modern ballet through artists such as Marie Rambert. Eurythmy, adult by Rudolf Steiner and Marie Steiner-von Sivers, combines formal elements reminiscent of traditional dance with the new freer style, and introduced a complex new vocabulary to dance. In the 1920s, important founders of the new style such as Martha Graham and Doris Humphrey began their work. Since this fourth dimension, a broad multifariousness of trip the light fantastic toe styles have been adult; see Modern dance.

African American dance adult in everyday spaces, rather than in trip the light fantastic studios, schools or companies. Tap dance, disco, jazz trip the light fantastic, swing trip the light fantastic, hip hop dance, the lindy hop with its relationship to rock and roll music and rock and roll trip the light fantastic toe take had a global influence. Dance styles fusing classical ballet technique with African-American dance have also appeared in the 21st century, including Hiplet.^[49]

Latin America [edit]

Street samba dancers perform in funfair parades and contests.

Dance is fundamental to Latin American social life and culture. Brazilian Samba, Argentinian tango, and Cuban salsa are internationally popular partner dances, and other national dances—merengue, cueca, plena, jarabe, joropo, marinera, cumbia, bachata and others—are important components of their respective countries' cultures.^[50] Traditional Funfair festivals incorporate these and other dances in enormous celebrations.^[51]

Dance has played an important role in forging a commonage identity among the many cultural and indigenous groups of Latin America.^[52] Dance served to unite the many African, European, and ethnic peoples of the region.^[50] Certain dance genres, such equally capoeira, and body movements, particularly the characteristic quebradas or pelvis swings, have been variously banned and historic throughout Latin American history.^[52]

Education [edit]

Dance studies are offered through the arts and humanities programs of many higher instruction institutions. Some universities offer Bachelor of Arts and higher bookish degrees in Dance. A trip the light fantastic study curriculum may encompass a diverse range of courses and topics, including trip the light fantastic practise and performance, choreography, ethnochoreology, kinesiology, dance notation, and dance therapy. Most recently, dance and movement therapy has been integrated in some schools into math lessons for students with learning disabilities, emotional/behavioral disabilities and/or attention arrears hyperactivity disorder (ADHD).^[53]

A dancer practices in a trip the light fantastic studio, the primary setting for training in classical dance and many other styles.

Occupations [edit]

Dancers [edit]

Professional person dancers are normally employed on contract or for particular performances or productions. The professional life of a dancer is more often than not one of constantly changing work situations, stiff competitive pressure and low pay. Consequently, professional dancers often must supplement their incomes to attain financial stability. In the U.S. many professional dancers belong to unions (such as the American Guild of Musical Artists, Screen Actors Club and Actors' Equity Association) that plant working conditions and minimum salaries for their members. Professional dancers must possess large amounts of athleticism. To lead a successful career, it is advantageous to be versatile in many styles of dance, have a stiff technical background and to utilize other forms of physical training to remain fit and good for you.^[54]

Teachers [edit]

Dance teachers typically focus on education dance performance, or coaching competitive dancers, or both. They typically have performance experience in the types of dance they teach or jitney. For case, dancesport teachers and coaches are often tournament dancers or former dancesport performers. Dance teachers may exist cocky-employed, or employed by dance schools or general teaching institutions with dance programs. Some piece of work for university programs or other schools that are associated with professional classical dance (e.chiliad., ballet) or modern dance companies. Others are employed by smaller, privately owned trip the light fantastic toe schools that offer dance grooming and functioning coaching for various types of dance.

Choreographers [edit]

Choreographers are the ones that design the dancing movements within a dance, they are oftentimes university trained and are typically employed for item projects or, more rarely may work on contract every bit the resident choreographer for a specific trip the light fantastic toe company.^[55]

Competitions [edit]

A dance competition is an organized event in which contestants perform dances before a judge or judges for awards, and in some cases, monetary prizes. There are several major types of dance competitions, distinguished primarily by the style or styles of dances performed. Major types of dance competitions include:

• Dancesport, which is focused exclusively on ballroom and latin dance.
• Competitive dance, in which a variety of theater trip the light fantastic styles, such equally acro, ballet, jazz, hip-hop, lyrical, and tap, are permitted.
• Single-style competitions, such equally; highland trip the light fantastic toe, trip the light fantastic team, and Irish gaelic dance, that only let a single dance mode.
• Open competitions, that permit a broad multifariousness of dance styles. An case of this is the TV program And then You Call up You Tin Trip the light fantastic toe.
• Olympic, Dance has been trying to be part of the Olympic sport since 1930s.

In addition, there are numerous trip the light fantastic toe competitions shows presented on television and other mass media.

Gallery [edit]

• 

• 

  A contemporary dancer performs a stag dissever bound.

• 

  A dancer performs a "toe rise", in which she rises from a kneeling position to a standing position on the tops of her feet.

• 

  Latin Ballroom dancers perform the Tango.

• 

  Gumboot dance evolved from the stomping signals used every bit coded advice betwixt labourers in South African mines.

• 

• 

• 

  Modern dance – a female dancer performs a leg split while balanced on the back of her partner.

• 

  A nineteenth century artist'due south representation of a Flamenco dancer

• 

  Ritual dance – Armenian folk dancers gloat a neo-infidel new year.

• 

  A latin ballroom couple perform a Samba routine at a dancesport event.

• 

  Folk dance – some trip the light fantastic toe traditions travel with immigrant communities, as with this festival trip the light fantastic performed by a Polish community in Turkey.

• 

  Street dance – a Breakdancer performs a handstand trick.

• 

• 

  Ballet class of young girls wearing leotards and skirts in 2017

• 

See also [edit]

• Art
• Outline of performing arts
• Outline of trip the light fantastic
• Alphabetize of trip the light fantastic articles
• List of trip the light fantastic toe awards
• Human body

Notes [edit]

1. ^ Many definitions of dance accept been proposed. This definition is based on the following:

   "Dance is human movement created and expressed for an aesthetic purpose."^[1]

   "Dance is a transient way of expression performed in a given grade and way by the human body moving in space. Trip the light fantastic toe occurs through purposefully selected and controlled rhythmic movements; the resulting miracle is recognized every bit dance both by the performer and the observing members of a given group."^[two]

   "Dance is human behaviour composed (from the dancer'southward perspective, which is ordinarily shared by the audience members of the dancer's culture) of purposeful (private choice and social learning play a role), intentionally rhythmical, and culturally patterned sequences of nonverbal body movement mostly other than those performed in ordinary motor activities. The motion (in time, space, and with endeavour) has an inherent and aesthetic value (the notion of appropriateness and competency as viewed past the dancer's culture) and symbolic potential."^[3]

References [edit]

1. ^ Sondra Horton Fraleigh (1987). Trip the light fantastic and the Lived Body: A Descriptive Aesthetics. Academy of Pittsburgh Pre. p. 49. ISBN978-0-8229-7170-2.
2. ^ Joann Kealinohomoku (1970). Copeland, Roger; Cohen, Marshall (eds.). An Anthropologist Looks at Ballet equally a Form of Ethnic Dance (PDF). What is Trip the light fantastic toe? Readings in Theory and Criticism (1983 ed.). New York: Oxford University Printing. Archived from the original (PDF) on 2011-01-04.
3. ^ Judith Lynne Hanna (1983). The performer-audience connection: emotion to metaphor in trip the light fantastic and society. University of Texas Press. ISBN978-0-292-76478-1.
4. ^ Foster, Susan Leigh. (2011). Choreographing empathy : kinesthesia in performance. Routledge. ISBN978-0-415-59656-5. OCLC 963558371.
5. ^ "Canadian National Arts Centre – Dance Forms: An Introduction".
6. ^ ^{a b} Nathalie Comte. "Europe, 1450 to 1789: Encyclopedia of the Early Modern World". Ed. Jonathan Dewald. Vol. 2. New York: Charles Scribner's Sons, 2004. pp 94–108.
7. ^ Guenther, Mathias Georg. 'The San Trance Dance: Ritual and Revitalization Amongst the Subcontract Bushmen of the Ghanzi District, Republic of botswana.' Journal, South Due west Africa Scientific Society, v. thirty, 1975–76.
8. ^ Raftis, Alkis, The Globe of Greek Dance Finedawn, Athens (1987) p25.
9. ^ Kadman, Gurit (1952). "Yemenite Dances and Their Influence on the New Israeli Folk Dances". Journal of the International Folk Music Council. 4: 27–xxx. doi:10.2307/835838. JSTOR 835838.
10. ^ "Basin with design of dancers". National Museum of China. Archived from the original on 2017-08-11. Retrieved 2017-05-23 . Pottery from the Majiayao culture (3100 BC to 2700 BC)
11. ^ Kʻo-fen, Wang (1985). The history of Chinese dance. Strange Languages Press. p. vii. ISBN978-0-8351-1186-seven. OCLC 977028549.
12. ^ Li, Zehou; Samei, Maija Bong (2010). The Chinese aesthetic tradition. Academy of Hawaiʻi Press. p. 5. ISBN978-0-8248-3307-7. OCLC 960030161.
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21. ^ Matthew 11:17
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Further reading [edit]

• Abra, Allison. "Going to the palais: a social and cultural history of dancing and dance halls in United kingdom, 1918–1960." Contemporary British History (Sep 2016) 30#iii pp. 432–433.
• Blogg, Martin. Dance and the Christian Faith: A Course of Knowing, The Lutterworth Printing (2011), ISBN 978-0-7188-9249-iv
• Carter, A. (1998) The Routledge Dance Studies Reader. Routledge. ISBN 0-415-16447-8.
• Cohen, S, J. (1992) Dance Every bit a Theatre Fine art: Source Readings in Dance History from 1581 to the Present. Princeton Book Co. ISBN 0-87127-173-7.
• Daly, A. (2002) Critical Gestures: Writings on Dance and Culture. Wesleyan University Press. ISBN 0-8195-6566-0.
• Miller, James, L. (1986) Measures of Wisdom: The Catholic Trip the light fantastic in Classical and Christian Antiquity, Academy of Toronto Press. ISBN 0-8020-2553-half-dozen.

External links [edit]

• Chisholm, Hugh, ed. (1911). "Dance". Encyclopædia Britannica (11th ed.). Cambridge Academy Press.
• Historic illustrations of dancing from 3300 BC to 1911 AD from Project Gutenberg
• United states National Museum of Trip the light fantastic toe and Hall of Fame

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Source: https://en.wikipedia.org/wiki/Dance

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