The Art Song Is Usually Associated With a Concert Setting Rather Than a Utilitarian Function

Performing art consisting of move of the torso

Members of a gimmicky dance boogie troop performing a group routine

Saman dance from Indonesia, the dance is characterized by its fast-paced rhythm and common harmony betwixt dancers

Trip the light fantastic is a performing art course consisting of sequences of movement, either improvised or purposefully selected. This movement has aesthetic and often symbolic value.^{[nb 1]} Trip the light fantastic can be categorized and described by its choreography, by its repertoire of movements, or by its historical period or identify of origin.^[4]

An important stardom is to be fatigued between the contexts of theatrical and participatory dance,^[5] although these ii categories are not e'er completely separate; both may have special functions, whether social, ceremonial, competitive, erotic, martial, or sacred/liturgical. Other forms of human being movement are sometimes said to accept a dance-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 visitor perform a formal group routine in a concert dance setting

Theatrical dance, also chosen performance or concert trip the light fantastic toe, is intended primarily equally a spectacle, usually a operation upon a stage by virtuoso dancers. Information technology oftentimes tells a story, perhaps using mime, costume and scenery, or else it may merely translate the musical accompaniment, which is oftentimes especially equanimous and performed in a theatre setting simply it is not a requirement. Examples are western ballet and mod dance, Classical Indian dance such as Bharatanatyam and Chinese and Japanese song and dance dramas such as dragon dance. About classical forms are centred upon dance alone, but performance dance may also appear in opera and other forms of musical theatre.

Participatory trip the light fantastic toe, on the other hand, whether it be a folk dance, a social dance, a grouping dance such as a line, circle, chain or foursquare dance, or a partner dance such as is common in Western ballroom dancing, is undertaken primarily for a common purpose, such as social interaction or exercise, or building flexibility of participants rather than to serve any benefit to onlookers. Such dance seldom has any narrative. A group dance and a corps de ballet, a social partner dance and a pas de deux, differ profoundly. Even a solo dance may exist undertaken solely for the satisfaction of the dancer. Participatory dancers often all employ the same movements and steps simply, for example, in the rave culture of electronic trip the light fantastic music, vast crowds may engage in free dance, uncoordinated with those around them. On the other hand, some cultures lay down strict rules as to the particular dances in which, for instance, men, women and children may or must participate.

History [edit]

Mesolithic dancers at Bhimbetka

Archaeological testify for early dance includes 9,000-yr-onetime paintings^{[ citation needed ]} in India at the Rock 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 of import function of the oral and performance methods of passing stories down from 1 generation to the adjacent.^[6] The use of dance in ecstatic trance states and healing rituals (as observed today in many contemporary "archaic" cultures, from the Brazilian rainforest to the Kalahari Desert) is thought to accept been another early factor in the social development of dance.^[7]

References to dance can exist establish in very early recorded history; Greek dance (horos) is referred to by Plato, Aristotle, Plutarch and Lucian.^[8] The Bible and Talmud refer to many events related to trip the light fantastic toe, and contain over 30 unlike dance terms.^[9] In Chinese pottery as early every bit the Neolithic catamenia, groups of people are depicted dancing in a line holding hands,^[ten] and the earliest Chinese discussion for "dance" is found written in the oracle basic.^[xi] Trip the light fantastic toe is further described in the Lüshi Chunqiu.^{[12] [13]} Primitive trip the light fantastic toe in ancient China was associated with sorcery and shamanic rituals.^[14]

Greek bronze statuette of a veiled and masked dancer, 3rd–2nd century BC, Alexandria, Egypt

During the first millennium BCE in Republic of india, many texts were composed which attempted to codify aspects of daily life. Bharata Muni's Natyashastra (literally "the text of dramaturgy") is one of the earlier texts. It mainly deals with drama, in which dance plays an important role in Indian culture. It categorizes dance into four types--secular, ritual, abstruse, and, interpretive--and into 4 regional varieties. The text elaborates various manus-gestures (mudras) and classifies movements of the various limbs, steps and so on. A potent continuous tradition of trip the light fantastic has since continued in India, through to modern times, where it continues to play a role in culture, ritual, and, notably, the Bollywood entertainment industry. Many other contemporary dance forms can likewise exist traced back to historical, traditional, ceremonial, and ethnic dance.

Music [edit]

Dance is generally, nonetheless not exclusively, performed with the accompaniment of music and may or may not exist performed in time to such music. Some dance (such as tap trip the light fantastic) may provide its own audible accompaniment 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 class such as baroque music and baroque dance; other varieties of dance and music may share nomenclature merely developed separately, such as classical music and classical ballet. The choreography and music go hand in paw, every bit they complement each other to express a story told by the choreographer and or dancers.^[15]

Rhythm [edit]

Rhythm and trip the light fantastic are deeply linked in history and exercise. The American dancer Ted Shawn wrote; "The conception of rhythm which underlies all studies of the trip the light fantastic is something about which we could talk forever, and still not finish."^[16] A musical rhythm requires 2 main elements; first, a regularly-repeating pulse (also chosen the "beat" or "tactus") that establishes the tempo and, 2d, a design of accents and rests that establishes the grapheme of the metre or basic rhythmic pattern. The basic pulse is roughly equal in duration to a simple pace or gesture.

Dances generally have a feature tempo and rhythmic design. The tango, for instance, is usually danced in ²
₄ time at approximately 66 beats per minute. The basic deadening step, called a "slow", lasts for one beat, and so that a full "right–left" stride is equal to one ²
_four measure. The basic frontward and backward walk of the dance is so counted – "tedious-slow" – while many additional figures are counted "slow – quick-quick.^[17]

Just every bit musical rhythms are divers past a blueprint of strong and weak beats, and then repetitive body movements often depend on alternate "stiff" and "weak" muscular movements.^[18] Given this alternation of left-right, of frontwards-backward and rising-fall, along with the bilateral symmetry of the human body, it is natural that many dances and much music are in duple and quadruple meter. Since some such movements require more than time in ane phase than the other – such as the longer time required to lift a hammer than to strike – some dance rhythms fall every bit naturally into triple metre.^[19] Occasionally, as in the folk dances of the Balkans, trip the light fantastic traditions depend heavily on more complex rhythms. Farther, complex dances composed of a fixed sequence of steps e'er require phrases and melodies of a certain fixed length to back-trail that sequence.

Lululaund – The Dancing Girl (painting and silk cloth. 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 course of thought/ And thought is a form of divinity."

The very act of dancing, the steps themselves, generate an "initial skeleton of rhythmic beats" that must have preceded any separate musical accessory, while dance itself, as much as music, requires fourth dimension-keeping^[xx] but as utilitarian repetitive movements such as walking, hauling and excavation take on, as they become refined, something of the quality of dance.^[18]

Musical accompaniment, therefore, arose in the earliest trip the light fantastic, and then that aboriginal 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 still found in renaissance Europe in the works of the dancing main Guglielmo Ebreo da Pesaro who speaks of trip the light fantastic as a physical movement that arises from and expresses inward, spiritual movement agreeing with the "measures and perfect concords of harmony" that fall upon the human ear,^[18] while, earlier, Mechthild of Magdeburg, seizing upon dance equally a symbol of the holy life foreshadowed in Jesus' saying "I have piped and ye have not danced",^[21] writes;

I can not dance unless grand leadest. If thou wouldst take me leap aloft, sing thou and I will spring, into dearest and from love to knowledge and from knowledge to ecstasy to a higher place all man sense^[22]

Thoinot Arbeau'south historic 16th-century trip the light fantastic-treatise Orchésographie, indeed, begins with definitions of over fourscore singled-out drum-rhythms.^[23]

Every bit has been shown above, dance has been represented through the ages as having emerged as a response to music nonetheless, as Lincoln Kirstein implied, it is at least every bit likely that archaic music arose from dance. Shawn concurs, stating that trip the light fantastic "was the first fine 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 event of the accents necessitated by trunk movement, as the dancing and reciting was performed simultaneously"^[16] – an assertion somewhat supported by the common utilise of the term "foot" to describe the central rhythmic units of poetry.

Scholes, not a dancer only a musician, offers back up for this view, stating that the steady measures of music, of 2, 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 teacher, relates how a study of the concrete movements of pianists led him "to the discovery that musical sensations of a rhythmic nature telephone call for the muscular and nervous response of the whole organism", to develop "a special training designed to regulate nervous reactions and issue a co-ordination of muscles and fretfulness" and ultimately to seek the connections betwixt "the fine 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, as Shawn asserts, "information technology is quite possible to develop the trip the light fantastic without music and... music is perfectly capable of continuing on its own feet without any assistance from the dance", nevertheless the "two arts will ever be related and the relationship tin can exist profitable both to the trip the light fantastic and to music",^[27] the precedence of one art over the other being a moot point. The common ballad measures of hymns and folk-songs takes their proper name from dance, as does the carol, originally a circle trip the light fantastic toe. Many purely musical pieces have been named "waltz" or "minuet", for case, while many concert dances have been produced that are based upon abstract musical pieces, such every bit ii and 3 Part Inventions, Adams Violin Concerto and Andantino. Similarly, poems are frequently structured and named after dances or musical works, while dance and music take both drawn their conception of "measure" or "metre" from poetry.

Shawn quotes with approval the statement of Dalcroze that, while the art of musical rhythm consists in differentiating and combining fourth dimension durations, pauses and accents "according to physiological constabulary", that of "plastic rhythm" (i.eastward. trip the light fantastic toe) "is to designate move in space, to interpret long fourth dimension-values past dull movements and short ones by quick movements, regulate pauses by their divers successions and express sound accentuations in their multiple nuances by additions of bodily weight, by means of muscular innervations".

Shawn nevertheless points out that the organisation of musical time is a "human being-made, artificial matter.... a manufactured tool, whereas rhythm is something that has e'er existed and depends on human not at all", being "the continuous flowing time which our human minds cut up into user-friendly units", suggesting that music might exist revivified past a return to the values and the time-perception of dancing.^[28]

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

Approaches [edit]

Theatrical [edit]

Concert dance, like opera, generally depends for its large-calibration course upon a narrative dramatic construction. 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 hand, the ballet blanc, adult in the 19th century, allows interludes of rhythmic dance that adult into entirely "plotless" ballets in the 20th century^[31] and that allowed fast, rhythmic trip the light fantastic toe-steps such every bit those of the petit allegro. A well-known example is The Cygnets' Dance in act ii 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 adult from those familiar from the musical suite,^[32] all of which were divers by definite rhythms closely identified with each trip the light fantastic. These appeared as character dances in the era of romantic nationalism.

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

Indian classical trip the light fantastic toe styles, like ballet, are often in dramatic form, so that there is a like complementarity between narrative expression and "pure" dance. In this case, the two are separately defined, though not always separately performed. The rhythmic elements, which are abstruse 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 chosen bol to the needs of dancers.

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

Participatory and social [edit]

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

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

Cultural traditions [edit]

Africa [edit]

Ugandan youth dance at a cultural celebration of peace

Trip the light fantastic toe in Africa is deeply integrated into society and major events in a community are oft 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; requite vent to repressed emotions, such as grief; motivate community members to cooperate, whether fighting wars or grinding grain; enact spiritual rituals; and contribute to social cohesiveness.^[xl]

Thousands of dances are performed around the continent. These may exist divided into traditional, neotraditional, and classical styles: folkloric dances of a detail society, dances created more recently in imitation of traditional styles, and dances transmitted more formally in schools or private lessons.^{[39] : 18} African dance has been altered by many forces, such every bit European missionaries and colonialist governments, who oft suppressed local dance traditions as licentious or distracting.^[40] Trip the light fantastic toe in gimmicky African cultures nonetheless serves its traditional functions in new contexts; dance may celebrate the inauguration of a hospital, build community for rural migrants in unfamiliar cities, and exist incorporated into Christian church ceremonies.^{[forty] [41]}

Asia [edit]

An Indian classical dancer

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

All Indian classical dances are to varying degrees rooted in the Natyashastra and therefore share mutual features: for example, the mudrasouthward (hand positions), some body positions, leg movement and the inclusion of dramatic or expressive interim or abhinaya. Indian classical music provides accompaniment and dancers of nearly all the styles wear 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 after decades-long debate, has been traced to present day Mithila, Odisha region's dance class of Odissi (Orissi), point influence of dances in cultural interactions between dissimilar regions.^[42]

The Punjab expanse overlapping India and Pakistan is the place of origin of Bhangra. It is widely known both equally a manner of music and a trip the light fantastic. Information technology is mostly related to aboriginal harvest celebrations, love, patriotism or social problems. Its music is coordinated past a musical instrument called the 'Dhol'. Bhangra is non just music but a trip the light fantastic toe, a commemoration of the harvest where people crush the dhol (drum), sing Boliyaan (lyrics) and trip the light fantastic. Information technology adult farther with the Vaisakhi festival of the Sikhs.

The dances of Sri Lanka include the devil dances (yakun natima), a carefully crafted ritual reaching far dorsum into Sri Lanka's pre-Buddhist past that combines ancient "Ayurvedic" concepts of illness causation with psychological manipulation and combines many aspects including Sinhalese cosmology. Their influence can exist 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 1,300 ethnic groups in Republic of indonesia, it can be seen from the cultural roots of the Austronesian and Melanesian peoples, and various cultural influences from Asia and the w. Dances in Indonesia originate from ritual movements and religious ceremonies, this kind of dance usually begins with rituals, such as war dances, shaman dances to cure or ward off disease, dances to call rain and other types of dances. With the acceptance of dharma organized religion in the 1st century in Indonesia, Hinduism and Buddhist rituals were celebrated in various creative performances. Hindu epics such as the Ramayana, Mahabharata and also the Panji became the inspiration to be shown in a trip the light fantastic-drama chosen "Sendratari" resembling "ballet" in the western tradition. An elaborate and highly stylized dance method was invented and has survived to this mean solar day, especially on the islands of Coffee and Bali. The Javanese Wayang wong dance takes footage from the Ramayana or Mahabharata episodes, only this dance is very different from the Indian version, indonesian dances do non pay as much attention to the "mudras" as Indian dances: fifty-fifty more to show local forms. The sacred Javanese ritual dance Bedhaya is believed to date back to the Majapahit period in the 14th century or fifty-fifty earlier, this trip the light fantastic toe originated from ritual dances performed by virgin girls to worship Hindu Gods such as Shiva, Brahma, and Vishnu. In Bali, trip the light fantastic has become an integral office of the sacred Hindu Dharma rituals. Some experts believe that Balinese dance comes from an older dance tradition from Java. Reliefs from temples in East Coffee from the 14th century feature crowns and headdresses like to the headdresses used in Balinese trip the light fantastic toe today. Islam began to spread to the Indonesian archipelago when indigenous dances and dharma dances were still popular. Artists and dancers yet use styles from the previous era, replacing stories with more Islamic interpretations and clothing that is more closed according to Islamic teachings.^[44]

The dances of the Middle Due east are commonly the traditional forms of circumvolve dancing which are modernized to an extent. They would include dabke, tamzara, Assyrian folk dance, Kurdish dance, Armenian dance and Turkish trip the light fantastic toe, among others.^{[45] [46]} All these forms of dances would usually involve participants engaging each other by holding easily or arms (depending on the manner of the dance). They would make rhythmic moves with their legs and shoulders as they curve around the dance floor. The caput of the trip the light fantastic toe would generally hold a cane or handkerchief.^{[45] [47]}

Europe and Due north America [edit]

Folk dances vary across Europe and may date dorsum hundreds or thousands of years, simply many have features in mutual such equally group participation led by a caller, manus-holding or arm-linking betwixt participants, and stock-still musical forms known as caroles.^[48] Some, such as the maypole dance are mutual to many nations, while others such as the céilidh and the polka are securely-rooted in a single civilization. Some European folk dances such as the foursquare dance were brought to the New World and later became role of American culture.

Two classical ballet dancers perform a sequence of The Nutcracker, ane of the best known works of classical trip the light fantastic toe.

Ballet adult first in Italia and and then in French republic from lavish court spectacles that combined music, drama, poetry, song, costumes and trip the light fantastic toe. Members of the courtroom dignity took part equally performers. During the reign of Louis XIV, himself a dancer, dance became more codified. Professional dancers began to have the place of court amateurs, and ballet masters were licensed past the French government. The first ballet trip the light fantastic toe academy was the Académie Royale de Danse (Royal Dance Academy), opened in Paris in 1661. Shortly thereafter, the first institutionalized ballet troupe, associated with the Academy, was formed; this troupe began as an all-male ensemble but by 1681 opened to include women as well.^[6]

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

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

Latin America [edit]

Street samba dancers perform in funfair parades and contests.

Dance is cardinal to Latin American social life and culture. Brazilian Samba, Argentinian tango, and Cuban salsa are internationally pop 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 Carnival festivals incorporate these and other dances in enormous celebrations.^[51]

Trip the light fantastic has played an important role in forging a collective identity amid the many cultural and ethnic groups of Latin America.^[52] Trip the light fantastic served to unite the many African, European, and ethnic peoples of the region.^[50] Certain dance genres, such as capoeira, and body movements, especially the feature quebradas or pelvis swings, have been variously banned and celebrated throughout Latin American history.^[52]

Education [edit]

Trip the light fantastic toe studies are offered through the arts and humanities programs of many higher education institutions. Some universities offer Bachelor of Arts and higher academic degrees in Trip the light fantastic toe. A dance report curriculum may encompass a diverse range of courses and topics, including dance practice and operation, choreography, ethnochoreology, kinesiology, dance annotation, 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 attending deficit 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 dancers are usually employed on contract or for particular performances or productions. The professional life of a dancer is generally one of constantly changing work situations, strong competitive pressure and low pay. Consequently, professional dancers often must supplement their incomes to achieve financial stability. In the U.S. many professional dancers vest to unions (such as the American Lodge of Musical Artists, Screen Actors Lodge and Actors' Equity Association) that institute working conditions and minimum salaries for their members. Professional dancers must possess large amounts of athleticism. To pb a successful career, it is advantageous to be versatile in many styles of dance, have a potent technical background and to utilize other forms of concrete training to remain fit and good for you.^[54]

Teachers [edit]

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

Choreographers [edit]

Choreographers are the ones that design the dancing movements within a dance, they are often university trained and are typically employed for particular projects or, more than rarely may work on contract as the resident choreographer for a specific dance visitor.^[55]

Competitions [edit]

A dance contest is an organized effect in which contestants perform dances before a judge or judges for awards, and in some cases, monetary prizes. In that location are several major types of trip the light fantastic competitions, distinguished primarily past the manner or styles of dances performed. Major types of trip the light fantastic competitions include:

• Dancesport, which is focused exclusively on ballroom and latin dance.
• Competitive dance, in which a variety of theater dance styles, such as acro, ballet, jazz, hip-hop, lyrical, and tap, are permitted.
• Unmarried-style competitions, such equally; highland dance, trip the light fantastic toe squad, and Irish dance, that only permit a single dance style.
• Open competitions, that permit a wide variety of trip the light fantastic toe styles. An example of this is the TV program So You Think You Tin Trip the light fantastic.
• Olympic, Dance has been trying to be part of the Olympic sport since 1930s.

In addition, there are numerous dance competitions shows presented on television and other mass media.

Gallery [edit]

• 

• 

  A contemporary dancer performs a stag carve up bound.

• 

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

• 

  Latin Ballroom dancers perform the Tango.

• 

  Gumboot trip the light fantastic toe evolved from the stomping signals used as coded communication betwixt labourers in South African mines.

• 

• 

• 

  Modernistic trip the light fantastic – a female dancer performs a leg carve up while counterbalanced on the back of her partner.

• 

  A nineteenth century artist's representation of a Flamenco dancer

• 

  Ritual dance – Armenian folk dancers celebrate a neo-pagan new year.

• 

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

• 

  Folk dance – some dance traditions travel with immigrant communities, equally with this festival dance performed past a Polish community in Turkey.

• 

  Street dance – a Breakdancer performs a handstand trick.

• 

• 

  Ballet course of young girls wearing leotards and skirts in 2017

• 

See also [edit]

• Fine art
• Outline of performing arts
• Outline of dance
• Alphabetize of dance articles
• Listing of dance awards
• Human body

Notes [edit]

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

   "Trip the light fantastic toe is human movement created and expressed for an aesthetic purpose."^[1]

   "Trip the light fantastic toe is a transient way of expression performed in a given form and manner by the human body moving in infinite. Dance occurs through purposefully selected and controlled rhythmic movements; the resulting phenomenon is recognized as dance both past the performer and the observing members of a given group."^[two]

   "Trip the light fantastic toe is human behaviour composed (from the dancer's perspective, which is ordinarily shared by the audience members of the dancer's culture) of purposeful (individual 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 fourth dimension, space, and with effort) has an inherent and artful value (the notion of ceremoniousness and competency as viewed by the dancer'due south culture) and symbolic potential."^[3]

References [edit]

1. ^ Sondra Horton Fraleigh (1987). Trip the light fantastic and the Lived Body: A Descriptive Aesthetics. University of Pittsburgh Pre. p. 49. ISBN978-0-8229-7170-ii.
2. ^ Joann Kealinohomoku (1970). Copeland, Roger; Cohen, Marshall (eds.). An Anthropologist Looks at Ballet equally a Grade of Ethnic Dance (PDF). What is Trip the light fantastic? Readings in Theory and Criticism (1983 ed.). New York: Oxford Academy Press. Archived from the original (PDF) on 2011-01-04.
3. ^ Judith Lynne Hanna (1983). The performer-audition connection: emotion to metaphor in trip the light fantastic toe and gild. Academy of Texas Press. ISBN978-0-292-76478-1.
4. ^ Foster, Susan Leigh. (2011). Choreographing empathy : faculty in performance. Routledge. ISBN978-0-415-59656-v. OCLC 963558371.
5. ^ "Canadian National Arts Heart – Dance Forms: An Introduction".
6. ^ ^{a b} Nathalie Comte. "Europe, 1450 to 1789: Encyclopedia of the Early on 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 Amid the Farm Bushmen of the Ghanzi District, Republic of Botswana.' Journal, Southward West Africa Scientific Society, five. thirty, 1975–76.
8. ^ Raftis, Alkis, The World of Greek Trip the light fantastic 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 Quango. 4: 27–30. doi:10.2307/835838. JSTOR 835838.
10. ^ "Bowl with pattern of dancers". National Museum of China. Archived from the original on 2017-08-11. Retrieved 2017-05-23 . Pottery from the Majiayao civilisation (3100 BC to 2700 BC)
11. ^ Kʻo-fen, Wang (1985). The history of Chinese dance. Foreign Languages Press. p. seven. ISBN978-0-8351-1186-7. OCLC 977028549.
12. ^ Li, Zehou; Samei, Maija Bell (2010). The Chinese aesthetic tradition. University of Hawaiʻi Printing. p. 5. ISBN978-0-8248-3307-vii. OCLC 960030161.
13. ^ Sturgeon, Donald. "Lü Shi Chun Qiu". Chinese Text Projection Dictionary (in Chinese). Retrieved 2017-05-23 . Original text: 昔葛天氏之樂，三人操牛尾，投足以歌八闋
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Farther reading [edit]

• Abra, Allison. "Going to the palais: a social and cultural history of dancing and dance halls in Uk, 1918–1960." Contemporary British History (Sep 2016) 30#3 pp. 432–433.
• Blogg, Martin. Dance and the Christian Organized religion: A Form of Knowing, The Lutterworth Press (2011), ISBN 978-0-7188-9249-4
• Carter, A. (1998) The Routledge Dance Studies Reader. Routledge. ISBN 0-415-16447-8.
• Cohen, South, J. (1992) Trip the light fantastic As a Theatre Fine art: Source Readings in Dance History from 1581 to the Present. Princeton Book Co. ISBN 0-87127-173-vii.
• Daly, A. (2002) Critical Gestures: Writings on Dance and Civilisation. Wesleyan University Press. ISBN 0-8195-6566-0.
• Miller, James, L. (1986) Measures of Wisdom: The Cosmic Trip the light fantastic toe in Classical and Christian Artifact, Academy of Toronto Printing. ISBN 0-8020-2553-6.

External links [edit]

• Chisholm, Hugh, ed. (1911). "Dance". Encyclopædia Britannica (11th ed.). Cambridge University Printing.
• Historic illustrations of dancing from 3300 BC to 1911 AD from Project Gutenberg
• United States National Museum of Dance and Hall of Fame

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

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