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 recently in imitation of traditional styles, and dances transmitted more formally in schools or private lessons.
All Indian classical dances are to varying degrees rooted in the Natyashastra and therefore share common features: for example, the mudra s hand positions , some body positions, and the inclusion of dramatic or expressive acting 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.
The Punjab area overlapping India and Pakistan is the place of origin of Bhangra. It is widely known both as a style of music and a dance. It is mostly related to ancient harvest celebrations, love, patriotism or social issues. Bhangra is not just music but a dance, a celebration of the harvest where people beat the dhol drum , sing Boliyaan lyrics and dance.
It developed further with the Vaisakhi festival of the Sikhs. Their influence can be seen on the classical dances of Sri Lanka. Two classical ballet dancers perform a sequence of The Nutcracker, one of the best known works of classical dance. The dances of the Middle East are usually the traditional forms of circle dancing which are modernized to an extent.
They would include dabke, tamzara, Assyrian folk dance, Kurdish dance, Armenian dance and Turkish dance, among others. They would make rhythmic moves with their legs and shoulders as they curve around the dance floor.
The head of the dance would generally hold a cane or handkerchief. This comes close to and yet stops short of equating dance-making credit for dances with intellectual property rights, where it is by no means the case particularly in the U. For more on issues of authorship in dance and copyright see Kraut , and and Van Camp For a book on dance, disability and the law see Whatley et al. Three types of improvisation in theater dance have been identified by Carter : 1 embellishments where set choreography persists, 2 improvisation as spontaneous free movement for use in set choreography and 3 improvisation for its own sake brought to a high level of performance.
An example of 1 would be the situation in which a dance performer is allowed to amplify existing movements doing a triple pirouette in place of a double, for example , or a stylistic flourish such as an extra flick of the wrist or tilt of the head.
An example of 2 would be the case in which no choreography has been provided for eight bars of music and the dancer s is given the freedom to insert whatever he or she wishes in the open space. Finally, 3 would cover the situation that D. It would also include the situation where either the whole performance or a substantial part of it is improvised from start to finish. Goldman thus suggests an alternative form of improvisation, one that is. Somatic improvisation, or the results of these improvisational exercises, may be included in a theater performance for an audience but need not be.
Aili Bresnahan a has made the claim that all live dance performance involves improvisational artistry to at least some extent and that this can be seen as a kind of embodied and extended agency under embodied and extended mind theories, in particular that of Andy Clark in his book, Supersizing the Mind: Embodiment, Action, and Cognitive Extension For more on improvisation in the arts, see the Journal of Aesthetics and Art Criticism special issue on Improvisation in the Arts, Spring, [Hagberg ]; Alperson , , and ; Bresnahan ; Brown ; Hagberg ; G.
There are fields of philosophy, particularly in the Continental, pragmatic, and non-Western traditions, that treat art as both activity and as experiential phenomena. These phenomenological kinds of philosophy treat lived experience, including bodily and somatic experience, as something that can provide legitimate descriptive or causal evidence for philosophic claims.
See, e. For more on phenomenological approaches to dance see Albright ; Fraleigh [which also contains quite a lot of material on the history of dance in aesthetics], , and ; Franko b; and Sheets-Johnstone and Ness for an account of a shift in dance away from phenomenology with Foucault.
For more on dance and somatic engagement see Eddy ; Fraleigh ; Weber ; and Williamson et al. See also LaMothe ; Pakes , a, and ; and Parvainen for work on the related field of dance, the body and epistemology.
Those philosophers, some of whom are mentioned above, who treat lived experience as legitimate descriptive and explanatory evidence are firmly committed to the validity of practice in philosophy of dance. Analytic aesthetics philosophers, however such as D. Davies and Montero , often find it necessarily to legitimize their recourse to practice in an explicit way. Julie Van Camp and Renee Conroy have argued that analytic dance aesthetics needs to be more reflective of and responsive to actual danceworld and artworld practice.
Van Camp has proposed. For an account of practice as dance research see Pakes and a. In dance philosophy there is controversy about how to construe the felt, bodily responses that the audience can and often does have while watching a dance performance.
Two of the questions that arise here are the following: 1 What is the causal process by which kinesthetic responses are felt? To take the first question first: Causal processes that can explain kinesthetic responses in dance are by no means well understood.
For more on empathy and the kinaesthetic aspect of performance see Foster and Some contemporary philosophers of dance such as Barbara Montero a, b, , and use research in cognitive science and in neuroscience in order to ascertain the answers to why audience members report feeling kinesthetic responses such as a quickening heart rate and certain tensions along with more mysterious feelings in their muscles and nervous systems. For more on how dance philosophy incorporates approaches from cognitive science in these and other areas see Section 4 , below.
See also Bresnahan b; Reason and Reynolds ; Sklar ; and Smyth for more on kinaesthetic response to dance. McFee, as mentioned in Section 3. Van Camp lends support for this view.
Bresnahan has sided with Montero on this point b. Further, Bresnahan believes that there are some aspects of the experience of dance that are not available to the non-dance-trained appreciator or not available to the same extent. Bresnahan agrees that this is an empirical question but she sides with Montero, Carroll and Seeley in holding that answers to empirical questions can aid philosophic understanding. For more discussion on the appropriateness of empirical support for philosophic inquiry in dance see Sections 3.
The number of dance philosophers who are interested and involved in using empirical research in the cognitive sciences to help our understanding of the cognitive-physical components of making dance art in actions, events and performances is large and growing.
See Bresnahan a for an account of how dance training affects our temporal experience and Bresnahan a for the view that expert dance movements are often experienced and perceived via subconscious processes before they are fully cognized.
For a series of sustained arguments against the philosophical fruitfulness of using insights from cognitive science see McFee , a, and Montero has written on how proprioception the capacity that lets a person know their bodily position in space might be construed as an aesthetic sense, how mirror neurons might be part of an audience experience of this sense, and how trained dancers might make better aesthetic judges at least in part due to some of these mechanisms.
See the discussion on expertise that precedes this discussion in Section 3. The philosophers who support the use of research on neurological processing of kinesthetic responses to dance in general hold that it is relevant to our proper understanding of dance qua the art of dance.
Carroll and Seeley argue, for example, that one of the central features of understanding dance is to understand the nature of the experience of dance in all its aspects, cognitive as well as kinesthetic and felt. Thus, connecting this experience with causal explanations is elucidating and appropriate to a full and broad understanding of that experience in all of its aspects.
He agrees with McFee that there are some questions relevant to philosophical dance aesthetics that cannot be answered by empirical research, no matter how accurate that research may be for answering certain scientific, causal questions. Empirical research, where used by dance and other philosophers, must, according to D. Davies, be applied carefully to the relevant questions see a and ; see also Davies is only moderately pessimistic about empirical research, however, because he thinks that philosophy ought not to partition itself away from science and away from other disciplines that might inform our thinking.
Here he suggests that we ought to follow the Quinean idea that philosophy ought to respond to and at least be cognizant of current science so that we know how our philosophic views fit into our web of other beliefs about the world. For a full discussion of the various optimisms and pessimisms regarding how empirical research can affect our understanding of art here see Bullot et al.
McFee a, b and denies that causal explanations about kinesthetic responses are ever relevant to dance appreciation. This view can be called following D. McFee holds that causal accounts, particularly from the sciences, of the appreciation and experience of dance, either in terms of kinesthetic responses or anything else, are never relevant to understanding dance as art. Yin and yang. Proton and electron. What are we talking about here Nothing less than the very tension that binds the universe.
You see, when we look at marriage, people, we're are looking at creation itself. I am the sky, says the Hindu bridegroom to the bride. You are the earth. We are sky and earth united You are my husband. You are my wife. My feet shall run because of you. My feet shall dance because of you.
My heart shall beat because of you. My eyes see because of you. My mind thinks because of you and I shall love because of you. They were very tough and very exhausting too because dance is very mixed—dancing is hard to photograph and hard to create. I'll tell you how that happened. When I was a dance r, Monique Van Vooren had a nightclub act and she uses three guys as backup. She'd sing French and we would dance and provide vocals.
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Term » Definition. Word in Definition. Princeton's WordNet 4. Dance builds confidence by giving you a sense of success and achievement when you master it. Dancing provides a natural icebreaker and is a great way to meet new people and make new friends. Any exercise can raise your spirits by raising the endorphins or so called feel good chemicals.
Physical Benefits- Dance will help develop muscles, tone the body, improve circulation, improve posture, balance, coordination and promote greater flexibility. The art of dance helps teach a child to focus, creativity, and discipline, all in which are mandatory in any area of education. Dance is both a skill and a talent. We cannot weigh it on either side. There are people who just wanted to dance, joined a team, worked hard and mastered the skill. And there are people who will not take any classes but can still perform any dance just by watching someone.
Dance is one of the most powerful artistic mediums to either engage in or witness. The act of dancing is also linked with rhythm and transforming time into motion. Of course, not all dances in those ancient times were intended for religious purposes.
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