define dance essay

(Human Kinetics, 2007). This excellent book has some unexpected bonuses for the dance writer:  Appendix A is "How to Write Your 

Research Paper;" Appendix D is "Dance Reconstruction or Re-Creation Project," and Appendix E, "Report of a Live or Videotaped Performance." Located in the main stacks, [ ] GV1601 K37 2007. [Note: the , presents a fine history of dance but lacks these how-to elements.]

1. Introduction -- 2. Research Methods and Problems -- Current Research and Issues -- 3. Dance Pedagogy -- 4. Practice-as-Research -- 5. Dance and Politics -- 6. Dance and Identity -- 7. Dance Science -- 8. Screendance Harmony Bench -- 9. Dance Ethnography -- 10. Popular Dance -- 11. Dance History  -- 12. Dance and Philosophy -- 13. Digital Dance -- 14. New Directions -- 15. Annotated Bibliography -- 16. A to Z of Key Concepts in Dance Studies .

Researching Dance:  Evolving Modes of Inquiry ( ebook , University of Pittsburgh Press, 1999) .  Directed toward graduate or honors students, this work introduces readers to research methods in dance.  Part I examines and defines the discipline

Digital craftsmanship; Copyright resources

Some selected resources are below.

TCU Center for Digital Expression - TCU's CfDE provides information and guidance for the use of many different types of materials, for students, faculty and staff, geared to a variety of academic assignments and professional purposes. Its copyright-related page, additionally, offers links and tools such as the Fair Use Evaluator .

On the Student Resources page , you can scroll down to  Audio / Video / Images / Document design / Presentation design – for example, under Images: Tips and Tools is " Copyright Fair Use and How it Works for Online Images ."

Other copyright-related resources

The Art of Dance Composition: Writing the Body / Routledge, 2024 has a lengthy chapter on intellectual property, notably on the use of music in dance, but extends beyond that to include aspects such as movement.

Copyright Primer for the Dance Community / Dance Heritage Coalition, 2003

Best Practices in Fair Use of Dance-related materials / Dance Heritage Coalition, 2009 (via the Center for Media and Social Impact)

What are the copyright guidelines for music, video and other multimedia items ? / TCU Library "LibAnswers" FAQ (links to online guides)

Transmission in Motion : the Technologizing of Dance [ ebook ] / Routledge, 2016 - chapter, Digital Dance : The Challenges for Traditional Copyright Law

The art of dance composition : writing the body [ ebook ]  / Routledge, 2024 - chapters, What is not dance? and  Intellectual property  

Writing dance reviews and papers, cont'd

Dance criticism

A "Subject heading" search for "dance criticism" leads to a number of works on the technique of dance criticism.  Some examples are below.

Style/citation guides and other help

Citation and style

MLA Style Manual and Guide to Scholarly Publishing - searchable online

Owl Online at Purdue University offers A very handy online  MLA Formatting and Style Guide .

Other style guides, plus citation tools, available from the Databases page ( faq )

Knight Cite

This handy tool from Calvin College, Michigan lets you select one of three style manuals (including MLA), select the type of resource (book, encyclopedia, etc.), and type the details into boxes, after which it produces the finished citation for you.

Searching, evaluating sources, writing (general)

MLA Guide to Digital Literacy

What Is Digital Literacy? / Understanding Filters and Algorithms, Bots, and Visual Manipulation / Understanding Online Searches / Conducting Online Research / Go to the (Primary) Source ! /  Surveying the Conversation by Reading Laterally / Exploring the Credibility of Sources / Working with Your Sources / Additional Strategies and Resources / Customizing Your Online Experience / Appendix: Sample Lesson Plans

T CU FAQ: What are scholarly, peer-reviewed articles ?

A Writer's Reference

This Bedford/St. Martins book, 2011, covers important basic writing and researching procedures in chapters titled Composing and revising; Academic writing; Sentence style; Word choice; Grammatical sentences; ESL challenges; Punctuation; Mechanics; Researching; MLA, APA/CMS [style]; Basic grammar.   Located in the  Reference stacks by call number PE 1408 H2778.

 --------------

The TCU Writing Center

The TCU Writing Center provides personal coaching on the entire process of writing a paper, from focusing your initial ideas to properly formatting a footnote.  Its main office is located in Reed Hall, room 419.  Online help is available through the Writing Center's website.

Citation tools

The TCU Library offers a number of tools for compiling and editing citations you compile for possible use in papers or other projects. Refworks is one, with a how-to video at https://libguides.tcu.edu/c.php?g=360387 ; also EndNote is available, with an instructional guide at  https://libguides.tcu.edu/EndNote20 .  Both citation apps can be chosen from the alphabetical lists on the Databases page  - the Databases tab is on the library's home page at https://library.tcu.edu .

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Benefits of Dancing Essay

• To find inspiration for your paper and overcome writer’s block
• As a source of information (ensure proper referencing)
• As a template for you assignment

If you’re exploring the importance of dancing, this essay can help you.

Dance is an art that refers to the movement of part of the body, some of the parts or the whole body, while keeping rhythmical to music (Luetzner). It is also referred to as a nonverbal form of communication as such movements can carry some massage. So that you see the benefits of dancing, this essay explores its importance in the human experience.

Dance as an art itself can be used to make expressions. The expressions can be either of joy, sorrow, warning or sometimes used for entertainment (Luetzner). In many parts of the world, dance can also be used to express talent or extra ordinary ability over others has in dance competitions.

Sense of unity

Dancing can be used as a symbol of unit. Among the several symbols of unity in different people in the world, such as taboos, cultures, songs, color and many others, dance is the most common way of expressing the sense of unity (Browning). In other words, dancing to a rhythm shows appreciation and acceptance despite the perspectives on can have.

Form of Exercise

This is because of the movements that are involved in dancing. It is proven that dancing can considerably improve one health by reducing the risk of some worse health conditions such as high blood pressure, weight gain and heart diseases (Browning). Just like any other exercise or sport, dancing has been incorporated in sports such as gymnastics, martial arts and figure skating (Luetzner).

Offers Mental and Physical Relaxation. A combination of music and a simple physical exercise are the most effectual way of setting one’s mind stress free. Dancing provides a quick and fun state that naturally relieves stress.

Form of Entertainment

Dancing and fun go hand in hand thus; it is the easiest way to happiness. Happiness can come from the activities one gets involves into will in dance groups, which include, making friends, dancing settings and of course learning new dance styles (Luetzner).

Source of Motivation and Inspiration

This is commonly in some games, competition and even sports such as basketball and football. The dancers can perform before, during the event and even on commercial breaks to keep both the fans and the participants motivated.

Source of Income

Dancing is a skill that if specialize can lead into career. So many professional dancers nowadays are able to form affiliates and make a living from training interested people and competitions (Browning).

Enhances education

Dancing is a major booster for both the old and the young. In children, dancing contributes a lot in terms of personal improvement hence enhancing their skills more so those necessary for better education. Research shows that dancing help in boosting self-esteem as well as confidence (Luetzner).

Social and political activity

Just like any other practice, dancing is also a social and political activity. The importance of dance is vividly understood during performance. As explained above, dance sends a message to the audience hence it is an important activity to the society at large.

Confidence Booster

Dancing being an exercise, it improves posture, strengthen muscles and bring out sense of them. Eventually, this state of body and mind eliminates doubts and fears and replaces them with confidence and thus good time (Luetzner).

Enhances Creativity

Lastly, d ance provides emotional outlet that helps a person to clearly reveal his or her feelings through coordinating body movement with music. It is this ability that translates back to the sense of creativity in the real world (Browning).

Works Cited

Browning, Sarah. The Importance of Dance . 2012. Web.

Luetzner Andreas. Benefits of Dance . 2012. Web.

• Miami Dance Project for Autistic Children
• Dance Education and Culture
• Dance and Mathematics Relationship
• African Dance Taught by Rujeko Dumbutshena
• Classical Dance: Term Definition
• Ruth St. Denis's Biography
• Survey of Contemporary Dances
• Hip Hop Dance
• History of Balinese Dancing Art
• Igor Stravinsky’s The Rite of Spring
• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2019, June 4). Benefits of Dancing Essay. https://ivypanda.com/essays/importance-of-dance-in-human-experience/

"Benefits of Dancing Essay." IvyPanda , 4 June 2019, ivypanda.com/essays/importance-of-dance-in-human-experience/.

IvyPanda . (2019) 'Benefits of Dancing Essay'. 4 June.

IvyPanda . 2019. "Benefits of Dancing Essay." June 4, 2019. https://ivypanda.com/essays/importance-of-dance-in-human-experience/.

1. IvyPanda . "Benefits of Dancing Essay." June 4, 2019. https://ivypanda.com/essays/importance-of-dance-in-human-experience/.

Bibliography

IvyPanda . "Benefits of Dancing Essay." June 4, 2019. https://ivypanda.com/essays/importance-of-dance-in-human-experience/.

Dance and the Visual Arts

Focusing on works by Trisha Brown, Lin Hwai-Min, Jonah Bokaer, and others, the onstage worlds of eight different dances are examined from a visual perspective.

Introduction: Convergent Histories—Dance and the Visual Arts

The experimental climate of the 1960s and 1970s in the United States is often cited as the midcentury apex for socially transgressive and politically progressive art. Allan Kaprow’s Happenings and the experimental performances of Judson Dance Theater were among the counterculture movements that energized and engendered social, aesthetic, and political challenges to the status quo, questioning formal properties of artmaking. Radical arts practices imploded the boundaries of movement and form, drastically reconfiguring aesthetic conventions in dance and the visual arts. During this period, artists expressed anti-authoritarian commitments by creating works that exposed exclusionary politics at institutional levels. Institutional critiques offered across places of production questioned the right of the establishment to define the limits and location of artmaking, and to determine who qualifies as being an artist. As visual artists began questioning the institutional stronghold of galleries and museums, choreographers challenged the so-called decontextualization of the proscenium stage. Social situations produced by artists in alternative spaces sought to blur art and the everyday, calling upon the energy of civic participation to collectively create and/or sustain the work, while simultaneously reconsidering how bodies within artistic contexts interact with their environments.

Stephanie Rosenthal, curator of the ground-breaking 2012 exhibition Move: Choreographing You, addresses these convergent histories writing, “The interest—shared by an entire generation of visual artists—in the unique event, in playfulness and an exploration of one’s own body, was reflected in the developments in postmodern dance.” Close Rosenthal, Stephanie, Susan Leigh Foster, André Lepecki, and Peggy Phelan. 2011.  Move: choreographing you : art and dance since the 1960s . London: Hayward Pub.  Visual artists like Robert Morris, Bruce Nauman, and Dan Graham, to varying degrees, rejected object-based practices, instead turning their bodies or the bodies of their viewers into the foundational material of artistic inquiry. Arguably, visual artists began making dances. And, as choreographers began developing work for museum settings and unconventional spaces, dancemakers like Yvonne Rainer, Trisha Brown, and Simone Forti developed installation pieces and site-specific works that explored pedestrian movement and everyday activity. The choreographies produced were de-theatricalized and task-oriented, which often resulted in the suppression of any clearly identifiable linear structure and an embrace of multiple meanings. As disciplinary boundaries began to deconstruct, new directions in the fields of dance and the visual arts multiplied.

Of course, the proliferation of interdisciplinary collaboration and creative cross-currents taking place between the visual arts and dance during the 1960s and beyond is not without precedent. Collaborations between choreographer Merce Cunningham, composer John Cage, and visual artist Robert Rauschenberg preceded and deeply informed the postmodern experimentations of Judson Dance Theater. The collaborative relationship between Cunningham-Cage-Rauschenberg began in 1954 with Theater Piece No. 1 , an untitled event organized by Cage at Black Mountain College. Rauschenberg would go on to design sets, costumes, and lighting for over twenty of Cunningham’s choreographies including Minutiae (1954), Summerspace (1958), Antic Meet (1958), and Travelogue (1977). A notable Cunningham-Rauschenberg collaboration that premiered at the Pillow was Nocturnes (1956). In addition to his long-term collaboration with Cunningham, Rauschenberg also designed sets and costumes for Trisha Brown and Paul Taylor. Set and Reset (1983), choreographed by Brown with designs by Rauschenberg, is indicative of the sensuous saturation that can take place when dance and the visual arts converse. The creation of the work was supported by Jacob’s Pillow through the Massachusetts Council on the Arts and has been presented at the festival several times.

Trisha Brown Dance Company

Set and Reset

For more information about the collaboration between Brown and Rauschenberg, explore Jacob’s Pillow Dance Interactive: Women in Dance essay on Trisha Brown by Maura Keefe.

The convergent histories between dance and the visual arts are extensive, yielding creative collaborations that continue to impress upon artmakers, audiences, and curators alike. For a deeper look into some of these iconic partnerships, see Dance Chronicle ’s “Kinetic, Mobile, and Modern: Dance and the Visual Arts.” Close Meglin, Joellen A., Karen Eliot, and Lynn Matluck Brooks. 2017. “Kinetic, Mobile, and Modern: Dance and the Visual Arts”.  Dance Chronicle.  40 (3).

Given the shared creative cross-currents, this essay explores the interplay between dance and the visual arts through a discussion of Jacob’s Pillow Dance Festival performances taking place between 2002 and 2017. The central works discussed—Cloud Gate Dance Theatre of Taiwan’s Songs of the Wanderers (1994) and Jonah Bokaer’s CURTAIN (2012)—offer a particular lens to consider the relationship between dance and the visual arts. Each choreography crafts a stage design that incorporates natural elements as transformative agents in the space. Rice. River. Fire. Trees. Sand. These works bring the outside in to create a theatrical environment that makes the architecture stutter. In doing so, they converse with Jacob’s Pillow as a site deeply connected to the history of the land. As you journey through the select choreographies, consider how the interplay between movement and design stimulate the imagination, symbolically offering acts of transformation.

Cloud Gate Dance Theatre of Taiwan’s Songs of the Wanderers (1994)

Lin Hwai-min, Founder and Artistic Director of Cloud Gate Dance Theatre of Taiwan (hereafter referred to as Cloud Gate), choreographed Songs of the Wanderers after returning from his pilgrimage to Bodhgaya in Northern India, the location where the Buddha, Siddhartha Gautama Sakaymuni, achieved enlightenment. Close Cloud Gate Dance Theatre of Taiwan. 2002. Songs of the Wanderers . Program. <http://archives.jacobspillow.org/index.php/Detail/objects/45023>  The various sections that comprise the evening-length work reveal much about the human condition and essence of life.

In the program note “Journey to Bodhgaya,” Lin recalls his pilgrimage, writing “[o]n the bank of the Neranjra River, I for the first time in my life realized that Buddha was an ordinary mortal who also endured human confusion and struggle.” Close Cloud Gate Dance Theatre of Taiwan. 2002. Songs of the Wanderers . Program. <http://archives.jacobspillow.org/index.php/Detail/objects/45023>  From this episode in Lin’s life, Songs of the Wanderers was birthed. The choreography theatricalizes quiet moments of reflection obtained by the side of Neranjra River, captures the grandeur of seeing the Mahabodhi Temple for the first time, and remembers meditative states gained under a Bodhi tree. Set designer Austin Wang and props designers Szu Chien-hua and Yang Cheng-yun collaborated with Lin to create visual effects that enliven the stage as the choreographic awakening unfolds. In 2014, Wang was awarded the National Award for Arts, one of the highest artistic achievements bestowed in Taiwan. Tagged the “magician of the theater” by Taiwan Today , he repeatedly establishes atmospheres that transport viewers to alternative realities. Close Her, Kelly. 2015. “Magician of the Theater.” Taiwan Today . Online. <http://taiwantoday.tw/news.php?unit=20,29,35&post=26520>  Together the stage and prop designs play a significant role in enacting the abstract representations of religious rituals present in the work.

Cloud Gate’s Songs of the Wanderers opens with a lone Buddhist monk standing still under a steady stream of golden colored rice. For nearly 70 minutes, a pool of amber lights bathes Wang Rong-yu—the performer who originated the part of the monk—as grains of rice cascade from the sky, falling upon his head. In an astonishing display of determination and concentration, Rong-yu remains seemingly motionless with hands held in a prayer position, eyes closed, and head slightly lowered. Gradually a mound of rice gathers around his lower body. The spatially isolated narrow stream of rice turns into an aggressive showering that covers every inch of the stage space. In fact, over 500 pounds of rice are used to create shifting landscapes throughout the work, forming mountains, deserts, and rivers through which the dancers enact a spiritual pilgrimage.

Commenting upon the cultural and personal significance of rice, Lin remarks “[r]ice is sacred in Asia. When we were children, rice was everything. Farmers would spread the rice in the courtyard or even on the road to let it dry. It held such a great fascination, but if you were caught playing with it you really got in trouble, because you were ruining the food.” Close Sims, Caitlin. 2000. “The Serenity Of Meditation On the Move”.  New York Times.  150 (51556). Online. <http://www.nytimes.com/2000/10/29/arts/dance-the-serenity-of-meditation-on-the-move.html>  In Songs of the Wanderers , the rice remains sacred, but the hesitation to handle it disappears as dancers playfully animate the grains, tossing them into the air in a manner that extends lines of energy infinitely into space. The video clip from Jacob’s Pillow Dance Interactive below elucidates the powerful partnership between the movement and design elements.

Songs of the Wanderers premiered in Taiwan in 1994 and was performed at Jacob’s Pillow in 2002. Founded in 1973, Cloud Gate is considered Taiwan’s first professional contemporary dance company.

Jonah Bokaer’s CURTAIN (2012)

A fortunate stroke of serendipity brought Jonah Bokaer and Daniel Arsham together. Bokaer, an alumnus of the School at Jacob’s Pillow, is a choreographer and media artist who became the youngest member ever to join the Merce Cunningham Company in 2000. During Bokaer’s seven-year stint with the company, Cunningham invited Arsham to create the stage design for eyeSpace (2007). Arsham would later go on to design for Cunningham’s Tour de Paris and Park Avenue Armory Events. The design for the latter was informed by the former. As audience members entered the cavernous space of the Park Armory’s Drill Hall, they were met with beams of white light that projected upward and fell upon Arsham’s installation looming in the sky; clusters of gray polyethylene balls hung in cloud formations. As described by Ted Loos of the New York Times , “The shape and color of the clouds, which took six months to construct, are based on pixelated photographs of clouds [Arsham] has taken around the world while on tour with the company.” Close Loos, Ted. 2011. “Cunningham Fostered Serendipity in Set Design.” New York Times , 161 (55634). Online. <http://www.nytimes.com/2011/12/29/arts/dance/daniel-arsham-on-designing-sets-for-merce-cunningham.html>  The shared sensibilities forged by these overlapping experiences and common histories, undoubtedly, continue to influence the collaborative partnership between Bokaer and Arsham.

The ghostly presence of Cunningham and Robert Rauschenberg, who served as resident designer of the Cunningham Company from 1954-1964, make it impossible to restrain oneself from projecting into the future, prematurely identifying Bokaer and Arsham as among the most influential collaborative partnerships of the twenty-first century. The two began collaborating in 2009 with the work Replica ; later creating Why Patterns (2010) and Recess (2010), each having their U.S. premieres at Jacob’s Pillow in 2011. With an interest in the intersect between movement, visual arts, and architecture, this collaborative pair reconfigures theatrical spaces through innovative experimentations with form and matter. For Why Patterns , seen below, the artists incorporate over 10,000 ping-pong balls that pour from above, imposing their own random design onto the work.

Jonah Bokaer

Why Patterns

For Bokaer, “[t]he act of combining visual arts and dance has initiated [his] entire oeuvre. This is a life-long project which continuously questions and challenges the role of a choreographer’s participation in fine art.” Close Bokaer, Jonah. <http://jonahbokaer.net/>  With CURTAIN , Bokaer and Arsham continue to probe the potential of incorporating fine art and physical objects into choreographic structures.

CURTAIN commences with a curious image—Bokaer stands with his back to the audience opposite a decaying human-sized figure rising out of a sand pile. There is something defiant about Bokaer’s stance. His right arm hangs straight with fist clutched, as his left arm caresses his lower back to grasp the other elbow. Despite the energy of resistance, the movement that unfolds is tender with Bokaer using self-touch to explore the architecture of his body. The atmospheric composition by Chris Garneau lulls the audience into a meditative state as fellow performers James McGinn and Adam H. Weinert enter the space, intriguingly wearing headphones. For fleeting moments, the trio’s movement overlaps and yet they seem to exist in disparate worlds.

Bokaer dispenses a moment of shock when he circles the human-like figure, delivering an aggressive blow which brings the statue to its knees. He assumes the empty void left by the fallen creature. Stepping into the pile of sand, Bokaer once again turns his back to the audience and extends his arms stiffly to the side. A mysterious white substance begins a slow descent from the ceiling. In a review for the Miami Herald , contributor Jordan Levin contemplates this curious moment writing, “ CURTAIN sets up all sorts of fascinating questions about the way we define the qualities of things. The white stuff moves, but it’s not alive. Is it fluid or solid? How can it be both?” Close Levin, Jordan. 2015. “Bokaer and Arsham’s Curtain —Mater meets Movement.” Miami Herald. Online. < http://www.miamiherald.com/entertainment/ent-columns-blogs/jordan-levin/article13023851.html>  Throughout its duration, the work encourages spectators to question the relationship between agents—liquid and solid, human and non-human, organic and inorganic—in manners that challenge any clear distinction between perceived dichotomies. Even the dichotomous relationship between nature and culture seems to be challenged as the entirety of this performance event seeps beyond the theater walls after enormous barn doors situated upstage open to the wooded world yonder.

The following clip from Jacob’s Pillow Dance Interactive captures the quality of contemplation established through Arsham’s design and Bokaer’s movement vocabulary.

Arsham and Bokaer returned to Jacob’s Pillow in 2017 to present their newest work, Rules of the Game (2016). As scholar-in-residence Maura Keefe discusses in the PillowNote for the production, Luigi Pirandello’s 1921 absurdist play Six Characters in Search of an Author inspired this collaboration. An original score by GRAMMY Award-winning artist Pharrell Williams, arranged and co-composed by David Campbell, accompanies the choreography. Bokaer considers his work to be a “cross-over” between dance and the visual arts. With this collaboration, might there also be room to consider a cross-over between the avant-garde and popular?

Outside/In: Four Examples

The Inside/Out performance series at Jacob’s Pillow has a long history of presenting dance against the natural landscape of the Berkshire mountains.

Choreographies like Cloud Gate’s Songs of the Wanderers (1994) and Bokaer’s CURTAIN (2012) offer an inverse to this experience, bringing elements of the outside into the performance space. Both works combine dance and the visual arts through scenography that harkens to life-giving sources. Compagnie Jant-Bi’s Le Coq est Mort ( The Rooster is Dead , 1999), Company Wang Ramirez’s Monchichi (2011), LeeSaar The Company’s Grass and Jackals (2013), and MadBoots’ Beau (2015), among other works, join Songs of the Wanderers and CURTAIN through their incorporation of natural elements as transformative agents in the space.

An intercultural collaboration between Germaine Acogny’s Senegal-based company Jant-Bi, German choreographer Susanne Linke and her assistant, Israeli Avi Kaiser, Le Coq est Mort ( The Rooster is Dead ) fills the stage with sand.

Company Jant-Bi

Le coq est mort (The Rooster is Dead)

Designer Ida Ravn helps establish the environment for Honji Wang and Sebastian Ramirez’s Monchichi by creating a barren birch tree that the dancers partner with throughout the work.

Company Wang Ramirez

When asked “What will we see in Grass and Jackals?,” Israeli choreographers Lee Sher and Saar Harari respond stating, “I think life. You know. Our life. Our sensation or wills, or desires.” Close The Dance Enthusiast: Dance Up Close. 2014. “ Grass and Jackals w/ LeeSaar The Company.” Online. < https://www.youtube.com/watch?v=mT2Bky3zA3M>  Visions of isolated and lonely creatures resolve in the work’s concluding moments with lighting and stage designer Bambi’s curtain of rain.

LeeSaar The Company

Grass and Jackals

Choreographers Jonathan Campbell and Austin Diaz’s MadBoots stages “[m]an’s alienation from the sources of life—nature, earth, water—[as] an analogy for his alienation from his own physicality” in the work BEAU . Close MadBoots. 2015. BEAU. Program. <http://archives.jacobspillow.org/index.php/Detail/objects/53997>  A neatly assembled arrangement of fallen flowers contained within the confines of a square box outlined on the floor slowly exceeds their boundaries in a gesture of sweet release.

MADBOOTS DANCE

Choreographies that use space in unconventional ways, in these instances by opening the theater to the outside, not only make the architecture stutter, they cause all those contained within it to stutter too. Following philosopher and scholar Elizabeth Grosz, these dances ask: “What is it to open up architecture to thought, to force, to life, to the outside?” Close Grosz, Elizabeth A. 2001.  Architecture from the Outside: Essays on Virtual and Real Space . Cambridge, Mass: MIT Press.  In these choreographies, the partnership between dance and the visual arts renders visible energetic forces that bodies and environments possess, highlighting the transformative capacities of each.

PUBLISHED April 2019

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Home — Essay Samples — Life — Dance — Dancing: the Essentials & Why It’s Important to Take It More Seriously

Dancing: The Essentials & Why It’s Important to Take It More Seriously

• Categories: Dance

About this sample

Words: 783 |

Published: Nov 26, 2019

Words: 783 | Pages: 2 | 4 min read

• When we say “coordination,” we mean the ability to move two or more parts of the body in a smooth, controlled, and efficient manner (Meyer, Sjobeck, & Moulder, 2009).
• This is another important part of dancing because the better your coordination, the more agility and balance you will have while moving.
• Being sharp and smooth falls into this category as well.
• BAM. (2017). DanceAfrica. Retrieved from https://www.bam.org/education/2017/study-guide/danceafrica/repertoireJustForKix. (2015, November 15). How To Find Your Unique Dance Style. Retrieved from https://www.justforkix.com/dance-talk/how-to-dance/how-to-find-your-unique-dance-style
• Meyer, J. M., Sjobeck, G., & Moulder, R. G. (2009). Coordination in Dance. Retrieved from http://faculty.virginia.edu/humandynamicslab/projects/coordination-in-dance/

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Dance Essay Examples

Preserving heritage through movement: philippine folk dance.

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Traditional folk dances are integrated into the histories of many countries like China, Columbia, Russia, and others – all with different movements, music, and rhythms. It is all dependent on where the dance is being observed. The traditional folk dance in the Philippines will significantly...

Benefits of Dancing and How to Start Doing It

Research indicates when diverse groups of people are brought together in an intergenerational program there are many benefits for all involved. Weddings shouldn't be the only time different generations come together to have fun and let their hair down. Where else can you find grandparents...

Personal Reflection on a Great Team Experience in Dance

During my freshman year of college, I was a part of the Titans Auxiliary Dance team. I thought that since I had great social background. I would be in for a prosperous season. I had not been a part of a team since I was...

Evolution of the Private Dance Sector: a Reflection of Pubic Choice

The private dance sector can be traced back to the early 1700’s where the first dance educators were employed to teach the social graces of the time. Since then the creation of the modern private sector has evolved as a reflection of public choice and...

The Past 100 Years of Dance Styles & the Health Benefits of Dance

What if I were to tell you there is a way to communicate without language? Something that everyone understands even if they speak different languages. You may be thinking of math, which is true, but another thing that is universally practiced is dance. If you...

Reflection on China in Dance Performance

In today's essay, I will be writing about the live performance called China in Dance that I watched on Friday, September 28, 2018, at the Community Center theater located on 1301 L Street Sacramento, CA 94814. The dance company that performed was the Beijing Dance...

Dietary Supplements for Dancers: for and Against

Supplements can come in many forms like bars, powders, gummies and drinks which can contain a variety of vitamins to suit an individual life style. Particular popular supplements are needed for dancers are calcium, which is needed for bone strength and vitamin D for the...

The History of Classical Ballet and Nowadays Influence of Technology on It

Most people think that classical ballet originated in France. This is because the terms for all of the movements in classical ballet are in French, but in fact, classical ballet first originated in Italy. Only in the 16th century was classical ballet brought to France...

Modern Dance Performance Review and Reflection

H. L. Mencken once said, 'It doesn't take a majority to make a rebellion: it takes only a few determined leaders and a sound cause. ' In the history of modern dance, this may remind many dancers of two important people, Isadora Duncan and Ruth...

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About Dance

Dance is the movement of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself.

The are 10 most popular types of dance: ballet, contemporary, ballroom, jazz, tap dance, folk dance, irish dance, modern dance, hip hop, swing dance.

Fred Astaire, Michael Jackson, Carmen Amaya, Martha Graham, Patrick Swayze, Gillian Murphy, Margot Fonteyn, Michael Flatley, Isadora Duncan and many others.

Dancers are known to be disciplined, focused and high achievers who tend to be successful students and hard workers. Researches prove that dancing also reduces stress and tension for the mind and body. Dancers have better coordination, agility and flexibility. A world record for the longest conga dance line was set by 119,986 people in Miami in 1988. Hindu religion has very close relationship to dance and music. This connection can be seen in their countless Bollywood movies that all celebrate dancing.

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