Dance is a performing arts form consisting of a sequence of deliberately chosen human movements. This movement has an aesthetic and symbolic value, and is recognized as a dance by players and observers in certain cultures. Dance can be categorized and depicted with choreography, with its motion repertoire, or with a historical period or place of origin.
An important distinction is drawn between the context of theater and participatory dance, although these two categories are not always completely separate; both may have special functions, either social, ceremonial, competitive, erotic, martial, or sacred/liturgical. Other forms of human movement are sometimes said to have such qualities as dance, including martial arts, gymnastics, cheerleaders, skating figures, synchronized pools, marching bands, and many other athletic forms.
Video Dance
Performance and participation
Theater dances, also called concert performances or dance, are intended primarily as spectacles, usually performances on stage by expert dancers. Often tells a story, perhaps using pantomime, costumes and scenery, or else may only interpret musical accompaniment, which is often specially composed. Examples are Western ballet and modern dance, Indian Classical dance, as well as dance and drama dance and Japanese and Japanese. Most classical forms are focused on dance, but dance performances can also appear in opera and other musical theater forms.
Participatory dancing, on the other hand, whether it is folk dance, social dance, group dances such as lines, circles, chains or square dances, or dance partners as is common in Western Ballroom ballroom dancing, are performed primarily for the same purpose, such as social interaction or exercise, from the participants and not from the audience. Such dances rarely have narration. Group dance and corps de ballet, social partner dance and pas de deux are very different. Even solo dances can be performed solely for the satisfaction of the dancers. Participatory dancers often use the same moves and steps but, for example, in the rave culture of electronic dance music, many people can engage in free dance, uncoordinated with the people around them. On the other hand, some cultures set strict rules on certain dances in which, for example, men, women and children can or should participate.
Maps Dance
Origins
Archaeological evidence for early dance includes 9,000 years of Indian paintings at Bhimbetka stone shelters, and Egyptian tomb paintings depicting dance figures dated c. 3300 BC. It has been proposed that before the invention of written languages, dance is an essential part of the oral method and the appearance of stories passed down from generation to generation. The use of dance in ecstatic trance and healing rituals (as observed today in many contemporary "primitive" cultures, from the Brazilian rainforests to the Kalahari Desert) is considered another starting factor in the social development of dance.
References to dancing can be found in very early recorded history; The Greek dance ( horos ) is referenced by Plato, Aristotle, Plutarch, and Lucian. The Bible and the Talmud refer to many events related to dance, and contain more than 30 different dance terms. In Chinese pottery as early as the Neolithic period, a group of people are depicted dancing in a hand-holding line, and the early Chinese word for "dance" is found written on the bone of the oracle. Dance is explained further at LÃÆ'¼shi Chunqiu . Primitive dances in ancient China are associated with magic and shamanic rituals.
During the first millennium BC in India, many texts were composed that attempted to codify aspects of everyday life. Bharata Muni Natyashastra (literally "dramaturgy text" ) is one of the previous texts. Especially with regard to drama, where dance plays an important role in Indian culture. It categorizes dances into four types - secular, ritual, abstract, and, interpretative - and into four regional varieties. The text describes various hand movements ( mudras ) and groups movements of various limbs, steps and so on. The sustainable tradition of sustainable dance has since continued in India, up to the modern age, where it continues to play a role in culture, rituals, and, in particular, the Bollywood entertainment industry. Many other contemporary forms of dance can be traced back to historical, traditional, ceremonial, and ethnic dances.
Dance and music
The dance is generally, though not exclusively, performed with musical accompaniment and may or may not be done in time to such music. Some dances (such as tap dance) can provide self-heard accompaniment instead of (or in addition) music. Many early forms of music and dance are created for each other and are often performed together. Notable examples of traditional dance/clutch music include jig, waltz, tango, disco, and salsa. Some musical genres have parallel dance forms such as baroque music and baroque dance; dance varieties and other music can share nomenclature but developed separately, such as classical music and classical ballet.
Dance and rhythm
Rhythms and dances are closely related in history and practice. American Dancer Ted Shawn writes; "The rhythmic conception that underlies all research on dance is something we can talk about forever, and it's still not done." The rhythm of music requires two main elements; first, regularly repeating pulses (also called "beat" or "tactus") which establish tempo and, secondly, accent and rest patterns that establish the meter or rhythm pattern. Basic pulses are approximately equal in duration for simple steps or movements.
Dance generally has a distinctive tempo and rhythmic pattern. Tango, for example, usually dances in 2 4 time is about 66 beats per minute. The basic slow step, called "slow", lasts for one tap, so the full "right-left" step equals one 2
4 measure. The step back and forth from this dance is very much taken into account - "slowly" - while many additional numbers are calculated "slow-fast.
Just like the rhythm of music is determined by a strong and weak tapping pattern, repetitive body movements often depend on the movement of the "strong" and "weak" muscles alternately. With this left-right turn, back and forth and up and down, along with the bilateral symmetry of the human body, it is natural that many dances and lots of music are in duplex and quadruple meters. However, since some such movements require more time in one phase than others - such as the longer time it takes to lift the hammer rather than attack - some of the dance rhythms fall naturally to three meters. Sometimes, as in Balkan folk dances, the dance tradition relies heavily on more complex rhythms. Furthermore, complex dance consisting of a fixed sequence of steps always requires phrases and melodies of a certain fixed length to accompany the sequence.
The act of dancing, its own steps, produces an "early rhythmic rhythmic framework" that must precede separate musical accompaniment, while the dancing itself, as much as music, takes time constantly such as utilitarian repetitive movements such as walking, hauling and digging, as they become subtle, something of a dance quality.
Therefore, the musical accompaniment arose in the earliest dance, so that the ancient Egyptians attributed the origins of the dance to the divine Athotus, who was said to have observed that the music that accompanies religious rituals causes the participants to move rhythmically and has brought these movements into a proportional size. The same idea, a dance emerging from the rhythm of music, is still found in renaissance Europe in the works of the dancing master Guglielmo Ebreo da Pesaro who talks about dance as a physical movement that emerges from and expresses inward, a spiritual movement that corresponds to "the steps and harmony of perfect harmony "that falls into the human ear, while, before, Mechthild of Magdeburg, seizes the dance as a symbol of holy life predicted in the words of Jesus" I have sprayed and you have not yet danced, "wrote;
I can not dance unless you lead. If you want me to rise higher, sing you and I will appear, become love and from love to knowledge and from knowledge to ecstasy above all human reason
Thoinot Arbeau celebrates the 16th century dance of Orchestra sographie, indeed, beginning with the definition of over eighty different drum-rhythms.
As has been pointed out above, dance has been represented over the centuries has emerged in response to music, as implied by Lincoln Kirstein, at least primitive music emerging from the dance. Shawn agrees, stating that the dance "is the first art of the human race, and the matrix from which all other arts grow" and even "the meter in our poetry today is the result of the accents required by body movements, such as dancing and reading performed simultaneously" the statement is somewhat supported by the general use of the term "foot" to describe the basic rhythmical unit of poetry.
Scholes, not a dancer but a musician, offers support for this view, stating that stable musical measures, of two, three or four beats to bars, balanced and balanced fractions, regular rhythms, contrasts and repetitions, all probably attributed to the influence of "countless" dance over music.
ÃÆ' â € ° mile Jaques-Dalcroze, especially a musician and teacher, recounts how a study of the pianist's physical movements led him "to the discovery that rhythmic musical sensations call the muscle and nervous responses of all organisms," developing "specific training designed to regulate nervous reactions and affect the coordination of muscles and nerves "and ultimately to find connections between" music art and dance ", formulated into his system of eurhythmics. He concludes that "the rhythm of music is merely a transposition into the voice of movement and dynamism spontaneously and unconsciously expressing emotion".
Therefore, although undoubtedly, as Shawn asserts, "it is possible to develop a dance without music and... music is perfectly capable of standing on its own feet without the aid of dance," nevertheless "two arts will always be related and relationships can be beneficial both for dance and music ", the precedent of one art on top of another becomes a moot point. The common ballad sizes of praise songs and folk songs take their name from the dance, as does carol, originally a circle dance. Many pieces of pure music have been named "waltz" or "minuet", for example, while many concert dances have been produced based on abstract pieces of music, such as 2 and 3 Discovery Sections, Adams Violin Concerto and Andantino . Similarly, poetry is often composed and named after dance or musical works, while dance and music have drawn the conception of the "measure" or "meter" of poetry.
Shawn quotes with the approval of Dalcroze's statement that, while the art of musical rhythm consists in distinguishing and combining the time period, pause and accent "according to the physiological law", that "plastic rhythm" (ie dance) "is to designate movements in space, long time value with slow motion and short movement with fast movement, set the pause by the succession of their divers and express the sound accentuation in their various nuances with added weight, by means of innervation of muscle ".
Shawn still points out that the music timing system is "man-made, artificial things.... tools are produced, whereas rhythm is something that always exists and depends on no human at all", being "a time of continuous flow in which our human minds are cut off into comfortable units ", suggesting that music may be revived by returning to the values ​​and perceptions of dancing time.
American early-20th-century American dancer, Helen Moller, stated simply that "its rhythm and form is more than harmony and color which, from the beginning, has tied music, poetry, and danced together in an inseparable unity."
Dancing approach
Concert dance
The concert dance, like the opera, generally depends on its large-scale form of narrative dramatic structure. Movement and gestures of choreography are primarily intended to spy on the personality and purpose of their characters and parts in the storyline. Such theatrical requirements tend toward a longer and more free movement than usual in non-narrative dance styles. On the other hand, the ballet blanc, developed in the 19th century, allowed interludes of rhythmic dance that developed into a completely "no plot" of ballet in the 20th century and which enabled rapid dance steps and rhythmic like from petit allegro . The famous example is The Cygnets' Dance in acting two of Swan Lake .
Ballet evolved from the dramatic production of castles from 16th and 17th century France and Italy and for some dancers performing dance developed from those familiar from the music suite, all of which were determined by the exact rhythm that was identified closely to each dance. It appears as a character dance in the era of romantic nationalism.
Ballet reaches widespread fashion in the romantic era, accompanied by a larger orchestra and a more grandiose musical conception that is not easy to use for rhythmic clarity and by a dance that emphasizes dramatic pantomime. It takes a broader rhythmic concept, in which Rudolf Laban termed the "rhythm and shape" of movement that communicates character, emotions and intentions, while only certain scenes require step syncing and music appropriate for other dance styles, so, to Laban, the modern Europeans seem utterly incapable of understanding the meaning of the "primitive rhythmic movement", a situation that began to change in the 20th century with productions like Igor Stravinsky Spring Rite with its rhythmic new rhythm. language evokes the primal feelings of the primitive past.
Indian classical dance styles, such as ballet, are often in dramatic form, so there are similar similarities between narrative expressions and "pure" dance. In this case, both are determined separately, though not always done separately. The rhythmic element, the abstract and technical, is known as nritta . Both of these and the expressive dance (nritya) , though, are closely related to the rhythmic system ( tuning ). Master has adapted a spoken rhythmic mnemonic system called bol to the needs of the dancers.
The classical Japanese dance styles like Kabuki and Noh, like Indian dance dramas, distinguish between the production of narrative and abstract dance. The three main categories of kabuki are jidaimono (historical), sewamono (domestic) and shosagoto (chunks of dance). Somewhat the same, Noh distinguishes between Geki Noh , based on the progress of the plot and the action narrative, and Fury? Noh , a piece of dance that involves acrobatics, stage properties, lots of characters and complicated stage action.
The social dance, intended for participation and not for the audience, can include various forms of pantomime and narrative, but is usually arranged closer to the rhythmic pattern of music, so terms like waltz and polka refer as many pieces of music as for the dance itself. The rhythm of the dancers' feet can even form an important part of music, as in tap dance. African dance, for example, is rooted in fixed basic steps, but also allows for a high-level rhythmic interpretation: the legs or trunk mark the base pulse while the crosses are picked up by the shoulders, knees, or head, with the best dancers simultaneously giving plastic expressions for all polyrhythmic pattern elements.
Cultural traditions
Africa
Dance in Africa is highly integrated into society and major events in the community are often reflected in the dance: the dance is performed for birth and funerals, weddings and wars. Traditional dances instill cultural morals, including religious traditions and sexual standards; give vent to the suppressed emotion, such as sadness; motivate community members to work together, whether to fight or grind grain; impose spiritual ritual; and contribute to social cohesion.
Thousands of dances are performed throughout the continent. These can be divided into traditional, neotraditional, and classical styles: folkloric dances from certain societies, dances created more recently by mimicking traditional styles, and dances transmitted more formally in school or private lessons. African dance has been transformed by many powers, such as European missionaries and colonialist governments, which often suppress local dance traditions as immoral or intrusive. Dance in contemporary African culture still serves its traditional function in a new context; dance can celebrate the inauguration of hospitals, build communities for rural migrants in unidentified cities, and incorporated into Christian church ceremonies.
Asia
All classical Indian dances have varying degrees that are rooted in Natyashastra and therefore share common features: for example, mudra (hand position), multiple body positions, and dramatic acting inclusions or expressive or abhinaya. Classical Indian music provides accompaniment and dancers from almost any style of wearing bells around their ankles to match and complement percussion.
Now there are many varieties of Indian classical dance. Dances such as Odra Magadhi, which, after a long debate, have been tracked to this day Mithila, Odisha dance form of the Odissi region (Orissi), shows the influence of dance in different inter-regional cultural interactions.
The overlapping territory of Punjab with India and Pakistan is home to Bhangra. It is widely known both as a style of music and dance. This is mostly related to the celebration of ancient harvest, love, patriotism or social problems. The music is coordinated by a musical instrument called 'Dhol'. Bhangra is not just music but a dance, a harvest celebration where people hit the dhol (drums), sing Boliyaan (lyrics) and dance. This develops further with the Vaisakhi festival of Sikhs.
The Sri Lankan dance includes the devil's dance, a carefully crafted ritual reaching far into Sri Lanka's pre-Buddhist past that incorporates the ancient "Ayurvedic" concept of the cause of disease with psychological manipulation and composite many aspects include Sinhalese cosmology. Their influence can be seen in the classical Sri Lankan dance.
Middle Eastern dances are usually traditional circular dance forms that are modernized to some degree. They will include dabke, tamzara, Assyrian folk dance, Kurdish dance, Armenian dance, and Turkish dance, among others. All forms of this dance usually involve the participants who pull each other by holding hands or arms (depending on the dance style). They will make rhythmic movements with their feet and shoulders as they arc around the dance floor. The dance chief usually holds a stick or a handkerchief.
Europe and North America
Folk dances vary across Europe and may have existed for hundreds or thousands of years, but many have the same features as group participation led by callers, handrails or arm-connecting between participants, and a form of fixed music known as carol. Some, such as the common maypole dance for many countries, while others such as ca il ilidh and polka are rooted in a single culture. Some European folk dances such as square dances are brought to the New World and then become part of American culture.
Ballet developed first in Italy and later in France from luxurious courtesy glasses that combine music, drama, poetry, song, costume and dance. Royal palace members take part as players. During the reign of Louis XIV, himself a dancer, the dance became more codified. Professional dancers begin to take the place of field amateurs, and the ballet masters are licensed by the French government. The first ballet dance academy was the AcadÃÆ'Â © mie Royale de Danse (Royal Dance Academy), opened in Paris in 1661. Soon, the first institutionalized ballet group, associated with the Academy, was formed; The entourage began as an all-male ensemble but in 1681 it was opened to include women as well.
The 20th century concert dance brings a blast of innovation in the style of dance that is characterized by the exploration of more free techniques. The earliest pioneers of what is known as modern dance include Loie Fuller, Isadora Duncan, Mary Wigman and Ruth St. Denis. The musical relationship with dance serves as a basis for Eurhythmics, designed by Emile Jaques-Dalcroze, who influenced the development of modern dance and modern ballet through artists such as Marie Rambert. Eurythmy, developed by Rudolf Steiner and Marie Steiner-von Sivers, incorporates formal elements that are reminiscent of traditional dances with a new, freer style, and introduces an elaborate new vocabulary for dancing. In the 1920s, important founders of new styles such as Martha Graham and Doris Humphrey started their work. Since this time, various styles of dance have been developed; see Modern dance.
African American dance thrives in the everyday room, rather than in a dance studio, school or company. Tap dance, disco, jazz dance, swing dance, hip hop dance, lindy hop with its relationship to rock and roll music and rock and roll dance have a global influence. Dance style combining classical ballet techniques with African-American dance has also emerged in the 21st century, including Hiplet.
Latin America
Dance is central to the life and social culture of Latin America. Samba Brazil, Argentine tango, and Cuban salsa are popular international partner dances, and other national dances - merengue, cueca, plena, jarabe, joropo, marinera, cumbia, and others - are important components of their respective country's culture. The traditional Carnival Festival combines these dances and others in great celebrations.
Dance has played an important role in forging a collective identity among many Latin American cultural and ethnic groups. Dance is presented to unite many Africans, Europeans, and natives in the region. Certain dance genres, such as capoeira, and body movements, particularly the characteristics of quebrada or swing hips, have been widely banned and celebrated throughout Latin American history.
United States
Hip Hop comes from New York, especially in an area known as the Bronx. It was created for those who are struggling in society and seem to have no voice in the community that surrounds them because of their lack of wealth. It helps those in the same situation get together and talk about difficult topics using gestures and feelings.
Dance education
The study of dance is offered through the arts and humanities programs of many higher education institutions. Some universities offer Bachelor of Arts and higher academic degrees in Dance. The dance learning curriculum may include a wide variety of courses and topics, including exercise and dance performances, choreography, ethnokoreology, kinesiology, dance notation, and dance therapy.
Jobs
Professional dancers are usually employed in contracts or for certain performances or productions. The professional life of dancers is generally one of the constantly changing work situations, strong competitive pressure, and low salaries. As a result, professional dancers often have to supplement their income to achieve financial stability. In the US many professional dancers are included in the union (such as the American Music Artist Association, Screen Actor Equations and Actors' Equity Associations) that establish minimum working conditions and salaries for their members. Professional dancers must have a large amount of athleticism. To lead a successful career, it is advantageous to be versatile in many dance styles, have a strong technical background and to use other forms of physical exercise to stay fit and healthy.
Dance teachers usually focus on teaching dance performances, or training competitive dancers, or both. They usually have a performance experience in the type of dance they teach or coach. For example, teachers and dance coaches often are tournament dancers or former dance dancers. Dance teachers may be self-employed, or employed by a dance school or a public education institution with a dance program. Some work for other university or school programs related to classical dance professionals (eg, ballet) or modern dance companies. Others are employed by smaller private dance schools that offer dance training and performance coaching for different types of dance.
Choreographers are often trained at universities and are usually employed for specific projects or, rarely can work in contracts as resident choreographers for certain dance companies.
Competition
A dance competition is an event held in which contestants perform dances before a judge or judge for awards, and in some cases, prize money. There are several main types of dance competitions, especially distinguished by the style or style of dance performed. The main types of dance competitions include:
- Competitive dance , in which various theatrical dance styles, such as acro, ballet, jazz, hip-hop, lyrical, and tap, are allowed. The
- Open Competition, which allows a wide range of dance styles. An example of this is the TV program So You Think You Can Dance .
- Dancesport , which is focused exclusively on ballroom and Latin dance. Examples are the Dancing with the Stars and Strictly Come Dancing programs. Competition
- Single-style , like; highland dance, dance team, and Irish dance, which permit only one dance style.
Selain itu, ada banyak acara lomba tari yang disajikan di televisi dan media massa lainnya.
Galeri
Lihat juga
- Seni
- Seni
- Seni pertunjukan (garis besar)
- Garis tari
- Indeks artikel tari
Catatan
Referensi
Bacaan lebih lanjut
- Abra, Allison. "Pergi ke palais: sejarah sosial dan budaya dari ruang dansa dansa di Inggris, 1918-1960." Sejarah Inggris Kontemporer (Sep 2016) 30 # 3 pp 432-433.
- Blogg, Martin. Tari dan Iman Kristen: Suatu Bentuk Mengetahui , The Lutterworth Press (2011), ISBN 9780718892494
- Carter, A. (1998) The Routledge Dance Studies Reader . Routledge. ISBNÂ 0-415-16447-8.
- Cohen, S, J. (1992) Tari Sebagai Seni Teater: Pembacaan Sumber dalam Sejarah Tari dari 1581 hingga Saat Ini . Princeton Book Co. ISBNÂ 0-87127-173-7.
- Daly, A. (2002) Critical Gestures: Tulisan tentang Tari dan Budaya . Wesleyan University Press. ISBNÂ 0-8195-6566-0.
- Miller, James, L. (1986) Ukuran Kebijaksanaan: Tarian Kosmik dalam Kekunoan Klasik dan Kristen , Universitas Toronto Press. ISBNÂ 0-8020-2553-6.
Tautan eksternal
- Â Chisholm, Hugh, ed. (1911). "Menari". EncyclopÃÆ'¦dia Britannica (edisi 11). Cambridge University Press.
- Ilustrasi tarian bersejarah dari 3300 SM. ke 1911 A.D. dari Project Gutenberg
- Museum Tari Nasional Amerika Serikat dan Hall of Fame
Source of the article : Wikipedia
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