Dance is anart form, consisting of sequences of body movements withaesthetic and oftensymbolic value, either improvised or purposefully selected. Dance can be categorized and described by itschoreography, by its repertoire of movements or by itshistorical period orplace of origin. Dance is typically performed withmusical accompaniment, and sometimes with the dancer simultaneously using a musical instrument themselves.
There are two different types of dance:theatrical andparticipatory dance. Both types of dance may have special functions, whether social,ceremonial,competitive,erotic,martial,sacred orliturgical. Dance is not solely restricted to performance, as dance is used as a form of exercise and occasionally training for other sports and activities. Dance performances and dancing competitions are found across the world exhibiting various different styles and standards.
Participatory dance, whether it be afolk dance, asocial dance, a group dance such as aline,circle,chain orsquare dance, or apartner dance, such as inWestern ballroom dancing, is undertaken primarily for a common purpose, such associal interaction orexercise, or building flexibility of participants rather than to serve any benefit to onlookers. Such dance seldom has any narrative. A group dance and acorps de ballet, a social partner dance and apas de deux, differ profoundly. Even asolo dance orinterpretive dance may be undertaken solely for the satisfaction of the dancer. Participatory dancers often all employ the same movements and steps but, for example, in therave culture ofelectronic dance music, vast crowds may engage infree dance, uncoordinated with those around them. On the other hand, some cultures lay down strict rules as to the particular dances people may or must participate.[1]
References to dance can be found in very early recorded history;Greek dance (choros) is referred to byPlato,Aristotle,Plutarch andLucian.[5] TheBible andTalmud refer to many events related to dance, and contain over 30 different dance terms.[6] InChinese pottery as early as theNeolithic period, groups of people are depicted dancing in a line holding hands,[7] and the earliest Chinese word for "dance" is found written in theoracle bones.[8] Dance is described in theLüshi Chunqiu.[9][10] Primitive dance in ancient China was associated with sorcery and shamanic rituals.[11]
Greek bronze statuette of a veiled and masked dancer, 3rd–2nd century BC, Alexandria, Egypt
During the first millenniumBCE in India, many texts were composed which attempted to codify aspects of daily life.Bharata Muni'sNatya Shastra (literally"the text of dramaturgy") is one early text. It mainly deals with drama, in which dance plays an important part in Indian culture. A strong continuous tradition of dance has since continued in India, through to modern times, where it continues to play a role in culture, ritual, and theBollywood entertainment industry. Many othercontemporary dance forms can likewise be traced back tohistorical,traditional,ceremonial, andethnic dance.[12]
Dance is generally, but not exclusively, performed with the accompaniment ofmusic and may or may not be performed intime to such music. Some dance (such astap dance orgumboot dance) may provide its own audible accompaniment in place of (or in addition to) music. Many early forms of music and dance were created for each other and are frequently performed together. Notable examples of traditional dance-music couplings include thejig,waltz,tango,disco, andsalsa. Somemusical genres have a parallel dance form such asbaroque music andbaroque dance; other varieties of dance and music may share nomenclature but developed separately, such asclassical music andclassical ballet. The choreography and music are meant to complement each other, to express a story told by the choreographer and dancers.[13]
Rhythm
Rhythm and dance are deeply linked in history and practice. The American dancerTed Shawn wrote; "The conception of rhythm which underlies all studies of the dance is something about which we could talk forever, and still not finish."[14] A musical rhythm requires two main elements; a regularly-repeatingpulse (also called the "beat" or "tactus") that establishes thetempo, and a pattern ofaccents andrests that establishes the character of themetre or basic rhythmic pattern. The basic pulse is roughly equal in duration to a simple step or gesture.
A basic tango rhythm
Dances generally have a characteristic tempo and rhythmic pattern. The tango, for example, is usually danced in2 4 time at approximately 66 beats per minute. The basic slow step, called a "slow", lasts for one beat, so that a full "right–left" step is equal to one2 4 measure. The basic forward and backward walk of the dance is so counted – "slow-slow" – while many additional figures are counted "slow – quick-quick".[15]
Repetitive body movements often depend on alternating "strong" and "weak" muscular movements.[16] Given this alternation of left-right, of forward-backward and rise-fall, along with thebilateral symmetry of the human body, many dances and much music are induple and quadruple meter. Since some such movements require more time in one phase than the other – such as the longer time required to lift a hammer than to strike – some dance rhythms fall intotriple metre.[17] Occasionally, as inthe folk dances of the Balkans, dance traditions depend heavily on more complex rhythms. Complex dances composed of a fixed sequence of steps require phrases and melodies of a certain fixed length to accompany 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 form of thought/ And thought is a form of divinity."
Musical accompaniment arose in the earliest dance, so that ancient Egyptians attributed the origin of the dance to the divine Athotus, who was said to have observed that music accompanying religious rituals caused participants to move rhythmically and to have brought these movements into proportional measure. The idea that dance arises from musical rhythm, was found inrenaissance Europe, in the works of the dancerGuglielmo Ebreo da Pesaro. Pesaro speaks of dance as a physical movement that arises from and expresses inward, spiritual motion agreeing with the "measures and perfect concords of harmony" that fall upon the human ear,[16] while earlier,Mechthild of Magdeburg, seizing upon dance as a symbol of the holy life foreshadowed in Jesus' saying "I have piped and ye have not danced",[18] writes;
I can not dance unless thou leadest. If thou wouldst have me spring aloft, sing thou and I will spring, into love and from love to knowledge and from knowledge to ecstasy above all human sense[19]
Thoinot Arbeau's celebrated 16th-century dance-treatiseOrchésographie, indeed, begins with definitions of over eighty distinct drum-rhythms.[20]
Dance has been represented through the ages as having emerged as a response to music yet, asLincoln Kirstein implied, it is at least as likely that primitive music arose from dance. Shawn concurs, stating that dance "was the first art of the human race, and the matrix out of which all other arts grew" and that even the "metre in our poetry today is a result of the accents necessitated by body movement, as the dancing and reciting was performed simultaneously"[14] – an assertion somewhat supported by the common use of the term "foot" to describe the fundamental rhythmic units of poetry.
Scholes, amusician, offers support for this view, stating that the steady measures of music, of two, 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.[21]
Hence, Shawn asserts, "it is quite possible to develop the dance without music and... music is perfectly capable of standing on its own feet without any assistance from the dance", nevertheless the "two arts will always be related and the relationship can be profitable both to the dance and to music",[22] the precedence of one art over the other being a moot point. Thecommon ballad measures of hymns and folk-songs takes their name from dance, as does thecarol, originally acircle dance. Many purely musical pieces have been named "waltz" or "minuet", for example, while manyconcert dances have been produced that are based upon abstract musical pieces, such as2 and 3 Part Inventions,Adams Violin Concerto andAndantino. Similarly, poems are often structured and named after dances or musical works, while dance and music have 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 time durations, pauses and accents "according to physiological law", that of "plastic rhythm" (i.e. dance) "is to designate movement in space, to interpret long time-values by slow 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 points out that the system of musical time is a "man-made, artificial thing.... a manufactured tool, whereas rhythm is something that has always existed and depends on man not at all", being "the continuous flowing time which our human minds cut up into convenient units", suggesting that music might be revivified by a return to the values and the time-perception of dancing.[23]
The early-20th-century American dancerHelen Moller stated that "it is rhythm and form more than harmony and color which, from the beginning, has bound music, poetry and dancing together in a union that is indissoluble."[24][nb 1]
Concert dance, likeopera, generally depends for its large-scale form upon anarrativedramatic structure. The movements and gestures of thechoreography are primarily intended tomime the personality and aims of the characters and their part in the plot.[29] Such theatrical requirements tend towards longer, freer movements than those usual in non-narrative dance styles. On the other hand, theballet blanc, developed in the 19th century, allows interludes of rhythmic dance that developed into entirely "plotless" ballets in the 20th century[30] and that allowed fast, rhythmic dance-steps such as those of thepetit allegro. A well-known example isThe Cygnets' Dance in act two ofSwan Lake.
Theballet developed out of courtly dramatic productions of 16th- and 17th-century France and Italy and for some time dancers performed dances developed from those familiar from the musical suite,[31] all of which were defined by definite rhythms closely identified with each dance. These appeared ascharacter dances in the era ofromantic nationalism.
Ballet reached widespread vogue in the romantic era, accompanied by a larger orchestra and grander musical conceptions that did not lend themselves easily to rhythmic clarity and by dance that emphasised dramatic mime. A broader concept of rhythm was needed, that whichRudolf Laban terms the "rhythm and shape" of movement that communicates character, emotion and intention,[32] while only certain scenes required the exact synchronisation of step and music essential to other dance styles, so that, to Laban, modern Europeans seemed totally unable to grasp the meaning of "primitive rhythmic movements",[33] a situation that began to change in the 20th century with such productions asIgor Stravinsky'sThe Rite of Spring with its new rhythmic language evoking primal feelings of a primitive past.[34]
Indian classical dance styles, like ballet, are often in dramatic form, so that there is a similar 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 abstract and technical, are known asnritta. Both this and expressive dance(nritya), though, are closely tied to the rhythmic system (tala). Teachers have adapted the spoken rhythmic mnemonic system calledbol to the needs of dancers.
Japanese classical dance-theatre styles such asKabuki andNoh, like Indian dance-drama, distinguish between narrative and abstract dance productions. The three main categories of kabuki arejidaimono (historical),sewamono (domestic) andshosagoto (dance pieces).[35] Somewhat similarly, Noh distinguishes betweenGeki Noh, based around the advancement of plot and the narration of action, andFuryū Noh, dance pieces involving acrobatics, stage properties, multiple characters and elaborate stage action.[36]
Participatory and Social
Acontra 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 closely to the rhythmic pattern of music, so that terms likewaltz andpolka refer as much to musical pieces as to the dance itself. The rhythm of the dancers' feet may even form an essential part of the music, as intap dance. African dance, for example, is rooted in fixed basic steps, but may also allow a high degree of rhythmic interpretation: the feet or the trunk mark the basic 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 thepolyrhythmic pattern.[37]
Cultural traditions
Africa
"Kuduro" (Angolan dance)Ugandan youth dance at a cultural celebration of peace
Dance in Africa is deeply integrated into society and major events in a community are frequently reflected in dances: dances are performed for births and funerals, weddings and wars.[38]: 13 Traditional dances impart cultural morals, including religious traditions and sexual standards; give vent to repressed emotions, such asgrief; motivate community members to cooperate, whether fighting wars or grinding grain; enact spiritual rituals; and contribute tosocial cohesiveness.[39]
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.[38]: 18 African dance has been altered by many forces, such as Europeanmissionaries andcolonialist governments, who often suppressed local dance traditions as licentious or distracting.[39] Dance in contemporary African cultures still serves its traditional functions in new contexts; dance may celebrate the inauguration of a hospital, build community for rural migrants in unfamiliar cities, and be incorporated into Christian church ceremonies.[39][40]
An Indian classical dancerIn the Mintha Theater (Mandalay) a master teacher of the Inwa School of Performing Arts demonstrates traditional hand movements.
AllIndian classical dances are to varying degrees rooted in theNatyashastra and therefore share common features: for example, themudras (hand positions), some body positions, leg movement and the inclusion of dramatic or expressive acting orabhinaya. 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 ofIndian classical dance. Dances like"Odra Magadhi", which after decades-long debate, has been traced to present day Mithila,Odisha region's dance form ofOdissi (Orissi), indicate influence of dances in cultural interactions between different regions.[41]
ThePunjab area overlapping India andPakistan is the place of origin ofBhangra. 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. Its music is coordinated by amusical instrument called the 'Dhol'. Bhangra is not just music but a dance, a celebration of the harvest where people beat the dhol (drum), sing Boliyaan (lyrics) and dance. It developed further with the Vaisakhi festival of theSikhs.
Thedances of Sri Lanka include the devil dances (yakun natima), a carefully crafted ritual reaching far back into Sri Lanka's pre-Buddhist past that combines ancient "Ayurvedic" concepts of disease causation withpsychological manipulation and combines many aspects including Sinhalese cosmology. Their influence can be seen on theclassical dances of Sri Lanka.[42]
Indonesian dances reflect the richness and diversity of Indonesian ethnic groups andcultures. There are more than 1,300ethnic groups in Indonesia, it can be seen from the cultural roots of theAustronesian andMelanesian peoples, and various cultural influences fromAsia and the west. Dances inIndonesia 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 religion in the 1st century in Indonesia,Hinduism andBuddhist rituals were celebrated in various artistic performances. Hindu epics such as theRamayana,Mahabharata and also thePanji became the inspiration to be shown in a dance-drama called "Sendratari" resembling "ballet" in the western tradition. An elaborate and highly stylized dance method was invented and has survived to this day, especially on the islands ofJava andBali. The JavaneseWayang wong dance takes footage from the Ramayana or Mahabharata episodes, but this dance is very different from the Indian version, indonesian dances do not pay as much attention to the "mudras" as Indian dances: even more to show local forms. The sacredJavanese ritual danceBedhaya is believed to date back to theMajapahit period in the 14th century or even earlier, this dance originated from ritual dances performed by virgin girls to worship Hindu Gods such asShiva,Brahma, andVishnu. In Bali, dance has become an integral part of the sacred Hindu Dharma rituals. Some experts believe thatBalinese dance comes from an older dance tradition from Java. Reliefs from temples inEast Java from the 14th century feature crowns and headdresses similar to the headdresses used in Balinese dance today.Islam began to spread to theIndonesian archipelago when indigenous dances and dharma dances were still popular. Artists and dancers still use styles from the previous era, replacing stories with more Islamic interpretations and clothing that is more closed according to Islamic teachings.[43]
Folk dances vary across Europe and may date back hundreds or thousands of years, but many have features in common such as group participation led by acaller, hand-holding or arm-linking between participants, and fixed musical forms known as caroles.[47] Some, such as themaypole dance are common to many nations, while others such as thecéilidh and thepolka are deeply-rooted in a single culture. Some European folk dances such as thesquare dance were brought to theNew World and subsequently became part of American culture.
Two classical ballet dancers perform a sequence ofThe Nutcracker, one of the best known works of classical dance.SiouxBuffalo Dance, 1894
Ballet developed first in Italy and then in France from lavish court spectacles that combined rhythm, drama, poetry, song, costumes and dance. Members of the court nobility took part as performers. During the reign ofLouis XIV, himself a dancer, dance became more codified. Professional dancers began to take the place of court amateurs, and ballet masters were licensed by the French government. The first ballet dance 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.[3]
Street samba dancers perform in carnival parades and contests.
Dance is central toLatin American social life and culture. BrazilianSamba, Argentiniantango, and Cubansalsa are internationally popular partner dances, and other national dances—merengue,cueca,plena,jarabe,joropo,marinera,cumbia,bachata and others—are important components of their respective countries' cultures.[49] TraditionalCarnival festivals incorporate these and other dances in enormous celebrations.[50]
Dance has played an important role in forging a collective identity among the many cultural and ethnic groups ofLatin America.[51] Dance served to unite the many African, European, and indigenous peoples of the region.[49] Certain dance genres, such ascapoeira, and body movements, especially the characteristicquebradas orpelvis swings, have been variously banned and celebrated throughout Latin American history.[51]
Ballet originated during the Italian Renaissance and developed further in France and Russia. It is known for its graceful, precise movements, pointe work, and storytelling through choreography. Classical ballet follows strict techniques, while contemporary ballet incorporates modern influences.
Contemporary dance emerged in the mid-20th century. It blends elements of ballet, modern, and jazz dance. It emphasizes fluidity, emotion, and expression over rigid technique. Pioneers like Martha Graham and Merce Cunningham contributed to its development.
Jazz dance is evolved from African American vernacular dance and became popular in the early 20th century. It features energetic movements, syncopated rhythms, and influences from ballet and contemporary styles. It is commonly seen in musical theatre and commercial performances.
Hip-hop dance emerged in the 1970s in the Bronx, New York, as a part of hip-hop culture. Styles such as breaking, popping, locking, and krumping fall under this genre. It emphasizes freestyle movements, rhythm, and personal expression.
Tap dance is characterized by rhythmic footwork using metal-soled shoes to create percussive sounds. It has roots in African and Irish dance traditions and became prominent in Vaudeville and Broadway productions.
Ballroom dance is a social and competitive dance style that includes forms such as the waltz, tango, foxtrot, and cha-cha. These dances are typically performed with a partner and emphasize posture, elegance, and synchronization.
Latin dance encompasses styles such as salsa, bachata, merengue, and samba. These dances are known for their vibrant, energetic movements and rhythmic footwork, often performed socially and competitively.
Traditional and folk dance is deeply rooted in history and tradition. Examples include Irish step dancing, Indian Bharatanatyam, Spanish flamenco, and African tribal dances.
Modern dance developed in the early 20th century as a rebellion against classical ballet, modern dance focuses on self-expression, gravity, and unconventional movement. Influential figures include Isadora Duncan and Martha Graham.
Lyrical dance is a fusion of ballet and jazz that emphasizes emotional storytelling and fluid movement. It is often performed to contemporary music and focuses on grace and expression.
Belly dance originates in the Middle East and is characterized by intricate hip movements, shimmies, and undulations. It is often performed solo and has variations across different regions, including Egyptian and Turkish styles.
Street dance refers to urban dance styles that developed outside of traditional dance studios. These include hip-hop, house, and breakdancing, often performed in freestyle battles and social settings.
Bollywood dance is a vibrant fusion of classical Indian dance, folk dance, and modern styles. It is widely seen in Indian cinema and incorporates expressive gestures, energetic movements, and dramatic storytelling.
Aerial dance combines dance and acrobatics performed on apparatuses such as silks, hoops, and trapezes. It requires strength, flexibility, and coordination to create breath-taking performances.
Education
A dancer practices in adance studio, the primary setting for training in classical dance and many other styles.
Dance studies are offered through thearts andhumanities programs of many higher education institutions. Some universities offerBachelor of Arts and higheracademic degrees in Dance. A dance study curriculum may encompass a diverse range of courses and topics, including dance practice and performance, choreography,ethnochoreology,kinesiology,dance notation, anddance therapy. Most recently, dance and movement therapy has been integrated in some schools into math lessons for students with learning disabilities, emotional or behavioral disabilities, as well as for those with attention deficit hyperactivity disorder (ADHD).[52]
Dance is taught to all ages ranging from two years old to the adult level outside of a professional dance setting. Typically this dance education is seen in dance studio businesses across the world.[53] Some K-12 public schools have provided the opportunity for students to take beginner level dance classes, as well as participate in dance teams that perform at school events.[54]
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 belong to unions (such as theAmerican Guild of Musical Artists,Screen Actors Guild andActors' Equity Association) that establish working conditions and minimum salaries for their members. Professional dancers must possess large amounts of athleticism. To lead a successful career, it is advantageous to be versatile in many styles of dance, have a strong technical background and to use other forms of physical training to remain fit and healthy.[55]
Teachers
Dance teachers typically focus on teaching dance performance, or coaching competitive dancers, or both. They typically have performance experience in the types of dance they teach or coach. For example,dancesport teachers and coaches are often tournament dancers or former dancesport performers. Dance teachers may be self-employed, or employed bydance schools or general education institutions with dance programs. Some work for university programs or other schools that are associated with professional classical dance (e.g., ballet) or modern dance companies. Others are employed by smaller, privately owned dance schools that offer dance training and performance coaching for various types of dance.[56]
Choreographers
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 rarely may work on contract as the resident choreographer for a specific dance company.[57][58]
Competitions
An amateur dancesport competition, featuring theViennese Waltz
Adance competition is an organized event in which contestants perform dances before a judge or judges for awards, and in some cases, monetary prizes. There are several major types of dance competitions, distinguished primarily by the style or styles of dances performed. Dance competitions are an excellent setting to build connections with industry leading faculty members, adjudicators, choreographers and other dancers from competing studios. A typical dance competition for younger pre-professional dancers can last anywhere between two and four days, depending whether it is a regional or national competition.
The purpose of dance competitions is to provide a fun and educative place for dancers and give them the opportunity to perform their choreographed routines from their current dance season onstage. Oftentimes, competitions will take place in a professional setting or may vary to non-performance spaces, such as a high school theatre. The results of the dancers are then dictated by a credible panel of judges and are evaluated on their performance than given a score. As far as competitive categories go, most competitions base their categories according to the dance style, age, experience level and the number of dancers competing in the routine.[59] Major types of dance competitions include:
Open competitions, that permit a wide variety of dance styles. An example of this is the TV programSo You Think You Can Dance.
Olympic, Dance has been trying to be part of the Olympic sport since 1930s.
Dance diplomacy
During the 1950s and 1960s, cultural exchange of dance was a common feature of international diplomacy, especially amongst East and South Asian nations. ThePeople's Republic of China, for example, developed a formula for dance diplomacy that sought to learn from and express respect for the aesthetic traditions of recently independent states that were former European colonies, such as Indonesia, India, and Burma, as a show of anti-colonial solidarity.[60]
Health
Footwear
In most forms of dance the foot is the source of movement, and in some cases require specific shoes to aid in the health, safety ability of the dancer, depending on the type of dance, the intensity of the movements, and the surface that will be danced on.
Dance footwear can be potentially both supportive and or restrictive to the movement of the dancer.[61] The effectiveness of the shoe is related to its ability to help the foot do something it is not intended to do, or to make easier a difficult movement. Such effects relate to health and safety because of the function of the equipment as unnatural to the bodies usual mobility.
Ballet is notable for the risks of injury due to the biomechanics of the ankle and the toes as the main support for the rest of the movements. With thepointe shoe, the design specifically brings all of the toes together to allow the toes to be stood on for longer periods of time.[62]
There are accessories associated with pointe shoes that help to mitigate injury and soothe pain while dancing, including things such as toe pads, toe tape, and cushions.[63]
Body image
Dancers are publicly thought to be very preoccupied with their body image to fit a certain mold in the industry. Research indicates that dancers do have greater difficulty controlling their eating habits as a large quantity strive for the art-form's ideal body mass. Some dancers often resort to abusive tactics to maintain a certain image. Common scenarios include dancers abusing laxatives for weight control and end up falling into unhealthy eating disorders. Studies show that a large quantity of dancers use at least one method of weight control including over exercising and food restriction. The pressure for dancers to maintain a below average weight affects their eating and weight controlling behaviours and their life-style.[64] Due to its artistic nature, dancers tend to have many hostile self-critical tendencies. Commonly seen in performers, it is likely that a variety of individuals may be resistant to concepts of self-compassion.[65]
Eating disorders
In North America, eating disorders present a significant public health challenge, with an estimated 10% of young girls affected. Those engaged in aesthetic-focused sports like dance face even greater risks due to intense pressures for a slender physique.[66] Eating disorders in dancers are generally very common. Through data analysis and studies published, sufficient data regarding the percentage and accuracy dancers have of realistically falling into unhealthy disordered eating habits or the development of an eating disorder were extracted. Dancers, in general, have a higher risk of developing eating disorders than the general public, primarily falling intoanorexia nervosa andEDNOS. Research has yet to distinguish a direct correlation regarding dancers having a higher risk of developing bulimia nervosa. Studies concluded that dancers overall have a three times higher risk of developing eating disorders, more specifically anorexia nervosa and EDNOS.[67]
Dance has become a popular form of content across many social media platforms, includingTikTok. During 2020, TikTok dances offered the opportunity for isolated individuals to interact and connect with one another through a virtual format.[68] Since its debut in 2017, the app has also attracted a small but growing audience of professional dancers in their early 20s to 30s. While the majority of this demographic is more accustomed to performing onstage, this app introduced a new means to generate professional exposure.[69]
Gallery
A satyr dancing. A fresco from the cubiculum in theVilla of the Mysteries. From Pompeii. Date: 80 to 70 BCE[70]
^abNathalie Comte. "Europe, 1450 to 1789: Encyclopedia of the Early Modern World". Ed. Jonathan Dewald. Vol. 2. New York: Charles Scribner's Sons, 2004. pp 94–108.
^Guenther, Mathias Georg. 'The San Trance Dance: Ritual and Revitalization Among the Farm Bushmen of the Ghanzi District, Republic of Botswana.' Journal, South West Africa Scientific Society, v. 30, 1975–76.
^Raftis, Alkis,The World of Greek Dance Finedawn, Athens (1987) p25.
^Kadman, Gurit (1952). "Yemenite Dances and Their Influence on the New Israeli Folk Dances".Journal of the International Folk Music Council.4:27–30.doi:10.2307/835838.JSTOR835838.
^Sturgeon, Donald."Lü Shi Chun Qiu".Chinese Text Project Dictionary (in Chinese).Archived from the original on 2022-07-05. Retrieved2017-05-23.Original text: 昔葛天氏之樂，三人操牛尾，投足以歌八闋
^abcHanna, Judith Lynne (1973). "African Dance: the continuity of change".Yearbook of the International Folk Music Council.5:165–174.doi:10.2307/767501.JSTOR767501.
^abBadley, Bill and Zein al Jundi. "Europe Meets Asia". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp. 391–395. Rough Guides Ltd, Penguin Books.
^Recep Albayrak Hacaloğlu. Azeri Türkçesi dil kilavuzu. Hacaloğlu, 1992; p. 272.
^Sagolla, Lisa (April 24, 2008)."(untitled)".International Bibliography of Theatre & Dance.15 (17): 1.Archived from the original on January 14, 2023. RetrievedJanuary 14, 2023.
^Center, Smithsonian Lemelson (2020-05-28)."A Better Pointe Shoe Is Sorely Needed".Lemelson Center for the Study of Invention and Innovation.Archived from the original on 2022-12-13. Retrieved2022-12-13.
Abra, Allison. "Going to the palais: a social and cultural history of dancing and dance halls in Britain, 1918–1960."Contemporary British History (Sep 2016) 30#3 pp. 432–433.
Blogg, Martin.Dance and the Christian Faith: A Form of Knowing, The Lutterworth Press (2011),ISBN978-0-7188-9249-4
Carter, A. (1998)The Routledge Dance Studies Reader. Routledge.ISBN0-415-16447-8.
Cohen, S, J. (1992)Dance As a Theatre Art: Source Readings in Dance History from 1581 to the Present. Princeton Book Co.ISBN0-87127-173-7.
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