DANCE A WONDERFUL EXERCISE FOR FITNESS
| Dance | |||
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| Originating culture | Various | ||
| Originating era | Prehistory-Antiquity | ||
Dance is a performing art form consisting of purposefully selected sequences of human movement. This movement has aesthetic and symbolic value, and is acknowledged as dance by performers and observers within a particular culture. Dance can be categorized and described by its choreography, by its repertoire of movements, or by its historical period or place of origin.
An important distinction is to be drawn between the contexts of theatrical and participatory dance, although these two categories are not always completely separate; both may have special functions, whether social, ceremonial, competitive, erotic, martial, or sacred/liturgical. Other forms of human movement are sometimes said to have a dance-like quality, including martial arts, gymnastics, cheerleading, figure skating, synchronized swimming, marching bands, and many other forms of athletics.
Performance and participation
Theatrical dance, also called performance or concert dance, is intended primarily as a spectacle, usually a performance upon a stage by virtuoso dancers. It often tells a story, perhaps using mime, costume and scenery, or else it may simply interpret the musical accompaniment, which is often specially composed. Examples are western ballet and modern dance, Classical Indian dance and Chinese and Japanese song and dance dramas. Most classical forms are centred upon dance alone, but performance dance may also appear in opera and other forms of musical theatre.
Participatory dance, on the other hand, whether it be a folk dance, a social dance, a group dance such as a line, circle, chain or square dance, or a partner dance such as is common in western Western ballroom dancing, is undertaken primarily for a common purpose, such as social interaction or exercise, of participants rather than onlookers. Such dance seldom has any narrative. A group dance and a corps de ballet, a social partner dance and a pas de deux, differ profoundly. Even a solo dance may be undertaken solely for the satisfaction of the dancer. Participatory dancers often all employ the same movements and steps but, for example, in the rave culture of electronic dance music, vast crowds may engage in free dance, uncoordinated with those around them. On the other hand, some cultures lay down strict rules as to the particular dances in which, for example, men, women and children may or must participate.
Approaches to dance
Concert dance
Concert dance, like opera, generally depends for its large-scale form upon a narrative dramatic structure. The movements and gestures of the choreographyare primarily intended to mime the personality and aims of the characters and their part in the plot. Such theatrical requirements tend towards longer, freer movements than those usual in non-narrative dance styles. On the other hand, the ballet blanc, developed in the 19th century, allows interludes of rhythmic dance that developed into entirely "plotless" ballets in the 20th century and that allowed fast, rhythmic dance-steps such as those of the petit allegro. A well-known example is The Cygnets' Dance in act two of Swan Lake.
The ballet 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, all of which were defined by definite rhythms closely identified with each dance. These appeared as character dances in the era of romantic nationalism.
Ballet reached widespread vogue in the romantic era, accompanied by a larger orchestra and grander musical conceptions that did not lend themselves easily to rhythmic clarity and by dance that emphasised dramatic mime. A broader concept of rhythm was needed, that which Rudolf Laban terms the "rhythm and shape" of movement that communicates character, emotion and intention, 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", a situation that began to change in the 20th century with such productions as Igor Stravinsky's The Rite of Spring with its new rhythmic language evoking primal feelings of a primitive past.
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, however, the two are separately defined, though not always separately performed. The rhythmic elements, which are abstract and technical, are known as nritta. Both this and expressive dance (nritya), though, are closely tied to the rhythmic system (tala). Teachers have adapted the spoken rhythmic mnemonic system called bol to the needs of dancers.
Japanese classical dance-theatre styles such as Kabuki and Noh, like Indian dance-drama, distinguish between narrative and abstract dance productions. The three main categories of kabuki are jidaimono (historical), sewamono (domestic) and shosagoto (dance pieces). Somewhat similarly, Noh distinguishes between Geki Noh, based around the advancement of plot and the narration of action, and Furyū Noh, dance pieces involving acrobatics, stage properties, multiple characters and elaborate stage action.
Participatory and social dance
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 like waltz and polka 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 in tap 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 the polyrhythmic pattern.
Cultural traditions
Africa
Asia
Europe and North America
Latin America
United States
Dance education
Dance studies are offered through the arts and humanities programs of many higher education institutions. Some universities offer Bachelor of Arts and higher academic degrees in Dance. A dance study curriculum may encompass a diverse range of courses and topics, including dance practice and performance, choreography, ethnochoreology, kinesiology, dance notation, and dance therapy.
Occupations
Professional dancers
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 the American Guild of Musical Artists, Screen Actors Guild and Actors' 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 utilize other forms of physical training to remain fit and healthy.
Dance 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 by dance 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.
Choreographers
Choreographers 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.
Competitions
A dance 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. Major types of dance competitions include:
- Competitive dance, in which a variety of theater dance styles, such as acro, ballet, jazz, hip-hop, lyrical, and tap, are permitted.
- Open competitions, that permit a wide variety 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 of this are TV programs Dancing with the Stars and Strictly Come Dancing.
- Single-style competitions, such as; highland dance, dance team, and Irish dance, that only permit a single dance style.
In addition, there are numerous dance competitions shows presented on television and other mass media.
Benefits of Dance
Boost Memory
Dance not only instills grace, but it also helps you age gracefully. According to a study in The New England Journal of Medicine, dancing may boost your memory and prevent you from developing dementia as you get older. Science reveals that aerobic exercise can reverse volume loss in the hippocampus, the part of the brain that controls memory. The hippocampus naturally shrinks during late adulthood, which often leads to impaired memory and sometimes dementia.
Improve Flexibility
Those plies and arabesques that ballet dancers practice aren’t just for aesthetics — they also increase flexibility and reduce stiffness. You can skip the ballet slippers and still reap the benefits of ballet by practicing some simple stretches at home. Increasing your flexibility will help ease joint pain and post-exercise soreness.
Reduce Stress
If you’re feeling tense or stressed out, you might want to grab a partner, turn up the music, and tango! In a controlled study in the Journal of Applied Gerontology, researchers found that partner dance and musical accompaniment can help bring about stress relief.
Diminish Depression
Dancing really does lift your spirits, according to a study in that tested the effects of dancing on people with depression. Patients who participated in an upbeat group dance showed the fewest depression symptoms and the most vitality. Got the blues? Grab a friend and go out dancing tonight.
Help Your Heart
Dance is a great activity for those at risk for cardiovascular disease. People with heart failure who took up waltzing improved their heart health, breathing, and quality of life significantly compared to those who biked or walked on a treadmill for exercise, noted an Italian study.
Lose Weight
Bored with your bicycle? A study in the Journal of Physiological Anthropologyfound that an exercise program of aerobic dance training is just as helpful for losing weight and increasing aerobic power as cycling and jogging.
Balance Better
If you are nervous about falling as you get older, some dance lessons might help ease your worries, according to a study in the Journal of Aging and Physical Activitythat showed tango dancing can improve balance in aging adults. Dancing requires a lot of fast movement and good posture, so frequent dancing will help you stabilize and gain better control of your body.
Increase Energy
Can’t seem to find your get-up-and-go? Taking a dance class might help. Research published in The Scholarly Publishing and Academic Resources Coalition found that a weekly dance program could improve physical performance and increase energy levels among adults.
Make Friends
A dance class is the perfect setting to make new friends and branch out socially. Maintaining positive relationships may just rank up there with healthy eating and exercise. Being socially engaged leads to increased happiness, reduced stress, and a stronger immune system.
Preventing Dance Injuries
For many people dance may not spring to mind when thinking about sports, but the physical demands placed on the bodies of dancers have been shown to make them just as susceptible as football players to injury. In particular, most professional dancers began dancing at the age of five or six, the repetitive practice of movements that require extreme flexibility, strength, and endurance make them prime candidates for overuse injuries.
SOME OF THE MOST COMMON DANCE INJURIES
Across the whole spectrum of dance there is little doubt that the vast majority of injuries are the result of overuse rather than trauma. These injuries tend to occur at the foot/ankle/ lower leg, low back, and hip.
The foot/ankle/lower leg area is vulnerable to a wide range of injuries, including stress fractures, tendon injuries, sprains, and strains. These injuries show up with greater frequency in dancers as they age, so it is extremely important to emphasize what the young dancer can do to prevent future injuries.
WHAT CAUSES DANCE INJURIES?
Any injury that is accompanied by bleeding, severe pain, loss of sensation, or increased weakness should be seen by a physician. Other pain due to overuse or mild injuries can be treated by rest and taking pain relievers such as ibuprofen or acetaminophen. Swelling and pain can also be treated with alternating ice and heat therapy.
Dancers are exposed to a wide range of risk factors for injury. The most common issues that cause dance injuries include:
HOW CAN DANCE INJURIES BE PREVENTED?
Getting and keeping dancers free of injury in a fun environment is key to helping them enjoy a lifetime of physical activity and dance. With a few simple steps, and some teamwork among parents, teachers and medical professionals, dancers can keep on their toes and in the studio with a healthy body.
Dancers should remember a few key things to prevent injury:
Parental Oversight
Parents play a large role in dance injury prevention. First, they must be careful not to encourage their children to advance to higher levels of training at an unsafe rate. Specific to ballet, parents should ensure that the decision to begin pointe training is not made before the child's feet and ankles develop enough strength. Age 12 is the generally accepted lower limit, but strength and maturity are more important than age.
Second, parents must be cognizant of any nutritional or psychological changes their children display as a result of trying to conform to an unhealthy dance image. Eating disorders, disrupted menstruation,
and counterproductive perfectionism are examples of problems that are more prevalent in dancers than non-dancers. The observant parent should be alert to the development of such conditions and head them off before they become truly problematic.
Proper Instruction
The first line-of-defense to prevent injuries may be dance instructors. Teachers from the onset of instruction should establish a class environment where students are not afraid to share that they are injured and need a break. Students should also be instructed consistently on the importance of warm-ups and cool-downs, proper equipment, and at what point, whether by age or maturity, it is appropriate to move on to the next level of dance.Medical Care and Screening
The medical professional plays a significant role in not only treating and rehabilitating the injuries dancers incur, but also in preventing them. Dancers respond well to medical providers who respect both the aesthetics and intensity of dance. Physical therapists, athletic trainers, and other allied health professionals can initiate and facilitate screening sessions for dancers to help identify potential problems and prevent future injuries. They should be considered a natural part of a dancer's career and sources of insight into staying healthy. A dancer should return after an injury only when clearance is granted by a health care professional.
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