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[[Image:Two dancers.jpg|thumb|right|[[Contemporary dance]].]]
 
[[Image:Two dancers.jpg|thumb|right|[[Contemporary dance]].]]
   
'''Dance''' (from French ''danser'', perhaps from Frankish) generally refers to movement of the body, usually rhythmic and to music,<ref> [http://www.britannica.com/eb/article-9110116/dance britannica]</ref> used as a form of [[Emotional expression|expression]], [[social]] [[social interaction|interaction]] or presented in a [[spirituality|spiritual]] or [[performance]] setting.
+
'''Dance''' (from French ''danser'', perhaps from Frankish) generally refers to movement of the body, usually rhythmic and to music,<ref> [http://www.britannica.com/eb/article-9110116/dance britannica]</ref> used as a form of [[Emotional expression|expression]], [[social]] [[social interaction|interaction]] or presented in a [[spirituality|spiritual]] or [[performance]] setting.
   
''Dance'' is also used to describe methods of [[non-verbal communication]] (see [[body language]]) between humans or [[animal]]s ([[Bee learning and communication#Dance language|bee dance]], [[Fixed action pattern|patterns of behaviour]] such as a (mating dance), motion in inanimate objects (''the leaves danced in the wind''), and certain musical forms or [[music|genre]]s.
+
''Dance'' is also used to describe methods of [[non-verbal communication]] (see [[body language]]) between humans or [[animal]]s ([[Bee learning and communication#Dance language|bee dance]], [[Fixed action pattern|patterns of behaviour]] such as a (mating dance), motion in inanimate objects (''the leaves danced in the wind''), and certain musical forms or [[music|genres]].
   
 
Definitions of what constitutes dance are dependent on [[Society|social]], [[Culture|cultural]], [[aesthetic]], [[artistic]] and [[moral]] constraints and range from functional movement (such as [[folk dance]]) to virtuoso techniques such as ballet. In [[sport]]s, gymnastics, figure skating and synchronized swimming are ''dance'' disciplines while [[martial arts]] are often compared to dances.
 
Definitions of what constitutes dance are dependent on [[Society|social]], [[Culture|cultural]], [[aesthetic]], [[artistic]] and [[moral]] constraints and range from functional movement (such as [[folk dance]]) to virtuoso techniques such as ballet. In [[sport]]s, gymnastics, figure skating and synchronized swimming are ''dance'' disciplines while [[martial arts]] are often compared to dances.
   
Dance can be participatory, social or performed for an [[audience]]. It can also be ceremonial, competitive or erotic. Dance movements may be without significance in themselves, such as in [[ballet]] or European folk dance, or have a [[gesture|gestural]] [[vocabulary]]/[[symbol|symbolic]] system as in many Asian dances. Dance can embody or express ideas, [[emotion]]s or tell a [[narrative|story]].
+
Dance can be participatory, social or performed for an [[audience]]. It can also be ceremonial, competitive or erotic. Dance movements may be without significance in themselves, such as in [[ballet]] or European folk dance, or have a [[gesture|gestural]] [[vocabulary]]/[[symbol]]ic system as in many Asian dances. Dance can embody or express ideas, [[emotion]]s or tell a [[narrative|story]].
   
 
== Dance classification and genres ==
 
== Dance classification and genres ==
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== Further reading ==
 
== Further reading ==
 
===Books===
 
===Books===
* Carter, A. (1998) ''The Routledge Dance Studies Reader''. Routledge. ISBN 0-415-16447-8
+
* Carter, A. (1998) ''The Routledge Dance Studies Reader''. Routledge. [[ISBN 0-415-16447-8]]
* Charman, S. Kraus, R, G. Chapman, S. and Dixon-Stowall, B. (1990) ''History of the Dance in Art and Education''. Pearson Education. ISBN 0-13-389362-6
+
* Charman, S. Kraus, R, G. Chapman, S. and Dixon-Stowall, B. (1990) ''History of the Dance in Art and Education''. Pearson Education. [[ISBN 0-13-389362-6]]
* Daly, A. (2002) ''Critical Gestures: Writings on Dance and Culture''. Wesleyan University Press. ISBN 0-8195-6566-0
+
* Daly, A. (2002) ''Critical Gestures: Writings on Dance and Culture''. Wesleyan University Press. [[ISBN 0-8195-6566-0]]
* Dils, A. (2001) ''Moving History/Dancing Cultures: A Dance History Reader''. Wesleyan University Press. ISBN 0-8195-6413-3
+
* Dils, A. (2001) ''Moving History/Dancing Cultures: A Dance History Reader''. Wesleyan University Press. [[ISBN 0-8195-6413-3]]
 
Aalten, A. (2004). 'The Moment When it All Comes Together': Embodied Experiences in Ballet: European Journal of Women's Studies Vol 11(3) Aug 2004, 263-276.
 
Aalten, A. (2004). 'The Moment When it All Comes Together': Embodied Experiences in Ballet: European Journal of Women's Studies Vol 11(3) Aug 2004, 263-276.
   
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*Zimmerman, E. (2004). Artistically and musically talented students. Thousand Oaks, CA: Corwin Press.
 
*Zimmerman, E. (2004). Artistically and musically talented students. Thousand Oaks, CA: Corwin Press.
 
*Ziv, A. (1988). Humor in Israel. New York, NY, England: Greenwood Press.
 
*Ziv, A. (1988). Humor in Israel. New York, NY, England: Greenwood Press.
  +
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File:Two dancers.jpg

Contemporary dance.

Dance (from French danser, perhaps from Frankish) generally refers to movement of the body, usually rhythmic and to music,[1] used as a form of expression, social interaction or presented in a spiritual or performance setting.

Dance is also used to describe methods of non-verbal communication (see body language) between humans or animals (bee dance, patterns of behaviour such as a (mating dance), motion in inanimate objects (the leaves danced in the wind), and certain musical forms or genres.

Definitions of what constitutes dance are dependent on social, cultural, aesthetic, artistic and moral constraints and range from functional movement (such as folk dance) to virtuoso techniques such as ballet. In sports, gymnastics, figure skating and synchronized swimming are dance disciplines while martial arts are often compared to dances.

Dance can be participatory, social or performed for an audience. It can also be ceremonial, competitive or erotic. Dance movements may be without significance in themselves, such as in ballet or European folk dance, or have a gestural vocabulary/symbolic system as in many Asian dances. Dance can embody or express ideas, emotions or tell a story.

Dance classification and genres

File:Pierre-Auguste Renoir 146.jpg

Partner dance.

Main article: List of basic dance topics

Dance categories by number of interacting dancers are mainly Solo dance, Partner dance and Group dance. Dance is preformed for various purposes like Ceremonial dance, Erotic dance, Performance dance, Social dance etc.

Dancing and music

Many early forms of music and dance were created and performed together. This paired development has continued through the ages with dance/music forms such as: Jig, Waltz, Tango, Disco, Salsa, Electronica and Hip-Hop. Some musical genres also have a parallel dance form such as Baroque music and Baroque dance whereas others developed separately: Classical music and Classical ballet.

Although dance is often accompanied by music, it can also be presented independently or provide its own accompaniment (tap dance). Dance presented with music may or may not be performed in time to the music depending on the style of dance. Dance performed without music is said to be danced to its own rhythm.

Dance studies and techniques

In the early 1920s, dance studies (dance practice, critical theory, Musical analysis and history) began to be considered an academic discipline. Today these studies are an integral part of many universities' arts and humanities programs. By the late 20th century the recognition of practical knowledge as equal to academic knowledge led to the emergence of practice research and practice as research. A large range of dance courses are available including:

A full range of Academic degrees are available from BA (Hons) to PhD with many dance scholars taking up their studies as mature students after a professional dance career.

See also

Further reading

Books

  • Carter, A. (1998) The Routledge Dance Studies Reader. Routledge. ISBN 0-415-16447-8
  • Charman, S. Kraus, R, G. Chapman, S. and Dixon-Stowall, B. (1990) History of the Dance in Art and Education. Pearson Education. ISBN 0-13-389362-6
  • Daly, A. (2002) Critical Gestures: Writings on Dance and Culture. Wesleyan University Press. ISBN 0-8195-6566-0
  • Dils, A. (2001) Moving History/Dancing Cultures: A Dance History Reader. Wesleyan University Press. ISBN 0-8195-6413-3

Aalten, A. (2004). 'The Moment When it All Comes Together': Embodied Experiences in Ballet: European Journal of Women's Studies Vol 11(3) Aug 2004, 263-276.

Papers

  • Aalten, A. (2007). Listening to the dancer's body: Sociological Review Vol 55(Suppl 1) May 2007, 109-125.
  • Abraham, S. (1996). Characteristics of eating disorders among young ballet dancers: Psychopathology Vol 29(4) Jul-Aug 1996, 223-229.
  • Abraham, S. (1996). Eating and weight controlling behaviours of young ballet dancers: Psychopathology Vol 29(4) Jul-Aug 1996, 218-222.
  • Abrao, A. C. P., & Pedrao, L. J. (2005). The contribution of belly dance to body education, physical and mental health of women who go to the gym or dance: Revista Latino-Americana de Enfermagem Vol 13(2) Mar-Apr 2005, 243-248.
  • Ackard, D. M., Henderson, J. B., & Wonderlich, A. L. (2004). The associations between childhood dance participation and adult disordered eating and related psychopathology: Journal of Psychosomatic Research Vol 57(5) Nov 2004, 485-490.
  • Adame, D. D., Radell, S. A., Johnson, T. C., & Cole, S. P. (1991). Physical fitness, body image, and locus of control in college women dancers and nondancers: Perceptual and Motor Skills Vol 72(1) Feb 1991, 91-95.
  • Albertson, L. S. (1993). Professional ballet dancers: The relationship of social support to psychological well-being and physical health: Dissertation Abstracts International.
  • Al-Dor, N. (2006). 'The spiral model for the development of coordination': A learning model based on Eshkol-Wachman movement notation (EWMN): Research in Dance Education Vol 7(2) Dec 2006, 161-177.
  • Allen, B. J. (1990). The effect of dance/movement on the self-concept of developmentally handicapped fourth and fifth grade students: Dissertation Abstracts International.
  • Allen, C. K. (2003). Irish Ceili Dance and Elderly Dancers: American Journal of Dance Therapy Vol 25(2) Fal 2003, 111-122.
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  • Allison, P. R. (1977). An instrument to measure the creative dance attitudes of Grade five children: Dissertation Abstracts International.
  • Alonso-Fernandez, F. (1985). The functional identity of dance throughout history: Psicopatologia Vol 5(4) Oct-Dec 1985, 353-360.
  • Alter, J. B. (1984). Creativity profile of university and conservatory dance students: Journal of Personality Assessment Vol 48(2) Apr 1984, 153-158.
  • Alter, J. B. (1984). A factor analysis of new and standardized instruments to measure the creative potential and high-energy action preference of performing arts students: A preliminary investigation: Personality and Individual Differences Vol 5(6) 1984, 693-699.
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  • Archinard, M., & Scherer, U. (1995). Training in classical dance in childhood and adolescence: What influence on bulimia nervosa in adult patients? : European Eating Disorders Review Vol 3(2) Jun 1995, 111-116.
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  • Arevalo, R. V., Tellez-Giron, M. T. O., Aguilar, X. L., Diaz, J. M. M., & Rayon, G. L. A. (2002). The influence of aesthetics models and body dissatisfaction in dance students with eating disorder: Psicologia Conductual Revista Internacional de Psicologia Clinica de las Salud Vol 10(2) 2002, 355-369.
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