Dance is fundamentally the rhythmic movement of the human body, often synchronized with music, within a defined space. This movement serves various purposes, from expressing emotions and ideas to releasing physical energy and simply reveling in the joy of motion itself. But what truly is dance, and how has its definition evolved over time?
Dance exists on two interconnected levels: as a primal, powerful human impulse and as a refined art form, skillfully executed by trained performers for an audience. These two concepts are inseparable when considering dance. The raw urge to move and express oneself through movement is the bedrock upon which the art of dance is built. Without the inherent human desire to dance, there would be no art of dance to cultivate and appreciate.
Throughout history, philosophers and dance critics have attempted to define dance, often reflecting the dance forms most prevalent in their own eras. These definitions, while varied, offer valuable insights into the evolving understanding of dance across cultures and time periods.
Misty Copeland and James Whiteside perform Swan Lake, showcasing the artistry and definition of ballet dance.
Historical Perspectives on the Definition of Dance
Aristotle, in his Poetics, viewed dance through the lens of classical Greek theatre. He proposed that dance is “rhythmic movement whose purpose is to represent men’s characters as well as what they do and suffer.” This definition highlights the role of dance in conveying narrative and emotional depth, particularly within the dramatic context of the Greek chorus. Dance, for Aristotle, was a representational art, mirroring human actions and emotions through stylized movement.
In the 18th century, John Weaver, an English ballet master, offered a contrasting perspective. Writing in 1721, Weaver described dance as “an elegant, and regular movement, harmoniously composed of beautiful Attitudes, and contrasted graceful Posture of the Body, and parts thereof.” Weaver’s definition reflects the formal and courtly nature of ballet during his time. He emphasized the aesthetic qualities of dance – elegance, regularity, harmony, and graceful postures – characteristic of the highly stylized ballet of the era. Emotional expression took a backseat to refined form and visual beauty in Weaver’s understanding.
Gaston Vuillier, a 19th-century French dance historian, further emphasized grace and beauty. He distinguished “true” dance from what he considered the crude, spontaneous movements of early humans. Vuillier believed that “savage man” was incapable of the refined sensations necessary for choreographic art, viewing early movement as merely “leaps and bounds, the incoherent gestures” expressing base emotions. This perspective reveals a hierarchical view of dance evolution, positioning formalized, graceful dance as superior to more primal forms of movement.
Moving into the 20th century, dance critic John Martin shifted the focus to the emotional core of dance. He minimized the formal aspects, emphasizing dance as “a physical expression of inner emotion.” Martin’s definition resonated with the rise of Expressionist modern dance, which prioritized conveying raw emotion through movement. He argued that “the common impulse to resort to movement to externalise states which we cannot externalise by rational means. This is basic dance.” For Martin, dance was fundamentally about communicating internal emotional states through physical expression, a departure from purely aesthetic or representational definitions.
Towards a Universal Definition of Dance
Ultimately, a comprehensive definition of dance must return to the fundamental element: the body and its capacity for movement. Dance, as an art form or activity, utilizes the full spectrum of human motion. What distinguishes dance from everyday movement is its purpose and quality. Unlike movements solely for work, travel, or survival, dance movements transcend practical necessity.
While dance can incorporate movements from daily life, such as in work dances found across many cultures, these movements are transformed. They are imbued with qualities that elevate them beyond mere labor. These added dimensions include self-expression, aesthetic pleasure, and entertainment. Whether it’s the intricate footwork of ballet, the expressive gestures of modern dance, or the rhythmic steps of folk dance, the core definition of dance lies in the intentional and artful use of the body to create movement that communicates, delights, and transcends the ordinary.
