Dance is fundamentally the movement of the body in a rhythmic manner, usually set to music and within a defined space. This movement serves various purposes, from expressing ideas and emotions to releasing energy and simply finding joy in the act of moving itself.
Dance is a deeply rooted human impulse, yet the artistry of dance emerges when this impulse is refined by skilled performers. It transforms into a potent form of expression, capable of captivating audiences who may not even feel the urge to dance themselves. These two intertwined concepts—dance as a primal urge and dance as a meticulously crafted art form practiced by professionals—are central to understanding the essence of dance. The connection between these aspects is particularly strong in dance compared to other arts; neither concept can truly exist in isolation.
Throughout history, philosophers and critics have attempted to define dance, often reflecting the specific dance forms they were most familiar with. Aristotle, in his Poetics, described dance as rhythmic movement intended “to represent men’s characters as well as what they do and suffer.” This definition highlights dance’s crucial role in classical Greek theatre, where the chorus used movement to embody the drama’s themes during lyrical interludes.
Misty Copeland and James Whiteside performing Swan Lake.
English ballet master John Weaver, writing in 1721, offered a different perspective, defining 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 clearly mirrors the stately and courtly ballet of his era, characterized by formalized aesthetics and restrained emotion. Nineteenth-century French dance historian Gaston Vuillier also emphasized grace, harmony, and beauty, distinguishing “true” dance from what he perceived as the crude, spontaneous movements of early humans:
The choreographic art . . . was probably unknown to the earlier ages of humanity. Savage man, wandering in forests, devouring the quivering flesh of his spoils, can have known nothing of those rhythmic postures which reflect sweet and caressing sensations entirely alien to his moods. The nearest approach to such must have been the leaps and bounds, the incoherent gestures, by which he expressed the joys and furies of his brutal life.
In the 20th century, dance critic John Martin shifted the focus, downplaying the formal aspects of dance and emphasizing its role as a physical outlet for inner feelings. This perspective reflected his affinity for the Expressionist movement in modern American dance. Martin stated, “At the root of all these varied manifestations of dancing . . . lies the common impulse to resort to movement to externalise states which we cannot externalise by rational means. This is basic dance.”
Therefore, a truly universal definition of dance must return to the fundamental idea that dance is an art form or activity utilizing the body and its full range of motion. Unlike everyday movements related to work, travel, or survival, dance movements transcend practical function. While dance can incorporate movements from these activities, as seen in work dances across many cultures, even in these practical forms, dance movements are not merely functional. They are enriched with qualities like self-expression, aesthetic appeal, and entertainment value.
This exploration of “what is dance” reveals it to be a multifaceted concept. It is both an innate human desire to move and a highly developed art form with a rich history and diverse expressions. Dance serves as a powerful tool for communication, artistic creation, and human connection, transcending cultural boundaries and evolving continuously.
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