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I born in Maracaibo, Venezuela. I am sixteen years old. I came to live in here two years ago.

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Dance has been part of my life since I am five years old. Dance is a way that you can show your feelings. Dancing is telling words with movements.

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Possible careers for dancers

The world of dance is an ephemeral field. Maintaining a career as a full time dancer can be elusive, difficult to maintain, and short lived. However, there are many ways to extend a career in dance and remain active in your field or transition to something different entirely.

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The world of dance is an ephemeral field. Maintaining a career as a full time dancer can be elusive, difficult to maintain, and short lived. However, there are many ways to extend a career in dance and remain active in your field or transition to something different entirely.

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7 Dance is a passion that has been since a long time ago

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7 Dance is a passion that has been since a long time ago

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It tells that in the 20th century dance was popular, and still is. Also the author says what is dance.

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dance, the movement of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself.

Dance is a powerful impulse, but the art of dance is that impulse channeled by skillful performers into something that becomes intensely expressive and that may delight spectators who feel no wish to dance themselves. These two concepts of the art of dance-dance as a powerful impulse and dance as a skillfully choreographed art practiced largely by a professional few-are the two most important connecting ideas running through any consideration of the subject. In dance, the connection between the two concepts is stronger than in some other arts, and neither can exist without the other.

Although the above broad definition covers all forms of the art, philosophers and critics throughout history have suggested different definitions of dance that have amounted to little more than descriptions of the kind of dance with which each writer was most familiar. Thus, Aristotle's statement in the Poetics that dance is rhythmic movement whose purpose is "to represent men's characters as well as what they do and suffer" refers to the central role that dance played in classical Greek theatre, where the chorus through its movements reenacted the themes of the drama during lyric interludes.

The English ballet master John Weaver, writing in 1721, argued on the other hand that "Dancing is an elegant, and regular movement, harmoniously composed of beautiful Attitudes, and contrasted graceful Posture of the Body, and parts thereof." Weaver's description reflects very clearly the kind of dignified and courtly movement that characterized the ballet of his time, with its highly formalized aesthetics and lack of forceful emotion. The 19th-century French dance historian Gaston Vuillier also emphasized the qualities of grace, harmony, and beauty, distinguishing "true" dance from the supposedly crude and spontaneous movements of early man:

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.

John Martin, the 20th-century dance critic, almost ignored the formal aspect of dance in emphasizing its role as a physical expression of inner emotion. In doing so, he betrayed his own sympathy toward the Expressionist school of modern American dance: "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."

A truly universal definition of dance must, therefore, return to the fundamental principle that dance is an art form or activity that utilizes the body and the range of movement of which the body is capable. Unlike the movements performed in everyday living, dance movements are not directly related to work, travel, or survival. Dance may, of course, be made up of movements associated with these activities, as in the work dances common to many cultures, and it may even accompany such activities. But even in the most practical dances, movements that make up the dance are not reducible to those of straightforward labour; rather, they involve some extra qualities such as self-expression, aesthetic pleasure, and entertainment.

This article discusses the techniques and components of dance as well as the aesthetic principles behind its appreciation as an art. Various types of dance are discussed with emphasis on their style and choreography. The history of dance in various regions is treated in a number of articles; see dance, African; music and dance, Oceanic; dance, Western; arts, Central Asian; arts, East Asian; arts, Islamic; dance, Native American; arts, South Asian; and arts, Southeast Asian. The interaction between dance and other art forms is discussed in folk dance.

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Dance | Definition, Characteristics, Types, History, People, & Facts

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Dance, the movement of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself. Learn more about the history, styles, and aesthetics of dance in this article.

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8 The flamenco was my start in the dance world 

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8 The flamenco was my start in the dance world 

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When I was five I start dancing flamenco, and thanks to this I learn that I love to dance. In this articles the author talk about what flamenco is and the history of this one.

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flamenco, form of song, dance, and instrumental (mostly guitar) music commonly associated with the Andalusian Roma (Gypsies) of southern Spain. (There, the Roma people are called Gitanos.) The roots of flamenco, though somewhat mysterious, seem to lie in the Roma migration from Rajasthan (in northwest India) to Spain between the 9th and 14th centuries. These migrants brought with them musical instruments, such as tambourines, bells, and wooden castanets, and an extensive repertoire of songs and dances. In Spain they encountered the rich cultures of the Sephardic Jews and the Moors. Their centuries-long cultural intermingling produced the unique art form known as flamenco.

The cante, or song

The essence of flamenco is cante, or song. Flamenco songs fall into three categories: cante jondo ("profound song," or "deep song"), cante intermedio ("intermediate song," also called cante flamenco), and cante chico ("light song"). The cante jondo, whose structure usually is based on a complex 12-beat rhythm, is thought to be the oldest form. It is characterized by profound emotion and deals with themes of death, anguish, despair, or religious doubt. The cante intermedio is a hybrid form that incorporates elements of Spanish music styles, especially the fandango. The cante chico, which is generally simpler in rhythm than the other two forms, also requires considerable technical skill but much less emotional investment, dealing as it usually does with humour and subjects of love, the countryside, and gaiety. Each song style is distinguished by a characteristic rhythm and chord structure; yet several types of cante may share the same rhythm but individualize accentuation, subtleties, and emotional content.

The ancestry of many types of song is traceable. Thus, the serious soleares, a descendant of the much older cañas, gave rise to the light alegrías, from which developed other light-song types, such as the bulerías. The alboreás is traditionally sung only at weddings and is considered unlucky on other occasions. Other forms, such as the fandangos grandes, were adopted from Spanish folk song and dance, the fandangos becoming more serious in character than the original and begetting a series of descendants that includes the malagueñas and the Arab-influenced cartageneras. Latin American influence appears in later genres such as the rumbas gitanas and the colombianas. Most deeply associated with Gitano flamenco tradition are the cantes grandes, such as the siguiriyas gitanas; the saetas, adopted from Spanish religious processions; and the martinetes, an early song type created in the environment of the forge, in which the beat of the hammer against the anvil reflects the pain and sense of persecution felt by the perpetual outsider.

The baile, or dance

After the mid-19th century, flamenco song was usually accompanied by guitar music and a palo seco (Spanish: "dry stick," a stick that was beat on the floor to keep time) and a dancer performing a series of choreographed dance steps and improvised styles. Baile, or dance, has been the dominant element of flamenco since that time, though it is never performed without accompaniment.

As an accompanist to the dancer ( bailaor [male], bailaora [female]), the singer ( cantaor) relates the legends and stories of daily life that reflect the experiences of an outcast subculture within predominately white, Christian Spain. The dancer is the protagonist of the singer's narrative and its interpreter. The baile is a sensuous display of fluid motion, stylized and yet highly personal, involving movement of the arms ( braceo) and upper torso, hand and finger movement ( florea), footwork ( zapateado), and heelwork ( taconeo), which are often displayed in long solo passages ( solea). Male dancers usually perform intricate footwork, whereas female dancers, traditionally wearing elaborately ruffled dresses, emphasize the hands and upper torso. The guitarist ( tocoar) keeps the rhythm ( compás) necessary to the dancer's individual rhythmic cadences, accompanying (and, when the performance space is large, even following) the dancer.

A deeply musical dancer, after a 15- or 20-minute sequence, is said to fall into a duende, an intensely focused, trancelike state of transcendent emotion that Federico García Lorca in 1933 described as los sonidos negros ("the dark sounds") invading the performer's body. This extraordinary state is enhanced by rhythmic hand clapping and encouraging interjections ( jaleo) from the audience and fellow performers. Gitano flamenco performers regard the cante jondo as a form of prayer, and thus, in duende, the dancer communicates with both the audience and God. What may well reveal the ancient origins of flamenco are the gestures of the profound dance ( baile grande), in which the arm, hand, and foot movements closely resemble those of classical Hindu dance of the Indian subcontinent.

History

The golden age of flamenco is usually considered to be the period between roughly 1780 and 1845. Singing was then the primary aspect of flamenco, dancing and musical accompaniment being secondary. What had been an essentially outdoor, outsider, family-oriented activity that focused on cante was transformed beginning in 1842, when Silverio Franconetti founded the first café cantante, Café sin Nombre, in Sevilla (Seville). That establishment and the many others that sprang up in the major urban centres of Spain-notably Granada, Córdoba, and Sevilla-placed emphasis on the musicians and dancers, and it was in this period that the singer began to take a secondary role. Although these commercial interests afforded a living for many performers for the first time, they also brought about what many considered a bastardization of an authentic indigenous art form. Several intellectuals, including Lorca and composer Manuel de Falla, sought to restore the purity of flamenco, and in 1922 they instituted the first flamenco competition-calling for cante primitivo andaluz ("primitive Andalusian cante"). This timely attempt to prevent the further debasement of an authentic folk art effectively promoted flamenco to a sophisticated urban public and helped to further the thoughtful development of the art within a modern context.

Among the many great early 20th-century performers are La Argentina (Antonia Mercé), Vicente Escudero, Carmen Amaya, La Argentinita (Encarnación López), José Greco, and Pilar López, as well as the troupes of Antonio and Rosario (Antonio Ruiz Soler and Rosario Florencia Pérez Podilla) and Ximénez-Vargas (Roberto Ximénez and Manolo Vargas). Classically influenced flamenco artists Antonio Gades, Christina Hoyos, José Greco II, and Lola Greco have also pushed the boundaries of flamenco. Gades in particular, in his collaborations with the filmmaker Carlos Saura, introduced flamenco to an international audience, demonstrating through his ingenious choreographic direction the dimensions of flamenco as an expandable performance art.

Contemporary artists such as Eva la Yerbabuena, Joaquín Cortés, Antonio Canales, Belén Maya, and Juana Amaya are creating new rhythmic strategies in the studio and integrating them into longer narrative theatre pieces in which rhythm becomes the dominant element of the dance. In the last few decades of the 20th century, flamenco also was influenced by the general musical trend toward fusion of styles.
Ninotchka Devorah Bennahum

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Flamenco | Dance, Music, History, Artists, & Facts

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Flamenco, form of song, dance, and instrumental (mostly guitar) music commonly associated with the Andalusian Roma (Gypsies) of southern Spain. (There, the Roma people are called Gitanos.) The roots of flamenco, though somewhat mysterious, seem to lie in the Roma migration from Rajasthan (in

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When I dance I feel that I am in other world. When I dance I feel that I can do everything.

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When somebody dance express so many feelings, that no matter what language the dancer speak, everyone will understand.

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How does it feel when the spotlight shines down on you? When you stretch your arms, point your toes, hold your breath as the music flows into your ...

Graphic by Chukwuyem Onyibe/The Gazelle

How does it feel when the spotlight shines down on you? When you stretch your arms, point your toes, hold your breath as the music flows into your body? You feel alive, strong and full of energy; you feel excitement and, perhaps, a bit of nervousness.

Dance is a form of language that transcends not only cultures but also species. We may not have the ability to comprehend the sounds that male birds make, but we can instinctively interpret their gestures as they compete for a mate by showing off their dance moves. Similarly, before our ancestors developed linguistic skills, they communicated with each other through body language. They expressed their anger, hope and love with movement. Today, we continue to do the same; dance is a part of us and has always been.

I may not immediately understand your language, culture or religious traditions, but you can tell me your story and I will listen; you can show me your story and I will watch.

Dancers are storytellers who share their stories with their bodies.

NYU Abu Dhabi brings us together from different corners of the world. Just as we come here to transcend national boundaries and develop a better understanding of other cultures, dance provides a powerful way for us to learn about and appreciate each other.

Hip-hop dance originated in New York City in the late 1960s, where the lives of black youth were constantly affected by the prevalence of drugs, sex and gang fights. It was hip-hop dance that gave those young people hope and a purpose in life. While figures like Michael Jackson and Michael Jordan have inspired youth around the globe in a very public manner, black hip-hoppers act as an underground force to promote African-American culture to the world. Now on the streets of New York, in the clubs of Tokyo and in the parks of Paris, we see black, white and Asian kids - youth of various ethnicities - making friends through dance.

Ballet began exclusively in the courts of the Italian Renaissance as a form of entertainment for the aristocracy but spread quickly, first to France, then across Europe and eventually beyond the continent. While ballet has yet to become prevalent across the world, everyone has the capacity both to learn and to appreciate the beauty of this dance form. Its gracefulness, precision and strength can be used to send meaningful messages in compelling ways, not only about the human condition but also about sociopolitical issues such as war and peace. Ballet, like other dance genres, expresses emotions that both the dancer and audience can relate to and understand.

Regardless of which languages we speak, regardless of where we call home, we can all find common ground through dance. Dance fosters collaboration and trust by breaking down barriers in a magical way, which is difficult to describe but can certainly be felt by all. Dancing will not cure diseases, will not end famines nor will it fight to bring peace. But as a universal language, dance speaks of joy and a hope that can never be taken away.
Lauren Clingan is a contributing writer. Cai Cai Xuexin is a contributing writer. Email them at [email protected].com.

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Dance as Universal Language | The Gazelle

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How does it feel when the spotlight shines down on you? When you stretch your arms, point your toes, hold your breath as the music flows into your ... Graphic by Chukwuyem Onyibe/The Gazelle How does it feel when the spotlight shines down on you?