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Dance is an art form, often classified as a sport, consisting of sequences of body movements with aesthetic and often symbolic value, either improvised or purposefully selected.[nb 1] Dance can be categorized and described by its choreography, by its repertoire of movements or by its historical period or place of origin.[3] Dance is typically performed with musical accompaniment, and sometimes with the dancer simultaneously using a musical instrument themselves.

An important distinction is to be drawn between theatrical and participatory dance,[4] although these two categories are not always completely separate; both may have special functions, whether social, ceremonial, competitive, erotic, martial, sacred or 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. Dance is not solely restricted to performance, as dance is used as a form of exercise and occasionally training for other sports and activities. Dance has become a sport for some, with dancing competitions found across the world exhibiting various different styles and standards. Dance has an aesthetic appeal to many people.[5]

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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 it may interpret the musical accompaniment, which is often specially composed and performed in a theatre setting but it is not a requirement. Examples are Western ballet and modern dance, Classical Indian dance such as Bharatanatyam, and Chinese and Japanese song and dance dramas, such as the dragon dance. Most classical forms are centred upon dance alone, but performance dance may also appear in opera and other forms of musical theatre.

Participatory dance, 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 in Western ballroom dancing, is undertaken primarily for a common purpose, such as social interaction or exercise, or building flexibility of participants rather than to serve any benefit to 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 or interpretive 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 people may or must participate.

References to dance can be found in very early recorded history; Greek dance (choros) is referred to by Plato, Aristotle, Plutarch and Lucian.[9] The Bible and Talmud refer to many events related to dance, and contain over 30 different dance terms.[10] In Chinese pottery as early as the Neolithic period, groups of people are depicted dancing in a line holding hands,[11] and the earliest Chinese word for "dance" is found written in the oracle bones.[12] Dance is described in the Lshi Chunqiu.[13][14] Primitive dance in ancient China was associated with sorcery and shamanic rituals.[15]

During the first millennium BCE in India, many texts were composed which attempted to codify aspects of daily life. Bharata Muni's Natya Shastra (literally "the text of dramaturgy") is one early text. It mainly deals with drama, in which dance plays an important part in Indian culture. A strong continuous tradition of dance has since continued in India, through to modern times, where it continues to play a role in culture, ritual, and the Bollywood entertainment industry. Many other contemporary dance forms can likewise be traced back to historical, traditional, ceremonial, and ethnic dance.[citation needed]

Dance is generally, but not exclusively, performed with the accompaniment of music and may or may not be performed in time to such music. Some dance (such as tap dance) may provide its own audible accompaniment in place of (or in addition to) music. Many early forms of music and dance were created for each other and are frequently performed together. Notable examples of traditional dance-music couplings include the jig, waltz, tango, disco, and salsa. Some musical genres have a parallel dance form such as baroque music and baroque dance; other varieties of dance and music may share nomenclature but developed separately, such as classical music and classical ballet. The choreography and music are meant to complement each other, to express a story told by the choreographer and dancers.[16]

Rhythm and dance are deeply linked in history and practice. The American dancer Ted Shawn wrote; "The conception of rhythm which underlies all studies of the dance is something about which we could talk forever, and still not finish."[17] A musical rhythm requires two main elements; first, a regularly-repeating pulse (also called the "beat" or "tactus") that establishes the tempo and, second, a pattern of accents and rests that establishes the character of the metre or basic rhythmic pattern. The basic pulse is roughly equal in duration to a simple step or gesture.

Musical accompaniment arose in the earliest dance, so that ancient Egyptians attributed the origin of the dance to the divine Athotus, who was said to have observed that music accompanying religious rituals caused participants to move rhythmically and to have brought these movements into proportional measure. The same idea, that dance arises from musical rhythm, was found in renaissance Europe, in the works of the dancer Guglielmo Ebreo da Pesaro, who speaks of dance as a physical movement that arises from and expresses inward, spiritual motion agreeing with the "measures and perfect concords of harmony" that fall upon the human ear,[19] while, earlier, Mechthild of Magdeburg, seizing upon dance as a symbol of the holy life foreshadowed in Jesus' saying "I have piped and ye have not danced",[21] writes;

Scholes, not a dancer but a musician, offers support for this view, stating that the steady measures of music, of two, three or four beats to the bar, its equal and balanced phrases, regular cadences, contrasts and repetitions, may all be attributed to the "incalculable" influence of dance upon music.[24]

mile Jaques-Dalcroze, primarily a musician and teacher, relates how a study of the physical movements of pianists led him "to the discovery that musical sensations of a rhythmic nature call for the muscular and nervous response of the whole organism", to develop "a special training designed to regulate nervous reactions and effect a co-ordination of muscles and nerves" and ultimately to seek the connections between "the art of music and the art of dance", which he formulated into his system of eurhythmics.[25] He concluded that "musical rhythm is only the transposition into sound of movements and dynamisms spontaneously and involuntarily expressing emotion".[26]

Hence, though doubtless, as Shawn asserts, "it is quite possible to develop the dance without music and... music is perfectly capable of standing on its own feet without any assistance from the dance", nevertheless the "two arts will always be related and the relationship can be profitable both to the dance and to music",[27] the precedence of one art over the other being a moot point. The common ballad measures of hymns and folk-songs takes their name from dance, as does the carol, originally a circle dance. Many purely musical pieces have been named "waltz" or "minuet", for example, while many concert dances have been produced that are based upon abstract musical pieces, such as 2 and 3 Part Inventions, Adams Violin Concerto and Andantino. Similarly, poems are often structured and named after dances or musical works, while dance and music have both drawn their conception of "measure" or "metre" from poetry.

Shawn quotes with approval the statement of Dalcroze that, while the art of musical rhythm consists in differentiating and combining time durations, pauses and accents "according to physiological law", that of "plastic rhythm" (i.e. dance) "is to designate movement in space, to interpret long time-values by slow movements and short ones by quick movements, regulate pauses by their divers successions and express sound accentuations in their multiple nuances by additions of bodily weight, by means of muscular innervations".

The early-20th-century American dancer Helen Moller stated that "it is rhythm and form more than harmony and color which, from the beginning, has bound music, poetry and dancing together in a union that is indissoluble."[29]

Concert dance, like opera, generally depends for its large-scale form upon a narrative dramatic structure. The movements and gestures of the choreography are primarily intended to mime the personality and aims of the characters and their part in the plot.[30] 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[31] 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,[32] all of which were defined by definite rhythms closely identified with each dance. These appeared as character dances in the era of romantic nationalism. ff782bc1db