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	Please dance.
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			'''Dance''' (from ] ''danser'', perhaps from ]) generally refers to ] used as a form of ], ] ] or presented in a ] or ] setting.

			] in the grounds of Wells Cathedral, Wells, England]]

			'''Dance''' is also used to describe methods of ] (see ]) between humans or ]s (], ] such as a mating dance), ] in inanimate objects (''the ] danced in the ]''), and certain ]s or ]s.

			Definitions of what constitutes dance are dependent on ], ], ], ] and ] constraints and range from functional movement (such as ]) to ] techniques such as ]. In ]s, ], ] and ] are ''dance'' disciplines while ] ']' are often compared to dances.

			Dance can be directly ], ] or ] for an ]. It can also be ], ] or ]. Dance movements may be without significance in themselves, such as in ] or European ], or have a ] ]/symbolic system as in many Asian dances. Dance can embody or express ideas, ]s or tell a story.

			] is the art of creating dances, and the person who does this is called a choreographer.

			==Origins and history of dance==
			{{main\|History of dance}}
			Dance does not leave behind clearly identifiable physical artifacts such as stone tools, hunting implements or ]. It is not possible to say when dance became part of human culture. Dance has certainly been an important part of ], ]s, ]s and ] since before the birth of the earliest human ]s. ] delivers traces of dance from ] such as ] tomb paintings depicting dancing figures from circa ] and the ] paintings in ].

			One of the earliest structured uses of dance may have been in the performance and telling of myths. Before the introduction of written languages, dance was one of the methods of passing these stories down from generation to generation. <ref name="lecomte">Nathalie Comte. "Europe, 1450 to 1789: Encyclopedia of the Early Modern World". Ed. Jonathan Dewald. Vol. 2. New York: Charles Scribner's Sons, 2004. p94-108.</ref>

			Another early use of dance may have been as a precursor to ] ] in healing rituals. Dance is still used for this purpose by cultures from the Brazilian ] to the ].<ref name='guenther'>Guenther, Mathias Georg. 'The San Trance Dance: Ritual and Revitalization Among the Farm Bushmen of the Ghanzi District, Republic of Botswana.' Journal, South West Africa Scientific Society, v30, 1975-76.</ref>

			] goes back to the mythological times of ] yingyang twins and "]" (devils). According to a Sinhalese legend, Kandyan dances originate, 2500 years ago, from a magic ritual that broke the spell on a bewitched king. Many contemporary dance forms can be traced back to ], ], ], and ] dances.

			==Dancing and music==
			{{seealso\|List of dances\|:Category:Music genres}}


			{{unref\|section\|date=July 2007}}
			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: ], ], ], ], ], ] and ]. Some ]s also have a parallel dance form such as ] and ] whereas others developed separately: ], ].

			Although dance is often accompanied by ], it can also be presented independently or provide its own accompaniment (]). 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 by ethnicity or region ==
			{{Main\|:Category:Dance by ethnicity or region}}

			===Dance in South Asia===
			====India====
			{{Main\|Dance in India}}
			=====Dance in Indian canonical literature=====
			In the first millennium BCE in ] many texts were composed which sought to state the rules of social management, private life, linguistic discipline, public finance, state policy, poetics, and dramatics. In the matter of dance, ]'s '']'' (literally ''"the art of dance"'') is the one of the earlier texts.

			Though the main theme of '']'' deals with drama, dance also finds mention. It elaborates various gestures of hands and classifies such gestures and movements as either graceful or vigorous, defining the ''lalita'' form of dance - ''lasya''; and the vigorous form ']'.

			Dance is classified under four categories and into four regional varieties. '']'' names these categories as secular, ritual, abstract, and, interpretive. Regional geography has altered since ]'s time and so have regional varieties of Indian dances. Dances like ''"Odra Magadhi"'', which after decades long debate, has been traced to present day Mithila-] region's dance form of ], indicate influence of dances in cultural interactions between different regions.<ref>, by Prof. P. C. Jain and Dr. Daljeet.</ref>

			The roots of the present day ], ], ], ] and ] are found in ancient Indian civilization. Abstractness is now the feature of almost all classical Indian dance forms.

			=====Classical Indian dance since 1947=====
			During the reign of the last Mughals and Nawabs of Oudh dance fell down to the status of ']', a sensuous dance of courtesans.

			Later, linking dance with immoral trafficking and prostitution, British rule prohibited public performance of dance. Many disapproved it. In 1947, India won her freedom and for dance an ambience where it could regain its past glory. Classical forms and regional distinctions were re-discovered, ethnic specialties were honored.

			Archaeology delivers traces of dance from prehistoric times such as Egyptian tomb paintings depicting dancing figures from circa 3300 BC and the Bhimbetka rock-shelter paintings in India.

			====Bhangra in the Punjab====
			{{Main\|Bhangra}}
			The ] area overlapping India and ] is the place of origin of ]. It is widely known both as a style of music and a dance. It is mostly related to ancient harvest celebrations, love, patriotism or current social issues. Its music is coordinated by a musical instrument called the 'Dhol'. Its beats is what gives the human body the vibes in the dance movements.
			Bhangra isn't just music but a dance. It's actually the celebration of the harvest where people beat the dhol (drum), sing Boliyaan (lyrics) and dance!

			====Dances of Sri Lanka====
			{{Main\|Dances of Sri Lanka}}
			The devil dances of Sri Lank] or "yakun natima" are a carefully crafted ritual with a history reaching far back into ]'s pre-Buddhist past. It combines ancient "Ayurvedic" concepts of disease causation with psychological manipulation. The dance combines many aspects including Sinhalese cosmolgy, the dances also has an impact on the ].<ref></ref>

			===In Europe and North America===
			====Concert (or performance) dance====
			{{Main\|Concert dance}}
			] developed first in Italy and then in France from lavish court spectacles that combined music, drama, poetry, song, costumes and dance. Members of the court nobility took part as performers. During the reign of ], himself a dancer, dance became more codified. Professional dancers began to take the place of court amateurs, and ballet masters were licensed by the French government. The first ballet dance academy was the Académie Royale de Danse (Royal Dance Academy), opened in Paris in 1661. Shortly thereafter, the first institutionalized ballet troupe, associated with the Academy, was formed; this troupe began as an all-male ensemble but by 1681 opened to include women as well.<ref name="lecomte"/>

			During the ], ballets were still mainly performed alongside ] or poetry, but the idea of dance performance as separate from sung or spoken word began to be experimented with. ], instead, was used to tell the stories of these ballets. Female professional dancers began to take their place onstage, having previously been hampered by social norms; they performed in high-heeled shoes and long, full skirts. Later they wore short, stiff, yet fluffy, skirts called tutus.

			During the Pre-Romantic era in ballet, the art form changed rapidly. Costume reforms were made, especially for women; these reforms were in part a result of the ]. Heeled street shoes were replaced by slippers, and corsets and heavy petticoats were discarded, and tights were invented. Simple ] work was introduced by ballerinas such as Fanny Elssler and ], who heavily darned their slippers in order to be able to rise up briefly on their toes. The seven movements of dance (to bend, to rise, to stretch, to glide, to jump, to turn, and to dart) were codified in 1796.

			The period of time between 1830 and 1870 is classified as the ] era of ballet. A format developed for ballets crafted in this period: the first act was set in the real world and the second in a ] or otherworldly setting. Most ballerinas portrayed creatures such as wilis, sylphs and nymphs wearing long white skirts, today called Romantic tutus. Ballets choreographed during this time period included ] in 1841, ] in 1832, and ] in 1870. The Romantic Era came to a close when ballet lost popularity in Western ] due to competition by music halls and a lack of strong male dancers and choreography.

			] became the center of ballet during the second half of the 19th century; the art form was supported by the patronage of the czars and the success of the ], its school (forerunner of the ]) and the talent of ]. Hard or blocked pointe shoes were introduced during this period, as were short tutus (today known as classical tutus, these skirts take their name from this era, which was the Russian Classical). Many story ballets (], ], ], ], ]) were produced during this period. Although the coming of the ] boded ill for the art form, Nicholas Sergeyev, last régisseur of the Imperial Ballet, smuggled the ] out of Russia and into the West. Hence many of the ballets survived, and are still performed today.
			], one the most influential dancers of the 20th century, dancing on the walls and ceiling in the film '']'' (1951)]]
			The Russian impresario ] was instrumental in bringing ballet back to Western Europe and allowing for its evolution into a 20th century art form. Although not a dancer nor a choreographer, Diaghilev was an avid dance and music patron. He assembled a troupe of Russian composers, dancers, choreographers and designers; as the Diaghilev Ballet Russes, this troupe toured Europe and the United States. Diaghilev was one of the foremost influences upon ballet in the new century, and he helped to launch the careers of such artists as ], ], ], and ], among others. After Diaghilev's death, the company disbanded. Many of his dancers settled in Western Europe and the United States. Michel Fokine joined ] in 1940 as its resident choreographer; George Balanchine also came to America and founded the ] in 1934. It was Balanchine who developed what is now known as the "neo-classical" style of ballet.

			At the beginning of the ], there was an explosion of innovation in dance style characterized by an exploration of freer technique. Early pioneers of what became known as ] include ], ], ] and ]. The relationship of music to dance serves as the basis for ], devised by ], which was influential to the development of Modern dance and modern ballet through artists such as ].

			], developed by ] and ], combines formal elements reminiscent of traditional dance with the new freer style, and introduced a complex new vocabulary to dance. In the ], important founders of the new style such as ] and ] began their work. Since this time, a wide variety of dance styles have been developed; see ].

			], complete with stereotypical ].]]

			====The United States====
			{{see also\|Dance in the United States\|African American dance}}
			]s are those dances which have developed within African American communities in everyday spaces, rather than in dance studios, schools or companies and its derivatives, ], ], ], ], ] and ]. Other dances, such as the ] with its relationship to ] and ] have also had a global influence.

			<DIV style="clear: both" />

			==Competitive dance (Dancesport)==
			].]]
			] denotes dance as a ] activity. Initially this term was applied to ] ], in its ].

			The ], or IDSF, is an international governing body for amateurs, while the ] (WD&DSC) is an international governing body for dance professionals. Since ] the ] (IOC) has officially recognized dancesport as sport<ref>http://www.idsf.net/press97/idsfp172.htm</ref>, with IDSF becoming an ]. The IDSF strongly pushes for the inclusion of dancesport as a medal sport in the ]. However the decision of the IOC is negative so far<ref>http://www.idsf.net/press00/idsf0026.htm</ref>. It is in force only until the 2012 Olympics and subject to reconsideration afterwards.

			The TV programs ] and ] are both popularising DanceSport internationally. The two shows are about contestants competing to win dance competitions, much like how singing is used on ].

			==Dance studies==
			In the early ] dance studies (dance ], ], ] and ]) began to be considered an ]. Today these studies are an integral part of many ]' ] and ] programs. By the late ] the recognition of practical ] as equal to academic knowledge lead to the emergence of ''practice-based research'' and ''practice as research''. A large range of dance courses are available including:

			* Professional practice: performance and technical skills
			* Practice-based research: choreography and performance
			* ], encompassing the dance-related aspects of ], ], ], ], ], ], etc.
			* ] or Dance-Movement Therapy.
			* Dance and technology: ] and performance ].
			* ] and Somatic studies

			A full range of ]s are available from ] to ] and other ] fellowships, with many dance ]s taking up their studies as ''mature students'' after a ] dance career.

			Dancing is evolved in so many different styles. Breakdancing and Crumping which is related to the hip hop culture. African dance which is interperative. Ballet, Ballroom, Waltz, and Tango are classical styles of dance. While square and the infamous electric slide are forms of step dances.

			==Dance occupations==
			There are different careers connected with dancing: Dancer, dance teacher, dance sport coach, ] and choreographer.

			;Dancer
			The training as the dancer differs depending upon the dance form with nationally recognized university studies for classical dance (e.g. Ballet) compared to the more sports like training in competition dance (e.g. Latin dance) and private training as the solo dancer (e.g. eastern dance).

			Dancers are usually employed on contract or for a particular performance. Constantly changing work situations, strong competition pressure and only rarely high fees do not deter dancers. Professional dancers often need to supplement their income, either in dance related roles (e.g., dance teaching, dance sport coaches, yoga or ] instruction) to achieve financial stability.

			In the U.S. many professional dancers are members of unions such as the ], the ] and ]. The unions help determine working conditions and minimum salaries for their members.

			{{see also\|Risks of classical ballet}}

			;Dance teachers
			Dance teacher and operators of ]s rely on reputation and marketing. For dance forms without an association structure such as Salsa or Tango Argentino they may not have formal training. Most dance teachers are self employed.

			;Dancesport coaches
			Dancesport coaches are tournament dancers or former dancesports people, and may be recognised by a dance sport federation.

			;Choreographer
			Choreographer are generally university trained and are typically employed for particular projects or, more rarely may work for a specific company. A choreographic work is protected intellectual property. Dancers may undertake their own choreography.

			==See also==
			*]
			*]
			*]
			*]

			=== Lists ===
			*]
			*]
			*]
			*]
			*]

			=== Related topics ===
			* '']''
			* ]
			* ]
			* ]
			* ]

			== Further reading ==
			* Adshead-Lansdale, J. (Ed) (1994) ''Dance History: An Introduction''. Routledge. ISBN 0-415-09030-X
			* Carter, A. (1998) ''The Routledge Dance Studies Reader''. Routledge. ISBN 0-415-16447-8
			* Cohen, S, J. (1992) ''Dance As a Theatre Art: Source Readings in Dance History from 1581 to the Present''. Princeton Book Co. ISBN 0-87127-173-7
			* 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
			* Miller, James, L. (1986) ''Measures of Wisdom: The Cosmic Dance in Classical and Christian Antiquity'', University of Toronto Press. ISBN 0802025536

			==References==
			{{Sisterlinks}}
			<references />

			==External links==
			<!-- links added here should only relate to dance in general rather than specific dances or styles -->

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Revision as of 06:09, 9 September 2007

For other uses, see Dance (disambiguation).

The examples and perspective in this article may not represent a worldwide view of the subject. You may improve this article, discuss the issue on the talk page, or create a new article, as appropriate. (Learn how and when to remove this message)

Dance (from French danser, perhaps from Frankish) generally refers to movement used as a form of expression, social interaction or presented in a spiritual or performance setting.

Morris dancing in the grounds of Wells Cathedral, Wells, England

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 'kata' are often compared to dances.

Dance can be directly 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.

Choreography is the art of creating dances, and the person who does this is called a choreographer.

Origins and history of dance

Main article: History of dance

Dance does not leave behind clearly identifiable physical artifacts such as stone tools, hunting implements or cave painting. It is not possible to say when dance became part of human culture. Dance has certainly been an important part of ceremony, rituals, celebrations and entertainment since before the birth of the earliest human civilizations. Archeology delivers traces of dance from prehistoric times such as Egyptian tomb paintings depicting dancing figures from circa 3300 BC and the Rock Shelters of Bhimbetka paintings in India.

One of the earliest structured uses of dance may have been in the performance and telling of myths. Before the introduction of written languages, dance was one of the methods of passing these stories down from generation to generation.

Another early use of dance may have been as a precursor to ecstatic trance states in healing rituals. Dance is still used for this purpose by cultures from the Brazilian rainforest to the Kalahari Desert.

Sri Lankan dances goes back to the mythological times of aboriginal yingyang twins and "yakkas" (devils). According to a Sinhalese legend, Kandyan dances originate, 2500 years ago, from a magic ritual that broke the spell on a bewitched king. Many contemporary dance forms can be traced back to historical, traditional, ceremonial, and ethnic dances.

Dancing and music

See also: List of dances and Category:Music genres

This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed.
Find sources: "Dance" – news · newspapers · books · scholar · JSTOR (July 2007) (Learn how and when to remove this message)

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, 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 by ethnicity or region

Main page: Category:Dance by ethnicity or region

Dance in South Asia

India

Main article: Dance in India

Dance in Indian canonical literature

In the first millennium BCE in India many texts were composed which sought to state the rules of social management, private life, linguistic discipline, public finance, state policy, poetics, and dramatics. In the matter of dance, Bharata Muni's Natyashastra (literally "the art of dance") is the one of the earlier texts.

Though the main theme of Natyashastra deals with drama, dance also finds mention. It elaborates various gestures of hands and classifies such gestures and movements as either graceful or vigorous, defining the lalita form of dance - lasya; and the vigorous form 'tandava'.

Dance is classified under four categories and into four regional varieties. Natyashastra names these categories as secular, ritual, abstract, and, interpretive. Regional geography has altered since ancient India's time and so have regional varieties of Indian dances. Dances like "Odra Magadhi", which after decades long debate, has been traced to present day Mithila-Orissa region's dance form of Odissi, indicate influence of dances in cultural interactions between different regions.

The roots of the present day Kathak, Bharatanatyam, Odissi, Mohini Attam and Kuchipudi are found in ancient Indian civilization. Abstractness is now the feature of almost all classical Indian dance forms.

Classical Indian dance since 1947

During the reign of the last Mughals and Nawabs of Oudh dance fell down to the status of 'nautch', a sensuous dance of courtesans.

Later, linking dance with immoral trafficking and prostitution, British rule prohibited public performance of dance. Many disapproved it. In 1947, India won her freedom and for dance an ambience where it could regain its past glory. Classical forms and regional distinctions were re-discovered, ethnic specialties were honored.

Archaeology delivers traces of dance from prehistoric times such as Egyptian tomb paintings depicting dancing figures from circa 3300 BC and the Bhimbetka rock-shelter paintings in India.

Bhangra in the Punjab

Main article: Bhangra

The Punjab area overlapping India and Pakistan is the place of origin of Bhangra. It is widely known both as a style of music and a dance. It is mostly related to ancient harvest celebrations, love, patriotism or current social issues. Its music is coordinated by a musical instrument called the 'Dhol'. Its beats is what gives the human body the vibes in the dance movements. Bhangra isn't just music but a dance. It's actually the celebration of the harvest where people beat the dhol (drum), sing Boliyaan (lyrics) and dance!

Dances of Sri Lanka

Main article: Dances of Sri Lanka

The devil dances of Sri Lank] or "yakun natima" are a carefully crafted ritual with a history reaching far back into Sri Lanka's pre-Buddhist past. It combines ancient "Ayurvedic" concepts of disease causation with psychological manipulation. The dance combines many aspects including Sinhalese cosmolgy, the dances also has an impact on the classical dances of Sri Lanka.

In Europe and North America

Concert (or performance) dance

Main article: Concert dance

Ballet developed first in Italy and then in France from lavish court spectacles that combined music, drama, poetry, song, costumes and dance. Members of the court nobility took part as performers. During the reign of Louis XIV, himself a dancer, dance became more codified. Professional dancers began to take the place of court amateurs, and ballet masters were licensed by the French government. The first ballet dance academy was the Académie Royale de Danse (Royal Dance Academy), opened in Paris in 1661. Shortly thereafter, the first institutionalized ballet troupe, associated with the Academy, was formed; this troupe began as an all-male ensemble but by 1681 opened to include women as well.

During the 18th century, ballets were still mainly performed alongside opera or poetry, but the idea of dance performance as separate from sung or spoken word began to be experimented with. Mime, instead, was used to tell the stories of these ballets. Female professional dancers began to take their place onstage, having previously been hampered by social norms; they performed in high-heeled shoes and long, full skirts. Later they wore short, stiff, yet fluffy, skirts called tutus.

During the Pre-Romantic era in ballet, the art form changed rapidly. Costume reforms were made, especially for women; these reforms were in part a result of the French Revolution. Heeled street shoes were replaced by slippers, and corsets and heavy petticoats were discarded, and tights were invented. Simple en pointe work was introduced by ballerinas such as Fanny Elssler and Marie Taglioni, who heavily darned their slippers in order to be able to rise up briefly on their toes. The seven movements of dance (to bend, to rise, to stretch, to glide, to jump, to turn, and to dart) were codified in 1796.

The period of time between 1830 and 1870 is classified as the Romantic era of ballet. A format developed for ballets crafted in this period: the first act was set in the real world and the second in a supernatural or otherworldly setting. Most ballerinas portrayed creatures such as wilis, sylphs and nymphs wearing long white skirts, today called Romantic tutus. Ballets choreographed during this time period included Giselle in 1841, La Sylphide in 1832, and Coppelia in 1870. The Romantic Era came to a close when ballet lost popularity in Western Europe due to competition by music halls and a lack of strong male dancers and choreography.

St. Petersburg became the center of ballet during the second half of the 19th century; the art form was supported by the patronage of the czars and the success of the Imperial Ballet, its school (forerunner of the Kirov Ballet) and the talent of Marius Petipa. Hard or blocked pointe shoes were introduced during this period, as were short tutus (today known as classical tutus, these skirts take their name from this era, which was the Russian Classical). Many story ballets (The Nutcracker, Don Quixote, Swan Lake, The Sleeping Beauty, Le Corsaire) were produced during this period. Although the coming of the Russian Revolution boded ill for the art form, Nicholas Sergeyev, last régisseur of the Imperial Ballet, smuggled the choreographic notation documenting the Imperial Ballet's repertory out of Russia and into the West. Hence many of the ballets survived, and are still performed today.

The Russian impresario Serge Diaghilev was instrumental in bringing ballet back to Western Europe and allowing for its evolution into a 20th century art form. Although not a dancer nor a choreographer, Diaghilev was an avid dance and music patron. He assembled a troupe of Russian composers, dancers, choreographers and designers; as the Diaghilev Ballet Russes, this troupe toured Europe and the United States. Diaghilev was one of the foremost influences upon ballet in the new century, and he helped to launch the careers of such artists as Anna Pavlova, Michel Fokine, Vaslav Nijinsky, and George Balanchine, among others. After Diaghilev's death, the company disbanded. Many of his dancers settled in Western Europe and the United States. Michel Fokine joined American Ballet Theatre in 1940 as its resident choreographer; George Balanchine also came to America and founded the New York City Ballet in 1934. It was Balanchine who developed what is now known as the "neo-classical" style of ballet.

At the beginning of the 20th century, there was an explosion of innovation in dance style characterized by an exploration of freer technique. Early pioneers of what became known as modern dance include Loie Fuller, Isadora Duncan, Mary Wigman and Ruth St. Denis. The relationship of music to dance serves as the basis for Eurhythmics, devised by Emile Jaques-Dalcroze, which was influential to the development of Modern dance and modern ballet through artists such as Marie Rambert.

Eurythmy, developed by Rudolf Steiner and Lori Maier-Smits, combines formal elements reminiscent of traditional dance with the new freer style, and introduced a complex new vocabulary to dance. In the 1920s, important founders of the new style such as Martha Graham and Doris Humphrey began their work. Since this time, a wide variety of dance styles have been developed; see Modern dance.

Cartoon of a breakdancer displaying a basic freeze, complete with stereotypical boombox.

The United States

African American dances are those dances which have developed within African American communities in everyday spaces, rather than in dance studios, schools or companies and its derivatives, Tap dance, Disco, Jazz dance, Swing dance, hip hop dance and breakdance. Other dances, such as the lindy hop with its relationship to rock and roll music and rock and roll dance have also had a global influence.

Competitive dance (Dancesport)

Dancesport denotes dance as a sport activity. Initially this term was applied to competitive ballroom dancing, in its International Style.

The International DanceSport Federation, or IDSF, is an international governing body for amateurs, while the World Dance & DanceSport Council (WD&DSC) is an international governing body for dance professionals. Since 1997 the International Olympic Committee (IOC) has officially recognized dancesport as sport, with IDSF becoming an IOC Recognized International Sports Federation. The IDSF strongly pushes for the inclusion of dancesport as a medal sport in the Olympic Games. However the decision of the IOC is negative so far. It is in force only until the 2012 Olympics and subject to reconsideration afterwards.

The TV programs Dancing with the Stars and So You Think You Can Dance are both popularising DanceSport internationally. The two shows are about contestants competing to win dance competitions, much like how singing is used on American Idol.

Dance studies

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 lead to the emergence of practice-based research and practice as research. A large range of dance courses are available including:

Professional practice: performance and technical skills
Practice-based research: choreography and performance
Ethnochoreology, encompassing the dance-related aspects of Anthropology, Cultural Studies, Gender Studies, Area studies, Postcolonial theory, Ethnography, etc.
Dance therapy or Dance-Movement Therapy.
Dance and technology: new media and performance technologies.
Laban Movement Analysis and Somatic studies

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

Dancing is evolved in so many different styles. Breakdancing and Crumping which is related to the hip hop culture. African dance which is interperative. Ballet, Ballroom, Waltz, and Tango are classical styles of dance. While square and the infamous electric slide are forms of step dances.

Dance occupations

There are different careers connected with dancing: Dancer, dance teacher, dance sport coach, dance therapist and choreographer.

Dancer

The training as the dancer differs depending upon the dance form with nationally recognized university studies for classical dance (e.g. Ballet) compared to the more sports like training in competition dance (e.g. Latin dance) and private training as the solo dancer (e.g. eastern dance).

Dancers are usually employed on contract or for a particular performance. Constantly changing work situations, strong competition pressure and only rarely high fees do not deter dancers. Professional dancers often need to supplement their income, either in dance related roles (e.g., dance teaching, dance sport coaches, yoga or Pilates instruction) to achieve financial stability.

In the U.S. many professional dancers are members of unions such as the American Guild of Musical Artists, the Screen Actors Guild and Actors' Equity Association. The unions help determine working conditions and minimum salaries for their members.

References

^ Nathalie Comte. "Europe, 1450 to 1789: Encyclopedia of the Early Modern World". Ed. Jonathan Dewald. Vol. 2. New York: Charles Scribner's Sons, 2004. p94-108.
Guenther, Mathias Georg. 'The San Trance Dance: Ritual and Revitalization Among the Farm Bushmen of the Ghanzi District, Republic of Botswana.' Journal, South West Africa Scientific Society, v30, 1975-76.
Dance: The Living Spirit of Indian Arts, by Prof. P. C. Jain and Dr. Daljeet.
"The yakun natima - devil dance ritual of Sri Lanka" at WWW Virtual Library - Sri Lanka
http://www.idsf.net/press97/idsfp172.htm
http://www.idsf.net/press00/idsf0026.htm

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