Introduction
THE dance is the mother of the arts. Music and poetry exist in T time; painting and architecture in space. But the dance lives at once in time and space. The creator and the thing created, the artist and the work are still one and the same thing. Rhythmical patterns of movement, the plastic sense of space, the vivid representation of a world seen and imagined-these things man creates in his own body in the dance before he uses substance and stone and word to give expression to his inner experiences. The word art does not altogether express this idea. Indeed, one almost fears to use the word, for its present-day significance, exaggerated and at the same time circumscribed, is not sufficient to explain what the dance in all its richness really is. The dance breaks down the distinctions of body and soul, of abandoned expression of the emotions and controlled behavior, of social life and the expression of individuality, of play, re-ligion, battle, and drama-all the distinctions that a more advanced civilization has established. The body, which in ecstasy is conquered and forgotten and which becomes merely a receptacle for the super-human power of the soul, and the soul, which achieves happiness and bliss in the accelerated movements of a body freed of its own weight; the need to dance, because an effervescent zest for life forces the limbs from sloth, and the desire to dance, because the dancer gains magic powers, which bring him victory, health, life; a mystic tie binding the tribe when it joins hands in the choral dance, and the unconstrained dance of the individual in utter devotion to self-there is no "art" which includes so much, Repressed powers are loosed and seek free expression; an innate sense of rhythm orders them into lively harmony. Harmony deadens and dis sipates the will. Delivered then from his will, the dancer gives himself over to the supreme delight of play prescribed by custon, gives himself over to the exhilaration, which carries him away from the monotony of everyday life, from palpable reality, from the sober facts of his ex-perience-thither where imagination, fancy, and vision waken and become creative. In the ecstasy of the dance man bridges the chasm between this and the other world, to the realm of demons, spirits, and God. Captivated and entranced he bursts his earthly chains and trembling feels himself in tune with all the world. "Whosoever knoweth the power of the dance, dwelleth in God," cries the Persian dervish poet Rumi im-pulsively. The dance, inherited from savage ancestors as an ordered expression in motion of the exhilaration of the soul, develops and broadens into the search for God, into a conscious effort to become a part of those powers beyond the might of man which control our destinies. The dance becomes a sacrificial rite, a charm, a prayer, and a prophetic vision. It summons and dispels the forces of nature, heals the sick, links the dead to the chain of their descendants; it assures sustenance, luck in the chase, victory in battle; it blesses the fields and the tribe. It is creator, preserver, steward, and guardian. From its deep and far-reaching influence it will be apparent that in the life of primitive peoples and of ancient civilizations scarcely any-thing approaches the dance in importance. It is no art that disregards bread; on the contrary, it provides bread and everything else that is needed to sustain life. It is not a sin, proscribed by the priest or at best merely accepted by him, but rather a sacred act and priestly office; not a pastime to be tolerated only, but a very serious activity of the entire tribe.
About The Book
Dance is a universal form of human expression found in every culture, Across the world, traditional and folk dances serve not only as art but also as ritual, celebration, storytelling, and identity. Ritual & Spiritual: Many dances are performed during religious ceremonies or to honour deities. In Africa, tribal dances may call for rain or healing. In India, classical dances like Bharatanatyam were originally temple rituals. Social & Communal: Dances like Greece's Sirtaki or Scotland's Ceilidh bring communities together in celebration, often marking events like harvests, weddings, or festivals. Storytelling: Cultures such as Bali (Indonesia) and Japan use dance to narrate mythological or historical tales, often accompanied by music and elaborate costumes. Martial Training & Defense: Some dances evolved from martial practices-like Brazil's Capoeira or India's Kalaripayattu-inspired movements. Some dances focus on graceful gestures and hand movements (like in Asia), while others emphasize strong footwork and rhythm (such as flamenco or Irish dance). Improvisation is key in some cultures (e.g., African tribal dance), while others are highly choreographed (e.g., classical ballet or Kathak). Costumes & Symbols: Costumes are essential, often symbolic of cultural values-feathers, bells, masks, bright fabrics, or traditional garments reflect identity and aesthetics. Music & Rhythm: Dances are usually accompanied by traditional instruments-drums in Africa, sitar and tabla in India, or stringed instruments in the Middle East. Each culture has distinct.
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