art of dance essay

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The Art of Dance; Choreography, Movements & History

Alone or in a group, created in the hype of the moment or rehearsed for hours, the performing art that is dance creates moments of emotions. Focus on this unique art form!

Featured image: Annie Leibovitz, Tribute to Bill T. Jones/Arnie Zane and Company, 2007

Dance;  a sequence of movements, someone mov ing their body . The .ART of Dance is a performing art form. It transmits culture, emotions , tells stories and can be a testimony of a historical moment or a place of origin. Energy exults out of the performance of a succession of gesture. It has been performed and has inspired artists for as long as the humankind has been in existence. Archaeological findings have discovered records of representation of dance, in India, that are more than 9 000 years old . Egyptians have created illustrations of dance, more than 3 000 BC ago. Many historians have suggested that dance has played a crucial role in transmitting history before the invention of written languages.

Merce Cunningham in rehearsal for the New York City Ballet premiere of Summer space. Photography by Martha Swope

Dance is also a form of art that often calls on others to support its intention, be it music, stage decor, costume and more. Still, it also stands on its own and can be performed as freely or as c arefully choreographed as possible. From ballet to square dance, many forms of dance exist from belly dancing, from yesterday to today and tomorrow, from duo, trio, troupe performances.

Edgar Degas, Ballet Rehearsal, c.1873

It has been an inspiration to several visual artists and fashion designer from Coco Chanel creating the costume for a Paris presentation of Le Sacre Du Printemps by Igor Stravinsky to collaborate between John Cage & Merce Cunningham. It has been represented in painting, sculpture, let’s think of La Petite Danseuse de Degas . Picasso has created stage sets for Les Ballets Russe. In contrast, a couple of years ago Anish Kapoor created the scenography for Tristan and Isolde, an opera presented by the English National Opera.

Set Design for Tristan and Isolde by Anish Kapoor, 2016

It has been capture d by film, video and photography and as it is performed , those are becoming the record of the fact that it happens . Many well-known photographers have immortalized dancers from Helmut Newton metic ulously orchestrated Monaco Ballet Dancers’ photographs to Guy Le Querrec snapshot of young dancers in Burkina Faso.

Guy Le Querrec Third day of the last funeral, “Kodan”, of Tediremana Palenfo, stepmother of Dapouné Da, deceased in December 1997. Small village of Olkopouo (Birifor ethnic group). Lobi country, in the area of Gaoua. . Province of Poni. Burkina Faso. 1998 © Guy Le Querrec | Magnum Photos

Dance is also a connections agent – it connects to rhythms, to cultural traditions. It is a social form of art and has been highly popular in recent year with television shows such as So You Think You Can Dance or Dancing with The Stars as well as being the central point of focus of movies from Central Stage in 2000 to Netflix latest production Tiny Pretty Things. The public is craving connection with this performative art, and it is celebrated daily from the anonymous dancer in its underwear dancing in its kitchen to celebrate or get it all out to the Bolshoi Ballet perfectly stage-ready ballerina.  There is something highly freeing in dancing – so let’s celebrate the art of dance!

Martin Parr, Margate. Kent, England. 1986

.ART is the digital home of many talented individuals, companies and collective. Today we shine share the stage with some of our dance-related adopters! Focus on 5 of them

Austin Warren Coats

Artist, choreographer and dancer, Austin Warren Coats breaths creativity. “ I cacophonously, yet conspicuously create. I play too much. I alliterate.” his website says about him. This interdisciplinary artist has a bachelor in Dance Studies and a Master of Fine Art. He also has formal dance training and has worked with an impressive list of artists and attended summer intensives with renowned dance schools and companies. For him, “like food, art is needed” – we couldn’t approve something more than that! Let yourself be inspired by his vibes by visiting his website austinwarrencoats.art or on Instagram under the handle @ austin_wears_coats

Project Home

They are “ artists that create work rooted in intention, founded in collaboration, coloured by human emotion, and driven by passion.” Since its inception in 2010, Project Home is a movement-centred production company and art organization . Established by Christopher Martin and Larking Poynton they intend to push and expand the boundaries of dance, and create works that will be impactful beyond the time they will be performed on the stage or viewed on your screen. Their work is based on motion, whether they take a moving performance, a dance film or a music video – their approach is also anchor in collaboration & connectivity – together their projects are more substantial.   To discover more about their work, you can head to projecthome.art or follow them on Instagram @projecthomeart  

ABOUT THIS SECTION  The .art Domains has always been dedicated to connect, empower, and support its community members and foster a sense of belonging to the art world. This new section celebrates creators that have recently joined our community. It is our way to give back and shine a light on amazing creatives, especially in these testing times! If you would like to be featured in a post, please look at our submission guidelines here.

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124 Dance Essay Topic Ideas & Examples

Inside This Article

Dance is a captivating art form that allows individuals to express themselves creatively through movement. Whether you are a dance student, a professional dancer, or someone who simply enjoys watching dance performances, writing an essay about dance can be a rewarding and exciting task. To help you get started, here are 124 dance essay topic ideas and examples that can inspire and guide your writing process.

The evolution of dance throughout history.

How does dance reflect the culture and traditions of a society?

The impact of technology on contemporary dance performances.

The influence of ballet on other dance styles.

The role of dance in storytelling.

Analyzing the dance techniques of prominent choreographers.

The importance of dance in physical fitness and well-being.

The portrayal of gender roles in dance.

The connection between music and dance.

The influence of social media on the popularity of dance.

Examining the cultural appropriation in dance.

The therapeutic benefits of dance for individuals with mental health issues.

The role of dance in religious ceremonies.

The challenges faced by professional dancers and how they overcome them.

The impact of dance on self-confidence and body image.

Analyzing the role of dance in musical theater.

The representation of emotions through dance.

The influence of different dance styles on each other.

The portrayal of identity and ethnicity in dance performances.

The role of dance education in schools.

The influence of dance on fashion trends.

The challenges faced by male dancers in a predominantly female industry.

The relationship between dance and architecture.

The impact of dance competitions on the dance community.

The portrayal of social and political issues through dance.

Analyzing the use of props and costumes in dance performances.

The portrayal of love and relationships in dance.

The impact of globalization on dance styles and techniques.

The representation of historical events through dance.

The role of dance in preserving cultural heritage.

The portrayal of masculinity and femininity in dance.

The influence of different dance cultures on each other.

The impact of dance on cognitive development in children.

The challenges faced by dancers with disabilities and how they overcome them.

The portrayal of fantasy and imagination in dance performances.

Analyzing the role of improvisation in dance.

The representation of social justice issues through dance.

The influence of dance on popular culture.

The portrayal of power dynamics in dance.

The impact of dance on social bonding and community building.

The role of dance in promoting diversity and inclusivity.

The challenges faced by dancers in maintaining a work-life balance.

The portrayal of mythology and folklore in dance performances.

Analyzing the role of the choreographer in the creative process.

The influence of different dance techniques on each other.

The impact of dance on brain development and cognitive abilities.

The portrayal of spirituality and transcendence in dance.

The role of dance in promoting physical and mental well-being in older adults.

The challenges faced by dancers in dealing with injuries and how they recover.

The representation of social media culture in dance performances.

The influence of dance on the fashion industry.

The portrayal of dreams and aspirations in dance.

The impact of dance on the tourism industry.

The role of dance in promoting environmental awareness.

The challenges faced by dancers in navigating the competitive nature of the industry.

The portrayal of war and conflict through dance.

Analyzing the use of lighting and stage design in dance performances.

The influence of different dance genres on each other.

The impact of dance on self-expression and individuality.

The portrayal of spirituality and ritual in dance.

The role of dance in promoting social change and activism.

The challenges faced by dancers in achieving work-life balance.

The representation of fairy tales and folklore in dance performances.

Analyzing the role of music in dance choreography.

The influence of dance on body image and self-esteem.

The impact of dance on the rehabilitation process for individuals with physical disabilities.

The portrayal of cultural assimilation and identity in dance.

The role of dance in promoting empathy and understanding.

The challenges faced by dancers in maintaining a healthy lifestyle.

The portrayal of historical figures and events in dance performances.

Analyzing the role of rhythm and timing in dance.

The influence of different dance traditions on each other.

The impact of dance on stress reduction and mental well-being.

The portrayal of spirituality and religion in dance.

The role of dance in promoting social cohesion and unity.

The challenges faced by dancers in dealing with rejection and criticism.

The representation of nature and the environment through dance.

Analyzing the role of partnering and lifts in dance choreography.

The influence of different musical genres on dance styles.

The impact of dance on body awareness and physical literacy.

The portrayal of cultural appropriation and misrepresentation in dance.

The role of dance in promoting teamwork and collaboration.

The challenges faced by dancers in maintaining a positive body image.

The portrayal of human rights issues through dance.

Analyzing the use of symbolism and metaphor in dance performances.

The influence of different dance movements on each other.

The impact of dance on self-discipline and perseverance.

The role of dance in promoting social justice and equality.

The challenges faced by dancers in dealing with performance anxiety.

The representation of fantasy and mythology in dance performances.

Analyzing the role of breath and energy in dance.

The influence of different cultural practices on dance techniques.

The impact of dance on emotional intelligence and empathy.

The portrayal of cultural diversity and inclusivity in dance.

The role of dance in promoting body positivity and acceptance.

The challenges faced by dancers in managing their mental health.

The portrayal of human emotions and experiences through dance.

Analyzing the use of space and dynamics in dance performances.

The influence of different dance aesthetics on each other.

The impact of dance on social skills and communication.

The portrayal of spirituality and mindfulness in dance.

The role of dance in promoting cultural understanding and appreciation.

The challenges faced by dancers in balancing artistic expression and technical proficiency.

The representation of social inequality and injustice through dance.

Analyzing the use of rhythm and musicality in dance choreography.

The influence of different dance traditions on contemporary dance styles.

The impact of dance on self-esteem and body confidence.

The portrayal of cultural identity and heritage in dance.

The role of dance in promoting emotional well-being and resilience.

The challenges faced by dancers in maintaining a healthy body image.

The portrayal of environmental issues and sustainability through dance.

Analyzing the role of lines and shapes in dance.

The influence of different dance cultures on each other's storytelling techniques.

The impact of dance on cognitive abilities and memory.

The portrayal of cultural appropriation and authenticity in dance.

The role of dance in promoting social integration and inclusion.

The challenges faced by dancers in managing performance pressure.

The representation of dreams and aspirations in dance performances.

Analyzing the use of improvisation and spontaneity in dance choreography.

The influence of different dance genres on body awareness and movement.

The impact of dance on self-confidence and self-expression.

The portrayal of cultural assimilation and diaspora in dance.

The role of dance in promoting physical and mental well-being in diverse populations.

These dance essay topic ideas and examples provide a wide range of options for you to explore and expand upon. Choose a topic that interests you the most and allows you to showcase your knowledge and passion for dance. Remember to conduct thorough research, provide supporting evidence, and present your ideas in a clear and concise manner. Happy writing!

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Essay on Dance

500 words essay on dance.

Dancer refers to a series of set of movement to music which we can either do alone or with a partner. Dancing helps us express our feelings and get active as well. If we look back at history, dance has been a part of our human history since the earliest records. Thus, an essay on dance will take us through it in detail.

My Hobby My Passion

Dance is my favourite hobby and I enjoy dancing a lot. I started dancing when I was five years old and when I got older; my parents enrolled me in dance classes to pursue this passion.

I cannot go a day without dance, that’s how much I love dancing. I tried many dance forms but discovered that I am most comfortable in Indian classical dance. Thus, I am learning Kathak from my dance teacher.

I aspire to become a renowned Kathak dancer so that I can represent this classical dance internationally. Dancing makes me feel happy and relaxed, thus I love to dance. I always participate in dance competitions at my school and have even won a few.

Dance became my passion from an early age. Listening to the beats of a dance number, I started to tap my feet and my parents recognized my talent for dance. Even when I am sad, I put on music to dance to vent out my feelings.

Thus, dance has been very therapeutic for me as well. In other words, it is not only an escape from the world but also a therapy for me.

Get the huge list of more than 500 Essay Topics and Ideas

Hidden Language of the Soul

Dance is also called the hidden language of the soul as we use it to express ourselves when words fall short. The joy which comes with dancing helps us get over our sorrow and adversity sometimes.

Moreover, it is simply a translator for our hearts. What is most important to remember is that dance is not supposed to be perfect. There is no right way of dancing, as long as your heart is happy, you can dance.

When we talk about dance, usually a professional dancer comes to our mind. But, this is where we go wrong. Dance is for anybody and everybody from a ballet dancer to the uncle dancing at a wedding .

It is what unites us and helps us come together to celebrate joy and express our feelings. Therefore, we must all dance without worrying if we are doing it right or not. It is essential to understand that when you let go of yourself in dance, you truly enjoy it only then.

Conclusion of the Essay on Dance

All in all, dance is something which anyone can do. There is no right way or wrong way to dance, there is just a dance. The only hard part is taking the first step, after that, everything becomes easier. So, we must always dance our heart out and let our body move to the rhythm of music freely.

FAQ of Essay on Dance

Question 1: Why is Dance important?

Answer 1: Dance teaches us the significance of movement and fitness in a variety of ways through a selection of disciplines. It helps us learn to coordinate muscles to move through proper positions. Moreover, it is a great activity to pursue at almost any age.

Question 2: What is dancing for you?

Answer 2: Dancing can enhance our muscle tone, strength, endurance and fitness. In addition, it is also a great way to meet new friends. Most importantly, it brings happiness to us and helps us relax and take a break from the monotony of life.

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History of Dance: Universal Elements and Types of Dance

Written by MasterClass

Last updated: Nov 18, 2021 • 5 min read

Dance has been part of human history since its earliest origins, bringing transcendence to spiritual rituals and creating bonds within communities. Dance styles have changed through history, but dance itself remains one of the most expressive physical art forms.

Heilbrunn Timeline of Art History Essays

The French Comedians

Antoine Watteau

A Dance in the Country

Giovanni Domenico Tiepolo

The Rehearsal Onstage

Edgar Degas

The Little Fourteen-Year-Old Dancer

The Ballet from "Robert le Diable"

The Dancing Class

The Dance Class

The Rehearsal of the Ballet Onstage

Dancers Practicing at the Barre

First Arabesque Penchée

Dressed Dancer at Rest, Hands Behind Her Back, Right Leg Forward (Second State)

Dancer Looking at the Sole of Her Right Foot (Fourth State)

Dancers in the Rehearsal Room with a Double Bass

Costume Study for Vaslav Nijinsky in the Role of Iksender in the Ballet "La Péri" (The Flower of Immortality), first performed in Paris, 1912

Jean Sorabella Independent Scholar

October 2004

Since noblemen and noblewomen were expected to appear dignified and effortless in all their movements, their dances demanded an upright carriage and majestic grace. Fast footwork, high jumps, and dizzying turns were the province of professional dancers, who gained increasing prominence in the late seventeenth and eighteenth centuries. Louis XIV instituted a school for dancers at the Académie Royale de Musique, founded June 28, 1669 (later called the Opéra), and here the vocabulary of the classic dance was established in terms still used today. Ballet technique, like other classical Baroque figurative arts, favored symmetry, dynamic balance, and the harmony of the entire body. Much choreography of the period was closely related to contemporary social dances, such as the minuet depicted by Giovanni Domenico Tiepolo ( 1980.67 ). The costumes worn by dancers, like those worn by the players in a painting by Watteau ( 49.7.54 ), were based on court dress , with tight corsets for women and short skirts for men. As a result, female dancers’ movements were considerably restricted, and male dancers dominated the stage.

By this point, performances usually occurred on a stage with the audience seated in front; from this vantage point, the set design and dancers indeed looked like a moving painting framed by the proscenium. The close correlation between painting and ballet was noted by the influential theorist and teacher Jean-Georges Noverre (1727–1810), who encouraged choreographers to study painting in order to compose effective stage tableaux. Like the theorists of Neoclassicism in other genres, he advocated natural expression over decorative aesthetics. His ballet Les Horaces , based on a tragic episode in Roman history, was first presented in Vienna in 1774 and later in Paris, where it may have inspired Jacques Louis David in his painting of the same theme, The Oath of the Horatii (Musée du Louvre, Paris). Antique sculpture, which many eighteenth-century artists sought to emulate, also informed ballet. In 1734, Marie Sallé (ca. 1707–1756) enchanted London audiences with her staging of the classic myth Pygmalion, in which she danced the role of a statue come to life.

The Romantic Ballet The rise of Romanticism in the early nineteenth century brought transformation and new prominence to ballet. The contemporary interest in fairy tales and ghost stories filled literature, the theater, and the opera with exotic locales , spellbound maidens, and weightless spirits suitable for enactment in ballet. A lasting trend was launched in the Paris staging of Meyerbeer’s opera Robert le Diable (1831), which featured a ballet set in a moonlit convent haunted by white-clad ghosts of nuns ( 29.100.552 ). The leading dancer was Marie Taglioni (1804–1884), whose performance made her an international sensation. Her seeming weightlessness and ethereal grace perfectly expressed an ideal of Romantic femininity, and this came to replace the earlier emphasis in ballet on masculine bravura and athleticism. While the status of the male dancer steadily declined, ballet itself gained unrivaled popularity. Ballet was considered necessary to any successful French opera of the period, and several self-contained ballets integrated fine music and subtle effects achieved by gaslight with inspired choreography and ravishing performances. Many of these ballets, such as La Sylphide (1832), Giselle (1841), and Coppélia (1870), had typical Romantic story lines, while some, like Pas de Quatre , choreographed by Jules Perrot (1810–1892) in 1845, was a plotless showcase for four of the most popular contemporary ballerinas in Paris. Pointe technique, which requires the performer to dance on the tips of her toes, was a hallmark of Romantic ballet, as was the layered gauze skirt known as the tutu.

The widespread appeal of ballet in the mid-nineteenth century made it a frequent subject for popular prints and caricatures, including some by Gustave Doré. By the 1880s, however, the inventive energy of the ballet establishment in Paris had declined along with its popularity, while the enthusiastic patronage of the czars of Russia made Saint Petersburg the new capital of the dance world. Here Marius Petipa (1818–1910) and Lev Ivanov (1834–1901) choreographed ballets to exquisite scores by Tchaikovsky and created three enduring favorites in The Sleeping Beauty (1890), The Nutcracker (1892), and Swan Lake (1895). Most of the dancers who performed in these ballets were graduates of the Imperial Ballet School, which was known for its strict adherence to classical technique. Petipa’s ballets adapt this language to portray dramatic situations, social and national dances, as well as Romantic themes that featured ensembles of Snowflakes and Swan Maidens.

Classic Dance and Modern Art Ballet is a deeply traditional art form, in which fixed steps, linked to each other in canonical ways, may be combined to create an infinite variety of dances. Lively choreography therefore demands inspired handling of the standard vocabulary, and proper performance requires disciplined training. In the late nineteenth century, academic ideals were actively rejected by artists in every genre, including dance. Ballet, however, survived the modernist movement. Its traditions, gently modified, have proved a continuing source of strength and invention.

In the twentieth century, the rigors of Russian training produced reform as well as renewal. The freedom and fire of the Ballets Russes astonished the West when Serge Diaghilev (1872–1929) brought his troupe to Paris in 1909 and every year thereafter until his death. His productions displayed to the world the integrated impact of a vigorous modernism expressed in the choreography of Michel Fokine, Vaslav Nijinsky, and George Balanchine, the music of Stravinsky, Poulenc, and Prokofiev, and the set and costume designs of Léon Bakst ( 22.226.1 ), Natalia Goncharova, Mikhail Larionov, Pablo Picasso , and Henri Matisse , among others. The impact of the Ballets Russes reverberated throughout the art world: Olga Khokhlova, one of the company’s dancers, married Picasso in 1917, and many artists, among them John Singer Sargent , Auguste Rodin , and Marc Chagall, attempted to capture the sinuous motion of Nijinsky, who was the epitome of the modern male dancer. The legacy of the Ballets Russes is still alive in the work of such companies as the New York City Ballet, founded by Balanchine in 1948.

The visual artist most closely associated with the ballet, however, is Edgar Degas (1834–1917), whose depictions of the dance seem to probe the very bases of the form. His large classroom scenes ( 1987.47.1 ; 29.100.184 ) juxtapose different types of movement, both natural and choreographed, and imply the transition between the two that dancers are continually making. In other representations, he fixes the transient poses of dancers stretching or practicing and captures the paraphernalia of the nineteenth-century practice room, including musical instruments , the barre fixed to the wall, and a watering can for moistening the floor ( 29.100.34 ; 29.100.127 ). Some of Degas’ works display particular poses in the ballet repertory, demonstrating his comprehension of technique ( 29.100.398 ); others probe the details and the consequences of the dancer’s life ( 29.100.370 ). Few of Degas’ works depict performances, although a notable series of pastels features a rehearsal on stage, in which dancers in costume execute their combinations around the ballet master who coaches them, while on the far right, two portly male observers sit artlessly in chairs ( 29.160.26 ; 29.100.39 ). Like the classroom pictures, these point out the contrast and the link between dancing and mere movement, but they also show Degas repeating and refining the same composition, very like a dancer practicing the same time-honored motion.

Sorabella, Jean. “The Ballet.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/balt/hd_balt.htm (October 2004)

Further Reading

Au, Susan. Ballet and Modern Dance . 2d ed. New York: Thames & Hudson, 2002.

Béhar, Pierre, and Helen Watanabe-O'Kelly. Spectaculum Europaeum: Theatre and Spectacle in Europe (1580–1750) . Wiesbaden: Harrassowitz, 1999.

Cohen, Sarah R. Art, Dance, and the Body in French Culture of the Ancien Régime . Cambridge: Cambridge University Press, 2000.

De Vonyar, Jill, and Richard Kendall. Degas and the Dance . Exhibition catalogue. New York: Abrams, 2002.

Additional Essays by Jean Sorabella

• Sorabella, Jean. “ Pilgrimage in Medieval Europe .” (April 2011)
• Sorabella, Jean. “ Portraiture in Renaissance and Baroque Europe .” (August 2007)
• Sorabella, Jean. “ Venetian Color and Florentine Design .” (October 2002)
• Sorabella, Jean. “ Art of the Roman Provinces, 1–500 A.D. .” (May 2010)
• Sorabella, Jean. “ The Nude in Baroque and Later Art .” (January 2008)
• Sorabella, Jean. “ The Nude in the Middle Ages and the Renaissance .” (January 2008)
• Sorabella, Jean. “ The Nude in Western Art and Its Beginnings in Antiquity .” (January 2008)
• Sorabella, Jean. “ Monasticism in Western Medieval Europe .” (originally published October 2001, last revised March 2013)
• Sorabella, Jean. “ Interior Design in England, 1600–1800 .” (October 2003)
• Sorabella, Jean. “ The Vikings (780–1100) .” (October 2002)
• Sorabella, Jean. “ Painting the Life of Christ in Medieval and Renaissance Italy .” (June 2008)
• Sorabella, Jean. “ The Birth and Infancy of Christ in Italian Painting .” (June 2008)
• Sorabella, Jean. “ The Crucifixion and Passion of Christ in Italian Painting .” (June 2008)
• Sorabella, Jean. “ Carolingian Art .” (December 2008)
• Sorabella, Jean. “ Ottonian Art .” (September 2008)
• Sorabella, Jean. “ Baroque Rome .” (October 2003)
• Sorabella, Jean. “ The Opera .” (October 2004)
• Sorabella, Jean. “ The Grand Tour .” (October 2003)

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Artist or Maker

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Henri Matisse, Dance I

Henri Matisse, Dance I, 1909, oil on canvas, 259.7 x 390 cm ( The Museum of Modern Art , New York)

In 1909 Henri Matisse received an important commission. An extremely wealthy Russian industrialist named Sergei Shchukin asked Matisse for three large scale canvases to decorate the spiral staircase of his mansion, the Trubetskoy Palace, in Moscow. The large and well loved painting, Dance I at MoMA, is somewhat disingenuously titled. Although it is full scale and in oil, Matisse did not consider it more than a preparatory sketch. Yet a comparison between the initial and final versions is instructive. Matisse borrowed the motif from the back of the 1905–06 painting Bonheur de Vivre , although he has removed one dancer.

Henri Matisse,  Bonheur de Vivre (Joy of Life) , 1905–06, oil on canvas, 176.5 x 240.7 cm ( The Barnes Foundation , Philadelphia)

Dancer on a green field with a blue backdrop (detail), Henri Matisse, Dance I , 1909, oil on canvas, 259.7 x 390 cm ( The Museum of Modern Art , New York)

In Dance I , the figures express the light pleasure and joy that was so much a part of the earlier Fauve painting. The figures are drawn loosely, with almost no interior definition. They have been likened to bean bag dolls because of their formless and unrestricted movements. The bodies certainly don’t seem to be restrained by way. But don’t let this childlike spontaneity fool you. Matisse works very hard to make his paintings seem effortless. Imagine for a moment, that instead of this childlike style, Matisse had decided to render this figures with the frozen density of Jacques Louis David . Would the sense of pure joy, the sense of play have been as well expressed? Matisse has done something that is actually very difficult. He has unlearned the lessons of representation so that he can create an image where form matches content.

The dancers inhabit a brilliant blue and green field. But what exactly does the green represent? Many people would quickly reply, “a grassy hilltop.” Okay, but what then is the blue intended to represent? If I were lecturing at MoMA, as I often do, many listeners would offer that “the blue is the sky that rises above the hill.” But others in my group might begin to look frustrated. One might then say, “that’s not what I see, the blue is really water moving back into the distance.”

Parted two hands of the two front dancers (detail), Henri Matisse, Dance I , 1909, oil on canvas, 259.7 x 390 cm ( The Museum of Modern Art , New York)

What Matisse has done here, even in seemingly simple rendering, is use spatial ambiguity to explore one of the key issues in modern painting, the conflict between the illusion of depth and an acknowledgment of the flatness of the canvas. One final point here, did you notice the break in the circle? The hands of the two front dancers are parted. Matisse has been careful to allow this break only where it overlaps the knee so as not to interrupt the continuity of the color. Why do this? The part is often interpreted in two ways, as a source of tension that requires resolution or, as an invitation to us the viewer to join in, after all, the break is at the point closest to our position.

Henri Matisse, Dance , 1910, oil on canvas, 260 x 291 cm ( The Hermitage , St. Petersburg)

The final version of Dance has a very different emotional character. It has been described as forbidding, menacing, ritualistic, even demonic. Drum beats almost seem to be heard as the simple pleasure of the original is overwhelmed. What causes these dramatic changes in mood? Beyond the color shift, which is pretty obvious, the figures of the 1910 canvas are drawn with more interior line, line which often suggests tension and physical power. See for instance, the back left figure. Another more subtle change occurs where the two back figures touch the ground. In the 1909 canvas, the green reaches up to the feet of the two back most dancers, in the 1910 canvas, something else happens, the green seems to compress under the dancer’s weight. This subtle change creates either a sense of lightness or a sense of weight and contributes to the way we perceive each painting. While Matisse’s artistic style may exhibit a child-like quality, he was fully aware of his deliberate choices and intentions.

Additional resources

This work at the Museum of Modern Art, New York

Henri Matisse’s short biography on MoMA’s website

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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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Singulart Magazine > Art History > “The Dance”, Henri Matisse : A complete Analysis

“The Dance”, Henri Matisse : A complete Analysis

An overview of “The Dance”, Picasso, (1910)

A vibrant and dynamic masterpiece showcasing five figures dancing in a circle.

Created during Matisse’s Fauvist period, which was marked by the use of strong colors and bold strokes.

Purpose of this analysis: To understand the elements, techniques, and emotions conveyed through this iconic artwork.

Description of “The Dance”

Visual elements.

Five nude figures with exaggerated forms, connected in a circular dance against a bright red background.

Notable features

The rhythmic movement of the dancers and the intense color palette.

Mood atmosphere

Joyful, energetic, and free-spirited.

Formal Elements

• Line: Fluid, curving lines capturing the motion of the figures.
• Shape: Exaggerated, almost abstracted human forms.
• Color: Dominantly red for the background, complemented by the blue and green of the landscape and figures.
• Texture: Smooth with visible brush strokes.
• Space: Minimal spatial depth, flat two-dimensional appearance.
• Harmony: A sense of harmony through the circular arrangement of figures, dynamic movement, and balanced composition.

Composition

• Arrangement: The figures are interconnected, creating a circle in the center of the canvas.
• Focal points: The central space formed by the circle of dancers.
• Symmetry and asymmetry: Asymmetrical but balanced due to the circular motion.
• Gaze Guidance: The viewer’s gaze is drawn around the painting by the dancers’ movements and intertwined limbs.

Color and Light

• Color scheme: Predominantly warm with contrasting cool tones.
• Color emotion symbolism: Red symbolizes passion, energy, and life; blue and green bring contrast and signify nature and freedom.
• Light description: Uniform, with no discernible source, emphasizing the flatness of the space.
• Light effect on the dood: Creates a vivid, glowing atmosphere, enhancing the painting’s energy.

Brushwork and Style

• Technique: Broad, swift brush strokes.
• Brushwork description: Expressive and visible, contributing to the painting’s lively nature.
• Realism / Abstractism: Leaning towards abstractism with recognizable but exaggerated forms.
• Style interpretation: Fauvist, with emphasis on color and form over realism.

Subject Matter and Symbolism

• Subject matter: A group of dancing figures.
• Symbolism narrative: Represents freedom, joy, and the celebration of life.
• Cultural and historical context: Echoes the primitive art inspirations and the Modernist movement of early 20th century.

Emotion and Impact

• Viewer emotions: Feelings of joy, freedom, and unbridled energy.
• Formal elements impact: The bright colors and swirling forms captivate and invigorate the viewer.

Art Historical Context

• Historial Context Period: Early 20th century, during the height of Fauvism.
• Artist Career Trajectory: Marks a pivotal moment in Matisse’s career where he embraced a more abstract and color-centric style.
• Influences on and from movements: Influenced by primitive art and post-impressionism; became a cornerstone for the Fauvist movement.

A complete analyse of The Dance by Henri Matisse : Conclusion

The Dance is a radiant celebration of life and freedom, showcasing Matisse’s mastery in color and form.

One of Matisse’s most celebrated works, it continues to inspire artists and viewers alike.

Its themes of joy, connection, and celebration remain universally relatable and poignant.

• Henri Matisse: The Dance. The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 69.

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How to Write Importance of Dance Essay – 2 Sample Essays

Writing an essay on the importance of dance can be a fun and interesting task. It allows you to explore the art form in greater detail while also providing insight into its cultural, physical and emotional benefits.

With two sample essays provided below as examples, you’ll have all the guidance you need to craft an effective essay on the importance of dance.

Table of Contents

How to Write Importance of Dance Essay – A Step-By-Step Guide

1. research.

To start, you should research different aspects of dance, including its history and the various styles of dance (from breakdancing to hip-hop). Additionally, look into how dance has evolved over time, as well as its cultural significance in different parts of the world.

3. Organize

Once you have a better understanding of each aspect, organize your thoughts into a logical structure that flows from one point to the next. Ensure each point is connected to the overall theme of your essay, and make sure there is a clear introduction and conclusion.

5. Proofread

Sample essays on the importance of dance, sample essay 1 – the importance of dance.

Dance is more than just a physical activity ; it is also an art form. It has been around since the days of ancient civilizations and offers countless benefits, both physically and emotionally. From providing exercise to creating beautiful pieces of choreography, dance can have a lasting impact on people of all ages.

Danca is beneficial for spiritual and mental well-being, providing an outlet for stress relief and a way to connect with oneself. It can also be a wonderful form of self-expression, allowing dancers to express themselves in ways that words cannot. Lastly, by performing in competitions or performances, dancers are able to build confidence and make friends with other like-minded individuals in the process.

Sample Essay 2 – Importance of Dance

In ancient civilizations, for example, most dances were religious in nature and involved complex rituals meant to appease the gods or fulfil a spiritual quest. These dances often consisted of intricate steps that mirrored the movements of animals and nature. As society changed, so did the purposes of dance; it became more free-flowing and improvisational. This was particularly true during the Baroque period in Europe when people embraced a culture of performance and leisure activities that included ballet and other social dances.

In conclusion, dance is an important part of human history, and it has gone through many changes over the centuries in order to adapt to different societies. From its ancient beginnings as a religious ritual to its modern-day iteration that encompasses all types of music genres, dancing remains a powerful way for people to connect with each other and express themselves creatively. Therefore, it is important to continue to explore and appreciate all aspects of dance so that we can gain a deeper understanding of our own unique cultures.

Wrapping Up

Additionally, make sure to explore the history of dance and how it has changed over time in order to better understand its role in our lives today. By following these tips, you can create a compelling essay on the importance of dance and its many contributions to society.

Home — Essay Samples — Arts & Culture — Ballet — Ballet: The Art and Science of Dance

Ballet: The Art and Science of Dance

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Published: Jun 13, 2024

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Table of contents

Historical evolution of ballet, technical aspects and training, the impact of ballet on participants and audiences.

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Matisse's The Dance

WHO WAS henri matisse?

Henri Matisse is typically acknowledged as the most outstanding colorist of the 20th century, rivaling Pablo Picasso in regards to the significance of his innovation.

Matisse was fascinated by the notion of dancing and the potential to be moved by music, which became a recurring theme in his artworks. despite this, his dancers painting did not earn the acclaim it has today when it was originally presented..

the dance (1910)

Matisse created an early version of this piece, known as Dance (I) , in March 1910. It’s a compositional exercise with lighter colors and fewer details.

The dance is really a zoomed-in rendition of a section of matisse’s 1905 artwork the joy of life . it is historically significant, particularly in terms of the emergence of the fauvist movement..

the dance ii (1932)

Matisse also created a similar Dancer painting, the mural The Dance II . The mural was to be installed over three arches that span the windows of Barnes’ gallery’s main hall.

Some critics believe that the dance ii mural was significant in allowing matisse to reconnect to the most fundamental foundations of his painting., matisse’s artistic choices for this painting generated quite a stir in the art salons of 1910; the brazen nakedness and clumsily placed colors gave the artwork a primal aspect that some observers perceived as barbarous., dance’s continuous movement contrasts sharply with music , where the subjects are motionless. the vocalists nearly appear to be spectators, staring up at the dancers while laying their arms on their knees., read our full analysis on matisse's the dance here.

Dance Analysis: Social and Cultural Context Research Paper

• To find inspiration for your paper and overcome writer’s block
• As a source of information (ensure proper referencing)
• As a template for you assignment

Dance is a form of art that is represented in form of performance in which a person moves rhythmically to some musical tone in order to communicate some latent meaning to the audience. It is a way of exploring the world, understanding its ideas and emotions that are elicited by unique body movement patterns. It comprises of elements, such as time, space, force, and shape that can be viewed in both theory and practice. However, the analysis of dance mostly depends on the social and cultural context of performance.

A study of dance involves connection of ideas between the past and the present with an aim of improving the quality of performance in regards to other social practices that arise from cultural beliefs. Besides, dance is important in the modern society because one gets inspirations from the legendary past that helps people improve their compositions. The latter creates awareness, and also offers a sense of belonging to the whole humanity.

Dance analysis is a very important aspect of studying because it enables one to observe the movements that he/she makes in the current dancing styles, and also provides several solutions to challenges arising. For instance, it assists one in appreciating the fact that dance can be used to improve people’s unique sense of identity by offering enough physical exercises. People also benefit from the aesthetic appeal through the use of different props.

In the African continent, dance is ceremonial, and, thus, plays a major role in society since it helps in boosting productivity alongside molding expertise skills and competences among different social groups. This kind of benefit was also realized during the Renaissance period.

On the other hand, historians view dance as a form of art through which rituals are passed during rites of passages. For instance, in the times of ancient civilizations (such as the age of Absolutionism, for example,), most people considered dancing as an important element in ritual ceremonies.

This was also evident in Egypt whereby women would dance at funerals to express their grief. In addition, their paintings created an outward appeal of dancing as a form of entertainment. Moreover, there are some dances, which existed in the Middle Ages that are evident through different works of literature.

However, it is pertinent to observe that quite a number of dances that originated from Spain replicate the influence of age. Later on, a lot of dances emerged in different eras even as their significance continued to change. In the mid 19 th century, dance became popular among different societies.

Popularity continued to grow to the late 19 th century, although it was practiced by a small number of people because there were some changes that created some difficulty in practicing new styles of dancing. Hence, only a few people were interested in dancing.

However, the art of dance gained momentum towards the close of 1920s as it was highly appreciated by the youth. They embraced it with great enthusiasm. Dancing at that time was equal to real life experiences in the society. Myriads of dancing styles were shared across the board. These dances were also aimed at presenting the inner self instead of borrowing movements from other cultures that had established themselves.

Bibliography

Adshead-Lansdale, Janet. “Dance Analysis in Performance”. The Journal of the Society for Dance Research 12, no. 2(1994): 15-19.

Ambrosio, Nora. Learning about dance: dance as an art form and entertainment . Dubuque, Iowa: Kendall/Hunt, 2008.

Dils, Ann. Moving history, dancing cultures: a dance history reader . Middletown, Conn: Wesleyan University Press, 2001.

William, McNeill. Dance and Drill in Human History . New York: Harvard University Press, 1997.

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