music and dance essay

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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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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Essays About Dance: Top 5 Examples Plus Prompts

If you are writing essays about dance, see our essay examples and prompts below to inspire and guide you for your next essay. 

Dance refers to a sequence of rhythmic body movements, usually in sync with a beat or music. The earliest historical dance records can be found in cave paintings and are suggested to be associated with religious purposes. Today, one can dance for several reasons. It can be a channel to express their emotions and ideas, release energy, conduct a ritual, celebrate a tradition, or simply exercise. 

Check out our round-up of five great essays that can inspire you in writing your piece about dance: 

1. Are Humans The Only Species That Enjoy Dancing? by Jason Goldman

2. ballet and modern dance: using ballet as the basis for other dance techniques by helen kantilaftis, 3. bollywood dance explained by lucy townsend, 4. essay: when i broke up with ballet by stephanie wolf, 5. explained: breaking rules, moves and format by aarish ansari, 1. dance as a passion., 2. types of dances. , 3. health benefits of dancing., 4. preserving traditional dance., 5. the most iconic dance moves of all time. , 6. protecting choreographic works., 7. dance as an expression of culture., 8. animals that dance., 9. dance as a source of livelihood., 10. life values learned from dancing..

“Snowball became famous on the internet when videos were uploaded of the twelve-year-old cockatoo appearing to dance to a Backstreet Boys song. He seems to bob his head up and down in sync with the beat of the song… Could it really be that humans aren’t unique in their abilities to dance?”

The article amusingly explores certain animals that are proven to have a beat for dancing. While videos of dancing animals are a rave on social media, the article reveals that the discovery of dancing animals may have been as early as the time of Charles Darwin. The naturalist discovered and theorized that birds use dance to pick their mates, a process that a study showed is more common in humans than we thought. 

“Ballet is like the mother of all dance techniques. Most Western dance styles today can be traced back to ballet, and its codification has been extremely influential in all styles of dance.”

Ballet can improve one’s musicality, awareness, tempo, strength, and agility. Kantilaftis explains that other dances borrow many techniques and moves from ballet. For example, if you take hip-hop or jazz class, chances are there will be movements that could be enhanced by learning ballet first. The author then provides tips on how dancers can incorporate ballet to enhance their routines and be well-rounded dancers overall. You might also be interested in these essays about color .

“Bollywood dance is easy on the eye. Dramatic facial expressions and cinematic pizzazz mean any viewer, dance aficionado or not, can follow the story. But beneath the fizz is a series of historic symbols and traditions, which originate in India’s numerous traditional dance forms.”

No good Indian film is complete without the famous Bollywood dance. In this article, the author uncovers the symbolisms behind the hand gestures, facial expressions, neck movement, footwork, and vibrant costumes in Bollywood dance. It turns out that each movement and accessory contribute to telling a story with themes ranging from weather to animals and destinations.

“After 12 years of fighting for my dance career, it became clear this was not an injury from which I could bounce back. My body had already been through too much, and I felt fatigued from chasing my dreams. While I had always had outside interests, I was now forced to really look at what life would be like post-dancing.”

A former ballet dancer talks about her heartbreaking story of ending a dance career over two decades ago. The breakup was the inevitable consequence of an irreversible injury, causing emotional shock over a loss of identity. Several years forward, Wolf admits that she remains to grieve over the end of her dancing chapter but continues to find new sources of hope to continue living.

“From the streets of New York in the 1970s to the grand stage of the Olympic Games, breaking has charted a course not many would have thought was possible… breaking has evolved into a proper dance sport, with a fixed set of rules that make for fair competition.”

The article celebrates breakdancing’s breakthrough to be part of the Olympic 2024 as a silver medal event. In addition, the article dives into the signature moves that define breakdancing and judges’ criteria for selecting the winning breakdancers. 

10 Prompts On Essays About Dance

For more essay ideas, take a pick from one of our prompts below:

If you have a passion for dancing, write your story about how you have discovered this passion. Describe what dancing does to your mind and body. Write about your dance style, how often you dance and what kinds of music you love dancing to. If you’re not into dancing but know others who are passionate about this art form, interview them instead. 

Research about the different kinds of dances. There are many popular ones, such as ballroom, ballet, contemporary, hip-hop and jazz. To narrow down the scope of this prompt, pick five that interest you the most. Then, describe each and elaborate on their influence on art, culture, and society. 

Dance can strengthen cardiovascular health, reduce stress and improve balance and flexibility. Cite other physical and mental health benefits of dancing. Explain how each of these contributes to one’s overall well-being. For example, some communities have been promoting dance to fight obesity and strengthen heart muscles. You can also add how your community encourages dance in its health programs. 

Modern dance is so pervasive that it is feared to bump off folk dance from the stage. Recount the ways your country or community is preserving its traditional dances. Describe these dances and provide a brief historical overview of their importance to your country or community’s culture. Finally, think and write about what other efforts should be taken to allow traditional dances to share the spotlight with modern dance.

Many of us have witnessed different dance crazes, from the moonwalk popularized by Michael Jackson to the shimmy dougie and the fierce hair whip. Analyze what makes this dance move iconic enough to bring the whole world to dance to one beat and movement. 

Choreography is protectable copyrighted work. Provide dancers with a guide on how they can best protect the copyright of their dance masterpieces. Outline copyright protection issues, such as cross-border jurisdictions and digital piracy. Then, provide tips on how performers can best enforce their copyright. For example, one way is to register their work at the intellectual property office of their country. 

Waltz across several traditional dances and show how each of these dances helps express a community’s culture, identity, and belief system. Research the kinds of dance that are deeply embedded in a tradition. Describe the movements involved in this dance and how they symbolize the community’s beliefs and ideals. Then, add how communities pass on the dance to preserve it from generation to generation. 

Build on our essay example on dancing animals. List down the animals that studies are found to possess some dancing prowess. Describe their dancing styles and discover the factors that entice them to dance. For example, is dancing for them mere entertainment, or does it serve a more practical purpose, as with birds? 

Find out what the average income of a dancer or choreographer is. Interview dancers and ask about their level of satisfaction with their current income. Dive deep into the barriers that prevent their incomes from rising and what reforms they would like to see in choreographers’ and performers’ livelihoods. You can also write about how entertainment platforms have expanded the industry’s earning opportunities. 

Dancing is not just a skill or a hobby. It could be a way to learn essential life lessons that will help you get ahead and conquer challenging experiences. Enumerate the lessons one can learn from dancing. Discipline, determination, and creativity are just a few. Explain how one develops these traits from dance and why it makes for a great extracurricular activity for children.

For help with this topic, read our guide explaining how you can achieve persuasive writing .

If you’d like to learn more, our writer explains how to write an argumentative essay in this guide.

What is Dance’s Relationship with Live Music?

Live music adds an extra layer of liveness to a performance, one that encourages performers to tune in to one another and that invites audiences to experience heightened sensual awareness.

Introduction

Live dancing paired with live music creates rich, multi-sensory experiences for audiences and performers alike. This combination enables a give-and-take between dancers and musicians as they work together to co-create the performance pieces on stage. They tune into one another so that dancers hear and musicians see, which produces something that the audience can feel. Live music and dance are fixtures at the Pillow. This essay aims to explore dance through the lens of live music, which actually illuminates the thematic content of the performance works.

When the pairing of live music and dance is done well, dancers and musicians sync up so precisely it seems it would be impossible for one to perform without the other. For an audience, live music fills the ears as the live dancing fills the eyes. For dancers, performing with live music changes their sensitivity and attention to it. That said, it is not always the case that musicians and dancers are discrete groups of people on stage. Borrowed Light (2006, 2012), ETM: The Initial Approach (2014) and ETM: Double Down (2016), and Moses(es) (2014) testify to this fact. In these pieces, the line between musicians and dancers is blurry, as everyone on stage moves and makes music together.

Borrowed Light: Staging Community

Borrowed Light , a collaboration between the Tero Saarinen Company of Finland and the Boston Camerata, offers a compelling juxtaposition of off-centered movement with music that is even and measured. The Shaker tunes and the performance of them by the Boston Camerata are bouncy, articulate, and sung mostly in unison with occasional simple harmonies, while the movement of the dancers spirals around itself, swinging and falling. Dancers lurch forward only to spill backward. They throw their energy up, out, and all around them. These movements are amplified by the whirl of their costumes, and in some moments, the dancers unleash their own momentum as their fellow dancers control them by pulling on their thick leather belts.

One theme Saarinen refers to whenever he discusses Borrowed Light is community. The piece uses Shaker spirituals as its music and follows an architectural principle employed in Shaker residences to maximize daylight as the premise of its lighting design. Importantly to Saarinen, the piece does not represent Shakers explicitly, but rather, the piece explores the feeling and spirit of community embedded in the Shaker experience.

From its inception, Borrowed Light was also about another community—the one the performers would create by uniting the Boston Camerata with the Tero Saarinen Company. In response to a question about the ways the dancers and singers support one another in performance, Saarinen discusses his objective to “weave together these two communities” in this piece.

The voices of the singers paired with the body percussion and heavy stepping and stomping of the dancers; the three-dimensional circling and spiraling of the dancers paired with the constant presence and gaze of the singers—this piece would not be so powerful if one were seen or heard without the other. While there are distinct differences between the singers and dancers, the choreography often integrates the two groups. The singers traverse the stage throughout the piece, sometimes joining the dancers as they side-step their way around a large circle or as they slowly travel in a line, moving from upstage toward the audience.

The following excerpt brings the two groups together. As the singers’ voices repeat a verse again and again, the dancers dance themselves almost to exhaustion. Over time, the singers create a small clump at the center of the stage, a vortex around which the dancers circle and leap, stomp and slap. Together, the movement and sound build to a frenzied, delirious, almost crazed energy.

Borrowed Light feels complete for its integration of movement with voices, costumes, and lighting. As a theatrical enterprise, Borrowed Light invests time and energy into collaboration, into design, into integrating each of the elements that makes up a living piece of art. The singers and dancers of Borrowed Light create a cohesive community and an exquisite performance piece. The integration of a cappella voices, body rhythms, and full-bodied, space-eating movements, epitomizes the rich sensory experience created throughout the piece.

MOSES(ES): A Single Idea Unfolding Infinitely

Choreographer Reggie Wilson is no stranger to Jacob’s Pillow. His company, Reggie Wilson / Fist and Heel Performance Group first appeared in the Inside/Out series with Love in 1996 followed by a repertory program in 1998, and then in the Doris Duke Theatre with The Tale in 2007, Moses(es) in 2014, and POWER in 2019. As an artist, Wilson says he likes the idea of “taking something unmanageable and trying to make it manageable,” which is the challenge he presented himself with in his piece Moses(es). While the title of the piece refers to the biblical figure of Moses, and while the piece is in some ways about that figure, Moses is really just the beginning. When asked about how his relationship to Moses(es) changed in the process of making the piece, Wilson reveals the complex simplicity that this piece is all about.

Approaching Moses(es) from the perspective of the relationship between dancing and live music illuminates this central premise of the piece—a single idea, unfolding infinitely. On the integration of music and sound in the piece, Wilson purposefully created an interactive sound score, which enables his investigation of layers of ideas, piling high, shifting, unfolding, aligning, dissembling, multiplying.

The piece uses recorded music from Louis Armstrong, The Klezmatics, and the Blind Boys of Alabama, to name only a few. In performance, Wilson along with vocalists Lawrence Harding and Rhetta Aleong add live singing, chanting, and percussion to the sound score. The dancers also occasionally lend their voices to the performance, as when they chant a fractal equation alongside the vocalists’ live and recorded voices.

The concept of fractals is one point of entry for Wilson in exploring the infinite unfolding of an idea. Fractals are complex patterns that repeat themselves in ever-smaller scales. In Moses(es) , however, the notion of fractals produces an ever-expansive range of ideas, images, and movements. In a section of Moses(es) that specifically engages a fractal equation, Wilson uses fractals as a metaphor for the infinite potential of all of this layering. Though this section does not use music, it does layer a variety of sound qualities from multiple voices, which is a distinctive characteristic of this piece. The sound score for this section includes recordings of the vocalists speaking a fractal equation alongside their live voices, which also recite the equation. At the start of the section, even the dancers speak as they move. In the beginning it seems easy to identify the correlations between movements and words as dancers chant and move simultaneously and in unison. However, over time, as the movements expand, those markers disappear. It becomes impossible to identify patterns or relationships between movements among the dancers and between movements and words, as seen in this brief excerpt from the piece.

In moments of transition, live voices bump up against recordings. Lighting shifts. Singers chant and move. Dancers pace. As these moments layer visual and aural experience, they also blur distinctions between seeing, hearing, and feeling. In one of these transitions, the movement and tone of the piece shift abruptly. As vocalists chant-sing, “Eli, Eli! Somebody call Eli,” their arms gesture up, down, and out, while their feet perform a stepping pattern from a folk dance. Suddenly a recording of female throat singing by the Ngqoko Women’s Ensemble interrupts their voices and, at the same time, dancers begin running across the stage. The vocalists join in this spilling, connecting, and constantly shifting movement. In this exploration of community, no one performer ever emerges as a singular leader.

Near the end of the piece, we see the return of a community that had been established as performers touch one another to connect, then exploding out only to reassemble again. This time it happens in slow motion as Wilson calls out, “Moses, Moses, don’t get lost,” and dancers respond, “in that red sea.”

The integration of movement with live and recorded sound involving both dancers and singers displays the already interconnected community of Reggie Wilson/Fist & Heel Performance Group. Addressing the theme of Moses in this piece, audiences encounter the integration of leaders and followers as essential to a unified community.

ETM: Dance is Music is Dance

As in other tap dancing, in the ETM series from Dorrance Dance, dancing creates music. ETM , which stands for electronic tap music, is a play on EDM, electronic dance music. What sets ETM apart from other tap dance performance is the ways the wired dance boards upon which the performers dance also add tone and timbre and electronic dimensions of sound inaccessible by shoes alone.

Artistic director (and 2013 Jacob’s Pillow Award winner) Michelle Dorrance has cultivated a distinct aesthetic that encourages tap dancers to engage the entire body while dancing. The tap dance boards offer dancers a new challenge, which makes this full-bodied dancing even more exciting. Dancers stretch to reach a board. They end spins at just the right moment. They jump up and hang in the air until the moment they have to play their next note.

The use of technology certainly makes this piece stand out from the tap dance pack, but it does not get all of the credit. The choreography, improvisation, and staging of this piece epitomize the quality of innovation that is embedded in tap dance as a form. In the ETM series, Dorrance Dance transforms upon its own original innovation. With ETM: Double Down , Dorrance expanded upon what was already a rich investigation of the potential of bodies to make sound/music in an earlier iteration of the piece dubbed ETM: The Initial Approach . A side-by-side comparison of one scene from each iteration reveals the tremendous choreographic development from the Initial Approach to Double Down . In the Initial Approach three dancers shift in and out of simple choreographed steps and individual improvisations.

In Double Down , those original steps and rhythms remain, but by using the full company of dancers for the scene in Double Down , Dorrance more than doubles the dimensions of movement and sound on stage. Additionally, when the tap dancers face upstage keeping a steady beat with side-to-side crawling steps, b-girl Ephrat “Bounce” Asherie’s movements stand out downstage.

Dorrance Dance

ETM: Double Down

Michelle Dorrance and her collaborator Nicholas Van Young talk about the many ways they expanded their use of technology in Double Down . They also address ways this enhanced the possibilities of dancers making music in the moment of performance.

While electronic music is certainly foregrounded in the ETM series, the show does not completely abandon acoustic tap dance. The moments when the dancers put metal to wood without assistance from computer software are all the more pronounced in this show. That said, as with the rest of ETM , even in acoustic moments the sounds of tap dancing are augmented with other textures of sound. In the section aptly titled “Boards and Chains,” dancers tap atop acoustic wood platforms, which are fitted with a strip of corrugated metal along one side. Each dancer also manipulates a long metal chain, dropping it onto the board in time with the dancing.

ETM reminds audiences that tap dancers are also musicians. Their bodies constantly interact with technology, with the floor, and with the body itself to create music and dance simultaneously.

In a 2017 PillowTalk entitled “Tap Today,” Dorrance and Dormeshia, co-directors of several different tap programs in the School at Jacob’s Pillow, discuss the relationship between tap dance and music.

By integrating musicians and dancers in these pieces and blurring the lines between who dances and who makes music, Borrowed Light , ETM , and Moses(es) persistently remind viewers of the liveliness of performance.

To see even more instances of live music and dance at the Pillow, check out the Live Music playlist on Jacob’s Pillow Dance Interactive. These excerpts illustrate many different ways choreographers engage with live music. For example, note that in Dance Heginbotham’s Chalk and Soot and Jessica Lang Dance’s Within the Space I Hold musicians join the dancers on stage as in the pieces discussed above. However, in the choreography by Heginbotham and Lang, while musicians and dancers do not physically interact, the musicians are responsive to the action unfolding before them.

PUBLISHED NOVEMBER 2021

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Essay on Dance

Introduction

In a small town, Nia found solace in dance after a tough day at school. With each step, her worries melted away. She hesitated when the annual talent show came around but eventually took the stage. As she danced, the audience was spellbound. Through her graceful movements, Mia showed the power of dance to uplift and inspire. From that day on, she became the town’s dancing star, spreading joy wherever she went.

Dance is a universal expression that slices over linguistic and cultural boundaries. It’s a vibrant art form communicating emotions, stories, and traditions through movement. From classical ballet to energetic hip-hop, dance captivates audiences worldwide. With roots deep in human history, it’s evolved into countless styles, each with rhythm and flair. This essay will explore dance’s beauty, diversity , and significance.

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Historical Perspective

A historical investigation into dance reveals a tapestry of inventiveness, cultural legacy, and artistic expression that enthralls and inspires people of all ages:

• Ancient Origins: Dance’s roots extend to ancient civilizations, evidenced in rituals and social gatherings. Archaeological findings in Mesopotamia, Egypt, and India depict its integral role, marking dance as an early form of human expression and cultural practice.
• Classical Antiquity: Ancient Greece elevated dance to a sophisticated art form, emphasizing its role in religious festivals, theater, and social occasions. The Greeks valued body, mind, and spirit harmony, evident in their diverse dance forms and performances.
• Medieval Metamorphosis: In medieval Europe, dance transformed remarkably, shifting from its roots in pagan rituals to a staple of courtly entertainment. Elaborate dances took center stage at royal courts and noble gatherings, with the emergence of ballet during the Renaissance era marking a significant milestone in the history of dance.
• The Dawn of Modern Dance: The 19th and 20th centuries witnessed a revolution in dance as modern dance emerged to challenge the traditional ballet conventions. Leaders like Merce Cunningham, Martha Graham, and Isadora Duncan led the way, introducing new forms of expression and using dance for personal and social commentary.
• Global Influences: Dance has become a universal language , transcending geographical and cultural boundaries. Influences from diverse cultures, such as African tribal dances and Indian classical forms, have enriched contemporary choreography, reflecting the interconnectedness of global societies.
• Continuity and Evolution: Despite evolving, dance has maintained its essence as a powerful form of human expression. Its ability to captivate and inspire across cultures underscores its enduring significance, honoring its profound impact on human creativity and collective consciousness.

The Artistic Elements of Dance

The artistic elements that form the foundation of dance, illuminating how they blend seamlessly to create captivating performances that resonate with audiences worldwide:

• Movement: At the heart of dance lies movement—the fundamental language through which dancers communicate and express themselves. Movement encompasses various techniques, styles, and gestures, each imbued with unique symbolism and significance. From the graceful arabesques of classical ballet to the dynamic leaps and spins of contemporary dance, movement is the primary means of conveying emotion, narrative, and intention on the stage.
• Music: Movement and music are intricately intertwined; music is a crucial element that gives dance rhythm, melody, and atmosphere. Whether it be the classical compositions of Tchaikovsky in ballet or the pulsating beats of contemporary electronic music in modern dance, music is the driving force that guides and inspires the choreographic process. Moreover, the relationship between music and movement in dance is symbiotic, with each influencing and complementing the other to create a harmonious synthesis of sound and motion.
• Expression: Central to the art of dance is expression—the ability of dancers to convey emotion, narrative, and meaning through their movements and gestures. Expression in dance is a deeply personal and subjective endeavor rooted in choreographers’ and performers’ individual experiences, interpretations, and intentions. Through subtle nuances of facial expression, body language, and gestural motifs, dancers communicate a rich array of emotions—from love and longing to anger and despair.
• Costume and Set Design: Costume and set design, in addition to movement, music, and expression, are essential components that greatly influence how dance is experienced visually and artistically. Costume design encompasses a wide range of elements, including fabric, color, texture, and silhouette, each of which contributes to the overall look and feel of the dance. From the elaborate tutus and tiaras of classical ballet to the avant-garde costumes of contemporary dance, costumes serve not only to enhance the beauty and grace of the dancers but also to evoke the mood, theme, and atmosphere of the performance.

Dance as a Performing Art

Each of these styles carries its unique history, techniques, and significance, contributing to the rich tapestry of human creativity and expression:

Dance as a Social and Cultural Phenomenon

This essay delves into the multifaceted nature of dance, exploring its roles as a cultural and social activity through the lenses of ritual and ceremonial dances, social dances, dance in festivals and celebrations, and its potent capacity as a form of protest and expression.

• Ritual and Ceremonial Dances: Deeply entrenched in cultural tradition, ritual and ceremonial dances bridge the earthly and the divine, serving diverse purposes such as honoring ancestors, invoking blessings, marking rites of passage, or commemorating historical events. Examples include the Maasai Adumu, symbolizing strength, and Bharatanatyam, embodying religious devotion and storytelling through movement.
• Social Dances: Social dances, such as the waltz and salsa, transcend cultural borders, facilitating social bonds and expressions of identity. They evolve with societal changes, exemplified by hip-hop’s emergence, which empowers marginalized groups through improvisation and self-expression, illustrating dance’s adaptive nature across diverse communities.
• Dance in Festivals and Celebrations: Festivals and celebrations unite communities in joyous gatherings enriched by music and dance. They honor history and religion while fostering social bonds. From Brazil’s carnival to Spain’s Feria de Abril and India’s Holi, these events showcase cultural diversity and preserve heritage through traditional dances, costumes, and music, reinforcing a sense of belonging and inclusivity.
• Dance as a Form of Protest and Expression: Throughout history, dance has been a powerful form of dissent, challenging oppressive systems and advocating for social change, as seen in movements like the civil rights struggle and anti-apartheid protests. Contemporary choreographers and performers continue to utilize dance to address pressing issues, fostering empathy , dialogue, and solidarity for a more equitable world.

The Physical and Mental Benefits of Dance

From enhancing cardiovascular health to fostering emotional resilience, dance practice is a transformative force that enriches lives.

Physical Benefits

At its core, dance is a physical activity that engages the entire body. Whether it’s ballet’s graceful movements or salsa’s rhythmic footwork, every dance form demands strength, flexibility, and endurance.

• Cardiovascular Health: Dance is an aerobic exercise that elevates heart rate and improves cardiovascular endurance. Regular dancing courses can reduce the risk of heart disease, enhance circulation, and lower blood pressure.
• Muscle Strength and Endurance: The repetitive motions used in dance routines aid in the development of muscular strength and endurance, especially in the arms, legs, and core. This not only improves physical performance but also enhances posture and balance.
• Flexibility: Dance involves a wide range of motions that promote flexibility and joint mobility. Dancers expand their range of motion by stretching and reaching, which lowers their risk of injury and increases their general flexibility.
• Weight Management: Dance is an effective calorie-burning activity that aids in weight management and body composition. It offers a fun alternative to conventional forms of exercise, making it easier for individuals to adhere to a regular fitness routine.

Mental Benefits

Beyond its physical attributes, dance profoundly impacts mental well-being, fostering emotional expression, cognitive function, and social connectivity.

• Stress Reduction: Engaging in dance triggers the release of endorphins, neurotransmitters known for their mood-enhancing properties. This inbuilt “feel-good” reaction encourages emotional well-being and relaxation while reducing stress, anxiety , and despair.
• Improved Cognitive Function: Learning and mastering dance routines require cognitive engagement, including memory recall, spatial awareness, and coordination. Regular dancing has been associated with enhanced brain health, memory retention, and cognitive function, lowering the risk of age-related mental decline.
• Enhanced Self-Confidence: Dancing fosters a sense of empowerment and self-confidence by promoting self-expression and self-discovery. As individuals master new steps and techniques, they gain greater competence and self-assurance, both on and off the dance floor.
• Social Connection: Dance often occurs in a social setting, whether it’s a group class, performance, or social dance event. This lessens emotions of loneliness and isolation by promoting social connection, companionship, and a sense of belonging.

Dance Education and Training

Let’s delve into the significance of dance education and training, exploring formal training in dance, the role of dance schools and academies, and the importance of integrating dance education into the school curriculum:

• Formal Training in Dance: Formal dance training provides aspiring dancers the foundation to hone their craft. Whether classical ballet, contemporary, hip-hop, or any other style, structured training instills discipline, technique, and artistic expression. Through rigorous practice and guidance from experienced instructors, dancers develop strength, flexibility, coordination, and spatial awareness, which are essential for mastering their chosen dance form.
• Role of Dance Schools and Academies: Dance schools and academies are more than just learning places. They are nurturing grounds for aspiring dancers, fostering a vibrant dance community . These institutions provide a supportive environment where students can fully immerse themselves in their chosen dance form, surrounded by peers who share their passion. Experienced instructors guide students through progressive levels of training, offering personalized feedback and mentorship to help them reach their full potential.
• Importance of Dance Education in Schools: Integrating dance education into school curricula fosters creativity, enhances physical literacy, and promotes holistic development among students. Dance education provides a platform for self-expression and encourages students to explore their artistic potential. By engaging in creative movement activities, students develop confidence, self-awareness, and communication skills, which are invaluable life skills.

Challenges and Controversies in the Dance World

Here are some points outlining the challenges and controversies in the dance world:

• Body Image and Health Concerns: Dancers face pressure to maintain specific body types, leading to eating disorders and injuries. Balancing rigorous training with self-care is crucial but challenging for physical and mental well-being.
• Gender and Diversity Issues: Dance has historically enforced gender norms, limiting expression and opportunities. Lack of diversity in choreography and leadership perpetuates inequalities, hindering progress towards inclusive representation.
• Exploitation and Labor Rights: Dancers often endure low pay, long hours, and unstable employment conditions. Freelancers lack benefits like healthcare, highlighting systemic issues of financial insecurity and exploitation within the industry.
• Cultural Appropriation: Borrowing from cultures without acknowledgment can offend and erase identities. The debate raises questions about power dynamics and ownership, emphasizing the importance of cultural sensitivity and respect in dance practices.
• Accessibility and Inclusivity: High costs and physical barriers exclude many from dance participation. Socioeconomic disparities and lack of accommodations for disabilities challenge efforts to make dance accessible to diverse communities.
• Competition and Pressure: Intense competition breeds stress, prioritizing achievement over well-being. The pursuit of perfection can lead to mental health issues like anxiety, highlighting the need for a healthier approach to success in dance.
• Ethical Concerns in Choreography: Exploring sensitive topics in choreography can provoke controversy. Balancing artistic expression with social responsibility , including respect for performers’ boundaries and consent, is essential for ethical dance practices.
• Online Presence and Privacy: Social media blurs boundaries between public and private life, exposing dancers to cyberbullying and privacy invasion. Managing online presence requires vigilance to maintain authenticity and protect personal well-being.

Dance is more than physical expression; it conveys identity, culture, and feelings. As we celebrate its beauty and diversity, let’s advocate for its importance in education and society. Support local dance programs, attend performances, and encourage young talent. By embracing dance, we enrich our lives and strengthen our communities. Let’s keep the rhythm alive, fostering creativity and unity through this timeless art form.

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• Changes in attitude toward dance
• Physical requirements
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• Differences among dancers
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• Prominent notation methods
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• Costume and stage sets in Western theatre dance
• Cultural distinction between dramatic and formal dance
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dance , the movement of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself.

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

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

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

The choreographic art . . . was probably unknown to the earlier ages of humanity. Savage man, wandering in forests, devouring the quivering flesh of his spoils, can have known nothing of those rhythmic postures which reflect sweet and caressing sensations entirely alien to his moods. The nearest approach to such must have been the leaps and bounds, the incoherent gestures, by which he expressed the joys and furies of his brutal life.

John Martin , the 20th-century dance critic, almost ignored the formal aspect of dance in emphasizing its role as a physical expression of inner emotion. In doing so, he betrayed his own sympathy toward the Expressionist school of modern American dance: “At the root of all these varied manifestations of dancing . . . lies the common impulse to resort to movement to externalise states which we cannot externalise by rational means. This is basic dance.”

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

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

Music and Dance as a Part of Our Culture Term Paper

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Music and dance were known to people for a long time. From the starting point of our civilization, first people could make rough musical instruments and dance to the sounds. At first, dance would be used in religious ceremonies and rituals, for example, to call out the rain in the dry season and in some instances, before going hunting, to bring good luck and a rich catch.

Our ancestors believed that they will please the spirits and the higher forces of nature, thus they will be sent whatever it is they needed in abundance. Only after further development of the social communities and progress of civilization, people began to use music and dance as an industry for masses that was meant to please the ear and eye; it became a part of the arts.

In our time, there is a great quantity of many different kinds of genres and dance types. Many instruments that can be used to produce very unique and distinct sounds have a very advanced technological structure, so the variation of dance greatly increased. Dance is very influential on the person and there is no other medium quite like it that can have such a significant effect on the person.

Especially ethnic dance is meant to touch the deepest parts of the human soul, the emotions and can raise the mood and make it light or depress it and have a negative influence on the psyche of a person. Our family has a unique connection to the dance and music, and how it was used in the family and in social settings.

The dancing that was imagined and acted out would be aligned to people’s emotional state, life and circumstances of everyday worries and happiness. An interesting fact that has been a part of family is that it was a connection to the higher power and the spirit world because it is very original and limited in existence.

Comparing to other types of art which can be made and put on a wall or stored in a museum, the dance only exists while it is made. The modern technology has made it possible to record and store images but our family has had a very different view that has not changed with time. It is believed that in order for dancing to be fully understandable and felt, it must be played live.

This is the reason why we never record dancing and try to add variations to it every time, so that there is a unique mood and output of feelings. Very far back in the history of our family, the dance was used by shamans and has been very influential on the mind and soul of people. Sometimes, dancing would be instrumental to put people into a trance or a hypnotic state.

It is unfortunate that the majority of society forgot how to be a part of dance in such a way that it touches the inner being of an individual. The oldest musical instrument that has been in our family is the flute and the dancing associated with the sounds it made. It goes back to five or six generations of relatives but in reality the traditional Chinese dance and flute dates back to ancient times because it was very easy to make and dance to it.

The simple structure and making technique of the flute have proven to be extremely effective in creating easy listening and calming down sounds. It is a sort of long tube with a blowing hole and several holes on top that can be closed with fingers. Our particular flute is made from a rough looking wood and was not altered in any way, as it has been a part of family history.

Originally, it was used by shepherds and other herdsmen. We believe that it was made by one of the shepherds in our family. While the sheep would be going around looking for the grass that is needed for their proper nutrition, the person would play the flute and dance, to pass time and uplift the spirit.

It is believed that it started even further in the past when people would use flute sounds to create a certain atmosphere for the sheep and the whole process of being out in the nature and connecting with the environment. This made them healthier and brought luck to people and animals in their prosperity and success. It was usually made from a young plant; it would be cut off and measured by the length of the arm of a person.

If it was a young child or a man, the length would be different and this signified the connection between the musical instrument and the person. The shorter flute would create a distinct sound attributable to youth and beginnings, whereas the longer one, of an older man, would be linked with wisdom and long life full of health. Also, the holes would be made in such a way that fit the person who played, so each flute was very unique.

It is known that our ancestors would dance to the flute in social settings as well. During family gatherings or community holidays, people would gather at home or in someone’s garden, eat food, drink wine and dance. The person who played the instrument and danced made the process enchanting and original each time.

As there were no TVs, radios or any other technology that is present today, dancing and making music was a very common thing and people would be extremely good at it. The process was considered a special one, as it greatly differed from all other things that people did. Work was needed to feed the family; church was for religious purposes, and communal gatherings to decide on some matter, so all were related to the routine and everyday life.

But dancing to the naturally made music or making a new composition was the way people would communicate with their hearts and souls. There was never a negative or depressive mood around, when people played instruments, sang and danced.

It was always associated with all the goodness that people have in them and the life seemed and became simpler and better adjusted to the circumstances of existence. The following is a chart that outlines the use of dancing to the flute and some other musical instruments, as well as the purposes when they were used.

One of the specific stories that is told by the parents is about their great grandparents when they have just arrived into a new village because their previous one was destroyed by drought and heavy winds. As they were the newcomers, it was hard to adjust to life and people. Our great grandfather was a master at dancing and playing the flute and used it to their advantage.

Every morning people would come out to the bazaar and bring whatever they had from their livestock or plants—milk, eggs, vegetables or fruits. To get acquainted with people and let them know that they were good people, he would come out every morning and go to the bazaar to dance and play the flute. His particular style was very unique because he would not just start out playing dancing to any melody and continue all the time.

He would observe people and adjust to the situation and settings with the dance moves and sounds of the flute. If someone was sad he would dance and play a cheerful melody, if people had completed a trade or bargain, he would do a different dance and melody. He often made people laugh because he was a great observer and could comprehend what people needed.

Through stories such as this, dancing to the flute has become a part of the family and the legacy that has been passed down through generations. It has become a relic and it is important that every member can dance and play at least one melody, as respect to our ancestors.

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Music and Identity in Danza Azteca

Kristina nielsen, by kristina nielsen.

This piece considers how music contributes to identities within Aztec dance communities. It explores how different identities are created and sustained through music and dance practices.

Dance / Identity / Indigeneity / Tradition / Latin America / Native America / North America Download

In March 2016, I traveled from my home in Los Angeles, California, to the annual Mexica New Year Celebration in San Jose, located about an hour south of San Francisco. From the edge of the roped off circle, I watched as my friends from Southern California danced to the reverberating beats of the Aztec log drums, joining hundreds of other dancers from across the United States. Together, they danced around the drums in colorful regalia. While the New Year’s celebration is a highly social event with vendors and food, the dancing is also a form of ceremony and offering, and danzantes sacrifice their bodily comfort through hours of continuous dance. Each movement is accentuated through the sounds of rattles on their legs, known as ayoyotes , that are made out of seedpods. As they dance, copal—a fragrant, ceremonial tree sap—drifts through the air.

Figure 1. Mexica New Year Ceremony in San Jose, California in March 2016.

The Mexica people ruled the Aztec Empire from the capital of Tenochtitlan, and at its peak in the 1500s it spanned from the Pacific Coast to the Caribbean. The Empire included Indigenous people of many different cultures who paid tribute (similar to taxes) to the Mexica. The Americas were forever changed with the arrival of Europeans in the late 1400s. In 1519, Hernán Cortés arrived in Tenochtitlan with his soldiers, often referred to as conquistadores , and on August 13th, 1521, they defeated Tenochtitlan. Upon the ruins of the former capital, the Spanish established present-day Mexico City as the new capital of the colony of New Spain.

Figure 2. The excavated ruins of a pyramid in the central square with a colonial-era building behind it

In the decades that followed the fall of Tenochtitlan, the Spanish decimated traditional Mexica music and culture, which the Spanish associated with the Devil (Sahagun trans. Anderson and Dibble 1951:207; Tavárez 2011:35). Without the ability to time travel, it is virtually impossible to know exactly what these dances may have been, what the music sounded like, or what they meant to the Mexica. Nonetheless, there are many song texts, artifacts, documentation of Mexica spirituality, descriptions of music and dance performances, and images of musicians and dancers. See footnote

These images and descriptions of music and dance gained significance in the twentieth century after the Mexican Revolution. Following decades of conflict, the political leadership of Mexico sought to unite the many diverse communities across Mexico through a single shared national identity (Gamio [1916]2010; Klor de Alva 1992; Alonso 2004). To achieve this goal, Mexico and its nationalist thinkers forwarded the concept of mestizaje, or European and Indigenous racial and cultural mixing (Vasconcelos [1925]1979; Brading 1988). See footnote In pursuit of this goal, musicians, artists, and dancers in Mexico City turned to symbols from the Aztec Empire to shape a shared national cultural heritage (See González Torres 2005; Rostas 2009; Saavedra 2015).

Despite the push for cultural homogeneity from national leadership, Mexico remains a pluricultural society. Today there are more than seventeen million Indigenous people in Mexico who speak over sixty-eight Indigenous languages (Working Group on Indigenous Populations 1995; Instituto Nacional de Lenguas Indígenas Nacionales 2008). For official recognition as Indigenous peoples, communities and individuals must meet a number of criteria required by nations and international organizations. For instance, to receive official recognition, the United Nations requires self-identification as Indigenous as well as acceptance of the claim by the community (United Nations Permanent Forum on Indigenous Issues). They also require historical continuity extending to before colonialism, connections to land and territories, and cultural continuity including language, rituals, and social structures (ibid.). On a national level, Mexico continues to confer Indigenous status predominantly based upon the ability to speak an Indigenous language (Comisión Nacional para el Desarrollo de los Pueblos Indígenas 2006:131). In contrast, the United States federal government recognizes Indigenous people—also known as Native Americans or American Indians—predominantly through heritage, including metrics like “blood quantum” (Garoutte 2003:15). While virtually all of the danzantes have Indigenous Mexican ancestry, very few participants in Danza Azteca meet the stringent requirements of the United Nations or national governments for official recognition as Indigenous individuals.

Bearing these contexts in mind, what are danzantes performing at gatherings like the Mexica New Year Ceremony given that Mexica music and ritual culture was decimated following the arrival of the Spanish? And what do these performances reveal regarding the significance of music and dance in shaping how danzantes think about their identities and Indigenous heritages? In this essay, I unpack these two critical questions using a theoretical framework known as “articulation theory.” This theoretical framework was developed by Stuart Hall, a British-Jamaican sociologist and cultural studies researcher who worked extensively with understandings of identity, popular culture, and race (Hall 1986; Grossberg 1996; DeLuca 1999; Clarke 2015). Drawing on Hall’s work, I explore the ways in which music and dance have come to play critical roles in shaping identities within Danza Azteca communities.

Music at the Mexica New Year Ceremony

Video Example 1. Example of a dance from the 2016 Mexica New Year Ceremony in San Jose, California hosted by Calpulli Tonalehqueh

As can be heard in Video Example 1, the music at the Mexica New Year ceremony meets many expectations listeners might have for what an ancient Aztec music should sound like. The instruments the musicians play are replicas, or models, of historical instruments from across Mesoamerica that are commonly found in museum collections today. Additionally, instruments that have European origins, such as string instruments, are largely absent, even though they were important in a key predecessor to Danza Azteca, known as conchero. Furthermore, many songs at the ceremony are sung in Nahuatl, the language spoken by the Mexica (González Torres 2005; Rostas 1991, 2009).

Since the arrival of Europeans, Indigenous music has become intertwined with European music through a process known as syncretism . In short, syncretism combines two or more cultures into a new cultural entity. In Central Mexico, Indigenous musicians adapted string instruments into their music, and Indigenous spiritual beliefs blended with Catholicism. For instance, Conchero communities blended Indigenous spiritual beings with Jesus and Catholic saints (Stone 1975:195). The Aztec musicians I have spoken with in Los Angeles have experimented with instruments and what music may have sounded like prior to European musical and religious influences. Many musicians who perform on Aztec instruments have conducted extensive research on Aztec history and spirituality, the Nahuatl language, and music. In their research, they draw heavily on historical sources, including accounts from the colonial era that were written by both Indigenous and Spanish observers. They also draw on music and dances from the many Indigenous communities in Mexico—and even sometimes the United States—that continue to the present day. These efforts are particularly complicated since cultures and traditions are always changing, even if only ever so slightly. While many Indigenous cultures in Central Mexico continue traditions that likely originated before the arrival of the Spanish, these traditions are unlikely to have been exactly the same as Mexica rituals or musical practices in Tenochtitlan.

Figure 3. Images from the Florentine Codex that was written in the 1500s by Nahua scribes

In addition to written and community sources, musicians performing on Mesoamerican instrument replicas also draw on their own creativity, experiences, identities, and interpretation of what the Aztec past might have been like. For instance, Carlos Daniel Jimenez Vasquez, a danzante who also plays an array of Indigenous instruments, shared that he tries to imagine what a dance might reflect and integrates instruments accordingly. He considers events like battles or celebrations and tries to describe them musically (Personal Interview 2015). Vasquez also performs music that draws on his Zapotec heritage from his hometown of Maquilxochitl in the state of Oaxaca. In particular, he draws inspiration from traditional flute music from Oaxaca. While Vasquez is fully of Zapotec descent, he did not learn the language and he is not eligible for official recognition as Indigenous in the United States.

Cuezalin, another danzante and musician, similarly draws on his Indigenous Cora-Tepehuan heritage. Cuezalin has conducted extensive research with historical texts to inform his composition of new dances and songs. Cuezalin lives in Santa Ana where he leads a dance community called Xiuhcoatl, meaning “turquoise serpent” in Nahuatl. At the Mexica New Year ceremony, Cuezalin led a dance and song called “Zan Yehuan” that he developed along with companions in a group called the Xochimecayahualli from Southern California (Personal Interview 2015) (see Video Example 2). The song draws on a Nahuatl text by the king and poet Nezahualcoyotl who governed the city of Texcoco in the 1500s (León-Portilla 1992:97). To adapt the song text for modern performance, Cuezalin and the Xochimecayahualli have shifted lines of the text, composed a new melody, and added dance steps. In the performance, the dancers move in an interlocked line holding hands. Cuezalin then transitions this dance to a popular Mexican song “La Víbora” or “the snake” that uses the same rhythms and dance steps.

Video Example 2. Cuezalin leading “Zan Yehuan” at the Mexica New Year Ceremony in San Jose, California

Danza and Articulation Theory

Stuart Hall’s articulation theory provides one useful vantage point for considering the ways in which music and dance are shaping how danzantes interpret their identities. Hall suggested that identities and communities are constantly being formed by coupling and decoupling different elements together (Hall 1986; Grossberg 1996). Hall likened this process to a truck with multiple interchangeable trailers in a conversation with fellow sociologist Lawrence Grossberg (1996). Hall points out that these elements are not permanently fused but rather flexible. New elements can be coupled together (and in turn decoupled), and in the process they can change how individuals and communities identify.

Articulation theory provides a way of thinking about these music and dance elements that are being connected by individuals and communities within Danza Azteca. Danzantes can identify with Mexican national heritage through the Aztec symbols promoted in twentieth-century nation-building projects. They can also identify with their Indigenous heritages through these same performances. This can provide a forum for celebrating Indigenous ancestors despite not meeting the strict criteria for Indigenous recognition. Music and dance become important resources for navigating the challenges many danzantes face in having Indigenous heritage and culture yet not receiving recognition. Through music and dance, danzantes celebrate their heritage while circumventing and challenging Mexican and U.S. definitions of Indigenous people that frequently overlook Indigenous cultures in Mexico and along the U.S. Mexican border.

“Zan Yehuan” from the Mexica New Year ceremony is an example where music and dance offer insight into how diverse elements of the danzantes’ individual and communal identities are combined. All the elements—the ancient Nahuatl text, the new melody composed in Southern California by Cuezalin and the Xochimecayahualli, and the heartbeat rhythm—connect danzantes with different aspects of their Indigenous heritages through the umbrella of Aztec culture. Cuezalin and other musicians draw from their own Indigenous heritages and their personal creativity. Cuezalin and the Xochimecayahualli simultaneously draw on the Nahuatl text to forge a relationship with the past. I interviewed Cuezalin about these songs, and he shared why this text is so meaningful to him:

I believe that their power is in the connection they establish to the words of the ancients. And when we pronounce the words that they pronounced, that for them were special, when we sing their songs we are transported to an ancient time—to a time that unites many of us that are descended from the Aztecs, so to speak, the people that spoke in those times. Even though our ancestors may not have been Nahuatl speakers at that time, these are words that were spoken in the time that our ancestors lived. Therefore, they transport us like a time capsule … It is a gem, a physical thing that can be sung, that one can say. Someone might, for example, have a mask or a piece of old jade, but only one person can have that. A song is different. A song can belong to many people, and you can protect it and care for it. That is the power of the spoken word. (Personal Interview with Cuezalin 2015)

Video Example 3. Cuezalin performing “Zan Yehuan” and discussing the origins of the song

At the same time, as demonstrated and discussed by Cuezalin in Video Example 3, the transition into “La Víbora” highlights a shared Mexican identity, using a song common in Mexican celebrations, such as weddings. For danzantes, these musical elements and their interwoven identities, both ethnic and national, are not exclusive: They exist simultaneously. Through music and dance, danzantes can emphasize one element and then another, using music to temporarily bring different aspects of their identities to the forefront while simultaneously celebrating all of them collectively.

Additional Materials

Discussion questions.

• In what ways does your identity change in these different settings?
• What are some ways in which you may be coupling and decoupling elements together to shape your identity through music?
• Can you think of other examples, possibly from your own life, where a song or piece of music is important to you or others because of its history?

Recommended Readings

Garroutte, Eva Marie. 2003. Real Indians: Identity and the Survival of Native America . Berkeley: University of California Press.

Nájera-Ramírez, Olga, Norma Elia Cantú and Brenda M. Romero, eds. 2009. Dancing Across Borders: Danzas y Bailes Mexicanos . Urbana: University of Illinois Press.

Scolieri, Paul A. 2013. Dancing in the New World: Aztecs, Spaniards, and the Choreography of Conquest. Austin: University of Texas Press.

Digital Resources

General History of the Things of New Spain by Fray Bernardino de Sahagún: The Florentine Codex. World Digital Library.

A digitized version of the Florentine Codex, which was drafted in the 1500s by Indigenous scribes and the monk Bernardino de Sahagún in the decades following the fall of Tenochtitlan. This book describes the religion, life, history, and songs of Nahua people of Central Mexico.

UCLA Ethnomusicology Archive, Collection 2017.02. Collected by Kristina Nielsen.

Watch Cuezalin discuss his composition process and demonstrate rhythms and dances.

Works Cited

A lonso, Ana María. 2004. “Conforming Disconformity: ‘Mestizaje,’ Hybridity, and the Aesthetics of Mexican Nationalism.” Cultural Anthropology 19(4): 459-90.

Brading, David A. 1988. “Manuel Gamio and Official Indigenismo in Mexico.” Bulletin of Latin American Research 7(1): 75-89.

Clarke, John. 2015. “Stuart Hall and the Theory and Practice of Articulation.” Discourse: Studies in the Cultural Politics of Education 36(2): 275-286.

Comisión Nacional para el Desarrollo de los Pueblos Indígenas. 2006. “Informe sobre desarrollo Humana de los pueblos indígenas de México.” Accessed 6 May 2020.

DeLuca, Kevin. 1999. “Articulation Theory: A Discursive Grounding for Rhetorical Practice.” Philosophy & Rhetoric 32(4): 334-48.

Gamio, Manuel. 2010. Forjando Patria: Pro-Nacionalismo , translated by Fernando Armstrong-Fumero. Boulder: University Press of Colorado.

González Torres, Yólotl. 2005. Danza Tu Palabra: La Danza de Los Concheros . Mexico City: Conaculta-INAH.

Grossberg, Lawrence. 1996. “On Postmodernism and Articulation: An Interview with Stuart Hall.” In Stuart Hall: Critical Dialogues in Cultural Studies , edited by David Morley and Kuan-Hsing Chen, 131-51. New York: Routledge.

Hall, Stuart. 1986. “Gramsci’s Relevance for the Study of Race and Ethnicity.” Journal of Communication Inquiry 10(2): 5-27.

Hall, Stuart. 2002. “Race, Articulation and Societies Structured in Dominance.” In Race Critical Theories: Text and Context, edited by Philomena Essed and David Theo Goldberg, 38-68. Oxford: Blackwell Publishers.

International Work Group for Indigenous Affairs. 2019. “Indigenous Peoples in Mexico.” Accessed April 9, 2020.

Instituto Nacional de Lenguas Indígenas Nacionales. 2008. “Catálogo de las Lenguas Indígenas Nacionales: Variantes Lingüísticas de México con sus Autodenominaciones y Referencias Geoestadísticas.” Diario Oficial . Accessed April 9, 2020

Klor de Alva, J. Jorge. 1992. “Introduction: Nahua Studies, The Allure of the ‘Aztecs,’ and Miguel León-Portilla.” In The Aztec Image of Self and Society: An Introduction to Nahua Culture , edited by J. Jorge Klor de Alva, vii-xxiii. Salt Lake City: University of Utah Press.

Knight, Alan. 1990. “Racism, Revolution, and Indigenismo: Mexico, 1910-1940.” In The Idea of Race in Latin America, 1870-1940 , edited by Richard Graham, 71-113. Austin: University of Texas Press.

León-Portilla, Miguel. 1992. Fifteen Poets of the Aztec World . Norman: University of Oklahoma Press.

Nielsen, Kristina. 2014. “The Role of Interpretation in Determining Continuity in Danza Azteca History.” Ethnomusicology Review . Accessed April 9, 2020

Rostas, Susana. 1991. “The Concheros of Mexico: A Search for Ethnic Identity.” Dance Research: The Journal of the Society for Dance Research 9(2): 3-17.

­­­——. 2009. Carrying the Word . Boulder: University of Colorado Press.

­­­——. 2002. “‘Mexicanidad’ The Resurgence of the Indian in Popular Mexican Nationalism.” The Cambridge Journal of Anthropology 23(1): 20-38.

Saavedra, Leonora. 2015. “Carlos Chávez and the Myth of the Aztec Renaissance.” In Carlos Chávez and His World , edited by Leonora Saavedra, 134-165. Princeton: Princeton University Press.

Sahagún, Bernardino de. 1951 [1540-1585]. Florentine Codex Book II translated by Arthur Anderson and Charles Dibble. Santa Fe: The School of American Research and the University of Utah.

Tavárez, David. 2011. The Invisible War: Indigenous Devotions, Discipline, and Dissent in Colonial Mexico . Stanford: Stanfor University Press.

Tuzi, Grazia. 2013. “The Voladores Dance: On the Use of Evidence from the Past to Interpret the Present.” In Flower World: Music Archaeology of the Americas Volume 2, edited by Matthias Stöckli and Arnd Adje Both, 159-176. Berlin: Ekho Verlag.

United Nations Permanent Forum on Indigenous People. “Factsheet.” Accessed April 9, 2020.

Vasconcelos, José. 1979 [1925]. The Cosmic Race: La raza cósmica . Trans. Didier T. Jaén. Baltimore: John Hopkins University Press.

This does not mean that there is not continuity, only that without reliable sources these continuities cannot be verified. For analyses that have explored how continuity might be determined, see Grazia Tuzi’s The Voladores Dance: Traces of the Past for the Interpretation of the Present (2013) and a deeper exploration of the idea of continuity and breaks in the danza tradition (Nielsen 2014).

There are large African and Asian communities in Mexico who have made important cultural contributions to music and dance. While these are sometimes included in the idea of mestizaje , they were discriminated against by many Mexican national thinkers in the early twentieth century and not fully included in the national ideology of mestizaje (Vasconcelos 1979:43-44; Knight 1990:97). For that reason, I focus on Europeans and Spanish traditions that are important to Danza Azteca.

Kristina F. Nielsen is an assistant professor at Southern Methodist University in Dallas, Texas. Her research explores the roles of music and dance in Indigenous revitalization movements.

• Music of the Renaissance Words: 1292
• Different Functions of Music: Art and Social Movements Words: 566
• Cultural Heritage Course: Arts, Literature, Music Words: 1717
• Music, Art, and Dance of Latino Culture Group Words: 305
• Philosophizing About Music and Emotions Words: 1387
• Classical Arab Music Words: 1922
• Cherokee Music and Culture Words: 1311
• The Power of Art in Society Words: 2488
• Music and Its Impact on Cognition and Emotions Words: 1173
• What is Art? Finding a Definition Words: 1194

Art, Music, and Dance

Art is a distinctive map of the success of all humankind. It shows how people developed in different eras, what they believed in, how their perception of the world collapsed, changed, and was built again. All discoveries, new ideas, goals, and beliefs are reflected in art. There are pictures on cave walls that demonstrate the way of life of an ancient person and that are already history. Moreover, some stories become myths and legends that represent people’s ancestors’ beliefs and imagination. Religious art is inextricably linked with the faith in God, spiritual life, rituals, and the divine power symbolism. However, one can assume that all art is religious since it requires a change in the environment for one single benefit – aesthetic pleasure. Nevertheless, there are situations when art, for some reason, can insult religion and lead to the suffering or death of a person (Nanda and Warms 279). The power of art may lie in its emotional expression of important cultural themes, or the art itself may be regarded as inherently powerful, as when art is performed as part of a ritual.

Dance is a special form of art that may be used for expressing emotions, getting rid of worries and aggression, telling a story, sharing feelings, and even praying. There are some religions and cultures that use dance as a form of communicating with their Gods. Besides, several “religious rituals may involve the telling or acting out of sacred stories; the use of music, dance, drugs, or pain to move worshippers to a state of trance” (Nanda and Warms 263). Certain movements may mean special things and be used in dances for various purposes.

Music is one of the oldest forms of art that is present in all cultures and religions. Music arose from a combination of voice and tapping, and dance was often added to it. It is difficult to disagree with the fact that music is meaningful: it may express one’s mood and emotions or tell a story. Music unites people, and one example of that is national anthems, which are sung by all the citizens of the country. Another example is how soldiers in a war raise morale with native songs. Music lives in every person, regardless of whether they play any instruments or not.

Nanda, Serena, and Richard L. Warms. Culture Counts: A Concise Introduction to Cultural Anthropology . Cengage Learning, 2017.

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“Dance and Music As Forms of Art” – Essay

Dance and music as ancient performing arts have always been a part of the life of Indian people. Our religious literature recognised dance as an important activity in the human search for god. The relics of earliest civilisation in India clearly demonstrate the importance of dance.

In the later period too dance remained at the forefront of all the performing arts. We learn about it from the sculptures, from the paintings, as also from numerous textual treatises on the art of dance. Music too has an old and long tradition. It has also enjoyed patronage of the people in general.

In fact the birth of music lay, in the ancient past, in the religious activities of the people – the chanting of scriptures and paying musical offerings to gods is a well documented activity. It was also discovered then that the sound produced from different parts of the human body the abdomen, lungs, throat and head -made a system by itself.

Image Source : christopherbusbin.com

The ratios and proportions which sound patterns displayed soon developed into an order called sruti. Gradually the musical scales were standardised and laws were framed to regulate the practice of singing and instrument playing.

This allowed the evolution of melodies and a system of musical notations (raag) to come into being. In its simplest and most obvious form and meaning, a dance is the physical expression of the emotive content of music.

The pleasure of music is in the listening; the pleasure of dancing is in watching that music take a bodily shape and express its meaning in a visual experience. In the Indian literary tradition there is no dearth of critical writings on the art of dance.

Both, at the level of theory and technique, the texts provide valuable information. But the most important and also fundamental among all these works is Natyashastra. It was composed by Bharat, a sage, and its date is generally believed to fall between the 2nd century B.C. and 2nd century A.D (in all probability around the 1st century A.D.).

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