How could we dance
How Can We Dance (Original Mix) by Ghostbusterz on Beatport
- Length 4:55
- Released 2022-07-15
- BPM 126
- Key G maj
- Genre Funky House
- Label Tactical Records
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Why do we dance? | Ask Dr. Universe
If we traveled around the world, we would see all kinds of dancers. We might see classical ballerinas in Russia. We might see break dancers performing on the streets of New York. We might even see tango dancers in Argentina.
While the exact reasons we dance remain a mystery, there are a few theories about it.
That’s what I found out from my friend Ed Hagen, an anthropologist at Washington State University who has researched the roots of dance.
Dancing in nature
In nature, we actually see a lot of animals dancing. It’s not just humans. Bees do a kind of waggle dance where they step in a figure-eight pattern. This movement helps them communicate important information. It lets other bees know where to find the best pollen to make honey.
Birds, especially male birds, will often flutter their bright and beautiful feathers to attract a mate. Dolphins will also make graceful leaps together and twirl around in the ocean to attract a partner.
This process of using dance to find a mate is part of something called courtship, Hagen said. Dance may also be part of courtship in humans, too. A good dance could be a signal that your partner is intelligent, has the ability to perform a skill, and might even be able to pass these traits down to the next generation.
Of course, people still dance even if they aren’t looking for a mate. One other idea about why humans dance is that early humans used movement to signal that a certain place was part of their territory.
A lot of animals, like lions and coyotes, also use movement or sound to signal to others: “This is our land. Don’t mess with us.”
While dancing may be rooted in courtship or protecting what’s yours, we dance for many reasons today: celebration, competition, and even exercise.
I also talked to my friend Kaila Evenoff, coach of the WSU Crimson Girls dance team, to find out more about it.
“Dance is a form of expression and a form of art,” she said. “We can convey our emotions into movement without talking.”
We can plan, or choreograph, these movements, too. When the team performs at football games, they help lift the crowd’s spirits. They also compete against other dance teams around the country to see who has the best skills.
Dance to your own beat
Even if you aren’t a professional dancer, dancing can be a good form of exercise, too. It helps the body produce endorphins, or brain chemicals that make us feel happy.
“It is really enjoyable,” Hagen said. “That opens the question, why is it enjoyable?”
The types of dances we do change throughout time, too. In fact, humans come up with new dance moves all the time. I’ll have to see if I can come up with any good ones.
Maybe one day you can put on your dancing shoes and thinking cap to help us learn even more about what it means to dance.
What is the difference between a dance and a dance • Episode transcript • Arzamas
Contents of the third lecture from Irina Sirotkina's course "What is modern dance"
In the last lecture we were convinced that dance is not so alien to philosophy as ignorant people used to think about it. Our next step is to show that dance can very well be a philosophy. Remember Nietzsche said that you need to philosophize with both your feet and your head? How they think with their heads seems to be clear. But is it possible to "think with your feet"? But some famous dancers speak directly about this. One of the creators of postmodern dance, Merce Cunningham (we will return to him later), stated: “I am no more philosophical than my legs.”
The more you get to know the dance, the more you notice contradictions in it. On the one hand, dance is liberation, emancipation of the body. On the other hand, there are a lot of rules in the dance. For example, when dancing with a partner and walking freely, it is important not to step on his or her foot.
Balls have always had very strict rules regarding not only the sequence of movements in each dance, but also the sequence of dances. The aristocratic ball opened with a polonaise, followed by more cheerful mazurka and cotillion. It was carefully prescribed who would dance with whom: it was indecent to dance more than three times with the same gentleman. The outfit was even more strictly controlled: it was obligatory to wear gloves (white and always clean) so that, God forbid, not to touch the skin of a partner. In other words, the ball is very, very codified by custom, rules, prescriptions. However, by the end of it, "ballroom liberties" could also increase. No wonder loves and marriages began at balls.
Yuri Mikhailovich Lotman wrote something like this: dance exists in the space between discipline and freedom, order and liberties. This is true not only about ballroom dancing, but about dance in general. The existence between order and freedom is the first dilemma of dance, which we will talk about today. By the way, the presence of two different words in the Russian language is connected with it: "dance" and "dance". These words are not full synonyms, they mean different things (I call them concept words). And their origin is different. "Dance" is a word borrowed from the German language (der Tanz), "dance" is a native Russian. The word "dance" entered the Russian language at the same time when the first balls, or "assemblies" appeared, which were arranged by Peter I.
If we place dance and dance on a scale with maximum freedom on one pole and maximum order on the other, then the dance will be closer to the pole of freedom, and the dance will be closer to the pole of order. In dance, as we have seen, there is also freedom, but in dance there is more of it. We call dance a passionate, wild, free, ecstatic dance. Unlike dance, dance is subject to regulations, the rules of the civilization that created it, the laws of art. Dance and dance in a sense oppose each other, like a free expression of feelings - self-control.
You have probably heard the expressions “nerves dance”, “soul dances”. Buffoons are dancing, a tightrope walker is dancing in the sky above the fair. Buffoons in their dance triumph over the prohibitions of the official repressive culture - it was not for nothing that the church forbade buffoon games. And the buffoons themselves were severely punished: in Andrei Tarkovsky's film "Andrey Rublev", the buffoon is cut off his seditious language.
Free from conventions and restrictions, dance is subject only to music, which itself is an emotional element. The dance cannot be "performed", it can only be surrendered to - like passion or ecstasy, "start dancing".
As we can understand, dance and dance are also class antipodes: rich and noble people “dance” at balls, peasants “dance”, ordinary townspeople - in a word, the people. The dance is democratic, the dance is aristocratic. Remember how in "War and Peace" Natasha Rostova, trained only in ballroom dancing, unexpectedly for everyone (and perhaps for herself) dances "Russian" to her uncle's guitar - with the full approval of the peasants.
Some even talk about the "dancing instinct", supposedly universal for all people, but I will not subscribe to the biological word "instinct". I prefer to stay in the realm of culture when talking about dance rather than speculating that animals also dance. It seems to me that we are talking about different phenomena here.
Of course, dance and dancing have a lot in common. Both serve for communication - not only personal, tete-a-tete, but, as sociologists say, are included in the processes of group communication. This is especially noticeable in some dances: look, for example, how much pride and challenge in the movements of flamenco dancers. And in Russian dances, men even have special knees: trick, breaking (hence the colloquial “Well, why are you breaking out?”), snorting, frightening, trepak. This is a challenge, intimidation of an opponent, maintaining one's own morale. They are performed, for example, during aggressive courtship or as a provocation to a fight. Not without reason, at the end of rural holidays, after round dances and dances, street fights often took place. They fought wall to wall (for example, suitors because of a girl with the support of their teams) or on a geographical basis: street to street, edge to edge. Now this tradition has partly passed to modern street dance, street dance - hip-hop. Initially, this is a rivalry between two gangs from different quarters: as in a Russian village, they compete in prowess, intimidate each other, promising to give each other a trepak.
With this ability of street dancing - a symbolic confrontation - to develop into a real struggle, sometimes with bloodshed and self-mutilation, perhaps the distrust of the authorities in public holidays is connected. The authorities have always tried to put the dance under their control. In pre-revolutionary Russia, the introduction of folk festivals into a "civilized" framework was carried out, in particular, by public organizations - guardians of people's sobriety. In contrast to the taverns, they opened the so-called people's houses, where they drank tea, not vodka. In Soviet times, this tradition was continued by red corners, factory and village clubs, and Houses of Culture. They tried to subdue the free, uncontrollable energy of folk festivals and dances, introduce them into a disciplinary channel, and regulate. For this, they organized "amateur art" (which, of course, is a paradox - organized amateur performance). They published instructions for holding club evenings, collections of "mass games and dances". At 19In 28, at the All-Union Spartakiad, they even organized a “dance championship” between different peoples of the USSR.
The Pyatnitsky Choir, which arose even before the revolution and was an informal gathering of singers and musicians, became "state" and even "academic" under Soviet rule. On the wave of taming the "wild" dance, in the terrible year for the country in 1937, the first State Folk Dance Ensemble was created - it was permanently led by Igor Moiseev. A rather strange hybrid of folk dance and classical ballet appeared - the so-called folk stage dance. The dance began to be staged by special choreographers and taught in special schools, including cultural institutes. Finally, the dance rose to the very top of officialdom: "folk dances" were included in physical culture and other parades on Red Square. Moiseev, Kasyan Goleizovsky, and other professional choreographers, including those from the Bolshoi Theater, took part in staging the parades.
It is curious that when Isadora Duncan came to Russia on her first tour, her dance was so unusual, it was so different from both balls and ballet that it could not even be called a dance. Journalists, critics, fans unanimously wrote and spoke about Duncan as a dancer. They remembered Nietzsche again (Isadora herself ambitiously imagined herself “a battlefield contested by Apollo, Dionysus, Christ, Nietzsche and Richard Wagner”). Her dance has become for her fans a symbol of rebellion against a repressive culture, a space of individual freedom, where creativity and creation of oneself are possible, where the human "I", the personality, is revealed - or perhaps created for the first time.Reenactment of Isadora Duncan's dance by Sylvia Gold. Music by Franz Schubert. 1979
As we remember, the “dancing philosopher” Nietzsche admitted that he would believe “only in such a God who could dance”, and considered lost “the day when we never danced”. He meant, commented Isadora, not pirouettes and entrecha, but "an expression of life's ecstasy in motion." Creating her dance - deeply emotional and personal - Duncan claimed to experience ecstasies on stage and revel in her own "will to dance." This is how she attracted spectators who admired the "rapture of joy of the dancer" and believed that she should be seen "if only because of this joy of hers to dance. " Dance-ecstasy, dance-improvisation became the most characteristic utopia of the Silver Age. Man, wrote one of Duncan's followers, must first of all awaken his "will to improvise." Dance improvisation is "the manifestation and realization of one's higher spiritual and physical "I"". Duncan's fans saw in her dance a means to restore the once lost integrity, to bridge the gap between mind and emotions, soul and body. No wonder her dance was called free, free.
Michel Foucault has a concept of biopower - this is how he calls the control that modern society exercises over the body of an individual. This is not so much about direct control, but about a set of cultural norms and practices for disciplining the body. It is required to discipline the body, to educate, to subordinate it to control and self-control precisely because they see a danger in the body. The awakening of bodily forces and energies can be fraught both for others and for the “owner of the body” itself.
Conversely, physicality and dance are often seen as the last island of resistance, including resistance to a normative culture clothed in the words of an ideology.
The dancing body is more than a mere conductor of social norms. Unlike consciousness, it - so these people believe - is able to elude the rigid requirements of morality, relations of dominance and submission, the hypnosis of consumerism, consumerism. The body can become the basis for a radically different relationship. I will neither confirm nor refute this statement - I will leave it open so that the listeners themselves can explore the relations of order and freedom in their body and their dance.
More to read:
Bakhtin M. M. Folk-holiday forms and images in the novel Rabelais. The work of Francois Rabelais and the folk culture of the Middle Ages and the Renaissance. Ch. 3. M., 1990 .
Kreidlin G. E. Non-verbal semiotics. Body language and natural language. M., 2004 .
Lotman Yu. M. Conversations about Russian culture. Life and traditions of the Russian nobility (XVIII - early XIX century). Part 2: ball. St. Petersburg, 1994.
Shay A. Choreographic Politics: State Folk Dance Companies, Representation, and Power. Middletown, 2002 .
Body history. M., 2012.
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Continuation of the podcast "Fulcrum". Culturologist Anna Shmaina-Velikanova talks about what the authors of biblical books thought about death, love, freedom and other things that worry us today. In the fourth edition - the Apocalypse, or the Revelation of John the Theologian
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What is a dance
than the usual movement differs from the dance, which is studied by biomechanics and kinesiology and how at the beginning of the 20th century, the attitude towards the body changed
Read by Irina Sirotkina
Dance as a philosophy
Why God must dance in Nietzsche and how the choreographers talked about loneliness, the future of mankind and the causes of the First World War
Reading Irina Sirotkina Why God must dance 9003 how choreographers talked about loneliness, the future of mankind and the causes of the First World War
How dance differs from dancing
Reading Irina Sirotkina
Why should the authorities control folk festivals, what is the utopia of ecstatic dancing and what is the danger of an undisciplined body
Dance: elements or art?
Why teach natural movements, how to make a dancer a "non-human" being and what do pointe shoes and bio-prostheses have in common
Read by Irina Sirotkina
Why teach natural movements, how to make a dancer a "non-human" creature and what do pointe shoes and bio-prostheses have in common
How dance affects the viewer
Where does agility come from, what is the attraction of acrobatics and why is it more interesting to watch dance if you have tried dancing yourself
Reads Irina Sirotkina the attractiveness of acrobatics and why it is more interesting to watch dance if you have tried dancing yourself
The ideal body for dancing
be able to dance everything
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How does a ballet body differ from a jazz body, why Martha Graham would not tolerate virgins in her troupe, and is it possible to be able to dance everything
ordinary movements of an untrained body that shocked the audience in Isadora Duncan and why dance is a desire machine
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What ordinary movements of an untrained body can tell about what shocked the audience in Isadora Duncan and why dance is a desire machine
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Dance Day Messages - Live Dancing
In 1982, the Dance Committee of the International Theater Institute of UNESCO proposed that April 29 should be celebrated annually as International Dance Day. International Dance Day serves to bring all Dances together, celebrate this art form and rejoice in its ability to cross all political, cultural and ethnic boundaries, its ability to unite people in the name of friendship and peace, allowing them to speak the same language - the language of DANCE. Every year, world-famous dancers and choreographers write a "Message" dedicated to the Day of Dance, dance festivals are held all over the world.
Message for International Dance Day 2022 from Kang Siu-jin, Korean ballerina
The Covid-19 catastrophe has brought life to a halt as we freely knew it, and in the midst of this tragedy, we need to rethink the meaning of “dance” and “dancers” ". In the distant past, dance was the main means of expression and communication through gestures; it has become a performance art that touches the soul and inspires the audience. This is the art of the moment, which is difficult to restore to its original form after completion, because it is created by the whole body and soul. The dance consists of ephemeral moments, and the dancers are destined to be in motion forever. However, Covid-19limited and even blocked the art of dance in its original form.
Although the situation is improving, dance performances are still largely limited. It makes us cherish precious memories of the times when dance and dancers sparkled like jewels, conveying human anguish and anxiety, will and hope for life, and illuminating the world.
It is equally important to recall that during the aftermath of the Black Death in medieval Europe, the ballet Giselle, depicting love beyond death, was performed at the Paris Opera on June 28, 1841, to a stormy response. Since then, Giselle has been performed throughout Europe and around the world to console and encourage the souls of humanity devastated by the pandemic. It also reflects my understanding of what was first demonstrated in that very performance of Giselle, that the magnificent spirit of the ballerina is trying to escape the weight of the world's adversity.
Lonely and weary, the audience yearns for the sympathy and consolation of the dancers. As dancers, we believe that the flapping of our wings brings hope to the hearts of those who love the art of dance and gives them the courage to overcome this pandemic.
My heart is already starting to beat faster.
International Dance Day Message 2020 by Gregory Vuyani MAQOMA, South Africa Dancer, actor, choreographer and dance educator:
Message 2020 from South African dancer, choreographer and teacher Gregory Vuyani Makoma.
During a recent interview I had to think deeply about dance: What does it mean to me? Answering, I was forced to reconsider my whole path and realized that it was all about the goal; each day offers a new challenge to face and it is through dance that I try to make sense of the world.
We are going through unimaginable tragedies in our time, which I can best describe as a post-human era. More than ever, we must dance with a purpose to remind the world that humanity still exists. Purpose and empathy must transcend years of the undeniable virtual landscape of extinction that engenders a catharsis of universal sorrow in order to conquer sadness, a difficult reality that continues to permeate the lives of those who face death, rejection and poverty.
More than ever, our dance must send a strong signal to world leaders and those charged with the security and betterment of human existence that we are an army of angry thinkers and our goal is to change the world one step at a time. once. Dance is freedom, and through our found freedom, we must free others from the traps they face in different parts of the world. Dance is not politics, but it becomes political because it carries a human connection in its fabric and reacts to circumstances in an attempt to restore human dignity.
As we dance with our bodies, whirl through space, and connect together, we become a force of motion, intertwining hearts, touching souls, and providing the healing we desperately need. And the goal becomes the one-headed hydra of the invincible and indivisible dance.
All we need now is more dancing!!!
International Dance Day Message 2019 by Karima Mansour
In the beginning there was movement… and from the beginning of time, dance has been a powerful form of expression and celebration. It was found on the frescoes of Egyptian pharaohs and has been inspiring dancers since the beginning of time. Through dance, people spoke to the many gods and goddesses of dance and all the meanings that they carried with them, such as balance, which is associated with justice, musicality, tone, individual and cosmic consciousness, and much more.
I once read: “It was believed that the dance in the time of the pharaohs uplifted the spirit of the dancers and the audience, spectators and participants. Music and dance appealed to the highest impulses of human nature and gave consolation in disappointments and losses.
Movement is the language we all speak. Movement is a universal language that belongs to everyone, as long as our senses are open and we listen. The willingness to listen is what is needed, to listen without wanting to interfere, to listen without judgment, to listen in silence and to let the movement pass through the body right now, because everything inside and around us is in motion, in constant motion. At this point, the body does not lie because it listens to its truth and expresses it.
Listening to the beating of our heart, we can dance the dance of life, which requires movement, flexibility and adaptability, constantly changing choreography.
In these days, in this age, when connection and connectedness take on a new meaning and where we are at the lowest level of our ability to connect... Dance remains the most sought-after activity that helps us restore lost connections. Dance brings us back to our roots, to a sense of culture, but also leads us on a direct, sensual, personal, essential and heartfelt path, allowing us to remain social animals. Therefore, when we connect with ourselves, when we listen to our inner rhythm, then we are able to connect with other people and communicate.
In the dance, cultures unite and boundaries disappear in the space of inclusion of everyone and unity, through a universal language without words.
The body is an instrument of expression, a vessel for our voice, our thoughts and feelings, our history, our being and existence, our yearning for expression and connection that manifests itself in movement.
Dance is a space that allows a person to connect with their truth, for which a space of silence is needed. Dance allows us to connect and feel wholeness and only this feeling can bring peace and with peace comes silence and in silence we can hear, speak and through silence we learn to dance our truth and this is where the dance becomes necessary.
In movement and dance we can move from vertical to horizontal, from top to bottom and vice versa. In dance and movement, chaos can be created and transformed. Or not. It is a space where we are able to create our own realities and fleeting, ephemeral moments, one after the other. Moments that can stay in our memory, touch us, inspire and change our lives and the lives of others. This is the power of true expression and this is the power of dance.
Dance heals. In dance we can meet humanity.
I invite people to go beyond borders, beyond identity crisis, beyond nationalism and boundaries. Let's break free from these limitations and find movement and momentum in this universal language. I invite everyone to dance to the rhythm of their heart, to dance from their truth, because from this inner movement an inner revolution is born and real changes take place.
International Dance Day Message 2018 by Ohad Naharin:
When I dance, I am in the moment. I listen to the full range of sensations and allow this listening to become fuel for feelings, forms and content. And yet we must always remember where we come from. When I was asked what my works are about, at first I answered that they speak for themselves. That all the elements together create their story. The dance tells about volume, subtlety and explosive power. It is a study of movement, its organization and structure. Laughter at oneself, dynamics, exaggeration and understatement, the connection between pleasure and effort, as well as the sublimation of the madness, passion and fantasy of each dancer into a clear form. At its very best, a dance can be flawless, even if it is far from perfect. We need to resist the conservative and conventional thinking rooted in dance education and training, to let go of old ideas for new, better ones. And we must always remember to dance every day, at least a little... And we must always remember to dance every day, at least a little... and never in front of a mirror.
International Dance Day Message 2017 by Trisha Brown:
I became a dancer because I wanted to fly. I have always been inspired by defying gravity. There is no secret meaning in my dances. They are spiritual exercises in physical form.
Dance is communication, it expands the universal language of communication, it creates joy, beauty and increases human knowledge. Dance... it's about creativity... again and again... in thinking, in creating, in action and in performance. Our bodies are instruments of expression and not intermediaries for display. This understanding frees our ability to create, which is the essence and gift of creating art.
An artist's life does not end with age, as some critics believe. Dance is made of people, people and ideas. as viewers, we can take the creative impulse with us and apply it to our daily lives.
International Dance Day - April 29, 2016
Author author: Lemi Ponifasio, Samoa / New Zealand
Turn to Cosmos
Source of the Divine
so that we can see ours so that we can see ours children
entanglement of everything above around below
our flesh, bones
The earth, rotating,
makes masses of people move
turtles are in silent expectation
the heart is wounded
the movement of justice5
Translation into Russian by: Julia Ardashnikova
International Dance Day - April 29, 2014
Every artist is proud of his art.
Each artist will always defend that art form, the meeting with which changed his whole life.
The very one that he gains and loses and burns with the desire to share it with others, be it the sound of a voice, a found word, an interpretation of a text for all mankind, music without which the universe cannot communicate with us, or a movement that opens the doors of grace.
As a dancer and choreographer, I am not only proud of the dance, but also deeply grateful for it. The dance brought me luck. He became my morality, accustomed to discipline, and provided everything necessary to know this world.
He became the closest to me, giving me strength for each new day, filling me with his energy and generosity. His poetry gives me peace of mind.
Do I need to say that I cannot exist without dancing? Without the capacity for self-expression that he gave me? Without the self-confidence I have gained to overcome fears and break through dead ends?
Through dance, realizing the beauty and complexity of this world, I became a citizen. A special citizen who transforms the norms of life, remaining faithful to the hip-hop culture, transforming negative energy into a force for good.
Dance is a constant source of pride for me. But, and feeling proud, I live with pain in my heart. I see that individual representatives of the working youth around me are disoriented and helpless, that they live in an atmosphere of tension and hopelessness, without hope for the future. Actually, and I am one of them, in fact - we are all one. And I, perhaps more than others, strive by my own example to help them find their way in life.
Doesn't the prosperity of each of us contribute to the prosperity of society?
Culture unites people more than reasoning. So show courage and take risks, regardless of the obstacles and hatred in your way; the beauty of the world will always be on your side. So for me is the dance with its ability to ignore social and ethnic differences, leaving only the movement of the body in all its beauty; a man who has returned to pure expression, unique and unifying.
I would like to end with a quote from René Char, whose words remind me every day that no one is allowed to limit us to given roles.
“Catch your luck, hold on tight to your lucky break and take risks. Watching you, they'll get used to it."
So dare, fall down and start again, get up, dance - never stop dancing!
Murad Murzuki Murzuki Application
Translation by Yulia Ardashnikova
Epistle to the International Dance Day 2013
in a large preface to the “Book of Songs”,
Anthology of Chinese Poetry,
dacha BC, said:
“Emotions move and take shape in words.
If words are not enough, we speak with sighs.
If breaths are not enough, we sing.
If songs aren't enough,
then our hands unconsciously dance
and our feet tap them out."
Dancing is a powerful way of expression.
He speaks of our joy, our fears and desires. He speaks of something elusive, and at the same time reveals the state of mind of a person.
As in many cultures around the world, Taiwanese people dance in a circle. Their ancestors believed that evil could not enter this circle. With their hands joined, they share warmth with each other and move in a common rhythm. Dance connects people.
The dance happens at the vanishing point. The movement disappears after it has happened. Dance exists only in the elusive present. How accurate! This is a metaphor for life itself.
In the digital age, images of movement take on thousands of forms. They are delightful.
But they can never replace the dance, because the images have no breath. Dance is a celebration of life.
Go, turn off the TV, turn off the computer, go and dance. Express yourself through this divine and majestic instrument which is our body. Go dance and connect with people in the waves of rhythms.
Capture that precise, elusive moment.
Go celebrate life in dance.
Lin Hwai-min, Founder/Artistic Director, Cloud Gate Dance Theater of Taiwan
Message for International Dance Day 2012
Celebrate the endless choreography of life 905 , art. It seems that art exists wherever a person lives - embodied in buildings or books, paintings or music. Or movement, or dance. In this sense, I believe that dance is the most modern, the most urgent lesson of history, because it is in constant relationship with the passing past and occurs only in the present.
Dance also knows no boundaries, as do many other art forms. Even when certain styles try to set borders or borders on themselves; the very movement of life, its choreography, its need for flow: this side takes over very quickly, allowing styles to connect with each other. Everything is involved in everything, naturally, and the dance lives only in the place where it belongs - the ever-changing present.
I believe that dance is perhaps the most honest form of expression worth caring about: because when people dance, be it a ballet performance, a hip-hop battle, an avant-garde contemporary show, or just a free disco, they rarely lie or dress up. masks. People imitate each other all the time, but when they dance, most often they imitate this moment of honesty.
By moving like other people, moving with other people, watching them move, we can better feel their emotions, think their thoughts, and connect with their energy. And then, perhaps, we can know and understand them more clearly. I like to think of a dance performance as a celebration of coexistence, a way to give and create space and time for each other. We may forget this, but the deep beauty of the performance is that the masses of people sitting next to each other connect in one moment of experience. There is nothing personal about it: speaking is an extremely social experience. We all come together for this ritual that connects us to the performance, connects us to the one present.
So in 2012, I wish you lots of dancing. Not to forget all the problems of 2011, but rather to solve them creatively, to dance with them, to find ways to connect with each other and with the world, to get involved in life as part of an endless choreography. Dance to find honesty and communicate, reflect and celebrate it.
Sidi Larbi Cherkaoui
Message for International Dance Day 2011
I think dance celebrates what makes us human.
When we dance, we naturally use our body mechanics and our feelings to express joy, sadness, and everything we care about. People have always celebrated important moments of life in dance and our bodies store the memory of all possible human experiences. We can dance alone and we can dance together. We can share what makes us similar and what makes us different.
For me, dance is a form of thinking. Through dance we can embody the most abstract ideas and thus discover what cannot be seen and named.
Dance is a connection between people, a connection between heaven and earth. We store the whole world in our bodies.
I think that in the end every dance is part of a larger whole, a Dance that has no beginning and no end.
Message by Anne Teresa De Keersmaeker
Message for International Dance Day 2010
Dance is a discipline, work, learning, communication. With it, we save those words that may not be understood by others, and in return we create a universal language familiar to everyone. He brings pleasure, he makes us free, he comforts us in the realization of the impossibility of flying like birds, bringing us closer to heaven, the sacred, the infinite.
It's high art that changes every time, so much like making love that by the end of each performance it makes our heart beat faster and look forward to the next time.
Julio Bocca, Argentina
Message for International Dance Day 2009
This special day, International Dance Day, celebrates a language that everyone in the world can speak, it is the innate language of our bodies and our souls, our ancestors and our children.
This day is dedicated to all the gods, teachers and ancestors who have ever taught and inspired us.
To every song, impulse and moment that has ever led us to move.
It is dedicated to a small child who wants to move like a star.
And the mother who says, “Yes, you can already.”
This day is dedicated to the bodies of every creed, color and culture that keep the traditions of the past in the stories of the present and the dreams of the future. This day is dedicated to the Dance, its myriad of dialects and its boundless power to express, transform, unite and give pleasure.
Akram Khan , UK
Message for International Dance Day 2008
The Spirit of Dance has NO color, NO definite shape or size,
But it is the Spirit of Unity, the Power
And the Beauty within us.
Every Dancing Soul, Young, Old, Disabled -
Create and implement ideas, changing and developing the Art.
Dance is a mirror that reflects how the impossible becomes possible.
So that everyone can touch, hear, feel and experience.
The sounds of our heart and Soul are our rhythm,
Each of our movements reveals the history of mankind.
This is the element in which the Human Spirit can cognize all the highest Freedom.
Every time our hands touch, something wonderful happens,
What the Soul remembers, the body tells through movement.
And then the Dance becomes a healing force available to all,
You are my eyes, and I am your feet.
Celebrate INTERNATIONAL DANCE DAY,
With all the Passion for Dance, to heal each other,
Unite your dance community,
And most importantly, be the Best you can rightfully be,
We can unite through the Power and Spirit of the Dance.
GLADYS FACE AGULHAS, South Africa
Message for International Dance Day 2007
A person dances at birthdays, at weddings, in the streets, in living rooms, on stage, behind the stage. To convey joy and sadness, for a ritual or for a borderline experience.
Dance is a universal language: a messenger of peaceful peace, a messenger of equality, tolerance and compassion. Dance teaches us receptivity, self-awareness and attention to the present moment.
Dance is a manifestation of our vitality. Dance is transformation. Dance finds our soul, dance gives the body a spiritual dimension. Dance allows us to feel the body, rise above it, go beyond it, become another body.
To dance means to participate in the vibration of the universe by action.
Sascha Waltz , choreographer (Germany)
Message for International Dance Day 2006
Dance does not require a pen or brush.
The only tool needed is the human body.
Each movement is impregnated with dance. To move means to dance.
Dance requires total engagement of the body, mind and soul. Only those who are truly devoted to him enter the path of dance. This austerity shapes both the character and the body, and the reward of such devotion grows a hundredfold. No freedom is possible without the power of the spirit over the body.
For us Khmers, dance in its most perfect form is a way to get closer to the gods. Dance becomes prayer. It becomes a necessary ritual for us to move forward, it transcends us to the divine and elevates us to supernatural heights.
And let the dancers of the Royal Ballet of Cambodia be our mediators in this, on International Dance Day. So that, by dancing, we can strengthen everywhere the noble practice of tolerance, so important for humanity in 2006.
His Majesty Pre Bat Samdeh Pre Boromnet Norodom Sihamoni,
King of Cambodia
Messages for International Dance Day - 2005
Just as a fish does not feel water, so a person does not feel the continuous, primordial dance of the world. So he chooses something and calls it dance.
By goodween, thecroaker, "hemulenka, onsamyi, lionnid, pullus_,na_kryliah
Message for International Dance Day 2004
Dance is the original, most ancient form of human expression. Through the body and the language of movement, dance acquires a deep connection with the emotional and spiritual world.
For Aboriginal Australian culture, dance is the essence, a form of sacred healing. The dance is rooted, connected with the spirit of Mother Earth. Until you surrender to the dance, you will not be able to hunt in peace. It is an integral part of human existence.
Preparing a new dance, I ask the dancers to absorb and digest the grain of tradition, to feel the original code inside, so that we can, by transforming, bring the essence of tradition into the modern world.
Dance is a universal language. It embodies human identity and a celebration of the human spirit. Dance is the creative heart of the kinship of all living things. Dance is the universal sacred medicine.
Message for International Dance Day 2003
What is dance? If you are ready to answer this question, you can hardly be trusted. However, I will try: dance is thinking through the body.
Is it necessary to think through the body? Probably, survival does not depend on this, but the quality of life depends. There are many thoughts that only the body can think. Many things, such as peace on earth, are probably more important than dance. But we need a dance to celebrate the world. And exorcise the demons of war, as Nijinsky did. Anarchist Emma Goldman said it best: "If a revolution won't let me dance, it's not worth fighting for."
God Shiva created the universe with his dance. But dance is the opposite of all divine claims. The dance is rather a constant attempt, like writing on water. Dance is not life itself, but it allows you to keep alive those little things that make up a great life.
Message for International Dance Day 2002
Dancers, like all artists, feel and create feelings in other people.
We were all suddenly struck by the fire of feelings after the cataclysm of September 11, 2001.
Dancers have been given a great gift of movement and form. They live whole; body, mind and spirit unite in a single and uninterrupted action.
Keep dancing. Whatever happens, and, God forbid, the worst we have already seen, I tell you: "KEEP DANCING!"
Katherine Dunham ,
One of the first African-American dancers, USA
Message for International Dance Day 2001
We seem to have started walking.
We seem to be walking as long as the earth holds us.
William Forsyth ,
Message for International Dance Day 2000
The world of dance is a garden,
maybe not very big and infinitely deep5.
It has a place for everyone.
Make your own rules,
to break them,
to find new feelings,
new realities, new dimensions.
Jiri Kilian ,
choreographer, director of the Netherlands Dance Theater
Message for the International Dance Day - 1998
On the eve of death, a person remembers the happiest moments of his life.
He looks at the palms, his eyes wide open. He calmly contemplates death and life, joy and sorrow.
This is the daily training of the soul, maybe this is just the beginning of the journey?
And here I sit, understanding nothing, where the dead play their games. Here I want to dance and dance and dance, wild grass life.