How is dance an art
Dance as a tool for creativity with young people
Claudio Kogon
Nov 2013
Art is an ever-changing mixture of the intellectual and the emotional, the physical and the spiritual, which makes a virtue of subjectivity.
Art is an ever-changing mixture of the intellectual and the emotional, the physical and the spiritual, which makes a virtue of subjectivity. It offers a unique means by which we can explore ourselves and our position in the wider world and is a way to exchange with other people about what we see and feel and think and sense. Art is a way of opening dialogue within and between individuals and communities.
Dance is a fully-fledged art form, belonging to the ‘performing arts’, a goal in itself and a means of allowing a human being to express his inner feelings, thoughts and experiences. Dance is a natural form of self-expression: the body expresses itself naturally and so therefore does the spirit. We are all free willed beings, no matter what our personal situation may be. Through dance, our body expresses how free we actually are, while also highlighting the restrictions our minds impose on it.
Dance is the art form in which human movement becomes the medium for sensing, understanding, and communicating ideas, feelings, and experiences. Dance has its own content, vocabulary, skills, and techniques, which must be understood and applied to be proficient in the art. The elements of dance are the fundamental concepts and vocabulary for developing movement skills as well as understanding dance as an art form.All these elements are simultaneously present in a dance or even in a short movement phrase.
But is this the only ‘use’ of the art forms? Their “higher expression” in the performing arena? Or is it the time to reconnect ourselves to our bodies and come back to dance as an integral part of our life?
In ancient times, people used to constantly dance, since dance has always been one of the intrinsic expressions of human beings. Natural events, community gatherings, family moments, war and peace, the seasons of the year.
.. – all these were moments and events to be expressed through collective, family and individual dances. Dance is still present in many people’s daily life, especially in rural areas.
To what extent is dance present in formal and non-formal educational systems? To what extent is dance a tool in the hands of practitioners? Is it legitimate to ‘use’ dance not as an art form or as a way to express oneself but rather as an educational tool? Dance provides a way of learning, one that develops communication abilities, problem- solving techniques, and creative and critical thinking skills along with kinaesthetic abilities. At its core, the goal of dance education is to engage students in artistic experiences through the processes of creation, performance and response. Dance, as a rich modality for learning, can be utilized not as a goal in itself but as a means and/or a tool in formal and non- formal education, for developing individual and group problem-solving skills, learning concepts and understanding subjects, linking movement activities to academic themes enabling practitioners to draw upon young people’s deep-rooted bodily-kinaesthetic intelligence.
Dance activities allow participants to tackle a wide variety of theme-based subjects, (possibly all of them) as well as being effective for dealing with all kinds of human behaviours. Guided explorations can be transformed into concrete forms. Dance education offers a vehicle for holistic teaching that cultivates the human characteristics needed for society. Dance integrates mental, physical, emotional and spiritual aspects of education. Dance has a life impact.
The EuroMed Center for cross-cultural dialogue creativity, active participation, self-directed learning, equal partnership, initiative as the principles of non-formal education. Many curricula define space, body, time, dynamics, relationships and actions as the principles of dance. Can all the above principles be combined logically? Can dance be de-contextualized from the performing arts and utilized as a tool in youth work? The answer is a resounding YES!
The Community Outreach Project in Sweden utilized Hip Hop to provide the foundation and method to create local meeting places that stimulate creativity.
This process encouraged individuals and gave them opportunities to make positive changes in their lives. The aim was to prevent discrimination and alienation, to promote learning, diversity, participation and community involvement.
By using non formal participatory education, young people were given an arena to develop themselves and their interests. Hip Hop provided an opportunity for them to channel their energy and creativity and by so doing to influence their own situation in a positive way. Hip Hop culture was used to encourage young people to make changes in their own lives and in society.
In 2005, as part of my training in the Training Course TATEM – Training Active Trainers in Euro-Mediterranean Youth Work (organized within the framework of the Partnership on Youth between the Council of Europe and the European Commission and in cooperation with the SALTO EuroMed Resource Centre), I had the opportunity, along with colleagues from Italy, the Palestinian Authority and Portugal, to develop and implement the Training Course “Arts in Human Rights Education”, which was held in Ermesinde, Portugal.
This TC used art and performing arts workshops, group dynamics, discussions, experience sharing and creative learning to guide participants into discovering the HR Declaration and the path to find and develop new ways, tools and methods to implement HR Education. The TC concluded in a creation (through the arts) of a campaign (on HR) that was implemented in the city.
I had the opportunity to present and share some of the tools duringTool FairV,inVenice (Italy).The aim for the trainers was to learn how to utilize dance and movement within the context of a theme, in this case, Human Rights Education; to introduce the Human Rights Declaration to young people in an experiential way.
Dance education is a profession; the current situation, in which literally anyone can hire a studio and accept students, does not reflectwhatisinfactarigorousprofession. Past experience as a dancer, no matter how accomplished, may not provide a guarantee of good teaching skills and the ‘how’ of teaching deserves as much attention as ‘what’ is being taught.
The danger of misuse has to be taken in account: as we enter the second decade of the XXI century, western society is overwhelmed by digital media, a world of free access to information and tutorials on every subject. Not ‘everyone can do everything’. Knowledge and experience in dance, as well as knowledge and experience in education are a must.The use of a tool requires proficiency.
Dance needs to be brought back into our daily life, as well as being included, along with other art forms and sports, as an integral part in both formal and non- formal education systems.
We need to focus on the on-going development of creativity in children, young people and adults, in every moment of our lives. We are all ‘creative’ and practitioners hold the key to releasing that creativity.
“Any organized and sustained educational activities that do not correspond exactly tothe above definition of formal education. Non-formal education may therefore take place both within and outside educational institutions, and cater to persons of all ages.
Depending on country contexts, it may cover educational programmes to impart adult literacy, basic education for out-of-school children, life-skills, work-skills, and general culture. Non-formal education programmes do not necessarily follow the ‘ladder’ system, and may have differing duration.”
UNESCO, 1997
“We should consider every day lost on which we have not danced at least once.”
Friedrich Nietzsche
“Dance, when you're broken open. Dance, if you've torn the bandage off. Dance in the middle of the fighting. Dance in your blood. Dance when you're perfectly free.”
Rumi
“Dance is the hidden language of the soul.”
Martha Graham
“It has taken me years of struggle, hard work, and research to learn to make one simple gesture, and I know enough about the art of writing to realize that it would take as many years of concentrated effort to write one simple, beautiful sentence.
”
Isadora Duncan
Bibliography
- Fit to dance? – The report of the national inquiry into dancers’ health and injury, by Dr. Peter Brinson and Fiona Dick, Calouste Gulbenkian Foundation (London, 1996)
- Making Kinesthetic Sense: Creative Dance as a Tool for Learning, by Mary Ann Brehm and Lynne McNett, International Association for Creative Dance
- National Dance Education Organization standards for learning and teaching in dance: Ages 5-18. Reston,VA: National Dance Education Organization (2005)
- Regular Marvels – A handbook for animateurs, practitioners and development workers in dance, mime, music and literature, by François Matarasso,The Community Dance & Mime Foundation (United Kingdom, 1994)
- International Hip Hop project of SV, www.hiphopakademien.se (Sweden)
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Art
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Performing Arts
Non-formal Education
EuroMed
TATEM
Human Rights Education
Creativity
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The Art of Dance; Choreography, Movements & History
Featured image: Annie Leibovitz, Tribute to Bill T. Jones/Arnie Zane and Company, 2007
Dance; a sequence of movements, someone moving their body. The .ART of Dance is a performing art form. It transmits culture, emotions, tells stories and can be a testimony of a historical moment or a place of origin. Energy exults out of the performance of a succession of gesture. It has been performed and has inspired artists for as long as the humankind has been in existence. Archaeological findings have discovered records of representation of dance, in India, that are more than 9 000 years old. Egyptians have created illustrations of dance, more than 3 000 BC ago.
Many historians have suggested that dance has played a crucial role in transmitting history before the invention of written languages.
Merce Cunningham in rehearsal for the New York City Ballet premiere of Summer space. Photography by Martha Swope
Dance is also a form of art that often calls on others to support its intention, be it music, stage decor, costume and more. Still, it also stands on its own and can be performed as freely or as carefully choreographed as possible. From ballet to square dance, many forms of dance exist from belly dancing, from yesterday to today and tomorrow, from duo, trio, troupe performances.
Edgar Degas, Ballet Rehearsal, c.1873
It has been an inspiration to several visual artists and fashion designer from Coco Chanel creating the costume for a Paris presentation of Le Sacre Du Printemps by Igor Stravinsky to collaborate between John Cage & Merce Cunningham. It has been represented in painting, sculpture, let’s think of La Petite Danseuse de Degas.
Picasso has created stage sets for Les Ballets Russe. In contrast, a couple of years ago Anish Kapoor created the scenography for Tristan and Isolde, an opera presented by the English National Opera.
Set Design for Tristan and Isolde by Anish Kapoor, 2016
It has been captured by film, video and photography and as it is performed, those are becoming the record of the fact that it happens. Many well-known photographers have immortalized dancers from Helmut Newton meticulously orchestrated Monaco Ballet Dancers’ photographs to Guy Le Querrec snapshot of young dancers in Burkina Faso.
Guy Le Querrec Third day of the last funeral, “Kodan”, of Tediremana Palenfo, stepmother of Dapouné Da, deceased in December 1997. Small village of Olkopouo (Birifor ethnic group). Lobi country, in the area of Gaoua. . Province of Poni. Burkina Faso. 1998 © Guy Le Querrec | Magnum Photos
Dance is also a connections agent – it connects to rhythms, to cultural traditions. It is a social form of art and has been highly popular in recent year with television shows such as So You Think You Can Dance or Dancing with The Stars as well as being the central point of focus of movies from Central Stage in 2000 to Netflix latest production Tiny Pretty Things.
The public is craving connection with this performative art, and it is celebrated daily from the anonymous dancer in its underwear dancing in its kitchen to celebrate or get it all out to the Bolshoi Ballet perfectly stage-ready ballerina. There is something highly freeing in dancing – so let’s celebrate the art of dance!
Martin Parr, Margate. Kent, England. 1986
.ART is the digital home of many talented individuals, companies and collective. Today we shine share the stage with some of our dance-related adopters! Focus on 5 of them
Bautanzt
The name needs a bit of semiotic to be understood (“bau” – build, “tanzt” – dances, German), but when you see images and video you don’t! Bautanzt Here is a site-specific dance theatre in Atlanta, Georgia in the USA founded by artistic director Nadya Zeitlin. With a desire to make more accessible, they create merging dance and theatre experiences that tell stories – meaningful and engaging.
Using unconventional spaces, they bring their art to audiences where they are.
You can discover more about their work on their .ART website at bautanzt.art or by looking at their work on Instagram under @bautanzt_here
Austin Warren Coats
Artist, choreographer and dancer, Austin Warren Coats breaths creativity. “I cacophonously, yet conspicuously create. I play too much. I alliterate.” his website says about him. This interdisciplinary artist has a bachelor in Dance Studies and a Master of Fine Art. He also has formal dance training and has worked with an impressive list of artists and attended summer intensives with renowned dance schools and companies. For him, “like food, art is needed” – we couldn’t approve something more than that!
Let yourself be inspired by his vibes by visiting his website austinwarrencoats.
art or on Instagram under the handle @austin_wears_coats
Sydney Donovan
Sydney Donovan has an impressive track record; she is a member of the Koresh Youth Ensemble since she is 13 and has studies and dance under many companies and acclaimed dancers. Her artistic statement describes her as ” a vehicle for movement, conjurer of experience… My body is deeply aware of who it was and who it is. The shifts my body makes between lives is where my movement becomes apparent.” She currently lives and performs in Philadelphia, but her art has taken her into different places.
You can find her on Instagram @sydneydonovan or look at her work here sydneydonovan.art
Project Home
They are “artists that create work rooted in intention, founded in collaboration, coloured by human emotion, and driven by passion.
” Since its inception in 2010, Project Home is a movement-centred production company and art organization. Established by Christopher Martin and Larking Poynton they intend to push and expand the boundaries of dance, and create works that will be impactful beyond the time they will be performed on the stage or viewed on your screen. Their work is based on motion, whether they take a moving performance, a dance film or a music video – their approach is also anchor in collaboration & connectivity – together their projects are more substantial.
To discover more about their work, you can head to projecthome.art or follow them on Instagram @projecthomeart
Fanny Sage
Fanny Sage is both a dancer and a choreographer – she honed her skill by earning a degree at the Conservatoire National Supérieur de Musique et de Danse de Lyon. She has worked for dance companies and been featured in publicities for globally recognized brands, Chanel, Cartier & Hermès (to name a few…) and perform in video clips for artists such as Elton John.
She also created a solo, duo and female duo with different companies. She enjoys mixing dance and acting and being in the space where things creatively intersect.
Look into her universe by strolling through her website fannysage.art or by glancing at her on Instagram @sagefanny
ABOUT THIS SECTION The .art Domains has always been dedicated to connect, empower, and support its community members and foster a sense of belonging to the art world. This new section celebrates creators that have recently joined our community. It is our way to give back and shine a light on amazing creatives, especially in these testing times! If you would like to be featured in a post, please look at our submission guidelines here.
Dance is life, life
"... To the sound of music flowing like a river
the curtain parted.
On the stage - the scenery, flooded with mysterious
spotlights.
A chord, another chord ...
And in front of the auditorium, as if from the air,
dancers appear.
A poetic fairy tale begins,
woven from dances…"
Dance… One of the most beautiful arts. With its help, the dancer draws a picture on stage and transmits it to the auditorium. Dance can express your inner feeling, which cannot be expressed in words.
The spectator, sitting in the hall, involuntarily begins to participate in the story depicted on the stage, one can see a smile or tears on his face. Dance appeared much earlier than speech. When nature was raging, ancient people with their dances asked nature to calm down, not to threaten with death. They depicted in their dance a gentle wind, a kind sun, calm water. Not a single event was complete without dance moves. Dancing brought a special meaning to the life of ancient people. Often dances served as a means of mass suggestion, psychological manipulation. Here it is appropriate to recall African folk dances and rituals of shamans. Usually they lasted a very long time - several hours or even from sunset to sunrise.
Gradually, the movements of primitive dances changed: they became more complicated, became smoother, more beautiful. This is how the art of dance appeared - one of the oldest areas of folk art.
1. Dance is the conductor of music into the human body. Dancing is a very special kind of art. It would be extremely frivolous to consider dancing only entertainment, a way to have a good time. It is also the most beautiful sport. Not exhausting, not exhausting, but only bringing satisfaction and beneficial effect on health and psyche. Having learned to dance, a person found a silver key to his health. The question arises: Why? Because dancing is a conductor of music in the human body. Very often we observe how the spectators sitting in the hall begin to involuntarily dance and sing along to the artist on stage. And sometimes, having heard rough and harsh music, we want to run away faster, go further, so as not to hear this melody. This confirms that music penetrates the human body without any effort, involuntarily, forcing him to perform reciprocal actions.
Dance is emotions transformed into movements that take place in the rhythm of modern life. The emotions of each person can be bright and not very, suppressed or not. Dancing, a person has the opportunity to feel like a hero of fairy tales. to travel in time. A person feels the rhythm of modern life, falls into it or resists. In youth, the rhythm of life is faster, there are more emotions, so everyone tends to dance, to a disco. A person who has stopped dancing or does not dance falls out of the rhythm of life, ceases to feel it, loses touch with nature, and the rhythmic functioning of the internal organs is disturbed. A crash occurs. The person feels uncomfortable.
2. Dance is a great healer. Dance gives a person health. Dance is a great healer. It helps to reduce local muscle tension - the so-called clamps. Various movements, rotations, jumps make all muscles tense. At the same time, balance and breathing are trained, mobility and posture improve .. Any dances teach you to control your body, help to correct the figure.
Dancing is completely harmless to health. You can start dancing at almost any age and at any age; from the youngest to the most respected. Dancing is good because the body of a beginner dancer gradually gets used to the loads that arise during training. In addition, classes at a fast pace and with great physical activity alternate with slow movements that do not require much effort. Dancing improves health. When performing muscle stretching exercises, they produce substances that strengthen the body's ability to resist infection. Dancing perfectly develops mobility, flexibility and coordination of movements. Very rarely dancers are clumsy and clumsy. A person who dances perfectly maneuvers in the crowd and will never knock down an old woman with a cart and will never step on the paw of a cat or dog. The dancer feels comfortable in any store, as well as driving his own car. Dancing contributes to the development of good posture and a beautiful gait. Balanced moderate loads on all muscle groups gradually form a strong muscular corset that keeps the spine in the correct position.
Even if there is a violation of posture or the initial stage of scoliosis, after a while there is a significant improvement in the condition of the back. And with constant, persistent training, the sad diagnosis will be forgotten. A beautiful gait and the ability to "keep yourself" is one of the components of success. Dancing people have a sense of self-confidence, they can not only move beautifully, but also beautifully wear outfits, do stylish hairstyles, and be the center of attention. For the most part, they are leaders. Dancing fosters composure and organization. All study in schools, lyceums, universities, work. And you can't afford to relax. Being able to complete all the tasks, write essays, and then rush off to training is only possible for people with a strong will. Dancing develops the respiratory system of the human body. Dancing really helps get rid of regular colds, bronchitis, and even ease the course of the disease in people suffering from asthmatic attacks. Dancing is the best stress reliever.
Dance takes care of the spiritual well-being of a person. It is known that dancing prolongs life, contributes to the maintenance of general tone and allows a person to maintain working capacity and cheerfulness until the last days of life.
Nikolai Shipitsin
Dance as a phenomenon of culture
Dyakonova
DANCE AS A CULTURAL PHENOMENON
The study of dance as a cultural phenomenon involves an understanding of the historical relationship between stage, pre-stage and off-stage dance forms. The basis of the general theory of dance can be the problematic of the languages of the arts, which in dance is the body and movement. The relevance of the idea of synthesis of arts for the theory and practice of dance is substantiated.
Keywords:
art, communication, art synthesis, dance, physicality, dance theory, choreography, artistic language.
The social and communicative significance of dance as a phenomenon of human culture is difficult to overestimate, because the act of dance can be regarded as a rite of initiation, as an interpretation of the codes of ethnic, national or cosmopolitan culture, as a sociocultural message, as an expressive plastic act of self-expression of a personality, as a form of intercultural communication and even as a way of ideological intimidation of the enemy.
Gesture, movement, dance, plasticity are the parent language that arose long before the appearance of written speech and even music, they are the language of communication in which people communicate with each other, with themselves and the world.
Originating at the dawn of human civilization, dance was a natural human need to express their inner emotional structure and sense of belonging to the surrounding world, the need for rhythmic movements, a plastic form of mastering the world and organizing space. The natural habitat of a person influenced the formation of the entire system of his plastic language, while the dance from the moment of its inception was associated with the life and life of people.
The earliest forms of ritual dances, initiation dances, worship dances are at first glance simple in their performance, but their semantic content is distinguished by deep symbolism and striving for the ancestral foundations of nature and man. The movements of ancient dances express the eternal archetypes of the universe: circle, square, spiral, line, point.
These ancient symbolic forms, or proto-forms, underlie more complex archetypal elements both in the geometric (natural or architectural) and in the inner space of a person. Archaic tan-
Twisting rituals were not products of free artistic creativity, but were a necessary element of a complex system of relationships with the world.
Ritual dances of ancient man were archaic practices of space exploration. In ritual dances, a person joined the world of nature, imitating and repeating the movements, plasticity, postures of animals. The zoomorphism of the dance movements of the ancient man not only introduced him to the natural world, but also contributed to the formation and gradual evolutionary development of the social world of emerging anthropogenic communities. The origins of dance in the primitive era were both dance, spontaneously expressing in its movements the climax of the emotional state of a person, and rites and ritual celebrations requiring certain regulation and semantics.
Dance syncretism reflected the unity of the religious and practical organization of society, which is embodied in the unity of the dance structure, including verbal, musical, dance, pantomime, graphic, pictorial and sculptural means, where the variety of elements personified the effectiveness of the ritual [3, p. 184].
Gradually dance became an art, modern dance acquired a new meaning and a new role. Of course, he retained all the other possibilities. It is still a spectacle, a pastime, a social ritual, and so on. There are other lines of dance development. It becomes a sport (sports and ballroom dancing), part of therapy (now fashionable dance therapy), the basis of social self-identification (hip-hop and other youth movements, for example).
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We believe that the most important facet of research attention in the field of dance theory is the socio-historical context associated with the cultural and aesthetic attitudes of a particular era.
Certain historical periods are characterized by certain bodily canons, represented in culture as a standard of the external form of the human body, on the basis of which the body is transformed into an artistic object in the works of sculpture, painting, arts and crafts and dance. The human body has been an expressive material of movement from time immemorial, and since the Renaissance, the bodily plastic image of a person has not lost its attractiveness (with rare exceptions) for works of art in various types of art.
The language of dance as a system consisting of potential and actual structures reflects the meaning of a person's reflexive experience through plastic movement, while the source and result of the expression of meaning is the dance material - the human body. To this end, art historian Yu.A. Kondratenko rightly suggested introducing two units of interpretation into the system of describing dance studies: “body” and “movement”, recognizing the first of them as a material, and the second as an instrument of dance art [4, p.
16].
The human body is the fundamental means of expressing dance, differentiating it from other forms of art. Physicality acts as a single physiological prerequisite for the formation, development, and improvement of dance expression. The possibilities of the human body, realized in kinetics, facial expressions, plasticity, in the process of dance movements, reveal an unlimited resource of corporality. In dance, the bodily, external image of the performer, expressed in movement, largely expresses the essence of the artistic image. The justification of this statement is based on a feature that is defined in choreography as the “plastic form of the soul”, because plasticity is the most natural expression of feelings.
The change in the perception of plastic motifs in everyday practice is reflected in the theory of culture and in philosophy, and is reproduced in dance.
Trends in the perception and reproduction of corporality are topical today in the figurative system: from ethnic meaning-generations to stylization in erotic scenarios.
But what exactly are the topics and discussion problems that are most relevant today in the field of humanitarian studies of the phenomenon of dance? The first problem concerns the definition of the object of theoretical analysis. If we turn to the experience of modern Russian ballet studies in terms of defining the object of research, then in this issue ballet studies relies on two opposing traditions at once: the pre-revolutionary one, which recognized dance as the central object of science, and the Soviet one, which gave priority to the field of choreography and ballet theater. This example confirms the need for a general theory of dance in coordinating historical and factual material, separately established research traditions in order to create a universal theoretical basis for the scientific study of dance art in the broadest research context.
The second problem is related to the development of a methodology that meets the current level of development of the humanities.
Starting from the 20s. In the 20th century, the emerging methodological system in the history and theory of dance was formed under the overwhelming influence of theater science and musicology. This fact led to some narrowing of the field of scientific interpretation, since the focus of research attention was on phenomena, preferably associated with professional art. A productive example of such a narrowing of the scope of reflection is the fact that special sections devoted to pre-stage dance practices have not been formed in ballet theory. As a part of folk art, these practices are actively studied by representatives of other humanities: cultural studies, anthropology and ethnology, and ballet experts who consider this area of art most often follow the shortest path, borrowing methodological principles from these branches of humanities. As the art critic Yu.A. Kondratenko, the most productive direction for studying the sphere of pre-stage choreography will be the development of their own methodological0015
approaches and principles specific to ballet science [4, p.
eight].
Artistic objects that appear in the field of modern choreography are still considered from the standpoint of classical methodological approaches, largely based on the theory of mimesis. However, in art dominated by (post)non-classical systems of expression, the difficulties with this kind of assessment are most acutely recognized, since the facts of the development of experimental trends in modern dance, which are associated with an indirect depiction of reality, can elude fixation. What is the way out of this situation? Probably, it should be sought in the experience of non-classical schools of modern humanities, which gives the researcher certain advantages. In some cases, without opposing its methodology to the principles of traditional interpretation, the non-classical system of analysis seeks to include in the circle of research those phenomena of artistic practice that are ignored by classical science. In other situations, this experience makes it possible to expand the problem field through a new, sometimes deeper, interpretation of phenomena already discovered and described in the classics.
Dance is a kind of art that has a special way of artistic reflection, within which a special type of artistic language is created through rhythmic and plastic movements of the body organized in space and time.
The question arises of some synonymy between the concepts of "dance" and "choreography". For example, in Soviet ballet studies, dance was traditionally defined as an art form, “in which the means of creating an artistic image are the movements and positions of the human body”, which arose as a result of artistic generalization [2, p. 503]. The essence of choreography, as in the case of dance, was determined by the degree of artistic generalization of a person's plastic experience, the conventionality of musically organized, figuratively expressive movements of the human body [1, p. 564]. Thus, in modern dance theory, the same reflexive practice is denoted by two terms at once. To some extent, one should agree with the use of the categorical apparatus and the terminology of dance studies in this vein.
Following the classification of the art forms according to the ratio of the visual and expressive principles in them, we will classify dance as an expressive art form, while it should be noted that among other types of expressive art, dance is most gravitating towards visual art. The main instrument of dance art - the human body - predetermines the rich potential for increased descriptiveness of the dance.
The artistic and creative activity of a person is realized and distributed in various forms - in the types of art, in its genres and genera, which are a naturally organized system of specific, generic, genre forms. So, depending on the material means by which a work of art is constructed, dance should be attributed to spatio-temporal forms of art, which are also called synthetic or spectacular. Most often, art critics rank theatrical art, literature, and cinema among them. The images of this type of art have extension, continuity, dynamism, and corporality. From the point of view of the use of the sign system in the artistic and creative activity of a certain type of art, dance, along with music and architectural and applied arts, should be considered as an art form that operates with signs of a non-pictorial type that do not allow recognition of any real objects, phenomena, actions in the images.
and addressed directly to the associative mechanisms of perception. The complex nature of semiosis in the language of dance makes it possible to attribute it to an art form that uses and interprets signs of a mixed, pictorial-non-pictorial nature, which is characteristic of synthetic forms of creativity. Similarly, the union of arts and crafts with the visual arts or the pantonymic synthesis of verbal-musical and acting-dance arts can be understood.
The issues of interaction of plastic arts - expressive (architecture and arts and crafts) and fine arts (sculptures, painting, graphic arts) are extremely relevant today. Modern dance art in the broadest sense is looking for
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innovative and extraordinary ways of creating works of art, plots, themes, images, while relying on and using the expressive, stylistic, compositional and linguistic potentials of related arts. As the art critic T.V. Portnova, "the study of the linguistic connections of dance and other plastic arts, the figurative-plastic and stylistic parallels that create the artistic integrity of scenography, constitutes one actual direction, flowing into other aspects, associated with the reverse influence of fine arts, arts and crafts and architecture on ballet" [5 , With.
9].
Today choreographers, choreographers, artists turn to images, plots, artifacts of fine arts for the purpose of their professional creativity, dance directing, which in general constitutes the synthetic nature of dance and puts this phenomenon of human culture, numbering hundreds of thousands of years of its existence, on a new level of compositional and figurative possibilities of art synthesis. The phenomenon of dance in the process of evolution of the culture of human society at each cultural and historical stage acted as a mechanism for expressing the spiritual and aesthetic content of the corresponding era.
References:
[1] Vanslov V.V. Choreography // Ballet: Encyclopedia / Ch. ed. Yu.N. Grigorovich. - M.: Soviet Encyclopedia, 1981.
[2] Varkovitsky V.A. Dance // Ballet: Encyclopedia. / Ch. ed. Yu.N. Grigorovich. - M.: Soviet Encyclopedia, 1981.
[3] Kagan M.S. Morphology of Art: A Historical and Theoretical Study of the Internal Structure of the Art World.
