The Art Behind Dance Is Lost

Contemporarily, the term, dance, is attached to the comparative competition of athleticism, moving quickly through space, time, and ‘emotion.’  Bobbing heads shout and scream meaninglessly to rhythmical cheerleading like the star-crazed sex-addicted groupies of boy-bands from the 90s.

Dance, in its purity, has lost its greatest meaning because the human nature is to compete and conform. In order to appropriately articulate the importance of this art form, the name of this art must be eliminated from the remainder of this paper because “DANCE,” has come to mean:

“1. to move one’s feet or body, or both, rhythmically in a pattern of steps, especially to the accompaniment of music. 2. to leap, skip, etc., as from excitement or emotion; move nimbly or quickly: to dance with joy. 3. to bob up and down” (1)

The music, type is irrelevant, begins: The performer is not only the interpreter of his friends, the notes, but also a conductor, pushing the music toward his intended story.  He presents the music to the audience in a fashion that best tells his story, accenting what he views as important. The addition of this last musical instrument, the performer, creates more than a masterpiece; the combination creates abstractness inapplicable to words.

Unfortunately, this phenomenal process is clouded by the contemporary mucus of pride.  There is now a materialistic worry for praise, award, and audience gratitude, instead of sensation, emotion, and reverence. The extinction of individual style, interpretation, and the love to emote at an audience is nearing with the conforming music artists.  The lack of contemporary choices for a choreographer to choose from for storytelling, resulting in too similar of theme universally, saddens me.

It is outraging and frustrating for the performer, who’s only wish is to touch the inside of every spectator’s soul because numbness is currently preferable in order to reach technical prowess. 

Therefore, the answer to the never-ending definition of such an abstract art, and yet so concrete, exists only in the individual relationship between each performer, his music, and how he emotes with an audience. An athletic moment through space and time is an inadequate and injustice explanation.  Fight the competition of art, where value has has been set on one dancer’s gift above another. 

In performing, motion is nothing without an emotional attachment, regardless of technical aptitude.

The attachment to a trophy can be deleted if all performers contest to taking such jobs of inadequacy.  Take a moment before warming up your instrument to contemplate using your unconsciousness as your portal though music.  Technique is for class, performance is for stage. 

This is when you will be a dancer.



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