The Sensitive Knowledge of Dance: A Rhetorical Approach
Sometimes dancers are underestimated. Some people argue dance is not a sport when every dancer considers it a sport because of the time and hard work it requires. In the article “The Sensitive Knowledge of Dance,” Marcia Almeida argues that dance should be valued as a producer of knowledge in the arts. In doing so, she analyzes how dancers use sensitive knowledge, their development of new body technologies, and points out the difficulties that dance faces in traditional academia.
The author’s exigence of writing this article was because traditional academia does not value dance and its sensitive knowledge as much it values scientific knowledge. Apparently, “sensitive knowledge has been
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Again, non-athletes might not agree with Marcia Almeida and her argument, but the part of the audience that are dancers or athletes most likely will. She argues that the sensitive knowledge of dance deserves more recognition. The context of ethos in this article appears to be a double-edged sword. This is because it helps one part of the audience trust the author and make the other part doubt the author’s sincerity. Instead of adapting to the audience needs, the author creates a sense that stays true to themselves. She does this when conducting the research on the use of sensitive knowledge. Instead of using other people as experimenters, she “experienced the movements [herself]” (Almeida 47). The audience should be able to trust her and her research since it was from a her own experience and not what someone else told her. The research is more valid with this …show more content…
She calls this new technologies, body acuity. Just how “writing is by nature a technology” (Wardle and Downs 8), the body movements of a dancer are also a technology in means of nature. This body technology is needed to feel a dancer’s own body weight and how they are going to use it. That type of calculation can be also learned through dance experience. When conducting the research, students were asked “to establish contact with various objects found in nature . . . the intention was to develop the sensitive potentiality of the body in relation to the perception of the environment” (Almeida 49). This is when the use of sensitive knowledge comes in handy. Sensitive knowledge is linked to perception of the environment and self-perception. It is difficult for dancers to keep in mind of their perception and still make the movements flow. As a dancer, it was difficult for me to be a strong dancer and make the movements not stiff. Sensitive knowledge takes a long time to develop since it is so difficult. That is why traditional academia should value the sensitive knowledge of dance just like it values scientific
Ballet has been an art form since the late fifteenth century, but society did not truly see the impact of ballet until the nineteenth century. Modern day thinkers possess the idea that ballet began with tutus and pointe shoes, but it wasn’t until the nineteenth century that this opinion was observed. Ballet has come a long way. It has survived the turmoil of many wars and has changed itself by accepting new ideas and impressing the audience with its unique stylistic views.
Dance is an ever evolving form of art; in much the same way that one can categorize and differentiate between eras and styles of architecture one can also do so with dance. These eras at times have sharp delineations separating them from their antecedents, other times the distinction is far more subtle. Traditional forms of dance were challenged by choreographers attempting to expand the breadth and increase the depth of performance; preeminent among such visionaries was Seattle born dancer and choreographer Mark Morris. Mark Morris' began as one of the millions of hopeful individuals attempting to simply make a career in dance; he not only succeeded but managed to have a lasting effect on the entire landscape of dance.
In the dance world a staggering number of choreographers have made a lasting impact on the way dance is seen to its audience. Alonzo King’s exceptional oeuvre of work includes him in this great history of significant choreographers. He not only created the link between modern and ballet in the twentieth century, but he bridged the ...
Aalten, A. (2005). In the presence of the body: Theorizing training, injuries and pain in ballet. Dance Research Journal, 37(2), 55-72. Retrieved from http://www.jstor.org/stable/20444641
Judith Lynne Hanna is a professor at the University of Maryland who focuses on anthropology, sociology and dance. She combines these topics to analyze how dance can help heal a person and help improve health. In a broader context, dance therapy is a recent form of movement that does not require any form of previous dance experience and focuses on “movement behavior as it emerges in the therapeutic relationship.” (ADTA) Judith Hanna focuses in on broader concept of dance therapy by concentrating on expressive behavior that relieves stress, disabling conditions, tension, and chronic fatigue.
The best expression of dance comes from a skilled and experienced dancer. Ultimately, I want to dance the dance of medicine in a way that fully expresses the essence of the dance, which is a dance of knowledge and compassion. A dancer that can take the music and choreography and express the essence of the dance, has an indefinable quality that only those with a pure love for their calling can possess. In dance, that special quality is what separates the average dancer from Baryshnikov or Pavlova. That aspect is one that intertwines unsurpassable skill with a focused relentless devotion to the task. Although I have danced since the age of three, I know I do not have this prima ballerina quality, but as a future doctor, this same kind of quality is what drives me.
The typical idea of a dancer is that they are tall, slender, full of energy, and lucky because they dance with all of the “stars”. Much of this is true, however, what many people do not think of are the many hardships that a dancer goes through in order to achieve their high status in the dance world. It takes much hard work and determination along with good direction to become a dancer. However, nothing good comes without a price. Dancers often times have many pressures put on them which can lead to physical and emotional damages. These damages occur through the pressures from the media, parents, teammates, and the stereotype that society has placed on dancers.
Learning about Dance: Dance as an Art Form and Entertainment provides visions into the many features of dance and inspires scholars to keep an open mind and think critically about the stimulating, bold, ever-changing and active world of dance. Learning about Dance is particularly useful for those who do not have a wide and diverse dance contextual, such as students in a preliminary level or survey dance course. This book consists of twelve chapters. Chapter one dance as an art form focuses on the basic structures of dance. Dance is displayed through the human body, it has the control to communicate and induce reactions. Dance can be found in many different places, it enables the participants and seekers to touch and knowledge the joy of movement. Dance is discovered as being one of the oldest art forms worldwide. Dance existed in early cultures was recognized in a sequence of rock paintings portrayed dance. Since this discovery of rock paintings, several other forms of art have been found that depict dance. People used rituals in order to worship the gods and believed that the rituals held magical and spiritual powers. During the ancient period civilizations sentient decisions began to be made with regard to dance. Other periods that had an impact on dance were the medieval period, the renaissance period, and the contemporary period. Chapter two the choreographer, the choreographer is a person who comes up with the movements created into a dance routine. The choreographer expresses themselves through choreography because this is their way of communicating with the audience. In order to be a choreographer you must have a passion for dance. Each choreographer has their own approaches and ways of making up a routine. Choreographers ...
Every dance that is created by a choreographer has a meaning and or purpose behind it. The dance choreographed could be used to send a political, emotional, or a social message. Regardless of the message being sent, each dance created possesses a unique cultural and human significance. This essay will examine and analyze two dance works from history and give an insight into what each dance work provided to the society of its time.
...re of different dance cultures within the vocabulary of their scope, then the results would be so astounding as to give that dancer an unspoken quality distinguishing them from among their peers. Movement knowledge is cultural knowledge and remembering that each culture is beautiful and different in its own way can help create a dancer that will resonate with any audience member.
Jonas, Gerald. Dancing: The Pleasure, Power, and Art of Movement. New York: Abrams, 1992. Print.
[6] Cohen, Selma Jeanne. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. New York: Oxford UP, 1998. Print.
After I began to learn to dance ballet, I found out that these elegant movements actually require a lot of strength, flexibility of the bodies and brain’s participation to make it looked elegant. The dancers’ movements in the performance were so fluent and elegant and it is not hard to imagine how hard they had practiced, stretched and use the strengths to do all the ballet poses with their bodies look longer and longer. Their expressions also impressed me a lot. By looking at their expressions, the audience can easily understand the scenes and blend into the story. The performers actually not only are required to have good dancing skills but also are required to have some talents to be actors. Moreover, they also have to be good at expressing their feelings on the
As Jackie Joyner Kersee once said, “The rewards are going to come, but my happiness is just loving the sport and having fun performing” (“Sports Quotes,” 2013). Sports play a major role in entertainment all across the world. Sports can range from driving in NASCAR to playing in the NBA (Careers in Pro Sports, 1999). Sports usually involve teamwork and is fun for everyone. Although sports are supposed to be fun, there is natural competition. Being a feminine art, dance is considered to be just about anything other than a sport. Dancers are trained to the height of their ability, just like other athletes in other sports. Even though the dancer might not perform with their whole dance studio on stage at the same time, the dancers are all apart of the same team. Dancing is not an easy sport to participate in, so if you are looking for a sport that does not require practice then you might want to look into a different sport. There are hour-long practices, healthy diets, and several routines to remember. Normally, if someone is convinced that dance is not a sport, they have not fully engaged or experienced dance. In order to better understand dance, it is important to understand the history of dance, the competition of dance, and the comparison of dance to other sports.
“Dance, the art of precise, expressive, and graceful human movement, traditionally, but not necessarily, performed in accord with musical accompaniment. Dancing developed as a natural expression of united feeling and action.”