DANCE SUITE

musical arrangement consisting of related dance movements. See suite. Types of dance The division of dance into types can be made on many different grounds. Function (e.g., theatrical, religious, recreational) is an obvious ground, but distinctions can also be made between tribal, ethnic, and folk dance, between amateur and professional, and above all between different genres and styles. Genre and style are relatively ambiguous terms. They depend on analyses of movement style, structure, and performance context (i.e., where the dance is performed, who is watching, and who is dancing) as well as on a cluster of general cultural attitudes concerning the role and value of dance in society. Genre usually refers to a self-contained formal tradition such as ballet, within which there may be further subgenres, such as classical and modern ballet. (Some critics consider modern dance as an independent genre with a subgenre of postmodern dance, but others subsume both categories under ballet, along with other theatre dance forms such as jazz.) Within subgenres, different styles can be distinguished, such as those of Ashton, MacMillan, and Balanchine in modern ballet and Graham and Cunningham in modern dance. Style as used here embraces many elements, including a preference for certain kinds of movement (fast, slow, simple, or intricate) or for particular kinds of energy and attack (sharp, edgy, and hard, as opposed to soft and fluid). It also embraces different ways of phrasing movement or of arranging dancers into groups, as well as an interest in certain kinds of music or design. Perhaps the most obvious division between types is that between theatre and non-theatre dance. The separation of dancer and spectator in theatre dance has tremendous influence on the style of the dance itself and on its reception as an art form. In theatre dance the professionalism of dancer and choreographer, the presentation of dramatic and formal movement, the use of visual effects, and even the philosophical question of the role of the spectator reach their most sophisticated level. In non-theatre dance the unity of dancer and spectator, of observation and participation, means that the dance styles and even the function within the social group are quite different from those of theatre dance. Of course, the division between the two types is not as clear in practice as in theory. For example, although ethnic and folk dances are not, in theory, theatre dances, many of them are preserved, choreographed, and presented to audiences in theatrical settings. Some scholars have even argued that ballet is an ethnic dance form that grew out of the European dance tradition. On the other hand, Indian and Southeast Asian dance forms are usually called ethnic dances, but within these traditions there are numerous classical dances whose theatrical settings and elaborate choreographies qualify them as theatre dances. Among the theatre dances, this section discusses the two major Western genres, ballet and modern dance, as well as Indian classical dance. Among the non-theatre dance forms, this section discusses tribal and ethnic dance, folk dance, and social dance. Theatre dance Ballet Basic characteristics Ballet has been the dominant genre in Western theatre dance since its development as an independent form in the 17th century, and its characteristic style of movement is still based on the positions and steps developed in the court dances of the 16th and 17th centuries (see above Basic steps and formations). Perhaps the most basic feature of the ballet style is the turned-out position of the legs and feet, in which the legs are rotated in the hip socket to an angle of 90 degrees and the feet point outward. This position gives the body an open, symmetrical appearance, and it also facilitates the high leg extensions and fast turns typical of ballet. Openness is most characteristic of the ballet dancer's stance, for the head is nearly always lifted and the arms held out in extended curves. Even when the dancer executes fast or energetic steps, the arms rarely move in a way that is not fluid, calm, and gracefully extended, and they are frequently held in positions that either frame the face or form a harmonious relation to the position of the legs. The body is nearly always held erect, apart from controlled arches in the back or a slight turning of the shoulders toward or away from the working leg. This positioning of the shoulders, called paulement, gives a sculpted, three-dimensional quality to the dancer's positions. Whenever the ballet dancer's foot is not flat on the floor, it is pointed, and, of course, women dancers (and occasionally men) frequently dance on the tips of their toes with the aid of blocked shoes. Dancing en pointe lends lightness and airiness to the dancer's movements, and the pointed toe extends the line of the legparticularly when it is raised in the air, as in an arabesque. The long vertical line is the other basic feature of ballet: verticality in the upright stance of the body, in the high leg extensions, and above all in the aerial quality of the movement. Ballet dancers rarely move close to the ground, and they frequently seem to defy gravity through the height of their jumps and their vigorous batterie (beating together of the legs in midair), through the speed and multiplicity of their turns, and through the fast linking steps that seem to move them effortlessly, almost without touching the floor, from one virtuoso movement to another. In ballet the stress and effort of the dancer's movements are always concealed beneath the fluid, graceful surface of the dance and the perfect repose of the face and torso. This gives the dance its characteristic qualities of dignity and control, which it inherited from the early court ballets, where the movements were designed to show off the aristocratic polish of the dancers. Ballet has, of course, undergone many stylistic alterations. The Romantic style of the early to mid-19th century was much softerless studded with virtuosic jumps and turnsthan the classical style of the late 19th and early 20th centuries. Russian ballet, frequently regarded as the paradigm of the classical school, is itself a blend of the soft and decorative French school, the more brittle and virtuosic style of the Italians, and the vigorous athleticism of Russian folk dances. The design of classical ballet is traditionally symmetrical in the shapes made by the dancers' bodies, in the grouping of the dancers on stage, and even in the structure of the whole dance. For example, if two principal dancers perform a pas de deux (a dance for two), other dancers on stage remain still, are arranged in symmetrical framing patterns, or move in harmony with the main dancing, not distracting from it. Even when large groups of dancers move, they are usually arranged in formal lines or circles. Jean-Georges Noverre in the 18th century and Michel Fokine in the first decades of the 20th both argued that this kind of formal symmetry was detrimental to the dramatic naturalism of ballet. Fokine's own choreography encouraged the use of less rigid and artificial groupings in later ballet, as in Kenneth MacMillan's dramatic works, where the crowd scenes are often composed of asymmetrical groups that rarely seem artificial.