Describe the language of dance and how does it differ.
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The Language of Dance (JOPERD, 72(4):40-45, 53, April 2001)Judith Lynne HannaIs dance a “language”? Should dance be included in events such as the recently inaugurated Bethesda (Maryland) Literary Festival? Why not? In this article, I will explain how the body language of dance not only resembles verbal language, but also influences literature. Understanding this dynamic can be beneficial to teaching, learning, and performance. Dance communicates ideas, stories, emotions, and moods, much like prose and poetry. Literature often inspires dance, and dance in turn inspires literature. Verbal language is used when one is teaching, learning, or creating dance, and writers often use dance imagery in their metaphors and other literary devices. In fact, dance jargon can be found in many of our metaphorical descriptions of everyday phenomena (e.g., “he waltzed around the subject”).During last year’s Bethesda Literary Festival, various student and professional dance groups performed at the Maryland Youth Ballet and Joy of Motion dance studios, adjacent to the festival site, in part to illuminate these connections between literature and dance. In addition, the National Dance Education Organization hosted its own book fair in the studios.Alas, not everyone recognizes dance as language. The old proverb, “Good dancers have mostly better heels than heads,” conveys one of many common misconceptions about dance. Our society tends to distrust the body and consider it apart from the mind that creates vocal and written discourse. Schools measure knowledge in words and numbers. However, many scholars are now stressing the “mentality of matter,” that is, the integration of mind and body (Damasio, 1994). One cannot dance mindlessly; indeed, dance requires many of the same faculties of the brain as verbal language.According to renowned psychologist Howard Gardner (1993), dance is a form of kinesthetic intelligence, like surgery. In essence, dance is a kind of thinking—an ability to solve problems through control of one’s bodily motions. Observations of choreographers at work show that they draw upon musical, visual, verbal,.
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