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My First Dance Experience and Lessons Learned

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Published: Sep 1, 2020

Words: 878 | Pages: 2 | 5 min read

• Body: using clear, precise, full body presence in our movements.
• Energy: we used qualities from wind, water imagery to implement stillness, flowing, sharp, soft to develop our movements.
• Relationship: we implemented unison, contrast, solo, meeting and parting.
• Space: we made use of the whole stage, with different route, directions and levels used.
• Time: in our dance we moved our body in measured beats and music and we also move with breath, we created movements in varying tempo.

Works Cited:

• Devington, D. (1997). A Midsummer Night’s Dream: The Critics Debate. Routledge.
• Shakespeare, W. (1998). A Midsummer Night’s Dream. Cambridge University Press.
• Dessen, A. (2014). Shakespeare and the Late Moral Plays. Routledge.
• Greenblatt, S. (2004). Will in the World: How Shakespeare Became Shakespeare. W. W. Norton & Company.
• Harris, L. (2003). Shakespeare and Literary Theory. Oxford University Press.
• Howard, J. E. (2003). A Midsummer Night’s Dream: A Guide to the Play. Greenwood Press.
• Maus, K. E. (1995). Love and Marriage in Shakespeare’s Comedy. University of Michigan Press.
• Mowat, B. A. (2003). A Midsummer Night’s Dream: Texts and Contexts. Bedford/St. Martin’s.
• Patterson, A. (2005). Shakespeare and the Popular Voice. Blackwell Publishing.
• Wells, S., & Stanton, S. (Eds.). (2002). The Cambridge Companion to Shakespeare on Stage. Cambridge University Press.

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Essay on Dance

500 words essay on dance.

Dancer refers to a series of set of movement to music which we can either do alone or with a partner. Dancing helps us express our feelings and get active as well. If we look back at history, dance has been a part of our human history since the earliest records. Thus, an essay on dance will take us through it in detail.

My Hobby My Passion

Dance is my favourite hobby and I enjoy dancing a lot. I started dancing when I was five years old and when I got older; my parents enrolled me in dance classes to pursue this passion.

I cannot go a day without dance, that’s how much I love dancing. I tried many dance forms but discovered that I am most comfortable in Indian classical dance. Thus, I am learning Kathak from my dance teacher.

I aspire to become a renowned Kathak dancer so that I can represent this classical dance internationally. Dancing makes me feel happy and relaxed, thus I love to dance. I always participate in dance competitions at my school and have even won a few.

Dance became my passion from an early age. Listening to the beats of a dance number, I started to tap my feet and my parents recognized my talent for dance. Even when I am sad, I put on music to dance to vent out my feelings.

Thus, dance has been very therapeutic for me as well. In other words, it is not only an escape from the world but also a therapy for me.

Get the huge list of more than 500 Essay Topics and Ideas

Hidden Language of the Soul

Dance is also called the hidden language of the soul as we use it to express ourselves when words fall short. The joy which comes with dancing helps us get over our sorrow and adversity sometimes.

Moreover, it is simply a translator for our hearts. What is most important to remember is that dance is not supposed to be perfect. There is no right way of dancing, as long as your heart is happy, you can dance.

When we talk about dance, usually a professional dancer comes to our mind. But, this is where we go wrong. Dance is for anybody and everybody from a ballet dancer to the uncle dancing at a wedding .

It is what unites us and helps us come together to celebrate joy and express our feelings. Therefore, we must all dance without worrying if we are doing it right or not. It is essential to understand that when you let go of yourself in dance, you truly enjoy it only then.

Conclusion of the Essay on Dance

All in all, dance is something which anyone can do. There is no right way or wrong way to dance, there is just a dance. The only hard part is taking the first step, after that, everything becomes easier. So, we must always dance our heart out and let our body move to the rhythm of music freely.

FAQ of Essay on Dance

Question 1: Why is Dance important?

Answer 1: Dance teaches us the significance of movement and fitness in a variety of ways through a selection of disciplines. It helps us learn to coordinate muscles to move through proper positions. Moreover, it is a great activity to pursue at almost any age.

Question 2: What is dancing for you?

Answer 2: Dancing can enhance our muscle tone, strength, endurance and fitness. In addition, it is also a great way to meet new friends. Most importantly, it brings happiness to us and helps us relax and take a break from the monotony of life.

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My Dance Experience

For my final post, I would like to share how dance has positively affected my life. Although in each post I have shared small pieces of my personal dance experience pertaining to the topic, I am going to make a post solely about it.

I started dancing when I was two years old for one reason only- because my sister was a dancer and I wanted to do everything she did. When I turned four, I started competing and from that moment on I absolutely loved everything about dance. Throughout my dance career, I had ups and downs in regards to placing at competitions. but winning was not the important part of dance to me as I got older. One of the most important lessons being a dancer has taught me is that if you worked hard, practiced hard, and gave it your all, the satisfaction of performing at the best of your ability is more valuable than any number of first place trophies.

Another lesson dance has taught me is discipline. Not only from a young age did I learn to listen and respect the teacher, but self-discipline. For example, when a teacher gives you a correction you must apply that correction. Only you have the power to point your foot or straighten your leg completely. Most things in dance are not natural and require constant attention until pointing your foot every time it comes off of the ground becomes second nature. Self-discipline was taught by my teacher saying, “I cannot make you better by telling you corrections. Only you can improve upon your dancing by applying the corrections.”

Dance has also been a great stress reliever I have had through my entire life. It has taught me so much and has shaped who I am as a person. I am so thankful my sister encouraged me to start dancing at such a young age and I’m excited to see where my dance career goes next.

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What Does Dance Mean to Me: A Personal Exploration

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History and Development of Dance Essay

The history of dance can be traced back to the very beginnings of humankind history. Dance is ultimately a social event and signalizes occasions of social interaction: not incidentally, therefore, elements of dance can be observed even in such non-human societies as bee swarms and bird couples.

Initially bearing purely informative meaning in the animal world and the primitive society, dance gradually acquired a more complex meaning and became a means of self expression. Developing from symbolic religious activities, the practice of dancing evolved in a social activity and later obtained the status of performing arts.

As such, dance is movement, and movement is altogether natural to human body. It is observed that at moments of intense joy, people tend to perform an increased amount of movements in order to relieve the brain of the excessive amount of oxygen (Scott 1). Such behavior is especially noticeable about children, since they do not control themselves as much as adults; in this respect, primitive savages are not much different from children.

Those leaping movements of the body are the first prehistoric dance that can be observed both in people and in animals expressing their happiness. But this disarrayed motion does not comply with the comprehensive definition of dance provided by Edward Scott, who interprets dance as “the art and expressing gracefully and intelligibly, by movement and gesture, every emotion and sentiment of which the mind is capable, and every incident possible in human life” (6).

Such was the vision of dancing practiced already among the Ancient Greeks, whose art of pantomime dance was compared by Aristotle to poetry, since it could express not only actions but also manners and passions. The art of dancing was connected by Greeks to the idea of harmony and perfection of human body: therefore, dancing ultimately had to be graceful in order to emphasize and not to destroy the natural human beauty (Scott 38).

Corresponding to the meaning behind them, religious dances, embodying the spirit of tragedy, were dignified and stately; while their opposites, the wild grotesque dance, were not to be danced in sober mind (Scott 41). Combining the features of those two extremes and concluding the three-partite order of dances was the vivid dance. In any case, both stately and wild Greek dances were inseparably linked with their religious practices and bore their peculiarities from the nature of the deity glorified by dance.

Historians state that the Greeks borrowed the art of mimic imitation from the dancing art of the Ancient Egyptians (Scott 21). Together with ritual dances performed at funeral of prominent people and at other religious ceremonies connected with worshipping the astronomic gods, Egyptians took pleasure in entertaining dances, mostly performed by graceful girls in light attire. The character of movements was varied by hired dancers according to the tastes of their employers, and therefore could sink from grotesque to mere buffoonery (Scott 23).

From the above it becomes obvious that the antiquity shaped three visions of dance: dance as ritual, as ecstasy, and as entertainment. The Middle Ages witnessed two applications of dance: in church (sacred dance) and in society (secular). Ceremonial in its nature, religious dance involved solemn movements and symbolic figures that corresponded to the accompanying hymns.

Though provoking controversy as to their appropriateness in the church, sacred dances enjoyed a large variation from May Dances to Dances of Death, each bearing a religious significance (Kassing 73–75). Due to the fact that secular and sacred spheres closely intermingled in contemporary life, dances often ‘migrated’ from church to the worldly life. In addition, the institute of chivalry which prospered at the time positioned dance as a way to express gentility and compliance with etiquette, as well as state the knight’s code of honor (Kassing 72).

Dance was more and more drawn into the sphere of entertainment, since amusements were scarce; travelling performers became especially popular, bringing new dances such as carole, farandole, pavane, and others from court to court. In the Renaissance dances increasingly drifted apart from the sacred sphere and became a token of position and manners for the upper society, and a way of celebrating social and life events for the lower classes.

From the Medieval tradition of Dance Dramas, which represented the lives of saints and martyrs, stemmed the idea of 16th and 17th century ballets, ranging from Ballet-Masquerade to Ballet Pastoral and Ballet-Comique (Kassing 101–105). Moving dance from the court into the theatre, the eighteenth century celebrated the onset of ballet art, mainly in the Paris Opera.

Moving away from the artificiality of court ballet, ballet d’action set the aim of imitating nature, which naturally fostered development of costume and decorations. In addition, the art of pointe-work was initiated as well as capacities of whole body were employed in dancing.

Court ballrooms also witnessed a refreshment of repertoire, with minuet being one of the most popular dances of the period and reflecting the national peculiarities of the places it was danced in: while the French envisaged it as a graceful unhurried dance, emphasizing the male gallantry and the female grace, the Italians imparted a brisk and lively character, as well as faster tempo to it.

The early nineteenth century in Europe was still experiencing the consequences of the French Revolution, and the slogan of freedom applies to women’s clothes as well. The unrestrictive design of the garments allow performing jumping and skipping movements, reflected in such dances as gallop and quadrille. However, the ballet stage witnesses a completely different situation.

The era of Romanticism dictated its ideals to the image of ballet-dancer: ballerina on pointes became a nearly deific, ethereal creature, soaring over the parquet in her magic movements. This fully reflected the tendencies towards fantasy, spiritualism, and emotional perception of world promoted by Romantic ideas. By the mid-1850s, female fashion was characterized by enormous hoop skirts, which in turn promoted changes in dancing techniques and made turning dances, such as waltz, rule the ballroom.

The twentieth century has brought about cardinal social change, which also reflected on the dancing styles. On the one hand, due to efforts of Russian ballet troupes, professional ballet was revolutionized, acquiring new techniques and virtuosic standards of dancing.

On the other hand, social dancing is more than ever the terrain for raving youth who possess enough energy to perform such active dances as Charleston, fox trot, shag, and others. In addition, black society influences the dance room and introduces such genre as swing dancing. By the eng of the century, classical dance is characterized by breath-taking technique and conceptual choreography, while popular culture is organized in the sphere of street-dancing, with hip-hop and break dance ruling the dance floors.

All in all, it appears obvious that the ritual character of dance inherent in it since the first days of its existence shapes itself into two directions: the “self-unconscious act without deliberate aesthetic concerns” that reveals itself in the culture of tribal dances, and the unique experience of individual transformed into the “metaphoric idiom known as art” (Highwater 14).

In the course of historical development, dance demonstrates a clear tendency from the former aspect to the latter, basing on the social influence that affect its development.

Works Cited

Highwater, Jamake. Dance: Rituals of Experience . 3rd ed. New York, NY: Oxford University Press, 1996. Print.

Kassing, Gayle. History of Dance: An Interactive Arts Approach . Champaign, IL: Human Kinetics, 2007. Print.

Scott, Edward. Dancing in All Ages — The History of Dance . London, Hesperides Press, 2006. Print.

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Savvino-storozhevsky monastery and museum.

Zvenigorod's most famous sight is the Savvino-Storozhevsky Monastery, which was founded in 1398 by the monk Savva from the Troitse-Sergieva Lavra, at the invitation and with the support of Prince Yury Dmitrievich of Zvenigorod. Savva was later canonised as St Sabbas (Savva) of Storozhev. The monastery late flourished under the reign of Tsar Alexis, who chose the monastery as his family church and often went on pilgrimage there and made lots of donations to it. Most of the monastery’s buildings date from this time. The monastery is heavily fortified with thick walls and six towers, the most impressive of which is the Krasny Tower which also serves as the eastern entrance. The monastery was closed in 1918 and only reopened in 1995. In 1998 Patriarch Alexius II took part in a service to return the relics of St Sabbas to the monastery. Today the monastery has the status of a stauropegic monastery, which is second in status to a lavra. In addition to being a working monastery, it also holds the Zvenigorod Historical, Architectural and Art Museum.

Belfry and Neighbouring Churches

Located near the main entrance is the monastery's belfry which is perhaps the calling card of the monastery due to its uniqueness. It was built in the 1650s and the St Sergius of Radonezh’s Church was opened on the middle tier in the mid-17th century, although it was originally dedicated to the Trinity. The belfry's 35-tonne Great Bladgovestny Bell fell in 1941 and was only restored and returned in 2003. Attached to the belfry is a large refectory and the Transfiguration Church, both of which were built on the orders of Tsar Alexis in the 1650s.  

To the left of the belfry is another, smaller, refectory which is attached to the Trinity Gate-Church, which was also constructed in the 1650s on the orders of Tsar Alexis who made it his own family church. The church is elaborately decorated with colourful trims and underneath the archway is a beautiful 19th century fresco.

Nativity of Virgin Mary Cathedral

The Nativity of Virgin Mary Cathedral is the oldest building in the monastery and among the oldest buildings in the Moscow Region. It was built between 1404 and 1405 during the lifetime of St Sabbas and using the funds of Prince Yury of Zvenigorod. The white-stone cathedral is a standard four-pillar design with a single golden dome. After the death of St Sabbas he was interred in the cathedral and a new altar dedicated to him was added.

Under the reign of Tsar Alexis the cathedral was decorated with frescoes by Stepan Ryazanets, some of which remain today. Tsar Alexis also presented the cathedral with a five-tier iconostasis, the top row of icons have been preserved.

Tsaritsa's Chambers

The Nativity of Virgin Mary Cathedral is located between the Tsaritsa's Chambers of the left and the Palace of Tsar Alexis on the right. The Tsaritsa's Chambers were built in the mid-17th century for the wife of Tsar Alexey - Tsaritsa Maria Ilinichna Miloskavskaya. The design of the building is influenced by the ancient Russian architectural style. Is prettier than the Tsar's chambers opposite, being red in colour with elaborately decorated window frames and entrance.

At present the Tsaritsa's Chambers houses the Zvenigorod Historical, Architectural and Art Museum. Among its displays is an accurate recreation of the interior of a noble lady's chambers including furniture, decorations and a decorated tiled oven, and an exhibition on the history of Zvenigorod and the monastery.

Palace of Tsar Alexis

The Palace of Tsar Alexis was built in the 1650s and is now one of the best surviving examples of non-religious architecture of that era. It was built especially for Tsar Alexis who often visited the monastery on religious pilgrimages. Its most striking feature is its pretty row of nine chimney spouts which resemble towers.

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