Dance and Gender
Dancing is an art that involves a rhythmic movement of the body. It is a rhythmic movement of the body to music. Music is used as a way of expression and social interaction, and it is performed in various cultures. Dancing is also performed as a form of exercise, and it can be presented in a performance environment. Dance can also be perceived as a mode of nonverbal communication amid human beings. Certain exercise activities such as synchronized swimming, figure skating, and gymnastics also incorporate the art of dancing. The art of dance is dependent on cultural, social, artistic, and moral restraints. Dancing varies from functional movement to virtuoso methods. It can be regarded as a social, participatory, ceremonial, and erotic form of art (Delessert 34).
Dancing is a form of art that expresses ideas and emotion performed for the spectators. It is characterized by different styles that have evolved over the years. The hip-hop culture is distinguished through the krumping and break-dancing styles. The classical music involves dance styles such as waltz, ballet, ballroom, and tango. These dancing styles provide body flexibility. The art of dancing involves assessing the historical, cultural, and political environments and translates them into a movement language (Delessert 112). Gender illustrates a variety of characteristics of femininity and masculinity. Gender roles in the society illustrate a set of social and behavioral customs created for either male or female. These roles vary according to different cultures. Gender and dance are particularly connected to the body. Gender portrays cultural norms of masculinity and femininity which are adorned by the body. Dance illustrates the major means of expression and communication. Dance shows the unique roles and relationships between men and women. In dance art, the partnering movement illustrates gender as a simple act of placing a man and a woman on stage to develop a relationship that should be interpreted by the audience (Worden & Worden 56).
