The musculoskeletal structure of the human body, which allows for countless movements and the rhythmic nature of the heart, which is the operating center of life, indicate that the human being is designed as a system that moves without stopping. Man acts not only for his vital needs, but also for his physical and mental vitality and to obtain physical or mental pleasures. He creates the phenomenon of ‘music’, which he obtains through the expression of his natural sense of rhythm, both with his body and movements.
Dance is a natural event that would take place in ancient times, or various experiences that people considered stronger than themselves and deify; it is the material of collective celebrations or ceremonies held in order to make people indicate the thresholds of social development, seasons, spiritual and physical transformations. Throughout history, it has been a part of different cultures, developed together with humans, both in terms of the use of the body and its narrative forms and its values.
According to the definition of Judith Steeh, “humans, like other animals, instinctively express themselves and communicate with their movements. But man is the only animal that dances, that is, creates streams of nonutilitarian movements that are pleasing to watch or convey a meaning by linking the sequences he creates with his consciousness.”1
Throughout human history, we can witness the diversified existence of dance within civilizations; from references to dance in Sufi practices from Mevlana to Gurdjieff and in the Bible, it was accepted as the expression of harmony between body and mind in Ancient Greece; dance takes place predominantly in weddings, funerals or religious ceremonies and even in military training. In this way, dance also finds value as a provider of unity in society.2
In order to provide an intellectual explanation for the human being’s dancing or the urge to dance, let’s refer to a text that can be an addition to Steeh’s definition. In this text, inspired by the performance of the Spanish master of dance La Argentina, Paul Valery explains why people perform a “pointless” performance like dance and searche for answers to the question philosophically, what is dance? Valery first of all determines that: “Man is the unique animal that watches his own life, values himself and likes to measure this value by useless perceptions and actions that are not of vital physical importance to him”.3 Later, Saint Augustine’s question of “what is time?” refers to the question of “what is dance?” and answers with: “Dance, after all, is in a way nothing but a form of Time; in a way it is nothing but a creation of time, or the creation of a very different and special time.” In this context, the set of “useless” or “dysfunctional” movements that cause the existence of dance occupy a certain time – and space – while being performed, occupying the audience as well as the performers. Since the activity has a beginning and an end in some way, it is a means of having a sense of “time” or recognizing a particular piece in the flow. Thus, it can be regarded as one of the forms of time. From the point of view of the person performing the dance, it can be said that “…this person who is dancing is in a way closing himself into a time created by himself, a time made of nothingness, which should not last due to the energy he has gathered in himself at that moment.”4
… overcomes the impossible and practices the improbable; and by forcing the normal state of things with its energy, it hits the perip of the Spanish master of dance La Argentina, Paul Valery explains why people perform a “pointless” performance like dance and searche for answers to the question philosophically, what is dance? Valery first of all determines that: “Man is the unique animal that watches his own life, values himself and likes to measure this value by useless perceptions and actions that are not of vital physical importance to him”.3 Later, Saint Augustine’s question of “what is time?” refers to the question of “what is dance?” and answers with: “Dance, after all, is in a way nothing but a form of Time; in a way it is nothing but a creation of time, or the creation of a very different and special time.” In this context, the set of “useless” or “dysfunctional” movements that cause the existence of dance occupy a certain time – and space – while being performed, occupying the audience as well as the performers. Since the activity has a beginning and an end in some way, it is a means of having a sense of “time” or recognizing a particular piece in the flow. Thus, it can be regarded as one of the forms of time. From the point of view of the person performing the dance, it can be said that “…this person who is dancing is in a way closing himself into a time created by himself, a time made of nothingness, which should not last due to the energy he has gathered in himself at that moment.”4
… overcomes the impossible and practices the improbable; and by forcing the normal state of things with its energy, it hits the peripheries of another state in humans – an extraordinary state of pure action – … in which all the senses of the body, which move are interconnected in a certain order … it evokes the idea that there is a situation in which they seek each other and respond to each other as if they are reflected by changing direction.5
When we consider dance as an action, we can say that it is a set of body movements and attitudes based on a cause-effect relationship of its own. Although it is often preconceived, calculated and can be repeated afterwards, the most important difference that distinguishes dance from any other movement and attitude is the absence of any kind of purpose or routine of daily life. Dance movements do not meet any function required in daily life, they are dysfunctional or detached movements. Valery:
Yes, this dancing body seems to have forgotten everything else, ignorant of anything around it except what it is doing. …This shows us … that it is definitely in another world, that this is not the world that is reflected in our eyes as a picture, but a world woven by its steps and formed by its movements. However, there is no apparent reason for actions in this world; There is no object to be grasped, to be approached, or to be moved away, to escape from. …the detachment from the environment in question, the lack of purpose, the denial of explainable movements, …(movements that our body does not force us to do under any circumstances in ordinary life), even that smile that belongs to no one, …the exact opposite of our actions in daily life.6
“Dancing”, which is a bodily and social activity, is among all cultures on earth; basically, it rises to an expressive upper level and creates itself as one of the art styles, through arrangements based on the relations established between music, clothing and the place where it is presented to the audience. When dancing, various emotions that come through whilst in motion such as excitement and finally the possibilities of being different from the audience, with the effect of clothes, ornaments and accessories; are the factors that trigger the tendency to dance as an artistic performance. In addition to these, being equal with other bodies, breathing the same dynamic, being “one” in the partnership of music and rhythm, and being able to convey various meanings independently of words, provide social development and satisfaction to the dancers. On the other hand, from the point of view of the audience, one can talk about the pleasure arising from experiencing the narratives that consist of harmony or tension between moving bodies, watching the forms of the bodies participating in the rhythm or emotions with the sounds accompanying the dance, and watching a holistic flow enriched with other visual elements.
The questions of why people dance, why they create dance pieces and why they watch can be expanded into many branches and the answers can be infinitely varied. However, it is always distinguished from other arts by its “unknown” or “unidentifiable” qualities and even its “weird” nature. During the evaluation or interpretation, every inference about dance is relative and open to discussion. It is clear that any involvement in understanding or explaining the art of dance has and will have some risks. This situation creates excitement and the need to discover the uncanny is what makes this form of art so attractive.
Asst. Prof. Dr. Handan Ergiydiren Doğan