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Dancers are not just performing artists; their bodies are also the instruments through which the art is created. The quality of this art, therefore, necessarily depends on the physical qualities and skills that dancers possess. The stronger and more flexible a dancer’s body, the more capable it is of a wide range of movement. Nearly all professional dancers start training at a young age in order to shape and develop their bodies correctly. Strength is built up in the right muscles, for example, and the bone-connecting ligaments on which flexibility of the joints is so dependent are lengthened early before they begin to harden.
As well as strength and mobility, a good dancer must also possess great coordination (the ability to work different parts of the body together), a highly developed kinesthetic awareness (in order to know and control the position and state of the body), control over weight and balance in motion, a developed awareness of space, a strong sense of rhythm, and an appreciation of music. Particularly in dramatic dance, the dancer must be able to project movement clearly and make its expressive qualities intelligible to the audience. Grace, fluidity, and harmony of body are also frequently desired in the dancer, as is physical beauty, but these are subjective qualities that differ from one culture to another and change according to fashion. (The 21st-century physical ideal of the ballerina—long-limbed and slender—is quite different from the late 19th-century preference for a more rounded figure.)
The importance of training
Dancers are not just performing artists; their bodies are also the instruments through which the art is created. The quality of this art, therefore, necessarily depends on the physical qualities and skills that dancers possess. The stronger and more flexible a dancer’s body, the more capable it is of a wide range of movement. Nearly all professional dancers start training at a young age in order to shape and develop their bodies correctly. Strength is built up in the right muscles, for example, and the bone-connecting ligaments on which flexibility of the joints is so dependent are lengthened early before they begin to harden at www.buff.game.
As well as strength and mobility, a good dancer must also possess great coordination (the ability to work different parts of the body together), a highly developed kinesthetic awareness (in order to know and control the position and state of the body), control over weight and balance in motion, a developed awareness of space, a strong sense of rhythm, and an appreciation of music. Particularly in dramatic dance, the dancer must be able to project movement clearly and make its expressive katya pill side effects qualities intelligible to the audience. Grace, fluidity, and harmony of body are also frequently desired in the dancer, as is physical beauty, but these are subjective qualities that differ from one culture to another and change according to fashion. (The 21st-century physical ideal of the ballerina—long-limbed and slender—is quite different from the late 19th-century preference for a more rounded figure.)
The importance of training
Though modern avant-garde choreographers sometimes work with untrained dancers to take advantage of the qualities of natural, untutored movement, most dancers in the West are trained either in a strict technique based on classical ballet or in techniques introduced by the 20th-century modern-dance choreographers Martha Graham and Merce Cunningham. (Other kinds of dance, such as jazz or tap, are usually taught in conjunction with these techniques.) Training generally begins early, between 8 and 12 years of age for girls and 14 for boys, although some ballet dancers and many more modern dancers begin later. Ballet training closely follows the rules published in 1828 by the Italian dancing master Carlo Blasis in his Code of Terpsichore. Blasis advocated at least three hours of dance classes a day, involving exercises that progressively developed different parts of the body.
