Category: 10/22/2009

Dance is a language. But it is obviously not a spoken language. It is similar to sign language in that it can be understood no matter what language(s) u speak. However it is very different because its interpretation can change based on the person. It allows the speaker (dancer) to express his or herself in a way words cannot always do. Also the ability of the dance to be interpreted in many different ways enhances the language.

Instead of writing actual words, I have decided to express my response in the form of dance:

Please stand up, raise one of arms, slowly bob your head, and then shift your weight constantly between both your feet.

Clearly, there are distinctions to be made when discussing dance as a language. This inquiry, however, is dependent upon how one would define both “language” and “dance,” proving that the answer to this question is relative.

Modern dictionaries contain a myriad of definitions for what “language” really is. The irrefutable intrinsic quality of language, however, is the means of communication. The “heart” of language lies in its ability to communicate an idea, thought, or emotion. Thus, going by this definition, dance can easily be a form of language. Dance is normally thought to simply be composed of various movements in accord to some type of music or rhythmic beat. In a much broader sense, however, dance can be thought of the body’s way of communicating. As displayed by Dante Adela last week, dance can communicate both ideas and emotions. From observing the body’s motions after the “cold shower” exercise, the viewer was able to sense the disturbance brought on by the cold water simply from the way Adela moved; he did not incorporate any sounds or words.

It is important to note that when seen in the context of a language, dance is often very generalized. Yes, it is sometimes possible to see definitive emotions expressed through specific dance movements, such as when Adela expressed discomfort in the shower example. Dance, however, mostly serves as an interpretative means of communication rather than a definitive one. The video regarding the dance between Adela and the woman, for example, was interpreted in a variety of ways by the members of the class. The message extracted while watching the same dance performance can vary amongst members of the audience and depends almost entirely on the viewer. Some dance, however, can be extremely specific in terms of communication. If dance is only defined loosely as “bodily movements,” then sign language may also be rendered a type of “dance.” Another specific type of dance is employed by Western bees. Performing the infamous “waggle dance,” these bees can actually communicate to each other about nearby food sources by dancing.

When going by strict definitions, it would appear as though dance is not a language. But when reason transcends these definitions, I believe that dance is indeed a language because of its inherent ability to communicate emotions and ideas as described above.

Krishan Sharma

Fundamentally, language allows communication between people. It uses shared and accepted representations of both concrete and abstract ideas to give people ideas of others’ experience, thought, or knowledge. Among all cultures, even those in which language has evolved for thousands of years independent of other influences, language is recognized by its grammar, context, and meaning. The word “language” commonly represents spoken and written words that, although learned, seem to originate in common human capacity for reason. In several respects, however, dance is also a human language.

Dance, as a form of language, communicates ideas. It uses an accepted vocabulary of movements to express ideas of things and thoughts. Emotions especially can be almost universally conveyed through movement. As people from different cultures can understand the emotions in unfamiliar music, so too can they in dance. Dance, like language, can have grammar. Phrases of a series of movements, such as a series of jubilant leaps, or timid, tiny steps, may convey one idea or tell one part of a story. These phrases are punctuated by pauses, like the commas of language, and stops, like periods. When a choreographer defies accepted grammar, especially in a formal dance such as ballet, they use the very lack of grammar to make a point. The change in center of balance that Mr. Adela spoke of serves such a purpose. Like language, dance can be further abstracted from obvious representations, so that the ideas conveyed are less clear. Poems with gibberish words violate the expectations of the reader, and in doing so prompt thought in a manner similar to modern dance. Modern turns traditional dance vocabulary and grammar on its head, or heel, or knee.

Unlike language, however, dance generally conveys ideas more generally. Rather than a phrase as specific as, “I am in love,” dance conveys the joy and experience of love through the force and rhythm of its motions. It is also used less often to communicate the ideas of individuals than the ideas of communities, as Alvin Ailey’s Revelations tells the shared stories of many people with the movements of a few, or as Native American tribal dances once represented an entire community’s attempt to communicate with a God. Dance, in its general ideas and common group mentality, in fact represents a more universal method of communication than words do, or can.

Language is a way to communicate between people — an ability to convey everything or nothing. American Sign Language, however, shows that language doesn’t necessarily have to be spoken. There are certain gestures people can string together that allows another as much or as little into our mind frame as we please. Dance holds a theoretically similar premise. Dance is widely accepted as an art form, but the message dance can send out has meaning in its own right. A dance can tell a story like a person does while speaking. Under the presumption of these guidelines, a conversation in dance would be a dance-off, in which dancers consecutively string moves together. The problem, however, is that dance-offs tend to have competitive tones, as dancers seem to care less about conveying anything more than “Look at me! My extensions are the bomb!” in this situation.

Presuming dance can both speak and be an art form sets the precedent that literature, paintings, and music also have the ability to communicate in some capacity. There are different languages in spoken word, and in a parallel fashion, there are different dance styles. On the surface, dance does appear to have all the tenets of a language. However, dance is a language we observe rather than take part in. At a dance performance, audience members can’t jump on stage and crunk. While observing dance, we will always be left out of the conversation, like going to a bodega. Even if we are dancers ourselves, it is not our conversation to take part in. It is a language we constantly try to crack because even if we cannot take part in it, we know deep down that the language is relatable and understandable in a sense. When we realize this, we are as relieved as when we come to the conclusion that those guys in the bodega aren’t secretly plotting to overcharge us for the twinkies and doughnuts that keep us too overweight to spark a conversation in Dance.

On a somewhat related note, Mr. Adela’s discussion enforced what I knew about dance and dancers. Yes, it is expressive beyond belief. Yes, it rests on passion. Yes, dancers work harder than imaginable. And, most of all, dance is perhaps the most beautiful language on earth — more beautiful than French, more soulful than Italian. In addition, Mr. Adela wowed me on a personal level with his stamina, dedication, and that awesome breakdancing.

According to Merriam-Webster’s Dictionary, the definition of the word “language” has various meanings. Among the many definitions, one of them states that language is “the suggestion by objects, actions, or conditions of associated ideas or feelings.” In this sense, it is undeniable that dance is a language. When a dancer performs and moves around the stage, he or she is doing so with feeling; a dancer does not dance without emotion. The feeling of the dancer is radiated to the audience, who make their own conclusions about what the performance is truly about. As a result, even if the audience is not told what the show is about, most of the time the audience will be able to decide for themselves what was going on during the performance based on the dancing.

It is true that dance is not a language in the usual sense, for dance is not done with words. However, we say that animals have their own languages, but do they speak with concrete words? If a dog barks at another dog to let him or her know something, does this not count as language, simply because there are no words involved? The same logic applies to dance, which communicates without words. Just like the common saying, “A picture is worth a thousand words,” dance may be worth millions of words depending upon the person experiencing it. For some it may have a profound effect, while for others it may have none. Nevertheless, the fact that is has an effect at all is enough to make dance a language.

It was undeniable to see that dance is a language when we met with Dante Adela. It was very easy to see how much passion Dante had for dance. When he showed us a video of one of his performances and asked the class what they thought the piece was about, there were many different answers. Dante listened to all of them and allowed us to decide what the piece meant to us, as a result allowing us to use his actions to draw a conclusion, which is in line with the definition of a language. In addition, when Dante showed us some simple dance moves, he was in effect teaching us the language of dance, just as one learned English in school. By watching Dante dance in front of us, it was very easy to see just how much passion he had for the art of dance.

Dance is not a language. Rather, it is a form of expression, and can be a very powerful one at that. Language must be structured and consistent, it has set meanings and definitions of its words. Dance, has no structured means of communication, rather, it is dependent on interpretation by the audience. In language, ideas are communicated through expression of words, as opposed to dance, in which ideas are communicated through expression of movement, which itself is subject to interpretation.

People in a movement often try and elevate their cause through elevation of diction (there was an article in the new york times recently how the word ‘curate’ now applies not only to those who work in museums, but to anybody who puts effort into selecting something artistic: http://www.nytimes.com/2009/10/04/fashion/04curate.html?_r=1&pagewanted=1). But this shouldn’t be the case with dance. To make dance a language would take away the interpretive nature of it. It would make the message of the artist completely supersede the experience of the viewer. There is already a name for language through movement: sign language. Characterizing dance as language instead of expression not only fails to elevate it, it demeans it.