Such initiatives aim at ensuring that the members of the society are not excluded from the mainstream opportunities in community dances and dancing competition such as the Big Dance Olympics. Harney (2001, p 75) reflects that the practice of community dance involves the participation of various groups even those which are not directly associated with the contemporary and traditional art forms. This essay gives a critical examination and discussion on the nature of community dance with an aim of illustrating how theory and practice are applicable in the community dance within Europe. Demonstration of various dance projects and workshops and illustration of the dance Olympics are applied within the discussion of the essay. According to Adair & Brett (2005, p. 35), a community dance is a movement work which is aimed at facilitating and promoting creative self expression by a group of people. The expression aims at advocating for cultural and political change within the society. Hoban (2000, p. 34) adds that the creation of community dance is communal and therefore they are not authored by individuals. This means that the outcome of a community dance is open. Even though the facilitator gives a thematic predetermination of a community dance, the dancers would create their own cultural expressive material (RF). It is therefore evident that the outcome of a community dance would deviate from the choreography of the artist who creates the dance leading to creative collaborative and expressive performance (Mulac, 2005, p. 88). It is in this regard that it is argued that community dance is unique as it challenges the conventional dances and performances and the associated aesthetics. More significantly is that community dance is powerful not because of the process rather by the product of the performance (Anand, 1997). Community dances involves moving and working together by the performing group. This allows different bodies, voices, experiences and experiences to merge towards a perfect and highly entertaining performance. Osborne (2011, p. 13) argues that it is through community dance that dance is appreciated. This is so because community dance is a form of dance which leads to the understanding of the ability of art making, dance aesthetics, what dance is, who can dance, the nature of pleasure and beauty and the most appropriate ways that the audience and the dancers would appreciate dance. Shah (2009) explains that for the achievement a desirable product of community dance, the community dance practitioners work and practice through dance projects, a series of meetings and workshops. This is opposed to conventional dance where pre-set dates for dancing and rehearsal periods are involved. Brinson (1993) reflects that in community dance, the boundaries between the audience and the dancers are fluid open. It is therefore through community dances that the excitement of dancing and performances are brought forth unto communities. The Big Dance 2012 is a wonderful experience where various groups of dancers with diverse dance performances and aesthetics and expressions were able to bring the dancing experience and excitement to the community. The communities dance practices prior and during the Big Dance performance involve setting up various dance projects (Amans, 2008). These projects are initiated by finding a group (Hughes-Freeland, 2008). The emergence of these groups comes from various communities
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COMMUNITY DANCE: THEORY AND PRACTICE Instructor Institution Date In the United Kingdom, the community dance movement has been one of the most active movements in the organization various dance projects and delivering them to the audience in the most entertaining and cultural way (Harding & Sutherland, 2010, p…
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