Social dance is nearly always accompanied by music, which not only helps to keep the dancers in time with each other but also increases the power and excitement of the dance, encouraging the dancers to abandon themselves to their movements. Sometimes individual dances have developed in response to a new musical form, as in jazz and rock and roll; but dance has also had an important influence on music, as in the Renaissance, when musicians were required to produce music to accompany the new dances that were developing.
Choreographers and composers alike often feel limited and frustrated when they have to create their own works within the limits of someone else’s artistic conception. The most fruitful relationship is often one in which an element of collaboration exists between composer and choreographer from the start. Fokine’s collaboration with Stravinsky on The Firebird (1910) is an example of both score and choreography emerging from long and detailed discussion, during which each artist remained sensitive to the other’s wishes and to the overall idea of the work. There are no rules, however, and while some choreographers dislike being subjected to the limitations and demands of a musical score, others regard them as important creative stimuli.
Plié in second position en pointe executed by Gelsey Kirkland in The Firebird.Martha Swope
Most dances have a traditional relationship with particular musical works or with particular kinds of music. Although ballet has always had a close relation to classical (as opposed to popular) music, many people have found unacceptable its use of established masterpieces that were not specially composed for ballet. It was not until the 20th century that this practice came into being, with Isadora Duncan performing to Richard Wagner, Johannes Brahms, and Frédéric Chopin and Léonide Massine choreographing his symphonic ballets to the works of Hector Berlioz, Brahms, and Tchaikovsky.
During the 20th century a close relationship also existed between modern dance and contemporary music, often music of a highly experimental nature. Thus, choreographers used, or even commissioned, works from composers such as Arnold Schoenberg, Anton Webern, Luciano Berio, Aaron Copland, and John Cage. But it is common for both contemporary ballet and modern dance to use a variety of musical forms: modern dance may use early classical or non-Western music, while ballet may be performed to popular music. Also, as mentioned above, the concept of musical accompaniment has been stretched to include any kind of natural sound, electronic score, spoken text, or even silence. Set and design
Just as music can enhance the mood of a dance and influence the way in which the spectator interprets its dramatic content, so visual elements such as costume, makeup, masks, props, lighting, and stage sets may also amplify certain qualities of dance movement. Because set and design are vital elements of theatre, they are most important in those types of theatre dance, whether dramatic or abstract, in which dancers perform before nonparticipating spectators. Therefore, most discussion of the use of visual elements in dance centres on theatre dance.
Members of the Sharks street gang dancing the choreography of Jerome Robbins to the music of Leonard Bernstein in West Side Story, 1961.Copyright 1961 Mirisch Pictures Inc. All Rights Reserved
Such visual elements as costume and makeup do play a role in participatory social and ritual dances, however. In most war and hunting dances the participants not only imitate the movements of warriors or prey but also use weapons, masks, makeup, and animal skins to heighten the realism of the dance. The wearing of animal skins is a common means in many such dances to magically acquire the animals’ strength or agility—hence the eagle feathers worn in the headdresses of many North American Indians or the deerskin shoes traditionally worn by the Scots.
Kacchi ghori dancers of Rajasthan, India.Foto Features
In other ritual dances the dancers’ clothes may well possess magical or religious significance. The Ṣūfī dancer begins his ritual by divesting himself of a black cloak that is symbolic of the tomb. Body painting in symbolic colours is characteristic of many tribal dances as a means of keeping away evil spirits, while the embroidery on a number of European national costumes is often a relic from the days when it functioned as a magic charm. Most important of all, the wearing of special clothes in ritual dances, as in rituals not involving dance, is a way of signaling and preserving the sacred quality of the occasion and removing it from ordinary life.
In festive dances, too, clothes and ornamentation play an important role in embellishing the movement and heightening the atmosphere of gaiety, pomp, or excitement. Social dances frequently have special clothes associated with them—such as the evening suits and voluminous sequined dresses of ballroom dancing or the tight, black clothes of rock and roll. Such clothes are not only the fashion of the era but also the uniform that identifies the dancer more strongly with the dance and the other dancers. Like music, clothes can help dancers surrender their everyday selves to the dance.
Madonna performing in her last show of the “Sticky & Sweet” tour, Tel Aviv–Yafo, Sept. 2, 2009.Frank Micelotta—Live Nation/PRNewsFoto/AP Images
In theatre dances everywhere, the use of visual effects is crucial to the power of the dance. In the Indian kathakali" class="md-crosslink">kathakali, facial makeup is central to the portrayal of character. Differently coloured beards are used to represent good or bad characters, while the colour of the makeup is even more revealing: a green and red painted face represents an evil and ferocious character, a green and white face is for heroes and noblemen, a pinkish-yellow face is for women characters and sages, and black and red makeup is used for female demons.
kathakaliKathakali performance in Taliparamba, Kerala, India.MANOJTV
The bharata natyam dancer relies more purely on the mudras for character portrayal, but makeup and costume are still highly important. The graceful, sinuous lines of the dancer’s movements are emphasized by the bare torso and flowing skirt or trousers, while the intricate detail of the mudras is reflected in the rich jewels, flowers, and decoration of the costume. Costume and stage sets in Western theatre dance
Masks have also been used as a means of characterization in many dance forms, from ancient Egypt to the early European court ballets. One reason early ballet dancers were limited in their dance technique was that the masks they wore to represent different characters were so elaborate and their wigs and clothes so heavy that it was scarcely possible to jump or to move across the floor with any speed or lightness.
The early ballets not only had elaborate costumes but also were performed in spectacular settings. The Mountain Ballet, performed in the early 17th century, had five enormous mountains as its stage scenery, in the middle of which was a “Field of Glory.” The dance historian Gaston Vuillier later described the scene:
Fame opened the ballet and explained its subject. Disguised as an old woman she rode an ass and carried a wooden trumpet. Then the mountains opened their sides, and quadrilles of dancers came out, in flesh coloured attire, having bellows in their hands, led by the nymph Echo, wearing bells for headdresses, and on their bodies lesser bells, and carrying drums. Falsehood hobbled forward on a wooden leg, with masks hung over his coat, and a dark lantern in his hand.