Mythology of Dance


I found this website:

http://www.gildedserpent.com/art37/KetiAstro.htm

I thought it was an interesting look at why we dance…

Here’s some of my favorite passages:

“In primitive cultures the links between heaven and earth, spirit and matter, or human and god or nature was understood and celebrated through ritual, song, and movement.”

“Dance, however, in its primal state, bypasses many “mental analyses” and seems to translate a type of elemental universal knowledge directly through the body. One can, I guess, say the same about music, which in its most primal state is almost unconsciously drawn from the musician, with a guidance that cannot be explained in terms of “literal study” or “dissemination of learnt material.” It is sometimes called “inspired,” but where does that really come from? In dance, one of history’s oldest modes of communicating with divinity and nature, the body becomes a vehicle for universal knowledge through music. The two are inextricably linked; the audio becomes the visual. When the two parts become one, the expression is complete. And in its completion, we assume some message has been transposed from the divine “inspiration” to the “vibrational” mode of music to a “physical” understanding through the body. As simple as it seems, this process harnesses various cosmological elements within its progression; there is a clarity or awareness realized through the act itself. Inspiration and instinct often guide both music and dance.”

“In dance, the body becomes a vehicle for three things:a) The establishment of a rhythmic pattern response through the rhythm and tempo of percussion, thus creating a physiological and psychological effect. Drums are primal and instant in their effect with a core range of tempos from 60-180 beats per minute (BPM) that affect our physiology (our entire endocrine system noticeably speeds up simply by listening to 130 BPM, while 60 BPM is pacifying and is often used in hypnosis).b) Creating a music-melody-movement response to the various instruments played, thus tuning body movement with sound wavelength and frequencies. Instruments are held by the player near the body area that harnesses the frequency of the specific instrument. For example, drums are approximately 50 MHz, as is the frequency of the pelvic area in humans. Flutes are pitched at almost 4,000 MHz as is the frequency of the head area in humans. This explains why African warriors dance using low, grounded aggressive movements to earthy drums, while the Sufi dervishes spin to flutes for enlightenment. Fiery guitars sit in the mid-body area, with qualities matching the solar plexus’ characteristics of pride and courage apparent in Spanish flamenco. The emotive heart area tunes into a higher frequency again, so instruments like the accordion and violin create music that engage feeling and “pull the heartstrings.”c) Tuning into cosmological principals based on the body’s ability to create SPACE, WEIGHT and SHAPE in unchanging elemental fractal geometry. We dance the shapes and patterns that music creates, thus replicating the pattern in a physical, kinesthetic dimension”

Interesting huh?

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