History of music
music.[7]
Prehistoric eras and antiquity
The development of music among humans
must have taken place against the backdrop of
natural sounds such as birdsong and the
sounds other animals use to communicate.[citation
needed]
Prehistoric music is the name which is
given to all music produced in preliterate
cultures.[citation needed][4]Ancient music can only be
imagined by scholars, based on findings from a
range of paleolithic sites, such as bones in
which lateral holes have been pierced: these
are usually identified as flutes,[5] blown at one
end like the Japanese shakuhachi. The earliest
written records of musical expression are to be
found in the Samaveda of India and in 4,000
year old cuneiform from Ur.[citation needed]
Instruments, such as the seven-holed flute and
various types of stringed instruments have been
recovered from the Indus Valley Civilization
archaeological sites.[6]
India has one of the oldest musical traditions in
the world—references to Indian classical music
(marga) can be found in the ancient scriptures
of the Hindu tradition, the Vedas. The traditional
music of China has a history stretching for
around three thousand years. Music was an
important part of cultural and social life in
Ancient Greece: mixed-gender choruses
performed for entertainment, celebration and
spiritual ceremonies; musicians and singers had
a prominent role in ancient Greek theater In the
9th century, the Arab scholar al-Farabi wrote a
book on music titled Kitab al-Musiqi al-Kabir
("Great Book of Music"). He played and
invented a variety of musical instruments and
devised the Arab tone system of pitch
organisation, which is still used in Arabic
etc., and ancient writings (such as in Aristotle,
Prehistoric music
Prehistoric music, once more commonly called
primitive music, is the name given to all music
produced in preliterate cultures (prehistory),
beginning somewhere in very late geological
history. Traditional Native American and
Australian Aboriginal music could be called
prehistoric, but the term is commonly used to
refer to the music in Europe before the
development of writing there. It is more
common to call the "prehistoric" music of non-
European continents – especially that which still
survives – folk, indigenous, or traditional music.
Ancient music
The prehistoric era is considered to have ended
with the development of writing, and with it, by
definition, prehistoric music. "Ancient music" is
the name given to the music that followed. The
"oldest known song" was written in cuneiform,
dating to 4,000 years ago from Ur. It was
deciphered by Prof. Anne Draffkorn Kilmer
(University of Calif. at Berkeley), and was
demonstrated to be composed in harmonies of
thirds, like ancient gymel (Kilmer, Crocker,
Brown, Sounds from Silence, 1976, Bit Enki,
Berkeley, Calif., LCC 76-16729), and also was
written using a Pythagorean tuning of the
diatonic scale.
Double pipes, such as used by the ancient
Greeks, and ancient bagpipes, as well as a
review of ancient drawings on vases and walls,
Problems, Book XIX.12) which described
musical techniques of the time, indicate
polyphony. One pipe in the aulos pairs (double
flutes) likely served as a drone or "keynote,"
while the other played melodic passages.
Instruments, such as the seven holed flute and
various types of stringed instruments have been
recovered from the Indus valley civilization
archaeological sites.[2]
Indian classical music (marga) can be found
from the scriptures of the Hindu tradition, the
Vedas. Samaveda, one of the four vedas
describes music at length. The history of
musical development in Iran [Persia] Persian
music, dates back to the prehistoric era. The
great legendary king, Jamshid, is credited with
the invention of music. Music in Iran can be
traced back to the days of the Elamite Empire
(2,500-644 B.C). Fragmentary documents from
various periods of the country's history establish
that the ancient Persians possessed an
elaborate musical culture. The Sassanian
period (A.D. 226-651), in particular, has left us
ample evidence pointing to the existence of a
lively musical life in Persia. The names of some
important musicians such as Barbod, Nakissa
and Ramtin, and titles of some of their works
have survived.
The term Early music era may also refer to
contemporary but traditional or folk music,
including Asian music, Persian music, music of
India, Jewish music, Greek music, Roman
music, the music of Mesopotamia, the music of
Egypt, and Muslim music.
Early Music
Early music is a general term used to describe
music in the European classical tradition from
after the fall of the Roman Empire, in 476 CE,
until the end of the Baroque era in the middle of
the 18th century. Music within this enormous
span of time was extremely diverse,
encompassing multiple cultural traditions within
a wide geographic area; many of the cultural
groups out of which medieval Europe
developed already had musical traditions, about
which little is known. What unified these
cultures in the Middle Ages was the Roman
Catholic Church, and its music served as the
focal point for musical development for the first
thousand years of this period. Very little non-
Christian music from this period survived, due
to its suppression by the Church and the
absence of music notation; however, folk music
of modern Europe probably has roots at least
as far back as the Middle Ages.
ELEMENTS OF MUSIC
The traditional musicological or European-
influenced aspects of music often listed are
those elements given primacy in European-
influenced classical music: melody, harmony,
rhythm, tone color, and form.
• Melody is a succession of notes heard
as some sort of unit.
• Harmony is the relationship between
two or more simultaneous pitches or
pitch simultaneities.
• Rhythm is the variation of the
accentuation of sounds over time.
• Tone color is timbre, see list below.
• Form is the structure of a particular • Structure includes: motive, subphrase,
piece, how its parts are put together to phrase, phrase group, period, section,
make the whole. exposition, repetition, variation,
development, and other formal units,
textural continuity (ibid).
However, a more comprehensive list is given by
stating the aspects of sound: pitch, timbre, • Texture is the interaction of temporal
intensity, and duration. (Owen 2000:6) and pitch elements. It includes:
homophony, polyphony, heterophony,
and simultaneity. (ibid)
• Pitch is the perception of the frequency
• Style is defined by how the above
of the sound experienced, and is
elements are used. It is what
perceived as how "low" or "high" a
distinguishes an individual composer
sound is, and may be further described
or group, period, genre, region, or
as definite pitch or indefinite pitch. It
manner of performance (ibid).
includes: melody, harmony, tonality,
tessitura, and tuning or temperament • Aesthetics is another element that
(ibid). many do not know. This is how the
• Timbre is the quality of a sound, music affects you emotionaly. For
example: an upbeat tune may make
determined by the fundamental and its
you joyful, while a slow violin song
spectra: overtones or harmonics and
may make you feel lonely, cold, and
envelope, and varies between voices
depressed.
and types and kinds of musical
instruments, which are tools used to
produce sound. It includes: tone color four properties of musical sounds
and articulation (ibid).
• Intensity, or dynamics, is how loud or Pitch, timbre, duration, volume.
quiet a sound is and includes how
stressed a sound is or articulation. Kinds of music
• Duration is the temporal aspect of
Rap is a fast singing rhyming kind of music. It is
music; time. It includes: pulse, beat, the latest kind of music.
rhythm, rhythmic density, meter, tempo
(ibid).
These aspects combine to create secondary
aspects including form or structure, texture, and
style. Other commonly included aspects include
the spatial location or the movement in space of What is DRAMA?
Drama comes from Greek words meaning "to
sounds, gesture, and dance. Silence is also
do" or "to act." A play is a story acted out. It
often considered an aspect of music, if it is
considered to exist. shows people going through some eventful
period in their lives, seriously or humorously.
The speech and action of a play recreate the
flow of human life. A play comes fully to life only
on the stage. On the stage it combines many
arts those of the author, director, actor,
designer, and others. Dramatic performance
involves an intricate process of rehearsal based
upon imagery inherent in the dramatic text. A
playwright first invents a drama out of mental
imagery. The dramatic text presents the drama
as a range of verbal imagery. The language of
drama can range between great extremes: on
the one hand, an intensely theatrical and
ritualistic manner; and on the other, an almost
exact reproduction of real life. A dramatic
monologue is a type of lyrical poem or narrative
piece that has a person speaking to a select
listener and revealing his character in a
dramatic situation.
Classification of Dramatic Plays
In a strict sense, plays are classified as being
either tragedies or comedies. The broad
difference between the two is in the ending.
Comedies end happily. Tragedies end on an
unhappy note. The tragedy acts as a purge. It
arouses our pity for the stricken one and our
terror that we ourselves may be struck down. As
the play closes we are washed clean of these
emotions and we feel better for the experience.
A classical tragedy tells of a high and noble
person who falls because of a "tragic flaw," a
weakness in his own character. A domestic
tragedy concerns the lives of ordinary people
brought low by circumstances beyond their
control. Domestic tragedy may be realistic
seemingly true to life or naturalistic realistic and
on the seamy side of life. A romantic comedy is
a love story. The main characters are lovers; the
secondary characters are comic. In the end the
lovers are always united. Farce is comedy at its
broadest. Much fun and horseplay enliven the
action. The comedy of manners, or artificial
comedy, is subtle, witty, and often mocking.
Sentimental comedy mixes sentimental emotion
with its humor. Melodrama has a plot filled with
pathos and menacing threats by a villain, but it
does include comic relief and has a happy
ending. It depends upon physical action rather
than upon character probing. Tragic or comic,
the action of the play comes from conflict of
characters how the stage people react to each
other. These reactions make the play.
Elements of Drama
by: Christina Sheryl L. Sianghio
Character
Most simply a character is one of the persons
who appears in the play, one of the dramatis
personae (literally, the persons of the play). In
another sense of the term, the treatment of the
character is the basic part of the playwright's
work. Conventions of the period and the
author's personal vision will affect the treatment
of character.
Most plays contain major characters and minor
characters. The delineation and development of
major characters is essential to the play; the
conflict between Hamlet and Claudius depends
upon the character of each. A minor character
like Marcellus serves a specific function, to
inform Hamlet of the appearance of his father's
ghost. Once, that is done, he can depart in
peace, for we need not know what sort of
person he is or what happens to him. The
distinction between major and minor characters
is one of degree, as the character of Horatio
might illustrate.
Plot
by: Eduardo M. Tajonera Jr.
The interest generated by the plot varies for
different kinds of plays. (See fiction elements on
plot for more information regarding plot.) The
plot is usually structured with acts and scenes.
Open conflict plays: rely on the suspense of a
struggle in which the hero, through perhaps
fight against all odds, is not doomed. Dramatic
thesis: foreshadowing, in the form of ominous
hints or symbolic incidents, conditions the
audience to expect certain logical
developments. Coincidence: sudden reversal of
fortune plays depict climatic ironies or
misunderstandings. Dramatic irony: the
fulfillment of a plan, action, or expectation in a
surprising way, often opposite of what was
intended.
Theme
The plot has been called the body of a play and
the theme has been called its soul. Most plays
have a conflict of some kind between
individuals, between man and society, man and
some superior force or man and h imself. The
events that this conflict provokes make up the
plot. One of the first items of interest is the
playwright\rquote s treatment of the plot and
what them he would draw from it. The same
plots have been and will be used many times; it
is the treatment that supplies each effort with
originality or artistic worth. Shakespeare is said
to have borrowed all but one of his stories, but
he presented them so much better than any of
the previous authors that he is not seriously
criticized for the borrowing. Th e treatment of
theme is equally varied.
Dialogue
Dialogue provides the substance of a play.
Each word uttered by the character furthers the
business of the play, contributes to its effect as
a whole. Therefore, a sense of DECORUM
must be established by the characters, ie., what
is said is appropriate to the role and situation of
a character. Also the exposition of the play often
falls on the dialogue of the characters.
Remember exposition establishes the
relationships, tensions or conflicts from which
later plot developments derive.
Any artificial picture of life must start from the
detail of actuality. An audience must be able to
recognize it; however changed; we want to
check it against experience. Death for exampl
e, is something we cannot know. In every man it
is represented as an embodying some of our
feelings about it. So Death is partly humanized,
enough, anyway, for us to be able to explore
what the dramatist thinks about it.
Convention
The means the playwright employs are
determined at least in part by dramatic
convention. Greek: Playwrights of this era often
worked with familiar story material, legend
about gods and famous families that the
audience was familiar with. Since the audience
was familiar with certain aspects of these, the
playwrights used allusion rather than explicit
exposition. In representing action, they often
relied on messengers to report off-stage action.
For interpretation the Greeks relied on the
CHORUS, a body of onlookers, usually citizens
or elders, whose comments on the play
reflected reactions common to the community.
These plays were written in metered verse
arranged in elaborate stanzas. This required
intense attention from the audience. English
Drama: Minor chara cters play an important role
in providing information and guiding
interpretation. The confidant, a friend or
servant, listens to the complaints, plans and
reminiscences of a major character. Minor
characters casually comment among
themselves on major characters and plot
development. Extended SOLILOQUY enables a
major character to reveal his thoughts in much
greater detail than in natural dialogue. ASIDES,
remarks made to the audience but not heard by
those on the stage, are common. Realism:
Toward the end of the nineteenth century,
realistic depiction of everyday life entered the
genre of drama, whereas the characters may be
unconventional and their thoughts turbulent and
fantasy-ridden. Contemporary: Experimentation
seems to be the key word here. A NARRATOR
replaces the messenger, the chorus and the
confidant. FLASHBACKS often substitute for
narration. Many contemporary playwrights have
abandoned recognizable setting, chronological
sequence and characterization through
dialogue.
Genre
Emil Sylianteng
Genre is a term that describes works of
literature according to their shared thematic or
structural characteristics. The attempt to classify
literature in this way was initiated by Aristotle in
the Poetics, where he distinguishes tragedy,
epic, and comedy and recognizes even more
fundamental distinctions between drama, epic,
and lyric poetry. Classical genre theory,
established by Aristotle and reinforced by
Horace, is regulative and prescriptive,
attempting to maintain rigid boundaries that
correspond to social differences. Thus, tragedy
and epic are concerned exclusively with the
affairs of the nobility, comedy with the middle or
lower classes.
Modern literary criticism, on the other hand,
does not regard genres as dogmatic categories,
but rather as aesthetic conventions that guide,
but are also led by, writers. The unstable nature
of genres does not reduce their effectiveness as
tools of critical inquiry, which attempts to
discover universal attributes among individual
works, and has, since classical times, evolved
theories of the novel, ode, elegy, pastoral,
satire, and many other kinds of writing.
Audience
Manuel L. Ortiz
It is the act or chance of hearing; a reception by
a great person; the person to hear.
Playhouse, script, actors, mise en scene,
audience are inseparable parts of the theatre.
The concept of drama put forward in this book
insists that the audience have an indispensable
role to play. While Stanislavsky is right in saying
that 'spectator come to the theatre to hear the
subtext. They can read the text at home; he is
speaking as a man of the nineteenth century.
We do not go to the play merely to have the text
interpreted and explained by the skills of the
director and his actor. We do not go as in a
learning situation, but to share in a partnership
without which the players cannot work. In his
Reflaxions sur l; art, valery believed that a
creator is one who makes other create': in art
both the artist and the spectator actively
cooperate, and the value of the work is
dependent on this reciprocity. If in the theatre
there is no interaction between stage and
audience, the play is dead, bad or non-existent:
the audience, like the customer, is always right.
Stagecraft
Eduardo M. Tajonera Jr
The stage creates its effects in spite of, and in
part because of, definite physical limitations.
Setting and action tend to be suggestive rather
than panoramic or colossal. Both setting and
action may be little more than hints for the
spectator to fill out.
Design
Francis Calangi
Theater Space
Theater can also be discussed in terms of the
type of space in which it is produced. Stages
and auditoriums have had distinctive forms in
every era and in different cultures. New theaters
today tend to be flexible and eclectic in design,
incorporating elements of several styles; they
are known as multiple-use or multiple-form
theaters.
Conversions
Ma. Criselda De Leon
Conversions, closely examined, will be found to
fall into two classes: changes of volition, and
changes of sentiment. It was the former class
that Dryden had in mind; and, with reference to
this class, the principle he indicates remains a
sound one. A change of resolve should never
be due to mere lapse of time---to the necessity
for bringing the curtain down and letting the
audience go home. It must always be rendered
plausible by some new fact or new motive;
some hitherto untried appeal to reason or
emotion. This rule, however, is too obvious to
require enforcement. It was not quite
superfluous so long as the old convention of
comedy endured. For a century and a half after
Dryden's time, hard-hearted parents were apt to
withdraw their opposition to their children's
"felicity" for no better reason than that the fifth
act was drawing to a close. But this formula is
practically obsolete. Changes of will, on the
modern stage, are not always adequately
motived; but that is because of individual
inexpertness, not because of any failure to
recognize theoretically the necessity for
adequate motivation.
History of Drama
Ancient Drama
The origins of Western drama can be traced to
the celebratory music of 6th-century BC Attica,
the Greek region centered on Athens. Although
accounts of this period are inadequate, it
appears that the poet Thespis developed a new
musical form in which he impersonated a single
character and engaged a chorus of singer-
dancers in dialogue. As the first composer and
soloist in this new form, which came to be
known as tragedy, Thespis can be considered
both the first dramatist and the first actor. Of the
hundreds of works produced by Greek tragic
playwrights, only 32 plays by the three major
innovators in this new art form survive.
Aeschylus created the possibility of developing
conflict between characters by introducing a
second actor into the format. His seven
surviving plays, three of which constitute the
only extant trilogy are richly ambiguous inquiries
into the paradoxical relationship between
humans and the cosmos, in which people are
made answerable for their acts, yet recognize
that these acts are determined by the gods.
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Medieval Drama
Medieval drama, when it emerged hundreds of
years later, was a new creation rather than a
rebirth, the drama of earlier times having had
almost no influence on it. The reason for this
creation came from a quarter that had
traditionally opposed any form of theater: the
Christian church. In the Easter service, and
later in the Christmas service, bits of chanted
dialogue, called tropes, were interpolated into
the liturgy. Priests, impersonating biblical
figures, acted out minuscule scenes from the
holiday stories. Eventually, these playlets grew
more elaborate and abandoned the inside of the
church for the church steps and the adjacent
marketplace. Secular elements crept in as the
artisan guilds took responsibility for these
performances; although the glorification of God
and the redemption of humanity remained prime
concerns, the celebration of local industry was
not neglected.
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Restoration And 18th-Century Drama
The theaters established in the wake of Charles
II's return from exile in France and the
Restoration of the monarchy in England (1660)
were intended primarily to serve the needs of a
socially, politically, and aesthetically
homogeneous class. At first they relied on the
pre-Civil War repertoire; before long, however,
they felt called upon to bring these plays into
line with their more "refined," French-influenced
sensibilities. The themes, language, and
dramaturgy of Shakespeare's plays were now
considered out of date, so that during the next
two centuries the works of England's greatest
dramatist were never produced intact. Owing
much to Moliere, the English comedy of
manners was typically a witty, brittle satire of
current mores, especially of relations between
the sexes. Among its leading examples were
She Would if She Could (1668) and The Man of
Mode (1676) by Sir George Etherege; The
Country Wife (1675) by William Wycherley; The
Way of the World (1700) by William Congreve;
and The Recruiting Officer (1706) and The
Beaux' Stratagem (1707) by George Farquhar.
19th Century Drama and The Romantic
Rebellion
In its purest form, Romanticism concentrated on
the spiritual, which would allow humankind to
transcend the limitations of the physical world
and body and find an ideal truth. Subject matter
was drawn from nature and "natural man" (such
as the supposedly untouched Native American)
The Modern Drama
From the time of the Renaissance on, theatre
seemed to be striving for total realism, or at
least for the illusion of reality. As it reached that
goal in the late 19th century, a multifaceted,
antirealistic reaction erupted. Avant-garde
Precursors of Modern Theatre Many
movements generally lumped together as the
avant-garde, attempted to suggest alternatives
to the realistic drama and production. The
various theoreticians felt that Naturalism
presented only superficial and thus limited or
surface reality-that a greater truth or reality
could be found in the spiritual or the
unconscious. Others felt that theatre had lost
touch with its origins and had no meaning for
modern society other than as a form of
entertainment. Paralleling modern art
movements, they turned to symbol, abstraction,
and ritual in an attempt to revitalize the theatre.
Although realism continues to be dominant in
contemporary theatre, television and film now
better serve its earlier functions.
Symbolist Drama
The Symbolist movement in France in the
1880s first adopted Wagner's ideas. The
Symbolists called for "detheatricalizing" the
theatre, meaning stripping away all the
technological and scenic encumbrances of the
19th century and replacing them with a
spirituality that was to come from the text and
the acting. The texts were laden with symbolic
imagery not easily construed-rather they were
suggestive. The general mood of the plays was
slow and dream-like. The intention was to
evoke an unconscious response rather than an
intellectual one and to depict the nonrational
aspects of characters and events. The
Symbolist plays of Maurice Maeterlinck of
Belgium and Paul Claudel of France, popular in
the 1890s and early 20th century, are seldom
performed today. Strong Symbolist elements
can be found, however, in the plays of Chekhov
and the late works of Ibsen and Strindberg.
Symbolist influences are also evident in the
works of such later playwrights as the
Americans Eugene O'Neill and Tennessee
Williams and the Englishman Harold Pinter,
propounder of "theatre of silence". Also
influenced by Wagner and the Symbolists were
the Swiss scenic theorist Adolphe Appia and
theEnglish designer Edward Henry Gordon
Craig, whose turn-of-the-century innovations
shaped much of 20th-century scenic and
lighting design. They both reacted against the
realistic painted settings of the day, proposing
instead suggestive or abstract settings that
would create, through light and scenic
elements, more of a mood or feeling than an
illusion of a real place. In 1896 a Symbolist
theatre in Paris produced Alfred Jarry's Ubu roi,
for its time a shocking, bizarre play. Modelled
vaguely on Macbeth, the play depicts puppet-
like characters in a world devoid of decency.
The play is filled with scatological humor and
language. It was perhaps most significant for its
shock value and its destruction of virtually all-
contemporaneous theatrical norms and taboos.
Ubu roi freed the theatre for exploration in any
direction the author wished to go. It also served
as the model and inspiration for future avant-
garde dramatic movements and the absurdist
drama of the 1950s.
Expressionist Drama
The Expressionist movement was popular in the
1910s and 1920s, largely in Germany. It
explored the more violent, grotesque aspects of
the human psyche, creating a nightmare world
onstage. Scenographically, distortion and
exaggeration and a suggestive use of light and
shadow typify Expressionism. Stock types
replaced individualized characters or allegorical
figures, much as in the morality plays, and plots
often revolved around the salvation of
humankind.
Contemporary Drama
Although pure Naturalism was never very
popular after World War I, drama in a realist
style continued to dominate the commercial
theatre, especially in the United States. Even
there, however, psychological realism seemed
to be the goal, and nonrealistic scenic and
dramatic devices were employed to achieve this
end. The plays of Arthur Miller and Tennessee
Williams, for instance, use memory scenes,
dream sequences, purely symbolic characters,
projections, and the like. Even O'Neill's later
works-ostensibly realistic plays such as Long
Day's Journey into Night (produced 1956)-
incorporate poetic dialogue and a carefully
orchestrated background of sounds to soften
the hard-edged realism. Scenery was almost
always suggestive rather than realistic.
European drama was not much influenced by
psychological realism but was more concerned
with plays of ideas, as evidenced in the works
of the Italian dramatist Luigi Pirandello, the
French playwrights Jean Anouilh and Jean
Giraudoux, and the Belgian playwright Michel
de Ghelderode. In England in the 1950s John
Osborne's Look Back in Anger (1956) became a
rallying point for the postwar "angry young
men"; a Vietnam trilogy of the early 1970s, by
the American playwright David Rabe, expressed
the anger and frustration of many towards the
war in Vietnam. Under he influence of Brecht,
many postwar German playwrights wrote
documentary dramas that, based on historical
incidents, explored the moral obligations of
individuals to themselves and to society. An
example is The Deputy (1963), by Rolf
Hochhuth, which deals with Pope Pius XII's
silence during World War II.
Dance
the movement of the body in a rhythmic way,
usually to music and within a given space, for
the purpose of expressing an idea or emotion,
releasing energy, or simply taking delight in the
movement itself.
Dance (from French danser, perhaps from
Frankish) is an art form that generally refers to
movement of the body, usually rhythmic and to
music,[1] used as a form of expression, social
interaction or presented in a spiritual or
performance setting. Dance is also used to
describe methods of non-verbal communication
(see body language) between humans or
animals (bee dance, patterns of behaviour such
as a mating dance), motion in inanimate objects
(the leaves danced in the wind), and certain
musical forms or genres. In sports, gymnastics,
figure skating and synchronized swimming are
dance disciplines while martial arts kata are
often compared to dances.
Definitions of what constitutes dance are
dependent on social, cultural, aesthetic, artistic
and moral constraints and range from functional
movement (such as folk dance) to virtuoso
techniques such as ballet. Dance can be
participatory, social or performed for an
audience. It can also be ceremonial,
competitive or erotic. Dance movements may
be without significance in themselves, such as
in ballet or European folk dance, or have a
gestural vocabulary/symbolic system as in
many Asian dances. Dance can embody or
express ideas, emotions or tell a story.
Dancing has evolved many styles.
Breakdancing and Krumping are related to the
hip hop culture. African dance is interpretive.
Ballet, Ballroom, Waltz, and Tango are classical
styles of dance while Square and the Electric
Slide are forms of step dances.
Every dance, no matter what style, has Choreography is the art of creating dances. The
something in common. It not only involves person who creates (i.e., choreographs) a
flexibility and body movement, but also physics. dance is known as the choreographer.
If the proper physics is not taken into
consideration, injuries can and are likely to
occur.