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Caitlin Shill
Edwin Austin
Dance 261
December 12, 2015
To Dance is to Pursue Truth
Astronomers study Gods hand in creating the heavens. Physicists learn about Gods hand
in governing the laws of nature. As dancers we discover Gods work of creating beautiful bodies
that have the power to become one with the spirit and the light housed inside of them. It was C.S.
Lewis who was credited for saying that, You do not have a soul, you are a soul. As souls, our
primary source for growth is found in the language of learning. Dance is an art of
communication and an exposition of inspiration. In order for a dancer to reach their full potential
they must invite truth into their work. Truth enlightens the mind, body and spirit. Inspired art
always reveals some truth about humanity or the divinity of our celestial heritage. As an LDS
dance artist there are some aspects of dance that we cannot engage in. Once an artist chooses to
reflect their divine spirit in their work, their imaginations are liberated and they expand their
artistry into the domain of spirituality. Improvisation is key to mastering and developing logical
connections to the imaginative and spiritual aspect of dance artistry. I have the opportunity as a
performer and choreographer to set a new precedence, inviting both truth and enlightenment in
my future work and the future of dance.

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Dance is an art of communication. It communicates the light and darkness found in the
human condition and human psyche. The communication of dance occurs primarily through sight
and movement. Like any language dance has a root from which many dialects have formed.
Dances dialects include modern, ballet, hip hop, ballroom, international folk dances and so on.
Some dialects are more recent than others while some have rich histories deeply rooted in the
history of humanity. Similar dialects can easily be understood by others, while some are more
difficulty reconciled like ballet and hip hop, in spite of common origins. As a performance
dancer it is my responsibility to understand the dynamics and the differences of each dialect so
that I can be well versed in dances language as well as be able to effectively communicate the
different forms. Elbert Hubbard said that Art is not a thing; it is a way. Not all dance is art. A
baby crying and cooing is not considered to be a language, however the child is still able to
effectively convey an emotion without it being classified as speech. Dance is similar, dance in its
social and enjoyment targeted forms are not accepted as fine arts because they lack the
vocabulary, skill and mastery to communicate beyond simple emotional expressions and
responses. Art will always reveal a truth about humanity or what it is like to experience the
human condition. Whereas entertainments purpose is to relive lifes basic emotions such as
happiness, enjoyment and ease. This is why it is key for me, as a dancer, not only to be an artist
but also an entertainer because creativity and artistry requires an understanding of both. Having
the tools to entertain and enlighten lead to a broader spectrum of humanity to pull from and
promote understanding in.
In order to make dance into an art the choreographer and performer have to invite in
truth. Truth cannot be taught, it cannot be stated, it cannot be created; truth has to be
experienced. There is a moment that we as dancers all pursue. It is the moment when our

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movement transcends its most base levels and enters into the realm of truth. It is difficult to find
and even harder to replicate, but when it is achieved the experience leads to enlightenment as
light is let into the heart of an audience member, performer or choreographer. To dance is to
pursue truth. Martha Graham called it a moment of genius, I believe that this genius is truth in
its purest form. It is impossible to fake and even more difficult to see. Ones countenance is
changed as your being experiences the honesty and majesty of clarity. It is a glorious moment,
but it is just that, a moment. More often than not it only stays for a second and then vanishes. It is
easy to lose a pebble of truth in the ocean of human complexity and sentiment. However, in that
moment you experience the heartbeat of eternity. Once you have experienced truth it becomes a
lifelong pursuit. Arts purpose has always been to provide mankind with perspective into the
eternities. Dance has the power to reveal the truth found in the mortal experience and celestial
heritage we all claim. When you find truth your soul experiences a taste of divinity. While the
movement was navigating the waters of humanity, it provides a second for us to catch a glimpse
of the mysteries of God which are written in the heavens above the sometimes treacherous
waters of this life. Inspired art grasps concepts greater than the simple constructs of human
creativity and gives perspective into salvation.
CS Lewis once said that, Reason is the natural order of truth; but imagination is the
organ of meaning. As a choreographer I am required to facilitate reason and imagination if I
want to invite truth and meaning into my dance. Within all of the artistic license dancers take it is
still a logical process that has specific forms and rules. As a choreographer it is my job to take
these pre-existing forms and intensify, isolate, highlight, pick out, expand, and limit them into
something that is not only a medium for emotion and communication but for truth and meaning
as well. Mastery of a form requires technical, theoretical, philosophical and historical

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understanding. Love of dance does not come solely from a love of truth but also a love of
mastery. There is a level of aesthetic sensibility that comes with time and with the mastery of
several forms. One cannot be achieved without the other. These aesthetic sensibilities are
completely unique. More often than not what one form deems beautiful another condemns. It is
no wonder that the dialects of dance have difficulty translating, as they were formed on
individual and human differences.
Dance, as an art and entertainment, is subject to expressing all forms of the human
purpose and condition. Man is in a fallen state, which then in turn suffers dance to appear in the
form of lust and uncleanliness. Society is continually placing more emphasis on the misuse of the
body and destroying its holiness by the corruption of things like dance. It is in this realm of
dance that the morality of a dancer, and the ethicality of dance, is tested. In order to liberate the
artistic spirit and breadth of inspiration artists have to choose God over man. Dance, like all fine
arts, is under attack in the 21st century as it turns to the tendencies and follies of our societies
disintegrating disciplines. As saints, we are instructed that it is a part of our purpose to bring light
into the world through art. The reality is that there are some forms of dance that attack morality.
By abstaining from engaging in these disciplines I, as a dancer and choreographer, can bring
light back into the art form of dance. This in turn creates a special culture of dance for those
artists willing to stand apart from an art form that is globalizing and falling into degrading
standards. It was John Steinbeck that said It takes great courage to back truth unacceptable to
our times. Theres a punishment for it and its usually crucifixion. Christ himself was said to be
a stumbling block and nothing extraordinary ever came from the ordinary. As an LDS dance
artist I have a unique opportunity to not only strengthen my relationship with Christ by
obedience but also set a precedence in the dance world.

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Improvisation is key to the growth and development of a dancers individual voice. It is

training your mind and body to be able to unconsciously create. Simultaneously a focus and
movement emerge while judgement for what comes next is in its creative stage. Improvisation is
refining these senses to coexist with one another. When dancers are able to access their full
potential through improvisation they are able to reach the height of their artistry. This state of
complete creative comprehension can only be achieved through practice and training. Dancers
who engage in improvisational activities learn how to respond to movement logically and
artistically. Dancers who do not exercise their own artistic voice have to resort to certain given
styles, steps, techniques and themes in order to attain the same level of performance. Whereas
those who improv more frequently develop a habitual and natural tendency to connect movement
and respond to movement with greater ease. Over time this creates a very skilled and wellrounded dancer who possesses their own creative voice. Improvisation is the surest way to
engage the part of the creative mind that connects directly to the heart of a dancer. This is where
truth is found and inspiration is fostered.
Dance is a unique aspect of humanity. It teaches the value of being satisfied with a little,
while still being starving after a feast of movement. It has a history, mastery, form and language
that all works to enhance the beauty of life. There are moments of truth found in dancing. To
dance is to try to find truth within the divinity of the soul. As an LDS artist there is a
responsibility to defend the sacredness of the body and of the art form. Only through passion,
patience and training can we access the breath of our own artistry and inspiration.

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Graham, Martha. "Aberrant Occupations." I Am a Dancer. By Martha Graham. Aberrant
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