DANCE AND
SYNONYMS, CULTURES
The word ‘dance’ has its synonyms and
cultures embedded to its roots. This might sound a bit formal, yet the
originations to dance foster around entertainment and culture. Take
entertainment for example, with dancing, whether at the clubs or whether on the
scenes, or take dancing on stage as a recreation: when we go off to these
venues, does dancing take a good pride on any of these given assets too?
Here, we mean that if we love to dance, does
this bring together people, or cultural frameworks to play?
To start this off, does dancing pave towards
a time where entertainment meets light? The infusion of energy and the aura of
dance is one to treasure on a lifetime’s love for fun and entertainment, yet is
there a gist to dance at the end of the day? For instance, with cultural
performance, dance is a great asset where dancers take pride in their art,
brupting to different spectres with dancing as a form of love, life, and
communication. Again, this leads us to the definition of ‘synergy’, when a
group of people bind together to make dance a greater asset to universality and
performance. For example, with cultural dances, unification stands for a set of
things that bind entertainment with various forms of creativity. The light
takes off, splendid colours emerge, and the aura of creativity takes the stage
on greater realms of life where tears seethe or happiness builds to greater
fragments to where people can enjoy the show. Another example, would be theatre
and dance. How do plays get colourful on the scene? Dance is therefore crucial
to where plays get performed to vivid imagination, and there, life emerges from
truth to scratch. Take theatre again to dance as an asset: what do theatres
focus on which brings aura to a greater light on serious plays? For instance,
if we were to look at plays in numerous forms, like the theatrical acts or the
situational plays which have dance in them, we can delve into further
situations to which entertainment forms a crucial spectrum to this: the
emergence of dance in theatre, or the emergence of life on stage.
Again, where does the dance scene go?
Let’s take the stage to a bigger realm of
unification on the universality of life. For example, where there is life,
there is universality and truth, and where there is dance, there is a love for
entertainment and life. Theatre, for example, and movies, the 1970’s theatre
brings life to art, for example with classic plays including the dance scenes
that send love off to a grand stage, a life filled with art and truth. Then
from the 1970’s there emerges club life, where retro-disco starts to develop
from a huge spectre of entertainment to a scene where synergy and unification
become a hobby for life. So where again does ‘synergy’ meet entertainment
grounds?
Entertainment and club life meet on a scale
of night-life and recreation. So how does dance bring about the synergies of
love, life, aura, and vibes? Lights, adaptations to stage, and loud music come
into play with loads of glamour where dance brings together people from
different forms and cultures to a more contemporary life.
So where again does dance shed light to love
for entertainment and cultural performance?
Cultural performance has its roots in the
art of dance, yet the emergence of dance on stage is where the club scenes
adapt to the colours and the vibes to set the dance venues with lots of energy
and life. Where does life centre around the dance scene then? This raises the
question of where dance brupts out to practice, yet the cultural conclusion is
where the gist takes centre stage to socio-political conclusions as well.
Night-life, the emergence of cultures, and the scenes on theatre and
performance can adapt to the dance scenes, yet the art of dance still remains a
unique performance where everybody becomes unified on entertainment grounds.
Take for example, introductory dance, where
people can put gestures into play on for example, in Chinese theatre. The
unique performance is where synergy meets culture, entertainment, and theatre
art on greater spectres of life. Again, theatre art is where dance becomes a
greater aspect of truth, for instance, when one character sets an introductory
dance, the gist of the play in theatre performance on cruciality and substance
clarifies itself to a greater realm of truth. I love to see the characters
dance, where theatre is a facet of love for entertainment too, yet the
socio-political factor and the assets of theatre stun my life to which dance
makes up a substance of real entertainment. Without the dance, there is no
cruciality or substance to theatrical amusement, maybe putting the audience to
sleep if entertainment be less of an asset to theatre, perhaps.
Again, we see adaptations on night-life to
where stage shows help attract a set of people, or perhaps an audience on where
the dance scenes to unify at parties where dance thus becomes a form of
recreation. Fun is life where dance meets love and life, where gists and
colours of love take ‘synergy’ to greater definitions. How does dance therefore
become a set of life’s entertainment practices? Take for example how dancers on
stage relax and chill at night-life venues when dance becomes more of a
recreation: where life tunes in to social frameworks. There, the music gets
loud, there, the stage lights set the venues with gists of happiness, and
there, everyone enjoys a party whether it be formal or relaxed. Dance is
therefore, an asset that brings people together, whether on stage to a cultural
performance to theatre, or to where the formal, relaxed vibes of the dance be a
synergetic element to recreation.
Dance is therefore, more than a form of
entertainment. Where life meets love and dance, there, dancing becomes more
than an asset. Where does life then centre on fun and entertainment? Embrace
the art of dance, and think synergy again to where unification brings theatre
life to greater venues where fun and recreation start to foster on greater
spectrums to art and dance.
Hence, dance is more than a cultural
performance, where synergy, unification, and life, meet up on social-frameworks
and entertainment grounds.
2016 ©
[ROSE APPLEBLOOM]
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