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pression of emotions. Moreover, redundancy is not a feature of many dance forms and they often have a unique beginning and climax. The association of musicality with dance is very limited in scope as music and dance are two separate activities and need not happen together. In fact, several dance forms such as figure gymnastics take place without music.

The present definitions stand good in their limited cultural context, but fail when applied to diverse cross-cultural dance forms. These definitions of dance are limited in their understanding of important elements of dance across cultures. They either incorporate unnecessary elements (such as transcending utility in Kurath's definition) or leave out important elements (such as culturally patterned sequence in Keali'inohomoku's definition. Hanna attempts to bridge this gap in cross-cultural understanding of dance by establishing four criteria which must be fulfilled for an activity to be termed as dance i) purposeful, ii) intentionally rhythmical, iii) culturally patterned sequences of iv a) non verbal body movements, b) extra ordinary motor activites, c) motion having inherent and aesthetic value (Hanna, 1987, p. 19).

To analyze dance from a cultural approach to communication, Carey's notion of communication, that is, 'reality is produced, maintained, repaired and transformed' has to be evaluated in the context of dance. While dance is influenced by a culture, it also creates a culture (producing reality) of its own. Like any other artists, dancers vie to be unique in their art by incorporating unique steps in their movements which are not necessarily influenced by their culture. A prime example will be Michael Jackson who influenced a new fashion and dance culture of his own throughout the world with his unique steps. Jackson's dance works have lasted in the memories of viewers in the forms of records beyond the actual dance situation. This has influenced thousands of youngsters to copy Jackson which has 'produced reality' by creating a form of dance and even fashion which previously did not exist.

Once the reality has been produced, the creators look to maintain the reality in the wake of new generations who might find it 'problematic' by creating rigid rules and regulations. This 'maintenance of reality' is visible in popular dance forms such as classical ballet. Brinson (1991) observes that the national dance culture in elitist Europe has often rigid formality and artificiality which forces the dancers to be within the realm of existing reality. The dance schools and theatres impose this rigidity on students of dance which can be viewed as an effort to maintain reality. It has been moderately successful in some cases. The traditional Indian dance forms such as Bharatnatyam and Kuchipudi are said to have retained their original form after even centuries of their origin despite many external modernizing pressures.

In most cases, however, the new generation finds the existing dance forms too 'problematic' and seek to incorporate newer changes (repairing and transforming the reality). A prime example can be Isadora Duncan who worked towards loosening the restrictions on class本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。