The Influence of Costumes on the Perception of Dance: Review

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Owen www.iaajournals.org IAA Journal of Applied Sciences 5(1):58-63, 2019. ISSN: 2636-7246 ©IAAJOURNALS The Influence of Costumes on the Perception of Dance: Review

Roberts, Craig Owen

Department of Fine Arts, Anna University, India.

ABSTRACT Dancers spend several hours’ daily training in studios where mirrors are present. Observations in the mirror serve as feedback for establishing line, unison, and clarity, and may also impact their perceived performance. As such, clothing may also influence perception of performance ability. Dance is also considered as the essence of the national culture. In the national dance, dancing costumes can help to reflect the role, express the contents and embody the depth of the dance. This study explores clothing as a potential contributing factor to a dancer’s perceived self-confidence and performance ability while executing movement. Keywords: Costumes, Dance, Trainings and clothing.

INTRODUCTION Dance is a visual art of expression, and latin dancers traditionally wear very open the dancer’s general look plays a critical and tight garments to underline the role in the success of the show. There are beauty of their bodies. Female dancers different costumes for every kind of expose their sexuality in 80% of dances, dance; their fashion always depends on not only Latin or Oriental. Our perception the origin of the dance, its music, and of a dance show largely depends on what purpose. A folk dance requires a national dancers wear. If their costumes historic attire of the land [1]. These correspond the style and mood of the costumes may differ strikingly even on dance and beautify their bodies, we will small areas. Peoples of Europe, for certainly like the show. In many dances, it example, all have distinct features in their is important to wear what is traditional folk costumes while living very closely to and stylish, not only comfortable [5]. each other. Ballroom dance costumes, on FUNCTIONS OF NATIONAL DANCING the other hand, convey the style of the COSTUMES 19th century aristocracy of the Western Reflect Characteristics of the Dance world [2]. In the 20th century, modern Role dance redefined dancing standards, and In the dance, the basic function of the the tradition of dancing in specific dancing costumes is to reflect the costumes blurred. Isadora Duncan characteristics of the dance role as the introduced lose clothes and bare feet in actors themselves cannot directly the modern dance; such an attire is completely explain the roles to the common for contemporary today. Social audience [6]. If the actors only dressed in dances also imply certain freedom in ordinary form clothing dancing on the clothing and change with the general stage, whether performers was how hard, fashion. The rest of dances require actor of stage skills how solid, the actor's dancers to wear specific costumes. After emotional expression how in place, all, you cannot dance ballet, belly dance, audience is not well understood the actor flamenco, or Wieneze walz in anything to watch as the content, not very good you want [3]. Every type of dance has into dance to bring the audience to the certain meaning that is conveyed through atmosphere. And through the actor's own clothes. Historical or folk dances are changes in the body image of the unimaginable without sophisticated packaging, you can play a role in the costumes [4]. Plenty of dances aim to identity of the identity of the identity of expose sexuality of the dancers. All the the era background [7]. It can be said that

Owen www.iaajournals.org one of the outstanding works of dance, shoulder, like a burgeoning snake, in must be complete and proper dress addition to dance actor flexible dancing, contrast to the, these clothes really like is a frozen snake cried in continuously to the audience convey despair. Dancing costumes can also play a information about dance, laid the dance role in transmitting the purport of the tone, reflects the feature of the characters works in the dance which can help in the dance roles. Not only such, dance dancers express the content to the costumes also for the audience to create maximized degree. better the effect of the story, the audience Embody Depth of the Dance Art have a stronger sense of substitution, so The depth of the dance art means the that the audience can be personally on artistic conception which is in the dance the scene, practical to follow the actors of the dress itself or the beauty of the into the story, following the actor's dance movements [11]. The art of dance emotional ups and downs of the costumes is based on the role of dance continuous changes, so the dance of the costumes, or by a certain kind of overall sense of contrast can play a role in meaning. In the art of dance costumes, rendering aptly. It can be said that the contains many artistic elements, such as: dance costumes is very important for the the plastic arts, the art of painting, folk emotional expression of the actors and arts and other can dance costumes is on the audience [8]. the stage of a small and rich encyclopedia Express Contents of the Dance Works said. So, the audience watching the entire Dance performance is different with dance performance, in fact, the dancers language performance [9]. It can only rely who wear costumes, but also dance on the performance of the dancer's body performances in the audience can enjoy a movements to convey the central idea in very important part of. The audience can the works of topics and content. Dancing in the middle of the dancer's dress that a costumes play a role in express the lot of information, both dancers’ personal content to a very effective contrast effect characteristics, represented the dance in the expression of dance work so that that conveys to the audience out of spirit, the entire dance works look more fresh and dance in national characteristics. The and vivid. Good clothing for dancer better audience can get a glimpse of more stretching plays a very important role, accurate evaluation of the dance from the still hypothetical if dancers wearing only details of clothing [12]. ordinary physical dance performance APPLICATIONS OF DANCING COSTUMES IN service, regardless of the dancer itself has NATIONAL DANCE many strong dance skills, regardless of Applications of Dancing Costumes’ the dancers express how vivid, but many Color places still not be able to perfect Dance art expresses feelings by strong performance, not have the trappings of a lyrical and romantic feelings of the dance foil, many originally made up very itself. Many nationals are good at sing and beautiful action it is not natural. Clothing dance, and have a good command of can make dancers make movements more dance to express feelings of national, hate beautiful, more artistic [10]. It also people's emotions through the body auxiliary dancer better interpretation of language of dance will deeply love dance works, so that the audience at a imprint is engraved on my heart yearning glance, clear dancers portrayed for release a better future feelings fully, characters. For example the famous dance and the color is supplement and artist Yang by the creation of a solo dance reappearance of the emotion [13]. The called the frozen snake, a lively and vivid vision of people of different hue feel dance, in one fell swoop, with very high different, blue and green stimulus is artistic ornamental, in the dance, dancers moderate, and the red color such as dressed in cold tones of blue dress, orange easily lead to visual excitement. decorated with silver sequined dress, The former belongs to the cold tone; the sequins along the dancer arm up to his latter belongs to the warm color. In

Owen www.iaajournals.org addition, dark, heavy, light color easy to Applications of Dancing Costumes’ expand. There will be bright in the sense Structure of feeling soft, dark is far from being The structure of dance costume must be hard. Light color can be any combination. coordinated with the movement range of Black and white gray is the color of the the dancers, and the structure of the security. They can almost match any dress will not hinder the movement of the other colors. Brown is relatively actors [11]. Dance in the presentation of dangerous, except for black and white ash its artistic characteristics of a certain kind three kinds of security, not too easy to of requirements, that is, the clothing of match with other colors. There is a the dancers in the first to help to show complementary color, called the beauty of the body, but also help to complementary relationship [14]. Clothing show the dynamic beauty. In the selection should pay attention to complementary and design of the dancing dress, make color. Complementary color is too strong, sure that dance costumes can ensure the not easy to combine the harmonious dancers were acting can move freely and aesthetic effect. The complementary in dancers perform some larger relationship refers to the relationship movements of the dance movements can between each color and relative color. If it also ensure the clothing itself is not is dark, color is strong, it should be damaged [12]. The rice dance "by Korean carefully matched, make it hard to appear dance common cover hand, carry deuce, stiff. Dance clothing designer clothing is top hand, carry back hand, hand around black headband crown, dressed in white the wrist and hand movements become clothes to the deep blue [5]. The white the core actions of the dance, through the and black fan in hands and the white boat exquisite take scoop rice action full shoes can reflect the elegant and solemn performance of the Korean women who of the dance. loves life and worked hard. And Korean Applications of Dancing Costumes’ sleeved jacket contributed to these upper Material extremity movements without limitation Dance costumes made of different and dance costumes is reflected more materials have different sense of art. prominent [11]. Actors wore Korean Different materials also give the audience clothing in the most traditional color is different visual feeling to help actors and white, no buttons, use cloth to tie a knot, actresses better shape their role, heighten the cuffs, skirts, armpit inlaid with the feeling and the theme of the dance of colorful Satin Edge, lower body clothing the whole [6]. After the basic dress style to dress and apron, see wearing a small and the color of the dress, the choice of jacket, a full-length skirt which swept the material is the key factor to the success of ground, collar hanging streamers of the dance costume. In material selection, Korean girls dancing lightly and beautiful to dance according to transfer different image, in turnaround cranes wings content and minority of its own dancing in refined thrives on the Korean characteristics to determine, for example national spirit [1]. The applications of the Tibetan Dance costumes, use thin robe dancing costumes’ structure can make the yarn as the main part of the clothing, and dance more perfect and more vivid. the imitation flash the hem of the robe Current trends yarn at the end of, this design can make In the newly emerging modern dance, the dancer dancing after formation of run experiments with set, lighting, and light dancing but drooping at the bottom costume design were also significant [12]. of the unique aesthetic, highlighting the One of the pioneers in this field was Loie national characteristics of the Tibetan Fuller, a solo dancer whose performances dance, the impression profound [10]. in the 1890s and early 1900s consisted of Material factors have played an indelible very simple movements with complex role in the expression of the theme of visual effects [10]. Swathing herself in dance works [5]. yards of diaphanous material, she created elaborate shapes and transformed herself

Owen www.iaajournals.org into a variety of magical phenomena. ornamentation used) or by strengthening These illusions were enhanced by a choreographic image or concept [4]. coloured lights and slide projections [10], the geometrically shaped kites playing across the floating material. suspended from the flies actually inspired Elaborate lighting and costumes were also some of the dancers’ sharply angled used by Ruth St. Denis, whose dances movements as well as making them frequently evoked ancient and exotic visually more striking in performance. cultures [5]. At the opposite extreme Costume, too, can alter the appearance of Martha Graham, who began her career as a movement: a skirt can give fuller volume dancer with St. Denis’ company, strove to to turns or to high leg extensions, while a eliminate all unnecessary ornamentation close-fitting leotard reveals every detail in her designs. Costumes were made out of the body’s movements [13]. Some of simple jersey and cut along stark lines choreographers, trying to emphasize the that clearly revealed the dancers’ nontheatrical or non spectacular aspects movements [5]. Simple but dramatic of dance, have dressed their dancers in lighting suggested the mood of the piece. ordinary street clothes in order to give a Graham also pioneered the use of neutral, everyday look to their sculpture in dance works, replacing movements, and they have often painted scenery and elaborate props with dispensed entirely with set and lighting simple, free-standing structures. These [6]. Set design and lighting (or their had a number of functions: suggesting, absence) can help to frame the often symbolically, the place or theme of choreography and to define the space in the work; creating new levels and areas of which it appears. The space in which a stage space; and also illuminating the dance occurs has, in fact, a crucial overall design of the piece. While it has influence on the way movement is remained common for choreographers to perceived. Thus, a small space can make use elaborately realistic sets and the movement look bigger (and possibly costumes, as in Kenneth MacMillan’s more cramped and urgent), while a large Romeo and Juliet in 1965, most space can lessen its scale and possibly choreographers have tended to adopt a make it appear more remote [10]. minimal approach, with costumes and Similarly, a cluttered stage, or one with scenery simply suggesting the ballet’s only a few lighted areas, may make the characters and location rather than dance appear compressed, even representing them in detail [12]. One fragmented, while a clearly lighted, open reason for this development has been the space may make the movement appear move away from narrative to plotless, or unconfined. Two choreographers who had formal, works in both ballet and modern been most innovative in their use of set dance, where there is no longer any need and lighting were Alwin Nikolais and for visual effects to provide narrative Merce Cunningham. The former has used background. Balanchine set many of his props, lighting, and costumes to create a works on a bare stage with the dancers world of strange, often inhuman shapes dressed only in practice costumes, feeling as in his [14]. The latter has often worked that this would allow the spectators to see with sets that almost dominate the the lines and patterns of the dancers’ dancing, either by filling the stage with a movements more clearly [13]. Set, clutter of objects (some of which are costume, and lighting design are simply things taken from the outside important in narrative as well as formal world, such as cushions, television sets, dance in helping the audience maintain chairs, or bits of clothing) or as in [14] by the special attention that theatre using elaborate constructions around demands. They can also influence which the dance takes place, often partly strongly the way in which the concealed. As with his use of music, choreography is perceived, either by Cunningham’s sets were often conceived creating a mood (somber or festive, independently of the choreography and depending on the colour and were used to create a complex visual field

Owen www.iaajournals.org rather than to reflect the dancing. Perhaps at the stage, because the intricate floor the most important influence on the way patterns woven by the dancers, rather spectators perceive dance is the place in than their individual steps, were which it is performed. Religious dances important. Once ballet was introduced usually take place within sacred buildings into the theatre, however, dance had to or on sacred ground, thus preserving develop in such a way that it could be their spiritual character. Most theatre appreciated from a single, frontal dance also occurs in a special building or perspective. This is one reason turned-out venue, heightening the audience’s sense positions were emphasized and extended, that it has entered a different world. Most for they allowed the dancer to appear venues create some kind of separation completely open to the spectators and, in between the dancers and the audience in particular, to move sideways gracefully order to intensify this illusion. A theatre without having to turn away from them in with a proscenium stage, in which an arch profile [3]. separates the stage from the auditorium, Many modern choreographers, wishing to creates a marked distance [2]. present dance as part of ordinary life and Performance in the round, in which the to challenge the way in which people look dancers are surrounded by spectators on at it, have used a variety of nontheatrical all sides, probably lessens both the venues to dispel the illusion or glamour distance and the illusion. In dance forms of the performance [11]. Choreographers that do not traditionally take place in a such as Meredith Monk, Trisha Brown, and theatre, such as Afro-Caribbean dance, the Twyla Tharp, workings, performed dances intimacy between audience and dancer is in parks, streets, museums, and galleries, very close, and the former may often be often without publicity or without a called upon to participate. viewing charge [7]. In this way dance was The theatre space not only influences the meant to “happen” among the people relationship between the audience and the instead of in a special context. Even the dancer but is also closely related to the most surprising or non glamorous venue, style of the choreography [7]. Thus, in the however, cannot entirely dispel the sense early court ballets, spectators sat on three of distance between dancer and audience sides of the dancers, often looking down and between dance and ordinary life. CONCLUSION The roots of the relationship between nineteenth century, the European ball Western dance and fashion lay in the culture emerged as a social activity and Renaissance period, where social dancing had an enormous impact on fashion and reflected the values of society. Dance as a vice versa. Costumes really indeed channel of communication was as influences how dancing in done by important as having the appropriate making it flexible for participant. Recent costume for socializing. After the French costumes by current choreographers are Revolution in 1789, professional ballet invoke which when lunch will not only dancers left the Court spectacles in favor enhance dancing style but make dancing of the stage. From the beginning of the more beautiful and appealing to the eyes. REFERENCES 1. Anthony Shay. (2010). Parallel 3. Cosbey, S. (2001). Clothing Traditions: State Folk Dance Interest, Clothing Satisfaction, and Ensembles and Folk Dance in "The Self-Perceptions of Sociability, Field", Dance Research Journal, Emotional Stability, and Vol. 31(1): 29-56 Dominance. Social Behavior & 2. Ayman, U. and Kaya, A. (2014). Personality: An International Consumption of Branded Fashion Journal, 29(2): 145-152. Apparel: Gender Differences in 4. Elliot, A. J., & Maier, M. A. (2014). Behavior. Social Behavior of Color psychology: Effects of Personality: An International perceiving color on psychological Journal, 421-8. functioning in humans [Abstract].

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