Dance in Nigerian Primary Schools: Approaches and Concepts for the Next Millennium
| dc.contributor.author | Akinsipe, Felix | |
| dc.date.accessioned | 2023-04-28T14:35:43Z | |
| dc.date.available | 2023-04-28T14:35:43Z | |
| dc.date.issued | 1999 | |
| dc.description.abstract | Dance can only be seen through the body of the dancer. This simply means that the dancer’s body is his most vital instrument for dance. This amount of physical and emotional manipulation of the dancer’s body speaks a lot about his dance. The ability to manipulate the body very well, however, depends largely on how “equipped” the body is That is, how it has – or has not – been trained. It is possible to devise very beautiful and striking ensemble works with dancers who had virtually no training… the trained body is, however, nearly always more eloquent and permits a much greater variety of steps, jumps, turns, lift and almost acrobatic feats.1 To be a very successful and great professional dance performing artist then, one must formally train his body. The capability of the formally trained dancer to switch from one form of dance to the other is far above that of his untrained counterparts. | en_US |
| dc.identifier.issn | 0819-9562 | |
| dc.identifier.uri | https://uilspace.unilorin.edu.ng/handle/20.500.12484/9318 | |
| dc.language.iso | en | en_US |
| dc.publisher | Society of Nigerian Theatre Artists | en_US |
| dc.subject | Dance, Primary schools, Millennium | en_US |
| dc.title | Dance in Nigerian Primary Schools: Approaches and Concepts for the Next Millennium | en_US |
| dc.type | Article | en_US |