1. Introduction

As a form of art, dancing embodies various emotions, expressions and cultural significance. In the field of dance theory, there is a wide range of studies, including philosophical, aesthetic, and critical analysis. This introduction stresses the interdisciplinary nature and profound impact on researchers and practitioners as a bridge to the comprehensive quest for dance theory. This paper describes the essence of dance as a method of expression and communication, beginning with the consideration of the foundation of dance philosophy, including ontological observational and internal cognitive theory. In addition, discussion on the principle of Dance Aesthetics has spread, and the role of form, motivation and expression in choreography is clarified. In addition, in this paper, we examine the criticism of the dance work, and investigate the analysis method, interpretation framework and comparative analysis which the researcher and the critics use. Through these comprehensive considerations, we aim to provide a detailed understanding of the impact of dance theory and the broader discourse of dance as an artistic form.

2. Foundations of dance theory

2.1. philosophical basis

Philosophical inquiry provides a basic framework for understanding the essence and meaning of dance as an art form. In the field of dance theory, philosophical foundations deal with ontological problems about the nature of action, realization, and expression. The dance as a human expression casts deep philosophical questions about the relationship between body and mind, the essence of aesthetics, and the role of art in society. Philosophical viewpoints such as phenomenology, existentialism and pragmatics provide a unique view of the subjective experience of dancers and spectators, and explore concepts such as presence, orientation and authenticity [1]. The philosophical quest for dance ontology considers the ontological position of dance behavior, the meaning of ritual in culture, and the dimensions of dance as human expression. By solving philosophical foundations, researchers and practitioners can understand the ontological, epistemological and ethical dimensions of dance as a change in art.

2.2. semiotics and symbols

Semiotics and symbolism play an important role in decoding dance languages, revealing the hierarchy of meaning rooted in action and gestures. Depending on the semiotic meaning and the theory of communication, the dance researcher analyzes how to use symbolic, behavioral, and gestures in choreography and explores how dancers communicate, describe emotions, metaphor with physical expressions. The symbolic method of dancing explores the relationship between fingers and fingers, and explores how behavior works through cultural traditions, historical background and physical experience. Symbolic analysis also reveals the interaction between movement and music, the use of tools and costumes, and the spatial movement in dance performance [2]. By deciphering semiotic ciphers embedded in dance pieces, the researchers revealed the symbolism of dance elements, and discovered social and political messages in hidden descriptions, cultural references, and dance vocabulary.

2.3. body recognition

The theory of state cognition provides a comprehensive perspective on the relationship between mind, body and environment in the dance environment. The state cognition is based on the cognitive principle based on the interaction between physical experience and sensory motion, and provides a theoretical framework for understanding how dancers perceive, interpret, and respond to stimuli. The dance state approach emphasizes the role of ontology feeling, ontology sensory feedback, and physical practice to form the perception of dancers' space, time, and force. In addition, the theory of state cognition emphasizes the essence of the state of dance learning and choreography, and emphasizes the importance of creating experience knowledge, muscle memory, and improvisation skills [3]. By integrating the knowledge of state cognitive neuroscience, psychology, and phenomenology, we provide a detailed understanding of the dancer's cognition of state cognition, and how the movement forms cognition, emotion and consciousness in dance practice [4].

3. Principles of Dance Aesthetics

3.1. format and configuration

In dance, the form and composition are the main aesthetic principles and dominate the structure and arrangement of the order of work in choreography. The form refers to the whole form, structure, and space of the work, and the composition is combined with the organization of the work, and it creates the whole expression with a consistent expression [5].

The form of dance includes elements such as body alignment, spatial relationships, and geometric patterns by dancer movements. Choreography usually manipulates these elements to attract audiences and create visual compositions that convey themes and feelings. For example, choreography can use symmetrical or asymmetric formations to evoke balance or tension to dance pieces.

Choreography includes intentionally placing phrases, transitions, and spatial patterns in order to convey meaning and evoke an emotional response. Choreography builds choreography using various techniques such as iteration, contrast, pattern expansion, and creates ballads and subject patterns. In addition, using motion, speed changes, and the trajectory of the space help the overall composition of the dance work, lead attention to the audience, and form the understanding of the work [6].

To understand the dance format and composition, you must see choreography techniques and various aspects of art. Choreographers create a mechanism of choreography that attracts and empathates with the level of instinct and emotion, depending on the recognition of movement principles, the sensitivity of aesthetics, and the intention of the subject.

3.2. dynamism and dynamics

Dynamism and dynamics are the basic aesthetic principles of dance and govern the quality, strength and energy of the movement. Work is the work of various degrees, weight, and effort which is added to the work, and the work includes the principle of the work of the choreography, momentum, and the workability.

In dance, strength plays an important role in conveying emotions, rhythm phrases, and the content of the theme. The dancers produce the contrast and nuance by changing the speed, the strength, the sharpness of movement, and the power to emit different mood and atmosphere. For example, intense and powerful movements convey tension and aggression, and smooth and supple movements evoke calm and elegance [7].

Kinetic energy controls the physical mechanism of motion such as gravity, momentum, inertia. The choreographer uses kinetic energy to create a sequence of motion and expressive movement that utilizes the natural impulse and movement of the body. By understanding the principles of kinetic energy, dancers can improve their technical skills and artistic expressiveness, creating smooth, powerful, and engaging moves [8].

In general, dynamism and dynamics are important aesthetic principles of dance, enhancing the power of expression, smoothness and movement. By knowing these principles, choreographers and dancers can create sophisticated artistic choreography that attracts the audience with the power of movement and conveys deep meaning.

3.3. expression and emotion

Expression and emotion are important aesthetic principles in dance and dancers can communicate through the motion and convey meaning. Expression is the ability for dancers to convey feelings, ideas, and stories through their own body and existence, and emotions include personal emotions and experiences aroused by dance performance.

In dance, the expression is done by conveying the character, the feeling, and the intention by the expression of the face and the gesture [9]. Dancers can incorporate personal interpretations and artistic interpretations in motion to make emotional connections and encourage empathy. From a slight expression of change to a bold and dramatic movement, the dancer uses his body as a communication tool and conveys the thoughts and feelings at the bottom of the person or subject he plays. Emotions in dance are born from the inner senses of motion, music, performance, and perceptual experiences. Dancers can have their own performance and inner state to have reality and depth in their performance and link the audience to the essence and fragility of the human nature expressed by the dancer. Whether it is joy, sorrow, love or anger, dancers express their emotions in motion and produce emotions and feelings that sound inside.

In other words, expression and emotion are important aesthetic principles in dance, allowing dancers to interact with the audience through the power of the body and build relationships. The dancers can develop the art of expression, and express the real feelings in it [10].

4. Critiques and Reviews of Dance Works

4.1. analysis methods

The analysis of dance critique involves systematically checking the various elements of dance work and finding potential subjects, motives, and artistic choices. The researcher and critic analyzes dance structure, movement vocabulary, and performance movements using an approach rooted in dance theory, aesthetics and culture studies. Analytical criticism focuses on the formal features of dance, such as spatial arrangement, time series, and rhythm patterns to identify deeper meanings and intentions behind the artistic perspective of choreography [11]. We try to clarify the aesthetic value, the consistency of the concept and the emotional empathy. The analysis technique includes an interdisciplinary perspective that links the other artistic forms, such as music, visual arts, literature, and dance to provide an overall understanding of the artistic meaning and cultural relevance of the work.

4.2. interpreter framework

The interpretation framework of dance criticism involves the subjective interpretation of the subject matter, symbolic images, and emotional influences of dance works. Critics use various theoretical lenses such as poststructuralism, feminism, postcolonial and psychoanalysis to explain the sociocultural, political and psychological dimensions of dance performance [12]. By deeply interpreting and analyzing the context, the performer reveals the meaning of the work of dance, the choice of costumes, and the principles of practice, and provides the narrative subject of the stage work and focuses on the basis of consciousness and ideology. Interpretive critics often highlight how the dance conveys wider social and cultural discourses in order to solve the identity, power and expression problems. In addition, the performer can communicate with choreographers, dancers, and audiences, and to reveal the subjective experience and personal empathy that the work arouses [13].

4.3. comparative analysis

Comparative analysis in dance critique is to sort out some dance pieces and styles and identify the identity, difference and trend of the field. Critics emphasize their own contribution to the standards of dance by comparing individual works in a wider historical, cultural and aesthetic context. By researching a variety of dance traditions and themes in the age, innovation in style and performance practices, analysts identify repetitive subjects, aesthetic practices, and sociopolitical backgrounds that form dance as an art form [14]. The comparative critic can also explore the relationship between dance work and other cultural heritage (literature, visual arts, movies, etc.) and reveal interdisciplinary influences and empathy. Through rigorous comparative analysis, critics have contributed to a lasting dialogue over the aesthetics of dance and encouraged deeper appreciation of the dance landscape and dynamism.

5. Dance and culture

5.1. Ritual and Tradition

Dancing has been closely associated with various cultural and social ceremonies and traditions. These ceremonies are usually used as means of communication with gods, the signs of important events in life, and the community ties. For example, in India culture, the classical dance forms of India, such as Volta and cartas, are deeply rooted in religious ceremonies, and are used as an offering to the gods on the ritual and feast of the temple. Similarly, traditional African dance is essential to the ritual of adult, childbirth and ancestor worship, reflecting the cultural heritage and spiritual beliefs of the community. Preservation of the dance tradition is very important to maintain and maintain the cultural identity. Through the dance inherited from generation to generation, the community is inheriting custom, values and faith. However, globalization and modernization have led to the issue of preservation of traditional dance forms. Traditional dance has the risk of being buried in a more popular and commercial genre. Therefore, traditional dance recording, reconstruction, and preservation efforts are very important for the protection of cultural heritage and the promotion of generational succession.

5.2. Identity and Representation

Dance is a powerful means of expressing individual and group identities, and doubting mainstream statements and stereotypes. Dancers interpret culture, race, gender and sociopolitical identity through gestures, gestures and costumes and represent their existence and behavior on stage. For an alienated group, dance is a tool to divert statements, show visibility, and doubt the hegemony ideology. Modern dance, such as hip-hop and vocals, is a form of cultural expression and resistance, expressing the experience of alienated people including LGBTQ + and colored races, and providing a place to affirm identity. These forms of dance promote empowerment, solidarity, and behaviorism in a group of alienated groups to promote their sense of belonging and community consciousness. Dancing also plays an important role in expressing stereotypes and prejudices and raising doubts. Through intervention and choreography, dancers face social unfairness, discrimination and inequality and Sue social change and acceptance. By amplifying various voices and experiences, dancing contributes to making a more fair and inclusive society.

5.3. Resistance and Empowerment

Dancing has been used as a tool for resistance and expeditions to counter social and political oppression. Historically repressed communities have used dance as a form of protest that shows resistance and tenacity to power and control systems. For example, during the American civil rights movement, the African American community used the dance as a form of non violent resistance to reoccupy public spaces and claim the right to freedom and equality. Similarly, in South Africa during the apartheid period, traditional dance like rubber boots resisted exploitation and oppression as a means of miners' exchanges and solidarity [15]. Dance is also a place of self function that allows individuals to figure their body, actions and voices. For example, dance therapy programs are very effective to improve the ability of survivors of trauma, abuse and violence, and these programs provide them with healing, self-expression and recovery. Exercise and avatars allow individuals to exceed their limits, have confidence and affirmative spontaneity.

In other words, dancing has a great socio-cultural significance as a commitment to ritual, tradition, identity and expression, resistance and empowerment. By studying the contact with a broad social and cultural background, we can clarify the possibility of changing cultural dance, social criticism and dance as collective empowerment.

6. Conclusion

In summary, this paper provides a comprehensive consideration of dance theory, including philosophical, aesthetic and critical perspectives. The study of dance theory has revealed complex interactions between art, culture and society through philosophical research on the essence of motion and expression. This paper explains how dance is a mapping of cultural values, social norms and personal experiences. In addition, the study of the aesthetics of dance and the criticism of the dance work emphasize the creative effort peculiar to the dance and the rich cultural heritage that it embodies. Appreciating aesthetic elements such as the form, movement, and expression of the dance deepen the understanding of its artistic value and emotional power. Similarly, reviews promote valuable dialogue and appreciation in the dance industry, providing valuable information about the strengths, disadvantages, and socio-cultural meanings of dance productions. From now on, as research progresses in dance theory, more research and discussion will be made to deepen understanding of the complexity of dance and the deep impact of human experience. Continuing to explore interdisciplinary connections, historical backgrounds and contemporary innovations in dance theory, researchers can reveal new dimensions of this dynamic and profound art form, enrich appreciation and participation in our dance, and support future generations.