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In partner dancing, connection is physical, non-verbal communication between dancers to facilitate synchronized or coordinated dance movements. Some forms of connection involve "lead/follow" in which one dancer (the "lead") directs the movements of the other dancer (the "follower") by means of non-verbal directions conveyed through a physical connection between the dancers.
A puzzle canon, riddle canon, or enigma canon is a canon in which only one voice is notated and the rules for determining the remaining parts and the time intervals of their entrances must be guessed. [44] "The enigmatical character of a [puzzle] canon does not consist of any special way of composing it, but only of the method of writing it ...
Honeybee communication is distinct from other forms of animal communication. Rather than vocal-auditory, bees use the space-movement channel to communicate. Honeybees use dances to communicate—the round dance, the waggle dance, and the transitional dance.
Contact Improvisation (CI) is a postmodern dance practice that explores movement through shared weight, touch, and physical awareness. Originating in the United States in 1972, contact improvisation was developed by dancer and choreographer Steve Paxton, drawing on influences from modern dance, aikido, and somatic practices. [2]
Dance holds that a helix is a more adequate representation of the process of communication since it implies that there is always a forward movement. It shows how the content and structure of earlier communicative acts influence the content and structure of later communicative acts.
A model of communication is a simplified presentation that aims to give a basic explanation of the process by highlighting its most fundamental characteristics and components. [ 16 ] [ 8 ] [ 17 ] For example, James Watson and Anne Hill see Lasswell's model as a mere questioning device and not as a full model of communication. [ 10 ]
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Dance choreography is sometimes called dance composition. Aspects of dance choreography include the compositional use of organic unity, rhythmic or non-rhythmic articulation, theme and variation, and repetition. The choreographic process may employ improvisation to develop innovative movement ideas.