Dance has been transformed from an involuntary motor discharge, a ceremonial rite, into a work of art, conscious of, intended for, observation.

The story of dance in the Western world is as much an alternative vision of the events of history as is the folk history told for generations by primal people.

In the New Hebrides, any dancer making a mistake was assaulted, wounded, and possibly killed by bowmen posted to keep careful watch for inaccuracies in rituals.

For the Indian,dance is a personal form of prayer. When the Eagle Dancer puts on his costume,when he begins to dance to the music,he doesn't simply perform it; he actually becomes the eagle itself. The dancer is virtually inseparable from the dance.

At the root of all the varied manifestations of dancing, lies the common impulse to resort to movement to externalize emotional states which we cannot extemalize by rational means.

We often take for granted the notion that some people are insiders, while others are outsiders. But such a notion is a social contrivance, that, like virtually every public construct, is a legacy of a primordial and tribal mentality.

Dance in this century has remained primarily a personal ritual operating, like most avant-garde art, as an idiosyncratic form rather than a tribal expression of religious powers or a corporate expression of societal values.