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society. Thus, it is important to analyze these meanings and give new meanings to them. According to the Group of Authors , "con- siders to dance an expression representing various aspects of human life. could be considered as social language that allows the transmission of feelings, emotions of affection lived in the spheres of religious, labor, customs, habits, health, war, etc.. Dance as a producer of meanings ... Are we dancing bit at school because we're just valuing free expression and creativity in relation to aspects of dance? Does the dançarmos in school, we are simply imitating those choreographies "created" for certain songs? Often, the exposure of the body in front of the group also alludes to the idea of strengthening the "incompetence" in relation to the lack of coordination to colleagues, because we can not perfectly replicate gestures. Depending on the situation experienced, may be a cause of "mockery" of the kids at school, or elsewhere. And recognize the difficulties facing fear, shame, inhibition, sexism, and many other issues, is no easy task for anyone. Today, those who have "courage" to face this situation? For if that socially determined "to know" dance is to repeat the models pre-estab- lished and standardized movements. At school, just reproducing what is established in society. A possible cause of dançarmos little school refers to the question of "leadership" group. When a peer perfectly mastered the moves and takes the "status" of organizing the same, those who do not dance well feel inhibited. Understanding this "status" as a socialization process - identification with a particular group. Socialization is the main channel for the transmission of culture and the formation of groups such as the family, schools and groups of friends. These aspects reveal the resistance we developed in relation to experience dance as an expression of art and movement. Eco warns in his article: Music consumption is an industrial product that does not target any intention to art, but to satisfy the market demands. We may add that the dances of the media also have no intention of art, aiming only to market demands SBORQUIA and GALLARDO, 2002, p.112). There is an ideological aspect to consider not important to own experience with dance, the discovery of other movements
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društvo. Dakle, važno je za analizu tih značenja i dati nova značenja za njih. Prema skupina autora , "con- siders za ples izraz predstavlja različite aspekte ljudskog života. može se smatrati društvenom jezik koji omogućuje prijenos osjećaje, osjećaji ljubavi su živjeli u sferama vjerska, rada, običaji, navike, zdravlje, rat, itd.. Ples kao proizvođač značenja ... Jesmo li plesati malo u školi, jer mi smo samo cijeniti slobodu izražavanja i kreativnosti u odnosu na aspekte plesa? Da li dançarmos u školi, mi jednostavno oponašaju one koreografije "stvorio" za određene pjesme? Često izlaganje tijela pred skupinom također aludira na ideji jačanja "nesposobnost" u odnosu na nedostatak koordinacije kolegama, jer mi ne može savršeno repliciraju geste. Ovisno o situaciji doživjeli, mogu biti uzrok "ruglo" za djecu iz škole, ili bilo gdje drugdje. I prepoznaju poteškoće s kojima se susreće strah, sram, inhibicije, seksizam, i mnogim drugim pitanjima, nije lak zadatak za svakoga. Danas, oni koji imaju "hrabrosti" da se suoče ovu situaciju? Jer ako je to socijalno određuje "znati" Ples je ponoviti modela pre-osno- objavljuju i standardizirani pokreta. U školi, samo reproduciranjem toga što je utvrđeno u društvu. Mogući uzrok dançarmos malo škole odnosi se na pitanje "vodstva" skupine. Kad peer savršeno svladali poteze i ima "status" organiziranja isto, oni koji ne plešem dobro osjećam sputan. Razumijevanje ovog "status" kao procesu socijalizacije - identifikacija s određenom skupinom. Socijalizacija je glavni kanal za prijenos kulture i formiranje grupa, kao što su obitelj, škola i skupina prijatelja. Ovi aspekti otkrivaju otpor koju smo razvili u odnosu na iskustvo ples kao izraz umjetnosti i pokreta. Eko upozorava u svom članku: (...) Glazba je potrošnja industrijski proizvod koji ne cilja niti namjeru umjetnosti, ali da zadovolji zahtjeve tržišta. Možemo dodati da su plesovi medija i nemam namjeru umjetnosti, s ciljem samo na zahtjeve tržišta SBORQUIA i Gallardo, 2002, str.112). Tu je ideološki aspekt razmotriti nije važno vlastitog iskustva s plesom, otkriće drugih pokreta