dance motif造句

• People were presumably still dancing, Garfinkel said, but " the dancing motif had lost its importance in society ."
• Odissi is learnt and performed as a composite of basic dance motif called the " Bhangas " ( symmetric body bends, stance ).
• In his research, Garfinkel found the earliest examples of the dancing motif in art from two 9, 000-year-old sites in the Middle East.
• Odissi is learnt and performed as a composite of a basic dance motif called the " Bhangas " ( symmetric body bends, stance ).
• In the October 2008 " Entertainment Weekly " interview, B Hamp describes the dance motifs to include : Steering a race car one handed, Celebratory posing, and a wheelchairing motion.
• Played in music halls, the dance music ( " oyun havas1
  " ) required at the end of each fas1
  l has been incorporated with Ottoman " rakkas " or belly dancing motifs.
• There is no contradiction between the choreography's folk-dance motifs ( heel and toe, hand to hip or arms folded ) and the dancer's business costume ( vest over shirt and tie ).
• The Hindi song was such an integral features of Hindi mainstream cinema, besides other characteristics, that post-independence alternative cinema, of which the films of Satyajit Ray are an example, discarded the song and dance motif in its effort to stand apart from mainstream cinema.
• The lengthy duration of dance depiction as a dominant artistic motif, together with its dispersion across broad geographical expanses from west Pakistan to the Danube basin testify to the efficiency of the dancing motif as one of the most powerful symbols in the evolution of human societies.
• Flannery said that Garfinkel was probably correct in relating the reduction in the dance motif on pottery to the rise of civilizations under kings, which occurred around 3000 B . C . with the Sumerians in Mesopotamia, a land that is now southern Iraq, and not long afterward in Egypt.
• The work begins with a lament for the solo cello as the voice of King Solomon, inspired by the text,  Nothing is worth the pain it causes .   All this is vanity .  The next theme, which transforms the free-flowing, cadential lament into a rhythmic dance motif, is introduced for the first time by the solo cello.