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Unlike the movements performed in everyday living, dance movements are not directly related to work, travel, or survival. The history of dance in various regions is treated in a number of articles; see dance, African ; music and dance, Oceanic ; dance, Western ; arts, Central Asian ; arts, East Asian ; arts, Islamic ; dance, Native American ; arts, South Asian ; and arts, Southeast Asian. Dance may, of course, be made up of movements associated with these activities, as in the work dances common to many cultures , and it may even accompany such activities. But even in the most practical dances, movements that make up the dance are not reducible to those of straightforward labour; rather, they involve some extra qualities such as self-expression, aesthetic pleasure, and entertainment. These two concepts of the art of dance—dance as a powerful impulse and dance as a skillfully choreographed art practiced largely by a professional few—are the two most important connecting ideas running through any consideration of the subject. Although the above broad definition covers all forms of the art, philosophers and critics throughout history have suggested different definitions of dance that have amounted to little more than descriptions of the kind of dance with which each writer was most familiar.

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The interaction between dance and other art forms is discussed in folk dance.

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In dance, the connection between the two concepts is stronger than in some other arts, and neither can exist without the other. A truly universal definition of dance must, therefore, return to the fundamental principle that dance is an art form or activity that utilizes the body and the range of movement of which the body is capable. The nearest approach to such must have been the leaps and bounds, the incoherent gestures, by which he expressed the joys and furies of his brutal life. The interaction between dance and other art forms is discussed in folk dance.

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