The Dance Revolution Of Huizinga

Dance Dance revolution: Before my eyes the screen flashes with colourful arrows: left, left, right, right, front, back, left and right. My feet swing forwards, backwards and sideward, again and again. I am playing by interacting with the sounds and imagery which the arcade game is broadcasting. The tension is rising and the beat of the game is accelerating. Behind me, my friends watch me perform and I hear the enthusiasm in their voice while they cheer me on: ‘Got it, got it, got it. Nice one!’ While I reach a new level, I lift up my arms in celebration and at the same time I vigorously shout out: ‘Yes! I got it!’
By playing this game, someone seems to play, perform and interact simultaneously. People who take part in a performative interaction
These are (1) free, play is a voluntary activity; (2) pretend, play is not in real life; (3) specific limits, play has limits of time and space; (4) order, play has its own creation of order; (5) tension and joy, the player wants to go or succeed; (6) rules, all play has its rules. Much of the definition of the term play of Huizinga is the same as the definition of Caillois. Caillois (1961) explained play by using six characteristics to define it as an activity which in its essence is (1) free, not obligatory; (2) separate, occupying its own time and space; (3) uncertain, the course of the play cannot be pre-determined; (4) unproductive, it creates no wealth; (5) governed by rules, conventions that suspend ordinary laws; (6) make-believe, special awareness of a second
However, Caillois (1961) also critiqued the definition of Huizinga by stating that it seemed to ignore or minimize the different forms of play and the needs of in the cultural context. Moreover, play can even be separated into two different approaches; one being play as a voluntary and intrinsic matter (definition of Huizinga); and the other as the natural setting which is related to rituals and communication. According to Sutton-Smith (2009) play has the potential to help define identity, social norms of a community and it is also essential to cultural formation.
Even though performance is not as a controversial concept as play is, the definition of it is not a simple either. According to Gade and Jersey (2005) a performance in an art context is “the carrying out of an artistic activity in front of an audience.” However, Gade’s and Jersey’s definition can be considered rather small-minded, in comparison to Fischer-Lichte. Fischer-Lichte (2009) defined performance in the article ‘Culture as performance’ by pursuing four rough outlines. These