Saya menulis ini sebagai bahan renungan untuk siapa saja yg membacanya,terutama kaum laki-laki.Sebelumnya saya ingin m'beritahu bahwa saya selaku penulis adalah seorang laki-laki. Jadi di sini saya tdk sedang ada di pihak siapa pun, karena saya menilai semuanya secara objektif.
Saya mempelajari banyak hal, salah satunya tentang bagaimana perilaku seseorang di berbagai aspek kehidupannya.
Suatu ketika saya menemukan sebuah thread di forum yg berisi tentang kekecewaan seorang laki-laki terhadap pasangannya.Dalam thread tesebut, dia bercerita tentang kehidupannya,di mana dia akan segera menikah tahun depan.
Namun 3 minggu yg lalu,calon istrinya memberitahukan sesuatu yg tdk pernah dia duga.Sebuah kenyataan pahit bahwa calon istrinya sudah tdk perawan lagi.
Mendengar hal tersebut,dia merasa sangat kecewa dan dipermainkan. Dan sudah selama tiga minggu tersebut, dia tdk mau menjawab telepon dan sms dari calon istrinya tersebut.
Dia tdk pernah melakukan tindakan yg di luar batas kewajaran terhadap calon istrinya yg dia jaga dan puja selama tiga tahun. Dan berita itu cukup membuatnya terpukul.
Dia pun meminta saran dari forum dan teman-temannya.Salah satu dari teman baiknya menyarankan dia untuk memutuskan hubungannya dengan calon istrinya. Dan ini membuatnya semakin ragu terhadap hubungannya.
Kasus ini mungkin bisa saja terjadi dalam kehidupan banyak orang dan mungkin banyak dari mereka yg mengalami kebingungan saat menghadapi masalah ini. Terutama untuk mereka,laki-laki yg tdk pernah melakukan hal-hal yg di luar batas kewajaran terhadap seorang wanita. Bagi yg sudah sering, mungkin masih bisa menerima keadaan ini, karena mungkin ada kecenderungan pemikiran bahwa itu adalah balasan yg memang harus mereka terima.
Terlepas dari pemikiran-pemikiran yg ada,kita harus tahu bahwa cinta adalah sebuah bentuk ketulusan.
Dalam hal ini calon istrinya salah,karena tdk memberitahu yg sebenarnya. Tapi saya yakin dia juga berada dalam posisi yg serba sulit. Dan pasti ada berbagai faktor yg menjadi bahan pertimbangan untuk tdk menceritakannya.
Dari pengalaman saya pribadi.Saya banyak menemui para wanita yg sudah tdk perawan lagi dan membuat pengakuan terhadap pasangan mereka. Dan apa yg mereka dapatkan? Sebuah penghinaan, penolakkan, dan pandangan rendah dari pasangannya.
Dan kalau sudah begitu, hal yg sering terjadi adalah sebuah pemanfaatan kesempatan. Pihak laki-laki yg tahu bahwa pasangannya sudah tdk perawan, malah menggunakan kesempatan itu untuk melakukan hal yg tdk wajar.
Lantas apa reaksi wanita? Mereka terpaksa mau atau mereka rela untuk diperlakukan secara tdk wajar. Sebagian dari mereka takut pasangannya marah jika menolak perlakuan tdk wajar dari pasangannya. Sebagian dari mereka merasa bersyukur karena ada yg mau menerima keberadaan mereka. Sebagian lagi takut pasangannya marah sekaligus merasa bersyukur karena pasangannya mau menerima keadaan mereka. Hal ini membuat kebanyakkan wanita jatuh ke dalam dosa yg sama berkali-kali.
Tapi setelah itu apa yg terjadi? Pasangan mereka malah meninggalkan mereka dengan berbagai alasan dan atau saat sudah merasa bosan. Perasaan cinta berubah menjadi nafsu semata tanpa atau dengan mereka sadari. Hanya untuk memuaskan hasrat bagi pihak laki-laki.
Saya sering kali mendengar banyak laki-laki yg mengeluh dan berkata pada saya bahwa mereka mau mencari wanita lain, padahal saat itu saya tahu kalau mereka sudah punya pacar yg cantik. Dan saat saya tanya alasannya, mereka menjawab bahwa mereka memacari pacarnya karena pacarnya cantik dan atau sexy.
Dan pada umumnya laki-laki menginginkan seorang wanita yg baik untuk menjadi istrinya, dan di saat pacaran mereka cenderung lebih suka dengan wanita yg cantik dan atau sexy yg bisa memuaskan hasrat mereka. Dengan kata lain wanita yg menjadi pacar mereka belum tentu akan dijadikan istri mereka.
Bagi semua laki-laki yg membaca tulisan ini, saya ingin mengatakan bahwa wanita adalah makhluk yg seharusnya dijaga, disaygi, dan dicintai dengan catatan dan berbagai pertimbangan yg ada tentunya. Dan cinta bukanlah masalah perawan atau tdk, tapi bagaimana dengan hati dan perasaan Anda.
Pada dasarnya, hal yg membedakan antara laki-laki dan wanita hanya pada jenis kelamin mereka saja.Tapi ternyata hal itu dapat mengubah keseluruhan hidup mereka karena berbagai faktor yg ada.Perbedaan ini juga mendasari perbedaan sudut pandang yg sering kali dijadikan jurang pemisah.
Padahal pada kodratnya,laki-laki dan wanita diciptakan untuk saling melengkapi.Seperti halnya siang dan malam,tdk ada yg lebih baik atau lebih buruk.Semua mempunyai kelebihan dan fungsinya masing-masing.
Pasangan yg baik adalah pasangan yg dapat melihat kelebihan dan kekurangannya masing-masing, dan menggunakan kelebihannya untuk menutupi kekurangan pasangannya. Sehingga mereka dapat saling melengkapi, bukan menilai siapa yg lebih baik dan buruk.
Untuk para laki-laki,ikutilah kata hati kalian. Jangan termakan perkataan orang lain, karena belum tentu orang tersebut benar dan tahu permasalahan secara jelas.Kita boleh saja mendengar masukkan orang lain sebagai saran, tapi keputusan tetap ditentukan oleh diri kita sendiri.
Karena Anda dan pasangan Andalah yg menjalani hubungan cinta Anda dengan pasangan Anda,bukan orang lain.
Keperawanan bukanlah tolak ukur kebaikkan dan hati seorang wanita.
Untuk para wanita yg membaca tulisan ini, jangan pernah menilai bahwa dunia ini tdk adil.Karena semua yg tercipta adil adanya. Semua yg ada punya perannya masing-masing. Kita sebagai manusialah yg membuat perbedaan dan ketdkadilan itu.
To begin playing Lineage II, players create a character as their avatar in the game's medieval-style virtual world. Humans, Elves and Dark Elves start off in the Kingdom of Aden while Dwarves and Orcs start off in the Kingdom of Elmore. Players can choose from either fighter or mystic professions at the start, except for Dwarves and Kamael which are only able to select the fighter profession; this choice acts as an archetype for later profession options. Each race has its own set of classes, even if humans, elves and dark elves have a lot of classes that are very similar to their counterparts in the other two races.
As players kill non-player character (NPC) monsters, they accumulate experience points and skill points (SP). As experience points accumulate, the character's level increases, meaning various attributes of the character are augmented. Players purchase and then upgrade their character’s skills using SP. Players can play alone or as part of a group to fight monsters and complete quests for new skills, experience points, and items. Player versus player (PvP) is a significant portion of the game. The game provides many social, political, and economic aspects which are developed through the community and by the actions, in-game, of single players.Lineage II features siege warfare like the original. To make sure PvP stays under control, the design includes a Karma system that provides negative consequences for killing other players when they are not fighting back. When being in a chaotic state (karma number higher than zero) with a PK count of 5 or more, players have a high probability of dropping items after being killed.
Classes and subclasses
There are currently a large number of classes (36) for all races all together. Each race and subsequent class has a set amount of Stat Points already assigned to their class.
Upon completing the quests after reaching level 75, a player may add subclass to their character. This subclass starts at level 40. Limitations are put in place on which subclass one can choose (e.g. Dark Elves may not choose Elf subclasses. In addition, a player may not choose a class that matches their main class (a Dark Avenger may not become a Paladin, likewise a Treasure Hunter may not become a Plains Walker). Once a subclass has reached level 75, players may choose another. A character may hold a total of three subclasses in addition to their main class. The level cap of all subclasses is limited to 80, while the main class can get to 85.
Heroes are Noblesse characters who have accumulated the most points for their class during competition in the Grand Olympiad while having a minimum of fifteen matches with at least one win. There can only be one Hero per class for a maximum of 36 Heroes at any time. Competing players are limited to their character's main class. Heroes are able to choose one of the Hero class weapons and receive Hero only abilities; in addition, they may speak globally to the entire server. They also receive a glowing aura so that they stand out against other characters.
Pets
In Lineage II, a player can obtain a monster that becomes his or her pet through the completion of quests. Unlike other summons or magic, as long as certain conditions are met, a pet will not be bound by time limitations, nor will it be dismissed by force. These pets can also hold most items in their inventories while they are called, including pet weapons and armor that can be equipped on the pet.
Plot
The game follows a fictional history through sets of plots called "Sagas". There are currently two sagas; "The Chaotic Chronicle" and "The Chaotic Throne". Large-scale updates/expansions known as "Chronicles" are done every six months, which introduce new story elements as well as new features and add-ons. Each chronicle also adds a great deal of new content to the game, including new skills, quests, areas and items; some chronicles also increased the level cap.
Setting
Lineage II is set in the world of its predecessor, Lineage, though the main storyline begins 150 years prior to the events in Lineage.The world of Lineage II is divided into three kingdoms, Aden, Elmore, and Gracia. Aden lies south of the Border Outposts its capital castle is Aden Castle. Elmore lies to the north of the Outposts and encompasses Goddard, Rune and Schuttgart. Its capital castle is Rune Castle. Gracia lies to the west of Aden and Elmore. Aden's geography ranges from deserts to tropical forests. Elmore is more rugged having mostly mountainous regions along with a frozen winter wastelands.
Characters
Characters act as a player’s avatar within the game. Players are afforded up to 7 characters per server. There are currently six races in the world of Lineage II: the Humans-similar to modern-day humans and who have all-around balanced characteristics; the Elves-with superior dexterity, movement, and casting speed, but weaker offense; Dark Elves-with higher magic and melee attack capabilities; Orcs-who have higher HP and MP but slower movement; Dwarves-powerful melee attackers and master craftsmen; and Kamael-humanoids with single wings and gender-specific job classes.
Development
Hyeong-Jin Kim, the Production team head for Lineage II, came up with basic concept for the game in early 2000, and development began in October to November of the same year.Kim and producer James Bae have stated that their reasons for developing a prequel for Lineage rather than a sequel is that "Lineage will continue to be updated as a game", and that "by working on its past, we will not be risking conflict with the direction of updates that Lineage will take in the future."
A screenshot showing a female elf moonlight sentinel standing in the Elven Village.
According to Kim and Bae, the game's initial subtitle, "The Chaotic Chronicle", was developed with the intention to "express the large-scale war, strategies, conflicts, and collaborations that we hope to encourage among players."
Lead Game Designer Raoul Kim said that the reason for rendering Lineage II in 3D was "simply because most games today are [also] using 3D graphics", and because they deemed it "more appropriate than 2D for the things that we were going to create." Developers chose to utilize the Unreal Engine 2 game engine because of its capacity to render outdoor scenes and its powerful editing features.
According to Game Design team head, Cheol-Woong Hwang, there were different concepts for each of the race's home villages. He described the concept for the human village in Talking Island as "ordinary", while the Elven Village was designed "so as not to lose the natural and royal high-class feeling." They designed the Dark Elven village based on a "grotesque and serious feeling in order to express the rough history of these who had been expelled from the Elves."
NCsoft Publisher Partnerships
NCsoft & AsianMedia
Lineage II - South-East Asia or simply L2-SEA is NCsoft's first "Publishing License" grant for their flagship game to a completely independent company. NCsoft granted a distribution license to AsianMedia for ArenaNet's Guild Wars for the Philippines. AsianMedia has been licensed to distribute, publish, and operate Lineage II. NCsoft's licensing grant initially limits AsianMedia licensing to three countries namely, the Philippines, Singapore, and Malaysia.
On December 22, 2009 It was announced that the contract between NCsoft and AsianMedia was not renewed. All players in L2SEA are now notified and given 30 days before AsianMedia closes down on all servers in L2SEA.
The overall reception for Lineage II is mixed, receiving average review scores from various video game rating websites. Scott Stahl of the The Daily Orange praised the game's graphics and design, though he also mentioned that the game "quickly degrades into an incredibly tedious and monotonous process of killing the same monster a thousand different times", and that the character creation options are "incredibly shallow, with maybe two or three different faces and hair styles for each type of character." Andrew Park of Gamespot said that the game "offers either a repetitive grind or a stiff challenge", and is not suitable for casual gamers who can only play an hour or less per day. Allen 'Delsyn' Rausch called the Kamael "an interesting race in that, unlike other Lineage II races, they focus specifically on the warrior path with high-level class paths segregated by gender."
The Chronicle 5: Oath of Blood expansion won the Expansion of the Year award at Stratics Central Editor's Choice Awards 2006, and Lineage II earned an Honorable Mention for the Game of the Year award.
Story :
The eternal struggle between orcs, dwarves, elves, dark elves and arteias (a flying race) is the
main subject of Lineage II. So far only the first four races are playable, the flying race of arteias might follow with the next update "The Kamael" (8.April 2007 - Korea).
However even although Player versus Player fights are the core of this game,
it offers great Player versus Environment possibilites (see below). The character development is not
indivdualistic, but the interactions between players is what makes Lineage II so unique!
The story:
Gran Kain (the destruction) and Einhasad (the creation) are the gods of the world. Their first five children rule over the elements of the world:
The first five of these children were empowered with the authority of the earth.
The oldest daughter, Shilen, was in charge of water. The eldest son, Paagrio, controlled the fire, and the second daughter, Maphr, controlled the land.
The second son, Sayha, became master of the wind. For the youngest, Eva, there were no elements remaining, so she created poems and music.
After Einhasad created the orcs, elves, dwarves and arteias with the help of their children Gran Kain was so jealous about her creation, that he decided to create his own race.To achieve this he had to ask their children to help him, but there were only leftovers, because they gave most of their spirits to Einhasad, the goddess of creation. To create his creatures he instilled the spirits of water, fire, wind and earth all combined into one form, but his creatures were weak, stupid, sly, and cowardly. They called themselves: Humans.
These four races struggled for the reign over the world and the humans were supposed to rule in the end.
Why is Lineage 2 so unique ? One world:
All characters play in the same unique world, which means that you have to expect ambushs, challenges, looting or traps all the time. This system provokes fights over territories. Castles:
Secondly there are huge castles, which are sieged by bigger clans and alliances every 2 weeks.
The amount of players involved in a siege is theoretically unlimited, but there are so many castles with different profits,that not all clans share the same goals.
The alliances of Lineage II are unique as well:
Players of any race can form a single clan. There are not only two sides (good and evil) like in WorldofWarcraft.
The amount of sides is limited by the players and their alliances. There is also the possibility to chat with so called “enemies”.
Several Clans can form one huge alliance, which can join the fight for honour and glory at a certain level. Castles are siegable at Clan LvL4. Raids:
Of course there are a lot of fights over so called Raids, where you have to kill bigger boss mobs. To kill those you have to gather a lot of people and the tank class (which is intensively discussed here at our forums) is the center of all, because the tank is the meat shield and has to provoke the enemies with his skills to protect his allies. This is also the case when you are fighting average mobs.
The huge difference between WoW and Lineage II is that you literally have to fight to complete quests or to gain levels, items and power.
This open system is also a lot more interesting because you have to expect the worst case all the time.
It’s also a great way to meet people from all over the world and make friends even if they are your enemies in the virtual world.
Modern dance is a dance form developed in the early 20th century. Although the term Modern dance has also been applied to a category of 20th Century ballroom dances, Modern dance as a term usually refers to 20th century concert dance.
In the early 1900s European and American dancers started to rebel against the rigid constraints of Classical Ballet. Shedding the authoritarian controls surrounding classical ballet technique, costume, and shoes, these early modern dance pioneers focused on creative self-expression rather than on technical virtuosity. Modern dance is a more relaxed, free style of dance in which choreographers use emotions and moods to design their own steps, in contrast to ballet's structured code of steps. It has a deliberate use of gravity, whereas ballet is rigid in its technique. Because of the common history, the two forms (classical ballet and modern) share a similar terminology and structure. Modern dance is a term that applies to a variety of different disciplines, all with subtly different techniques, that responded to the imperialism of ballet through varying, culturally specific catalytic factors.
1891: Loie Fuller (a burlesque skirt dancer) began experimenting with the effect that gas lighting had on her silk costumes. Fuller developed a form of natural movement and improvisation techniques that were used in conjunction with her revolutionary lighting equipment and translucent silk costumes. She patented her apparatus and methods of stage lighting that included the use of coloured gels and burning chemicals for luminescence, and also patented her voluminous silk stage costumes.
1903: Isadora Duncan developed a dance technique influenced by the philosophy of Friedrich Nietzsche[citation needed] and a belief that dance of the ancient Greeks[citation needed] (natural and free) was the dance of the future. Duncan developed a philosophy of dance based on natural and spiritual concepts and advocated for that acceptance of pure dance as a high art.
1905: Ruth St. Denis, influenced by the actor Sarah Bernhardt and Japanese dancer Sada Yacco, developed her translations of Indian culture and mythology. Her performances quickly became popular and she toured extensively whilst researching Oriental culture and arts.
Fuller, Duncan and St. Denis all toured Europe seeking a wider and more accepting audience for their work. Ruth St. Denis returned to the United States to continue her work. Isadora Duncan returned to the United States at various points in her life but her work was not very well received there. She returned to Europe and died in Paris in 1927. Fuller's work also received little support outside Europe.
Early modern dance
In 1915, Ruth Dorthy St. Denis founded the Denishawn school and dance company with her husband Ted Shawn.[1] Whilst St. Denis was responsible for most of the creative work, Shawn was responsible for teaching technique and composition. Martha Graham, Doris Humphrey, and Charles Weidman were all pupils at the school and members of the dance company.
1923: Graham leaves Denishawn to work as a solo artist in the Greenwich Village Follies.
1928: Humphrey and Weidman leave Denishawn to set up their own school and company (Humphrey-Weidman).
1933: Shawn founds his all male dance group Ted Shawn and His Men Dancers based at his Jacob's Pillow farm in Lee, Massachusetts.
After shedding the techniques and compositional methods of their teachers the early modern dancers developed their own methods and ideologies and dance techniques that became the foundation for modern dance practice.
Helen Tamiris—originally trained in free movement (Irene Lewisohn) and ballet (Michel Fokine) Tamiris studied briefly with Isadora Duncan but disliked her emphasis on personal expression and lyrical movement. Tamiris believed that each dance must create its own expressive means and as such did not develop an individual style or technique. As a choreographer Tamiris made works based on American themes working in both concert dance and musical theatre.
Lester Horton—choosing to work in California (three thousand miles away from the center of modern dance—New York), Horton developed his own approach that incorporated diverse elements including Native American dances and modern Jazz. Horton's dance technique (Lester Horton Technique) emphasises a whole body approach including; flexibility, strength, coordination, and body awareness to allow freedom of expression.
In 1927 newspapers regularly began assigning dance critics, such as Walter Terry, and Edwin Denby, who approached performances from the viewpoint of a movement specialist rather than as a reviewer of music or drama. Educators accepted modern dance into college and university curricula, first as a part of physical education, then as performing art. Many college teachers were trained at the Bennington Summer School of the Dance, which was established at Bennington College in 1934.
Of the Bennington program, Agnes de Mille wrote, "..there was a fine commingling of all kinds of artists, musicians, and designers, and secondly, because all those responsible for booking the college concert series across the continent were assembled there. ... free from the limiting strictures of the three big monopolistic managements, who pressed for preference of their European clients. As a consequence, for the first time American dancers were hired to tour America nationwide, and this marked the beginning of their solvency." (de Mille, 1991, p. 205)
Development of modern dance
Whilst the founders of modern dance continued to make works based on ancient myths and legends following a narrative structure, their students, the radical dancers, saw dance as a potential agent of change. Disturbed by the Great Depression and the rising threat of fascism in Europe, they tried to raise consciousness by dramatizing the economic, social, ethnic and political crises of their time.
Hanya Holm—A student of Mary Wigman and instructor at the Wigman School in Dresden, Holm founded the New York Wigman School of Dance in 1931 (which became the Hanya Holm Studio in 1936) introducing Wigman technique, Laban's theories of spatial dynamics, and later her own dance techniques to American modern dance. An accomplished choreographer, she was a founding artist of the first American Dance Festival in Bennington (1934). Holm's dance work Metropolitan Daily was the first modern dance composition to be televised on NBC and her labanotation score for Kiss Me, Kate (1948) was the first choreography to be copyrighted in the United States. Holm choreographed extensively in the fields of concert dance and musical theater.[2]
Anna Sokolow—A student of Martha Graham and Louis Horst, Sokolow created her own dance company (circa 1930). Presenting dramatic contemporary imagery, Sokolow's compositions were generally abstract, often revealing the full spectrum of human experience reflecting the tension and alienation of the time and the truth of human movement.
José Limón—In 1946, after studying and performing with Doris Humphrey and Charles Weidman, Limón established his own company with Humphrey as Artistic Director. It was under her mentorship that Limón created his signature dance The Moor’s Pavane (1949). Limón’s choreographic works and technique remain a strong influence on contemporary dance practice.[3]
Merce Cunningham—A former ballet student and performer with Martha Graham, he presented his first New York solo concert with John Cage in 1944. Influenced by Cage and embracing modernistideology using postmodern processes, Cunningham introduced chance procedures and pure movement to choreography and Cunningham technique to the cannon of 20th century dance techniques. Cunningham set the seeds for postmodern dance with his non-linear, non-climactic, non-psychological abstract work. In these works each element is in and of itself expressive, and the observer (in large part) determines what it communicates.
Erick Hawkins—A student of George Balanchine, Hawkins became a soloist and the first male dancer in Martha Graham's dance company. In 1951, Hawkins, interested in the new field of kinesiology, opened his own school and developed his own technique (Hawkins technique) a forerunner of most somatic dance techniques.
Alwin Nikolais—A student of Hanya Holm. Nikolais's use of multimedia in works such as Masks, Props, and Mobiles (1953), Totem (1960), and Count Down (1979) was unmatched by other choreographers. Often presenting his dancers in constrictive spaces and costumes with complicated sound and sets, he focused their attention on the physical tasks of overcoming obstacles he placed in their way. Nikolais viewed the dancer not as an artist of self-expression, but as a talent who could investigate the properties of physical space and movement.
The development of Modern dance embraced the contributions of African American dance artists regardless of whether they made pure modern dance works or blended modern dance with African and Caribbean influences.
Katherine Dunham—An African American dancer, and anthropologist. Originally a ballet dancer, she founded her first company Ballet Negre in 1936 and later the Katherine Dunham Dance Company based in Chicago, Illinois. Dunham opened a school in New York (1945) where she taught Katherine Dunham Technique, a blend of African and Caribbean movement (flexible torso and spine, articulated pelvis and isolation of the limbs and polyrhythmic movement) integrated with techniques of ballet and modern dance.
Pearl Primus—A dancer, choreographer, and anthropologist, Primus drew on African and Caribbean dances to create strong dramatic works characterized by large leaps in the air. Primus often based her dances on the work of black writers and on racial and African-American issues. Primus created works based on Langston HughesThe Negro Speaks of Rivers (1944), and Lewis Allan'sStrange Fruit (1945). Her dance company developed into the Pearl Primus Dance Language Institute which teaches her method of blending African-American, Caribbean, and African influences with modern dance and ballet techniques.
The legacy of Modern dance can be seen in lineage of 20th century concert dance forms. Although often producing divergent dance forms, many seminal dance artists share a common heritage that can be traced back to free dance.
Both Postmodern dance and Contemporary dance are built upon the foundations laid by Modern dance and form part of the greater category of 20th century concert dance. Where as Postmodern dance was a direct and opposite response to Modern dance, Contemporary dance draws on both modern and postmodern dance as a source of inspiration. The social and artistic upheavals of the late 1960s and 70s provoked even more radical forms of modern dance. Modern dance today is much more sophisticated in technique and technology than when modern dance was founded. The founders composed their dances entirely of spirit, soul, heart and mind as opposed to today's modern which has more technical aspects. The concern with social problems and the condition of human spirit is still expressed, but the issues that are presented would have appalled many early modern dancers. The essence of modern dance is to look forward, not back. Ballet and modern sometimes fuse together and enrich both forms, but neither is likely to lose its identity in the process. It is impossible to predict what directions modern dance will take in the future. Each style could go in so many different directions and are usually very radical. If this trend keeps up, future audiences can look forward to an interesting forum of dance.
