One of the books is "Dance in Japan (日本の舞踊)" by Tamotsu Watanabe. He is a Theater arts critic, with a particular interest in Japanese traditional dances that you can see in Kabuki and Noh.
His book contains many interesting points.
For example, he encountered a situation in which some of his friends, also dance critics, watched a performance by Pina Bausch and her company. He thought it was a performance but not dance. Others thought it was a decent dance. Their arguments never reached mutual understanding and conclusion at the time.
He self-analyzed why, and pointed out that there was a lack of agreements in discussing dance in three critical points; definition of dance, definition of the area of dance (what is included in a category of 'dance' varies), and methodology and language of discussing dance.
Then, he came to his own remedy that could solve at least the first two points for him.
That was the "voice of the body" concept.
He is a dance critic, and has seen many performances. But not all performances were appealing to him as "dance". He was attracted only by the "dances" that he could see/hear the "voice of the body".
Probably, many others have referred the voice as aura or spirit or energy, some elusive factor that appeal to someone who watches the dance. Right, I am talking about that elusive character science does not have good measure for.
I pick up this notion, because I make my judgement on dance based on similar notion.
I do watch many dances in films and in person. I take my time watching dancing in events and parties. That is my way of having fun out of dancing. In watching, I notice there are many kind of voices of the body. Some say with passion, others say with sophistication. I tend to like sophistication more, though.
I also realized that the "voice" is (i) difficult to capture in photo and film, (ii) has a character of "you know it when you see it", and (iii) great dancers seem to be able to project it louder, somewhat like opera singers can sing louder. It is joy to watch dancers with great "voice".
From my Tango and other close-to-partner dance experience, I'd add, (iv) the voice exists in many people who do not seem to possess the voice visually. Only it is smaller and inaudible perhaps to anyone other than a dancer who is very close in distance.
There should be some methods to make the voice louder. Having a good body with well-coordinated movements seems to be a way to go. Another way would be use of the power of well-established style. When you can perform a dance move classically, there is a certain beauty in it. Focusing on visuals could be an answer too. Dance has visual and invisible aspects. And working on visuals probably is an easier way to go.
This question; "How can you make your own voice of the body louder", is something worth asking if you are serious in dancing.
["Dance in Japan" by Tamotsu Watanabe]
