Society and at times parents, have wrong interpretation of the communicative value of dance as a didactic tool in a childâ€™s moral development. To them, dance is just a mere form of entertainment, relaxation or means of keeping fitness until proven otherwise. This misconception is what this paper sets out to redress objectively, by making parents or the society at large to understand that every dance movement, be it indigenous dance or contemporary dance, when choreographed well communicatively has a meaningful information to pass across either to satirize or lampoon the society, teach morals or awaken peopleâ€™s consciousness to seek for a positive change. The use of dance presently has gone beyond mere combination of movements or exhibition of skills, into a serious communicative tool. What presents the communicative value of any dance, is the choreographic style and the content of the dance. These two symbolically portray dance professionally, as an indispensable art tool that sets out to actualize a goal depending on the choreographersâ€™ intention. In order to achieve the intended objectives, a content analysis of the dance, Dancing Monster and Uzo would be undertaken with the aim of bringing out their intrinsic value as didactic instruments in the moral upbringing of children. Dance, not only has the potential to enhance the childâ€™s self-awareness, it can also correct physical challenges through Dance Movement Therapy, (DMT) and imbue the child with grace and self-confidence. Content analysis of the selected dance will be used as the working methodology The findings of this research will therefore go a long way in helping society and parents to see and appreciate dance as a corrective tool.
Keywords: dance, interpretation, communicative essence, perception, moral development.