c
cc 







(Hindi: ÃÃÃÚ Urdu: ̭ Ε̭) is one of
the eight forms of Indian classical dancesÚ originated
from northern India and areas which are now part
of Pakistan. This dance form traces its origins to the
nomadic bards of ancient northern IndiaÚ known as
KathaksÚ or storytellers. These bardsÚ performing in
village squares and temple courtyardsÚ mostly
specialized in recounting mythological and moral tales
from the scripturesÚ and embellished their recitals with
hand gestures and facial expressions. It was
quintessential theatreÚ using instrumental and vocal
music along with stylized gesturesÚ to enliven the
stories. Its form today contains traces of temple and ritual dancesÚ and the influence of the bhakti
movement. From the 16th century onwards it absorbed certain features of Persian dance and
Central Asian dance which were imported by the royal courts of the Mughal era.

There are three major schools or gharanas of Kathak from which performers today generally
draw their lineage: the gharanas of JaipurÚ ucknow and Benares (born in the courts of
the Kachwaha Rajput kingsÚ the Nawab of OudhÚ and Varanasi respectively); there is also a less
prominent (and later) Raigarh gharana which amalgamated technique from all three preceding
gharanas but became famous for its own distinctive compositions.

The name Kathak is derived from the Sanskrit word x
 meaning 
Ú and x

 x in
Sanskrit means 

 
Ú or
 

 
 . The name of the form is properly
x

 xÚ with the geminated dental to show a derived formÚ but this has since
simplified to modern-day ÃÃÃ x
 x. x
 x   x
 x is a saying many teachers pass on
to their pupilsÚ which is generally translatedÚ 's/he who tells a storyÚ is a kathak'Ú but which can
also be translatedÚ 'that which tells a storyÚ that is Kathak'.






c



or ÿ     (Khmer: )Ú is
a Khmer Classical Dance which forms an integral part of the
culture ofCambodiaÚ as well as neighboring countries such
as Thailand and aos. In its modern formÚ the dance is heavily
influenced by the depiction of dancing apsaras at the Angkor
Wat temple complex.

The   Ú a woodland spiritÚ is played by a womanÚ sewn into

tight-fitting traditional dressÚ
1] whose gracefulÚ sinuous gestures
are codified to narrate classical myths or religious stories. The
tradition of danceÚ honed for over a millenniumÚ was almost lost
in the Cambodian genocideÚ when the Khmer Rouge targeted
those involved in the dance and "imposed a massive cultural forgetting".
] In
Ú UNESCO declared the dance a "Masterpiece of Oral and Intangible Culture"Ú and laid
plans for a regeneration of the art form.
]

The performance was first introduced to foreign countries during the 196sÚ when it became
known in the English language as the Khmer Royal BalletÚ or alternatively the Cambodian Royal
Ballet. The first royal ballerina ever was Norodom Bopha DeviÚ a daughter of Norodom
Sihanouk.




 
 

are a very ancient tradition that is a part of the

religious expression among the Balinese people.

In HinduismÚ dance is an accompaniment to the

perpetual dissolving and reforming of the world. The
creative and reproductive balance is often personified
as Shiva's wifeÚ DurgaÚ sometimes called UmaÚ ParvatiÚ
or Kali. This has significance in Balinese HinduismÚ since
the common figure of Rangda is similar in many ways
to Durga
1].
Bali dancers learn the craft as children from their mothers as young as age 1 (see a 11 years old
dancer on the right). In Balinese dance the movement is closely associated with the rhythms
produced by the gamelanÚ a musical ensemble specific to Java and Bali. Multiple levels of
articulations in the faceÚ eyesÚ handsÚ armsÚ hipsÚ and feet are coordinated to reflect layers of
percussive sounds.

The number of codified hand positions and gesturesÚ the mudrasÚ is higher in India than
in Java or Bali. It has been speculated that they have been forgotten as the dance was transmitted
from India to Java. Hand positions and gestures are nonetheless as important
in Javaneseand Balinese dance as in India
9]. Whether in IndiaÚ Indonesia or CambodiaÚ hands
have a typically ornamental role and emphasize the dance's delicate intricacy.




(also written
as bedoyoÚ be ayaÚ and various
other transliterations) is a sacred
ritualized dance of JavaÚ IndonesiaÚ
associated with the royal palaces
of Yogyakarta and Surakarta.
Along with the serimpiÚ the
bedhaya epitomized the elegant
( ) character of the royal courtÚ
and the dance became an important
symbol of the ruler's power.

The bedhaya has different forms in the two court citiesÚ the   

 in Surakarta
(Solo)Ú and the     in YogyakartaÚ the latter of which is no longer performed. The
Solonese dance continues to be performed once per yearÚ on the second day of the Javanese
month of Ruwah (during May in the Gregorian calendar)Ú to commemorate the ascension of the
current Susuhunan (prince) of Surakarta. Nine femalesÚ relatives or wives of the SusuhunanÚ
perform the dance before a private audience. An invitation to anyone outside of the inner circle
of the court is a considerable honor.




 





(simplified Chinese: ´Ã ; traditional
Chinese: ´ ; pinyin:
 ) is a form of
traditional dance and performance
in Chinese culture. ike the lion dance it is most
often seen in festive celebrations. Many Chinese
people often use the term "Descendants of the
Dragon" (
 or à Ã
Ú   
) as a sign of ethnic identityÚ as part of a trend
started in the 197s. Another derivation is from
(È
) i.e. the descendants of ShennongÚ the legendary first king of the Chinese people who
taught them agricultureÚ law and medicineÚ the foundations of civilization.

In the danceÚ a team of people carry the dragon ² which is an image of the Chinese dragon ²
on poles. A dragon can be composed of up to 5 people. The dance team does mimic the
supposed movements of this river spirit in a sinuousÚ undulating manner. The movements in a
performance traditionally symbolise historical roles of dragons demonstrating power and dignity.
The dragon dance is a highlight of Chinese New Year celebrations held worldwide
in Chinatowns around the world.

Ñ 


(simplified Chinese: ´Ã ; traditional

Chinese: ´; pinyin:
) is a form of
traditional dance in Chinese cultureÚ in which
performers mimic a lion's movements in a lion
costume. The lion dance is often mistaken
as dragon dance. An easy way to tell the
difference is that a lion is operated by two
peopleÚ while a dragon needs many people. AlsoÚ
in a lion danceÚ the performers' faces are coveredÚ since they are inside the lion. In a dragon
danceÚ the performers can be seen since the dragon is held upon poles. Basic lion dance
fundamental movements can be found in most Chinese martial arts.
º



 º





is an example of a simple Japanese dance that uses an umbrella. The dance is suited for
girls making use of shuffling steps that is basic to a typical Japanese. The Parasol Dance is from
Kabuki. The song played during the dance is called Mikado (a song in 4/4 time).

Costume: Bright colored KimonoÚ a parasol (umbrella)Ú and

Japanese wooden shoes.

Counting used in the dance: one twoÚ to a measure: oneÚ

twoÚ threeÚ fourÚ for two measures Basic steps used:
Shuffling steps

Formation: In groups of four facing the audience. The open

parasol is held with two hands over the headÚ the hands
holding the handle at chest level. They stand about four feet
away from each other. One to any number of sets may take
part in this dance.

Note: If more music is neededÚ part C may be repeated as

many times as necessary.

 



 



associated with some sects of BuddhismÚ is a lively dance that employs dancers wearing
masks and ornamented costumes. The dance is accompanied by music played by monks using
traditional Tibetan instruments. The dances often offer moral instruction relating
to compassion for sentient beings and are held to bringmerit to all who perceive them.

In BhutanÚ the dances are performed during an annual religious festival known as TsechuÚ which
is held in each district. Only monks or male members of the Royal Academy of Performing
Arts are allowed to perform a Cham dance in Bhutan.

 

 


(Punjabi: m
Ú  ) is a popular folk

dance of women in Punjab
region of India and Pakistan. The dance is
often considered derived from the ancient
dance known as the ring dance and is just as
energetic as Bhangra and at the same time it
manages to creatively display feminine graceÚ
elegance and elasticity. In India Gidha is seen
in every city of Punjab. HoweverÚ the dance is
no longer popular in Pakistan. In pakistan
Bhangra seems to be performed by both men and women.

   

 


 

is an indigenous dance from

the Philippines in which coconut shell halves that
are secured onto the dancers' hands and on vests
upon which are hung four or six more coconut shell
halves. The dancers - all male - perform the dance
by hitting one coconut shell with the other -
sometimes the ones on the handsÚ sometimesÚ the
ones on the bodyÚ and sometimes the shells worn by
another performerÚ all in time to a fast drumbeat.
ike many native Filipino dancesÚ it is intended to
impress the viewer with the great skill of the dancerÚ and in some Filipino Martial Arts (FMA)
circlesÚ it has been noted that the manlalatik "consists of a trapping and boxing method hidden in
a dance."

The name of the dance comes from the Filipino word " atik"Ú which means "fried coconut milk
curd"Ú a coconut product that is used in Filipino cookingÚ particularly in snacks.



 !  
 is a mimetic folk dance in The
Philippines. It originated in the province
of Surigao in Mindanao.

In Itik-itik (from the Tagalog word for

"duck")Ú the dance steps imitate the
movements of ducks among rice
paddies and swamplandsÚ such as wadingÚ
flyingÚ and shortÚ choppy steps.

Itik-itik's current form originated in the

Philippine towns
of CarrascalÚ CantilanÚ anuzaÚ and CarmenÚ all in Surigao del Sur.





is a Philippine folk dance which has become

popular among the rural folks and found in many places
in the Philippines. The dance evolved from FandangoÚ a
Spanish folk danceÚ which arrived in the Philippines
during the Hispanic period. This danceÚ together with
the JotaÚ became popular among the 
  or the
upper class and later adapted among the local
communities. In the early 18th centuryÚ any dance that
is considered jovial and lively were called Pandanggo.
There are many versions of this dance. Each locality
have its own version. ocal dancers have many ways of
doing the PandanggoÚ but there was one thing in common: it has gay and sprightly figures. It
may be danced at any social gathering and is usually accompanied by clapping. In some placesÚ
the musicians did not stop playing until four to five couples have dancedÚ one after the other.
When one couple tiresÚ another takes its place until there are no more who want to dance. The
musicians play faster and faster after each repetition until the dancers are exhausted. Two of the
most popular version of Pandanggo as a performing art are the Pandanggo sa Ilaw from MindoroÚ
and Oasioas. Another Philippine folk danceÚ CarinosaÚ has Pandanggo as its base dance.
Pandanggo is still danced by many people but mostly in religious rituals and processions such as
the Pandangguhan sa PasigÚ during the procession of St. MarthaÚ and the Sayaw sa Obando.
While Fandango in Spain was superseded by its modern versionÚ the FlamencoÚ it has evolved
into a popular folk danceÚ and as a ritual dance in many religious processions in the Philippines.






›


is the most stylised form of
Thai dance. It is performed by troupes
of non-speaking dancersÚ the story
being told by a chorus at the side of
the stage. Choreography follows
traditional models rather than
attempting to innovate.

Most x performances feature

episodes from
the Ramakien. Costumes are dictated by traditionÚ with angels (both good and bad) wearing
coloured masks.

Ñ
 
Ñ x features a wider range of stories than xÚ including folk tales and Jataka stories.
Dancers are usually female and perform as a group rather than representing individual characters.

G
"

G
 is another form of "folk-dance" accompanied
by folk music of the region. The first Fawn originated
from the northern region of ThailandÚ it was designed and
taught by Chao Dararasami of Chiang Mai. Since thenÚ a
variety of "Fawn" came into practiceÚ according to the
music and style of each provinceÚ such as the Fawn- ep
(u
) finger-nail dance from Chiang MaiÚ Fawn-Ngiew from Chiang Rai with the influence
of Burmese music and costume.
Ñ 

Ñ x  is much more varied than  x or x. Stories may be originalÚ and include
singingÚ comedy and ham acting. Costumes may be traditionalÚ modern or a combination of the
two.Ñ x  is often performed at village festivals. Thai ikay shares similarities with the Khmer
theatre style called Yike. ikay can be traced back to Muslim religious performances.

#
$

ÿ    (Å
) is the ritualized dance that takes place before Southeast
Asian kickboxing matches such as Muay Thai.

·
 $
·  (O Å) is a ritualized
form of dance meant to pay respect toÚ or
homage to the x or teacher. It is
performed annually by Thai classical dance
institutions as well as beforeMuay
Thai matches.

$ 

%

!

&

was a song sung as a "pantun" or a

quatrain by a group of people. Instead of having
an ordinary musical instrument to accompany the
songÚ a natural sound or beat is formed from
paddling a boat or stamping the paddle against
the side of the boat and striking a "buyong" or
"keduit" (a jar made from gourd or clay). This
dance belongs to the Brunei tribe in WestonÚ
Sabah.