Dance in Tibet

Dance in Buddhist Tibet is gazed upon as a piece of pageants and yearly festivities. The dances represent scenes which verify the triumph of Buddha and his followers over the evil and illusions of the world.

Bhutan and Nepal are Hindu and the dances are on the horizontal condition of village entertainment, being used as a means of courtship or unfolding acrobatic movements. Read more...

Dance in Philippines

The colonization of the people by region by Spain has greatly influenced its folk dances. This is evident in the movement, music and dress in general of it's dances. In the south, Muslim dancers are greatly inspired by the Indian style of dancing. Philippines folk dances are characterized by clemantary movements based in themes like planting rice and harvesting skillful movements using water-filled glasses, fans and burning candles. Read more...

Dance in Cambodia

The movements of the Cambodian dance are sensitive and dreamy bottom of everything considered as it's support on Hindu-inspired legends. Their dance differs little from the Thai dance Lukhon. The basic movements are identical and the costumes practically similar. Read more...

Dance in Korea

The classical dances in Korea are categorized as follows:

a. The ritual dances are performed by Buddhist monks holding sticks and drum. The swinging of the sleeves of their robes is the basic movement. It depicts the offering of one's body to Buddha. The other ritual dance is performed by 64 males of the Confusian temple. The movements are very uncompounded but colorful. The dancers hold a flute, a shield and an axe.

b. Court dancers design to amuse the nobility at the royal court. They are characterized by the slow and apt movement of their arms and legs.

c. Folk dances are characterized by the frankness of emotional expressions of the people which are not seen in rites and court dances. Read more...

Dance in Thailand

The dance of Thailand came from old Cambodia. The Thais took with them from Ancient Cambodia their convicts who presented and under cultivation dance for the Thais.

Drama and dance are inseparable in classical form. This is exemplified by the khon, a dance-drama based on temple rituals. Performers wear masks except the heroines of the story who can speak speak their lines on several occasions. Every step of the dance has a specific meaning, which is emphasized by the accompanying music. Another Thai dance-drama is the Lukhon, which depicts stories derived from the Ramayana, legends from Siam and the Hindu Penjil circle. Read more...

Dance in China

Classical Chinese dance is as highly revealed as other classical Oriental dance forms. It depicts folk dances, slave dances, martial arts, animal dances, marriage and labor. It effects single less part piece in the Chinese theater Read more...

Dance in Japan

Japanese dance was the chief part of Chinese power due to position. Bugaku, a sluggish symmetrical chaste dance appearance which flourished in Japanese courts after the 8th century, was of Chinese parentage. Serugaku was to lay in detail from a comic folk dance of China which was executed at Shinto and Buddhist festivals. Dengaku is a common people acrobatic dance received from folk forms enjoyed by less worthy-wise audience. Kabuki is a popular dance dram developed in the 17th century. It requires technique to carry traditions in pantomine. Kabuki dancers,wether depicting male or female characters are all men. Geishas are skilled female entertainers trained in kabuki dance techniques. Their dance is played in an nearly no movement way of acting and the theme is about love. Read more...

Dance in Indonesia

In Java, the wayang wong, a nobility dance is fulfilled with the same length/height, proved motion, self-reliant of the rigidly held spine. This dance is punctuated by trenchant staccato transference. The lekong, a peasant of Bali, is a transmission of practices danced by two young girls in active; pantomine advances in which the back is bent and the whole body is in rapid act. Read more...

Salutations Before and After the Dance

1. Stand with the feet samapada position, thumbs up with four fingers bent towards the palm, thumbs, elbows open at sides.

2. Place the feet in Nisanoru position, open the feet to tryasra position, and open the arms in a large circle on the floor. The thumb are tucked in with four fingers outstretched. The fingertips touch the floor. Look down the hands.

3. Rise to stand with the feet in samapada position. The arms in a large circle touch the template with the finger tips and the palms are facing out.

4. Place the palms before the breast with hands joined palm to palm.

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Indian dance techniques

Hand Position

1. Abhimukha - palm opposite the face.

2. Abhomukha - palm facing downward.
3. Paramukha - palm facing audience.4. Tiryanmukha - hand slant position.
5. Uttana - palm facing upward.

Feet Posistion

1. Agratala - heels raised from the floor.
2. Ancita - heels resting on the floor with soles and toes raised.
3. Kuncita - heel of one foot drawn close to the toes of the other foot.
4. Nisanoru - heels raised from the floor with flexed knees.
5. Samapada - feet together with toes pointing forward.
6. Trysra - heels together and toes apart. Read more...

Four Classical Indian Schools of Dance Developed

1. Bharata Natyam - Performed mainly by the Devadasis (Female temple dancers) of South India, this is a stormy, austere from which was traditionally part of worship.

2. Kathakali - This south Indian form was intended for entertainment where male dancers present sotries from the great Hindu epics.

3. Kathak - Excitingly rhythmic, it was once danced by priests. This dance was later performed by men and women to entertain the Muslim and Hindu courts of north India by relating the erotic exploits of the God Krishna.

4. Manipuri - Court ladies depict the Legend of Krishna in a graceful and restful manner characteristic of Northern India.

All these forms combine pantomine, narrative movement with non literal movement and are accompanied by instrumental music and usaally words, thereby, creating a unified dance drama. Read more...

Dance in india

The basic fundamental artistic axiom and art of Indian classical dance were set down in theNatya Shastra, a book of dance drama written by the sage Bhata about 5th century A.D. The acting involved a language of dance posture intented to express originally to accompany the chanting of the song of the Rig Veda and a great diversity of definite movements from the waist, shoulders, neck, arms and facial features. Read more...

Asian Dance

The discerned characteristics of the Asian dance are it's religious inspiration, impressiveness of expression on the upper body, gestures of the hands, facial expressions and subtle changes which convey a whole range of emotions. These are perfected and preserved as a form of religious ritual and entertainment for rulers. Read more...