ASIAN CEREMONIES C. HIPS, RIBS, AND HEAD SHIFT FROM SIDE TO SIDE D. SHOULDERS RIPPLE AND SHAKE F. SHARP DISTINCTION BETWEEN MEN AND WOMEN S DANCE

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1 ASIAN CEREMONIES EASTERN BODY STANCE: A. FLUID B. SPINE UNDULATES C. HIPS, RIBS, AND HEAD SHIFT FROM SIDE TO SIDE D. SHOULDERS RIPPLE AND SHAKE E. KNEES ARE BENT F. SHARP DISTINCTION BETWEEN MEN AND WOMEN S DANCE 1. MEN SPREAD LEGS WIDE IN LUNGES 2. WOMEN MORE SUBTLE WITH KNEES CLOSE

2 COURT DANCE, YOGYAKARTA, CENTRAL JAVA

3 JAVANESE WAYANG WONG DANCER

4 EUROPEAN DANCE EUROPEAN DANCE: A. STABLE SPINE B. HIPS, SHOULDERS, AND ARMS HELD QUIETLY C. FACE AND HANDS LEFT TO INDIVIDUAL D. HIGH JUMPS AND LEAPS INTO AIR E. BEND KNEES TO STRETCH THEM STRAIGHTER F. WOMEN PERFORM SPECTACULAR FEATS

5 MOISEYEV RUSSIAN DANCE COMPANY

6 CLASSICAL BALLET PAS DE DEUX

7 HINDU DANCE OLDEST OF DEVELOPED DANCE FORMS-BEFORE 5000 BC. HINDU DANCE IS AN EXPRESSION OF BOTH SEXUAL LOVE AND RELIGIOUS DEVOTION. MUDRAS - SPECIFIC, LITERAL SIGN LANGUAGE OF GESTURES 67 GESTURES OF HANDS, 13 GESTURES OF HEAD, 36 DIFFERENT GLANCES STYLES OF INDIAN DANCE: A. BHARATA NATYA B. NAUTCH DANCE C. KATHAKALI D. KATHAK E. MANIPURI

8 BHARATA NATYAM DANCER

9 KATHAKALI DANCER IN TRAINING

10 CAMBODIAN DANCE CHARACTERIZED BY DELICATE, HYPNOTIC MOVEMENTS. TRAINING INVOLVES BENDING AND WRENCHING JOINTS UNTIL THEY CAN PERFORM EXQUISITE CONTORTIONS. KHMER ROUGE KILLED 90 PERCENT OF THE DANCERS AND DESTROYED ALL LITERATURE. ONE WOMAN SURVIVED TO REVIVE THIS ALMOST EXTINCT ART FORM.

11 STUDENTS AND TEACHERS AT THE NATIONAL KHMER DANCE SCHOOL, PHNOM PENH, CAMBODIA, 1991

12 JAPANESE DANCE BUGAKU: MEMBERSHIP IS HEREDITARY A. STATELY DANCE STYLE B. SYMMETRICAL MOVEMENTS C. PAIRED DANCERS NOH: HIGHLY SYMBOLIC THEATRE CHARACTERISTICS: A. ERECT STANCE B. WOODEN MASKS C. ELABORATE COSTUMES KABUKI: TRACED TO PRIMITIVE RITUAL. ORIGINATED IN A. THICK, LIQUID WHITE-RICE POWDER B. STRAIGHT EYEBROWS C. ROSEBUD LIPS D. NOT ALLOWED TO SMILE. ONLY EYES COULD BE EXPRESSIVE BUTOH JAPANESE AVANT-GARDE DANCE FORM BEGUN AFTER WWII. A. SHAVED HEADS B. BODIES COVERED IN UNIFORM WHITE PAINT C. DISTORTED MOVEMENTS

13 KABUKI DANCER APPLYING MAKEUP

14 MALE KABUKI DANCER PERFORMING A FEMALE ROLE, THE DANCING MAIDEN AT DOJO TEMPLE

15 BUGAKU DANCER

16 BUTOH DANCERS

17 EARLY CIVILIZATIONS EGYPT RELIGION BUILT AROUND A KING-GOD (OSIRIS) IDENTIFIED WITH THE NILE GODDESS ISIS, WIFE-SISTER OF OSIRIS, INTRODUCED SINGING AND DANCING TO EGYPTIANS DANCE PLAYED BIG PART IN TWO FESTIVALS: A. FESTIVAL FOR ISIS 1. NILE STARTS TO RISE B. FESTIVAL FOR OSIRIS 1. WHEN THE HARVEST WAS IN

18 EGYPTIAN DANCE HIEROGLYPHS

19 ANCIENT GREEK DANCE GREEK CLASSICAL PERIOD BEFORE AND AFTER 500 BC DANCE FLOURISHED ALONG WITH MUSIC, POETRY AND DRAMA. DANCE CROSSED THE LINE BETWEEN RELIGIOUS AND SECULAR LIFE. GREEK RITES A. DIONYSIAN - GOD OF WINE 1. ABANDONED, LICENTIOUS BEHAVIOR 2. RITE OF SPRING 3. DISRUPTED LAW AND ORDER 4. ECSTATIC DANCE B. DEMETER, GODDESS OF GRAIN AND AGRICULTURE AND PERSEPHONE, GODDESS OF VEGETATION AND UNDERWORLD 1. DIGNIFIED FERTILITY RITES 2. MOOD WAS SOLEMN AND CHASE 3. DONE IN SECRET 4. HARMONIOUS DANCE

20 Greek figures in a solemn dance. From a vase at Berlin. Greek terra cotta dancing girl, about 350 B.C. (British Museum.) The Geranos from a vase in the Museo Borbonico, Naples. A military dance, supposed to be the Corybantum. From a Greek bas-relief in the Vatican Museum.

21 DANCE IN THE ROMAN EMPIRE DANCE DECLINED UNDER ROMAN RULE. INSTEAD PANTOMIME IS DEVELOPED TO A HIGH LEVEL BEGINNING IN 22 BC. IT DETERIORATED INTO A CORRUPT, SMUTTY FORM. PANTOMIMISTS BECAME WANDERING ENTERTAINERS WHO KEPT ALIVE THE IDEA OF THEATRICAL DANCE THROUGH THE MIDDLE AGES INTO THE DAYS OF THE RENAISSANCE.

22 ROMAN MASKS

23 FOLK DANCE IN MEDIEVAL EUROPE IN MIDDLE AGES IN EUROPE THERE ARE NUMEROUS REPORTS OF A DANCE CURSE OR DANCE MANIA- A COMPULSION TO DANCE THAT POSSESSED PEOPLE TO DANCE UNTIL THEY FELL FROM EXHAUSTION. DANCED IN A CIRCLE FOR HOURS AT A TIME WITH HIDEOUS, DISTORTED MOVEMENT UNTIL THEY COLLAPSED FOAMING AT THE MOUTH. CALLED DANSE MACABRE OR DANCE OF DEATH WHEN DANCED IN A CHURCHYARD WHERE DEMENTED SOULS SOUGHT COMMUNION WITH THE DEAD. SIMILAR TO TRANCE DANCE THAT WE SAW IN TRIBAL RITUALS.

24 MEDIEVAL DANCE OF DEATH

25 Judeo-Christian Era Ritual practices gave way to an attitude of total separation between body and spirit. a. The body held all that was evil in humanity b. The spirit held all that was good Ritual movement was originally part of Judaism and Christianity. The Church sought to protect Christians from the seductive practices of the pagans. It took many centuries to banish ritual dance entirely from Christian rites. In England dancing went on until the 14th century and in France until the 17th century. In Spain one dance, Los Seises, survives to this day.

26 YUGOSLAV NATIONAL DANCE COMPANY, TANEC

27 CROATIAN KOLO CIRCLE DANCE

28 SWEDISH HAMBO COUPLE DANCE

29 MAYPOLE DANCE-ANCIENT FERTILITY RITE

30 SPANISH FOLK DANCE 3 TYPES OF SPANISH DANCE: A. REGIONAL DANCES 1. FANDANGO 2. JOTA B. SCHOOL DANCING OR BOLERO 1. ACADEMIZED REGIONAL DANCES WITH ADDITION OF BALLET C. FLAMENCO

31 FLAMENCO FLAMENCO, ORIGINATED BY GYPSIES, CONSISTS OF MOODY IMPROVISATIONS TO ACCOMPANIMENT OF GUITARISTS AND ONLOOKERS WHO CLAP, STAMP, AND SHOUT. FEATURES OF FLAMENCO ARE: A. TACANEO (HEEL WORK) B. CASTANETS C. PROUD CARRIAGE OF HEAD, TORSO AND ARMS

32 REGIONAL DANCE AND FLAMENCO COMPARISON DIFFERENCE BETWEEN FANDANGO AND FLAMENCO A. FANDANGO HAS PERFECTLY SET STEPS B. FLAMENCO IS LIKE A JAM SESSION WITH IMPROV PERFORMERS AND SPECTATORS SPUR EACH OTHER ON

33 SPANISH REGIONAL DANCE-JOTA

34 JOSE GRECO CARMEN AMAYA