Chinese Dance is classified into two parts-
Traditional Dance
The art of Chinese dance marks its origins around the 4th millennium BC. A study of ceramic artifacts with dramatized dancing figures foretells that people of the Neolithic Yangshao culture had choreographed group dances.
After the establishment of the Music Bureau during the Han Dynasty in the year 206 BC, continues efforts were made to develop the folk songs and dances in the country. During those days each regional group of China has its own folk dance forms. The Miao also known as Hmong people of southwestern China developed a lively form of submissive, singing and rival dances.
The inhabitant of Taiwan created hand holding line dances as part of a harvest ritual. Folk dances showcase the lifestyles and customs of a people, though there are numerous folk dances, every dance is a precious and an ingenious part of China's rich cultural heritage.
Traditional Chinese Dance includes the stalwart Lion Dance with drum music, the spirited Ribbon Dance with long Silk Ribbons fabricating calligraphic designs in the air; as well as the exquisite Fan Dance mesmerized by spectators all over the world. The Art of Chinese Dance convoy the hue, extravagance and splendor of the Chinese culture all over the world.
Red Fan Dance in China The Prevalent Dances
The evolution of modern Chinese dance has taken up by zealous talents. Normally, young people undertake study ballet dance and modern dance initially, later on they study the procedure and linguistic rules of traditional Chinese dance.
Slowly the learners take over to the new Chinese style body expressions and movements with a challenging mind for experimentation. Since about 1970, the original and unique synthesis of young dancers has brought a reawakening in Chinese Dance and Drama.
Diversified Chinese Dances
Chinese Folk Dance
XingJiang Drum Dance, Taiwanese Folk Dance, Taiwan Aborginal Dance, Kung-Fu Fan Dance, Yunan Dai folk dance, Dunhuang Aesthetic Dance.
Traditional Chinese Dance
Dragon Dance, Feather Fan Dance, Traditional Chinese Ribbon Dance, Ribbon Dance, Silk Fan Dance, Sword Dance.
Chinese Modern Dance
Chinese modern dance is a unification of Live Music and Dance- The group of small children performs dance of “Nurture” in the age of 8 to 12 years. Dance of "Mother and Daughter" performed with live music.
Calligraphy Dance combined the art of dance and Chinese calligraphy presentation.
Saturday, July 17, 2010
Friday, July 16, 2010
Ancient Egypt dance
Ancient Egyptian Dance
Ancient Egypt dance
From paintings and etchings on the walls of tombs to clay figures with their hands held above their heads, it is clear to historians and Egyptologists that dancing was a common part of life in ancient Egypt . There are scenes found in tombs dating as far back as the New Kingdom involving dancers at ceremonies, rituals, and celebrations.
Ancient Egypt Online Navigation
Ancient Egyptian dance varied from each instance to the next, with different movements and steps depending on the kind of engagement the dancers were performing at. For instance, a military meeting would be different from a more ritualistic time.
The dancers themselves were often groups, but only of one gender at a time, with little to no evidence of males and females dancing together. Often the steps were choreographed to not echo one and another, but often, as in more recent dance movements, each person has their own gestures and positions to make on their own, but each is working together in very specifically organized ways.
The downside is, as much of what we understand of ancient Egyptian dance comes from murals found on the walls of tombs and temples, there is only so much information that can be taken from a simple snapshot. With a culture so rich and heavily involved in religion, it is easy to say that the point of the dances were often probably meant to honor the gods, or were designed with a certain purpose; but with the little that we know past the pictures, it is hard to figure out what the movements were, not to mention what the movements meant.
While many cultures have very specific and often elaborate dancing costumes, the clothes worn by Egyptian dancers were hardly elaborate or involved enough to even call them an actual costume: in many scenes that have survived the ages, dancers (females, specifically) are found moving their arms and legs without being trapped by cloth of any sort, except for the occasional small fringed skirt or tunic, not always worn simultaneously. There were other times when dancing took place in the nude, with nothing but a single ribbon tied loosely about the waist.
It is believed that the dances originally started as a way of both mourning the dead and appeasing the goddess Sekhmet, who, as the myth goes, once nearly destroyed all of mankind when asked by the sun god Ra to punish those who had forgotten him.
Other tomb depictions show dancers following funeral processions, and in some cases, performing moves more closely associated with acrobatics and gymnastics than strictly dancing. During these processions, it was common for dancers to skip or leap into the air, which was a way of honoring and welcoming the goddess Hathor, who was believed to meet the dead at the entrance to the underworld. By properly honoring Hathor, it assured them that the newly deceased would reach his or her destination well at the hands of the goddess.
While we may not know the particular meaning of every step or movement made by a dancer during any given dance they performed, we understand that they were almost entirely religious in nature, and meant to honor, celebrate, mourn, or pacify. And in a culture so profoundly entwined in religion, most of the honoring and pacifying was in the name of one or many of their gods, who they believed helped them frequently during the passage of a day, not to mention the passage of time.
Ancient Egypt dance
From paintings and etchings on the walls of tombs to clay figures with their hands held above their heads, it is clear to historians and Egyptologists that dancing was a common part of life in ancient Egypt . There are scenes found in tombs dating as far back as the New Kingdom involving dancers at ceremonies, rituals, and celebrations.
Ancient Egypt Online Navigation
Ancient Egyptian dance varied from each instance to the next, with different movements and steps depending on the kind of engagement the dancers were performing at. For instance, a military meeting would be different from a more ritualistic time.
The dancers themselves were often groups, but only of one gender at a time, with little to no evidence of males and females dancing together. Often the steps were choreographed to not echo one and another, but often, as in more recent dance movements, each person has their own gestures and positions to make on their own, but each is working together in very specifically organized ways.
The downside is, as much of what we understand of ancient Egyptian dance comes from murals found on the walls of tombs and temples, there is only so much information that can be taken from a simple snapshot. With a culture so rich and heavily involved in religion, it is easy to say that the point of the dances were often probably meant to honor the gods, or were designed with a certain purpose; but with the little that we know past the pictures, it is hard to figure out what the movements were, not to mention what the movements meant.
While many cultures have very specific and often elaborate dancing costumes, the clothes worn by Egyptian dancers were hardly elaborate or involved enough to even call them an actual costume: in many scenes that have survived the ages, dancers (females, specifically) are found moving their arms and legs without being trapped by cloth of any sort, except for the occasional small fringed skirt or tunic, not always worn simultaneously. There were other times when dancing took place in the nude, with nothing but a single ribbon tied loosely about the waist.
It is believed that the dances originally started as a way of both mourning the dead and appeasing the goddess Sekhmet, who, as the myth goes, once nearly destroyed all of mankind when asked by the sun god Ra to punish those who had forgotten him.
Other tomb depictions show dancers following funeral processions, and in some cases, performing moves more closely associated with acrobatics and gymnastics than strictly dancing. During these processions, it was common for dancers to skip or leap into the air, which was a way of honoring and welcoming the goddess Hathor, who was believed to meet the dead at the entrance to the underworld. By properly honoring Hathor, it assured them that the newly deceased would reach his or her destination well at the hands of the goddess.
While we may not know the particular meaning of every step or movement made by a dancer during any given dance they performed, we understand that they were almost entirely religious in nature, and meant to honor, celebrate, mourn, or pacify. And in a culture so profoundly entwined in religion, most of the honoring and pacifying was in the name of one or many of their gods, who they believed helped them frequently during the passage of a day, not to mention the passage of time.
Thursday, July 15, 2010
dance and cultrue of itly
A huge explosion will be detonated Easter Sunday in front of the magnificent green– and white–marbled neogothic church in Florence's centro storico. Instead of running in fear from a terrorist's bomb, though, thousands of spectators will cheer the noise and smoke, for they will be witnesses to the annual Scoppio del Carro—explosion of the cart.
For over 300 years the Easter celebration in Florence has included this ritual, during which an elaborate wagon, a structure built in 1679 and standing two to three stories high, is dragged through Florence behind a fleet of white oxen decorated in garlands. The pageantry ends in front of the Basilica di S. Maria del Fiore, where Mass is held. During the midday service, a holy fire is stoked by ancient stone chips from the Holy Sepulcher, and the Archbishop lights a dove–shaped rocket which travels down a wire and collides with the cart in the square, setting off spectacular fireworks and explosions to the cheers of all. A big bang ensures a good harvest, and a parade in medieval costume follows.
Tradition and ritual play a strong role in Italian culture, especially during celebrations such as Easter, the Christian holiday based on the pagan festival called Eostur-Monath. No matter what date Easter falls on, there are many ceremonies and culinary customs that are religiously upheld. Some traditions are regional, for instance the art of palm weaving, in which decorative crosses and other designs are created from the palms received on Palm Sunday.
Easter Ceremonies in Italy
At Vatican City there are a series of solemn events that culminate in Easter Sunday Mass. During the spring holy days that center around the vernal equinox there are also many other rites practiced throughout the country that have their roots in historic pagan rituals. In addition, the Monday following Easter is an official Italian holiday called la Pasquetta, so if traveling be prepared for another day of repose.
* Tredozio: On Easter Monday the Palio dell'Uovo is a competition where eggs are the stars of the games.
* Merano: The Corse Rusticane are conducted, fascinating races with a special breed of horses famous for their blonde manes ridden by youths wearing the local costumes of their towns. Before the race, the participants parade through the streets of the town followed by a band and folk dance groups.
* Barano d'Ischia: On Easter Monday the 'Ndrezzata takes place—a dance which revives the fights against the Saracens.
* Carovigno: On the Saturday before Easter is a procession dedicated to the Madonna del Belvedere during which the 'Nzeghe contest takes place: banners must be hurled as far as possible.
* Enna: Religious rites dating back to the Spanish domination (fifteenth through seventeenth century) take place in this Sicilian town. On Good Friday, the different religious confraternities gather around the main church and over 2,000 friars wearing ancient costumes silently parade through the streets of the city. On Easter Sunday, the Paci ceremony takes place: the statue of the Virgin and that of Jesus Christ are first taken to the main square and then into the church where they stay for a week.
For over 300 years the Easter celebration in Florence has included this ritual, during which an elaborate wagon, a structure built in 1679 and standing two to three stories high, is dragged through Florence behind a fleet of white oxen decorated in garlands. The pageantry ends in front of the Basilica di S. Maria del Fiore, where Mass is held. During the midday service, a holy fire is stoked by ancient stone chips from the Holy Sepulcher, and the Archbishop lights a dove–shaped rocket which travels down a wire and collides with the cart in the square, setting off spectacular fireworks and explosions to the cheers of all. A big bang ensures a good harvest, and a parade in medieval costume follows.
Tradition and ritual play a strong role in Italian culture, especially during celebrations such as Easter, the Christian holiday based on the pagan festival called Eostur-Monath. No matter what date Easter falls on, there are many ceremonies and culinary customs that are religiously upheld. Some traditions are regional, for instance the art of palm weaving, in which decorative crosses and other designs are created from the palms received on Palm Sunday.
Easter Ceremonies in Italy
At Vatican City there are a series of solemn events that culminate in Easter Sunday Mass. During the spring holy days that center around the vernal equinox there are also many other rites practiced throughout the country that have their roots in historic pagan rituals. In addition, the Monday following Easter is an official Italian holiday called la Pasquetta, so if traveling be prepared for another day of repose.
* Tredozio: On Easter Monday the Palio dell'Uovo is a competition where eggs are the stars of the games.
* Merano: The Corse Rusticane are conducted, fascinating races with a special breed of horses famous for their blonde manes ridden by youths wearing the local costumes of their towns. Before the race, the participants parade through the streets of the town followed by a band and folk dance groups.
* Barano d'Ischia: On Easter Monday the 'Ndrezzata takes place—a dance which revives the fights against the Saracens.
* Carovigno: On the Saturday before Easter is a procession dedicated to the Madonna del Belvedere during which the 'Nzeghe contest takes place: banners must be hurled as far as possible.
* Enna: Religious rites dating back to the Spanish domination (fifteenth through seventeenth century) take place in this Sicilian town. On Good Friday, the different religious confraternities gather around the main church and over 2,000 friars wearing ancient costumes silently parade through the streets of the city. On Easter Sunday, the Paci ceremony takes place: the statue of the Virgin and that of Jesus Christ are first taken to the main square and then into the church where they stay for a week.
dance and culture of london
Photography, dance and culture from bali to london
Erza S.T., CONTRIBUTOR, JAKARTA | Sun, 01/10/2010 3:51 PM | Life
A | A | A |
For some of us, Bali is already too familiar and perhaps overrated. However, during a recent dinner at the residence of the British Ambassador in Jakarta, I discovered an aspect of Bali that I have not previously encountered.
During the dinner, the ambassador, H.E. Mr. Martin Hatfull, introduced us to Dr. Fiona Kerlogue, who is the exhibition curator for London's famous Horniman Museum.
The museum, which houses the collections of tea trader, liberal MP and philanthropist Frederick Horniman, is among London's most popular art establishments.
This site opened as a public museum in 1901. Since then, the museum has built a strong reputation based on its important collections and the way it offers visitors an inspiring window into the richness and diversity of cultural expression.
It is not surprising this museum has received numerous awards including Museum of The Year.
Dr. Kerlogue was in town to work on a project about Bali titled "Bali: Stories and Dance" - which is what Horniman Museum is working on for its upcoming exhibition.
Following is a conversation with Dr. Kerlogue about the project.
Question: I understand the Horniman Museum intends to showcase the richness and diversity of cultural expression in the world by choosing a certain area to explore and exhibit. What is the reason behind choosing Bali as the focus for this project?
Answer: Our exhibitions sometimes follow a theme and sometimes focus on a particular place. Bali was chosen for this exhibition because we have a historic collection of around 4,000 photographs taken by Walter Spies in Bali in the 1930s.
The photographs center on dance and drama. It is a very important collection and we want visitors to the exhibition to be able to see a selection of them. We will also include a collection of dance costumes and other items from Bali to place the photographs in context.
You said the project was based on the existing photography collection of the museum taken by Beryl de Zoete in Bali in the 1930s. How difficult is it for you to trace back all these places? How big is the change?
It is not easy to identify all the places where the photographs were taken since there have been many changes in Bali. Many temples have new gateways and some suffered damage during volcanic eruptions, so they may look quite different now. However, with help from colleagues in Bali, we have been able to identify many of the places in the photographs, and even some of the people. I have visited many of the villages mentioned in the book written by Walter Spies and Beryl de Zoete, and people in the villages often recognize the ceremonies and scenes in the photographs.
The exhibition is scheduled for May 2011. How is it going so far? Could you tell us about your journey in Bali until now?
I have made four short trips to Bali, and plan one more next year. I have traveled throughout the island, as we hope to represent each of the eight kabupaten *regencies*.
I have filmed excerpts of dance and drama in Bangli, Karangasem, Buleleng, Gianyar, Jembrana, Tabanan, Klungkung and Badung. Most of these have been at temple ceremonies. There are still one or two dances which Walter Spies photographed that I have not yet filmed or photographed. I also spend a lot of time learning about other aspects of Balinese culture.
It is quite impressive for me to see the way you dedicate so much effort, time and love to learn about our culture. Is there any help or assistance from our government for this project yet?
The Indonesian Embassy in London has been very helpful in putting me in touch with partners in Indonesia. His Excellency Pak Yuri Octavian Thamrin also hosted a fund-raising dinner at the embassy earlier this year.
We are hoping to obtain further support nearer to the time of the exhibition, especially in bringing performers from Indonesia to London during the exhibition.
What are the main obstacles so far in this project?
Everyone has been very helpful and there have really not been any major obstacles. But as with all such projects, we do need financial support to make the most of the exhibition.
An important aspect of this would be the publication of a book containing a selection of the best photographs to make them available to everyone, but this will be expensive.
We are also hoping to purchase a gamelan set to use during the exhibition to accompany dance performances and to be used in visitor workshops; we are currently looking for a suitable set to bring to the UK.
Your project, I believe, is a project that Indonesians should participate in as it is part of promoting our country. How can we participate to help you finalize this project and exhibit it to the world?
Many Indonesians have already helped by giving me information about the photographs and helping me with my research. In particular, Professor I Wayan Dibia from the Institute of Arts in Denpasar has been enormously helpful.
In a more general way, we are hoping to bring the photographic element of the exhibition to Indonesia in 2012, probably to Denpasar and Jakarta. I hope that Indonesians will come to see the photographs, which are an important aspect of Indonesia's cultural heritage.
We are committed to making this a major celebration of Balinese culture, putting Indonesia under the international spotlight in the run up to the Olympics. However, we need the support of corporate partners to make it truly successful. Anyone who would like to help us is welcome to contact me at the Museum.
If you interested in learning more about the project or even participating on becoming a partner in this project, you can contact:
Dr. Fiona Kerlogue:
fkerlogue@horniman.ac.uk
Horniman Museum:
www.horniman.ac.uk
Erza S.T., CONTRIBUTOR, JAKARTA | Sun, 01/10/2010 3:51 PM | Life
A | A | A |
For some of us, Bali is already too familiar and perhaps overrated. However, during a recent dinner at the residence of the British Ambassador in Jakarta, I discovered an aspect of Bali that I have not previously encountered.
During the dinner, the ambassador, H.E. Mr. Martin Hatfull, introduced us to Dr. Fiona Kerlogue, who is the exhibition curator for London's famous Horniman Museum.
The museum, which houses the collections of tea trader, liberal MP and philanthropist Frederick Horniman, is among London's most popular art establishments.
This site opened as a public museum in 1901. Since then, the museum has built a strong reputation based on its important collections and the way it offers visitors an inspiring window into the richness and diversity of cultural expression.
It is not surprising this museum has received numerous awards including Museum of The Year.
Dr. Kerlogue was in town to work on a project about Bali titled "Bali: Stories and Dance" - which is what Horniman Museum is working on for its upcoming exhibition.
Following is a conversation with Dr. Kerlogue about the project.
Question: I understand the Horniman Museum intends to showcase the richness and diversity of cultural expression in the world by choosing a certain area to explore and exhibit. What is the reason behind choosing Bali as the focus for this project?
Answer: Our exhibitions sometimes follow a theme and sometimes focus on a particular place. Bali was chosen for this exhibition because we have a historic collection of around 4,000 photographs taken by Walter Spies in Bali in the 1930s.
The photographs center on dance and drama. It is a very important collection and we want visitors to the exhibition to be able to see a selection of them. We will also include a collection of dance costumes and other items from Bali to place the photographs in context.
You said the project was based on the existing photography collection of the museum taken by Beryl de Zoete in Bali in the 1930s. How difficult is it for you to trace back all these places? How big is the change?
It is not easy to identify all the places where the photographs were taken since there have been many changes in Bali. Many temples have new gateways and some suffered damage during volcanic eruptions, so they may look quite different now. However, with help from colleagues in Bali, we have been able to identify many of the places in the photographs, and even some of the people. I have visited many of the villages mentioned in the book written by Walter Spies and Beryl de Zoete, and people in the villages often recognize the ceremonies and scenes in the photographs.
The exhibition is scheduled for May 2011. How is it going so far? Could you tell us about your journey in Bali until now?
I have made four short trips to Bali, and plan one more next year. I have traveled throughout the island, as we hope to represent each of the eight kabupaten *regencies*.
I have filmed excerpts of dance and drama in Bangli, Karangasem, Buleleng, Gianyar, Jembrana, Tabanan, Klungkung and Badung. Most of these have been at temple ceremonies. There are still one or two dances which Walter Spies photographed that I have not yet filmed or photographed. I also spend a lot of time learning about other aspects of Balinese culture.
It is quite impressive for me to see the way you dedicate so much effort, time and love to learn about our culture. Is there any help or assistance from our government for this project yet?
The Indonesian Embassy in London has been very helpful in putting me in touch with partners in Indonesia. His Excellency Pak Yuri Octavian Thamrin also hosted a fund-raising dinner at the embassy earlier this year.
We are hoping to obtain further support nearer to the time of the exhibition, especially in bringing performers from Indonesia to London during the exhibition.
What are the main obstacles so far in this project?
Everyone has been very helpful and there have really not been any major obstacles. But as with all such projects, we do need financial support to make the most of the exhibition.
An important aspect of this would be the publication of a book containing a selection of the best photographs to make them available to everyone, but this will be expensive.
We are also hoping to purchase a gamelan set to use during the exhibition to accompany dance performances and to be used in visitor workshops; we are currently looking for a suitable set to bring to the UK.
Your project, I believe, is a project that Indonesians should participate in as it is part of promoting our country. How can we participate to help you finalize this project and exhibit it to the world?
Many Indonesians have already helped by giving me information about the photographs and helping me with my research. In particular, Professor I Wayan Dibia from the Institute of Arts in Denpasar has been enormously helpful.
In a more general way, we are hoping to bring the photographic element of the exhibition to Indonesia in 2012, probably to Denpasar and Jakarta. I hope that Indonesians will come to see the photographs, which are an important aspect of Indonesia's cultural heritage.
We are committed to making this a major celebration of Balinese culture, putting Indonesia under the international spotlight in the run up to the Olympics. However, we need the support of corporate partners to make it truly successful. Anyone who would like to help us is welcome to contact me at the Museum.
If you interested in learning more about the project or even participating on becoming a partner in this project, you can contact:
Dr. Fiona Kerlogue:
fkerlogue@horniman.ac.uk
Horniman Museum:
www.horniman.ac.uk
dance and culture of america
dance.
Cloth Dancing
The Ladies Cloth dancing is very similar to Buckskin, except the dresses are made of cloth. Photo.
Explanation of Dances
This page about Dances at Spirit Bear's Tipi is a more complete list than I have seen elsewhere. The explanations are quite good, and are accompanied by a photo illustration.
Fancy Dancing - Men's
"The Oklahoma Feather Dancer or 'fancy dancer' is the most popular style of dance and outfit seen at modern powwows throughout the Plains."
Fancy Dancing - Women's
Fancy Shawl is often called Northern Shawl, as this newest form comes from the Northern Tribes. This women's dance is quite athletic; you need to be in good shape!
Gourd Dance
This is a separate dance from regular Pow Wow dances, done before the Grand Entry of a Pow Wow. There is a good description on this page.
Grass Dancing
A thorough article, with photos, on this popular style of men's dance that is performed all around the country.
Green Corn Dance
A special spiritual event held by Seminole Tribe of Florida each spring. Few non-Indians have witnessed this dance.
Jingle Dancing
This page gives the story of the origin of the healing jingle dress, also known as a prayer dress.
Native American Dances
This page features excellent photos of some dance groups featured at the Cortez Cultural Center, Cortez, Colorado, near the Ute Mountain Ute Tribe.
PowWow Dances
This site has such a good set of articles, though brief, on PowWow Dances, it just had to be included here.
Straight Dancing
This men's dance, which features a "formal, tailored, prestigious form of Southern dance clothes," is originally from Oklahoma.
Traditional Dancing
This form of men's dancing, that has "evolved over the years from old-time Sioux Outfit," is the oldest form of Native American dancing.
Cloth Dancing
The Ladies Cloth dancing is very similar to Buckskin, except the dresses are made of cloth. Photo.
Explanation of Dances
This page about Dances at Spirit Bear's Tipi is a more complete list than I have seen elsewhere. The explanations are quite good, and are accompanied by a photo illustration.
Fancy Dancing - Men's
"The Oklahoma Feather Dancer or 'fancy dancer' is the most popular style of dance and outfit seen at modern powwows throughout the Plains."
Fancy Dancing - Women's
Fancy Shawl is often called Northern Shawl, as this newest form comes from the Northern Tribes. This women's dance is quite athletic; you need to be in good shape!
Gourd Dance
This is a separate dance from regular Pow Wow dances, done before the Grand Entry of a Pow Wow. There is a good description on this page.
Grass Dancing
A thorough article, with photos, on this popular style of men's dance that is performed all around the country.
Green Corn Dance
A special spiritual event held by Seminole Tribe of Florida each spring. Few non-Indians have witnessed this dance.
Jingle Dancing
This page gives the story of the origin of the healing jingle dress, also known as a prayer dress.
Native American Dances
This page features excellent photos of some dance groups featured at the Cortez Cultural Center, Cortez, Colorado, near the Ute Mountain Ute Tribe.
PowWow Dances
This site has such a good set of articles, though brief, on PowWow Dances, it just had to be included here.
Straight Dancing
This men's dance, which features a "formal, tailored, prestigious form of Southern dance clothes," is originally from Oklahoma.
Traditional Dancing
This form of men's dancing, that has "evolved over the years from old-time Sioux Outfit," is the oldest form of Native American dancing.
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