Foreign Folk Dance
Folkdance
Tells us much about a country and its people. Relates the traditions, ideas, superstitions, and events of daily living of countries all over the world. Body movement is used to express idea or a theme. Some portrays feelings, moods, and religious rites; other depicts occupations, social activities, and imitation of nature. Wonderful display of national or ethnic cultures.
Folkdance
Tells us much about a country and its people. Relates the traditions, ideas, superstitions, and events of daily living of countries all over the world. Body movement is used to express idea or a theme. Some portrays feelings, moods, and religious rites; other depicts occupations, social activities, and imitation of nature. Wonderful display of national or ethnic cultures.
Latin American Dances
Mexico
La Cucaracha Carefree abandon that show the lively Latin temperament of the people
American Dances
America
Play party dances and square dances show openness to new personal relationships that typified the early pioneers.
European Dances
England
Scotland
HIGHLAND FLING
Ireland
IRISH LILT
Were first performed as ritual dance for fertility and as prelude to war. Their steps still portray a certain preciseness and at the same time gaiety.
Italy T A R A N T E L L A
Denmark
DANISH DANCE OF GREETING
Eurasian Dances
Russia Oyda
ARKADSKY Foot stamping and leaping dances that show their zest for life and also indicate that they have a cool climate
ASIAN DANCES
Indonesia, Thailand, Malaysia
Masked dances tell about the religious beliefs of the people
Philippines TINIKLING
APIR
China CHINESE FAN DANCE
Japan
mincing steps show the position of women in the society.
Dance in Japan
1. 2.
The ethnic dance art of Japan is somewhat formalized in its style, presentation, and organization. CATEGORIES Theatrical, classic dance known as Bugaku Kabuki Dance Theater, or such peasant dances as the Bon dances linked to countryside festivals and celebrations.
Dance in Japan has an ancient and welldocumented history. Gagaku is the term used to describe noble or elegant music stemming from a period of 19 th to 10th century A.D, which drew elements from many Asian nations and cultures and was established as a traditional form of entertainment in the Imperial Japanese Household. Gagaku incorporated music and dance of both sacred or secular origin as part of Buddhist services, at Shinto Shrines, and as entertainment at the Imperial Court. A dance performance in Gagaku is known as Bugaku.
Bugaku Dance is relatively simple and sysmmetrical linking in rapid or complex movement and with drastic elements subordinatedto pure dance form. In contrast, the Kabuki Dance Theater is relatively new form of dance art, having originated during the 19th century. The dance was clearly influenced by older and more traditional elements of Japanese Theater. The content, dramatic themes, costuming, and other conventions of dance, descended from ancient Kabuki, blends music, acting, and dance in brightly stylized performance.
Men enact all the roles. Many of the pores and movements are influenced by an early puppet theater and the types and styles of Kabuki which is being performed: Kyogin Zyoruri, a puppet drama with much dramatic content; Noh Drama, performed only in special times of the year. These are also called Transfiguration Dances. The last is the comical Zyoruri Dance.
a.
b.
c.
Japanese dances are also characterized by the style and range of movement. Odori- is a stage dance performed by swift movements of the feet and lower part of the body. Mai Dance- involve movement of the upper half of the body, including the head, arms, and shoulders. Shosa Dance- is a gene mimetic and realistic imitative movement. This is devoted to cultural tradition.
Japanese Parasol Dance
This is a very colorful, easy dance for girls. It is customary with Japanese girls to use umbrella for rain and sunshine. It is said that the history of Japanese dancing goes back to the mythical age. A famous Japanese myth tells us that Amenouzume no Mikoto danced in front of the Amano Iwato to open the cave entrance that Amaterasu Ohmikami had concealed herself in. The 'kagura' dancing in its religious and mystical influence is said to have came into existence from this story.
'Bugaku' and 'Gagaku' were brought over from China while 'Dengaku' and 'Sarugaku' sprang up as the entertainment of Japanese farmers. From these, the uniquely Japanese 'Nohgaku' came into being. 'Nogaku' came to have an influence on Kabuki. It is thought that the current form of Japanese dancing is the direct descendant of Iizumo Okuni's Nenbutsu Odori'. The dance of Okuni is different from ' Nohgaku', but it was a dance that has its origin in ethnic dancing. Izumo Okuni is also credited as being the founder of Kabuki. It can be said that Kabuki and Japanese dancing used to be synonymous. Later, however, the Okuni Kabuki was played by prostitutes
and was passed down from generation to generation. During the Edo period, it was prohibited because it was thought to be might be immoral. Irregardless of this suppression, kabuki passed down form generation to generation while changing style. Kabuki used to be simple dancing (odori), but the element of performance was introduced into it. The ryukyu (Okinawa snake-skin shamisen) was brought to mainland and changed into a shamisen. From then the accompaniment of music progressed. Gradually the element of story-telling performance became the focus of the performance. Many performances based on authentic news accounts were written.
Even though it has changed to the dramatic performance of today, the posturing of Japanese dancing, the vocalization of traditional Japanese music and the stage presentation has been preserved carefully. Furthermore the training and endowment of Japanese dancing has been essential basis of Kabuki theater. In Kabuki programs there are many pantomime dances called 'shosagoto'. It was the evidence of shosagoto in Kabuki that illustrated the use of Japanese dancing by choreographers and directors of Kabuki.
In kabuki performance, only men can appear on the stage, women are allowed in the exception of a special case. Since Japanese dancing branched off from Kabuki, many women became concerned with the inheritance of Japanese dancing. And until today, many schools were organized and concentrated their efforts on inheritance and evolution of Japanese dancing by making the best use of their unique, distinctive features.
Parasol
A small lightweight umbrella with a captivating design used for traditional dances. It is not suitable for use in the rain, but it is perfect as a parasol. When not in use, this beautiful item can be used as a classic decorative piece in the home. Can conveniently be broken down and folded into a smaller portable size. This dance umbrella is covered with delicate paper printed with exquisite patterns. Beautiful thread work can be seen around the bamboo ribs inside.
Kimono
Front / Back View
Wooden Slippers
Music is composed of three parts: A, B, and C. The music used here is “Mikado”. Count one, two to a measure or one, two, to three, four to to two measure. Formation. In group facing the audience. The open parasol is held with two hands over the head, 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.
Bon Utah
the traditional Japanese 'BON ODORI' (Bon Dance) performance as seen in every major city throughout Japan every August during the Buddhist Obon holiday season. This Obon holiday has holiday has evolved into a traditional family reunion during which people return to their hometowns and visit and clean their ancestors' graves. This holiday has existed in Japan for over 500 years and includes this remarkable 'BON ODORI' dance style. This form of group-oriented dance is performed in various styles and patterns depending on the region, but it is mainly celebrated as a reminder of the gratefulness one should feel toward one's ancestors. The 'BON ODORI' is believed to have started in the later years of the Muromachi period (1336-15 (1336-1573) 73) simply simply as public entertainment. This kind of traditional group-oriented dance style is truly remarkable, very upbeat and an absolutely magnificent performance to see, especially when witnessed live.
Formations used in Folk Dances and other Rhythmic Activities Key to diagrams X = Boy 0 = Girl = where facing or going Column Formation Column Formation (Partners facing front) (Partners facing each other)
X X X X
1 2 3 4
0 0 0 0
X X x x
1 2 3 4
0 0 0 0
Column Formation (Partners facing each other) X 0 Line Formation (Partners facing each other) 0 0 0 0 0 x X
0
0
x
X
X
X
X
Single Line Formation (Partners side by side facing front) Square Formation X 0 X 0 (Partners facing center occupying sides of square) Semicircle Formation 1 (Partners facing front) 2 0X X 0 4 X X 0 X 0 0 X X 0 3
Square Formation (Partners facing center occupying corners of square) Set of Two Pairs X 0 0 1 X 4 Partners facing each other
X 0 2
0 X
3
X
1
0
0
2
X
Home Corners facing Diagonally
In Single File Rectangular Pattern 0X0X 0 X 0 X
Single Circle Partners facing in
Single Circle Partners facing clockwise
Single Circle facing each other
Double Circle Partners facing counterclockwise
Double Circle Partners facing each other
Boys X
Double Circle Partners facing in opposite direction
0 Girls Boys X
Girls 0
Double Circle Two Pairs facing each other
Double Circle Partners facing in
Boys X 0 Girls
Double Circle Partners back to back Position
Boys X
0 Girls
Dance Positions Partners stand side by side- inside hands joined, free hands on waist or down at sides or girl’s free hand holding skirt and that of boy is placed on hip or waist. Partners stand side by side- inside hands holding each other’s waist, free hands overhead, down at sides or on hips or waist. Partners stand side by side- hooking or linking inside elbows facing same direction or opposite direction. Partners stand in back-to-back position.
Partners face each other- shoulder-toshoulder hold , waist-to-waist hold, waist and shoulder hold, both hands joined and stretched sideward at shoulder level or crossed-arm position. Partners stand apart from each otherfacing each other, facing front, facing rear, or facing opposite direction.
Close Ballroom Position Open Ballroom Position Varsovienne Position Promenade or Skating Position
Dance Terms
Allemande Left. In quadrille or circle formation, all couples execute, it at the same time in the same manner. The boy turns to the girl at his left and takes her L hand in his L hand and turns her once around counterclockwise, then both falling back to places. Allemande Right. The boy faces his own partner, takes her R hand in his R hand and turns her once around clockwise, then both falling back to places. Cast Off . When the dancers are in long formation, the leaders or head couple countermarch outward to the end of the line where the last couple was, countermarch inward to proper places. All the dancers in the line follow their respective leaders. Circle left and Right. The designated couples or dancers join hands and walk to left (for circle Left) with light, springy steps clockwise for eight or sixteen steps and then to the right counterclockwise (for circle right); bringing them back to their home positions.
Clockwise. Like the direction of the hands of the clock as they move. Cross-over. When opposite couples cross-over, each pair proceeds in a straight line to the opposite place. The girls pass between the boys and by each other by L shoulders. Upon reaching the opposite place, partners turn about, girls standing at partners’ right side. Curtsy. To bend knees and body slightly with a bow of the head. The weight of the body is on one foot, the other foot pointing in rear across the other. Dip. Fwd Dip. When partners are in open ballroom dancing position a fwd dip is done by bending slightly the knee of the foot in front, weight of the body on it. The leg in rear is raised. Bwd Dip. When partners are in open ballroom dancing position a backward dip is done by bending slightly the knee of the rear foot , weight of the body on it. The leg in front is raised.
Dosido. Partners are facing each other. Advance fwd passing each other by R (L) shoulders, step cross the R (L) and walk bwd without turning around passing each other by the L (R) shoulders to proper places. Draw. When one foot is pulled along the floor in the direction of the foot which has the weight of the body. The weight may or may not be transferred, according to the step used. Elbow Swing. Two dancers link R elbows and swing clockwise either with springy walking steps or buzz steps. Folded Arms. Raise the arms in front at shoulder level, with one forearm on top of the other. Forward and backward. All or any designated dancers take four steps fwd and four step bwd. Hands may be joined or down at the side. Free foot. The foot not bearing the weight of the body Free hand. The hand not placed anywhere or not doing or holding anything.
Hop. A spring on one foot, landing on the same foot in place or in any direction. The free foot is raised in front or in rear. Inside Foot. The foot nearest one’s partner, when partners stand side by side. Jump. A spring on one foot or both feet in any direction. Inside hand. The hand nearest one’s partner, when partner’s stand side by side. Leap. A spring from one foot and land on the other foot. Ladies Chain. Girls exchange places offering R hands as they pass. Girls join L hand with L of opposite boy who places his R hand around her waist and turning her half way around. Girls return to the original places giving R hands to each other as they pass and give L hands to partners who turn them around, as the opposite boys, to their original places.
Link Elbows. Hook L (R) elbow with partner or any dancer Open Position (Ballroom Dancing). Partners hold in ballroom dancing, facing one direction, toward the extended arms. Outside Foot. The foot away from one’s partner, when partners stand side by side. Outside Hand. The hand away from one’s partner, when partners stand side by side. Partner’s side. The partners change with four light running steps passing by the L shoulders. Turn left about to face partner and return to original position passing by the R shoulders. Point (Touch). Touch the floor lightly with the toes of one foot, weight of the body on the other foot.
Promenade. Partners are side by side, l shoulders toward the center, holding in skating position (R hands joined over the joined L hands) at waist level or in varsovienne position (boy’s R arm around back of girl, holding her R hand close and at level of her R shoulder, and his L hand holds her L hand in front or at the side) they walk around in a counterclockwise direction until they reach their home position. Set. A dance or unit formation. In square dance formation a set is composed of four pairs standing on the sides of a hollow square facing the center. The boys stand at the L side of their respective partners. The distance across the couples is from eight to ten feet. The couples (partners or pairs) are numbered in a counterclockwise direction with couple 1 with back toward the “caller” or music. Couple 2 on the right of couple 1 and couple 3 is the opposite couple facing couple 1, couple 4 is opposite of couple 2.
Partners. Dancers standing side by side with girl at the right of boy. Head Couples. Couples 1 and 3. Side Couples. Couples 2 and 4. Opposites. Partners facing each other- as couples 1 and 3, couples 2 and 4 are opposites. Corners. The girl at the left side of boy at the right side of girl are corners. Home Position. The couple’s original position in the set. Home Couple (or Stationary Couple). When two couples are performing a movement the home couple is the one at whose place the movement is taking place. Visiting Couple/(s). Are the pairs moving around the set, performing the movements with the home couple/(s).
Spin (Whirl). To make fast turns executing small steps in place. Stomp. To bring down the foot forcibly and noisily on the floor (like doing a heavy step) with or without transfer of weight. Star Right and Left. This is also known as Mill or Wheel. Four dancers put their R hands in the center and walk around clockwise (Star Right) and at the caller’s command they turn about, put the L hands together and walk counterclockwise (Star Left). They hold their R hands together one on top of another or they may each grip the wrist of the dancer in front of them. Supporting Foot. The foot which supports the weight of the body.
Swing Partner. Partners in social dance position, R shoulders near each other. In this position swing each other around clockwise by taking quick steps on the L foot and accenting the step on the R foot. The L foot remains behind the R foot. This step is known as the buzz step. Springy, light steps may also be used. Turn Single. This is an English term for a step which is done by making one complete turn to the right (clockwise) with four light running steps, starting with the R foot.
Dance Steps STEPS
Accented Running Steps Bleking
MUSIC
STEP PATTERNS & COUNTINGS
¾ (fast) Stamp, Step, Step 3/8 1 2 3 2/4
3/4
Spring L (R) & Heel Place R (L) – 1 ct. Heel-Place (R), Close (step) (R) 1 2 Heel-Place, Close (step) 1, 2 3
Break Legs
2/4
Jump both feet, Half-kneel 1 2
Chasse (Slides)
2/4
Slide, Cut or Close (step) 1 and
STEPS
MUSIC
Dutch Step
3/4
Step, Heel-Brush, Hop 1 2 3
Gallop
2/4 6/8
Step, Cut 1 ah
Grapevine
2/4 4/4 3/4
Step, Cross-step, Step, Cross-step 1 2 1 2 Cross-step, Step, Cross-step, Step 1 2 3 4 1, 2 2 3 1 2 3
Parallel Tortillier
Opposite Tortillier
STEP PATTERNS & COUNTINGS
STEPS
MUSIC
Hopsa
2/4
Leap, Cross-step, Step, Pause 1, and 2, and
Hungarian Turn
2/4
Hop, Step, Step, (Turning in place) 1 and 2 (2M)
Jumping Jack
2/4
Deep-Knee bend, Jump (feet apart) 1 2
Mazurka
3/4
Slide, Cut, Hop 1 2 3
Mincing
2/4
Step, Step, Step, Step (tiny steps) 1 and 1 and
Minuet
3/4
Step, Step, Step, Point 1 2 3 1,2,3
Pas de Basque
3/4
STEP PATTERNS & COUNTINGS
Circle & Leap, Slide, Cut 1 2 3
(2M)
STEPS
MUSIC
STEP PATTERNS & COUNTINGS
Pivot Turn
3/4
Step, Step on ball & Turn, Step, 1 and 2 Step on ball & Turn and
Cross Polka
2/4
Circle & Hop, Cross-step, Close, Step and 1 and 2
Old Hop Polka
2/4
Hop, Step, Close, Step and 1 and 2
Heel and Toe Polka
2/4
Heel-Place, Toe-point, Step, Close, 1 2 1 and Step, Pause 2 and
Russian Polka
2/4
Heel-brush, Heel-step, Close, Step and 1 and 2
Prysiadka
2/4
Full-knee bend and Stretch (1ct.)
STEPS
MUSIC
STEP PATTERNS & COUNTINGS
Rocking Step
2/4
Fall on Raise R (L), Fall on Raise L (R) 1 2
Rubber Legs
2/4
Cross L (R) over R (L) and twist R (L), 1 Same Position and twist 2
Schottische
4/4
Step, Close, Step, Hop 1 2 3 4
Shuffling
2/4
Slide, Slide, Slide, Slide 1 and 2 and (tiny slides on ball)
Skip
2/4 6/8
Step, Hop 1 ah
Slide Step
2/4
Slide, Close 1 2 (1,2
3) (1,
2,3)
STEPS
MUSIC
Step-Hop
2/4 3/4
Step, Hop 1 2
(1,2
3)
2/4 3/4
Step, Point 1 2
(1,2
3)
2/4 3/4
Step, Swing 1 2 (1,2
Step-Swing-Hop
3/4
Step, Swing, Hop 1 2 3
Step-Brush-SwingHop
3/4
Step, Brush-Swing, Hop 1 2 3
Touch Step
2/4
Spring R (L) and Touch L (R) Touch, Close (step) 1 2
Ballroom Waltz
3/4
Step, Slide, Close 1 2 3
Step-Point Step-Swing
STEP PATTERNS & COUNTINGS
3) (1,
2,3)
(1ct.)
STEPS
MUSIC
Box Square Waltz
3/4
STEP PATTERNS & COUNTINGS
Step, Step, Close 1 2 3
(2M)
Cross Waltz
3/4
Cross-step, Close, Step 1 2 3
Folk Waltz or Waltz
3/4
Step, Close, Step 1 2 3
Waltz Balance
3/4
Step, Close & Raise Heels, Heels Down 1 2 3
Waltz Turn
3/4
Step, Close, Step 1 2 3 (Turning in place or moving)
Varsovienne
3/4
Slide, Close, Step, Point 1 2 3 1,2,3
(2M)