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PATHFIT 4 – ASIAN DANCE

Instructor: Mrs. Marcelyn C. Paras

IMPORTANCE OF DANCE

Dance is a health-promoting physical activity which many people worldwide incorporate

into their lifestyles today. This physical activity appeals to some who may not typically
be active and therefore may be another alternative of exercise. Dance for health has
become an important factor in the prevention, treatment and management in several
health circumstances. It can benefit both physical and mental health and
subsidizes social communication. Dance is an art which is learned in and shared
between many cultures. Types of dance can entail body movements, expression and
collaboration. The correlation between dance and health has been subject of a number
of research studies that show dance to be a largely healthy exercise. Dance plays an
important part in the PE curriculum because it will allow students to experience cultures
from the different and around the world, able to work in groups with others to achieve
different types of challenges, such as creating dance variations and to learn about body
movement while being motivated by the power of music.

Dance is masterful movement in a rhythmically coordinated, and expressive way. It is

a vital part of a child’s movement education. When students apply the aspects of the
movement framework to create dance sequences they are learning how to dance.

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Creating dances means exploring the movement framework, selecting movement
elements and refining dance sequences. Here, learning is on a higher level than simply
repeating a dance that was created by another. It is important to note that “traditional”
dances such as square, folk, and social/ballroom do have an important place in physical
education. These dances can be broken down, by the teacher or the student, into body,
space, effort and relationship aspects. Students can use these pieces of dances to
create their own unique dance.

Students participate in three types of learning experiences during dance: creating,

performing and responding. While creating, students use the cognitive processes of
application, analysis, synthesis and evaluation to create dances. During performance,
students recall and reproduce movements from existing dances. When responding,
learners observe, interpret, analyze, and evaluate as they describe movement, qualities
of movements, compositional structures and their feelings and understanding of a
dance. Finally, students can also assume the responsibilities of a performer, creator or
observer during a dance lesson.

Importance of Dance in Education

Dance to communicate
Dance is more than just a way of exercising and
entertainment; it is a way of communicating. As
new-born, before we can even talk, we are able
to dance. Yes, it might just be an unsteady bum
wiggle, but the instinct is there nonetheless! Put
a piece of music on and toddlers will naturally
groove. So, if a child can learn movement

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patterns as easily as they can learn a language, why don’t we encourage this more?

Dance to develop skills

Through dance, children can gain a multitude
of important developments; sensory and spatial
awareness, coordination, concentration and
mobility. But more than this, we use it to
express emotions, increase confidence or even
just to make ourselves feel better! Schools can
put a large focus on academic subjects, don't
forget about the physical! We love it when we
can bring dance in to other core curriculum
subjects, to cater for all ways of learning.

Dance to create
Dance can be a challenging both physically and
academically. Dance engages the artistic processes of
creating, performing and critical analysis. This requires a
vast number of skills such as the ability to read symbols,
implement critical thinking, nonverbal reasoning and
expression, create and exchange ideas, work in
collaboration with others, and understand different culture
and societies. We encourage this analysis and critical
thinking in all of our lessons, asking children questions like -
“can you explain how you are moving?” “Why did you like
your classmates dance?” “What would you do to make it
even better?”

Dance to relieve stress

Basic dance skills can affect improvement and
progress in all areas of daily life too, so
whether it be for a dance career to for your
general wellbeing, dance is important. At times
of increased stress, i.e., school exams, we
believe it is vital for children to continue, if not
increase, their dance classes and amount of
time moving. This gives children a chance to
process their work, as well as take a well-
deserved break.

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Dance to focus
Now, I can understand if you think that
we may be somewhat biased (and we
are) but luckily, the research backs us
up! Arts research has shown that
students who study dance are more
self-motivated, disciplined and
focused. They are more expressive in
their communication of emotions,
thoughts and feelings. They are able
to critically analyze their own work and the work of others, as well as being more
creative and imaginative.

Dance for the future

At a time when children spend their time
more and more in front of a computer or
television, the escape Dance offers has
never been more important. Hopefully, one
day Dance will be viewed as part of the
bedrock of a broad and balanced education,
with all children exposed to the richness that
an art-based education offers. Encouraging
creative ambition prepares for a culture
relevant future. Instilling this in children now
forges the path for our future generations. It is a school’s job to demonstrate what the
arts can offer in terms of development, challenge and a full education, which allows for
more versatile career paths.

Dance and the Movement Framework

Rudolf Laban created a structure for organizing human movement in order to guide
teaching and learning in dance. This framework includes four aspects: body, space,
effort and relationships.

Body Aspect

Beginners should spend much time using

whole body actions such as curling, twisting
and stretching, walking, running, galloping,

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skipping, and jumping. We can encourage more expression by using such action
words as shiver, melt, collapse and slither. Non-locomotor movements such as
gesturing, rising, sinking, opening, closing and stillness can be used by dancers to
communicate their ideas and feelings. A gesture (a movement of a body part that does
not support body weight) for example, is an important part of a dancer’s
message. Stillness can signal the beginning or end of a performance. Dancers should
be mindful of which body parts lead a movement, support weight, or move in
isolation. Further, the flow of movement from one body part to another contributes to a
dancer’s performance. Students can also use body shapes to tell their story. A twisted
shape, for example, could communicate inner turmoil.

Effort Aspect

Early in Laban’s study of dance he suggested

that dance students focus on effort after the
body aspect. Here, students can explore time,
weight, space and flow. In other words, they
should have experiences moving: suddenly
and sustained; strongly and lightly; directly and
flexibly; and freely and bound. A lesson on
bound flow might include words and images
such as trudge, plod, stiffen, grind or like a
robot. The purpose of using such words and
images is always to focus students on an inner attitude toward movement. Here, the
attitude is toward bound flow.

Space Aspect

Dancers should move in general and personal

space through different pathways, directions,
levels, planes, areas and extensions. Varying
the ways, we move through space adds
interest and meaning to dances.

Relationships Aspect

Most dancers must maintain important

relationships as they move. These
relationships include maintaining a proper
position in relation to a partner or a
group. Dancers must also be able to lead,

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follow, mirror, match, copy and move in unison and canon. Moving toward and away
from another or a group is a common element in dance choreography. Dancers must
always move in relation to a rhythm or a sound (beat competence). Here, students can
move a body part or the whole body in relationship or agreement with a beat. These
experiences should begin with a slow and regular beat like that of a drum. The tempo
and drum beat pattern should increase in difficulty with student proficiency. Students
could also choose movements to interpret stories, poems, aspects of science and visual
art work. Last, dancers should place body parts carefully in order to create body
shapes and tell a story through movement.

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 NATURE OF DANCE

DANCE

• Dance, patterned and rhythmic bodily movements, usually performed to music,

that serve as a form of communication or expression.

• Dance is an art form characterized by use of the human body as a vehicle of

expression.

• Dance has been described as “an exciting and vibrant art which can be used in
the educational setting to assist the growth of the students and to unify the
physical, mental, and emotional aspects of the human being.” (Dance Directions,
1988). Dance is immediately accessible for most people—no special equipment
is needed, just the ability to move.

• Dance is a performing art form consisting of purposefully selected sequences of

human movement. This movement has aesthetic and symbolic value, and is
acknowledged as dance by performers and observers within a particular culture.

Dance is a powerful impulse, but the art of dance is that impulse channeled by
skillful performers into something that becomes intensely expressive and that
may delight spectators who feel no wish to dance themselves. These two
concepts of the art of dance—dance as a powerful impulse and dance as a
skillfully choreographed art practiced largely by a professional few—are the two
most important connecting ideas running through any consideration of the
subject. In dance, the connection between the two concepts is stronger than in
some other arts, and neither can exist without the other.

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DANCING

• is actually doing it (actual performance). This is a means of

expressing one’s emotions through movement disciplined by
rhythm.

• It is an act of moving rhythmically and expressively to an

accompaniment. The word dancing came from an old German
word “danson” which means “to stretch”. Dancing is a verb; dance
is a noun.

SIGNIFICANCE OF DANCE EDUCATION

Dancing is a part of dynamic cultural expression of all societies, and every individual
has potential ability to dance. The inclusion of dancing in the physical education
programs of school simply to expose everyone, especially the youth to the many
benefits of learning dance and to engage students in artistic experiences through the
processes of creation, performance and response.

1. Dancing promotes personality development since people involved in dance

improve their:

a. Grace and rhythm

b. Posture and biomechanics
c. Discipline
d. Dedication, motivation and
determination
e. Self-esteem and confidence
f. Self-actualization
g. Values of cooperation, resourcefulness, obedience and respect

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2. Dancing improves emotional,
mental, social and physical well-
being.

3. Dancing provides a happy,

fulfilled and satisfying life.

3. Dancing improves reflexes

and awareness of one’s own
body and the immediate
environment; and

4. Dancing educates oneself and the

audience during the performance of a
dance.

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Dance education programs include opportunities for the development of:

a. Critical thinking and analytical skills;

b. Cooperation and teamwork;
c. Self-expression and teamwork;
d. Organization and problem solving;
e. Cultural literacy; and
f. Communicating emotions through
movement.

Dance is more than the exploring of different ways to make a shape or learning a series
of steps to music, it is a way of moving that uses the body as an instrument of
expression and communication. Through dance, students learn teamwork, focus, and
improvisational skills.

IMPORTANCE OF POSTURE IN DANCE

Strong Posture in Dance

”Poor” posture contributes to lack of balance
therefore, more accidents and falls which can result
in strained or torn muscles, ligaments or tendons or
worse, broken bones. Poor posture also affects
one’s self-esteem, and a decrease in overall
health. Remember our parents saying, “sit up
straight”, “stop slouching” or “hold your shoulders
back”? Well… they were right.

What is “strong posture”? Strong posture is the correct alignment of the body so that
the bones and muscles can hold you upright, against gravity, with the least amount of
energy. All too often we are over taxing our bodies with a poor posture which results in
tight, achy or sore muscles at the end of the day or even after completing simple
activities. Worst of all poor posture can result in injuries that could have been
avoided. Not to worry, because we can improve our posture.

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Importance of Posture in Dance, and Life
Strong posture starts with self-awareness of your body. Start
by looking at yourself in a full-length mirror. From the feet up,
your feet should be shoulder width apart, knees slightly bent,
pelvis over your legs. Torso, which includes the shoulders,
should be over your pelvis. Head level and over your torso,
with eyes forward. Think of a string attached to the top of
your head and it is being pulled up to the ceiling. Feel your
spine elongate. Stand tall and strong.

Now, we are going to start with the basics and build from there. We will not make major
changes but rather fine tuning what you already have. Even small finetuning
adjustments can affect major postural improvements resulting in better balance and
posture.

To be great dancer, we must have balance and proper functional motion in addition to
strength and flexibility to perform the powerful yet, graceful movements, demanded of
us in dance. We will look at three basic but important aspects that dancers need to
focus on to develop strong posture: 1) proper breathing, 2) balance, and 3) core
stability.

1. Breathing Exercise: Breathing seems simple enough. We do it all the time. But
are we breathing correctly? Try this. Place one hand on your abdomen and one
hand on your chest and breathe normally. Which hand is moving and which
hand is still? Proper breathing comes from the diaphragm moving downward and
the ribcage expanding as we breathe in, which forces the abdomen to protrude
outward. As we exhale, the diaphragm moves upward, the ribcage returns and
the abdomen will move back towards your spine. If the hand on your chest is
moving with each breath, then you are considered a “chest breather” and will
need to focus on a relaxed breathing through the diaphragm and allowing the
abdomen to move freely while the chest remains stationary. Now, you try
practicing 5 slow correct breaths.

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2. Balance and the one leg stance (Stork) Exercise: Practice standing on one
leg every day as a balance exercise. Standing on one leg forces you to focus on
your equilibrium and actively teaches you to improve your balance. This is called
proprioception and is defined in layman’s terms as: how your brain knows where
your body is in space. As you stand on one foot there are thousands of small
adjustments that your foot and body as a whole is making every millisecond to
ensure you remain upright. Think of your brain as the computer of your body,
constantly sending and receiving sensory information to and from every part of
your body. Over time, we can strengthen and train our brain and body to
communicate better which improves our posture and therefore our balance,
strength and grace.

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 3. Core stability: “Strong and stable core muscles contribute to a strong posture
and results in a body that is centered, tall, straight, easily balanced and graceful
with motion,” as stated by Steven P. Weiniger, DC. The core muscles of your
body are more than a corset that wraps around your mid-section, they also
include a top and bottom component as well, which makes it more of a closed
cylinder than a corset.

The components of your core are as follows: the front is the transverse abdominus, the
back is the multifidus, the top is the diaphragm and the bottom is the pelvic floor. All
four groups of muscles must be strong and work together to facilitate strong posture,
resulting in the balance and grace you desire.

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Dancers should strive for a strong posture.
To be a great dancer we must have balance and proper functional motion in addition to
strength and flexibility to perform the graceful movements. With strong posture you can
obtain optimal performance, reduce your risk for injury and maximize function.
Remember practice makes perfect. It takes time to develop a strong posture…but, the
benefits of strong posture will last a lifetime.

HEALTH BENEFITS OF DANCING

PHYSICAL MENTAL SOCIAL EMOTIONAL
improves condition improves mental encourages
of your heart and functioning socialization increases self-
lungs esteem and
enhances your fosters teamwork improves body
cognitive image
increases muscular builds respect and
performance
strength, endurance acceptance aids in releasing
and motor fitness helps keep the brain emotional stress
sharp builds friendship
improves muscle improves mood,
tone and strength engages creativity, improves sensitivity, lowers stress and
motivation, memory understanding, anxiety
appreciation, and
weight management and energy consideration for
stronger bones and increases physical
decreases risk of others
reduced risk of confidence
dementia and
osteoporosis Alzheimer’ disease

better coordination,
agility and flexibility

improves balance
and spatial
awareness

14
 GUIDELINES FOR HEALTHY EATING
Eating healthy entails adopting a healthy
eating pattern that includes a variety of
nutritional meals and beverages. It also
involves getting the correct number of
calories for you, not eating too much or
too little. It protects you against a wide
range of chronic noncommunicable
diseases, including heart disease,
diabetes, and cancer. Eating a variety of foods and consuming less sodium, sweets,
saturated and industrially generated trans fats are crucial for a balanced diet.

Healthy food is defined as food that has the appropriate amount of nutrients to
maintain our bodies fit. To stay active, we need to eat healthy foods. Furthermore,
contrary to popular belief, nutritious food is also incredibly tasty. Nowadays, more than
ever, children must consume nutritious foods.

Benefits of Eating Healthy

1. It could help you live a longer life.

2. Maintains the health of the skin, teeth,
and eyes.
3. Muscle support.
4. Immune system booster.
5. Bones are strengthened.
6. Reduces the risk of heart disease, type
2 diabetes, and certain malignancies.
7. Encourages healthy pregnancy and
nursing.
8. Aids in the proper functioning of the digestive system
9. Aids in the attainment and maintenance of a healthy weight
Source: https://www.cdc.gov/nutrition/resources-publications/benefits-of-healthy-eating.html

Tips for Healthy Eating

1. Consume smaller meals throughout the

day.
Begin your day with a healthy breakfast that
includes protein, healthy fat, and fiber. Many
studies have connected eating breakfast to

15
improved memory and focus, as well as a lower risk of heart disease, obesity, and
diabetes.
2. Consume unprocessed plant-based foods such as fruits, vegetables, whole grains,
nuts, and seeds.
This will provide fiber to your diet, which helps maintain gut health, decreases
cholesterol levels, controls blood sugar levels, and benefits in weight loss. It can also
reduce inflammation.

3. Reduce your intake of processed foods.

Blood sugar surges can be caused by sweets,
foods manufactured with highly refined
carbohydrates such as white bread and white
rice, and sugar-sweetened beverages. Diabetes,
obesity, and heart disease can all be caused by
high blood sugar levels.

4. Incorporate additional fruits and veggies into

your diet to brighten it up.
Make at least half of your plate veggies, with a daily aim of five servings of fruits and
vegetables. Don't be hesitant to experiment with new cuisine. You might find something
new to enjoy.

5. Select slimmer cuts of meat and pork, consume chicken without the skin, and eat
more seafood.
Limit your servings and let the vegetables shine. At least once a week, try to have a
vegetarian meal.

6. You should cook your own meals at home.

This gives you more control over the components and allows you to consume less
sodium and processed foods. You may also give yourself smaller servings and save the
leftovers for lunch the next day, which will save you money as well.
Source: https://www.conehealth.com/services/nutrition-counseling/6-tips-for-healthy-eating/

Dietary Goals and Guidelines

A healthy diet may aid in the prevention of illnesses and diseases such as liver disease,
diabetes, and heart disease. Dietary guidelines serve as the foundation for developing
recommendations for healthy eating habits that link nutrients to food intakes and
maintain overall dietary quality for health. Setting dietary goals is important because
your diet influences your health and well-being more than any other changeable lifestyle
element in your life.

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 1. Increase your intake of fruits and vegetables.
How many fruits and vegetables you should eat depends on how many calories you
consume during the day. According to research, if you follow a 2,000 calorie diet, you
should aim for two and a half cups of veggies and two cups of fruit every day. This
should rise or fall depending on whether you consume more or less. The fiber in fruits
and vegetables may help protect against some diseases and cancers. Furthermore,
fruits and vegetables are high in vitamins and minerals that your body requires.

2. Watch your sugar consumption.

Refined sugar, which is not obtained from whole foods, is linked to ailments such as
liver disease, heart disease, obesity, and diabetes. Refined sugars can sneak up on you
when you least expect it, which is why it's critical to learn how to spot them on nutrition
labels.

3. Reduce your salt intake.

Salt, commonly known as sodium, can elevate blood pressure and have other negative
effects if ingested in excess. Those with liver disease should reduce their sodium intake,
and those with cirrhosis should avoid it entirely. Limiting salt intake to fewer than 5 g per
day helps prevent hypertension and lowers the risk of heart disease and stroke in
adults.

4. Reduce your intake of unhealthy fats.

There are good and harmful fats in the foods we eat. Both of these can raise the risk of
heart disease, cause artery clogging, and raise cholesterol levels.Vegetable oils and
animal items including high-fat dairy, eggs, and meat contain saturated fats. It is more
solid than trans fats.

5. Increase your consumption of whole grains.

Change your diet by replacing white bread with whole wheat bread and white rice with
brown rice. You can also have unsweetened cereal for breakfast.

6. You should not be thirsty.

Drink plenty of water throughout the day to stay hydrated. Hydration is critical for your
body to function correctly. Water aids in the removal of pollutants, the maintenance of
body temperature, and the lubrication of joints.

7. Make your meals.

Meal planning can save you a lot of time, money, and calories. Picking up a meal on the
go may appear to be a quick and easy option, but you never know what's in them if you
don't prepare them ahead of time.

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 8. Take note of nutrition labels.
Nutrition labels might be challenging to comprehend. As previously stated, learning
about nutrition labels can be really advantageous. Check out our guide to understanding
nutrition labels.

9. Avoid skipping meals.

Breakfast is frequently skipped, despite being one of the most important meals of the
day.

10. Keep your portions in check.

Although large quantities may seem generous, the calories add up. Check food labels
twice because most serving sizes are for less than what is in the package, so you may
need to multiply the calories, fat, salt, and so on.
Source: https://www.amsety.com/livermatters/healthy-habits/10-guidelines-healthy-eating/

18
 Overview of Asian Dance

Asian Dance

Asia has a bright tapestry of distinctive dances particular to its many different cultures.
They are, at once, fiercely guarded traditional treasures and proud examples of the
artistry and imagination of tribes and nations. These folk dances come from the history
and heart of specific people, telling their stories as evocatively as any artifact or legend.
The vast reach of Asia has produced an extravagance of colorful and captivating
dances. Some are still as primal as the campfires around which they started, and some
have evolved to the refined gestures of court decorum. There are far too many
fascinating folk dances from Asia to consider in one brief glance.

Origin of Asian Dance

In Asia, as in many other regions in the world, the origins of theatre and dance can be
traced back to several early, archaic types of performance. In Asia they include:

1. early religious rituals,

2. ancient movements imitating animals, or so-called animal
movements,
3. the martial arts, and

19
 4. the art of storytelling. Later,
5. the complex behaviour codes of different periods, the most intricate of
them being court etiquette, also left their undeniable marks on theatre
and dance.
In fact, most of the so-called “classical” styles of Asian performing arts (formulated
roughly from the 13th to the 19th centuries) can be analyzed or deconstructed so that
these original “root” traditions can be recognized. In the later “classical” traditions these
root traditions are, however, intermingled with each other in surprisingly various ways.

1. Rituals

The wai kru ceremony in Thailand pays homage to the guru or the master teacher.
In many cultures the origins of theatrical arts can be traced back to early religious
rituals. In ancient Greece, for example, the classical tragedies evolved from earlier,
powerful rituals performed in honour of the god Dionysos, and the origins of dance in
China are both found in ancient shamanistic performances. In the West, as mentioned
above, the connection between theatre, dance and religion was broken after the Middle
Ages and the Renaissance.

In Asia, particularly in South and Southeast Asia, the bond between religion and theatre
and dance is very strong even today. This may be at least partly explained by religious
attitudes. In the monotheistic religions that originated in the Near East, Judaism, Islam

20
and Christianity, the human body is regarded as something sinful and thus corporal art
forms were banished from their rituals. God may be praised through the visual arts,
architecture and even singing, but more physical expressions were more or less
prohibited in a religious context.

In most of the Asian religions, such as Hinduism and Buddhism, such a strict division
between the sinful body and “pure” spirituality has not existed and thus the human body
has retained its holiness; it has been accepted as a worthy medium to praise even
spirits and gods. Many forms of performance, for example temple dances, are, in fact,
regarded as offerings, prayers, gaining merit or a kind of spiritual meditation.

Dance offering in a Hindu temple in Lopburi, Thailand.

One example of how theatrical practice evolved from rituals is the mudras or symbolic
hand gestures, so crucial to Indian dance and theatre traditions. They developed from
the age-old sacred gestures used in religious rituals by the Brahman priests.

An abundance of ceremonial elements can still be found in many of the Asian theatrical
traditions simply because most of them stem originally from earlier rituals, and actually a
dance or theatre performance itself can, in many cases, still be regarded as a ritual.

21
 Symbolic hand gestures of Indian dance.

2. Animal Movements

The Monkey King is the beloved

anarchist from many Chinese operas.

The tradition of imitating the movements

of animals seems to stem from the
earliest periods of known human
existence, that is the times when humans
were hunter-gatherers and their entire
livelihood depended on the natural world
and the animals around them. Indeed, the
earliest known artefact showing a man
imitating an animal has been found in a
Stone Age cave in France and is dated to
approximately 15 000 BC.
It depicts a man clothed in animal fur and
wearing the horns of a deer; his pose
clearly imitates the movements of a deer.
Man was a hunter during the early Stone
Age. Thus, it is no wonder that the majority of Stone Age cave paintings depict animals.

22
Their function has been widely speculated about and most experts seem to agree that
they had a magical function. By identifying himself with the being of an animal the
hunter probably wanted to create a kind of magical bond with the animal his life
depended on.

Many of the basic positions of nora dance-drama of southern Thailand are based on
imitation of birds’ movements.

There may also have been a more practical reason for the imitation. With his primitive
weaponry it was very important for the hunter to get close to animals. Once the hunter
was able to imitate their movements, it was possible to get nearer the animals, without
frightening them. Thus, there may be several reasons why early man imitated the
movements of animals. Dance anthropological studies have pointed out that these
animal movements may, in fact, represent the origin of human dance.

23
Animal movements still form today an integral part of the training series of different
martial art techniques, as will be discussed below. Also, hundreds of dance traditions
around the world involve animal movements. Which animals were or are imitated
naturally depends on the fauna of each geographical region. As mentioned already, in
the sphere of Nordic shamanism, the animals imitated were the bear, the eagle and the
deer or the elk.

Krishna performing peacock’s dance in a raslila performance in northern India.

3. Martial Arts
Most of the Asian martial arts techniques have clear ritualistic features and they share
movements and poses, such as the open-leg position, with the dance traditions of the
regions where they evolved. Martial arts techniques have influenced Asian dance and
theatre traditions deeply. In fact, when martial arts are isolated from their original
function, fighting and/or self-defense, and are shown either as a part of a theatre or
dance performance or as independent martial arts demonstrations or performances,
they bear similarities to dance performances, although martial arts as such are rarely
regarded in Asia as a form of art.

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 Purulia chhau dance theatre from East
India SAKARI VIIKA.

Seraikela chhau dance theatre from

Bihar, East India

One could simplify the process of how the martial arts became part of the theatrical arts
as follows. Firstly, they were adopted as rituals, such as, for example, the Balinese war
dance, baris, which was originally performed before the warriors went to war. Secondly,
they were adopted into classical traditions because the performers (for example
members of the court and its body guard) had the basic knowledge of them. Later, when
grand court theatre forms evolved, including also great battle scenes, the martial arts
provided already an established movement vocabulary that was already familiar for both
the performers and the audience.

25
 A battle scene from Peking opera
As will been seen, many of the Asian classical traditions include martial arts techniques
even today. The well-known grand-scale examples include the kathakali of India,
the khon of Thailand, and the kabuki of Japan. Probably the best-known example in the
West is the Chinese Peking opera in which the spectacular fighting scenes are
constructed of carefully rehearsed units based on a similar training system as the actual
martial arts. In fact, a Peking opera actor studies these skills from the beginning of his
or her training and continues to develop these skills further if he or she is specializing in
many of the Peking opera’s martial role types.

4. The Art of Storytelling

Many of the later theatrical traditions, such as shadow theatre, puppet theatre and many
of dance theatre forms evolved from early storytelling traditions. Indeed, in Asia, as will
be seen later, the storytelling tradition served, at least partly, as the starting point from
which the complex theatrical performances, based on the same oral and later written
material, developed.

26
Bunraku puppet theatre performed at the Bunraku-za theatre in Osaka, Japan. The
dialogue is delivered by a storyteller who sits with the musician at one side of the stage.

The process could roughly be outlined as follows: (i) the starting point is the act of
storytelling, i.e. the act of conveying the oral literary tradition. (ii) Gradually the
storytellers started to employ different kinds of visual devices to illustrate their narration
(panels, scroll paintings, shadow figures, puppets and in some cases even dolls), and
(iii) storytelling was enriched by gesticulation, body movements, mime, dance, music
etc. During this process the act of storytelling became more theatrical in character and
the narrative tradition and performing arts cross-fertilized each other, which resulted in
many of the present classical theatrical forms.

Just to give some examples: the wayang wong dance drama of Java is believed to have
developed from the Javanese wayang kulit shadow theatre in which the primus motor of
the whole genre is a dalag puppeteer, who is also the storyteller in the performance.
Sometimes during the history of the process live actors came to replace the puppets.
The background to the khon mask theatre of Thailand seems to be a similar case: in
this the narrators take care of the storyline and dialogue while the actor-dancers
gesticulate according to the narration. The Japanese bunraku puppet theatre, for
example, developed when the puppeteers in the 17th century started to co-operate with
the so-called joruri storytellers, who still dominate the whole art form with their
expressive recitation.

27
 4. The Etiquette and the Formulation of the Present “Classical” Traditions

A formal court scene from khon dance-theatre of Thailand.

The term “classical” is a dangerous one, because it is so value-laden. Thus “classical”
art forms can easily seem to represent something more valuable or “high” than the “non-
classical” folk or popular forms. In this connection classical forms generally refer to
traditions which evolved from court traditions and which were added during the
beginning of the 20th century to the curriculum of state art schools and universities.
These traditions are now usually classified as “classical” dance in their respective
countries. Besides those traditions, hundreds of “smaller” traditions live in Asia, which
can be just as sophisticated and intricate as those classified as classical ones.
One important feature of mainland Southeast Asian culture has been the conception of
the god-king. This cult created an extremely intricate court etiquette, which was also
reflected in dance and dance theatre. As the performances often featured the gods to
which the living king was related, it was natural that the physical surroundings and the
modes of behaviour of the artistic presentations followed the models set by the king’s
actual court. Thus, many dance theatre forms of the court, especially those on a grand
scale, still reflect today the behavioural practices and etiquette of courts from centuries
ago.

28
 DANCE IN KOREA

History and Culture of Korea

Korea is greatly influenced by the Chinese and Japanese cultures. This influence can
be seen by Confucianism, which established many traditions that can be seen in
modern Korea today. These traditions include the ethical code of conduct in social life
and showing respect to the elders and family.

Dance in Korea began with shamanistic early rituals five thousand years ago and now
ranges from folk dance to newly created and adapted contemporary dance.
By the time of the later Korean kingdoms, Goryeo and Joseon, in the 2nd
millennium CE, Korean traditional dance benefited from regular support of the royal
court, numerous academies, and even an official ministry of the government.
A number of different dances gained permanent high status, including the Hermit dance,
the Ghost dance, Buchae Chum (the fan dance), Seung Mu (the Monk dance), the
Oudong (Entertainer) dance and others, despite the fact that many had humble origins.
For example, the Fan dance is believed to have originated with shamans performing
nature rites with leaves but evolved into one of the most highly refined Korean dances.
Other Korean dances remained and remain to this day under the ambit of farmers and
folk dance groups. Props used in the dances include the long billowing silk scarf of pure
white used in the Salpuri dance, drums, hats, swords and others. The props may be
peripheral or central to the story of the dance. In the Ghost dance, the entertainer has a
joyous reunion with a deceased spouse, only to endure the heartbreak of reseparation,
and there may few or no props. On the other hand, the Great Drum dance (one of
several forms of drum dances) features a gaudy drum which may be taller than the

29
performer. The drum tempts a monk until finally he succumbs to it and performs a rolling
drum "orgy."
Due to the cultural suppression by Imperial
Japan, arguably considered cultural
genocide during Korea's Annexation to
Japan, most of the dance academies died out
and some dances were lost as well as some of
dance forms were distorted. However, few
pioneering Korean dancers such as Choi
Seung-hee (최승희 崔承喜) created new forms
of Korean dances based on the traditional
dances and kept many of the traditions alive in
secret and abroad, and today Korean traditional dance is enjoying a vibrant resurgence.
Numerous universities in Korea teach Korean traditional dance, and even some
universities abroad now provide instruction in the forms. Top dancers are recognized as
"Living National Treasures" and are charged to pass their dances down to their
students. The lineages of dance and dancers may be traced back several generations
through such connections.

Traditional Dance Costumes

The prevalent element of folk dance costuming is the hanbok, a long jacket with a wide
belt and long, flowing sleeves, it symbolizes the beauty of Korean tradition. These come
in many different colors depending on the dance and the region, or (in the case of the
Monk's dance) pure white.

30
31
Traditional Dances
Generally speaking, there are two forms of folk dance in Korea: "shamanic" dances that
were created and performed in the villages during festivals and religious holidays, and
"court" dances, which were created and refined chiefly during the half-century of the
Joseon Dynasty. Both groups are now considered "folk" dance and are performed in all
sorts of venues around the world. Some examples include:

• Geommu: The Korean Sword Dance is one of the Important Intangibles.

Supposedly coming from a legendary sword-dancer who killed the king of a
rival kingdom, the traditional dance was modified by the courtiers of the
Joseon Dynasty and is now one of the most popular dances performed.
• Ganggang sullae: A "maiden's dance", performed in a circle, is another
cultural treasure. This dance has shamanic roots of hopes for a good
harvest, and was most often danced during the Chuseok holiday. Performed
by women, it is traditionally danced at night as the dancers sing and chant to
create their own accompaniment.
• Seungmu: A dance based on Buddhist monks, this dance was banned at
one time by the Joseon Court, but is now preserved as one of the Cultural
Properties of Korea as well.
• Seungjeonmu: A two-part dance to promote victory, it combines swords and
drums in one dance. The roots of this dance go back several millennia, and
paintings of it being performed go back to the first century B.C. It is the 21st
Important Intangible Property of Korea.
In Korea, there is a distinction between court dance and folk dance. Common court
dances are jeongjaemu (정재무) performed at banquets, and ilmu (일무), performed at
Korean Confucian rituals. Jeongjaemu is divided into native dances (향악정재, hyangak
jeongjae) and forms imported from Central Asia and China (당악정재, dangak jeongjae).
Ilmu are divided into civil dance (문무, munmu) and military dance (무무, mumu). Many
mask dramas and mask dances are performed in many regional areas of Korea. The
traditional clothing is the genja, it is a special kind of dress that women wear on
festivals. It is pink with multiple symbols around the neck area.
Traditional choreography of court dances is reflected in many contemporary
productions. Taekkyon, a traditional Korean martial art, is central to the classic Korean
dance. Taekkyon, being a complete system of integrated movement, found its core
techniques adaptable to mask, dance and other traditional artforms of Korea.

32
Ganggangsullae Video Discussion and Dance
https://drive.google.com/file/d/1-XqdI6QRA5XUiwHNWHAhFAz-
QwbSNU5x/view?usp=share_link

Guide Video Links:

https://www.youtube.com/watch?v=bJXwVYHYJVc
https://www.youtube.com/watch?v=uuF0OosXR78
https://www.youtube.com/watch?v=7Coj8bzq_Yg

Music Links:
https://www.youtube.com/watch?v=8arG2jHm4H8
https://www.youtube.com/watch?v=dI0fO_6dAsI
https://www.youtube.com/watch?v=xisfk_fS4Yo

33
 DANCE IN MALAYSIA

History and Culture of Malaysia

The tribal history of Malaysia dates back 40,000 years, but Hindu and Buddhist
kingdoms spread out across the peninsula from the 3rd century BC
onwards. Islam arrived with Indian and Arab traders in the 13th century and Malacca
was established as the seat of the first Malay sultanate.
Malaysia, like other Southeast Asian countries, came to prominence as a large British
colony. However, with ancient kingdoms and Dutch settlers also playing an influential
role in shaping Malaysia’s history, the nation is chock full of exciting surprises. The
various cultural groups have also paved the way for a modern society that certainly
hasn’t forgotten its rich, traditional roots.
The culture of Malaysia draws on the varied cultures of the different people
of Malaysia. The first people to live in the area were indigenous tribes that still remain;
they were followed by the Malays, who moved there from mainland Asia in ancient
times. Chinese and Indian cultural influences made their mark when trade began with
those countries, and increased with immigration to Malaysia. Other cultures that heavily
influenced that of Malaysia include Persian, Arabic, British. The many different
ethnicities that currently exist in Malaysia have their own unique and distinctive cultural
identities, with some crossover.
Arts and music have a long tradition in Malaysia, with Malay art dating back to the
Malay sultanates. Traditional art was centered on fields such as carving, silversmithing,
and weaving. Islamic taboos restricted artwork depicting humans until the mid-20th
century. Performing arts and shadow puppet shows are popular, and often show Indian
influences. Various influences can be seen in architecture, from individual cultures in
Malaysia and from other countries. Large modern structures have been built, including
the tallest twin buildings in the world, the Petronas Twin Towers. Malaysian music has a
variety of origins, and is largely based around percussion instruments. Much early

34
Malaysian literature was based on Indian epics, which remained unchanged even as
Malays converted to Islam; this has expanded in recent decades. English literature
remained restricted to the higher class until the arrival of the printing press. Locally
created Chinese and Indian literature appeared in the 19th century.

Traditional Dance Costumes

The male costumes involve Baju Melayu, Sampan - a form of sarong and Songkok -
a traditional cap. The female outfits include Baju Kurung, Baju Kebaya, Sampan,
Selendang (a kind of a shawl) and beautiful flowers on the head called Cucuk Sanggul.
Sultan Mahmud Shah composed the music from the Sultanate of Malacca.

35
Traditional Dances
Dance is a popular cultural form in Malaysia too. Each ethnic group has its own dance
forms which characterizes its culture. Malaysian dances can be identified with certain
regions or religious practices which are often performed in festive celebrations, wedding
parties, cultural shows, religious ceremonies or other public events.

MALAY DANCES
Tarian Melayu or Malay dance
portrays the customs or adat resam
and culture or budaya of the Malays.
It depicts the true nature of the Malay
people and their way of life.
Generally, Malay dances are divided
into two main categories which are
the “original” Malay dances and
“adopted” Malay dances. The
“original” Malay dances are
indigenous to the Malay region, encompassing Sumatra, the Malay Peninsular,
Singapore, the Riau Archipelago and Borneo, and its origins can be traced back to the
early Malay civilizations. The “adopted” Malay dances are influenced by foreign cultures
due to political and historical events. The various forms or styles of Malay dance are
further categorized by its beats (rentak) and rhythm (irama).
The four basic genres of Malay dance are Asli, Inang, Joget and Zapin. Asli and Inang
dances are categorised as the “original” Malay dances whereas Joget and Zapin are
categorized as “adopted” Malay dances.

Asli
The term Asli, meaning “original”, is the forerunner of the
four basic genres of Malay dance. The dance movements
and its songs can be traced back to the early Malay
Kingdoms in the 14th century. Its beat and rhythm is slow-
paced yet intricate and well defined. Its dance style is
graceful and elegant as it depicts the charming nature of
Malay ladies. There are numerous hand movements and
poses, each with a different significance. Every movement of
the Asli dance starts and ends with the gong beat in the

36
count of eights.
Asli songs are still popular across the regions of Malay culture in Sumatra, the Malay
Peninsular, Singapore, the Riau Archipelago and Borneo. In Sumatra, they are known
as senandung and are derived from local soulful poetic verses projecting deep emotions
such as love or sorrow. Examples of Asli songs include Sembawa Balik, Pasir Roboh,
Timang Banjar and Sri Siantan.
Inang
Another form of the “original” Malay dance is the Inang.
Historical accounts state that the word Inang is derived
from the word “Mak Inang”, a nanny or chief lady-in-
waiting who is responsible in looking after the royal
children. The Inang song and dance is said to have been
composed during the era of the Malaccan Sultanate,
particularly during the rule of Sultan Mahmud Shah (1488-
1511). At the time, the Inang dance was performed in
various palace celebrations such as weddings.
The Inang beats and dance movements are faster paced
compared to the Asli dance. It portrays the grace and swaying movement of royal maids
and has all the qualities of a palace performance. In olden times, the Inang dance was
performed only by ladies, with very modest movements adhering to the strict palace
customs and protocols. Eventually, the Inang dance evolved from strictly a court dance
into a folk dance enjoyed and performed by all individuals. Nevertheless, its graceful
and modest movements have always remained. Nowadays, it is performed at all social
functions and usually by couples of men and women. Examples of songs with the Inang
beat are Seri Langkat, Lenggang Mak Limah and Mak Inang Pulau Kampai.
Joget
The Joget dance (also called the Ronggeng) was
introduced to the Malays in Malacca during the early 16th
century. Its origins may be traced back to two popular
Portuguese folk dances, the Branjo and Farapeirra.
Throughout Malaysia, Sumatra, Borneo and the Riau
Archipelago, the Joget has been known as a fast-paced
popular dance and is performed at cultural festivals,
wedding celebrations and many other social functions. Its
catchy beat and cheerful combination of fast hand and leg
movements appeal to both young and old alike.
In some regions of the Malay Archipelago, the Joget is also known as the Rentak Lagu
Dua which describes the interaction between couples in portraying a song with

37
liveliness and cheerfulness. In Indonesia, particularly in the Northern Sumatra region
such as Medan, Deli and Serdang, the Joget has been elevated in rank to be one of
Indonesia’s national dances when in 1934, a well-known choreographer by the name of
Sayuti choreographed a unique form of the Joget dance called Serampang 12. It has 12
stages of dance steps depicting the love story of a couple from courtship till their
wedding.
Joget music and dance has an obviously hybrid character. The accordion, violin and
tambur (a double-headed drum and Portuguese in origin; its name is derived from the
Portuguese tambour) are European whereas the framed drums may be Middle Eastern
or indigenous to the region and the harmonium is Indian. Other elements such as the
gong, the use of pantun (this refers to Malay poetry or can mean quatrain) and the basic
performance context are all indigenous. Examples of Joget music include Joget Asam
Kana, Joget Istana Lukut and Joget Songkok Mereng.

Zapin
The influence of the Zapin dance on Malay culture and arts
started alongside the spread of the Islamic religion,
beginning in the early 15th Century. The Zapin dance and
music were brought and introduced by the Arab traders
and missionaries from Southern Yemen particularly from
the Hadramaut region. From its original form of Arabic
Zapin (Zapin Arab), the dance assimilated itself into the
Malay culture and thus gave birth to a localised version
known as Zapin Melayu. Originally, Zapin performances
were popular among the royalty. It is believed that every
palace had its own Zapin troupe which performed at
various palace functions and every rehearsal was done under the watchful eye of the
Sultan.
The music for Zapin comes from an ensemble of traditional instruments, which includes
the lute gambus), gypsy type bongos (marwas), small single-frame hand drums (rafa’i),
accordion and violin. A typical Zapin performance and song can be categorised into
three parts. The first part is called the taqsim or introduction. This is where the gambus
is played in a solo manner as an opening of the performance. Simultaneously, the
dancers enter the stage and perform the sembah or act of respect to the audience. As
the performance progress, the dancers perform various steps and legwork movements.
The second part is at the end of every quatrain or pantun, where the music and beating
of the drums is played in a rapid beat manner known as tingkah or kopak while the
dancers move in a jumping manner called the minta tahto. The third part is the end of

38
the performance, which is known as the tahtim, whereby the dancers will perform the
wainab movements to close the performance.

Rasah Sayang Eh Video Discussion and Tutorial

https://drive.google.com/file/d/12iS0IAS1CueCaK1mHW90Ryzop2ojpCa3/view?usp=sh
are_link

Guide Video Links:

https://www.youtube.com/watch?v=j5wrRi58Jtw
https://www.youtube.com/watch?v=bxYSkTnno6E
https://www.youtube.com/watch?v=JeEYe-SyI28
https://www.youtube.com/watch?v=HnvU4hnkSL4
https://www.youtube.com/watch?v=lBFj87WZ43Y

39
 DANCE IN INDONESIA
History and Culture of Indonesia

The culture of Indonesia has been shaped by long interaction between original
indigenous customs and multiple foreign influences. Indonesia is centrally-located along
ancient trading routes between the Far East, South Asia and the Middle East, resulting
in many cultural practices being strongly influenced by a multitude of religions,
including Buddhism, Christianity, Confucianism, Hinduism, and Islam, all strong in the
major trading cities. The result is a complex cultural mixture very different from the
original indigenous cultures.
Examples of the fusion of Islam with Hinduism include Javanese Abangan belief.
Balinese dances have stories about ancient Buddhist and Hindu kingdoms,
while Islamic art forms and architecture are present in Sumatra, especially in
the Minangkabau and Aceh regions. Traditional art, music and sport are combined in a
martial art form called Pencak Silat.
The Western world has influenced Indonesia in science, technology and modern
entertainment such as television shows, film and music, as well as political system and
issues. India has notably influenced Indonesian songs and movies. A popular type of
song is the Indian-rhythmical as a form of entertainment, social interaction, and
aesthetic expression, which is often mixed with Arab and Malay folk music. Despite the
influences of foreign culture, some remote Indonesian regions still preserve uniquely
indigenous culture. Indigenous ethnic
groups Mentawai, Asmat, Dani, Dayak, Toraja and many others are still practicing their
ethnic rituals, customs and wearing traditional clothes.

Traditional Dance Costumes

The national costume of Indonesia is the national costume that represents
the Republic of Indonesia. It is derived from Indonesian culture and Indonesian
traditional textile traditions. Today, the most widely recognized Indonesian national
costumes include batik and kebaya, although originally those costumes mainly belong

40
within the island of Java and Bali, most prominently
within Javanese, Sundanese and Balinese culture. Since Java has been the political
and population center of Indonesia, folk costume from the island has become elevated
into national status.

Traditional Dances
Indonesian dance reflects the diversity of culture from ethnic groups that composed the
nation of Indonesia. Austronesian roots and Melanesian tribal dance forms are visible,
and influences ranging from neighboring Asian countries; such as India, China,

41
and Middle East to European western styles through colonization. Each ethnic group
has its own distinct dances; makes total dances in Indonesia are more than 3000
Indonesian original dances. However, the dances of Indonesia can be divided into three
eras; the Prehistoric Era, the Hindu/Buddhist Era, and the Era of Islam, and into two
genres; court dance and folk dance.
During the Intergovernmental Committee for the Safeguarding of the Intangible Cultural
Heritage convention in 29 November to 4 December 2015 in Windhoek,
Namibia, UNESCO recognizes three genres of traditional dance in Bali, Indonesia,
as Intangible cultural heritage. The three genres includes Wali (sacred
dances), Bebali (semi-sacred dances) and Balih-balihan (dances for entertainment
purposes). Balinese dance has been proposed since 2011, and officially recognized in
2015.
There is a continuum in the traditional dances depicting episodes from
the Ramayana and Mahabharata from India, ranging through Thailand, all the way to
Bali. There is a marked difference, though, between the highly stylized dances of the
courts of Yogyakarta and Surakarta and their popular variations. While the court dances
are promoted and even performed internationally, the popular forms of dance art and
drama must largely be discovered locally.
A popular line dance called Poco-poco was originated in Indonesia and also popular
in Malaysia, but at early April 2011 Malaysian Islamic clerics banned the poco-poco
dance for Muslims due to them believing it is traditionally a Christian dance and that its
steps make the sign of the cross.
Balinese dance is an ancient dance tradition that
is part of the religious and artistic expression
among the Balinese
people of Bali island, Indonesia. Balinese dance is
dynamic, angular and intensely
expressive. Balinese dancers express the stories
of dance-drama through the bodily gestures
including gestures of fingers, hands, head and
eyes.

Javanese dance is the dances and art forms that

were created and influenced by Javanese culture.
Javanese dance movement is controlled,
deliberate and refined. Javanese art often displays
a finesse, and at the same time a serene
composure which is elevated far above everything

42
mundane. Javanese dance is usually associated with courtly, refined and sophisticated
culture of the Javanese kratons, such as the bedhaya and srimpi dance. However, in a
wider sense, Javanese dance also includes the dances of Javanese commoners and
villagers such as ronggeng, tayub, reog, and jaran kepang.

The Acehnese (also written

as Atjehnese and Achinese) are an ethnic group
from Aceh, Indonesia on the northernmost tip of the
island of Sumatra. The area has a history of
political struggle against the Dutch. The vast
majority of the Acehnese people are Muslims. The
Acehnese people are also referred to by other
names such as Lam
Muri, Lambri, Akhir, Achin, Asji, Atse and Atse. The
ir language, Acehnese, belongs to the Aceh–
Chamic group of Malayo-Polynesian of the Austronesian language family.

Sundanese dances is a dance tradition that is a

part of ritual, artistic expression as well as
entertainment and social conduct among
the Sundanese people of West Java, Indonesia.
Sundanese dance is usually cheerful, dynamic and
expressive, with flowing movements in-sync with the
beat of kendang accompanied with Gamelan
degung music ensemble.

Poco-Poco Video Discussion and Dance

https://drive.google.com/file/d/1xyxgJBkKOyjteXA0oA5cliDLalyxGyXF/view?usp=share_
link

Guide Video Links:

https://www.youtube.com/watch?v=0P63TpK_tXg
https://www.youtube.com/watch?v=HfrOSJRCsfM
https://www.youtube.com/watch?v=BSAPyM5VIOE
https://asiasociety.org/video/tari-aceh-dance-aceh-sumatra-indonesia-complete
https://www.youtube.com/watch?v=eq6k5lpmGxE
https://www.youtube.com/watch?v=TO8VccLV97U
43
 DANCE IN THAILAND

History and Culture of Thailand

Dance in Thailand is the main dramatic art form of Thailand. Thai dance, like many
forms of traditional Asian dance, can be divided into two major categories that
correspond roughly to the high art and low art distinction.
The Thai terms for dance, รำ ram and ระบำ rabam, derive from the Old Khmer words រាំ
"raṃ" and របាំ "rapaṃ" respectively. The multitude of Khmer words relating to dance,
music and performance and similarities between the gestures of Thai dance depictions
of dancers in ancient Khmer sculpture and bas reliefs suggests extended influence of
ancient Khmer forms on Thai classical dance and performance.
According to Surapone Virulrak, Thai performance art took shape during the Ayutthaya
period, where Chak nak Dukdamban, a "ceremony depicting the churning of the ocean
to create the immortal spirit, was performed on special occasions." This ceremony drew
the Indian epic of the Mahābhārata. Virulrak states that "These performing arts were
gradually developed into Khon (masked play), Lakon nok (public dance drama) and
Lakon nai (court dance drama) during the Late Ayutthaya Period (1456-1767), adding
that "This period also enjoyed various imported performing arts from neighboring
countries." According to Paul Cravath, this ceremony was also depicted in bas reliefs at
Angkor Wat and could have been the forefather of Khon.

44
Although the traditional Thai performing arts are not as vibrant as they once were,
suffering inroads from Western entertainment and generally changing tastes, Thai
dance drama is not extinct. What survives displays the elegance of an art form refined
over centuries and supported by regal patronage.
Aside from folk and regional dances (southern Thailand's Indian-influenced manohra
dance, for example), the two major forms of Thai classical dance drama
are Khon and Lakhon nai. In the beginning, both were exclusively court entertainments
and it was not until much later that a popular style of dance theatre, likay, evolved as a
diversion for common folk who had no access to royal performances.

Thai classical arts exercised a strong influence on neighboring countries,

especially Burma and Cambodia. The two golden periods of Burmese literature were
the direct consequences of the Thai literary influence. The first transmission happened
during the two-decade period (1564–83) in which the Toungoo Dynasty briefly managed
to subject Siam as its vassal state. This conquest incorporated many Thai elements into
Burmese literature. Most evident ones were the yadu or yatu (ရာတု), an emotional and

philosophic verse and the yagan (ရာကန်) genre. The next transmission of Thai literary

influence to Burma happened in the aftermath of the fall of Ayutthaya Kingdom in 1767.
After a second conquest of Ayutthaya (Thailand), many Siamese royal dancers and
poets were brought back to the court of Konbaung. Ramakien, the Thai version
of Ramayana (ရာမယန) was introduced and was adapted in Burmese where it is now

called Yama Zatdaw. Burmese literature during this period was therefore modelled after
the Ramayana, and dramatic plays were patronized by the Burmese court.

45
It was during this period of Siamization that Thai literary influence had a wholesale
impact on the Khmer literature. The Nirat or Siamese tradition of parting poetry was
emulated by Khmer poets; and many Thai stories, such as Ka Kee, were translated
from the Siamese source into the Khmer language. One study on comparative literature
found that Cambodia’s current version of Ramayana (Reamker) was translated directly
from the Thai source, almost stanza by stanza. The Cambodian royal court used to
stage Thai lakhon dramas in Thai language during King Narodom's reign.

Traditional Dance Costumes

Traditional Thai clothing is called chut thai (Thai: ชุดไทย), which literally means 'Thai
outfit'. It can be worn by men, women, and children. Chut thai for women usually
consists of a pha nung or a pha chung hang, a blouse, and a pha biang.

46
Traditional Dances
Well known with nickname
"The Land of Smiles", in
Thailand kindness, grace
and beauty are also
expressed with its
Traditional Dances. The
beautiful girls dance barefoot
with great smiles, graceful
and delicate movements in
their elaborate costumes.
The dances are hypnotic
and follow lovely rhythms made from oriental musical instruments. Traditional Dances of
Thailand have ancient roots and have been used to entertain guests over the centuries.
In ancient time, most of the dances were a prerogative of the Royal Court and were
performed by young and pretty girls. Nowadays they are performing throughout the
country on special events and popular festivals, as well as in many restaurants and
theatres as attractions for tourists. The traditional costumes are always very refined and
richly decorated, complemented by gold headdresses. The hairstyle is often
embellished by orchid flowers. The dancers are very young and graceful because their
intense workout; their young bodies extremely flexible allow sinuous movements and
unexpected twists. The fingers, for example, twist to back up to the wrist. In a typical
dance Lakhon, the heavy makeup and elaborate costumes cover the dancer’s
personality; every gesture is highly stylized and immediately recognized by an expert.
Observing a Traditional Thai Dance you are immediate perceive the link with the
theatre, as if the performers are more actors than dancers.

Traditional Dances of Thailand can be divided into three main categories: Khon and
Lakhon, which are the most classic forms of Thai Dance, and Fawn Thai, which
includes different forms of folk dances. Khon is the most stylized form of Thai dance. In
the past, this Thai masked dance was only performed for the Royal Family. It is now
performed outside of the Royal Court, however, it is still considered to be one of the
highest art forms in Thailand. Most of the dancers are men that wear elaborate
costumes and masks to portray different characters. Khon characters include demons,
monkeys, humans and celestial beings. The dance may require agility and muscular
exertion. Dancers are accompanied by a chorus in the background and a Thai piphat
orchestra, which usually consists of percussion and wind instruments. Most Khon
performances feature episodes from the Ramakien, which is the Thai version of the
Hindu Ramayana and Javanese Srivijaya.

47
Lakhon is less formal than Khon and the dancers do not wear masks. The costumes
and stage settings are usually much more lavish than in the other forms of Thai dance.
The rich costumes and golden hats shaped as stupa are inspired by the clothes of
Kingdom of Ayutthaya. The lower half of the body does not move as much as the top,
which with graceful and sensual movements of torso and hands throughout the
performance portray different emotions. Dancers are mostly graceful women that
perform together as a group rather than representing individual roles in a performance.
Unlike Khon, Lakhon plots feature a wider range of stories drawn from the Ramakien,
the Jatakas, which are the stories of previous lives of Siddharta Gautama Buddha, and
folk stories. Lakhon can be divided in Lakhon Nai, which is the most classic form
represented by court dancers inside the Royal Palace, and Lakhon Nok, which is a
more popular form often associated with religious celebrations.

Fawn Thai is a form of folk dance accompanied by folk music of the region. There are
different forms of Fawn Thai that will usually fall within five classic styles: Fawn Tian;
Fawn Leb; Fawn Ngiew; Fawn Marn Gumm Ber, i.e. Butterfly Dance; and Fawn Marn
Mong Kol, i.e. Happy Dance. Fawn Tian, meaning Candle Dance, is one of most
popular northern dances, typical of Thai Kheun tribe. The performance consists of eight
dancers, each carrying candles. Dancers are in pairs, one pair to each side, and wear
full-length sarongs and jackets with a matching shoulder cloth. The female dancers pay
homage to the divinities that protect the Earth’s eight cardinal points, asking them to
pass on the candles light to pay homage to Buddha. This dance is always held at night.
Fawn Leb, meaning Fingernail Dance, is a northern Thai dance style originating from
Chiang Mai. Each dancer wears six inch long brass fingernails. The long fingernails
accentuate the finger movement of each dancer. Dancers wear their hair in a chignon-
style with a yellow jasmine flower tiara.

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Fawn Ngiew, meaning Scarf Dance, is a northern folk dance that has origin from
Chiang Rai. This dance is performed at a happy event. The dance is similar to the Fawn
Leb but the dance is faster and more fun. Each dancer wears a yellow flower tiara, jong
kra bane, and sabai. In addition to the most classic Traditional Dances, in Thailand
there are other several forms of Regional Folk Dances, which are different for the plot,
costumes and so on. Sword Dance is inspired by an ancient Thai martial art. It is
practiced both with sticks and swords, and requires tremendous courage and strength,
and excellent reflexes. Sword’s art has been practiced in Thailand since ancient times;
the tradition would that before the fight was performed a ceremonial dance. The
dancers balance a number of swords on different parts of their bodies while fighting off
their rival with a sword sheath. Likhe is the most famous form of folk theater in
Thailand. It's a burlesque version of classical Khon dance and is very popular in villages
throughout Thailand. The shows are a combination of many different elements, from
elaborate costumes to slapstick humour and sexual innuendo, throughout the
performance. Actors and actresses often improvised during their execution, but always
follow a script that speaks about love stories. Serng Kratip Khoa is a popular dance of
north-eastern Thailand, Isan, which is performed during traditional festivals. Female
dancers wear wicker baskets for rice, Kratip, and imitate women's movements that bring
food to men working in rice fields. Choreography is accompanied by beautiful peaceful
music. Serng Krapo, meaning Coconut Dance, is a folk dance which takes its name
from the north-eastern dialect. This dance describes the group activities of Isan girls
single. Dancers bring two coconut shells and perform complex choreographic
movements, swinging, throwing, or hitting them with light touches. Bantheong, meaning
Happiness Dance, is a popular Isan dance that is usually performed on festivals or
special events. The fast but harmonious movements of female dancers are
accompanied by songs ( Thai dance song ) and by typical north-eastern region’s
folklore. Nora is a traditional folk dance of southern Thailand, in southern Thai language
called the "Chatri". Its origins lie in various ancient legends. There are several forms of
Nora and choreographies change from region to region, but is generally composed of
12 positions and 17 movements. Ram Nora Son Ram is the basic form of this folk
dance, which is executed by concentrating on hand arm and shoulder movements, and
on the equilibrium and movement of various parts of the body, and is accompanied by
rather long lyrics. Ram Nora Klong Hong is an advanced level of Nora that is
performed only on important occasions. The female dancers play the role of Hong or
Kinnaree, a legendary creature who is half woman and half bird. The seven Kinnaree
are playing in the lake in the middle of a wood. Struck by their beauty and light
heartedness, Pran Boon, the hunter, chases the maidens in an attempt to catch the
youngest. The lively harmonious movements perfectly evoke Pran Boon's pursuit of the
Kinnaree as she tries to escape. Nora Tua Oon is a very refined version of the Nora
dance that requires great interpretive skills and experience. To learn this folk dance it

49
must be studied from a very young age so that the body can achieve the flexibility
necessary to execute the complicated movements. The female dancers, in fact, follow a
demanding exercise regime and a strict discipline. In Ram Nora Tam Bot the hand
movements evoke the beautiful scenery of Songkhla Province in south Thailand. The
verses of the song are accompanied by a very lively rhythm.

Ram Wong Dance

https://www.youtube.com/watch?v=0cZWlsLy8oU

Guide Video Links:

https://www.youtube.com/watch?v=gj9_WoQkrBQ
https://www.youtube.com/watch?v=2x3TKQWFlPo
https://www.youtube.com/watch?v=04sfcOtG4u0
https://www.youtube.com/watch?v=-_bhkDuqg5I

Music Links:
Piphat - https://www.youtube.com/watch?v=ZhNoTzhzYHg
Khrueang sai - https://www.youtube.com/watch?v=uG84h4NXQpY
Mahori - https://www.youtube.com/watch?v=tyu10iRTHZ4
Kantrum - https://www.youtube.com/watch?v=hahS5sx13zU

50
 DANCE IN BRUNEI

History and Culture of Brunei

The cultural and artistic heritage of Brunei is supported by several public institutions
such as the Royal Regalia Building, Brunei History Center, and the Arts and Handicraft
Center. Brunei has a rich past which the government does an excellent job of promoting
and maintaining. This nation was once renowned for its boat making, weaving, basketry,
silversmith and bronze tooling skills. The Malay influence is quite evident in the
traditional musical instruments, weaponry, decorative items and games of Brunei.
Brunei’s early history dates as far back as the 5th and 7th century by Chinese
historians. Used to be one of the most ancient sovereign states in Southeast Asia,
Brunei has a rich Islamic heritage since its introduction by the first ruler of Brunei, also
known as Awang Alak Betatar, who took on the name Sultan Muhammad Shah when
he embraced Islam. Its practices are regularly observed by the people today as the
country’s official religion.

Brunei is predominantly made up of Malays (65.8%), Chinese (10.2%), and indigenous

tribes (23.9%). The Malay population is also divided into 7 ethnic groups: Melayu
Brunei, Kedayan, Dusun, Tutong, Belait, Murut and Bisaya. Each ethnicity is
characterized by distinct aspects of its culture and lifestyle, and possesses its own
native language, customs and traditions.

51
Brunei is a serious but tolerant Islamic nation, so be sure and learn the various social
and religious rules which fall under Islamic law before visiting. If you follow their
customs, you will have a much more positive experience. The population are, however,
very tolerant of foreigners. Don’t be afraid to ask someone what is proper or improper
during your stay.

People in Brunei greet each other by lightly touching hands,

then putting their hand to their chest in a fluid movement.
Muslims rarely exchange physical contact between
members of the opposite sex. Dress is very important in
Brunei. Always dress conservatively, despite the oppressive
heat and humidity. This is particularly true for women, who
should try to keep their legs and most of their arms covered
when in public.

People in Brunei are very polite and well-mannered. The

idea of “maintaining face” is very important to the population
and people will do their best to avoid causing issues or
problems. Respect is very important and visitors should do
their best to abide by certain social conventions.

Traditional Dance Costumes

Modern-day Bruneians still wear a style of traditional Malayan dress: the baju kurung
that has been in existence since the 15th century. Although the design of such garments
once denoted social status, contemporary Bruneians tend to be less aware of these
signifiers.

Women’s wear
The traditional Bruneian women’s costume includes the baju
kurung (a long tunic over a long skirt). Nowadays, Bruneian
women still wear the baju kurung both at work and for formal
occasions. Influenced by Islamic codes of dress, the costume
will typically be accompanied by a headscarf (tudung).

Men’s wear
Bruneian men wear three different styles of the basic tunic
and trousers combination called baju kurung: the baju kurung
cekak musang, the baju kurung teluk belanga and a third
style especially for Brunei traditional dress with a

52
handkerchief or a piece of cloth attached where the buttons are; however, this is barely
seen nowadays.

Bruneian men also wear another costume consisting of a long-sleeved shirt (baju) and
long trousers (seluar) made of the same material called the baju cara melayu. The shirt
has a raised stiff collar known as the cekak musang collar (literally fox’s leash).

The baju cara melayu is traditionally worn with a plaid or floral-patterned sarong (or
Malayan kilt) called a sinjang, which extends from the waist to the knees.

Bruneian men traditionally wear a simple black hat

called a songkok or a folded scarf called
a dastar especially with ceremonial outfits.

Traditional Dances
Brunei shares some Cultural perspectives and links with the countries of South East
Asia such as Malaysia, Singapore, Indonesia, Thailand, Philippines. Although Brunei
has similarities with others, there are significant differences in terms of culture and
heritage including its folk music, folk dance, and folk stories. The strong Islamic
influence means that dance performances and music are somewhat restricted.

One type of folk song is a group work song

performed by only fisherman called the adai-
adai. If you watch the dance, it certainly looks
like it’s telling a story. Most music is performed
in conjunction with something else, either work
(like with adai-adai) or with dance. Some of
the more common instruments used are the
dombak (a type of drum that is shaped like a
goblet), rebana (a type of tambourine that’s
especially used in Islamic devotional music in this area of the world), different kinds and
sizes of gongs, various types of percussion, and coconut shells.

53
 The local Malay population is best known for
their jipin dance. This popular dance is
performed by six men and women, and
backed by traditional instruments such as the
dombak, rebana and gambus dan biola.It’s
performed by six men and women and uses
many indigenous instruments, namely
different types of gongs and the dombak
drum and rebana (tambourine). In this short
video, it does give you the opportunity to see the musicians as well.

Aduk Aduk is Brunei's ceremonial dance performed by the Kedayan people during
holidays, especially at the end of the harvest season. Brunei, a small constitutional
sultanate lying along the coast of the South China Sea, is separated into two by
Malaysia’s Sarawak province. Its name, Brunei Darussalam means “Abode of Peace.”
[Filed under: brunei traditional music, gulingtangan brunei, brunei traditional dance,
brunei music, brunei traditional games, lagu tradisional, brunei darussalam, brunei
traditions] Dancers wear traditional warrior's attire and dance to the beat of Silat – a
Malay martial art, accompanied by percussion instruments such as drums and coconut
shell. Brunei shares some Cultural perspectives and links with the countries of South
East Asia such as Malaysia, Singapore,
Indonesia, Thailand, Philippines. Although
Brunei has similarities with others, there
are significant differences in terms of
culture and heritage including its folk
music, folk dance, and folk stories. The
strong Islamic influence means that dance
performances and music are somewhat
restricted.

Brunei’s traditional music includes the adai-adai, songs sung as a group while people
are working. They talk about life in the fishing villages and are usually accompanied by
dance movements inspired by the common activities involved in fishing such as using
an oar. The ceremonial aduk-aduk song and dance, meanwhile, is performed by groups
on special occasion. The dancers are dressed as warriors and use coconut shells and
drums for rhythm. Traditional instruments include the two-headed kendang drums, the
rebana, a tambourine, and the kulintangs, metal gongs cast using the lost wax process.

Tradition and custom are extremely important to the Bruneian people, who share the
cultural traits of those living in the Malay Peninsula. Customary law, Adat, outlines rules

54
and procedures for many cultural ceremonies and there is even a government
department whose mandate is to preserve ceremonial procedures and advise on
protocol, proper dress and genealogies.

Aduk-Aduk Dance
https://www.youtube.com/watch?v=fdCq7PRAM_0

55
 REFERENCES

E-Books
Manning, S. et. al. (2020). Futures of Dance Studies. University of Wisconsin Press.
https://zlibrary-asia.se/book/21367679/0cadf9
Lovatt, P. (2019). Dance Psychology: The Science of Dance and Dancers. Dr Dance Presents.
https://zlibrary-asia.se/book/23897706/071628
Maier, C. J. (2020). Transcultural Sound Practices: British Asian Dance Music as Cultural
Transformation. Bloomsbury Academic. https://zlibrary-asia.se/book/25113780/21b868
Sarah Morelli. A Guru’s Journey : Pandit Chitresh Das and Indian Classical Dance in Diaspora.
University of Illinois Press; 2019. Accessed June 2, 2023.
https://search.ebscohost.com/login.aspx?direct=true&db=e000xww&AN=2233783&site=ehost-
live
Put on Your Dancing Shoes for Good Health. (2022). USA Today Magazine, 150(2921), 11.
Yi, G. J. (2019). Teaching about the Korean “Ganggangsullae” Folk Tradition in General Music
Class. Music Educators Journal, 105(3), 45–53.
Mohd Anis Md Nor, and Stephanie Burridge. Sharing Identities: Celebrating Dance in Malaysia.
Routledge India, 2020.

Lanuza, F., Morales, G., Hidalgo-Rasmussen, C., Balboa-Castillo, T., Ortiz, M. S., Belmar, C., &
Muñoz, S. (2022). Association between eating habits and quality of life among Chilean university
students. Journal of American College Health, 70(1), 280–286.
https://doi.org/10.1080/07448481.2020.1741593

Articles
Matusky, P. (2020). Performing the Arts of Indonesia: Malay Identity and Politics in the Music,
Dance, and Theatre of the Riau Islands ed. by Margaret Kartomi. Asian Music, 51 (2).
10.1353/amu.2020.0029
Huang, Y. (2019). World Dance Cultures: From Ritual to Spectacle by Patricia Leigh Beaman.
Asian Theatre Journal, 36 (1). 10.1353/atj.2019.0014

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