Q2. GIVE DETAIL IDEA ABOUT WHAT IS DANCE IN YOUR OWN TERMINOLOGY?

Ans. Have you seen leaves gently rustling on tree? Or wings of birds swaying softly while they are happily enjoying
the spring?
The peaceful sound of river flowing, birds chirping around? Already feels pleasant!
Just like that Dancing is some kind of therapy, which feeds soul. A dancer can feel each beat of music. But dancing
is not just a random moment on some music, dancing is the language one’s body uses to justifies the feeling inside.
Just take a moment for yourself, whatever you are doing at the very moment… stand up, close your eyes, just forget
about how long day you had, how stressful your life might be, think of the nature. Think about the energy sun emits,
think about the calmness of the water in pond, the joy of river water that has shown courage and decided to take the
journey from a high mountain to forming river later flowing to various places. Feel the energy universe holds. Just
move your hands like the water flowing, let your hands lead your entire body. Feel the energy passing by your arms
to head to middle body and then legs. Just let pass by. Dance involves the body, emotion, and mind, all three of these
culturally mediated, not only biologically based. Our perceptions and use of body, emotion, and mind are influenced
by culture.
Random movements that just made you realize how each of your body parts are coordinately connected to each other.
This is dancing the physical and the spiritual movement that made you meet yourself.
For me dancing is just a method of spiritual connectivity. The music is within you. It’s like your body worshiping
your soul for peace and joy. God is within you, so you can say it’s a way to worship god too.
Being a dancer, it is feels overwhelming that I have this power to move my body in a certain way on music. Blessed
practicing something that has a rich history with my culture. The reasons for dancing include to gain plea sure, to
relieve stress, to master skills, to respond to social pressure, to participate in a group emotional experience, and to
benefit from dance therapy. Some dance has healing consequences, some dance is intended to heal, and, of course,
there is an overlap.
But again, dancing is just to enjoy within. Being from a Bengali family, higher education is most prior here. Though
Bengali culture is very much into art they have extremely rich heritage of dancing and music but they lead a mindset
of high education. Choosing dancing as a career and making everyone believe in me has become a task. Although it
is not that difficult as my parents were supportive.
With all positivity my father told me “do what makes you feel happy doing, don’t let your profession be the burden”
and I believe he said the most practical thing. We all know about the origin of dance, Indian culture about performing
arts, Nataraja, the Vedas, all these tells us about the history about dance. But still the same country sometimes doesn’t
pay much respect to an artist, dancer.
Learning about everything about dance, Vedic, Sanskrit literature, makes me believe how I am growing internally as
well as working on my skills daily. I feel pleased to be a part of this entire thing. Being always surrounded by artists.
I wish people who still have any doubts with dancers and other artist could know about blissfulness of such a beautiful
art form. To me dancing is just the easiest way my body could communicate. The most attractive method to connect
myself with the ingrown energy. It is like a therapy to make your self-relaxed stretching your body. Moving along
with music. Dictating a story just my gestures of hands, body movements and facial expressions. Tell me how well
can you use each part of your body in any other way?
To me, the gift of dance is having the opportunity to be able to pursue expression and beauty through movement and
imagination. Also, to be surrounded by people on and off the stage who are also ‘transported’ by dance.So just give
yourself this opportunity to meet yourself. Feel the surrounding, energy around and just dance.

Q2 Give brief idea about type of dance worlwide.

Classical Dance
Classical dance is based on Shastras. It has definite rules and regulations. The classical dancer has to have mental
and body discipline. It needs regular and rigorous hours of training and practice.
Indian classical dance has a Devine origin. It was performed in temples, so the theme is Bhakti.
After that phase some of the came to court of kings as a form of entertainment and so the Sringara rasa was also
incorporated in dance. Now it has taken its places in auditoriums. The classical dances of India are Bharatanatyam,
kathak, Manipuri, Kathakali, Kuchi-pudi, Mohiniattam, Odissi.
Classical Indian dances have historically involved a school or guru-shishya parampara (teacher-disciple tradition)
and require studies of the classical texts, physical exercises and extensive training to systematically synchronize the
dance repertoire with underlying play or composition, vocalists and the orchestra.
The dancer acts out a story almost exclusively through gestures. Most of the classical dances of India enact stories
from Hindu mythology. Each form represents the culture and ethos of a particular region or a group of people.
Folk Dance and Tribal Dance
India is a rich country of cultural and folk art. When the folks assemble together and dance in joy, it is known as folk
dance. It is usually performed during religious festivals and social getherings. It is performed in public places.
The aim of performing these folk dances is to forget the daily tensions and to bring pleasure to the mind. In this type
of dance the steps are very simple. It does not need rigorous practice nor years of learning.
Geography and History play an important role in folk dance, one comes to know about culture, attire, and the customs
of particular places.
Examples: Bhangra- Punjab, Ras Garba- Gujarat, lavani and Koli- Maharastra, Kummi and Kollattam- Tamil Nadu,
Kaikotikali- Kerala. Folk dances are passed from one generation to next.
Tribal Dances in India are inspired by the tribal folklore. Each ethnic group has its own distinct combination of
myths, legends, tales, proverbs, riddles, ballads, folk songs, folk dance, and folk music.
The dancers do not necessarily fall rigidly into the category of "tribal". However, these forms of dance closely depict
their life, social relationships, work and religious affiliations. They represent the rich culture and customs of their
native lands through intricate movements of their bodies. A wide variation can be observed in the intensity of these
dances. Some involve very slight movement with a groovier edge to it, while others involve elevated and vigorous
involvement of limbs.
These dances are composed mostly on locally made instruments. Percussion instruments feature in most of these
dances. Music is produced through indigenous instruments. Music too has its own diversity in these tribal dances
with the aesthetics ranging from mild and soothing to strong and weighted rhythms. A few of them also have songs,
either sung by themselves or by onlookers. The costumes vary from traditional saris of a particular pattern to skirts
and blouses with mirror work for women and corresponding dhotis and upper-wear for men. They celebrate
contemporary events, victories and are often performed as a mode of appeasing the tribal deities.
A lot of the dance styles depend upon the regional positioning of the ethnic group. Factors as small as east or west
of a river result in a change of dance form even though the over-reaching look of it may seem the same.
Some examples are: Santhali Dance, West Bengal, Jharkhand & Odisha, Bamboo Dance, Mizoram, Kalbelia Dance,
Rajasthan, Elelakkaradi Dance, Kerala, Bhagoria Dance, Madhya Pradesh, Chhau Dance, and West Bengal

Different types of dance we see worldwide are as follows:

• War Dance
• Religious Dance
-Marriage Dance
-Medicine Dance
• Magic Dance
War dance
A war dance is a dance involving mock combat, usually in reference to tribal warrior societies where such dances were performed
as a ritual connected with endemic warfare. Martial arts in various cultures can be performed in dance-like settings for various reasons,
such as for evoking ferocity in preparation for battle or showing off skill in a more stylized manner.

There are many types of war dance throughout the world some are listed as bellow.

Pyrrhichios or Pyrrhike:

It is a dance form of ancient Greek people. A mimic war-dance among the Greeks, representing attack and defense
in battle. It was probably of Dorian origin and practiced at first solely as a training for war. According to ancient
sources it was an armed dance. In Crete, who traced it back to the Curetes, and in Sparta, where it was traced to
the Dioscuri. Plato describes it as imitating by quick movements the ways in which blows and darts are to be avoided and also the
modes in which an enemy is to be attacked. It was danced to the sound of the aulos; its time was quick and light, as is also shown
by the metric foot called pyrrhic. Thereupon there was a roar of applause, and the Paphlagonians asked if the Greek
women also fought side by side with their men. The Greeks answered that these were the very women who had
routed the king from his camp.
Al Ayala
Al Ayala, also known as Yowalah, is one of the most famous features of Emirati society. Commonly known as the
“stick dance”, Al Ayala is the traditional folk dance of the United Arab Emirates (UAE). It has been a symbol of
the country’s national and cultural expression for many decades. The dance is also accompanied with traditional
music, and a separate group of male and female are represented. Yowalah it is the distinctive in both its music and
dancing. Al-Ayyala involves chanted poetry, drum music and dance, and simulates a battle scene.
The Al Ayala follows a strict code of rules. It is usually performed by dancers standing in two rows facing one
another. Wielding bamboo sticks, the dancers imitate a battle scene by synchronizing their movements to the
accompanying poetic chants and drum beats. The melody has seven tones in an irregular repeated pattern, and the chanted
poetry varies according to the occasion. Al-Ayyala is performed during weddings and other festive occasions in both the Sultanate
of Oman and the United Arab Emirates. Performers come from diverse backgrounds and age groups. The lead performer is usually
an inherited role and is responsible for training others performers. Al-Ayyala is inclusive of all ages, genders and social classes.
Yowalah is considered a victory dance, and it used to be performed usually after a victory in a tribal war or after returning from a
successful pearl diving.

Kalarippayattu
Considered among the oldest and most scientific martial arts in the world, Kalarippayattu was developed in Kerala.
Lauded as the pride of Kerala, it is acknowledged and respected across the world. here are 3 acknowledged styles
of Kalarippayattu – Northern, Southern and Central – with the names referring to different parts of the Kerala
region. The Northern and the Southern styles each have their own mythical gurus – Parashurama and Agastya
Muni, respectively – and their own founding myths. Kalarippayattu has different techniques like meipayattu
(physical body exercise), vadipayattu (fight using sticks), valpayattu (fight using swords) and verumkaiprayoga
(bare hand exercise)
This involves defensive and offensive techniques. Here also oral instructions are given. Also, the use of sword,
shield, urumi (flexible sword), kuntham (spear) and kattari (dagger).
Vaythari (oral commands) is the most important stage in Kalarippayattu training. The kalari Asan controls the
movements of the performers through Vaythari. Vaythari has a rhythm of its own. Sometimes elder students and
others may give Vaythari.

Tahtib
Tahtib is one of the oldest martial arts in the world. It was taught to ancient Egyptian soldiers and used in battle.
Since then though tahtib has become less and less of a martial art and more of a dance.
The original techniques and strategies are still taught today though. The art has never really made its way out of
Egypt. Still today tahtib is primarily only taught in Upper Egypt and few other places around the world. As stated,
with time tahtib turned from martial art to traditional dance. The wooden stick has still remained a part of the dance
routine though. The dance encompasses many moves used from its martial art predecessor.
The stick used in both forms of Tahtib is approximately 1.2 meters in length. Its movements are notable due to the
sounds that occur. This is what has made the stick such an iconic part of tahtib.
As with its combative counterpart, the dance form of tahtib was originally performed by men, but female versions
were later developed. In one form, the women dress as men and imitate the males. Another female variant is
performed flirtatiously and with less aggression. The stick used for this dance is generally more lightweight and
hooked at one end like a cane. It is often embellished with metallic-colored foil or sequins. The costume is a simple
baladi dress. Performances include balancing the cane on the head, hip or shoulder.

Cakalele Dance
Cakalele is a war dance, Moluccan traditional dance that is played by about 30 men and women. This dance is
occasionally performed to welcome the guest of honor that come to Maluku. Other said that, this dance is
performed during the offspring to the ancestors.
The dance is performed by men, two of whom represent opposing captains or leaders while the others are the
warriors supporting them. After an opening ritual, the captains engage in a mock-duel with a spear (sanokat) and
long knife (lopu) while their supporters use a long knife in the right hand and a narrow wooden shield in the left
hand. Cakalele’s male dancers wore the armor that is dominated by red and yellow colors.
Meanwhile, the female dancers are dressed in white traditional clothes, while holding handkerchiefs (Lenso) in
both hands. The dancers are in paired and it accompaniment by traditional drum, flute, and large mussels (bia) that
blown.
The specialty of this dance lies in three function symbols.
Red clothes male dancer costume, is symbolizing a sense of heroism on Moluccas, and the courage and patriotism
of the Moluccan in the face of war.

The sword in the right hand is symbolizes the dignity of the Moluccans that should be maintained until death.
The shield (salawaku) and shouts loudly during the dance is symbolize the protest movement against the system of
government which is considered impartially to the community.

Scottish sword dances

The Sword Dance is the ancient dance of war of the Scottish Gael and is said to date back to King Malcolm
Canmore (Shakespear’s McBeth).
Tradition says the original Ghillie Callum was a Celtic prince who was a hero of mortal combat against one of
McBeth's Chiefs at the Battle of Dunsinane in 1054. This dance of exultation became a tradition among the
highland warriors, and in subsequent battles, clansman would cross their swords and dance around them in the
same way. In addition to being a test of skill and agility, it was believed that if they could complete the dance
without touching the swords, it was a good omen that they would be victorious in the coming battle. However to
touch or displace the swords was a bad omen and was indicative of losses or even defeat.
As a part of the traditional Scottish intangible heritage, the performance of the Sword Dance has been recorded as
early as the 15th century. It is normally recognized as the war dance with some ceremonial sense in the Scottish
Royal court during that period. The old kings and clan chiefs organized the Highland Games as a method to choose
their best men at arms, and the discipline required to perform the Highland dances allowed men to demonstrate
their strength, stamina, and agility.
The dance is performed over or around 2 crossed swords (although 3, 4 or even 8 swords are used from time to
time)
· The dance normally comprises slow (strathspey) time followed by quick (reel) time
· The dancer normally travels anticlockwise round the sword
The dance performed at the Highland Games today typically comprises 1 dancer performing over 2 crossed swords
and includes 2 or 3 slow steps followed by 1 or 2 quick steps and focuses on technical accuracy and the precise
placing of the feet. Whereas the dance seen in exhibitions tends to be performed at a much faster pace and where
completion of the dance without inflicting self-injury necessitates appropriate placing of the feet and rapid body
turns and as a result is an extremely exciting visually display.
In the first step the dancer performs the steps outside the sword or "addresses" the sword. Subsequent steps are
danced over the crossed blades, but notice that once inside the blades, the dancer never dances with his back turned
to the swords - only a fool would turn his back on a weapon. It requires tremendous dexterity not to displace the
swords. It is worthy of note that the Sword Dance is unique in Scottish Dance in that it is comprise almost entirely
of only one movement - the pas de Basque. All other movements provide a supporting role.
Hopak- Kiev, Ukraine
Further north, Russians and Ukrainians are dancing the Hopak, or the gopak in Russia . Named after the Ukranian
term hopaty, meaning “to jump”, Russians and Ukranians have been performing this dance since the 16th century.
In western areas of Ukraine, this dance is called the hopak-kolo. Here, the dance is performed in a closed circle,
with no specific patterns of steps; it is all based on improvisation.
The hopak was originally a dance performed by military men as a dance of victory, representing battles through
leaping dance movements. Today, it is also danced inpartners and in groups. The modern day hopak is often
accompanied by woman adorned in traditional clothing, dancing alongside squatting, split-leaping men.
Adumu “Aigus” — Kenya and Tenzania
Next on the list, the traditional African Adumu dance. Performed by the Maasai tribes of East Africa, the Adumu,
also known as the Aigus, is a competitive jumping dance performed as a part of Eonoto, a Maasai coming of age
ceremony for warriors; a right of passage that initiates a boy into a man.
To begin the dance, warriors start by forming a circle. Then, little by little, one or two of the boys will enter the
circle. Once in the circle, the boys jump as high as they can, never once allowing their heels to touch the ground.
Throughout the Adumu, the voices of the boys in the circle can be heard above the music and clapping of
community members, raising their pitch based on the height of their jumps.

Religious Dance
Is the use of dance in religious ceremonies and rituals, present in most religions throughout history and prehistory.
Its connection with the human body and fertility has caused it to be forbidden by some religions.
Dragon dance
This is a traditional dance form and performed in Chinese culture. The origin of the dragon dance can be dated
back to the Han Dynasty (206 BC–220 AD). It was then used in a ceremony for worshiping ancestors and praying
for rain, and it gradually developed into an entertainment activity. Dragon is a symbol of China, and is an
important part of Chinese culture. Chinese dragons symbolize wisdom, power and wealth, and they are believed to
bring good luck to people

The dragon body is woven in a round shape of thin bamboo strips, segment-by-segment, and covered with a huge
red cloth with dragon scales decorating it. The whole dragon is usually up to 30 meters in length — and people hold
rods every 1 to 2 meters to raise the dragon segments.

Another kind of dragon, called the 'Fire Dragon', is very eye catching at night, because candles or oil lamps are
suspended inside it. Thin bamboo strips are woven into several cylinders, making up the body of the dragon, and
covered with beautiful transparent cloth or paper — the skin of the dragon. At night it looks like a dragon full of fire.
The dragon body used for the dragon dance is usually placed in a local 'Dragon King Temple', and only on the
day of the dragon dance can it be taken out, accompanied by local people holding banners and flags, pounding on
drums, and blowing trumpets. People connect the head and the tail of the dragon to its body, and hold a ceremony
of "eye-pointing"

A person holding a rod with a big ball at the top leads the dragon during the dance. The ball is moved left and right,
back and forth, up and down, and the dragon follows the ball. Its body, moving in waves, appears to be dancing.
After the dance, the dragon's head and tail will be burnt, and the body is returned to the temple, where it will be kept
for use the next year.

Marriage dance:
Hora
Hora is a traditional Romanian folk dance where the dancers hold each other's hands and the circle spins, usually
counterclockwise, as each participant follows a sequence of three steps forward and one step back. The dance is
usually accompanied by musical instruments such as the cymbalom, accordion, violin, viola, double bass,
saxophone, trumpet or the pan pipes.
The hora is popular during wedding celebrations and festivals, and is an essential part of the social entertainment in
rural areas. One of the most famous hore is the Hora Unirii (Hora of the Union), which became a Romanian
patriotic song as a result of being the hymn when Wallachia and Moldavia united to form the Principality of
Romania in 1859.
Irish wedding dance
It wouldn’t be an Irish wedding without entire guest list forming a circle around the bride and groom at the end of
the night and singing various songs. However, this sometimes leads to a dance-off, especially with the younger
crowd. Some fella might think it’s a good idea to join the bride and groom in the circle and throw some peculiar
shapes. Before Christianity was introduced in island couple who need to show their commitment used to do
handfasting. The couple hold hand in hand crossed and holding the ribbon across their left hands.
African/ American traditional wedding dance
They have the tradition known as ‘jumping the broom” The practice may also be related to a British version of
carrying the bride over the threshold. For that tradition, in some British communities, brooms were placed at the
entrance of the room the bride and groom would go into. Anyone who refused to step over it would be considered a
witch.
It's through 18th century British migrants that the folk ritual made its way to the United States.

Dabke
This is an Arabic folk dance. Dabke combines circle dance and line dancing and is widely performed at weddings
and other joyous occasions. The line forms from right to left and leader of the Dabke heads the line, alternating
between facing the audience and the other dancers. An Arabic folk dance which originated in the mountainous
regions above the Mediterranean coastline and the Tigris River, and is still practiced in Middle Eastern regions.
When first created, the Dabke dance was practiced by people of the villages and towns of Lebanon, Syria,
Palestine, Jordan, Iraq, and some Quasi-Bedouin tribes that were in nearby territories.
There are many types of Dabke one of which is,
Al-Shamaliyya : It is probably the most famous type of dabke. It consists of a lawweeh at the head of a group of
men holding hands and formed in a semicircle. The lawweeh is expected to be particularly skilled in accuracy,
ability to improvise, and quickness (generally light on his feet). Typically, the dabke begins with a musician
playing a solo on the mijwiz or yarghoul of a Dal Ouna piece, often with two singers accompanying his music. The
dancers develop a synchronized movement and step and when the singers finish their song, the lawweeh breaks
from the semicircle to dance on his own. When the leader of the dabke sees that the men's steps are one, in sync, he
instructs the dancers to slow down and begin a movement crossing their right foot in front of the opposite one
(their left foot). The lawweeh continues to inform the dancers of their basic rhythms, and at this point other guests
at the wedding or event occurring will join in the dabke line. This is the most popular and familiar form of dabke
danced for happy family celebrations, such as weddings, circumcisions, the return of travelers, release of prisoners,
and also for national holidays, in which dabke becomes a demonstration of national personality.
Medicine dance
The literature on dance and healing suggests that through dance, with its physical, emotional, cognitive, and
cultural dimensions, a person may gain a sense of control related to stress and pain. Reports on dance and healing
suggest that dance for some people may provide a feeling of control that minimizes the sense of helplessness and
fear related to pain as well as promote motor functioning.
There are at least four ways of getting a sense of control through dance that may enhance hearing. These are (1)
possession by the spiritual manifested in dance, (2) mastery of movement, (3) escape or diversion from stress and
pain and (4) confronting stressors to work through, ways of handling their effects.
1. With respect to possession by a deity or spirit that proceeds to speak or act using the possessor's body, some
cultures, e.g., in Africa the Caribbean, Middle East, Brazil, and Korea, recognize that a person's poor physical
condition and related fear and helplessness may also be associated with difficult social relationships which the
person feels helpless to remedy by him or herself. These cultures have healers, such as medicine men and women,
sometimes called shamans.
Shaman
Shamanic dancing is a doorway to the World of the Spirits. The shaman uses dance to call the Spirits and bring
them into our world. This way of working offers an intimate and direct connection, and is one of the most
empowering and clear ways of contacting the Spirit world. Shamanic dancing summons the Spirits, inviting them
to dance us, as much as we dance with them. In shamanic dance, the main form of communication happens through
movement which can be seen as a kind of shamanic journey.
The sick person or healer through learned behavior, may become possessed by a spirit or deity that manifests itself
in specific dances identified with the supernatural. Diagnosis and treatment of the sick person may then require
following the supernatural's directive for healing. Sometimes dancing performed by the healer or sick person
exorcises the spirit or deity that caused a debilitating condition.
2. A second way that dance can help individuals gain a sense of control toward healing is through mastery of dance
movement. Mastery of the preparatory physical exercises, movement sequences, and the dances themselves not
only may aid body functioning but also increase a dancer's awareness of the body's natural responses. In western
dance classes and therapy, there are usually warmups with stretching for different parts of the body. Dancing may
give a person a sense of being in charge of the body and its actions, physical health, and appearance. The sense of
self-mastery contributes to a positive self-perception, body image, self-esteem, and self-confidence. Among the
Ubakala Igbo of Nigeria, youth performance in dancing is advertisement for marriage: a person's qualities are
believed to be revealed in dancing.
References: en.wikipedia.org, www.starquestdance.com , www.greecehighdefinition.com , www.keralaculture.org
, masterfighting.com, www.toeandheel.com , www.bvgnet.nl, www.insider.com , www.griotsrepublic.com ,
www.indonesia-tourism.com , www.shamanism.dk