Introduction of folk dance.

Cultural dances came into being with a social function, weaving recreation into celebrations and important agricultural events.
While many groups perform folk dances onstage today, the genesis of folk dancing right up through the middle of the 20th
century was non-performative for the most part. Although exotic dancing became popular in Europe during the late 1800s and
early 1900s, the artists who performed folk dances from their own culture on stages in Paris and London had removed the
social aspect from the genre.

Folk dance is a form of dance developed by a group of people that reflects the traditional life of a certain country or region. Folk
dancing represents the dance forms of the common people as opposed to those from the upper classes.

Folk dances may emerge spontaneously among groups of people or derive from previous styles. The style can be free-form or
rigidly structures. Once established, folk dance steps are passed down through generations and rarely change. Usually
associated with social activities, some dances are also performed competitively, and in some regions, folk dancing is even
involved in cultural education.

DEFINE FOLK DANCE.

Folk dance indicates that in its culture there are values that

a person wants to identify with and present them in a specific form.

In the educational area it is also important to understand the social and cultural

influences that determine human values and

behavior, as well as developing the ability to

be sensitive to the natural and cultural heritage.

HOW FOLK DANCE HELPS YOU TO COMMUNICATE.

Dance has been and remaining one of

the important means of communication between people. Not only verbal but also non verbal communication comes to the fore.
If we

focus on the dance itself, we understand it as

artistic, physical (expressive and active), social

and cultural non-verbal communication as

determined in its nature. On the one hand it is

nature, universe, myth, and on the other hand,

it is civilization, aesthetics, choreography,

technique and an art form. Their combination

in one unit illustrates dance being on the border of anthropological dichotomy of nature

and culture.

TYPES OF FOLK DANCE

Milonga (Argentina):Milonga is a dance which could be said to be a variation of the Tango;

only the former being more relaxed. The roots of this dance go deep into the Argentinian
folklore. It is a dance that resonates with Argentina, with Buenos Aires! Of course, it was
earlier frowned upon by certain sophisticated sections of the Argentine society. But today, it
is everywhere in the country – from clubs to streets.

Gumboot Dance (South Africa):Africa is a continent that is rich and diverse in many areas
including dance. Gumboot is the dance that is performed by dancers wearing Wellingtons –
a type of boot. This dance originated from the black miners and was their form of
entertainment. The dance was formed when drumming was forbidden by the authorities, and
hence the boots were used as the alternative. It is very popular today and, needless to say,
highly energetic, too.

Baladi (Egypt):It is a form of belly dancing. Belly dancing has various streams – from
classical to cabaret. But Baladi is typically a style that evolved from the tribal areas of the
country and hence very much a traditional dance. One need not enunciate the charm of any
form of belly dancing, for it has a certain mystical and romantic allure. Baladi is very popular
in Egypt.

Tarantella (Italy):Around the 16th century in Taranto, Italy, people broke into a dance to
ward off death from the highly poisonous bite of a Tarantula spider. They would dance in a
frantic and hysterical fashion to fast music, and this is what later came to be known as
Tarantella. Today, it is one of the most popular folk dances in southern Italy and also the
world. With its hypnotic music set at a high tempo, Tarantella is also used for therapeutic
purposes.

Casino (Cuba):Casino is the Cuban style Salsa which has actually achieved great popularity
in many pockets of the world. Be it the US, Latin America or Europe, Casino is held in great
esteem. For the Cubans, Casino is more than just a dance; it is a part of their tradition and
social life. The grooves, the steps and the music make this an entertaining dance and one
that has been adapted in various other countries, too. In fact, the Miami version is known as
Miami-style Casino and is undoubtedly a favourite.

Samba (Brazil):Yes, it might sound as one of the toughest dances to excel at but for the
Brazilians’, it’s all in a day’s work. Well, maybe not a day’s work but certainly a must during
carnivals and celebrations. There are different variations of Samba based on regions but the
basic steps are similar; what changes usually are the music and the movement of legs. It is a
fun dance and perhaps that is why the dance is highlyappreciated all around the world.
Thousands of participants dance to the rhythm of Carnival beats during the Mangueira
samba school’s colorful parade at the Sambodrome in Rio de Janeiro.

Argentina: Tango
Tango is a sensual partner dance that originated in Argentina. It is now performed as part of
ballroom dance competitions around the world. One of the most fascinating of all dances, the
tango is a sensual ballroom dance that originated in Buenos Aires, Argentina in the early
twentieth century.

Japanese: Kabuki

Kabuki, a classical Japanese dance drama, originated in Kyoto more than 400 years ago.
Kabuki is a Japanese theatrical art form, defined by mime, acting, and music, but primarily
by dance. Kabuki was developed by a shrine attendant named Izumo no Okuni around 1603
in Kyoto.

BALLET

THEATRE

INTRODUCTION
Traditional theatre performances usually combine acting, singing, dance and music, dialogue, narration or recitation but may
also include puppetry or pantomime. These arts, however, are more than simply ‘performances’ for an audience; they may also
play crucial roles in culture and society such as songs sung while carrying out agricultural work or music that is part of a ritual.
In a more intimate setting, lullabies are often sung to help a baby sleep.

The instruments, objects, artefacts and spaces associated with cultural expressions and practices are all included in the
Convention’s definition of intangible cultural heritage. In the performing arts this includes musical instruments, masks, costumes
and other body decorations used in dance, and the scenery and props of theatre. Performing arts are often performed in
specific places; when these spaces are closely linked to the performance, they are considered cultural spaces by the
Convention.

HOW THEATRE IS USED TO COMMUNICATE

Theatre has always been an important means of communication and transforms crowds of
theatregoers into an audience connected by a shared moment in front of the stage. As a form of
communication and as an interpersonal medium of the moment, theatre brings about intellectual
challenges for its viewers, turning them into a public that interpret the performance based on their own
social and individual experiences.

Communication is vital to a successful theatrical experience. A play is a two way street – what is sent from the stage gets an immediate response
from the audience. There is an exchange that doesn’t happen in the movie-going experience or the reading experience. It is an actor’s job to
communicate to the audience and they will answer back.

HISTORY OF THEATRE

The history of theatre charts the development of theatre over the past 2,500 years.
While performative elements are present in every society, it is customary to
acknowledge a distinction between theatre as an art form and entertainment and
theatrical or performative elements in other activities. The history of theatre is
primarily concerned with the origin and subsequent development of the theatre as an
autonomous activity. Since classical Athens in the 6th century BC, vibrant traditions
of theatre have flourished in cultures across the world.
The origins of theatre in ancient Greece, according to Aristotle (384–322 BCE), the
first theoretician of theatre, are to be found in the festivals that honoured Dionysus.
The performances were given in semi-circular auditoria cut into hillsides, capable of
seating 10,000–20,000 people.