Foreign

Folk
Dance
Folkdance
Tells us much about a country and its people.
Relates the traditions, ideas, superstitions, and
events of daily living of countries all over the
world.
Body movement is used to express idea or a
theme.
Some portrays feelings, moods, and religious
rites; other depicts occupations, social activities,
and imitation of nature.
Wonderful display of national or ethnic cultures.
Latin American
Dances
Mexico
La Cucaracha
Carefree abandon that show the lively Latin
temperament of the people
American Dances
America
Play party dances and square
dances show openness to new
personal relationships that
typified the early pioneers.
European Dances
England
Scotland
HIGHLAND FLING
Ireland
Were first performed as ritual
dance for fertility and as prelude
to war. Their steps still portray a
certain preciseness and at the
same time gaiety.
IRISH LILT
Italy
T
A
R
A
N
T
E
L
L
A
Denmark
DANISH DANCE OF GREETING
Eurasian Dances
Russia
Foot stamping and leaping dances that show their zest for
life and also indicate that they have a cool climate
Oyda
ARKADSKY
ASIAN
DANCES
Indonesia, Thailand, Malaysia
Masked dances tell about the religious beliefs of the
people
Philippines
TINIKLING
APIR
China
CHINESE FAN DANCE
Japan
mincing steps show the position of women
in the society.
Dance in Japan
The ethnic dance art of Japan is somewhat
formalized in its style, presentation, and
organization.

CATEGORIES
1. Theatrical, classic dance known as Bugaku
2. Kabuki Dance Theater, or such peasant dances
as the Bon dances linked to countryside
festivals and celebrations.
Dance in Japan has an ancient and well-
documented history.
Gagaku is the term used to describe noble or
elegant music stemming from a period of 19
th
to
10
th
century A.D, which drew elements from
many Asian nations and cultures and was
established as a traditional form of
entertainment in the Imperial Japanese
Household.
Gagaku incorporated music and dance of both
sacred or secular origin as part of Buddhist
services, at Shinto Shrines, and as
entertainment at the Imperial Court.
A dance performance in Gagaku is known as
Bugaku.
Bugaku Dance is relatively simple and
sysmmetrical linking in rapid or complex
movement and with drastic elements
subordinatedto pure dance form.
In contrast, the Kabuki Dance Theater is
relatively new form of dance art, having
originated during the 19
th
century. The dance
was clearly influenced by older and more
traditional elements of Japanese Theater.
The content, dramatic themes, costuming, and
other conventions of dance, descended from
ancient Kabuki, blends music, acting, and
dance in brightly stylized performance.
Men enact all the roles. Many of the pores
and movements are influenced by an early
puppet theater and the types and styles of
Kabuki which is being performed: Kyogin
Zyoruri, a puppet drama with much
dramatic content; Noh Drama, performed
only in special times of the year. These
are also called Transfiguration Dances.
The last is the comical Zyoruri Dance.
Japanese dances are also characterized
by the style and range of movement.
a. Odori- is a stage dance performed by
swift movements of the feet and lower
part of the body.
b. Mai Dance- involve movement of the
upper half of the body, including the
head, arms, and shoulders.
c. Shosa Dance- is a gene mimetic and
realistic imitative movement. This is
devoted to cultural tradition.
Japanese Parasol Dance
This is a very colorful, easy dance for girls. It is
customary with Japanese girls to use umbrella
for rain and sunshine.

It is said that the history of Japanese dancing
goes back to the mythical age. A famous
Japanese myth tells us that Amenouzume no
Mikoto danced in front of the Amano Iwato to
open the cave entrance that Amaterasu
Ohmikami had concealed herself in. The 'kagura'
dancing in its religious and mystical influence is
said to have came into existence from this story.

'Bugaku' and 'Gagaku' were brought over from
China while 'Dengaku' and 'Sarugaku' sprang up
as the entertainment of Japanese farmers. From
these, the uniquely Japanese 'Nohgaku' came
into being. 'Nogaku' came to have an influence
on Kabuki. It is thought that the current form of
Japanese dancing is the direct descendant of
Iizumo Okuni's Nenbutsu Odori'. The dance of
Okuni is different from ' Nohgaku', but it was a
dance that has its origin in ethnic dancing.
Izumo Okuni is also credited as being the
founder of Kabuki.

It can be said that Kabuki and Japanese dancing
used to be synonymous. Later, however, the
Okuni Kabuki was played by prostitutes

and was passed down from generation to
generation. During the Edo period, it was
prohibited because it was thought to be might be
immoral. Irregardless of this suppression, kabuki
passed down form generation to generation while
changing style.

Kabuki used to be simple dancing (odori), but the
element of performance was introduced into it.
The ryukyu (Okinawa snake-skin shamisen)
was brought to mainland and changed into a
shamisen. From then the accompaniment of music
progressed. Gradually the element of story-telling
performance became the focus of the
performance. Many performances based on
authentic news accounts were written.


Even though it has changed to the dramatic
performance of today, the posturing of Japanese
dancing, the vocalization of traditional Japanese
music and the stage presentation has been
preserved carefully. Furthermore the training
and endowment of Japanese dancing has been
essential basis of Kabuki theater.

In Kabuki programs there are many pantomime
dances called 'shosagoto'. It was the evidence of
shosagoto in Kabuki that illustrated the use of
Japanese dancing by choreographers and
directors of Kabuki.


In kabuki performance, only men can
appear on the stage, women are allowed
in the exception of a special case. Since
Japanese dancing branched off from
Kabuki, many women became concerned
with the inheritance of Japanese dancing.
And until today, many schools were
organized and concentrated their efforts
on inheritance and evolution of Japanese
dancing by making the best use of their
unique, distinctive features.


Parasol
A small lightweight umbrella
with a captivating design
used for traditional dances.
It is not suitable for use in
the rain, but it is perfect as a
parasol. When not in use,
this beautiful item can be
used as a classic decorative
piece in the home. Can
conveniently be broken
down and folded into a
smaller portable size.
This dance umbrella is
covered with delicate paper
printed with exquisite
patterns. Beautiful thread
work can be seen around
the bamboo ribs inside.
Kimono
Front / Back View
Wooden Slippers
Music is composed of three parts: A, B,
and C.
The music used here is Mikado.
Count one, two to a measure or one, two,
three, four to two measure.
Formation. In group facing the audience.
The open parasol is held with two hands
over the head, the handle at chest level.
They stand about four feet away from
each other. One to any number of sets
may take part in this dance.
Bon Utah
the traditional Japanese 'BON ODORI' (Bon Dance)
performance as seen in every major city throughout
Japan every August during the Buddhist Obon holiday
season. This Obon holiday has evolved into a traditional
family reunion during which people return to their
hometowns and visit and clean their ancestors' graves.
This holiday has existed in Japan for over 500 years and
includes this remarkable 'BON ODORI' dance style. This
form of group-oriented dance is performed in various
styles and patterns depending on the region, but it is
mainly celebrated as a reminder of the gratefulness one
should feel toward one's ancestors. The 'BON ODORI' is
believed to have started in the later years of the
Muromachi period (1336-1573) simply as public
entertainment. This kind of traditional group-oriented
dance style is truly remarkable, very upbeat and an
absolutely magnificent performance to see, especially
when witnessed live.
Formations used in Folk Dances and
other Rhythmic Activities
Key to diagrams
X = Boy
0 = Girl
= where facing or going
Column Formation Column Formation
(Partners facing front) (Partners facing each other)

X 1 0 X 1 0
X 2 0 X 2 0
X 3 0 x 3 0
X 4 0 x 4 0
Column Formation
(Partners facing each other)
X 0 Line Formation
(Partners facing each other)
0 0 0 0
0 x

X 0 X X X X


0 x
Single Line Formation
(Partners side by side facing front)
Square Formation
X 0 X 0 (Partners facing center
occupying sides of square)
Semicircle Formation 1
(Partners facing front) 2 0X
X 0 4
X X 0 X
0 0 X
X 0 3
Square Formation
(Partners facing center occupying corners of
square)
X 0 Set of Two Pairs
0 1 X 4 Partners facing
each other
X 0
0 2 X 3 X 1 0

0 2 X
Home Corners facing Diagonally





In Single File Rectangular Pattern
0X0X
0
X
0
X
Single Circle Partners facing in





Single Circle Partners facing clockwise



Single Circle facing each other




Double Circle Partners facing
counterclockwise

Double Circle Partners facing each other

Double Circle
Partners facing in
opposite direction
Boys
X
0
Girls
Boys X
Girls 0
Double Circle Two Pairs facing each other




Double Circle Partners facing in

Boys
X
0
Girls
Double Circle Partners back to back Position

Boys
X
0
Girls
Dance Positions
Partners stand side by side- inside hands
joined, free hands on waist or down at
sides or girls free hand holding skirt and
that of boy is placed on hip or waist.
Partners stand side by side- inside hands
holding each others waist, free hands
overhead, down at sides or on hips or
waist.
Partners stand side by side- hooking or
linking inside elbows facing same
direction or opposite direction.
Partners stand in back-to-back position.
Partners face each other- shoulder-to-
shoulder hold , waist-to-waist hold, waist
and shoulder hold, both hands joined
and stretched sideward at shoulder level
or crossed-arm position.
Partners stand apart from each other-
facing each other, facing front, facing
rear, or facing opposite direction.
Close Ballroom Position
Open Ballroom Position
Varsovienne Position
Promenade or Skating Position
Dance Terms
Allemande Left. In quadrille or circle formation, all couples
execute, it at the same time in the same manner. The boy
turns to the girl at his left and takes her L hand in his L hand
and turns her once around counterclockwise, then both falling
back to places.
Allemande Right. The boy faces his own partner, takes her R
hand in his R hand and turns her once around clockwise, then
both falling back to places.
Cast Off. When the dancers are in long formation, the leaders
or head couple countermarch outward to the end of the line
where the last couple was, countermarch inward to proper
places. All the dancers in the line follow their respective
leaders.
Circle left and Right. The designated couples or dancers join
hands and walk to left (for circle Left) with light, springy steps
clockwise for eight or sixteen steps and then to the right
counterclockwise (for circle right); bringing them back to their
home positions.

Clockwise. Like the direction of the hands of the clock as
they move.
Cross-over. When opposite couples cross-over, each pair
proceeds in a straight line to the opposite place. The
girls pass between the boys and by each other by L
shoulders. Upon reaching the opposite place, partners
turn about, girls standing at partners right side.
Curtsy. To bend knees and body slightly with a bow of
the head. The weight of the body is on one foot, the
other foot pointing in rear across the other.
Dip.
Fwd Dip. When partners are in open ballroom
dancing position a fwd dip is done by bending slightly
the knee of the foot in front, weight of the body on it.
The leg in rear is raised.
Bwd Dip. When partners are in open ballroom
dancing position a backward dip is done by bending
slightly the knee of the rear foot , weight of the body on
it. The leg in front is raised.
Dosido. Partners are facing each other. Advance fwd
passing each other by R (L) shoulders, step cross the
R (L) and walk bwd without turning around passing
each other by the L (R) shoulders to proper places.
Draw. When one foot is pulled along the floor in the
direction of the foot which has the weight of the body.
The weight may or may not be transferred, according
to the step used.
Elbow Swing. Two dancers link R elbows and swing
clockwise either with springy walking steps or buzz
steps.
Folded Arms. Raise the arms in front at shoulder level,
with one forearm on top of the other.
Forward and backward. All or any designated dancers
take four steps fwd and four step bwd. Hands may be
joined or down at the side.
Free foot. The foot not bearing the weight of the body
Free hand. The hand not placed anywhere or not
doing or holding anything.
Hop. A spring on one foot, landing on the same foot in
place or in any direction. The free foot is raised in front
or in rear.
Inside Foot. The foot nearest ones partner, when
partners stand side by side.
Jump. A spring on one foot or both feet in any direction.
Inside hand. The hand nearest ones partner, when
partners stand side by side.
Leap. A spring from one foot and land on the other foot.
Ladies Chain. Girls exchange places offering R hands as
they pass. Girls join L hand with L of opposite boy who
places his R hand around her waist and turning her half
way around. Girls return to the original places giving R
hands to each other as they pass and give L hands to
partners who turn them around, as the opposite boys, to
their original places.
Link Elbows. Hook L (R) elbow with partner or any
dancer
Open Position (Ballroom Dancing). Partners hold in
ballroom dancing, facing one direction, toward the
extended arms.
Outside Foot. The foot away from ones partner,
when partners stand side by side.
Outside Hand. The hand away from ones partner,
when partners stand side by side.
Partners side. The partners change with four light
running steps passing by the L shoulders. Turn left
about to face partner and return to original
position passing by the R shoulders.
Point (Touch). Touch the floor lightly with the toes
of one foot, weight of the body on the other foot.
Promenade. Partners are side by side, l shoulders
toward the center, holding in skating position (R
hands joined over the joined L hands) at waist level or
in varsovienne position (boys R arm around back of
girl, holding her R hand close and at level of her R
shoulder, and his L hand holds her L hand in front or
at the side) they walk around in a counterclockwise
direction until they reach their home position.
Set. A dance or unit formation. In square dance
formation a set is composed of four pairs standing on
the sides of a hollow square facing the center. The
boys stand at the L side of their respective partners.
The distance across the couples is from eight to ten
feet.
The couples (partners or pairs) are numbered in a
counterclockwise direction with couple 1 with back
toward the caller or music. Couple 2 on the right of
couple 1 and couple 3 is the opposite couple facing
couple 1, couple 4 is opposite of couple 2.
Partners. Dancers standing side by side with girl at the
right of boy.
Head Couples. Couples 1 and 3.
Side Couples. Couples 2 and 4.
Opposites. Partners facing each other- as couples 1
and 3, couples 2 and 4 are opposites.
Corners. The girl at the left side of boy at the right
side of girl are corners.
Home Position. The couples original position in the
set.
Home Couple (or Stationary Couple). When two
couples are performing a movement the home couple
is the one at whose place the movement is taking
place.
Visiting Couple/(s). Are the pairs moving around the
set, performing the movements with the home
couple/(s).
Spin (Whirl). To make fast turns executing small
steps in place.
Stomp. To bring down the foot forcibly and noisily
on the floor (like doing a heavy step) with or
without transfer of weight.
Star Right and Left. This is also known as Mill or
Wheel. Four dancers put their R hands in the
center and walk around clockwise (Star Right) and
at the callers command they turn about, put the L
hands together and walk counterclockwise (Star
Left). They hold their R hands together one on top
of another or they may each grip the wrist of the
dancer in front of them.
Supporting Foot. The foot which supports the
weight of the body.
Swing Partner. Partners in social dance
position, R shoulders near each other. In this
position swing each other around clockwise
by taking quick steps on the L foot and
accenting the step on the R foot. The L foot
remains behind the R foot. This step is
known as the buzz step. Springy, light steps
may also be used.
Turn Single. This is an English term for a step
which is done by making one complete turn
to the right (clockwise) with four light
running steps, starting with the R foot.
Dance Steps
STEPS MUSIC STEP PATTERNS & COUNTINGS
Accented Running
Steps
(fast)
3/8
Stamp, Step, Step
1 2 3
Bleking 2/4


3/4
Spring L (R) & Heel Place R (L) 1 ct.
Heel-Place (R), Close (step) (R)
1 2
Heel-Place, Close (step)
1, 2 3
Break Legs 2/4 Jump both feet, Half-kneel
1 2
Chasse
(Slides)
2/4 Slide, Cut or Close (step)
1 and
STEPS MUSIC STEP PATTERNS & COUNTINGS
Dutch Step 3/4 Step, Heel-Brush, Hop
1 2 3
Gallop 2/4
6/8
Step, Cut
1 ah
Grapevine 2/4
4/4
3/4
Step, Cross-step, Step, Cross-step
1 2 1 2
Cross-step, Step, Cross-step, Step
1 2 3 4
1, 2 2 3
1 2 3
Parallel Tortillier
Opposite Tortillier
STEPS MUSIC STEP PATTERNS & COUNTINGS
Hopsa 2/4 Leap, Cross-step, Step, Pause
1, and 2, and
Hungarian Turn 2/4 Hop, Step, Step, (Turning in place)
1 and 2 (2M)
Jumping Jack 2/4

Deep-Knee bend, Jump (feet apart)
1 2
Mazurka 3/4 Slide, Cut, Hop
1 2 3
Mincing 2/4 Step, Step, Step, Step (tiny steps)
1 and 1 and
Minuet 3/4 Step, Step, Step, Point
1 2 3 1,2,3 (2M)
Pas de Basque 3/4 Circle & Leap, Slide, Cut
1 2 3
STEPS MUSIC STEP PATTERNS & COUNTINGS
Pivot Turn 3/4 Step, Step on ball & Turn, Step,
1 and 2
Step on ball & Turn
and
Cross Polka 2/4 Circle & Hop, Cross-step, Close, Step
and 1 and 2
Old Hop Polka 2/4

Hop, Step, Close, Step
and 1 and 2
Heel and Toe Polka 2/4 Heel-Place, Toe-point, Step, Close,
1 2 1 and
Step, Pause
2 and
Russian Polka 2/4 Heel-brush, Heel-step, Close, Step
and 1 and 2
Prysiadka 2/4 Full-knee bend and Stretch (1ct.)

STEPS MUSIC STEP PATTERNS & COUNTINGS
Rocking Step 2/4 Fall on Raise R (L), Fall on Raise L (R)
1 2
Rubber Legs 2/4 Cross L (R) over R (L) and twist R (L),
1
Same Position and twist
2
Schottische 4/4

Step, Close, Step, Hop
1 2 3 4
Shuffling 2/4 Slide, Slide, Slide, Slide
1 and 2 and
(tiny slides on ball)
Skip 2/4
6/8
Step, Hop
1 ah
Slide Step 2/4 Slide, Close
1 2 (1,2 3) (1, 2,3)
STEPS MUSIC STEP PATTERNS & COUNTINGS
Step-Hop 2/4
3/4
Step, Hop
1 2 (1,2 3)
Step-Point 2/4
3/4
Step, Point
1 2 (1,2 3)
Step-Swing 2/4
3/4
Step, Swing
1 2 (1,2 3) (1, 2,3)
Step-Swing-Hop 3/4 Step, Swing, Hop
1 2 3
Step-Brush-Swing-
Hop
3/4 Step, Brush-Swing, Hop
1 2 3
Touch Step 2/4 Spring R (L) and Touch L (R) (1ct.)
Touch, Close (step)
1 2
Ballroom Waltz 3/4 Step, Slide, Close
1 2 3
STEPS MUSIC STEP PATTERNS & COUNTINGS
Box Square Waltz 3/4 Step, Step, Close
1 2 3 (2M)
Cross Waltz 3/4 Cross-step, Close, Step
1 2 3
Folk Waltz or Waltz 3/4

Step, Close, Step
1 2 3
Waltz Balance 3/4 Step, Close & Raise Heels, Heels Down
1 2 3
Waltz Turn 3/4 Step, Close, Step
1 2 3
(Turning in place or moving)
Varsovienne 3/4 Slide, Close, Step, Point
1 2 3 1,2,3 (2M)