VI00000817

This dance is a modern reinterpretation of the traditional Haka dance, performed by the Maori in New Zealand. Haka was a ritual performed by Maori warriors to strengthen their resolve and the solidarity of the group, while displaying their might to the enemy before going into battle. Maori people are taught the Haka from an early age to build confidence and pride in their identity. Haka is officially taught in many schools in New Zealand as well. Through a long process of adaptation to the times and situations while remaining rooted in tradition, Haka has become a cultural symbol of New Zealand in the present day. Characteristics: ∙Modern reinterpretation of Haka, a traditional Maori dance Performed by Atamira Dance Company Directed by Moss Patterson Choreographed by Moss Patterson

5:59
New Zealand Aug

VI00000816

Urashima Taroyo is a famous Japanese folk tale of which numerous adaptations have been made in multiple genres, from novels to animations. This dance adaptation of a folk tale familiar to all Japanese people uses the beautiful melodies of folks songs and the dramatic movements of the dancer to express the changing emotions of the young fisherman Urashima in tender detail. Characteristics: ∙ Dance adaptation of a traditional Japanese folk tale Performed by Hanayagi Ayamai

7:33
Japan Mar

VI00000814

This is a reconstruction of the hakchum (crane dance), transmitted in Dongnae, Busan. Hakchum was so named because of its resemblance to the movements of cranes, but is not meant to be a realistic imitation. It was performed by officials in the Dongnae government office, or men of leisure in brothels, within the context of the strict class system of Joseon. It is modest but elegant and dignified. Characteristic moves include the waving of the arms, standing with one foot raised, the stretching and folding of wings, and the baegimsae step, performed by lightly swaying left and right or bobbing up and down with the left leg bent and placed in front, and right foot stretched behind. Characteristics: · Dancer performed by officials in government offices or men of leisure at brothels Performed by Busan National Gugak Center Dance Company

5:36
Republic of Korea Oct

VI00000815

The Keun Taepyeongmu is a version of the Taepyeongmu, rearranged as a mass dance. Taepyeongmu is a court dance depicting the King and Queen dancing to pray for peace and prosperity in the nation. It is thought to have been created in the early 20th century by Han Seong-jun, the father of modern Korean dance, based on the shamanic music and dance of the danggut rituals from Gyeonggi Province. Taepyeongmu is visually impressive, with elaborate and grand costumes influenced by court dances. The movements are full of energy, and set to complex and precise rhythms. The steps feature techniques such as gyeob georeum, jan georeum, raising the knee, and heel stomping and raising, timed to the changing rhythms, which are mesmerizing yet restrained. The highly technical steps are unique to this dance and give it its unmistakable style. Characteristics: ∙ 20th century adaptation of a shamanic dance performed at danggut rituals Performed by Mongolian National Song and Dance Academic Ensemble Directed by Kim, Mi-Sook

10:23
Republic of Korea Aug

VI00000813

Khon masked dance is the most iconic of Thai masked dances. It is characterized by impressive visuals that span various genres of art, from the elaborate embroidery on the costumes to highly detailed props such as masks and swords made by master craftsmen. Traditionally, Khon masked dance was performed only in the royal court and enjoyed by male members of the royalty. It is performed by over 100 masked dancers, a narrator who explains the plot of the play, a large piphat (traditional Thai musical ensemble comprising string instruments and percussions), and a chorus. The content and theme of the Khon dance is based on the Ramikien, a Thai adaptation of the Ramayana (2nd century BC), one of the two major Indian epics. According to the Khmer dictionary, the word ‘khon’ means role play. Dancers act out the narration silently. Major characters include the prince (the hero), princess, giant and monkey. Only the giant and the monkey wear masks. As the dancer’s every movement has to fit the role perfectly, Khon dancers have to be trained from a very young age. Characteristics: · Representative masked dance of Thailand · Performed by male dancers in the palace Performed by Insawang Suphachai Directed by Insawang Suphachai

5:00
Thailand Nov

VI00000812

The various forms of traditional Tajik dances can be differentiated according to region, from Pamir state, to the mountainous region, Bukhra, Khatlon region in the south, Hissar valley, and northern Tajikistan. Huboni Khatlon is a traditional dance of the Khatlon region in southern Tajikistan, bordering Afghanistan. True to the title which means ‘Beautys of Khatlon’, the dance depicts young women living in Khatlon. The dancers wear beautiful traditional costumes called ‘chakan’, which is elaborately embroidered with the bright colors of spring flowers. Characteristics: ·Dance performed by dancers wearing chakan, a traditional costume decorated with colorful embroidery Performed by Bazmoro Tajikistan National Dance Ensemble Directed by Qurbonali Kholov

7:14
Tajikistan Sep

VI00000811

Dancers wearing elaborate costumes with golden embroidery hold mirrors in their hands while dancing. ‘Sokiv jamor’ means ‘beautiful women’ in Tajik, and the dance could only be performed by royal court dancers for the Shah (King in Persian). Each team typically consists of 10, 16 or 24 women, who dance to Shashmaqom, a traditional musical genre invented by court musicians in the 17th century. The traditional dances of Tajikistan are more complicated and technical than those of other Central Asian nations. Dance is one of the oldest genres of art in Tajikistan and receives a wide range of government support in the present day. Characteristics: ∙Court dance performed by female dancers holding mirrors Performed by Bazmoro Tajikistan National Dance Ensemble Directed by Qurbonali Kholov

7:30
Tajikistan Aug

VI00000810

The Apsara dance is a dance inspired by the bas relief on the corridors of the Angkor Wat. It is also referred to as Khmer traditional dance and Khmer royal ballet, and was inscribed to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity under the title ‘The Royal Ballet of Cambodia’. Apsaras are spirits of cloud and water in Hindu and Buddhist legends. They are also referred to as ‘celestial dancers’ or ‘dancing goddesses’. The dance is characterized by magical golden costumes, elaborate make up and accessories, and slow, elegant movements. Its detailed and elaborate hand gestures can only be performed by highly skilled dancers. The Apsara dance has been performed at official events of the Khmer royal court such as coronations, weddings, funerals and celebrations for over 1,000 years. Today, the dance which recreates legends about the origins and history of the Khmer is regarded by Cambodians as a symbol of their culture. Although its practice was interrupted under the communist regime in the 60s and 70s, it was dramatically restored in 1979, right after the collapse of the Pol Pot regime. While its former glory has been restored to a certain extent, it still faces many challenges such as the lack of official support, difficulty in finding performance spaces, competition with popular culture and over-commercialization as a tourism product. Characteristics: ·Inscribed to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 (The Royal Ballet of Cambodia) Performed by Leu Sivmeng, Leng Sreypenh, Pich Raksmey Directed by Yon Sokhorn

3:09
Cambodia Sep

VI00000809

This is a portion of the traditional Bhutanese masked dance of Cham, rearranged for a solo performer. It is a combination of the ‘Drum Dance’ which represents the victory of good over evil, and the ‘Hero’s Dance’ which contains a message to the god of peace and anger. In Bhutan, Buddhism is more than a religion, being a philosophy that guides its way of life and culture. In this culture of Buddhism, Cham is regarded one of the most unique elements of the Bhutanese Buddist heritage. ‘Cham’ which refers to a type of masked dance performed at rituals, is performed at the annual festivals of temples in the region. The people of Bhutan regard the act of viewing Cham as a spiritual experience, of release from worldly attachments. Cham dancers wear traditional costumes made of silk in the 6 colors of red, white, yellow, green, blue and black. Each color stands for different aspects of nature, red for fire, energy and strength, white for water and peace, yellow for the ground, growth and elevation, green for air and finiteness, blue for the universe and infinity, and black for anger. The masks worn while dancing are carved from wood, depicting saints, wise men, guardian deities and legendary figures. The music is played using cymbals, drums, large and small copper horns, conches and bells. Characteristics: ∙An excerpt from a Cham (Bhutanese masked ritual dance) adapted for the stage Performed by Tsering Dorji Directed by Tsering Dorji

4:17
Bhutan Oct

VI00000808

This dance is a reconstruction of the masked dance performed in the Drametse region, rearranged for a solo performance. ‘Nga’ means drum, and ‘Cham’ means ‘masked ritual dance’. The Drametse Nga Cham is a dance performed during the Drametse festival to commemorate the great teacher ‘Padmasambhava’, who brought Tibetan Buddhism to Bhutan in the 8th century. It is said that Drametse Nga Cham originated from a dance performed by legendary male and female heroes living in the celestial world. Traditionally, it was performed by 10 musicians and 16 male dancers. The dancers wear monk’s robes and wooden masks depicting real or legendary animals, and dance in the temple yard. Drametse Nga Cham has an important place in the Bhutanese society, with religious and cultural significance. The Bhutanese see this dance as the source of their spiritual strength and a symbol of their national identity. However, there have been challenges in its transmission in recent years, with a decline in the number of practitioners and students. Characteristics: ∙Inscribed to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 ∙Cham, a type of masked ritual dance Performed by Ngawang Tencin Directed by Ngawang Tencin

4:00
Bhutan Nov

VI00000801

‘Awa’ is the name the Wa people, a minority ethnic group living in Yunnan Province, use to call themselves. This is an original dance based on a traditional dance of the Wa, which tells the story of a boy combing the hair of his love, and tying their hair around each other’s wrists, expressing the wish to be together always. Hair holds special significance in the culture of the Wa. Dark skin and black hair is a measure of beauty to the Wa, who have dark skin and long black hair. Shuaifa dance, in which female Wa dancers fling their long hair vigorously, is the most famous Wa dance commonly seen at religious rituals and festivals. Characteristics: ∙Original dance based on the Shuaifa dance, a traditional Wa dance characterized by the flinging of long hair Performed by Kunming Ethnic Song and Dance Company Choreographed by Yang Zhou

5:13
China Sep

VI00000807

Xuanzi Dance is performed at gatherings such as holiday celebrations and weddings in regions populated by the Zang people such as the Sichuan and Yunnan provinces. Everyone participates in this communal dance, coming into a large circle. Xuanzi dance is an expression of the unique sentiments and emotions of the Zang, passed down over generations and recognized as the pinnacle of traditional Zang dances. Xuanzi dance is characterized by the four qualities of lightness, softness, bouncing and spontaneity. The dancers keep bouncing up and down on their knees throughout the dance. The movements of the upper body include flailing the arms while wearing the traditional long-sleeved costume of the Zangs, waving the sleeves, covering the arms with the sleeves and throwing the sleeves. These movements create the elegant and beautiful lines of Xuanzi. The line is a crucial element in Chinese aesthetics and the aesthetics of Chinese dance. This aesthetic of lines is clearly visible in Xuanzi dance. Characteristics: ∙Waving or shaking arms while wearing traditional costumes with long sleeves ∙Light, soft and relaxed movements Performed by Ganzi Tibetan Autonomous Region Ethnic Dance Company Directed by Liu lifu

3:05
China Nov

VI00000800

The peacock is known as the king of the birds in Yunnan. The Dai people especially regard peacocks as symbols of luck, beauty and purity. Even today, people dance or watch the Peacock Dance during joyful occasions or festivals. Many dances among the folk dances of the Dai mimic the movements of animals. The Peacock Dance is the most famous and popular among such dances. There is a set order and format to the Peacock Dance. It consists of movements depicting it coming out of the nest, surveying its surroundings nimbly, walking calmly, find water, drinking water, playing with leisure, flapping its wings or folding and spreading its wings. Although the role of the peacock is usually played by a female dancer these days, it used to be performed by a male dancer in the past. The Dai people make up the 11th largest ethnic minority group in China among the 56 officially recognized by the Chinese government. They are mostly concentrated in the Xishuangbanna Dai Autonomous Prefecture and Dehong Dai and Jingpo Autonomous Prefecture in Yunnan, and further spread out across Laos, Vietnam, Thailand and Myanmar. Characteristics: ∙Dance mimicking the movements of animals Performed by Kunming Ethnic Song and Dance Company Choreographed by Yang Zhou

4:59
China Sep

VI00000802

‘Reba’ means ‘wandering performer’ in the Zang language, and Rebagu is a traditional dance which used to be performed by Zang folk performers. It used to be called ‘bell dance’ in the past as the male dancers used bells, while women mostly used drums. The dancers hold the drum in the left hand and a long drumstick in the right. The most common moves consist of turning left and right and flipping around to hit the drum and rotating the body while holding the drum and drumstick to the crown of the head. Most ordinary people are not able to follow these moves as the beat is very fast while the angle of movement when bending the torso back and forth is too large. Bending the waist or back is a characteristic move in the ethnic dances of Tibet. Rebagu was originally a totem dance of the primitive Bon religion of the Zang. It developed by absorbing influences from other religions, culture and folk art, to become a proud symbol of the ancient art of the Zang. Rebagu is now a representative dance of not just the Zang people but the whole of China, of well recognized artistic and research value. Characteristics: ∙Makes use of a small drum with bells (bell drum) Performed by Yanbian Heumjung Dance Company Directed by Kim Yeong-hwa Choreographed by Kim Yeong-hwa

5:05
China Aug

VI00000804

Sai Nai Mu (赛乃姆) is a folk dance rooted in the lives, customs, characteristics and clothing of the Uyghurs in Xinjiang, China. It has been widely transmitted among ordinary people in an agrarian environment. The dance moves also contain many motions from their daily lives, such as holding the hat, folding up the sleeves, dragging the skirt, and touching the chest while looking far away. A characteristic move is head shaking, moving the neck left and right. The knees are used fluidly to give a sensation of lightness and agility. The Uyghurs dance the Sai Nai Mu on joyful occasions such as festivals or weddings. There is no set order for the format and movements, being impromptu and free in spirit. Although it is usually danced in couples, there is no restriction to the number of people and anyone can join in. The music is lyrical and elegant, but can shift to a more exuberant rhythm and pace according to the atmosphere of the moment. The Uyghurs are a Turkic ethnic group which used to be active in the Mongolian highlands and Central Asia and currently reside mainly in the Xinjiang Uyghur Autonomous Region in Northwestern China. The Sai Nai Mu of the Uyghurs is a national grade intangible heritage registered in the Chinese Cultural Heritage and a compulsory subject in the middle school curriculum of China. Characteristics: ∙Utilizes movements in the daily lives of people in an agrarian culture ∙Head shaking by moving the neck moving side to side Performed by Yanbian Heumjung Dance Company Directed by Kim Yeong-hwa Choreographed by Kim Yeong-hwa

4:40
China Aug

VI00000806

Spring Rain is an original dance based on the Shuixiu dance, a traditional dance of the Zang people which has become a representative form of Chinese classical dance. It expresses the rain falling in spring and beautiful natural landscapes in elegant movements. Shuixiu dance is a ‘long sleeved dance’ performed while wearing clothes with long flowing sleeves. It is characterized by the flinging and catching of the long sleeves. The essence of Shuixiu dance lies in its harmonious and beautiful curves. It represents the aesthetic character of Shuixiu while keeping with the unique philosophy and temperament of the Zangs, which seeks harmony, peace, coexistence and concordance. Shui Xiu dance, originally performed at religious rituals, was relatively preserved in its original form due to the isolation of the Tibetan society until the 1950s. Its artistic value came to light internationally after the opening up of China in 1978. With the coming of the ‘New China’ era, large numbers of Shuixiu practitioners began to move to large cities to spread the dance, leading to its present day status as a traditional dance enjoyed by the entire Chinese nation. Characteristics: ∙Original dance based on the Shuixiu dance ∙Vigorous flinging of the long shuixiu sleeves Performed by College of Art, Chengdu Sport University Directed by 로봉

6:57
China Oct

VI00000805

This is an original dance based on the iconic Shuaifa dance of the Wa minority group in China, expressing their hunting lifestyle. Male and female dancers fling their long black hair energetically, impressing the audience with powerful and controlled movements. Shuaifa dance, in which female Wa dancers fling their long hair vigorously, is the most famous Wa dance commonly seen at religious rituals and festivals. Characteristics: ∙An adaptation of the traditional Shuaifa dance of the Wa, characterized by the flinging of long hair Performed by Seo Eun Dance Company Directed by Zhang Ge(張格) Choreographed by Li Ying

4:49
China Oct

VI00000803

This is an original dance based on the ‘Shoulder Bell Dance’, a representative folk dance of the Qiang people. While the Shoulder Bell Dance originated from the shamanic rituals of the Qiang, it has since evolved into a popular dance performed by women during traditional holidays and ethnic festivals. The Qiang is a minority ethnic group that lives in Sichuan Province, China. The history of the Qiang people dates back 4,000 years, being almost as long as the history of the Chinese civilization. Due to geographical conditions limiting their interactions with other ethnic groups, the Qiangs have managed to preserve a their culture in its original form relatively well. Music and dance have been a part of daily life and a respite from its hardships for the Qiang since ancient times. The Qiangs are particularly talented in dance, and continue to uphold a remarkable culture of dance. Characteristics: ∙Originates from shamanic rituals in primitive religion Performed by College of Art, Chengdu Sport University Directed by 로봉

4:59
China Oct

VI00000794

Jatis Waram is the second sequence in the Bharatanatyam, a dance comprising 7 sequences. Bharatanatyam is the oldest dance in India, originating from a religious dance performed by female dancers (Devadasis) for the gods in Hindu temples. Like majority of Indian traditional dances, it is based on a religious narrative. Although it used to be performed by a single female dancer, it is now common for 2 or more dancers or male dancers to participate in the dance. Bharatanatyam is characterized by its powerful rhythms. Dancers execute complex steps and detailed hand gestures (mudra) while keeping the upper body still and bending the legs or placing the heel down on the floor. The rhythms of the ghungroo (bell instrument worn on the ankles) further elevates the mood. The dancer delivers the message of the dance through highly controlled facial expressions down to the movements of the eyebrows and eyes. Bharatanatyam was an esoteric art form until the 20th century as it was traditionally performed only in temples. Today, it is taught in many schools and organizations, acting as a source of artistic inspiration in all genres of Indian art, from music to songs, poetry, painting and sculpture. Characteristics: ∙One of the 8 major traditional dances recognized by the Indian government ∙Originates from a religious dance performed by Devadasi female dancers in Hindu temples Performed by Divya Jay Pitel, Radhika Nemina Directed by Parul Shah

7:11
India Sep

VI00000795

Padam is the second sequence in the Bharatanatyam, a dance comprising 7 sequences. It is an expression of worship, humility, and a solemn spiritual message or religious prayer. Characteristics: ∙4th sequence in the Bharatanatyam, one of the 8 major traditional dances recognized by the Indian government ∙Only performed by female dancers Performed by Parul Shah Directed by Parul Shah

5:26
India Sep

VI00000797

This is a dance in the Kathakali tradition, one of the 4 major traditional dances of India, based on the story of Daksha Yaagam, about King Daksha, father of Sathi, wife of Shiva. Kathakali is a traditional art form dating back 600 years, originating from Kerala State in Southwest India in the 17th century. It is a comprehensive theatrical performance combining dance, theatre, music, makeup and costumes in a cohesive whole. Just like the Bharatanatyam, the Kathakali is a religious play in which the performer recites stories in the form of poetry and expresses it through dance and acting. The plot of Kathakali dances are based on traditional stories such as the epics of Mahabharata, Ramayana and Shaiva which form the roots of inspiration in Indian culture. At the core of the aesthetics of Indian dance is the purpose of oneness with the supernatural or rasa. Kathakali performances begin at 6 pm in outdoor stages and carry on until morning the next day. Thus, it requires great physical and mental strength, and only dancers who have gone through the toughest training are allowed to perform. Traditionally, the dance was performed only by men and male dancers played women’s roles as well. Although it was a form of high culture, only performed in the royal courts in the 17th century, it is now widely enjoyed by the general public. Characteristics: ∙One of the 8 major traditional dances recognized by the Indian government Performed by Kallekulangara Kathakali Foundation Choreographed by P.N.Ventikattaraman

11:20
India Sep

VI00000798

Kathak is a beautiful and elegant dance which expresses stories through elaborate hand movements and steps. It can be performed by both male and female dancers, and it is called the ‘dance of love’ as it is often performed together by men and women. Dancers wear ghungroo (bell instrument worn on the ankles) on both ankles and dance to the tabla (small drums played in pairs) and sitar (traditional stringed instrument with 18-21 strings). The relentless rhythm of the ghungroo heightens the excitement in the atmosphere, while the quick steps called ‘tatkar’ and spins executed to the fast paced rhythms are elaborate, sophisticated and full of energy. In ancient Hindu temples, storytellers used to tell legends through song, music and dance. The name 'Kathak' is derived from the sanskrit word ‘katha’ which refers to the professional art of storytelling, and ‘karhakas’, which means ‘storyteller’. Kathak originated in Northern India in the 3rd to 4th century BC, and was transmitted as a form of puja (prayer ritual) until the 15th century, when it developed into a dance for court banquets under the influence of Persia and the Mughal empire. Characteristics: ∙One of the 8 major traditional dances recognized by the Indian government ∙Uses the ghungroo (a bell instrument worn around the ankle) Performed by Amit Khinchi Choreographed by Amit Khinchi

7:18
India Aug

VI00000796

Odissi, a dance which developed in the East Indian state of Orissa is rooted in the dances performed by temple dancers (devadasi). It is usually performed by a solo female dancer, who acts out all the roles in legends from ancient epics. In the modern day, it may be performed together by 2 or more dancers. The Odissi dance depicts stories about the 8 incarnations of the Hindu god Vishnu, expressing deep love and strong faith in him. The detailed expressiveness of Odissi is comparable to that of Bharatanatyam, a traditional dance from the South Indian region. Its movements are restrained in scale, and a half-sitting posture with the legs bent at the knees is maintained during the dance. Unlike Khattak which involves the stretching of the arms, the arms remain curved in Odissi and there are over 50 different traditional hand gestures. The head, chest and torso are used to accentuate femininity, and the curves of the dance are emotive and sensual. The movements of the eyes and facial expressions are highly important. It is one of the oldest dances in India together with Bharatanatyam. Characteristics: ∙One of the 8 major traditional dances recognized by the Indian government ∙Originates from a religious dance performed by Devadasi female dancers in Hindu temples Performed by Papia Desai Directed by Papia Desai Choreographed by Papia Desai

5:46
India Oct

VI00000799

Traditionally, Kuchipudi was performed at night in Hindu temples or by the light of a fire, for people returning home after a long time. It is characterized by fast paced steps in time to the rhythm and sculptural poses. While it was traditionally performed only by Brahmin (priests), with men performing female roles as well, it is now performed mainly by female dancers. Tarangam is the most popular repertoire in the Kuchipudi dance-drama tradition, which demonstrates an extremely high level of skill. The almost acrobatic movements of the dance contain philosophical metaphors for the heavy responsibilities of life. The Kuchipudi dance is rooted in the Natya Shastra, an ancient Sanskrit Hindu text, while the name Kuchipudi originates from the Kuchelapuram village in the Southern Indian state of Andhra Pradesh. Although Kuchipudi was frequently performed up to the middle ages (15th-16th century), it suffered a decline following the muslim invasion. Later in the early 17th century, it spread across the entire region of India. During the European colonial era, traditional Indian religion and culture was suppressed by Christian missionaries, and the dance suffered the indignity of being treated as a vulgar dance performed by prostitutes. It was revived in the 1920s through the effort of experts who worked to restore the traditional dances of India. Characteristics: ∙One of the 8 major traditional dances recognized by the Indian government Performed by Ananda Shankar Jayant Directed by Sanjukta Sinha

10:06
India Sep

VI00000791

This is an original dance reconstructed based on traditional dances of Bali. To the Balinese, dance is a form of religious ritual performed according to the Balinese calendar. The traditional dances of Bali are inspired by nature and represent traditions, customs and religious value. The Balinese believe that the movements of traditional dances express the views of nature, while the mudra (hand movements) are related to their daily lives, laws, faith and customs. Traditional Balinese dances can be performed by both male and female dancers, who wear elaborate traditional costumes of bright colors, imprinted with flora and fauna patterns in gold foil, and decorated with accessories adorned by golden leaves and jewelry. The dance moves are very complex and precisely detailed. Dancers are required to possess not just skill, but also inner beauty (taksu), charisma, modesty and restraint, along with special spiritual power to bring the dances to life. Dances performed in the many communities of Bali are typically transmitted through unofficial channels from elders to children in the traditional sekaa groups. The traditional dances of Bali are cultural heritage containing the customs and culture of the Balinese, and an important part of the identity of a community. The three genres of traditional Balinese dances were inscribed to the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2015. Characteristics: ∙An original dance reconstructed from the three genres of traditional dance in Bali inscribed to the Representative List of the Intangible Cultural Heritage of Humanity in 2015. Performed by Dance Company of Jakarta State University Directed by Ida Bagus Ketut Sudiasa

8:13
Indonesia Sep

VI00000788

A version of the traditional Garanuhing adapted for the stage. Garanuhing can be seen in traditional parades to thank the almighty god and is typically performed by female dancers. It is performed to express gratitude and joy at the rice harvest, or at ‘Tolak Bala’ exorcism rituals to pray for the smooth recovery of people suffering from disease. The word ‘Garanuhing’ literally means a brass bell or the sound from one. It can be spherical or bell-shaped, about 5 cm wide and hollow inside, containing a small metallic object to produce sounds. These bells are used as accessories worn on the ankles or wrists of dancers in certain regions of Indonesia. Kaliningan, a genre of music played by the Sunda people, indigenous to the west region of Java, is also referred to as Garanuhing. Characteristics: ∙Ritual dance performed to give thanks for the harvest or exorcise evil spirits ∙Mainly performed by female dancers Performed by Marwar Budaya Dance Atelier Directed by Maria Sofia Trimawarsanti Choreographed by Maria Sofia Trimawarsanti

8:18
Indonesia Sep

VI00000789

Rampai Aceh is a reconstruction of Saman, a traditional performance art of the Gayo tribe of Aceh, Sumatra. The Saman dance which can be traced back to the 13th Century, is a group dance performed by over 10 dancers, who kneel in a row and perform the identical moves in a highly coordinated manner. They clap, slap their chests, thighs, or the floor with their palms, bounce their fingers off each other, gesture with their hands, shaking and twisting their heads from side to side to complex rhythms. The moves express scenes from nature and the daily lives of the Gayo tribe, such as leaves flying in the wind, water buffalo bathing, and ploughing the field. The leaders of the performance are called “Penankat”, who sing poetic verses. They are accompanied by drums, rabana and dynamic clapping. The poetic verses sing about a wide range of themes including tradition and development, religion, heroic tales, morals from daily life and love stories, told with wit and satire. Saman represents the communal values of patience, cooperation and helping each other. Saman, which is enjoyed by people of all walks of life, is performed widely at a variety of occasions, including national holidays such Independence Day, religious occasions, welcoming ceremony for honored guests and weddings. However, with rapid urbanization, youth have been leaving for the city, creating problems for the transmission of Saman for the Penankat who are unable to find suitable successors. Characteristics: ∙An original dance based on the Saman dance, inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2011 Performed by Marwar Budaya Dance Atelier Directed by Maria Sofia Trimawarsanti Photographed by Maria Sofia Trimawarsanti

8:09
Indonesia Aug

VI00000792

Tari Mansorandak is a dance created by reconstructing the Mansorandak ritual, a tradition passed down in the Tari region in Papua, the easternmost part of Indonesia. The dancers wear traditional costumes, paint red and white patterns on their bodies and dance an exuberant and dynamic dance. The dance is accompanied by a traditional Wor song, containing the wisdom of the Biak. Mansorandak is a traditional welcoming ritual, performed when a respected individual visits the village, or tribesmen who had left the village a long time ago return home, to express joy and gratitude at their safe return, and ward off any bad energy that may have followed them in. The Mansorandak tradition, which welcomes guests with a heartfelt ritual, is a form of cultural heritage all the more worthy of safeguarding in modern society where the value of family is being eroded and exclusivism towards outsiders is intensifying. Characteristics: ∙Originates from a welcome ritual Performed by Marwar Budaya Dance Atelier Directed by Maria Sofia Trimawarsanti Choreographed by Maria Sofia Trimawarsanti

7:11
Indonesia Aug

VI00000793

Topeng is a word which means ‘wooden mask’ and is also used to refer to a form of masked dance theater which is transmitted in Java and Bali. ‘Panji Topeng’ is one of the most popular Topeng performances, based on the Panji chronicles, transmitted in Java. The tales of Panji, which exist in a range of variations, have been transmitted widely around the Southeast Asian region, and have inspired a wide range of traditional Indonesian dances, including Topeng performed in Cirebon, West Java and Malang, Java. Panji Topeng is characterized by the fluid and smooth movements of dancers wearing white masks. The silent and refined movements of dancers that almost appear to be gliding rather than walking, is the pinnacle of artistry in the Panji Topeng. After the diffusion of Hinduism, epics such as the Ramayana and Mahahbarata became the theme of Topeng dances. The dancers express fables, heroic sagas and legends about kings in dance, set to the music of gamelan. The oldest record of the Topeng dance can be found in the Nāgarakrĕtāgama epic about Hayam Wuruk (1334~1389), king of Majapahit, a Hindu kingdom in the 14th century. A handwritten copy of the Nāgarakrĕtāgama (1365), stored in the National Library of Indonesia, was included the Memory of the World Register in 2013. Characteristics: ∙Masked dance ∙“Nāgarakrĕtāgama” (1365), the oldest existing documentation of the Topeng dance was inscribed to the Memory of the World Register in 2013. Performed by Dadijono Darmawan Directed by Dadijono Darmawan Choreographed by Dadijono Darmawan

5:09
Indonesia Nov

VI00000790

This is an original dance created in the 2000s, based on the popular Indonesian dance of 'Jaipongan' created by Bandung-born choreographer Gugum Gumbia Tritasonjaya in the 70s, which was in turn inspired by the Ketuk Tilu folk dance of the Sunda tribe in West Java. It is typically performed by a group of 4 to 8 young young women, characterized by dynamic movements of the hips, arms, shoulders, head and hands, accompanied by steps. The dancers wear brightly colored traditional Sunda attire called ‘kebaya’, specially designed to reveal their figures, and use scarves and fans as accessories. The Bajidor Kahot is an interesting example of the ups and downs of a local folk dance, once discounted in comparison to so-called aristocratic dances in the colonial era, being revived and developed into a dance of nationwide popularity, bringing all generations and groups of people together. Characteristics: ∙Composed of 4 to 8 female dancers ∙Makes use of fan as accessory Performed by Marwar Budaya Dance Atelier Directed by Artistic directorMaria Sofia Trimawarsanti Choreographed by Maria Sofia Trimawarsanti

5:15
Indonesia Aug

VI00000786

Joroon Joroo depicts couples dancing while riding on horses strolling at a leisurely pace. This dance originates from the Mongolian folk dance Bii Biyelgee. Bii Biyelgee is a dance arising from the nomadic lifestyle, and was traditionally performed in a small confined space within the ger, next to the stove. The choregraphy is primarily performed using the chest, shoulders, head and wrists, to avoid raising dust indoors. The legs are in a half-sitting position or crossed, only acting to support the torso. It is characterized by the raising of the arms and shaking of the shoulders. It is primarily accompanied by the ekil (violin-like traditional instrument) and the choreography is relatively short in length. The various ethnic groups of Mongolia each perform their own unique and creative form of Biyelgee, which all go by different names. As Biyelgee is not just a dance but a form of pantomime which involves wit, emotions and expressions, it requires a high level of technical expertise and patience to master. Biyelgee plays an important role in the Mongolian society composed of a wide range of communities, as a cultural asset reflecting the customs and lifestyles of Mongolian nomads, and a common ground connecting the various ethnic communities. The viability of Biyelgee had been under threat in the recent past, due to a continued decline in the number of transmitters and performing communities, the numbers of trainees and transmitters have been showing stable growth with safeguarding efforts by the UNESCO and the Mongolian government. Characteristics: ∙A branch of Biyelgee dance which uses horses as a motif ∙Biyelgee was inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2009 performed by Mongolian National Song and Dance Academic Ensemble directed by Tseden-Ish Altangerel choreographed by Davaakhuu Altangerel

3:43
Mongolia Sep

VI00000787

The Eagle Dance is a Mongolian folk dance expressing the movements of a white eagle flying across the sky. Dancers raise one leg and flap their arms, imitating eagles flapping their wings. They also perform powerful movements to dynamic music. The basic move of raising both arms while moving the shoulders up and down originates from the Mongolian Biyelgee dance. The white eagle is known to be the totem bird of Genghis Khan, founder of the Mongol Empire. The Eagle Dance represents the bravery of 13th century Mongolian warriors, and is a permanent fixture in the repertoire performed at major national events. Characteristics: ∙Dance mimicking the movements of animals Performed by Mongolian National Song and Dance Academic Ensemble Directed by Tseden-Ish Altangerel Choreopraphed by Davaakhuu Altangerel

4:28
Mongolia Sep