Chinese Fan Dance

ORIGIN
 The traditional Chinese fan dance has been a part of Chinese culture for over
2,000 years.
 The dance was first introduced during the Han dynasty and has been a central part
of familial life since that period two millennia ago.
 The fan dance is considered a folk dance that serves many different purposes,
and there are two primary distinctions in the dance: civilian and military.

MUSIC
 Is divided into six parts: A, B, C, D, E and Finale

COSTUME
 Girl - Chinese blouse and long, loose drawers of any color. Chinese fan dance, a
big fan.

Japanese Parasol Dance

ORIGIN
 Parasol, an Asian dance form is performed on a song called ‘Mikado’. This
umbrella dance is said to have originated from Japan. Apparently, this dance has
its root deeply embedded within the theatre arts of Japan.
 In addition, this dance is mainly performed at spring festivals. Furthermore, it has
essentially been derived from a dance tradition followed in Okinawa referred to
as “Higasa Odori”.

MUSIC
 The music used in this dance style is a song called “Mikado”.

COSTUME
 The costumes worn in this dance style mainly includes a Kimono, parasol (i.e. a
Japanese umbrella), and Japanese wooden shoes.

Bharatanatyam
ORIGIN
 Bharatanatyam, a pre-eminent Indian classical dance form presumably the oldest
classical dance heritage of India is regarded as mother of many other Indian
classical dance forms. Conventionally a solo dance performed only by women, it
initiated in the Hindu temples of Tamil Nadu and eventually flourished in South
India. Theoretical base of this form traces back to ‘Natya Shastra’, the ancient
Sanskrit Hindu text on the performing arts.
 A form of illustrative anecdote of Hindu religious themes and spiritual ideas
emoted by dancer with excellent footwork and impressive gestures its
performance repertoire includes nrita, nritya and natya. Accompanists include a
singer, music and particularly the guru who directs and conducts the performance.
 It also continues to inspire several art forms including paintings and sculptures
starting from the spectacular 6th to 9th century CE temple sculptures.

MUSIC
 The Bharatnatyam dancer is accompanied by a nattuvanar (or taladhari) that is a
vocalist who generally conducts the whole performance, a part often executed by
the guru. The person can also play the cymbals or any other instrument. The
music associated with Bharatanatyam is in South India’s Carnatic style and
instruments played comprise of cymbals, the flute, a long pipe horn called
nagaswaram, a drum called mridangam and veena. The verses recited during
performance are in Sanskrit, Tamil, Kannada and Telugu.

COSTUME
 The style of dressing of a Bharatanatyam dancer is more or less similar to that of
a Tamil Hindu bride. She wears a gorgeous tailor-made sari that consists of a
cloth specially stitched in pleats that falls in the front from the waist and when the
dancer performs spectacular footwork that include stretching or bending her
knees, the cloth widens up like a hand fan. The sari worn in a special manner is
well complimented with traditional jewellery that include the ones that adorn her
head, nose, ear and neck and vivid face make-up specially highlighting her eyes
so that audience can view her expressions properly. Her hair neatly plaited in
conventional way is often beautified with flowers. A jewellery belt adorns her
waist while musical anklets called ghunghru made of leather straps with small
metallic bells attached to it are wrapped in her ankles. Her feet and fingers are
often brightened with henna colour so as to highlight gestures of her hands.