From 1945 to 1980

Soon after Korea was liberated from Japanese colonial rule in 1945, the country was divided along political lines into North and South Korea. The territorial division as a result of the Cold War brought about two different political systems and the confrontation caused limitations to be placed on cultural activities on both sides of the 38th parallel. The three-year Korean War ravaged the country and ruined even the meagre foundations of modern culture and arts that grew out of the educated class that had emerged under Japanese colonialism. In addition to this, there were successive political upheavals, including a student revolution and military coups that led to long period of authoritarian rule. Freedom of expression was not fully guaranteed for a long time until the popular pro-democracy movement in the late 1980s finally put an end to military rule.

In the modern history of Korean dance, the years between 1945 and the 1970s can be divided into three phases: first, a "period of confusion" from 1945 to 1961, a time of extreme limitations on cultural activities, passing through the Korean War, the 1960 student revolution and the military coup of the following year; second, a "period of exploration" from 1962 to 1972 during which dancers tried to establish organizations and professional dance companies; third, a "period of stylization" (1973-1979) which laid the foundation for professional dance education and theatres.  [click the link for more]

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 religous 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 Japaese 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 Janapese 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. Iregardless of this suppression, kabuki passed down form generation to generation while changing style.  [click the link for more]
 

Music and dance are almost inseparable in the Malaysian culture. Where there is one, the other is not far behind. True to Malaysia's heritage, dances vary widely and are, if not imports direct from the source nation, heavily influenced by one or more of Malaysia's cultural components. Much of Malaysian music and dance has evolved from more basic needs into the mesmerizing, complex art forms they are today.

Traditional music is centered around the gamelan, a stringed instrument from Indonesia with an otherworldly, muffled sound. The lilting, hypnotic beats of Malaysian drums accompany the song of the gamelan; these are often the background for court dances. Malaysia's earliest rhythms were born of necessity. In an age before phone and fax, the rebana ubi, or giant drums, were used to communicate from hill to hill across vast distances. Wedding announcements, danger warnings, and other newsworthy items were drummed out using different beats. The rebana ubi are now used primarily as ceremonial instruments. The Giant Drum Festival is held in Kelantan either in May or June.

Similarly, silat, an elegant Malaysian dance form, originated as a deadly martial art. The weaponless form of self-defense stripped fighting to a bare minimum. Silat displays are common at weddings and other festivals; the dancer will perform sparring and beautiful routines to accompanying drums and other musical instruments.  [click the link for more]

 

Most Philippine dances were originally patterned after European dances during the Spanish regime. Pandango Sa Ilaw, Cariñosa, Rigodon and Balitao are examples of these dances Filipinos are known for. Aside from these western-influenced dances, ethnic-created dances such as Tinikling made its way to nationwide recognition. Despite its apparent adaptation to western dances, still Filipinos pay tribute to their cultural roots. Every district in the islands has its own folk dance, interpreted attractively in festivals and local shows, which have added to the country’s reputed contribution to world’s illustration of traditional arts.

The following are examples of popular Philippine folk dances:

Binasuan - Originated in Pangasinan Province “meaning with the use of drinking glasses”, this vibrant dance basically shows off balancing skill of the performers. Glasses filled with rice wine are placed on the head and on each hand carefully maneuvered with graceful movements. This dance is common in weddings, fiestas and special occasions. [click the link for more]
 

Thai dance (Ram Thai or Rabam) is the main dramatic art form of Thailand. Thai dance, like many forms of traditional Asian dance, can be divided into two major categories that correspond roughly to the high art (classical dance) and low art (folk dance) distinction.

Thai classical dance drama include Khon, Lakhon, and Fawn Thai. Folk dance forms include dance theatre forms like Likay as well as numerous regional dances (Ram) and the ritual dance. Ram Muay. and homage to the teacher. Wai Khru. both of which take place before all traditional Muay Thai matches. The Wai is also an annual ceremony performed by Thai classical dance groups to honor their artistic ancestors.  [click the link for more]

 

The origin of Vietnamese music traces back nearly 4,000 years. Although similar to the music of other Southeast Asian countries, it is also very distinct in terms of style, composition, mood, modal system and performance. Vietnamese music not only varies from other Asian music, it also varies within itself. It ranges from ritual music, chamber music, ensemble music, folk music to theater and poetry accompaniment. It also differs depending on the regional traits found in the music. These traits identify the music as originating in the North, Central, South or Highland region of Vietnam.

There is no harmony per se in Vietnamese traditional music; rather the musicians employ complicated rhythms to accompany and enrich the melodies. Unlike Western music, Vietnamese modal system requires a variety of flexible pitches beyond those produced by the standard scale. Vietnamese musical instruments, therefore, give the composer and performer a greater range of pitches, often with the assistance of different "ornaments".  [click the link for more]

 

The Northern style imitates the dog and the Southern the cat. The Northern or Beijing version is short, stocky and furry, much like an oversized Pekinese. It is mainly used by Chinese Circuses & acrobats entertaining audiences with their humour and mannerisms. [click the link for more]

Original Purpose: Dragons are seen as the governors of rainfall. The dragon dance was first performed as a way of appeasing the "Dragon King" into releasing rain onto the farmers parched land during a drought.  [click the link for more]

(Traditional Chinese: 舞龍; pinyin: wǔ lóng) is a form of traditional dance in Chinese culture. Like the lion dance it is most often seen in festive celebrations. Chinese people often use the term "Descendants of the Dragon" (龍的傳人) as a sign of ethnic identity.

In the dance, a team of dancers carry the dragon — which is an image of the Chinese dragon — on poles. The lead dancers lift, dip, thrust, and sweep the head, which may contain animated features controlled by a dancer and is sometimes rigged to belch smoke from pyrotechnic devices. The dance team mimics the supposed movements of this river spirit in a sinuous, undulating manner. The dragon's fabric and bamboo body can be as long as tens of meters. [click the link for more]