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The figure of Death invites him to dance a folk-dance called the Trepak. In this song, Death is first portrayed as a terror, as the fierce blizzard envelops the peasant, then as a seducer, as she speaks sweet words to the peasant to convince him to lie down in the snow. In the final section of the song, Death acts as a comforter, singing a ...
The Dance of Death (1493) by Michael Wolgemut, from the Nuremberg Chronicle of Hartmann Schedel. The Danse Macabre (/ d ɑː n s m ə ˈ k ɑː b (r ə)/; French pronunciation: [dɑ̃s ma.kabʁ]), also called the Dance of Death, is an artistic genre of allegory from the Late Middle Ages on the universality of death.
The Dance of Death (Swedish: Dödsdansen) refers to two plays, The Dance of Death I, and The Dance of Death II, both written by August Strindberg in 1900. Part one was written in September, and then, after receiving a response to the play, part two was written in November.
The dance begins with a song listing Krishna's heroic deeds and his fondness for Radha, then they dance where sage Narada plays music. Such scenes where cowgirls imitate Krishna's life story are also found in Sanskrit poems of Harivamsa and Vishnu Purana , both generally dated to be older than Cilappatikaram . [ 56 ]
The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters. [ 13 ] [ 16 ] The text, states Natalia Lidova, describes the theory of Tāṇḍava dance ( Shiva ), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures–all of which are part of ...
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Bardo Chham is a folk dance traditional to the Himalayan Buddhist Tribes of Arunachal Pradesh, India. Bardo means the limbo between death and rebirth in Tibetan Buddhism, as under the Tibetan Book of Dead. While Chham, literally translates to "Dance" in Tibetan. Bardo Chham is based on the stories of the triumph of good over evil.
The word vannam comes from the Sinhala word varnana ('descriptive praise'). Ancient Sinhala texts refer to a considerable number of vannam that were only sung; later they were adapted to solo dances, each expressing a dominant idea. History reveals that the Kandyan king Sri Weeraparakrama Narendrasinghe gave considerable encouragement to dance ...