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Chunaengjeon is the only solo Korean court dance. [4] It shares the same basic pattern and movement with other court dances. Among Joseon court dances it is praised as "the flower of court dance". The most important movement is hwajeontae, when the dancer imitates a bird perching on a flower by putting the colorful sleeves behind and smiling. [2]
Nautch dancers in Old Delhi, c. 1874 Nautch dancer in Calcutta, c. 1900 A Raja awaits the arrival of Nautch dancers A Nautch girl performing, 1862. The nautch (/ ˈ n ɔː tʃ /, meaning "dance" or "dancing" from Hindustani: "naach") [1] was a popular court dance performed by girls (known as "nautch girls") in later Mughal and colonial India. [2]
Korean traditional dance originated in ancient shamanistic rituals thousands of years ago. By the time of the later Korean kingdoms, Goryeo and Joseon, in the 2nd millennium AD, Korean traditional dance benefited from regular support of the royal court, numerous academies, and even an official ministry of the government.
Bugaku court dance draws heavily from the Buddhist imported culture, but also incorporates many traditional Shinto aspects. These influences eventually mixed together and over the years were refined into something uniquely Japanese, bugaku. [4] Gagaku is the court music that goes beside the bugaku court dance. Tadamaro Ono is a palace musician ...
Gainjeonmokdan (Korean pronunciation: [ka.in dʑʌmoktan]) is a Korean court dance (called jeongjae 정재 in Korean), and literally means "beautiful people plucking peonies". This jeongjae was initiated and arranged by Hyomyeong Seja ( Crown Prince Hyomyeong ) in 1829 to please his father, King Sunjo .
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Geommu (also transliterated Gummu, Kommu) is a traditional sword dance practiced in Korea. Geommu is performed with special costume, dance moves, and music. The dance is known for its grace in performance. Extra emphasis is placed on the movement of the costuming, notably the sleeves, in harmony with the movements of the dancer.
The court ballet was a gathering of noblemen and women, as the cast and audience were largely supplied by the ruling class. The festivities, which were descendants of festivals, processions and mummeries dating back to the Middle Ages, looked more like a modern-day parade, than what people today would identify as a ballet performance.