Folk dance requires not only an ethnic identification, but a "participatory" and aesthetic tradition. It is dance which is an integral and anticipated behavior in the culture and defined by the aesthetics of that culture (whether rural or urban); thus the traditional village dances of Europe, the Hawaiian hula, the American clog, the Chhou are equal members of the folk tradition.

Chhou is the official folk dance of Bengal. The Chhou is unique form of masked dance. The dancer impersonates a god, animal, bird, hunter, flower. He acts out a short theme. And he performs a series of short themes mailny during the month of Chaitra ( April). Chhou masks have predominantly human featur

Georege Balanchine became he most radical manipulator of the Russian Imperial heritage. Striking a balance between modernity and tradition, Balachine's experimentation, now labeled neo-classicism, is regarded as one of the most significant styles of the twentienth century. Unlike Nijinsky Balanchine went directly to the music for his inspriations. Like Stavinsky, he mined his own classical ertiage in an attempt to extract the best of the old as a base for the new. In the process he devised a style of syncopations and angular, unexpected accents that still possessed a vivid freshness. Balanchines's unprecendented stream of plotless ballets, performed in practice clothes to modern scores is still the main focus of New York City Ballet, that he founded with Lincoln Kierstein in 1934. Balanchine was not intent on telling stories but saw himself as an illustrator of music, a conduit between composer and audience. Serenade was the first ballet he choreographed after arriving in!

Dance has always played a part in society. Some aspects of the dance world are closely related to religious practices. Some others aspects of dance are for entertainment or provoking the audiences attention. Choreographers and dancers all use different styles whether it be folk, ballet or modern to achieve the ideas and images for society to view and enjoy.

were an attempt to reproduce the flatness of vase and wall carvings. He also never choreographed with the music's rhythm and used Debussy's score as a lush background. Similiar to the approach Merce Cunningham uses John Cage's scores. His other work Le Scare du Printemps stands alone as being one of the first controversional ballets. Both the score and choreography were so unexpected and avant-garde that the audience was either shocked or insulted resulting in a near riot. This night is one if the most famous in dance history. He inverted the basic poses of classical ballet in an effort to find a brutal, primitive stlye that would suit Stravinsky's score. Sacre's major pose is an inverted first with a pigeon- toed stance with toes almost touching and heels apart. Jumps were executed with a emphasis on going down rather than up. Another non-ballet notion is the way in which he focused on group movements. Although they were all dancing at the same time, wach group of dancers w!

es slightly modified to suggest what they are portraying. The performer's face being expressionless, the dancer's body communicates the total emotional and psychological tensions of a character. His feet have a gesture language, his toes are agile, functional, and expressive, like those of animal. The dancer is mute, no song is sung. Only, instrumental music ( bamboo flute, drums ) accompany him. The dance is very vigorus and acrobatic. One of the famous chhou performers is Dhunda

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