Abstract
This paper shows how music has been combined with drama and dance throughout history and across cultures. The writers takes Tchaikovsky's western-influenced ballets and compares them to the very dissimilar traditional Japanese Kabuki music. Some similarities are drawn that show how different cultures appreciate and embody the inherent drama in music. The paper includes backgrounds of Tchaikovsky, Japanese Kabuki in an historical setting, as well as full descriptions of the music. The last paragraph compares/contrasts the two, while drawing overarching conclusions about the universality of music.

From the Paper
"Since its birth, music has never been segregated out as "pure music" as the modern term now implies, with no implications attached to the sounds themselves. More often than not, there is always some sort of abstract connection made to the music, whether it is an evocation of a program, a tool for communication, a symbol of power, or a means of connecting with the spirit or the supernatural. Often, music will be used to tell a story, because of its ability to create atmosphere, manipulate moods, and even imitate concrete sounds. This ability leads to the creation of music in many categories namely music with drama, and programmatic music. Drama and music have been combined since ancient times, in the form of accompaniment or incidental music to theatrical works, or as in Western Europe, operas and ballets. Wagner himself termed his operas "music dramas", but his was definitely not the first, nor the last great marriage of the two arts. For instance, since before the seventeenth century in Japan, an art combining music, acting and dance called Kabuki has flourished. Kabuki stems from other Japanese forms called Noh and Bunraku, but whereas these two forms combine music and drama of sorts, Kabuki is by far the most lavish, and is a combination of these other two forms. Besides exhibiting far greater orchestral forces, there is also a strong emphasis on the dance. Likewise, across the continent at about the same time an art of schooled dance began in the courts in France, culminating to what we now know as ballet. Ballet itself was often found in segments of operas, and in the eighteenth and nineteenth century it became fashionable to create full-length story ballets, consisting of purely music and dancers telling a story. A prime example of the apotheosis of the ballet genre would be Tchaikovsky's popular ballets, Swan Lake, The Sleeping Beauty, and The Nutcracker. Thus, the idea of music supporting dramatic action can be evidenced in both Japanese Kabuki, and Tchaikovsky's ballets, although both display as many striking differences as similarities."

Tags:ballet, compare, contrast, kabuki, music, tchaikovsky

Abstract
In his study of dance in Asia during the early part of the century, Shawn made the statement that Asians, like him, seemed to believe in gods who dance (Shawn 4). While this was not an acceptable image of God in the United States at that time, it was a primary image in many parts of Asia.

From the Paper
"Gods Who Dance

Introduction
In his study of dance in Asia during the early part of the century, Shawn made the statement that Asians, like him, seemed to believe in gods who dance (Shawn 4). While this was not an acceptable image of God in the United States at that time, it was a primary image in many parts of Asia. In Japan, for example, the rising of the sun had been saved because Ume performed a dance and lured the goddess Amaterasu out of her cave (Shawn 4). Thus, in Japan, dance is considered to have a sacred, divine, origin."

Abstract
The paper examines Butoh (earth dance), an avant garde performance art that originated in Japan following World War II. The paper looks at the history behind the dance. The dance is a form of expression that is purely Japanese and allows the body to speak for itself, through unconscious improvised movement. Butoh is valuable as a training method not only for artists, but for individuals of other disciplines as well, for it frees the body of social constraints. Butoh is actually a hybrid form of art, incorporating elements of dance, mime, theatre, Noh, Kabuki, and even the Chinese arts of Chi kung and Tai chi. By the 1970s Butoh had caught the imagination of many younger artists and had begun to gain worldwide attention. Today it is performed by a number of groups and solo artists in metropolitan cities throughout the world, including Vancouver and Toronto.

From the Paper
"Butoh was founded by a rebellious modern dancer named Tatsumi Hijikata and his partner Kazuo Ohno (McLeod). It was first performed in 1959, and is a contemporary form of dance with little reference to either traditional Japanese dances or most Western forms of dance, however it does borrow elements from each (Hermon). Hijikata felt that the Japanese modern dance scene was simply an imitation of the Western mode, thus dissatisfied he sought to find a form of expression that was purely Japanese and also allowed the body to speak for itself, through unconscious improvised movement (McLeod). His first experiments were called Ankoku Butoh, or the Dance of Darkness, which basically referred to what was unknown to humans, including his surroundings and spiritually within (McLeod). Hijikata's dance attempted to touch upon the dormant genetic forces hidden within the "shrinking consciousness of modern man" (McLeod)."

Tags:tatsumi, hijikata, kazuo, ohno, ankoku, butoh, dance, of, darkness, kinjiki, forbidden, colors, yukio, mishima, sankai, juku, kokoro

Abstract
This paper takes a look at Islam's view on dance and music. According to the paper, although there are many groups within Islam that profess that music and dancing are forbidden, it is clear that the Qu'ran itself does not explicitly prohibit these activities. The paper goes on to say that several avenues of worship within Islam have developed into the practice of reaching God through dance or music. The paper focuses specifically on the Quwalli and the Mevelevi Order, also known as The Whirling Dervishes.

From the Paper
"More intentionally musical is the Sufic tradition of the Quwalli. Quwali means "word," and can be thought of as the physical and auditory manifestation of the divine voice. As with the Quri, the Quwallis use their voice as a tool of worship, but they move into the world of interpretation and individual expression of the words themselves. They can be likened to the Gospel singers of the Western world in this respect, though this may be a misleading comparison since the Sufi practice, from which the Quwalli find their beginnings and roots, is far more steeped in history and tradition and could be considered a more "serious" endeavor. Quwallis use the music of their voices to worship foremost, and to communicate and encourage their listeners to worship with them is a secondary concern."

Tags:Qari, God, Allah, sema, prophet, gift, worship, dance, body, Sufic, tradition

Abstract
This paper discusses Uzbekistan's indigenous form of Sufi zikr dance that has borrowed from pre-Islamic, shamanistic and folk traditions. The paper further considers how this dance survived in its unique form despite Russian, Soviet and post-Soviet surveillance and also, fundamentalist Muslim criticism as voiced recently after an Uzbek Sufi performance in India.

From the Paper
"Uzbekistan's takeover by the Soviet Union shortly after the Bolshevik Revolution produced encouragement of what were seen as peasant arts and repression of what were regarded as Islamic `foreign' elements that were not foreign, at all, the Central Asian Republics happening to be traditional locations of Sufism. (Thrower 117-118) With the fall of the Soviet Union, Uzbekistan's nationalist government has discouraged Islam, including Sufism, in a general avoidance of militant Islam, the country's Sufis often under observation, more apt to meet in private homes than in..."

Tags:uzbek dance, sufi zikr, syncretism

Abstract
This is a high level overview of dance movement therapy, what it means and how it can successfully be integrated into an individual's life. Part of the overview includes an emphasis on how dance movement therapy can be beneficial for one's daily live even if one is not suffering from emotional or mental health issues. There is also a brief explanation of the role of expressive arts therapy.

From the Paper
"Expressive arts therapy has many components, one of which is dance movement therapy. Halprin (1999) states "movement is the body's universal language...a bridge to the interior world of self and between self and the world." Dance movement therapy has few limitations as to who can do partake in this expressive form of movement and who can benefit from it. This paper will provide a basic overview of what dance movement therapy is and how it is effective. The second section of the paper will focus on how dance movement therapy can be successfully integrated an individual's life. Part of the overview includes an emphasis on how dance movement therapy can be beneficial for one's daily live even if one is not suffering from emotional or mental health issues. "

Tags:dance, therapy, expressive

Abstract
The writer of this paper details the history of the Hula dance and its significance as a ritual of religion, celebration, mourning and communication. This brief, yet concise paper, examines how, in ancient times, dancers were selected for hula training in childhood, spending their formative years under the care of a hula master, separated from the outside world and dedicated to the goddess Laka, patron of the hula. Hawaii's history of births, deaths, loves and battles were expressed in the Hula dance. The writer also details the accompanying music and melodic poetry, to which the dancer's swayed, which include the double-gourd drum, called ipu heke.

From the Paper
"The history of births, deaths, loves, and battles of the people were preserved in chants and dance. Since Hawaii's history was recorded as dance, "hula dancers were expected to remember and repeat every dance step perfectly and under punishment of death," for "to change the dance was to change history." Hula was the written word for ancient Hawaiians, told through the movements of the dancers' feet, hands, and body movements. Through dance, stories were told, genealogies were kept, and beliefs were shared and imposed, thus to change the steps would be to change the message."

Tags:dance, history, hawaii, culture, ritual, communication

From the Paper
"The performing arts deserve a central role within the school system. The arts are a core academic subject. The discipline, creativity, and feelings of empowerment that students gain from engaging in the performing arts are just as important as their mastery of traditional fields such as literature and science. The performing arts encompass a wide range of artistic expression, with emphasis on experimentation. Examples of performing arts disciplines are music, dancing, drama, choreography, and cinematography. In contemporary educational thought, art is defined both as a body of knowledge and as a developmental activity. Personal development through the performing arts is as important as learning about the arts.

The performing arts are critical in the learning process. Modern educators acknowledge that there is no single method of..."

Abstract
The paper looks at ancient Japanese music, including the type of music known as Noo and the n mai dance drama. The paper identifies several different instruments that make up the music of traditional Japanese dance dramas and early court music and shows how Japanese music represents many changes in Japanese culture. Finally, the paper examines modern Japanese music and how karaoke may be one of the most enduring contributions Japan has made to modern music around the world.

Outline:
Ancient Japanese Music
Noo (Sometimes Called Noh)
Nomai Dance Drama
Japanese Musical Instruments
Japanese Music and Culture
Modern Japanese Music

From the Paper
"During the court music phase, several key instruments played a part in the orchestra. These included huge dadaiko drums played with large beaters, combined with smaller drums, gongs, and other drums, along with wind instruments like flutes and mouth organs, and stringed instruments, like lutes and the koto, noted below. Each of these instruments combined to create strong, often heavy rhythms that helped create the movement and performance of the dancers in their roles.
"By the fourteenth century, (the Kamakura period), musical performances became more attractive. Buddhist chanting became popular, and so did theatrical arts, such as lyrical dancing. Author Malm notes, "In general, the music of the Kamakura period is marked by a new emphasis on vocal and dramatic music" (Malm, 2000, p. 37). During this long history of development of the arts, several musical styles and performances began to develop and mature. During this time, Japan was changing from a dynasty culture to a feudalistic society led by the Shogun class, so as Japan's culture was evolving, their music was evolving as well, indicating how these two aspects of Japanese history go hand in hand.
"Then came a period of religious music, mostly Shinto and Buddhist, which included chanting and dramatic dance, which helped form the lyrical dance dramas that became so popular in the country. This religious phase indicates how music was changing as the country's culture changed and grew, and illustrates how the country's leadership influences were changing, as well."

Tags:nomai, Noo, karaoke, dance

Abstract
This paper explains three classical forms of Japanese performing arts, and one modern outgrowth of the theatre tradition in Japan. These are: Noh theatre, Bunraku puppetry, Kabuki drama and Butoh dance/movement theatre.