While tango is danced at a sluggish pace, the dissimilarities in rhythm determine the differences in how the dance is performed. Tango is generally done in swift motions of waist, legs, body across the floor. Tango is performed with the partners keeping close to each other with softness and tenderness. It's a travelling dance - you move around the dance floor. It is actually a walking hug that goes anticlockwise.
These "unreal" dances portrayed women as supernatural beings with extreme fragility, who could rise effortlessly and almost seemed as if they were floating in the air. The dancers began to wear costumes in pastel colors, with skirts that reached to the ankles. An example of the romantic movement is "La Sylphide", one of the oldest romantic dances that is still played by contemporary dancers. The romantic movement was a new exploration of folklore and traditional culture, which began to take part in the folklore of Europe, Africa, Asia and the Middle East. In the ballet of those times the dancers were characterized as villains or buffoons, so that they could adapt to "Orientalism".
“Smoke makes a quite and transient atmosphere.”Lin Hwai-min said. “ ‘pine’ is the body; ‘smoke’ is spirit of dance. I hope audience can find an atmosphere of soft and white space ”  The music used in Cursive II is from John Milton Cage Jr. Both Chinese critics and western doubt that if John Cage’s music can interpret eastern culture. Lin Hwai-min says “Cage has his own interpretation in I Ching and zen.
Hughes purposely juxtaposes the “dancing girl” in the quatrain with two prominent women figures to illustrate the transformative effects of jazz. Within the cabaret—filled with music—not only does the city become a site of trees and rivers, but someone as monotonous as a dancer in a club, becomes as eminent as Cleopatra or Eve. Even more, the rhyme scheme also changes in the quintet. Now, the rhyme scheme is EFDGD, and the rhyming words, “bold and gold”, are continued from the quatrain. There is a slight change, however, similar to the change of the dancing girl into an Eve or Cleopatra.
This showcased the anger of this burden that conveys the Scarlett Letter theme. The dance also had elements of ballet structures and movements. For example, the dancers used piqués to travel and were in first position with contracting their upper body. The body used elements of ballet and modern styles that made the dance unique and showed this combination of these styles to convey the dances
emphasize the close relationship between intimacy and Latin dance by linking Kailing and Mr. Sugiyama’s manners of dancing Latin to the emotional connection each has with other characters. For Kailing, the presence and absence of physical contact with others while dancing signals the degree of intimacy she has with those around her, whereas, for Mr. Sugiyama, ballroom dance serves as a gateway to intimacy. Ultimately, both films provide commentary on how East Asian Latin dance communities take on Latin dance to improve intimacy within their own relationships. In Mambo Girl, Kailing experiences dramatic mood swings that are accompanied by subtle changes in the way she dances with others; the different degrees of touch signal how intimate she is with those around her. Mambo Girl opens with Kailing and friends celebrating the freedom they have to dance as “crazy” and “wild” as they desire.
However, the action is showcased, it almost always ends up with the conflict being resolved and the characters being satisfied in the end. Simplistic as it was, Sanskrit drama sees the world and life as predictable and organized. (Sanskrit Drama) It does not involve conflict that draws much confusion and fictional or unrealistic quality to its plays. During the Yuan period, classical Chinese was almost completely separate from the common vernacular language that only a few literati were able to understand traditional drama, from their knowledge of Confucian classics. (Chung-Wen, 1976) Under the Mongol rule, the demand for more popular vernacular dramas significantly increased.
Rabindra Nritya Natya is the term given to the dance dramas composed by Rabindranath Tagore. The principal characteristic of these works is that the story is told entirely through dance and song. The dances included in them were in the dance form created by Tagore. The characters get fully involved in the dance and they perform the whole play entirely through songs and dance. The key point in these dance drama is the expressions and the mudras of the characters.
Again the face of the character dancers of Radha and Gopis is covered by a transparent veil because to help to negate the entertaining aspect of a dance recital but add to the devotional aspect of the dance form. Such has been its impact, that one cannot visualise a Manipuri dance recital without a Ras
One of the moves originally called the “camel spin” has been called the “Yuna spin,” or the “Yuna camel.” Kim is a master of this move and also used it multiple times during her choreography. Together with her musical interpretations, athleticism, and mastery, it creates an art that other skaters cannot achieve. Kim is also well known for her consistency in her execution of moves and her musical interpretations, as well as her ability to cope with