Introduction

Dances in Burma (known as Myanmar since 1989) are divided into dramatic dances, folk dances, village dances and nat dances, each with distinct characteristics. Burmese dance is similar to the traditional dance styles of neighboring countries, especially [Cambodian dance], but with angular, fast-paced, energetic movements and an emphasis on poses rather than movement, and other styles. It retains its own unique qualities that set it apart from regional styles.

History

A village group dance in the early 1900s photo by wikipedia

The origins of Burmese dance date back at least two centuries AD to the Pyu, Harin and Mon cultures of the central and lower Irrawaddy regions. Archaeological evidence indicates that there was already an Indian influence in this. During the many invasions and counter-invasions that followed over the next 2,000 years, it was also influenced by Thai and Khmer cultures. When the Burmese sacked Ayutthaya (ယိုးဒယား) and confiscated most of the Thai court in 1767, the introduction of dance forms such as the Yamazadha (the Burmese version of the Ramayana) is particularly well documented. Some of the surviving forms (including the Belu, Nag Gadaw and Zhoji dances) honor typical Burmese folklore characters, some of them pre-Buddhist. . There is also a close relationship between classical Burmese marionettes and human dance art forms, with the former clearly imitating human dance, but human dance also imitating marionette movements. I'm here. After independence from Britain in 1948, there was a period of cultural nationalism in Burma that intensified, resulting in the establishment of the National Conservatory of Music in Mandalay in 1953. A famous dancer of the time, Oba Taung is credited with codifying almost all music. The completely undocumented Burmese dance repertoire. Her curriculum at the school was condensed into five dance courses that spanned five years of study. Each of the five courses is divided into dance sequences with a total of 125 stages, each just 10 minutes long.

Training

Inwa Performing Arts School, Mandalay is a cultural high school in Mandalay that prepares young artists to perform Myanmar classical dance and music to professional standards.

Bagan dance

Nanyan sayyae Ahla Bagan Mudar dance

This dance has its origins in the period of the Pyu kingdom (5th to 10th century). A small number of relatively crude instruments are used, and the dance style is slow and subdued. The costumes of the dancers depicted in the murals were skimpy and skimpy.

Bilu dance

Bilu dance Photo by tripadvisor

Birus (demon or demon) is an ancient script, thought to have originated from a legendary race that roamed India and Burma around 2000 BC. Buddhist literature describes them as primitive and feared by other races. Literature describes Bellas as having shape-shifting abilities, the ability to assume different physical appearances. There are 24 classic demonic forms, each with its own name and role in stories and plays. The best known is Dasagiri, the demon from the Indian Ramayana epic. In whatever form Belus embodies the devil. He is terrifying, domineering, and demonic in nature. But he also has a gentle side. In a typical dance, Dasagiri often presents bouquets to pretty maidens. A modest woman cannot overlook her bestial side and refuses his beloved presents. The devil then expresses his disappointment at the refusal.

Kinnara and kinnari dances

Kinnara and kinnari dances photo on Twitter

In Pali and Sanskrit texts, there are numerous references to mythical birds with human heads and bodies, kinnara (male) and kinnari (female). According to literature, the origin of this bird is prehistoric India. They also appear in some of the Buddha's own sermons. In Burma, paintings and sculptures depicting how birds dance can be found on the walls of Bagan and (and earlier) the Pyu Kingdom. The song and dance depict the happy reunion of the birds after 700 nights of separation due to violent rainstorms and floods. The dance is popular as a symbol of true love and has an ancient history that has been passed down by Burmese dance troupes. The dancers wear costumes with flapping wings on their wrists, in contrast to the underarm wings that are characteristic of Thailand and other Asian countries. The bird-like movements of the dance are very supple and delicate, and are intricately harmonized with the accompanying music.

Mount Popa's guardian spirits dance

According to Burmese folklore (but probably based on quasi-historical facts), the beautiful Princess Mee Wana was the sister of King Thaton of Lower Burma. Estranged from her brother, she refused to betrothed to her royal descendants, and she went into exile to live alone in the woods of Mount Popa. A devout Buddhist, she avoided meat and lived only on flowers and fruits. She usually wore a demon mask to frighten enemies and friends alike. Therefore, she had a reputation for being a flower-eating demon. Later she fell in love with a royal dispatcher of great physique and had two talented sons with him. Unfortunately, her spouse was executed for being derelict while picking flowers from the mountains. As a result, he became a nut (spirit). Mee Wana's two sons grew up to be prominent heroes of the Royal Army. Unfortunately, they fell victim to a conspiracy and were executed for their disguise, transforming themselves into two famous spirits of Taungbyon named 'Brother Nat'. But it didn't end there. Mee Wana passed away in a broken heart after receiving the bad news of her sons' untimely death. There she too became Nat and was formally enshrined on Mount Popa, where she became the supreme power of Nat's kingdom, "supernoble." Dancers, traditionally dressed in gorgeous green costumes, imitate the Holy Spirit. She has a demon mask on her head. In her hands are two peacock tail quills, a symbol of the sun to ward off darkness (the element of evil). She dances gracefully and delicately like a ghost.

Nat dance

Nat pwe ritual performed in a temple compound in Mandalay photo by JUKKA O. MIETTINEN

In Burma, there is a tradition of offering green coconuts, three bananas and a few other accessories to the local guardian spirit (nat) before important occasions such as inauguration ceremonies. This soothing of spirits is usually done by a professional medium (Nakadho). The dancers wear red silk costumes, including red headbands and red scarves tied tightly around their chests. With the offerings on the tray, she or he dances a soothing dance, repeating the sequence three times. As a medium dance, she sings ritual songs to 37 national nat (spirits) and local nat. The opening dance is delicate and the music is legato. After verbal commands, the dancers speed up their movements to match the increasing intensity of the music. The movement and music reach a frenzied climax as the medium calls out to the spirits.

Oil lamp dance

Myanmar Oil Lamp Dancers photo by Pinterest

In the Oil Lamp Dance (ဆီမီးကွက်အက), a traditional oil lamp dedicated to the Buddha, a cotton wick dipped in an oil-filled ceramic saucer, is the focal point of the dance. A lit candle is usually the substitute. The Rakhine people of western Burma mostly incorporate the oil lamp dance in many of their devotional dances to Buddha. The performer's hands always point up (to hold the oil). Seniors who remember performing with traditional lamps say the trick is to keep the lamps from dropping, while at the same time conveying specific facial expressions with different postures of the hands and feet. "It's almost an ordeal," they added.

Ramayana dances

Ramayana in Myanmar photo on Twitter

In 1767, King Sinbyusin of the Konbaung dynasty took the Siamese captives back to Inwa (Ava), the kingdom's capital. Among the captives was also a Siamese court dancer who wore a mask and performed the Ramayana (Yama Zad). In this epic, Rama is the hero and protagonist, Sita is the heroine, and Dasa Giri is the villainous demon. In a typical part, Rama is seduced by a golden deer, the transformed form of the demonic sister of Datagiri (Ravana). Datagiri himself transforms as a hermit. Rama is then seen earnestly chasing the tracks of an enchanted deer. Deer leave subtle hints as traces.

U Min Gyaw dance

U Min Gyaw dance on Fb

U Min Gyau, also known as Pakan Kyaw, is a famous Burmese nat (spirit). There are several different versions of his biography. One is being a skilled horseman and the son of a trusted royal guardian. He was knighted and given the earldom of Pakang, a rural town in central Burma. However, after taking office, he indulged in drinking, gambling (especially cockfighting), and playing with women. He finally had the audacity to dethrone and execute the king and others, including two younger brothers who were sons of nobles. These two brothers became famous nuts and went on to long careers of pranksters. However, in its first act, the two brothers used their new powers to repay the Count with their own coins, causing the Count to be murdered and reinstating him as Nat Wu Ming Gyau. In his human form, Wu Mingyu enjoys drinking toddy (also known as "toddy palm"), the sap of the Palmyra tree. His favorite hors d'oeuvre to eat with the sap is fried chicken or poultry. Therefore, the most effective sedatives are considered toddy pots and fried chicken. Petitioners believe Mr. U Mingyaw will grant any wish while in a trance, but he usually expects a request. In a typical performance, the medium appeals to U Mingyu with a bottle of sake in one hand and a fried chicken in the other. The dancers imitate the drunken style of the spirits.

U Shwe Yoe and Daw Moe dance

U Shwe Yoe and Daw Moe dance photo on phoenixvoyages

This dance is more an example of contemporary Burmese folk art than a classic. The dance grew out of the practice of entertaining crowds, especially volunteers attending flag days and community charities. Its purpose is to encourage people to donate or do meritorious deeds for the betterment of the afterlife. The names U Shwe Yoe and Daw Moe are fictitious (not part of the classical text) and were chosen for their rhyming effect. There is no fixed melody in dance. Alternatively, the orchestra may improvise lively pieces, or recorded music may be used. Performances are often performed by enthusiastic citizens with no formal dance training. There are two characters, the Old Bachelor (Wu Shwe Yo) and the Unmarried (Daw Mo), the latter played by a male or female dancer. The choreography is spontaneous and designed to give the audience the best possible medicine. The costumes are bizarre and gaudy, incorporating the essentials of U Shwe Yoe (Independent Animation) mustaches and twirling Pathein parasols. He jokingly expresses his affection and courts Do Mo, but she evades and responds skillfully. The audience, often children and old people, gave loud applause and encouraged Shwe Yoh's persistence.

Yein group dance

Photo by Amazing kingdom

Yein is a type of group dance in which multiple dancers dance in sync to the beat of the music, moving their heads, hips, feet and hands, often by a traditional Burmese orchestra called sain wain or drums. will be played. This is generally performed by the troupe during the Tinyang period.

Zat pwe duet dance

Photo Credit - www.artsinitiative.columbia.edu

The all-night performance, which combines melodrama, slapstick, traditional dance and even pop music, is called 'that pwe' in Burma. These seasonal events are staged in an enclosed, temporary bamboo theater and are usually part of a fundraiser at the annual Pagoda Festival. The performers are traveling troupes, usually made up of dozens of professional male and female dancers, musicians, comedians and actors. These troupes tour extensively throughout the country. Duet dances, a standard part of zat pwe, usually begin around 2 or 3 am and last about two hours. The lead actor usually dances with the lead actress. Male dancers often perform shows with a high level of athleticism and creative elements. Male and female dancers sing in duets and exchange vows of love. There is often a competitive aspect to who in the troupe can win the loudest cheers. During all this, the orchestra must be synchronized with the action taking place on stage. If this dance is performed brilliantly, this dance can create national fame.

Zawgyi dance

Zawgyi dance photo on tripadvisor

Zawgyi is a Burmese ethnic character who is adept at alchemy. He is said to have acquired supernatural skills through occult means. He lives in a deep forest near the Himalayas and seeks out herbs for magical purposes. After years of searching, he obtained the Philosopher's Stone, which earned him Zougi status. Sometimes, to satisfy his lust, he touches his magic wand to bring a "phantom woman" to life from a tree that bears fruit in the shape of a woman. The dance depicts Zawzi roaming the woods, hopping with a cane, crushing herbs, and gambling with glee after getting a stone.

Gallery

Puppet theatre (အမြင့်သဘင်) is the inspiration for many movements in traditional Burmese dancing, whose movements are reminiscent of puppets.

Traditional dance performance at the Karaweik in Yangon

A nat gadaw (spirit medium) dance in Amarapura

Shan kinnara and kinnari dance

Dance of the nat priestess performed by a classical dancer photo by EMBASSY OF BURMA, MOSCOW

U Shwe Yoe and Daw Moe dance photo on phoenixvoyages

Article Source: Academic-accelerator