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Argentine Dance Argentina is in the southern tip of South America, bordered by Uruguay, Brazil, Paraguay, and Chile. It is the eighth largest country in the world and encompasses a diversity of land, climate, and culture. While Argentina is renown for its natural beauty, some of the word’s tallest mountains, expansive deserts, and dramatic waterfalls can be found there, its cities are also very impressive and home to 90% of the country’s population.

The principal indigenous peoples are the Quechua of the northwest and the Mapuche in Patagonia. Other minority groups include the Matacos and Tobas in the Chaco and other northeastern cities. Argentina’s culture is also greatly influenced by its prominent immigrant population. There are large Jewish and Anglo-Argentine communities throughout the country; small communities of Japanese, Chileans and Bolivians; and enclaves of Paraguayan and Uruguayan residents. From these assorted traditions emerged many unique (and widely celebrated) folkloric and popular Argentine dance forms.

Tango

Tango developed in the 1880’s in the poor urban neighborhoods of Buenos Aires, the capital of Argentina, and became the characteristic expression of the lower classes, many of who were recent immigrants from Europe. Tango is a dance of passion, elegance, grace, speed and intricate steps. Born in the bars, cafes, and brothels, it moved to dancing houses, then finally inside the middle and upper class Argentinean homes. Some say the word "tango" comes from the Latin word tangere (to touch) - the embrace is central to this dance form as partners dance very close to each other. The entire range of human feelings is expressed in tango.

Argentina developed very fast between 1880 and 1930 becoming one of the ten richest nations in the world. During that period of fast development the very r

often traveled to Europe at least once a year. It was they who introduced Argentine tango to the Parisnobility. Tango became the craze of the time right away – from Paris, the dance and music rapidly migrated to the other big capitals, London, Rome, Berlin, and finally New York.

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Tango evolved as it moved both through the societal levels within Argentina and as it mixed with other world dance cultures. The antique Argentine tango was influenced by the tango Habanera, a dance and music style that reached its peak in 1883 but died towards the end of the century. The tango Habanera evolved from the milonga (with influences from the guajira flamenca) and the tango Andaluz or tango flamenco. The milonga was danced and played by rural populations in Argentina and combined indigenous rhythms with the music of early Spanish colonists. Some aspect of the dance are also attributed to a dance called Candombe, which was danced by Africans and their descendents living in Buenos Aires and nearby Uruguay. The male Candombe dancers danced with their knees flexed, to show their dance skills with walking steps (corridas) and turns.

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(Argentine dance, continued)

Tango reached its pinnacle of popularity in the 1940's, the “Golden Age of Tango,” during which it evolved into the form we know today. Now it is considered an integral part of Argentine culture, both in its salon (social) and exhibition (theatrical) forms. Internationally it is equally popular amongst Hispanic and crossover audiences, with a very large following in many parts of the United States, Europe, Japan, Mexico and Latin America. Styles vary in Tango: Argentine, French, Gaucho and International, and is considered one of the American 'Standards' regardless of its origin.

The tango that Marcelo and Romina perform in People Like Me 2005 is called “Fireworks.” Pianist Roberto Firpo composed the original version of the music in the 1900’s. Firpo was one of the fathers of the orquesta typica that includes bandoneones (a type of accordion), piano, violins and contrabass. Marcelo and Romina dance to a version that was recorded by La Chicana, a group of contemporary tango musicians that dedicates itself to doing both traditional and original compositions. Thanks to the originality of the music, its onomatopoeic and histrionic nature, it was possible to interpret it with two comic characters dancing a tango with a humorous twist.

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Balinese Dance

ceremonies of Balinese Hindu cu to the

Bali is a small island in Southeast Asia, with sparkling oceans and volcanic mountains, rural rice fields and bustling urban centers. Malay people are the vast majority in Bali, and a local form of Hinduism predominates, shaping Balinese life and art since long before the island became part of Indonesia.

Balinese music and dance is many centuries old, but continues to develop as a living tradition. In Bali, dance is always closely allied to music, not only in the fact that many gamelan (gong-chime orchestra or ensemble) performances include dance as a major component, but also because the details of choreography and dance gesture are tightly synchronized with the music's accents and textures. The traditions evolved primarily in the context of the highly ornate, multi-faceted lture. In these dances, the performance is seen as an offering

Hindu deities, who are invited down from the heavens to visit the temples during temple anniversaries and other auspicious ritual occasions.

Drama Tari: Classical Dance Drama New art forms are constantly added to the classical repertoire of Balinese dances. In Bali, the word “traditional” does not carry the same significance as here, because almost all new work is based on older work, which is then re-arranged and modified according to modern tastes and interpretations. There is thus a smooth continuum between old and new in the accepted creation of new traditions by artists of the current generation.

Several newly created dances are also very popular, such as the Tari Kijang Kencana (“the Golden Deer Dance”) and Tari Manuk Rawa (“Long Legged Bird Dance”), both created within the last 30 years.

In People Like Me 2005, dancer I Made Moja will perform a drama tari piece based on the Hindu mythology of The Ramayana -- a classic tale of good vs. evil. For the past two thousand years the Ramayana has been among the most important literary and oral texts of South Asia. This epic poem provides insights into many aspects of Hindu culture and continues to influence the politics, religion and art of Hindu societies. The excerpt presented centers on the preparation for battle between the monkey king, Sugriwa (played by I Made Moja), and Kumokarna, the brother of the evil King Rawana. Sugriwa rallies the monkey army and they chant to raise their spirits and mobilize their power. The instrumentation includes a small Gamelan ensemble (metallaphone, drum, gong, cymbal, flute) and chanting (kecak).

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Korean Dance

Korea is located on a peninsula to the east and south of China and Russia, and to the west of Japan. There are about 3,000 islands belonging to Korea, mostly off the west and south coasts. Because of its geographical location, Chinese culture filtered into Japan through Korea, and these three countries share a common cultural sphere of Buddhism and Confucianism. At the end of World War II, the Korean peninsula was divided into two dregions with different governing systems, known as North Koand South Korea.

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Korean traditional dance is varied and diverse, but it can be divided into three groups: jakbeop (Buddhist ceremonial dance), jeongjae (court dance), and folk dance. Dance has been performed at major national and religious events in Korea since about 900AD. Court dances developed around 1392 with the installation of royal culture, and were danced at national banquets and celebrations as well as for foreign dignitaries. Most court dances are in praise of the solemnity and importance of the royal family, and are characterized by the beautiful costumes and

strong artistic blend. Folk dances, on the other hand, developed along with increase in commerce and industry, in the early 1900’s. It expresses the lives and emotions of the common people and often comments critically on the society of the time.

Nong-ak (“Farmer’s Dance”) For centuries, every spring and every fall, Korean farmers have performed this lively processional dance to assure a bountiful crop and successful harvest. Today, the Farmer Dance is performed simply to celebrate, at any time of year, expressing joy and hope for the future. The drums (sogo, changgo, and puk) and the gongs (ching and kwaengwari) make plenty of noise to scare away potential troubles.

Sogochum is one of the most popular solo performances in Nong-ak. The sogo (small drum) used in this dance, is about 15 inches in diameter. The drum is held together with a knob with the left-hand and is beaten on the drumhead with a firm stick with the right-hand. The nong-ak band features the sogo as a dance prop as well as a musical instrument. The sogo players usually occupy the front line on stage, with the solo performer leading. A version of this dance is performed in People Like Me 2005 by the Ong Dance Company.

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(Korean dance, continued)

Sam-go Mu (“Tree Stand Drum Dance” or “Three Drum Dance”)The performers of Sam-go Mu are both drummers and dancers, combining rhythmic dexterity with acrobatic movement. The dance begins with a dramatic rolling of drumsticks around the ridges of the drum's circumference, gradually building to a crescendo. The elegant and gentle movements of the female dancers express the blessing and great joy of mother earth.

Legend has it that a high-ranking government official of the Koryo period (918-1392 AD) by the name of Yi Hon found a piece of wood on the seashore where he was exiled, and made a drum out of it that had a wonderful sound. Other evidence suggests that standing drums were introduced into Korean culture from China during the reign of King Seongjong (1457-1494 AD) and were popularized during the late Chosun Period in the 19th century.

The drums express the sound of the mother-like earth, and the temperate will and splendor of the women are demonstrated through the dance. The self-sacrificing spirit of the mother so devoted to family and home, the seemingly endless amount of farm work, and the cyclical process of life are all celebrated through the strong and graceful Sam-go Mu. This dance is also presented in People Like Me 2005.

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Polish Dance

Poland is a European country bordered by Germany, Russia, the Ukraine, Austria, and the Czech Republic and is currently about the size of France. Historically, Poland was sometimes much larger than today, for example in the 14th century it stretched from present-day Lithuania in the East to present-day central Germany in the West. In the 18th and 19th Centuries, after a series of wars resulting in the partitioning of Poland’s land, there were political, religious, and national uprisings compelling many Poles to immigrate to France, Germany, Sweden and the U.S.A.

Polish traditional culture has two distinct styles of folkloric dance – one from the nobility and one from the peasantry. In Poland there are nearly 40 distinctive cultural regions – each with their own specific dances, melodies and songs as well as folklore.

ZYWIEC DANCE AND MUSIC STYLE The mountain dance style from the Zywiec region’s Beskid mountains of southwestern Poland, is still vibrant today. Singing is an integral part of Polish folk dances, particularly in the mountain traditions where all dances begin with a song. In the Zywiec region (unlike the neighboring mountain region of “Podhale,”) men and women often dance as partners, although the separate traditions for boys are still very important. The shepherds of the highlands develop displays of skill and challenges that include acrobatics such as jumping over one’s own hat, leaping and rolling over one another, and dancing in the difficult squat position. In social settings, the prowess of the young men is used as a courtship “edge” in vying for the women.

Men and women often dance in social events such as the informal dance party depicted in People Like Me 2005 by

Lowiczanie Polish Folk Ensemble. These dances include both partner dances and segments when the young men and women dance separately. The men’s dance displays their physical dexterity, while in the women’s dance and song, “Sarna” or “Deer,” the girls wish to be as graceful as a deer and illustrate this with long, graceful leaps and little deer-like prances. Another favorite of the Zywiec mountaineers is “Hajduk,” full of show-off steps for boys and raucous fun for all dancers, who sing, “We will dance until our kierpce (shoes) are in pieces, and then still continue!”

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(Polish dance, continued)

The music of this southern mountain region strongly differs from that of the northern regions, especially because of its predominantly double meters. Though they’ve been played for nearly 1000 years, written transcriptions of górale music only began in the first half of the 19th century, and an explosive growth in the outsiders' interest began in the late 19th century.

Several types of melodies are used for the suite of dances and songs in People Like Me, including the “Siustany,” “Sarna,” and “Hajduk.” The band (called kapela or muzyka) is led by a lead violinist. The accents of accompanying violins and the contra base create the strong rhythmic foundation. Traditionally a kapela was strings only, with bagpipe and pipes added, but today’s kapelas in the Zywiec region have started to include the accordion.

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West African Dance

Africa covers about one-fifth of the world's land area and about an eighth of its people. Africa is divided into 53 independent countries and protectorates. The African people belong to several population groups and have many cultural backgrounds of rich and varied ancestry. There are over 800 ethnic groups in sub-Saharan Africa, each with its own language, religion, and way of life.

African dance embodies athleticism and a graceful beauty flowing with rhythm. In Africa, dance is a means of marking the experiences of life, encouraging abundant crops, and healing the sick soul and body. It is also done purely for enjoyment. All ceremonial African dances have a purpose, often spiritual. Traditionally, people throughout the continent of Africa achieve direct communication between themselves and their gods through ritual music and dance, including many with masks.

Many things about ceremonial dances change when they are brought to the stage from their original context in village life. For example, in Africa the dancers are not on a stage, but are interacting directly with the rest of the people, who also participate in the ritual by singing, playing and having dialogue with the musicians and dancers. When these dances are done on a stage, they often include innovative elements, illustrating how dance is not static, but changing and growing even as the performers meet new people and styles on their travels.

MALI and SENEGAL: Mendeng and WolofA griot (GREEoh) or djialy (jali) is the keeper of cultural traditions and history of the Mandeng people of West Africa. These traditions and stories are kept in the form of music and dance, containing elements of history or metaphorical statements that carry and pass on the culture of the Mandeng people through the generations. The music will usually follow a form, beginning slow with praise singing and lyrical movements accompanied by melodic instruments such as the kora, a 21-stringed harp/lute, and the balafon, a xylophone with gourd resonators. Wolof drumming and dancing, originating in Senegal, features the Djembe and DounDoun drums, athletic jumps and spectacular up-tempo movements engaging the whole body. In Senegalthe Wolof play drums to heal the sick, communicate with the spirit world, and bring communities together, but most of all, they play drums to dance. Wolof drummers accompany dancers by playing strongly marked cross-rhythms that are laced with interjecting calls. Using precise control, the numerous drummers weave intense patterns together.

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(West African dance, continued)

In People Like Me 2005, Djialy Kunda Kouyate presents “Contante” (Happiness). This piece is based on the Mendeng legend of a young boy named "Soungalo” from a small village in Senegal, who lost both his parents to death. The griots, with their music and song, told the boy of his family history and how good his parents were, and reassured him that he need not worry because the people of the village would take good care of him in his growing years. The King called for a big party to celebrate with the griots there to sing and dance for everyone in the village.

"Hey Jali ah dah, Allah le ke Jali ala dah" is a song that means "Ah, the art of being a Jali, God created the art of being a Jali."

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Related Topic: Shadow Puppetry

The ancient art of shadow puppetry, in which shadow images of elaborately handcrafted puppets are projected onto a screen, is over one thousand years old. Thought to have originated in India and Egypt, shadow puppetry then traveled to Turkey, Greece, China, Thailand, Cambodia, and became a prominent part of the cultural traditions of Indonesia. Before the coming of television and movies, shadow puppetry was a popular form of entertainment and education. Puppeteers would travel from village to village to enthrall the residents with their shadow dramas. Shadow puppetry was a family enterprise, with fathers passing down the stories and handmade puppets to their sons.

ShadowLight Productions, (appearing in People Like Me 2005) was founded by one of the pioneers of modern shadow puppetry, Larry Reed. Often adapting traditional Indonesian shadow plays with innovative techniques, the company blends high drama, improvisation, and slapstick comedy. The stories and characters they create give people a chance to see themselves through the mirror of the mythic history; to view their current situation through a timeless perspective.

Indonesian Shadow Puppetry (wayang kulit)Most Indonesian shadow plays are based on two epic stories from India. The Mahabarata and it's sister work, the Ramayana, elegantly depict eastern philosophies which have inspired mcultures. The Balinese and Javanese have combined the Hindu stories with Buddhist and Muslim ideas and their own folklore

Some favorite stories include Kala Rau - the eclipse of the moon, Calonarang - a call to witches, aPanji -Javanese folk tales.

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The dalang, puppeteer or shadowmaster asks the village about the local issues that they are facing and then chooses a story that illustrates solutions. The dalang tells the story, manipulates all the figures, interprets characters and voices for each, and produces sound effects punctuating speech and movement. The dalang also sings, cues the musical accompaniment, speaks several languages, and blesses the performance and surrounding area with mantras. Dalang usually make most of the their own wayang kulit figures, eventually passing the craft to younger members of the family. Many dalang are also wood carvers, painters, dancers, musicians, and priests. They are an integral part of Indonesian society and merit the highest respect of the people.

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(Shadow Puppetry, continued)

Traditional shadow puppets are flat, usually made of leather, and perforated to create interesting shadow patterns. Split bamboo or cane sticks are attached vertically to the puppets for handling and manipulation. To create the shadows, they are lightly pressed on a translucent screen with a bright light behind them. A gamelan orchestra accompanies shadow plays. Gamelan players play gongs and xylophone type instruments, and respond to the spontaneous timing and direction of the dalang.

Shadow Puppetry Around the GlobeTraditional puppets from India include 5-foot Tamil figures of “Hanuman” (General) and “Sugriva” (The Monkey King). Although written records are scarce, it is clear that by the time of the composition of the Ramayana and the Mahabharata, there was a form of theatrical performance, known as the "Chhaya Nataka".

The Malaysian shadow theater owes its origin to Java. However, it has also some similarities with Thailand. The shadow theater in Malaysia is divided into two forms the wayang siam and the wayangdjawa.

The traditions of shadow puppetry of Cambodia and Thailand have very strong affinities. In Cambodia, it is called nang sbek and in Thailand, nang yai. Refugee camps along the Thai/Cambodian border became the artistic home for shadow puppetry when it was forced to near extinction by the Khmer Rouge in the 1970’s.

Turkey was the home of a very distinct form of shadow theater believed to have come from Egypt and, perhaps, also Indonesia. The chief character of Turkish puppetry is Karagoz and the form is also known by this character. Whereas Asian shadow theater is often concerned with religious epics, Turkish shadow puppets come out of popular satirical theater.

The Turkish shadow theater was brought to Greece during the Ottoman Empire. Turkish influence on Greek puppetry is recognizable in both style and content. For example, both have the character Karagoz, called Karagiosis in Greek, as their chief protagonist.

China has a very rich tradition of shadow puppetry. There are several styles and schools both in Northeast and Northwest China.

Shadow puppets have been a popular theatrical form in Egypt since 1100 and are the origins of modern Aaagoz theater, or string puppet marionettes.

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Related Topic: Discover Gravity

Gravity is a force. A force is a push or pull that can be created in many different ways. Some forces require contact, such as pushing open a door, and other forces can act without contact, such as gravity. Gravity is the force that exists between all objects and pulls them together like magnets. The amount of force depends on the mass (quantity, size, or density) of the objects, and the distance between them.

The earth is the biggest object with the most mass that is nearby. The earth exerts a gravitational force that pulls us towards its center, and we feel that as “down,” (or “falling”) and we measure it as “weight.” That huge force is why we are standing on the ground instead of floating in the air. This force is the reason things fall when they are dropped – they are actually being pulled towards the earth by its gravitational force.

Any two bodies having mass exert a gravitational force on each other, but most pairs of objects have so small a combined mass that the force between them is very small and we can’t see the effect. That is why all of the things on your desk aren’t stuck together and when you walk past a building, you don't feel pulled towards it. What seem to us like very large objects (a lot of mass compared to us) still generate a very small amount of gravity. For example, two trucks weighing about 100,000 pounds, which are about 10 feet apart, influence each other with one tenth as much force as the earth exerts on a feather sitting in your hand. If your hand wasn’t there, the earth would keep pulling the feather as close to the center of the earth as possible – probably the “falling” to the floor is as close as it would get.

Another example of the force of gravity is the attraction that occurs between the earth and the moon. The earth's mass causes a gravitational force that keeps the moon in its orbit (path) around the earth. The moon's mass (which is also very large) causes the gravitational force that pulls on the water of the earth’s oceans to create tides. The combination of gravitational forces from the sun and the earth help to keep the moon in its orbit – like two pieces of bread keep all of your sandwich ingredients from falling apart.

Sir Isaac Newton— (1642–1727 C.E.) was the English physicist and mathematician who studied gravitational forces and motion, and is considered the founder of physical science. Newton figured out the Theory of Gravity and developed the Laws of Motion.

(Mr. Newton’s fictional distant relative appears in People Like Me 2005: It’s All Relative!)

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Related Topic: Discover DNA!

“What makes you you, what makes me me shapes every living thing you see. We're all related in a way, because we all have DNA!”*

Deoxyribonucleic acid, DNA for short, is the chemical that’s found in the nucleus (middle part) of the cells of all living things. Cells are the building blocks of all life forms (from humans to worms to palm trees).

Your DNA is like your thumbprint. It is yours and yours alone. Unless you have an identical twin, no one else on the planet has exactly the same DNA as you.

The DNA is shaped like spiral stairs and is grouped into genes. Your genome (the group of all of the genes you have) contains about 35,000 genes. Each single gene

carries information, like an instruction manual, that tells certain cells in your body what to do. If you think of your genome as the book that makes you, then the genes are the words that make up the story.

DNA determines your traits – the special features that make you you! Some traits are more common than others, like having five fingers or being able to curl your tongue. But other traits are harder to find, like being able to raise one eyebrow or wiggle your ears.

So, DNA is made up of genes, genes make cells, cells make you!

Fun Fact: If you uncoiled all of the DNA from one human CELL it would be six feet long!

Frances Crick and James Watson are the two scientists who won the Nobel Prize for figuring out the structure of DNA.

* From The American Museum of Natural History's OLogy Web site, http://ology.amnh.org/genetics/