So-called ethnological dance is the product of centuries of development within the traditions of a particular ethnic group. It has a distinct, highly refined technique, which is described by a technical vocabulary and requires long training.
Spanish dance, the outstanding example of ethnological dance in the West, came of age after World War I. Spanish dance developed three ancient traditions into theatrical form:
1) regional folk dances, such as the jota of Aragon, the seguidilla of Castile, and the sevillana of Andalusia
2) classical "school dances," which are regional dances refined in the dancing schools of the 18th century (for example, the bolero)
3)
the flamenco dances of the Andalusian Gypsies.Flamenco has elements of Moorish influence, such as the raised, curved arm and arching spine, infused with the Gypsies' own rebellious spirit, passionate nature, and astonishing sense of rhythm. Rhythm, conveyed by the dancer's clapping hands and intricate heel work (taconeo) and by the clapping, singing, and guitar playing of the accompaniment, gives flamenco its essential theatrical impact. The striking of the feet on the floor, according to the particular rhythm of the zapateado, bulerias, or other flamenco forms, serves as a point of departure to electrify the legs, which in turn set the whole body on fire. Much of flamenco's visual effect, however, depends on the proud, pure line of
the dancer's figure. Spanish dancing performed by artists such as La Argentina, Vicente Escudero, José Greco, and Pilar Rioja was the epitome of emotionally expressive yet rigidly disciplined sensuality.Asian theater dance developed long before theater dance appeared in the West. The distinctive characteristics of Asian folk dance, such as its religious inspiration and emphasis on the upper body, were gradually crystallized by generations of dance masters attached to temples or courts, who preserved and perfected classical dance forms in various regional styles. In all these forms the gestures of the hands play an important part, developing a suppleness astonishing to Western audiences. Facial expression is also stressed, and subtle changes convey a whole range of emotions.
The fundamental artistic principles and technique of Indian classical dance were set down in the Natyashastra, a book of dance drama traditionally believed to have been written by the sage Bharata about the 5th century A.D. The technique involved a language of hand gestures (mudras), originally intended to accompany the chanting of the hymns of the Rig Veda, and a great variety of specific movements for the waist, shoulder, neck, arms, and features of the face.