References to dance can be found in very early recorded history; Greek dance horos is referred to by PlatoAristotlePlutarch and Lucian. During the first millennium BCE in India, many texts were composed which attempted to codify aspects of daily life. Bharata Muni 's Natyashastra literally "the text of dramaturgy" is one of the earlier texts. It mainly deals with drama, in which dance plays an important part in Indian culture.
It categorizes dance into four types--secular, ritual, abstract, and, interpretive--and into four regional varieties. The text elaborates various hand-gestures mudras and classifies movements of the various limbs, steps and so on.
A strong continuous tradition of dance has since continued in India, through to modern times, where it continues to play a role in culture, ritual, and, notably, the Bollywood entertainment industry.
Many other contemporary dance forms can likewise be traced back to historicaltraditionalceremonialand ethnic dance. Dance is generally, however not exclusively, performed with the accompaniment of music and may or may not be performed in time to such music. Some dance such as tap dance may provide its own audible accompaniment in place of or in addition to music.
Many early forms of music and dance were created for each other and are frequently performed together. Some musical genres have a parallel dance form such as baroque music and baroque dance ; other varieties of dance and music may share nomenclature but developed separately, such as classical music and classical ballet.
Rhythm and dance are deeply linked in history and practice. The American dancer Ted Shawn wrote; "The conception of rhythm which underlies all studies of the dance is something about which we could talk forever, and still not finish. The basic pulse is roughly equal in duration to a simple step or gesture. Dances generally have a characteristic tempo and rhythmic pattern.
The tango, for example, is usually danced in 2 4 time at approximately 66 beats per minute. The basic slow step, called a "slow", lasts for one beat, so that a full "right—left" step is equal to one 2 4 measure. The basic forward and backward walk of the dance is so counted — "slow-slow" — while many additional figures are counted "slow — quick-quick. Just as musical rhythms are defined by a pattern of strong and weak beats, so repetitive body movements often depends on alternating "strong" and "weak" muscular movements.
Since some such movements require more time in one phase than the other — such as the longer time required to lift a hammer than to strike — some dance rhythms fall equally naturally into triple metre. Further, complex dances composed of a fixed sequence of steps always require phrases and melodies of a certain fixed length to accompany that sequence.
The very act of dancing, the Devil Dance themselves, generate an "initial skeleton of rhythmic beats" that must have preceded any separate musical accompaniment, while dance itself, as much as music, requires time-keeping  just as utilitarian repetitive movements such as walking, hauling and digging take on, as they become refined, something of the quality of dance.
Musical accompaniment therefore arose in the earliest dance, so that ancient Egyptians attributed the origin of the dance to the divine Athotus, who was said to have observed that music accompanying religious rituals caused participants to move rhythmically and to have brought these movements into proportional measure. The same idea, that dance arises from musical rhythm, is still found in renaissance Europe in the works of the dancing master Guglielmo Ebreo da Pesaro who speaks of dance as a physical movement that arises from and expresses inward, spiritual motion agreeing with the "measures and perfect concords of harmony" that fall upon the human ear,  while, earlier, Mechthild of Magdeburgseizing upon dance as a symbol of the holy life foreshadowed in Jesus' saying "I have piped and ye have not danced",  writes.
I can not dance unless thou leadest. If thou wouldst have me Devil Dance aloft, sing thou and I will spring, into love and from love to knowledge and from knowledge to ecstasy above all human sense . As has been shown above, dance has been represented through the ages as having emerged as a response to music yet, as Lincoln Kirstein implied, it is at least as likely that primitive music arose Devil Dance dance.
Shawn concurs, stating that dance "was the first art of the human race, and the matrix out of which all other arts grew" and that even the " metre in our poetry today is a result of the accents necessitated by body movement, as the dancing and reciting were performed simultaneously"  — an assertion somewhat supported by the common use of the term "foot" to describe the fundamental rhythmic units of poetry.
Scholesnot a dancer but a musician, offers support for this view, stating that the steady measures of music, of two, three or four beats to the bar, its equal and balanced phrases, regular cadences, contrasts and repetitions, may all be attributed to the "incalculable" influence of dance upon music.
Hence, though doubtless, as Shawn asserts, "it is quite possible to develop the dance without music and The common ballad measures of hymns and folk-songs takes their name from dance, as does the caroloriginally a circle dance. Many purely musical pieces have been named " waltz " or " minuet ", for example, while many concert dances have been produced that are based upon abstract musical pieces, such as 2 and 3 Part InventionsAdams Violin Concerto and Andantino.
Similarly, poems are often structured and named after dances or musical works, while dance and music Devil Dance both drawn their conception of "measure" or "metre" from poetry. Shawn quotes with approval the statement of Dalcroze that, while the art of musical rhythm consists in differentiating and combining time durations, pauses and accents "according to physiological law", that of "plastic rhythm" i. Shawn nevertheless points out that the system of musical time is a "man-made, artificial thing The earlyth-century American dancer Helen Moller stated simply that "it is rhythm and form more than harmony and color which, from the beginning, has bound music, poetry and dancing together in a union that is indissoluble.
Concert dance, like operagenerally depends for its large-scale form upon a narrative dramatic structure. The movements and gestures of the choreography are primarily intended to mime the personality and aims of the characters and their part in the plot.
On the other hand, the ballet blancdeveloped in the 19th century, allows interludes of rhythmic dance that developed into entirely "plotless" ballets in the 20th century  and that allowed fast, rhythmic dance-steps such as those of the petit allegro.
The ballet developed out of courtly dramatic productions of 16th- and 17th-century France and Italy and for some time dancers performed dances developed from those familiar from the musical suite,  all of which were defined by definite rhythms closely identified with each dance.
These appeared as character dances in the era of romantic nationalism. Ballet reached widespread vogue in the romantic era, accompanied by a larger orchestra and grander musical conceptions that did not lend themselves easily to rhythmic clarity and by dance that emphasised dramatic mime. A broader concept of rhythm was needed, that which Rudolf Laban terms the "rhythm and shape" of movement that communicates character, emotion and intention,  while only certain scenes required the exact synchronisation of step and music essential to other dance styles, so that, to Laban, modern Europeans seemed totally unable to grasp the meaning of "primitive rhythmic movements",  a situation that began to change in the 20th century with such productions as Igor Stravinsky 's The Rite of Spring with its new rhythmic language evoking primal feelings of a primitive past.
Indian classical dance styles, like ballet, are often in dramatic form, so that there is a similar complementarity between narrative expression and "pure" dance. In this case, the two are separately defined, though not always separately performed. The rhythmic elements, which are abstract and technical, are known as nritta.
Both this and expressive dance nrityathough, are closely tied to the rhythmic system tala. Teachers have adapted the spoken rhythmic mnemonic system called bol to the needs of dancers.
Japanese classical dance-theatre styles such as Kabuki and Nohlike Indian dance-drama, distinguish between narrative and abstract dance productions. The three main categories of kabuki are jidaimono historicalsewamono domestic and shosagoto dance pieces.
Social dancesthose intended for participation rather than for an audience, may include various forms of mime and narrative, but are typically set much more closely to the rhythmic pattern of music, so that terms like waltz and polka refer as much to musical pieces as to the dance itself. The rhythm of the dancers' feet may even form an essential part of the music, as in tap dance. African dance, for example, is rooted in fixed basic steps, but may also allow a high degree of rhythmic interpretation: the feet or the trunk mark the basic pulse while cross-rhythms are picked up by shoulders, knees, or head, with the best dancers simultaneously giving plastic expression to all the elements of the polyrhythmic pattern.
Dance in Africa is deeply integrated into society and major events in a community are frequently reflected in dances: dances are performed for births and funerals, weddings and wars. Thousands of dances are performed around the continent.
These may be divided into traditional, neotraditional, and classical styles: folkloric dances of a particular society, dances created more recently in imitation of traditional styles, and dances transmitted more formally in schools or private lessons.
All Indian classical dances are to varying degrees rooted in the Natyashastra and therefore share common features: for example, the mudra s hand positionssome body positions, leg movement and the inclusion of dramatic or expressive acting or abhinaya.
Indian classical music provides accompaniment and dancers of nearly all the styles wear bells around their ankles to counterpoint and complement the percussion. There are now many regional varieties of Indian classical dance. Dances like "Odra Magadhi"which after decades-long debate, has been traced to present day Mithila, Odisha region's dance form of Odissi Orissiindicate influence of dances in cultural interactions between different regions.
The Punjab area overlapping India and Pakistan is the place of origin of Bhangra. It is widely known both as a style of music and a dance. It is mostly related to ancient harvest celebrations, love, patriotism or social issues. Its music is coordinated by a musical instrument called the 'Dhol'. Bhangra is not just music but a dance, a celebration of the harvest where people beat the dhol drumsing Boliyaan lyrics and dance.
It developed further with the Vaisakhi festival of the Sikhs. The dances of Sri Lanka include the devil dances yakun natimaa carefully crafted ritual reaching far back into Sri Lanka's pre-Buddhist past that combines ancient " Ayurvedic " concepts of disease causation with psychological manipulation and combines many aspects including Sinhalese cosmology.
Their influence can be seen on the classical dances of Sri Lanka. Indonesian dances reflect the richness and diversity of Indonesian ethnic groups Devil Dance cultures. There are more than 1, ethnic groups in Indonesiait can be seen from the cultural roots of the Austronesian and Melanesian peoplesand various cultural influences from Asia and the west. Dances in Indonesia originate from ritual movements and religious ceremonies, this kind of dance usually begins with rituals, such as war dances, shaman dances to cure or ward off disease, dances to call rain and other types of dances.
With the acceptance of dharma religion in the 1st century in Indonesia, Hinduism and Buddhist rituals were celebrated in various artistic performances. Hindu epics such as the RamayanaMahabharata and also the Panji became the inspiration to be shown in a dance-drama called "Sendratari" resembling " ballet " in the western tradition. An elaborate and highly stylized dance method was invented and has survived to this day, especially on the islands of Java and Devil Dance. The Javanese Wayang wong dance takes footage from the Ramayana or Mahabharata episodes, but this dance is very different from the Indian version, indonesian dances do not pay as much attention to the " mudras " as Indian dances: even more to show local forms.
The sacred Javanese ritual dance Bedhaya is believed to date back to the Majapahit period in the 14th century or even earlier, this dance originated from ritual dances performed by virgin girls to worship Hindu Gods such as ShivaBrahmaand Vishnu.
In Bali, dance has become an integral part of the sacred Hindu Dharma rituals. Some experts believe that Balinese dance comes from an older dance tradition from Java. A retired homeopathic pharmacist, the Old Man now divides his time between their Mexico City home A retired homeopathic pharmacist, the Old Man now divides his time between their Mexico City home where he shuffles around in his housecoat, raging against Beatriz, and paying secret visit A retired homeopathic pharmacist, the Old Man now divides his time between their Mexico City home where he shuffles around in his housecoat, raging against Beatriz, and paying secret visits to his mistress.
Beatriz, when not bearing the brunt of the Old Man's tirades, sneaks ou Read all. Sign In. Original title: El Diablo entre las Piernas. Play trailer Drama Romance. Director Arturo Ripstein. Paz Alicia Garciadiego. Top credits Director Arturo Ripstein. See more at IMDbPro. Trailer Photos 7. Top cast Edit. Silvia Pasquel Beatriz as Beatriz. Greta Cervantes Dinorah as Dinorah. Seeing no one, Gabby shut her robe and turned to the doorway.
Perhaps the door was simply loose. As she turned to the doorway, she heard a voice. An old man, at least ninety, was descending the long, elegant staircase. He clutched a walking crutch in his hand and steadily made his way down the stairs until he was face-to-face with Gabby.
He looked at her with his dark eyes and narrow brows. He let out a smile, pleased to have such a lovely woman as a visitor. Gabby grinned. She threw open her cloak and flashed her naked body to the old man. She realized at this moment that she had not lowered her mask. This man had now seen both her face and body. Since you're dressed for the occasion, would you care to join me? The old man raised an eyebrow.
She turned and walked out the front door, shutting it behind her. That was perhaps the nicest invitation she got all night. Gabby stepped off the porch and made her way back to Dan's car. Take as long as you want. She set her Halloween bag in the car and made her way back to the old house. Dan watched; pleased at how this was progressing. He knew that old man Balko would not be able to keep his hands off Gabby once she was stark naked in his hot tub with him. He just hoped Gabby would not refute his advances.
He wanted to tell Gabby; to let her know that absolutely nothing was off-limits as far as he was concerned. He even considered insisting that Gabby take the condoms with her when she went back to the house, but Dan realized he didn't even mind if they had unprotected sex. Dan would have been perfectly happy to have Gabby become pregnant as a result of her tryst with old man Balko, and he would raise the child as he would his own.
Gabby arrived at the doorstep and rapped the knocker again. She didn't have to wait long before the door opened. He had the same dark eyes and narrow brows as the older man, and he was dressed in swim trunks with a towel draped over his bare shoulder. He invited me to sit in the hot tub. Gabby stepped inside and the man closed the door behind her.
Luke led Gabby through the kitchen and into an alcove near the back of the house. Inside the alcove, underneath a ceiling of tiled glass, was a rumbling hot tub. Log In Sign Up. Explore New Story. Live Webcams Models Online Now! See all models online at LitWebcams.
Swipe to see who's online now! Illustrated Dance with the Devil Redux. Dance with the Devil Redux. Story Info. Dance with the Devil. Share this Story. Font Size Default Font Size. Default Font Spacing. Default Font Face. Detect Automatically. Default Theme White. Click here. Totzman 32 Stories. Gabby batted her eyelashes.
She turned to face her husband. Gabby Becket would ever wear something like that! She waited. Gabby stared back at him. Gabby shook her head. The husband, Wayne Burke, opened the door.
Gabby threw open the cloak. Gabby lifted her mask and rummaged through her bag. Then she stopped. Gabby was flattered to have gotten the numbers, so Dan was happy about that. He motioned towards the end of the street. Dan shrugged.
Gabby cocked her head. She did not hear a sound. She waited for a second and knocked again. No one was there. The old man reached into a bowl of candy resting by the stairway. I've had enough. Just looking to have some fun," Gabby said. Gabby nodded. He's just waiting for me. Gabby stopped. Gabby blushed. Dan chuckled. This took Gabby off guard. I thought you might be worried," Gabby said. Sit in the tub with him.
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