Seventh International Festival - Veliko Tarnovo


Algeria Burundi Canada Egypt Iran Indonezia Jordan Mexico PuertoRico Senegal SouthKorea Swiss Taiwan Thailand USA
Algeria *BALLET “SITIFIS” ALGERIA* INTRODUCTION It is in the setting of the youth integration and of the culture evolution. That was founded the association SITIFIS for culture and tourism. MAIN GOALS OF THE ASSOCIATION Armor customs and the Algerian folklore; Promote the modern, traditional and popular arts; Take in consideration all types of dances as well as the ballet; Creation of modern and folk dance schools; Involvement to festivals and the national and international cultural demonstrations; Insertion of the child and woman in all cultural domains. INVOLVEMENT TO FESTIVALS Festival of the child, Setif 1997; Festival of popular dances, Tiarets 1998; Theatre festival, Chlef 1999; Festival of popular arts, Tizi ouzou, 2000; Festival of folklore, Sidi belabes 2000; Festival of tabarka, Tunisia 1997, 1998, 1999, 2000; Festival of el djern, Tunisia 1997, 1999, 2000; Festival of Djerba, Tunisia 2000; Festival of child theatre, Toulouse/France 2001; World festival of youth & students, Algeria 2001; Folkdance festival, Liptal/Chech Republic 2001; Folkdance festival, Brno/Chech Republic 2001. All the long of the course, the different shops of the association were excelled in several cultural demonstrations. The association counts 56 adherents for the season 2000/2001 to the level of the seat, and about 30 adherents to the level of appendices in four townships of the wilaya: Ain arnat, Mezloug, Amouchas and El eulma. Achieve goals of the association and direct its shops, is the major worry of a competent team, to promote the art in all these shapes and to lead all their artists on a good way. Go to Top of 'Participants'
Burundi STRATEGY FOR THE CLUB DU LAC AUX OISEAUX “INTASHIKIRWA” The Club du Lac aux Oiseaux ‘‘INTASHIKIRWA”, is a group of women from both ethnic groups (Hutus, Tutsi and Twas) supported by some men who decided to come together and work for the revival of the Burundian culture as they are convinced that no nation can go anywhere without its IDENTITY. This culture has always been a link between Burundians and sometime even between different nations. It is a fact! In Burundi, we are suffering from the conflict between the two main ethnic groups Hutu and Tutsi because we became too modernized and we forgot the common traditional values, which used to unify the components of the Burundi society such as dances and other beliefs. Since 1991, and throughout the hottest time in the Burundi crisis (in 1995, 1996,1997 uptodate), the Club used dances to break the big gap, existing between the two main components of the Burundi society who were fighting i.e , Hutu and Tutsi. The dances were also used for fundraising to collect emergency assistance for various Burundians (orphans, widows and all other vulnerable people )living in displaced camps. OBJECTIVES Time and funding allowing, the objectives of the Club du Lac aux Oiseaux “ INTASHIKIRWA” are as follows: INCREASE TRAINING FOR YOUNG PEOPLE Special efforts have to be made towards youth training in the dancing. The dances and songs have long been a tool of cohesion between families, neighbours and all Burundians. As most of the club members are getting older, we have to make sure that our children perpetuate the culture, which represents our shared identity. The moments when young people gather around culture or sport always help them to deviate from politicians’ solicitations or other distractions like drug consuming or cigarette smoking. It also represents a moment of experience sharing and mutual discovery, which strengthens mutual trust. 2. STRENGTHENING THE RURAL SATELLITE SECTIONS The Club is mainly composed of educated women who live or work in the capital city of Burundi, which is Bujumbura. However, the group has already set up satellite sections in two provinces : Kirundo and Muyinga. Those satellites are composed by grassroots women from displaced camps (mainly Tutsi) and others who stayed on their lands of origin in their respective hills (Hutus). In most cases, displaced people are still depending on insufficient assistance provided by NGOs. The situation has also been severe for those who remained in their lands because of the drought which our country has been going through. All these groups are victims of hunger and increasing poverty. This increases their vulnerability, as well their anger and hatred. We then felt that there was an urgent need to bring them people together for a durable reconciliation and rehabilitation using the strong tye which is traditional culture (songs, proverbs) which they all have in common. We have linked the activities of leisure with the creation of opportunities for income earning to further the rehabilitation. One of our priorities is the joint work around micro-projects for income generation to allow our members become economically empowered and independent. We always insist on independence because we have already noticed that politicians or others who want to serve their own interest can easily manipulate someone who is very poor. Poverty eradication or at least alleviation will also help individuals to regain their dignity and humanity, which has been lost during the ever-lasting crisis. The other good things, which we believe will be achieved through these micro-projects, are: Regaining of friendship and mutual trust among mixed groups Revival of shared cultural traditions and good values Transmission of old songs, proverbs and other values from the oldest generation to the youngest. Proposals for various micro-projects (livestock and agricultural) for these groups are ready for submission to eventual sponsors. Among these satellite sites, one will retain our special attention. This is the one formed by Batwa people. The Batwa form the third ethnic group in Burundi (1% of the Burundi population). For centuries and centuries, nobody has paid attention to this group. They have even been forgotten by the different governments which led Burundi upto to day. The first step already achieved toward this group was to bring them in the capital City of Bujumbura where they had the opportunity to perform with us in all our past cultural presentations. Through these events we succeeding in raising awareness in Bujumbura about the conditions of the Batwa and as a result we have already secured them tin sheets to allow them (members of our group) have a decent shelter like other Burundians. USE DANCES AS A TRAUMA HEALING TOOL Each and every member of the Club has lost close relatives during the 1988 or 1993 crisis in Burundi. Most of them have never been given the opportunity nor were they even allowed to mourn. Some others experience family conflicts on a daily basis still. The Club’s experience has shown that dancing and singing is a good tool for trauma healing. As there are no Hutu dances or no Tutsi dances, but all are Burundi dances. We managed to attract both sides around our icebreakers, which are dances. Moreover, singing and dancing is a kind of dialogue, which has to be acknowledged. It’s a kind of self-expression where you share with your mates through words or body movements all your joy or sorrow. SENSITISATION ON HIV/AIDS AND DRUGS CONSUMPTION DANGERS Peace is not our only concern. The crisis has also been a great vehicle of transmission for HIV/AIDS in our communities. With help from other partners working in the HIV/AIDS domain, we will always take advantage of the women, and often their children, who come together for dance-trainings and pass on useful messages about HIV/AIDS and drugs consumption. We don’t need special session for training . We plan to make profit of the group gatherings and invite experts to come and share importantnand useful information on AIDS or any other interesting subjects. PRODUCTION OF A TELE FILM We are in the process of preparing scripts for a telefilm reflecting the Burundi traditional life. This telefilm will be an occasion to document all the richness and good values of our culture and then share it with the coming generation or other people from all over the world. It is most important that the young people in Burundi, who lived their whole lives during the crisis, see and learn the traditions and other good values built in times of peace. The telefilm will allow them to discover our culture and see the history, not just fighting, and that we can unite through dancing and songs. NETWORK WITH OTHER CULTURAL GROUP – NATIONAL AND INTERNATIONAL So far the group has been doing well but we feel it’s high time to network with other groups and open horizons for our members. We need to learn from others and we also need other people from other countries to know about the richness of our culture. To this end, we are in process of producing CDs, videotapes and audiotapes of our songs and music, which will be disseminated all over the world. These songs contain messages of peace and reconciliation and we hope to use them also to influence policy makers. We have developed models and have evidence that the social and leisure celebrations of shared traditions bring the different groups together. We are part of the millions and millions of silent Burundians who don’t have a place to get their voices heard. For us, we use songs to convey our messages of peace and reconciliation and if needed even use them to reach policy makers. All these objectives can be considered as too ambitious, but we strongly believe that with the commitment of all women and men who are fighting for peace, with assistance from donors who are willing to help Burundi and with support from other artists wherever they could be, WE SHALL SUCCEED! AS MUSIC and DANCE DOES NOT HAVE BOUNDARIES !!!!! Go to Top of 'Participants'
Canada *MacCulloch DANCERS* The MacCulloch School of Dancing was founded in 1955, under the direction of Rae MacCulloch. The MacCulloch Dancers celebrate Canada’s rich multi-cultural identity through lively presentations Scottish Folkloric and Canadian Step Dancing. This group of young high school and university students has met with much success and recognition on the international scene, having performed across Canada, USA, and Scotland. Recently they have represented Canada in Disney World, Florida, Idaho and Utah, USA, Puerto Rico and the Republic of China, Spain, Mexico and Belgium. The traditional dances of early Canadian settlers are danced to the lively tunes of Scotland’s bagpipes and the Irish, French and Scottish fiddle. The music includes clogs, jigs, reels and hornpipes. Canadian tradition, featuring the many colorful clan tartans of Scotland. The ensemble’s work is greatly influenced by the history and traditions of Glengarry County. It is here that the group was first established. The county is a Scottish settlement dating back to the 1700’s and is named for the famous glen along the Gary River in Inverness, Scotland. Today Glengarry County holds the world’s largest annual Highland Games celebrating the games, dance and music of Scotland. The first games were held in 1948. The fiddle, bagpipes and highland dances are still a big part of social gatherings and community functions. The rich traditions of this small Scottish settlement, along with the influence of the lively music and dance of the French settlers is reflected in the exuberant performances of the MacCulloch Dancers. This exciting blend of cultures crosses the Glengarry borders into other regions of Eastern Ontario and Western Quebec. Go to Top of 'Participants'
Egypt BENI – SUEF TROUPE FOR FOLK DANCING The troupe had been established since 1995 and consists of 60 members among them a female and male dancer, popular musicians, singers and a choral. The troupe took part in various national festivals and got several prizes as: The Seventh and Ninth Ismaillia International Festival] Representative of Egypt at three festivals in Bulgaria at 1998 Representative of Egypt at three festivals in Spain at 1999 Representative of Egypt in Greece at Xopotamos festival in Drama city at 2000 Representative of Egypt in Hungary at Szazhalonbtta festival at 2001 Some dances of the troupe are: Pharonic; Alexaldrial; The wheat; Hummer your Bread, Hania; Popular Instruments; The horse; O’High Palm – leaf stalks; Nubia; Clapping; Female Dancer with handkerchief; Petticoat; Semsemia; Artishns; Candlestick. Go to Top of 'Participants'
Indonezia *SMU AL – AZHAR* Smu Al – Azhar is famous folk dance group in Jakarta, Indonesia. Since 1995 Smu Al – Azhar was exist in Indonesian Culture and Art. It can prove from their willingness to improving an original culture of Indonesia with dance and music. Its willingness created creativity whether achievement in art competitions in Indonesia and international. Performance : Indonesian culture mission in Singapore : International Folklore Festival in Italy : Al – Khisar International Folklore Festival in Turkey : Brunssum International Dance Festival in Netherlands Achievement : best performance, International Folklore Festival in Italy : best performance, Al – Khisar International Folklore Festival in Turkey : best performance, Brunssum International Dance Festival in Netherlands General repertoire Smu Al – Azhar have preparing performances with attractive dance as follow: Traditional Zapin Dance When the full moon, people in feel happy and the traditional zapin dance was dancing to describe they thanks to the Lord. Ngarojeng Dance – from Betawi /Jakarta/ This dance is an adaptation of Ajeng music, which developed itself on the outskirts of Betawi. Ajeng music uses striking /percussion/ instrument accompanying Betawi wedding ceremonies which are the inspiration for the movements of the Ngarojeng dance. Gaba – Gaba Dance – from Maluku /East Indonesia/ When their harvest, “Sagu” tree /main food in Maluku/ are grow more, they were happy, singing and dancing with bamboo. They are jumping between one bamboo to another. Payung Dance – from West Sumatera Describing a couple that falling in love and they use an umbrella. Yapong Dance – from middle of Java Created dance as combination of Java and Betawi dance, which tells about happy teenagers, who comes to their teenager’s life and this dance also used to welcome the guest. Giring – Giring Dance – from East Kalimantan The dance describe when the people to thank to the lord, cause their harvest to over flows more then before. Saman Dance – from Aceh To expressing praise to the Almighty. It usually presents as a welcome dance. The accompanying songs are of religious nature. Music Gamelan – this music originally from Java, orchestra comprising xylophones, drums, and gongs and in some cases string instruments and flutes. Gendang and Ketimpring /little drum/ - this music originally from Sumatra island but the other island has this music too. The sounds have a rhythmic when the hands/stick hit that. It made from leather. It can be beautiful music. Costume All the dancers wearing beautiful dancing costume with various islands, colors and have different characteristic and unique. For accessories the dancers wearing ornament golden plates. Such as in their head they use something like crown and the other beautiful variation. Go to Top of 'Participants'
Iran LEYMER Folkloric Music Group of Boushehr History of group: Leymer folk music group of Boushehr has begun his artistic activities in 1991with gaining first place and golden plate, Diploma of Honor, Gold Medal in 6th Fadjr international Music Festival. This group also has participated in many festivals like Iran Epical Music Festival, First Iran scholars Festival, particiating in ESCAP Meeting and Foreign cultural & Artistic festivals in Germany and Yemen, and some of the musical clips of the group has been broadcasting too. Also the Group has cooperated with "SILK2000", (you could visit the web site www.silk2000soie2000.com under the MUSIC section, titled 'Tehran'). Description of Bousher Music: Boushehr is an area in south of Iran, which is called the gate of pleateau, and somehow communication ring of culture of civilization from many years before. Seafaring was the most common business in Boushehr, so people from there were familiar with differentcultures of the world and also emigration of Negroes and Arabs has an effect in this main events, so foundation of music of LEYMER Folkloric Music Group of Boushehr . Boushehr is an amalgam of folk music of Africa, India Arab, Iran and one could find the roots of cultures of Iranian nations such as Turkish Gypsies and Lori. Rhythm and Melody in this music is somehow unique and it has new style, which is performed with a special emotion and it has similarity to African Melodies. Of course, with all of researches about the similarities of this music with other countries music of each nation is single in kind, because music of each nation is propionate with behavior, environment, and way of living of each nation and country. Musical instruments, which are used: 1. Ney - Anban (Bag Pipes): This instrument consists of a bag and handle with to pipes and its versions can be found in India, Africa and Europe. 2. Dammam (a kind of drum): This instrument is a special version of percussion instrument, which could be finding in India and Africa. 3. Cymbals: Which is called "senj" is percussion instrument, which has special Ring and its thickness is about, 20 cm. 4. Tempo: (a cup -like percussion but held upright between legs and played by Hands) is used in African, Arabics and even Turkish countries. 5. Deyre & Deyreh Zangi (Tambourine): This instrument used in the most Countries and the original one or the similar ones are used with another name like "Daf-Darieh". 6. Bugh (horn): Its shape is like antler, which is decorated in a unique way. And it is used with the Dammam & the senj in a ceremony with the same name. 7. Nay - Djofti: This instrument is another melodic instrument which is like the Handle of Nay - Anban but it has a separate emotion than NayAnban. This Instrument is producing sound with blowing in it and the player should play With out interruption. The version could be finding in ancient areas from Europeto Africa and Asia. Different forms which are performed: - Senj &Dammam (An interesting form along dance and movement-harmony of Percussion in struments) - Dance of Mouloudi, char - Dastmaleh (An intersting piece and form along Dance and melody which some individuals are playing too). LEYMER Folkloric Music Group of Boushehr - Yazleh (Dance and song along with several percussion instruments + Harmonic clapping + fantastic rhythm and choub - Bazi). - Neymeh (Special ceremonies for native sailors that perform for doing different work in native ships - dance and song with percussion instruments) - Melodies & songs "Taraneh" (consist of solo - choir and various rhythm - fantastic Harmony of melodic and percussional instruments). - Folk songs (different form, of songs such as: Beyt, Sharveh, jangnameh, Along with sad melodies, etc. - solo by intercharging poems - without musical Instruments). Go to Top of 'Participants'
Jordan JORDANIAN NATIONAL FOLKLORE TROUPE The troupe was established in 1966, under the auspices of the Ministry of Information /Dept. of Arts and Culture/ in Amman. The formation of this troupe came as a step towards saving the heritage and originality, and from the belief that this heritage should continue to accompany civilization without any distortion, and to keep the new generation cognizant of their traditions, customs and rich heritage. The troupe, which comprises young boys and girls, experienced with academic qualifications and high artistic abilities, portrays the pure Jordanian popular art that is considered a collective achievement which emerged from the lively and civilized activities it grew in. Jordanian trainers with outstanding experiences, abilities and high artistic qualifications in popular arts supervise the troupe. This troupe is also supervised by an administrative body, which succeeded in leading it, and in giving a good picture of it during local, Arab and international festivals. It was awarded several prizes and certificates of appreciation. The troupe is part of the Ministry of Culture / Directorate of Theatre and Arts. National and International participation of the Jordanian National Folklore Group: Jerash Festival for Culture and Arts - Jordan /annually/ Babel Festival – Iraq /1989, 1990, 1992, 1994/ Um Alma’arek Festival – Iraq /1993/ Isma’iliyeh International Festival – Egypt /1995/ The Jordanian Cultural Week – Oman /1992/ Autumn International Festival – Oman /1996/ Aqabq Festival for Folkloric Arts – Jordan /1997-1999/ Azraq International Festival – Jordan /several years/ Harvest Festival – Jordan /all years/ Horan Plain Festival – Jordan Multicultural Festival – Torino, Italy /1997/ International Theatre Festival – Jordan /several years/ Child’s Festival – Jordan /several years/ The First Jordanian City Festival – Salt-Jordan /1998/ Carthage Festival – Tunisia /1998/ Jordanian Cultural Week – Republic of China /2000/ Jordanian Cultural Week – Kuwait /2001/ Jordanian Song Festival – Jordan /2001/ Dubai Marketing Festival – U. A. E. /2002/ Go to Top of 'Participants'
Mexico Folkloric Dance Company of Tlaxcala Founded by professor Gregorio Corona Perez, director and choreographer with the aim of diffusing the cultural wealth of Tlaxcala state and of the whole country, Mexico. MEXICAN TRADITIONAL DANCES The Folkloric Dance Company of Tlaxcala has integrated a colorful mosaic covered with magic, myths and rites which make of its dances and music the main means of cultural communication between men and environment. Dancing for Mexicans is recreation and joy but it is also a help to achieve balance between work, culture and social life. The music on its own reflects feeling and history periods. So, a whole performance allows the public to know a bit of the cultural Mexico and to love its traditional art and customs. The Folkloric Dance Company of Tlaxcala is the result of a combination of all this cultural elements and the creativity of a group of young and dynamic people who have as great heritage the tradition which distinguishes us from town to town and form country to country. The Folkloric Dance Company of Tlaxcala are Mexicans living the present, with roots from a great past, and committed with the future of their homeland. The debut of the company took place in November 1993 in the National Festival of Traditional Music and dances, in Tijuana, Mexico. The company won the first prize because of the performance quality. The Folkloric Dance Company of Tlaxcala has represented Tlaxcala State in the XVII, XIX and XXI National Cultural Events of the Nation Workers. The group has carried out tours by the 32 states of the Mexican Republic. It has obtained the recognition of the Autonomous University of Mexico, in the Folklore Session presenting the program Carnavaleando, being presented in the University Cultural Center. It has successfully participated in National Art and Cultural Exchanges in the states of Baja California, Veracruz, Mexico DF, Queretaro, Hidalgo, Michoacan and Nuevo Leon, getting prizes on costumes and authenticity. In 1996 the group carried out its first international tour representing Tlaxcala in the festival Mosaics of the Mexican nation in El Paso, Texas, USA. In 1997 the company performed in Texas and New Mexico, USA. In 2000 it performed in Honduras, El Salvador and Guatemala. More than 150 dancers have taken part of the company during 9 years. At the present time 50 dancers, 8 musicians and technical support integrate the Folkloric Dance Company of Tlaxcala. Go to Top of 'Participants'
PuertoRico ... Go to Top of 'Participants'
Senegal ... Go to Top of 'Participants'
SouthKorea *JUNG JE MAN DANCE COMPANY* The “Jung Je Man Dance Company” was founded in 1980. The company is composed of 30 female and 10 male members. The company participated in the Italy – Milano Lolenzo Festival in 1990; France – Martique Festival in 1990; invitational performances by the Australia – Korean Society Sydney Festival in 1991; France – 45-th Dijong Festival in 1992 /won the Gold Prize/; Canada – Lanchin, Cornwell in 1994; invitational performances by the Canada Queen Elizabeth Theater in 1994; Peru – Jallmay Festival in 1997; performances for Sydney Olimpic Games in 2000. The “Jung Je Man Dance Company” took part in many others international festivals all over the world. Dances: *PuChaeChum* This representative Korean formal folk dance is most widely known in the world. The dancers wear splendid clothes with tow fans, which are decorated with plumes and flower prints. They dance and spin making the graceful arcs and waves just like a rose of Sharon, Korean national flower. This dance represents cheerfully the potential Koreans, world peace and love of humankind. *TaePyeongMu* The origin of this dance is not clear, but it is assumed that the dance was performed since around 100 years ago. The meaning of TaePyeongMu is king and queen wishing for a year of abundance and prosperity. With its delicacy and refinement, every movement has strong control. Not only stepping formation differs, but also the highlight of TaePyeongMu is on the movement of stepping fast. It is succeeded and developed by Mr. Jung Je Man as a style of group dancing. *SaMulNoRi & NongAk* The SaMul is a performance of four people playing KkwangGaRi /small gong and head instrument/, ChangGo /hourglass – shaped drum/, Puk /barrel drum/ and Jing /large gong/. SaMulNoRi has grown to a performance art with unique style by showing sophisticated performance technique accompanying dance and songs. NongAk is a farmer’s dance. It is an extensional form of SaMulNoRi. When performed, some of players wear SangMo, a characteristic hat with a very long ribbon, and revolve their head very fast. It makes a great scene. *HwaKwanMu* HwaKwanMu is one form of Korea’s traditional court dance, and its special characteristic can be found in the beautiful movements with slow tempo and hands completely covered with long sleeves. Performed primarily form the entertainment for ruling class such as king, state ministers and aristocrats, this dance-refined beauty and gracefulness. Modern professional dancers today recreate HwaKwanMu by saving its extravagant dance form. *ChangGoChum /Hourglass-Shaped Drum Dance/* This is a dynamic and powerful dance with ChangGo. ChangGo /hourglass-formed drum/ is used in every form of Korean music. It is mainly used in instrumental pieces to produce resilient and complex tunes, shaman music. This dance differs from the traditional drum dance, which uses drums fixed in a frame. It is gaining popularity in overseas and within the country as well. *HakChum /Crane Dance/* *Subtitle: The crane of a Thousand years* Hak means a crane, which has a fame of longevity according to the Korean legend. The late Mr. Han Sung Jun, designated as an intangible cultural asset, observed and studied the life of the crane and made this dance. Mr. Jung Je Man rechoreographed and is developing this dance as a kind of group dancing according to the scene of the times. It has an anecdote that Mr. Han Sung Jun captured a crane and warmed up the room, putting a wooden fulling roller into the room in order to study the style of crane dance because the crane was dancing on it. *HalRyangHakChum* Hak means a crane, which has a fame of longevity according to the Korean legend. This dance is performed with a crane and a noble man who has a romantic turn of mind. This manly dance expresses Korean men’s taste and elegance. *HoolRyeongMu* This dance is depicting military discipline in an ancient military camp. So, the dancers is required to give a show with men’s physical strength and mystic energy such as jumping, overturn etc. For this reason, the spectators will be overwhelmed. Originally designed by Mr. Han Sung Jun in the 1930s. Choreographed by Mr. Jung Je Man in 1987. *A Feast of Buk* Buk’s means is a drum. This creative work is composed of music and dance performances. SamSung Dance Company dances to the rhythm, which is newly and energetically made through traditional music with percussion instruments. Transmigration of universe is expressed very splendidly and cheerfully. Among this performance, the part of Buk chum /drum dance/ is designed by Mr. Jung Je Man. Go to Top of 'Participants'
Swiss ... Go to Top of 'Participants'
Taiwan *TAINAN FOLK DANCE COMPANY* The Tainan Folk Dance Company was found in 1996 by Lin-Chuan Wang and a group of teachers who have devoted their lives to dance education. George Chang, mayor of Tainan, was selected as honorary president. The company has approximately 25 dancers and trainers, all born and raised in Southern Taiwan. Under the guidance of many outstanding instructors, the company has worked hard to bring the unique quality of Tainan culture to the stage, showing the true spirit of “local people performing local culture”. The Tainan Folk Dance Company truly belongs to the Taiwanese people. In mid-summer 1998, the company performed their “Earth Dance” series that is the combined performance helped preserve and cultivate Taiwanese and Mainland Chinese minority dance. In a tour of the United States in September of the same year, the company played at six major cities of San Hose, Orlando, San Francisco, Washington, New York and Colombo, giving eight shows which were very well received by the Chinese community. In 1999, the company’s “Taiwan Folklore Art’s Story” tour was highly acclaimed on the “Festival Mundial de Folklore Panam’a Pare el Mundo 1999”. In 2000, the company’s tour was again highly acclaimed on the International Folklore Festival in Italy. In 2001, Tainan Folk Dance Company has been invited to take part in the performance of the 520 presidential inaugural address. In addition, the prestigious performance art was invited to be the unique limelight as dancing genre in state banquet. In terms of repertoire, the company specializes in Taiwanese aboriginal traditional dance. The dancers are even taken to mountain areas – the homelands of aboriginal tribes – so they can see the dying arts with their own eyes. These field trips help them reach a true understanding of the culture and a real feeling for the dances. While performing, the dancers are deeply immersed in personal emotions. The Tainan Folk Dance Company devoted all its efforts to preserving and rebuilding traditional Taiwan culture. Production was focused on systematically adapting Taiwanese folk art and native dance for the stage. The hope for the future is to bring culture to every corner of the world and to bring love to everyone on the beautiful island of Taiwan. Go to Top of 'Participants'
Thailand Thai Cultural Troupe from Rajabhat Institute Phetchaboon The cultural troupe of the Rajabhat Institute Phetchaboon is composed of the student and staffs of Rajabhat Institute Phetchaboon. Currently, the members of the cultural troupe incorporate the cultural exchange programme successfully to very high standard and widely acceptance by both private and government organisations. The group's past experiences included the participation international folk dance in Turkey, Finland and Taiwan. Performances of the group 1. Dances from the four regions of Thailand: Dances from the northern region Mong Dance Tai (Mong tribal dance) Rabum Haa Dok Mai (Floral parade dance) Dances from the central region Rabum Maa (Horse dance) Ram Klong Yao (Long Drum dance) Ram Wong (Basic traditional movement) Dances from the northeastern region Serng Ponglang Fon Sao Ta Sawai Dances from the southern region Sat Chatri Dance *Performances of the Thai Cultural Troupe from* Rajabhat Institute Phetchaboon Mong Dance Tai (Mong tribal dance – Northern region hilltribe style) Rabum Haa Dok Mai (Floral parade dance) Rabum Maa (Horse dance) Ram Wong (Basic traditional movement) Serng Ponglang (Northeastern style dance) Go to Top of 'Participants'
USA *AMERICAN FOLK DANCE ENSEMBLE “IDAHO ROCKY MOUNTAIN EXPRESS”* The Idaho Rocky Mountain Express from Burley, Idaho USA, delights every audience with their great talent and charm. The Idaho Rocky Mountain Express has won awards for their competitive clogging in six states. Including national and regional awards. For the past 12 years this ensemble has performed together at dances, fairs, city and church celebrations. Their heartwarming show includes a blend of clogging, square dance, pioneer and American fad dances. The Idaho Rocky Mountain Express entertains with a fast paced, high-energy show about the history of American Folk Dance. A live traditional bluegrass band accompanies them. Throughout the states they are well known for their excellent costuming and choreography. Go to Top of 'Participants'