Representing Our World's Cultures With Dance Like National Anthems And Flags, Why Not a National Dance For Every Country? By Pat Beaven Each April, countries around the world celebrate International Dance Day, as they have every year since 1982 when UNESCO, the educational and cultural branch of the United Nations, inaugurated the event.  Grand as well as small-scale performances combine with initiatives of all sorts to fulfil the aim of attracting the attention of a wider public to the experience and importance of the art of dance.  My International Dance Day project this year is a proposal: if each country were to devote time and energy to selecting and promoting a National Dance, I feel this would create a powerful vision for a better world, maybe even world harmony.  It sounds simplistic, but let’s look beyond the cliché of people everywhere joining hands to circle the globe in dance … ______________________ And throughout history, dancing becomes important whenever life is in serious jeopardy.  When all of medieval Europe was in danger of extinction during the Great Plague, we read of people dancing wildly in the streets for days on end.  ______________________ The word “dance” comes from the ancient Sanskrit “tanha”, meaning “joy of life”.  The impulse to dance is primitive and universal; it jumps natural and political boundaries.  Dance has always celebrated the life force.  In ancient times, it did so by marking the cycles of nature necessary to life – seasons of sun and rain, of planting and harvesting.  And throughout history, dancing becomes important whenever life is in serious jeopardy.  When all of medieval Europe was in danger of extinction during the Great Plague, we read of people dancing wildly in the streets for days on end.  When peace came at the end of WW1, people on both sides of the Atlantic celebrated by indulging in somewhat of a dance frenzy: think of the flappers of the 1920’s reaffirming the renewal of life after the ravages of the war years.  This honoring of the life-force, this “joy of life”, is of course central to the dream of world peace. Nations sit in assembly to settle on flag designs, slogans, symbols, and national anthems to represent them internationally.  But very few countries have official national dances.  Why ignore such a simple way to communicate something about the character of a country?  Whether it’s folk dance (dance of the people), ritual dance (of the church or temple), aristocratic dance (of the court), or professional dance (of the theatre), any dance selected to represent them to the world would cause each country to review and experience pride in its history, its struggles, its accomplishments, its cultural heritage.  And if a large area and/or diverse population meant it was impossible to choose only one dance – Germany and Spain, for instance, might find themselves in this predicament – any number of regional dances could be given equal billing as national dances: a sort of embarrassment of riches! ______________________ “While I dance”, said Hans Bos, “I cannot judge, I cannot hate, I cannot separate myself from life.  I can only be joyful and whole.  That is why I dance.”  ______________________ How often do we hear that the future of the world belongs to the children?  In order for them to eventually maintain peace and harmony in the pluralistic, interdependent world they’ll inherit, they will need an understanding of world history and world affairs and an appreciation and respect for the diversity around them.  Yes, we can help them locate on the globe the various countries they hear about on the news; yes, we can teach them to recognize the flags of a hundred different counties; yes, we can assure them that underneath we are all human beings who eat, sleep, work, and love.  But while every ten year-old won’t be a geography whiz or learn to speak another language, meaningful insights into diversity are still within reach.  A tangible connection to another culture is as close as watching in amazement the athletic precision required when dancers perform the Tini-kling, the National dance of the Philippines, or participating in the rousing Kalamatianos, the National Dance popular with the Evzones, the famous Greek kilted regiment.  Teach me your dance, I’ll teach you mine.  If we can dance together, perhaps we can then explore how we can join forces to combat disease or end world hunger. “While I dance”, said Hans Bos, “I cannot judge, I cannot hate, I cannot separate myself from life.  I can only be joyful and whole.  That is why I dance.”  Certainly dancing’s wonderful – okay, even important – you may be thinking, but why this insistence on each country sanctioning an official national dance?  The very fact that a country gives the Tini-kling or the Kalamatianos or the Marinera “official” status says that country considers it important to have this life-affirming activity representing it in the international arena.  And that bodes well for a peaceful future. Pat Beaven is an actor, educator, and freelance journalist who revels in the spirit of cultural diversity where she makes her home in Toronto, Canada. Her work has appeared in newspapers and magazines across North America; she has a special interest in culture-specific movement disciplines, and is a staff writer for several dance publications. This website: Copyright © 2002 Dream World Media, LLC./ Urban Mozaik Magazine. All rights reserved. The opinions expressed in Urban Mozaik Magazine are not necessarily those of Urban Mozaik Magazine and the publisher cannot be held responsible for them. This website/publication, in whole or in part, may not be reproduced without written permission from the publisher.