Folk dance is an artistic and cultural treasure that has been developed for thousands of years. Every dance work is rooted in different national thoughts and emotions and actual living conditions. Folk art is designed in different shapes and sizes. Materials in the region are traditionally used while reproducing shapes in nature and familiar shapes. This will be done if a popular center and cultural heritage compiles a page of items stored on the floors that were part of one of the annual festivals of popular life. The list below includes samples of various materials and shapes as well as artisans involved in the production of everyday objects and folk art. Dance comes as a form of performing arts to consist of improvised or purposefully selected action sequences. This movement has an aesthetic and often symbolic value, allowing people to be more active, be social, and develop their creative and physical skills, a form of human expression through body movement.
Thus, dance can be classified and described through its choreography, through its own collection of movements, through the historical period or from the place of origin. Dancing as a focused physical behavior traces historical and current cultural values, forms of movement that illuminate and define human kind, shape personal and collective identities, and reflect and define political and religious status and aesthetic values. But dancing simply cannot be shortened into just one movement. There are a number of theoretical definitions of dancing as a conscious method of rhythmic movements of the body in a specific space or artistic movement. Based on these expressive movements of the human body, States make certain dances identical to their current regions and cultures. This is like African or Indian dances with styles that make them as easy to identify as other cultural dances around the world.
When we know dances as part of a culture, you use different lenses to see each dance in its world cultural context. This is like cultural anthropology, human race science and ethnic music. In cultural anthropology, we find dances in the study and culture of human beings, which include social structures, languages, laws, religion, the arts and technology. In race science, dances are found in the study of the cultural life of society, because the world of human races lives in a society for several years to record the daily lives of people and their cultures. In ethnic music science, we find dances in the study of people's music in relation to their culture or society, and ethnic music scientists may expand their study to include dances performed on music in countries around the world as traditional dances, but they actually develop the products of history, migration, wars, and political and societal changes for the people who perform them. Culture today in one country can encounter many cultural dances, including:
• Indigenous dances or early people.
•The dances of the first settlers who migrated to the region and brought their culture to their new home.
• Mixed dances created after wars have changed people and their cultures.
•The latest differences in traditional dances that evolve from generation to generation.
• Tribal dances, boys and ethnic groups that strive to preserve the traditions of their ancestors live in contemporary society.
If you bring all these elements together, you'll get two deep understandings:
1. Culture revolves around participation as a society.
2. Culture can be defined as a way of life that is learned and shared with future generations and changes over time.
3. Participation, viewing and learning about cultural dance and the roles it plays in societies lead to awareness and appreciation of others and their cultural values.
A cultural dance experience can mean a look at the movement from the perspective of both the cultural dancer and the requirements of dancing, and the ideas you have learned about other forms of dance may not apply to cultural dances. Therefore, we must get rid of our prior awareness of cultural dances and involve ourselves in recognizing and testing the movement. After that you will be ready to find the meaning or essence of dancing and gain some ideas about the dancers who perform it. The experience of cultural dance requires that you observe a different kind of dance lens as we should see it as an ethnological world, and we have to pay attention to dancing in the context of its local culture.
If you have the experience of folk dances in centers such as the Egyptian Ministry of Tourism, which offers one of the oldest folklore performances in Dubai on the occasion of the opening of one of the exhibitions, in which popular dances such as skirting, which are performed in folkloric history. The enlightened dances date back to the Islamic times in Egypt, where a young man or younger man makes his skirt manually or gets it to perform, and after wearing it the enemy towards the tambourine hitter and approaching him, reeling next to him to the right and left and showing a peacock shape in the performance. This folk dancer follows the sounds of drum or drums as a unique kind of local folk music, starting with a pivotal rotation, sometimes lifting one of the legs like a bird. It seems to you that the dancer will fly and prepare the viewer for the opportunity to focus on his balanced movement, and begins to change the scene by moving in one side of the place or the folklore circular theater. This dance makes it fun because of the dynamic diversity of rotation, staggering, raising legs and enemy, moving around all the atmospheres and sometimes jumping, depending on the idea presented by the folk dancer.
We leave the Egyptian exhibition, which expresses one of the distinctive signs of Egyptian tourism, which is the advancement of folk arts and the presentation of Egyptian popular cultures in all countries, especially in the Arab countries, so that the tourist and the average citizen can know Egypt through folklore multiculturalism. The Ministry of Tourism and the Ministry of Youth also manage the organized conferences throughout the year to pay attention and care to folk art and renew confidence in the popular artist in the form of conferences, competitions and concerts for popular parades in Egypt and the Arab world.
As cultural promotion in the cultural arts develops, a new phase of revitalization for the public comes after the world in the time of the Coruna was transformed into closed and isolated areas. I can't find a better example than that Tunisian artist who provided psychotherapy and treatment for coruna with show dancing and theatrical participation. This activity has the capacity to address epidemic problems or international conflicts, which can change States after States cooperate with each other, and the events for them become the masses of humanity. Hence, the countries of the Arab world, including the United Arab Emirates and Saudi Arabia, have begun to make celebrations that bring people together to overcome crises and address international problems, including economic ones. At these celebrations, they provided colors of activity that people are similar to to the treatment of society's problems resulting from isolation and closure, and these activities have created ideal ways for the world to address diseases, economic problems and wars in their solutions in earlier times.
Art represents cultural identity and local history, and folk art advances the artistic concept of ideas that come with its architecture in many arts such as theatre, films, television series and many artistic materials that indicate the sophistication and arrival of art. Folk art goes beyond other arts to influence the public, develop its national idea and emotions, and make the citizen an example of this art. This results in revitalizing and presenting society in its interconnected form, contributing to solutions to current problems. And so life is returned over time. Therefore, we are responsible for the availability of these arts and the public has the choice to go and participate and benefit from the presence of these arts in their country. The public should take on the position of critic, analyst, and educator in the colours of this art. He must also help those who prepare and present folk art. We must all citizens and workers at home provide all supportive assistance to the cultural arts to our nation and our homelands.
At the end of the article, I ask all those responsible for presenting all colors of the arts to present their potential to strengthen popular identity and cultural progress in the popular arts, even by providing advertising space to them, by presenting them to the public in the form of excerpts within works of art such as the Internet, theatre, cinema, television, radio and satellite channels. It can be offered to each product or art studio by adopting a color of folk art in its inception, to express the idea emanating from its home or place. And not only should popular art wait for its arrival in turn to the celebrations and festivals offered by ministries, cultural centers, etc., so that they can present an activity about their popular identity. In doing so, popular art can advance and its ideas can appear everywhere.
The conclusion comes from what the images offer, if we see in all kinds of arts in their existing forms that they offer images shown to the viewer or to record interacting with the public or documentation of the current history, we have the ways to do so from live performances, interactive websites and recording clubs that make the arts images of the viewer and not a picture of the ideas that we see and leave shortly, and often forget in a short time. Let there be many art advocates by offering official spaces, digital spaces, forums or even cafés to put art in place. People imagine what would happen if they were to watch only, so cultural art reflects the society from which it originates in its core elements such as the peasant and the worker.
Popular Arts Article: Ahmed Ibrahim Mutawa from cultural articles that reflect the reality of the writer and presents the influence of art on the masses through the materials displayed in their verbal and critical form. The writer also supports folk art by displaying it in the author's section of his Wikipedia page and presenting it to the public in all forms of folk art in Egypt and through the tales of the Egyptian countryside derived from the novels of writers of folk art and folkloric figures, closest to the popular consciousness in Egypt.
The author also presents articles and educational research at the Round Table in London and many podcasts on works is a series of biblical omissions, articles published in his official publications, participating sites or acaeme research in Egypt and the United States of America. After developing many insights into the conditions of the Egyptian environment and the work of a group of important projects for the Egyptian climate, it is considered an important milestone in the professional and academic biography of the writer.
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