[Skill] Dance

[Sayana]

Article: [Skill] Dance Author(s): Sayana (using some material from Matthew's and Ora's rough versions of the dance lore) Other development: n/a Additional Info: Dance Skill Discussion Thread Peer Review Thread: Founder Review Thread: Synopsis: Dancing is the use of movement to express, communicate and entertain. It is usually accompanied by music of some form and often engages audiences on an emotional level. This article begins with explaining the fundamentals of body movement and how to evoke an emotional response. The purposes of dance are explained along with examples of Mizahar dances and how they fulfill these purposes. The article further details that the two main methods of dancing are by using choreographies or through improvisation. Dancers require a different mindset for each method and there are advantages and disadvantages to each method. Dances can also be categorized by how many people are participating in them. Solo, partner, and group dances are explained in detail as well as advantages and disadvantages. Specific dance styles of Mizahar are listed based on race, city or religion and are explained in depth. Existing dance styles such as the Semhu are thoroughly referenced. Lastly, related/incorporated skills, dance training techniques, and the skill progression are explained. Outline: 1. Introduction 1.1 Moves and Movement 1.2 Moving the Body 1.3 Moving the Soul 2. Purposes of Dance 2.1. Entertainment 2.2. Religious 2.3. Tradition / Communal Dancing 2.4. Storytelling 2.5. Seduction 3. Choreography vs. Improvisational 3.1. Choreography 3.2. Improvisational 4. Solo vs. Partner vs. Group 4.1. Solo 4.2. Partner 4.3. Group 5. Dance Styles 5.1. By Race 5.1.1. Semhu (Eypharians) 5.1.2. Aerial Dancing (Symenestra) 5.1.3. Charoda sea dancing 5.1.4. Myrian Tribal dance 5.1.5. Chaktawe Tribal dance 5.1.6. Akvatari 3-Dimentional Winged Ballet 5.1.7. Benshira dances (circle, ceremonial, religious) 5.1.8. Svefra ditties (lots of agile footwork) 5.1.9. Inarta eagle weaving 5.1.10. Pycon transformational dancing (solemn funeral dance that depicts the pycon's life) 5.1.11. Drykas horse dancing (either in formation or acrobatically dancing on top of horses) 5.1.12. Akalak weapon/training dance 5.1.13. Isur forge dancing 5.2. By City 5.2.1. Syliras/Mithryn Post country dancing 5.2.2. Alvadas - the mime and the illusion 5.2.3. Ahnatep - slave concubine seductive dances 5.3. By Religion 5.3.1. Raindancing 5.3.2. Rhysol/The Voice - Trance dance 5.3.3. Sagallius - puppetry dance of worship 5.3.4. Ivak (The Tuvalik) - fire dancing 5.4. Other 5.4.1. Courtship Dances 5.4.2. Ballroom Dancing 6. Skills that are incorporated/related 6.1. Acrobatics 6.2. Climbing 6.3. Martial Arts 6.4. Acting 6.5. Music 6.6. Seduction 6.7. Storytelling 7. Dance Training 7.1 Self-Taught 7.2 Mimicking 7.3 Teacher Instructed 7.4 Institution 8. Skill Progression 8.1 Novice 8.2 Competent 8.3 Expert 8.4 Master Edit: More racial/religion/city dances added. Note: Currently undecided about section 5. If it creates issues for approval it will be the first section to go. While I'd like to be creative and include many different dances appropriate for Mizahar, I'm concerned about how creative I can actually be.

[Sedge]

Proposal Accepted

I really like the attention you're giving to racial and regional dances in this proposal. I look forward to reading the full writeup!

[Sayana]

1.0 Introduction Dance is the artistic form of using body movements to communicate emotions, tell stories, and provide entertainment for an audience. It is usually accompanied by music, simple chanting, or rhythms produced on percussive instruments. Dancers tend to learn either choreographies or how to improvise and dances can be categorized into solo, partner, and group dances. There are many different styles of dance on Mizahar that are typically associated with race, religion or geographical region. 1.1 Moves versus Movement Dance can be described in terms of discrete moves or in generalized movements. Simply, moves are more precisely defined whereas movements are more flexible and can include emotional connotation and a wide range of the body. An example of a move is a simple spin on the spot, whereas a dancer might create a flowing movement with her arms. Choreographies often rely heavily on the arrangement of moves, however, more interpretive dances tend to be more flexible and focus on overarching movements. 1.2 Moving the Body Posture: A dancer’s posture is fundamental for a full range of motions and also to give a particular style of mood to a dance. Many dances require a straight back, shoulders relaxed and down, head looking up, slightly bent legs, and feet comfortably spaced under the hips or shoulders of the dancer. More formal dances like ballet and ballroom dancing require a straighter posture, a rigid frame, and often outstretched arms. Earthier dances require much more bend to the legs and torso, and tend to have very relaxed arms. Feet: Footwork is often used to keep time with the music. It can be simple or complex depending on the style and level of the dance. Footwork can include: weight changes, steps, holds, small kicks, taps, and going on one’s toes. Often novices are easily overwhelmed by the footwork of a dance, however, those well-versed in dance know that for most styles it only plays a small role. Legs: Legs are often used to create visual lines in a dance. A dancer might put his foot on his other knee to create a triangle shape and if highly flexible he might bring that foot straight up into the air. A dancer who does a running leap might stretch his legs to make a horizontal line in the middle of his jump. Dancers can also use their legs in sweeping movements to draw attention and this can also aid a quick spin if the dancer brings his leg in very quickly for the spin. Hips: Hips often bring flavor to the dance and can also assist with quick spins or acrobatic maneuvers. The twisting or swaying of hips can create a sultry mood and the precision of certain hip movements can surprise a viewer. Hips are usually incorporated at higher levels but it depends on the dance style. Core: The core of a dancer’s body is arguably the most important part. The core is a dancer’s torso and more specifically the area near the dancer’s center of gravity (around the belly button). A trained dancer will start all his movements from his core. This helps a dancer spin faster, change direction more easily, and maintain balance at all times. Chest: The chest is often included the dancer’s core, however, in some dances it can be isolated or emphasized. In seductive dances, a woman’s chest can be used to draw attention to her femininity with chest shimmies for example. Likewise, a man’s chest can draw attention to his masculinity particularly if it is twisting in interesting ways or by creating defined lines with the rest of his body. In some partnered dances, the couple is so close to one another that the chest becomes the main point of contact and hands are only used as a secondary means for the dancers to move together. Shoulders: A dancer’s shoulders tend to be used for subtler movements or in combination with other parts of the body. They assist with arm movement and chest shimmies. Shoulders can be used on their own in the form of shoulder shrugs, twists, and rolls. In most dances it is important to keep the shoulders relaxed and down. In partner dances it is also important to keep the shoulders engaged so that a dancer’s posture doesn’t collapse in on itself. Arms: The arms of a dancer are often the most visually prominent. In some dances they form beautiful lines and shapes with the help of the dancer’s legs. They also help stimulate movement and motion because they can extend farther than any other body part. Sometimes arms are purposefully held still to create a visual frame so the audience can focus on other parts of the dancer’s body instead of getting distracted by the arms. Hands: Hands are often overlooked and can create the finishing touches to express a mood or emotion. More commonly, hands are used as the primary means to connect dancers in partnered or group dances. This could be in the form of joining hands in a circle dance or two partners using their hands to do complex lifts and maneuvers. Head: The head, and specifically the face is critical for any type of performance dance. Not only does the facial expression of a dancer set the mood for the dance but it also engages the audience every step of the way. In more casual dancing one conveys their enjoyment of the dance through their facial expressions. Novice dancers tend to look at their feet which not only ruins their ability to communicate with their audience and fellow dancers, but also disrupts their balance due to their head no longer being centered. A select few dances incorporate movements of the head such as sliding the head from side to side, rolling it down in front or looking in specific directions to draw attention. 1.3 Moving the Soul Face and expression: A dancer’s expression can convey numerous moods and themes to the audience. A skilled dancer can use his gaze to draw the attention of the audience. He may turn his head left causing the audience to focus their attention to his left, or he may only use his eyes to look over his shoulder, again drawing attention to what is behind him. This use of direction can be fundamental when highlighting the important aspects of a dance. Open versus closed shapes: An open body tends to convey friendly, exciting, and welcoming thoughts. In contrast, a body that is curled up with the dancer’s arms wrapped about them can convey fear, loneliness, sadness, uncertainty and other negative feelings. Size of movement: Larger movements often express energy, power, dominance, vibrancy, and passion. Small and subtle movements often display precision, finesse, and a sense of purpose and control. Lack of movement: While movement is fundamental to dancing, the lack of moment can really emphasize a part of the dance. This might be emphasizing an emotional aspect or it could simply be keeping the majority of the body still so that a subtle movement can be seen. Speed: A fast dance can create feelings of energy, excitement, and even panic. Whereas slow dances tend to produce feelings that are more mellow, calm, soothing, and sometimes sensual. Physical touch: The way in which a dancer makes contact with another can drastically influence the emotional aspect to the dance. A delicate caress versus a strong grasp conveys vastly different emotions. In group dances, physical touch often creates a sense of unity. While it is more common in partner or group dances, physical touch can be displayed in solo dances where the dancer might caress or grip her own body to create a sense of emotion.

[Sayana]

2.0 Purposes of Dance Most dances have at least one purpose and some have multiple purposes depending on the situation. Professional dancers can be utilized in a number of ways to obtain these purposes and even the novice dancer can attempt to achieve the goals of the dance. 2.1 Religious Religious dancing uses movement and expression to pay tribute to a god or goddess. This includes the prayer and worship of a god, the celebration of a god at a festival or ceremony, the request of a god’s aid, and even the defiance of a god. Religious dances can be large group events or can be performed alone by the dancer in a very personal way. Some religious dances can only be performed after a certain level of devotion to the god or goddess and are highly frowned upon or do not achieve the desired effect if performed by someone who doesn’t meet this. Examples of religious dances include: raindancing for the goddess Makutsi, tribal war dancing for the goddess Myri, and trance of insanity for both Rhysol and The Voice. 2.2 Tribal / Community Tribal and community dances bring communities together with a common theme or purpose. Some community dances simply celebrate a special day or event. Other tribal dances might bring people together to prepare for war. These dances typically have a long history within the culture or community and are repeated every year or whenever this event occurs. They tend to be large group dances that are easy to learn or improvise to. Communities that rely heavily on working together as a community tend to have more tribal dances embedded in their culture. Professional dancers are sometimes hired to lead these dances. Examples of tribal/community dances include: the tribal war dance of the Myrians, the tribal dances of the Chaktawe, and the Charoda mating dance that occurs at the Ae’loru. 2.3 Storytelling Dance has been repeatedly used to convey stories. Such stories can include mythical legends of the gods and goddesses to simple man-made stories with the purpose expressing them through dance. For cultures that do not use writing as much and rely on oral traditions, dance can be used to pass down important stories to new generations. When attempting to convey a story, dancers often use vivid facial expressions and body language to express ideas and emotions. Examples of dances that tell stories include: the Charoda underwater sea ballet and the Akvatari ballet. 2.4 Entertainment Many dances provide a source of entertainment for the audience, the performers or both. Dances that tell a story often are used for entertainment as well, but dances don’t need to tell a story to provide entertainment. Professional dancers usually perform with the purpose of entertaining the audience. Some dances primarily focus on the entertainment of the dancers themselves. These often include celebratory dances and social dances in which people are encouraged to mix and dance with different people. Examples of Mizahar dances that provide entertainment include: the Charoda and Akvatari ballets, Svefra ditties, and Syliras country dancing. 2.5 Seduction Seductive dance can be very enticing for the viewers. Although it can be performed for large audiences, seductive dancing is usually more effective for smaller groups where the dancer can interact with the audience on a more personal level. Seductive dancing is often used by prostitutes and harlots to increase their desirability, however, it can also be used purely as a source of entertainment with no intention to pursue sexual activities after the dance. Seductive dances tend to use their body more fully by including their hips, pelvis, rear, chest, and eyes in the performance. Some skill in seduction is required to perform these dances effectively. A dancer who is not trained in seduction can still learn and perform the moves but the seductive quality of the dance is greatly lessened. Examples of seductive dances include: the concubine dances of Ahnatep, the brothel dances of Sunberth, and various strip dances found throughout Mizahar. 2.6 Physical Conditioning and Skill Training Dancing can be used as a source of exercise and to train someone’s skill in other areas. For example, dances that involve martial arts or weapon routines can better someone’s technique and balance exhibiting these skills. Dances that focus on training almost always use an incorporated skill in the dance, but occasionally their goal is simply to improve balance and flexibility. Examples of training dances include: the Eypharian Semhu, the Inarta eagle weaving, the Drykas horse dancing, and various weapon routines from different cultures.

[Sayana]

3.0 Choreography vs. Improvisational Dancing can be choreographed, improvised or a combination of the two. These different ways of dancing require different skills for the dancer both mentally and physically. It is rare for novice dancers to be able to both improvise and learn choreographies. Some cross-over may be achieved at the competent level but mostly this happens at expert or master level. Often specific dance styles are either choreographed or improvised but some might be flexible to both methods. 3.1 Choreography Dances that are choreographed are planned, practiced, and memorized by the dancers before the performance. First a song needs to be chosen and a choreography needs to be created including all the dance moves/movements and at which times these are conducted. If there are multiple people taking part in the dance, certain individuals may be assigned unique moves or a specific location or time to conduct the move. For example, a group of dancers may be mimicking the wings of a bird. The dancer representing the bird’s head may be completely still while the dancer representing the tip of the bird’s wing might be doing large arm movements. Therefore it is crucial for all members to be present to create the desired effect. A dancer who primarily does choreographed dances must have good memorization skills. If the dancer also creates the choreography then they must be creative with the movements they choose and should be strong in the planning and organization of a dance (especially if it involves multiple people). Choreographed dances work well when the dancer knows the song beforehand and has time to practice and memorize the choreography. Choreographed dances are often more polished (at a given skill level) compared to improvised dances because of the planning and practice involved. 3.2 Improvisational Improvisational dances are made up on the spot and usually involve combining known moves in unique and interesting ways that fit the music. Occasionally completely new moves are invented on the spot as well but often the dancer has a repertoire of moves to draw upon. In addition to having a set of moves to draw upon, improvisational dancers often have one or two ‘fall back’ moves that they can do without thinking if their mind blanks out and they can’t come up with something interesting. This will buy them enough time to think of a move without staring blankly at the audience. Improvisational dancers require an active spontaneous mind, a sense of musicality, and a minor amount of memorization. While improvisational dancers can potentially dance to any music they are much better at music that they recognize or that is at least culturally similar to the music they know. Novice dancers may be able to improvise to music of their home city but might get completely lost with the music of a foreign city. Sometimes novice dancers can still improvise to foreign music but it may look strange because their dance style does not reflect the music. 3.3 Combination Choreographed dancing and improvisational dancing can be combined once a dancer is competent but generally only experts and masters can combine the methods effectively. An example of such a combination would be a dance that is mostly choreographed but has certain time periods in which the dancer is free to improvise. An alternative example is an improvisational dancer that strings together long sets of preplanned moves (5-10) sporadically throughout the song.

[Sayana]

4.0 Solo vs. Partner vs. Group All dances can be categorized by the number of dancers involved. Each of the three groupings require different strengths by the dancers involved and can be more effective depending on the situation. 4.1 Solo Solo dancing consists of only one dancer at a time. As such, it does not require any coordination between dancers. However, if there is an audience then the sole dancer must fulfill the purpose of the dance without assistance from any other dancers. This can be physically and mentally challenging if, for example, a single dancer needs to entertain an audience for several hours. In cases that require a long performance and solo dances are preferred, they will be performed by a series of solo dancers to obtain the required repertoire. A solo dancer requires a strong stage presence and cannot afford to make noticeable mistakes when it comes to memorizing choreographies or improvising quickly and smoothly. The benefit of solo dancing is that as long as the dancer keeps moving, mistakes can sometimes go unnoticed by the audience, but if a dancer completely blanks out then there are no other dancers to follow to get back on track. Solo dances have the benefit of only requiring one dancer, but often this dancer has to be quite skilled to make an impression. Solo dancing can also provide a more intimate mood when there is a smaller audience. For very large audiences, only dancers with expert or master level skills can effectively engage the audience during a solo dance. 4.2 Partner Partner dancing consists of two people, often of the opposite gender. It requires coordination between the two people in the form of pre-planned moves for choreographed dancing or a leader/follower relationship for improvisational dance. For choreographed dancing, two solo dancers could memorize the same set of moves and perform it so that they were both doing the same moves at the same time. Conversely, the two dancers could each have a different set of moves that work in harmony with one another but are uniquely different between the dancers. For an improvisational dance, there is often a leader/follower relationship that requires the leader to come up with the moves and communicate them to the follower in some manner. This communication can be in the form of physically moving the follower in spins for example or could be more of a visual cue. It is entirely possible for the leader and follower to switch roles but this requires a great deal of skill. More commonly, the follower might add something flashy that doesn’t distract the leader and then the leader can choose to work with it or not. Partner dancers need to be skilled with coordinating the movement of their own body with someone else’s body. For more acrobatic dances this can involve lifts. Even when both dancers remain on the ground there is often a form of trust developed between them to complete the dance safely and successfully. For improvisational dance there is a certain degree of communication that happens silently to ensure both dancers are working together with their moves or movements. Partner dances add the element of a second person. They can sometimes be more vibrant because there are two people instead of one and there are more moves and movements available to a partnership. Movements involving momentum, lifts, holds, and different levels can be achieved in a partner dance. Additionally, dialogue and interaction can be better represented in a partner dance for dances that tell a story. For personal enjoyment, partner dancing can be more exciting and more intimate compared to a solo dance. 4.3 Group Group dancing consists of three or more dancers. Dancers need to be able to coordinate with many other people but small mistakes are less likely to ruin the effectiveness of the group. Group dances can take on several forms including: circle dances, dances in which each dancer is doing the same set of moves, dances involving several partnerships, and dances in which each dancer does unique moves that contribute to the overall impression of the performance. The majority of group dancing is choreographed due to the complexity of organizing so many people in an artistic manner. However, certain tribal and community dances can still contain a lot of personal improvisation that changes in mood or theme with a given cue, for example, a change in the drum pattern. Group dances usually require the most coordination between dancers depending on the complexity of the dance. For dances in which each member does the same set of moves there is much less need for coordination compared to a dance in which each member does a unique set of moves that blend and mix with the moves of other dancers. There can also be organizational challenges when moving large groups on and off stage. Group dances can be invigorating due to the sheer number of dancers present and they can be very effective for large audiences. They do not work well for very small audiences because it can be overwhelming and potentially expensive to hire all the dancers. Group dancing can be a great way of bringing people together in communities, particularly if the dances are easy to learn or are repeated frequently enough for people of the community to learn the dance. Group dances can also entertain an audience for long periods of time because the dancers can go on and off stage and take breaks throughout the performance.

[Sayana]

8.0 Skill Progression 8.1 Novice The novice dancer can comfortably learn up to two dance styles. Anything beyond this feels awkward, clumsy and even prone to accidents. The dancer focuses on either choreographed dances or improvisational dances due to the two distinct mindsets in how to learn and apply these dances. A novice dancer only knows up to 2-3 routines and thus has a minimal repertoire to pull from when performing. Whereas an improvisational dancer struggles to make their dances creative and interesting and finds it especially difficult to dance to foreign music. Novice dancers tend to focus on footwork and individual moves. They lack smooth transitions and often pay little attention to what the rest of their body is doing. Incorporating multiple skills into their dance can also be a challenge. Sometimes they struggle to stay on beat or they finish a move too soon or too late. When novices make mistakes during a dance, it often takes them a couple of moments to get back on track and it is usually quite apparent to the audience. For very strenuous dances, a mistake could also run the risk of injury. Overall, novice dancers focus on individual moves and have trouble effectively engaging the audience. 8.2 Competent A competent dancer can dance up to three different dance styles. The dancer still focuses mainly on either choreographed dancing or improvisational dance but may have limited knowledge of the other. Dancers who do choreographies may have up to a dozen routines memorized. Improvisational dancers can come up with creative patterns of moves that fit with the music. Foreign music can still be a challenge for them but they find ways to make do. Competent dancers have more confidence, smoother transitions, and more fluidity and grace. They are much better at incorporating additional skills into their dance. They no longer have trouble staying on beat. Occasionally songs that change tempo or have unusual rhythms can still be challenging to a competent dancer. Competent dancers are much better at engaging the audience and evoking emotions. They are learning how to use facial expression to bring the dance alive. Competent dancers still make mistakes or freeze up, but they have learned various techniques to hide those mistakes from the audience. 8.3 Expert An expert dancer can comfortably learn up to five different dance styles. In fact, if a dancer has restricted themselves to only one dance style they may not truly be seen as an expert dancer. The dancer is becoming comfortable using both choreography and improvisation. Dance styles that are similar to ones already learned can be picked up easily by an expert dancer. An expert dancer is now at the point where they are creating new moves and combining different forms of dance in new ways. Expert dancers move with elegance and grace even during everyday activities. They have the power to capture and engage their audience through movement and can invigorate a whole community through their dance. Expert dancers rarely make mistakes and when they do, it is so well hidden that one might simply think it is a brand new move. When leading a group dance or dancing with a partner, expert dancers can make a novice feel at ease. 8.4 Master A master dancer can learn new dances with relative speed and ease. They can incorporate both improvisation and choreographies into a single dance and there is no limit to the number of dance styles they can learn and perform. The biggest restriction for learning new dances is having the supplementary skills needed for certain dances. To create a truly stunning performance, a master dancer should be at least competent in all the supporting skills required in the dance. Master dancers move with seamless grace. They have an impressive amount of control over their body and one move simply morphs into the next. The master dancer creates powerful emotions for the audience and can equally bring an audience to tears or frenzy. When dancing in a group or especially with a partner, a master dancer can make another person appear far better than they actually are by leading them through intricate moves and emphasizing the skills they have.

[Ball]

Hey Say: quick question:

After years of training as a tap dancer until my teens and then watching shows like Dancing with the Stars and So You Think You Can Dance?.... Aabout the techniques of trained dancing. One of the biggest things usually brought up is about the 'line' of a person's body, the straight line that a person's body seems to be bisected by as a show of balance and form.

Would you be adding techniques and such?

It makes mention of 'line' here in this defination I foundon the ABT.org website (American Ballet Theatre): Ligne [LEEN-yuh] (Line.) The outline presented by a dancer while executing steps and poses. A dancer is said to have a good or bad sense of line according to the arrangement of head, body, legs and arms in a pose or movement. A good line is absolutely indispensable to the classlcal dancer.

I just had to ask about it.

[Sayana]

Updates: Firstly, I wanted to offer an apology for leaving this article hanging for so long. I was unmotivated for a large span of time because I had serious doubts about what sort of creativity would be accepted here. I'm here to give it another go and try to focus on the sorts of things that really intrigue me about dance in Mizahar. If anyone has been hoping to write up this article and has been irritated that there has been no activity on it for the last several months, please PM me. I haven't meant to hog this skill and if there is someone else who is really passionate about dance, I'd love to hear from them. @ Ball I will definitely consider putting in techniques, however, I have to make sure I don't go overboard on the scope. It would be impossible to cover the techniques of all dances and I want this article to be welcoming to as many different forms of dance as possible. Currently I have some points about posture and line in the "Moving the body" section. I may try to formalize those techniques a little more.

[Sayana]

5.0 Dance Styles (In no particular order) Tattaban (Isurian Forge dance) The Tattaban is a unique dance that incorporates the heavy use of atypical percussion instruments. These instruments can range from pots and pans, to clapping and stomping, to striking a hammer against an anvil. Commonly known as the Forge Dance, the Tattaban in its higher levels almost exclusively uses elements of an Isurian forge to create a wide array of sounds to supplement the dance. While sometimes combined with chants, the percussive rhythms made by the dancer are the primary source of music for the dance. The Forge Dance has both religious and traditional aspects to it. Performers of this dance often show their worship Izentor but it also has strong traditional roots which engage members of the community. Although it can be performed alone, it is more frequently performed in a group to make full use of a dynamic array of sounds. It is typically choreographed due to the coordination required amongst the group, however, top performances will occasionally incorporate small sections of improvisation within the piece. It should be noted that the dance attaches significance to the isur’s dominant hand, and thus the Tattaban is performed differently between male and female dancers. True masters of the dance have been known to fully craft and forge a weapon by the end of the dance. Although skeptics claim that such a weapon would be of poor quality to be crafted within such a short amount of time. Required skills: Musical instrument (percussive) or blacksmithing. The Mime and the Illusion The Mime and the Illusion is rather popular dance in Alvadas due to its flexibility and its incorporation of illusions. Usually it tells some sort of story with the help of illusions, acting and dancing on the parts of the performers. Most stories are light hearted and comical to some degree, and many feature the renowned ‘trickster’ character. All performances require at least one member of the group to have the illusionism gnosis. Often there will be two members with a single marked gnosis so that one can focus on creating the visual illusions and the other can create the audio illusions. While the illusionists can also be the dancers, usually they are not on stage and instead focus solely on crafting the illusions for the dancers to interact with. Due to the high level of coordination between the illusionists and the performers, the dance is almost strictly choreographed. However, there are some strands of thought in which Alvads believe Ionu would disapprove of creating such ‘rules’ to an expressive dance. Highly religious dancers have been known to only use improvisation, however the quality sometimes lacks when the visual and auditory illusions are not timed right. Others believe that such dissonance only increases the level of comedy and further breaks the laws of reason and logic. Required skills: Acting, acrobatics, or storytelling. In addition, one member of the troop must have the illusionism gnosis. Inarta Eagle Weaving This dance has its roots from Endal training routines for flying. It is comprised of both simple maneuvers of diving and turning, to complex spins and flips within the air. It is rarely done alone, and most commonly performed in groups of two to five. There have been some cases of dances with over twenty performers but these are extremely rare and an incredible sight to behold. Despite the training benefits of practicing this dance, Endals usually cannot spare much time for this sort of entertainment. One unusual aspect of this dance is that the music is almost non-existent. Whistles are used to help synchronize the performers, but the wind and the distances are too great for music to be consistently heard amongst the audience and performers. There have been a couple of cases where music has been performed for the audience at ground level while the wind eagles and their riders soared high above. However, there would either be discontinuities between the music and the performance, or the music had to be sufficiently generic. The inarta eagle weaving dance is primarily for the purpose of training with secondary purpose of entertainment. It is performed only at large festivals and holidays. Eagle riding is an essential skill for the dance and as such, only Endals participate in this dance. Required skills: Riding Wind Eagle