![\"\"](\"http:\/\/circassiancenter.com\/tr\/wp-content\/uploads\/2019\/03\/ILK-UYGARLIKLARDA-DANS-b.png\")
<\/p>\n<\/p>\n
KO\u00c7KAR M. Tekin Ko\u00e7kar Yunan Uygarl\u0131\u011f\u0131nda Dans:<\/b><\/p>\n Eski Yunanistan’da dans, \u015fiir ve ezgiden ayr\u0131 d\u00fc\u015f\u00fcn\u00fclemezdi. Bu \u00fc\u00e7 sanat dal\u0131. M\u00fczik (M\u00fcz’ler sanat\u0131) ad\u0131 alt\u0131nda tek bir sanat dal\u0131 halinde girmi\u015fti. (ATAMAN,1947,s.35)<\/p>\n M\u00fczik ve dans\u0131n, tutkular ve ahlak de\u011ferleri \u00fczerindeki etkileri konusunu uzun uzad\u0131ya ele alan d\u00fc\u015f\u00fcn\u00fcr EFLATUN dans\u0131, ki\u015fiyi soylula\u015ft\u0131ran, uyumlu ve zarif k\u0131lan, kendisi ve toplum yarar\u0131na e\u011fiten bir medya \u0131rak g\u00f6r\u00fcyor ve ideal “Devlet’inde dansa yer verilmesini istiyordu. (EFLATUN, 1985, s.l00) ATAMAN da benzer nitelikte bir saptamada bulunuyor:<\/p>\n “…Ailenin, kabilenin veya sitenin \u015ferefi bahis konusu olan baz\u0131 t\u00f6renlerde delikanl\u0131lar teganni ve dans edebilmeli idiler. K\u00f6le ve esir olmayan her \u00e7ocuk teganni etmeyi, lir veya fl\u00fct \u00e7almay\u0131 \u00f6\u011frenmekle m\u00fckellefti.” (ATAMAN, 1947, s.36)<\/p>\n Eski Yunan Tiyatrosunda, \u015farap tanr\u0131s\u0131 Dionysos onuruna yap\u0131lan t\u00f6relerde Dithyramboslar\u0131n halka bi\u00e7iminde toplanarak yapt\u0131klar\u0131 ne\u015feli dans, iki ayr\u0131 y\u00f6nde geli\u015ferek bir taraftan Tragedya’y\u0131, di\u011fer taraftan da Omedya’y\u0131 do\u011furmu\u015ftu. Tragedya’n\u0131n dinsel d\u00fc\u015f\u00fcnceye dayal\u0131 a\u011f\u0131r ve bar tav\u0131rl\u0131 dans\u0131na “Emmelia”, Komedya’n\u0131n siyasal hicivli, a\u00e7\u0131k sa\u00e7\u0131k dans\u0131na da “Kordaks” denirdi. (NUTKU, 1985, s.28-42)<\/p>\n Eski Yunanistan’daki di\u011fer dans t\u00fcrleri de \u00f6zelliklerine g\u00f6re \u015f\u00f6yle s\u0131ralanabilir: Isparta’da do\u011fmu\u015f olan “Dipodi” ve “Bibasis”, sava\u015f dans\u0131 Pyrrhique”, ziyafetten sonra yap\u0131lan dans “Komos”, zarafet danslar\u0131 Kollinikos” ve “Hedikomos”, kad\u0131nlar dans\u0131 “Keladisma”. (ATAMAN,1947,s.51)<\/p>\n Roma Uygarl\u0131\u011f\u0131nda Dans<\/b><\/p>\n Eski Romal\u0131lar\u0131n danslar\u0131, sahne \u00fczerinde \u00e7al\u0131n\u0131p s\u00f6ylenen \u00fcnl\u00fc \u015fiirlere e\u015flik etmek, bu \u015fiirlerdeki ki\u015fileri ya da olaylar\u0131 taklit etmeye dayanan hareketlerdi. Ancak bu hareketlere pek dans denemezdi. \u00c7\u00fcnk\u00fc Romal\u0131lar i\u00e7in dans etmek soysuzlu\u011fun bir simgesiydi. Dans\u0131 esirlere yapt\u0131r\u0131rlard\u0131 .(ATAM AN, 1947 ,s .64)<\/p>\n Romal\u0131lar, \u0130mparatorlu\u011fun y\u0131k\u0131l\u0131\u015f d\u00f6nemlerine do\u011fru sahne ve seyirlik oyunlar\u0131nda b\u00fcy\u00fck ilerlemeler kaydettiler. Danslar eski inceli\u011fini yitirdi ise de, dans\u0131n toplumsal \u00f6nemini kavrayan Romal\u0131lar, soylular\u0131n k\u0131zlar\u0131na dans dersi dahi ald\u0131rd\u0131lar. Eski M\u0131s\u0131r’\u0131n m\u00fczik ve dans ya\u015fam\u0131 ile ilgili bilgileri arkeolojik bulgulardan al\u0131yoruz. M\u0131s\u0131r uygarl\u0131\u011f\u0131n\u0131n, d\u00f6neminin en muhte\u015fem ve b\u00fcy\u00fck uygarl\u0131\u011f\u0131 oldu\u011funu g\u00fcn\u00fcm\u00fcze kadar ula\u015fan an\u0131tlardan, r\u00f6lyef ve resimlerden \u00f6\u011frendi\u011fimiz bu ulusun olduk\u00e7a ileri d\u00fczeyde m\u00fczik ve dans sanat\u0131na sahip oldu\u011fu anla\u015f\u0131lmaktad\u0131r.<\/p>\n Eski M\u0131s\u0131rl\u0131lar dans\u0131 di\u011fer bir\u00e7ok uygarl\u0131kta oldu\u011fu gibi dinsel ama\u00e7l\u0131 t\u00f6renlerde, hasat ve bolluk i\u00e7in d\u00fczenlenen \u015fenliklerde yaparlard\u0131. Cenaze t\u00f6renlerinde ise maskeler takarak yapt\u0131klar\u0131 dansa \u00f6l\u00fcm dans\u0131 denirdi.<\/p>\n “…M\u0131s\u0131rda tek, \u00e7ift veya grup halinde yap\u0131lan danslar\u0131n dramatik, lirik ve grotesk \u015fekillerini din, k\u00fclt\u00fcr, taklit, ifade ve sa\u00adva\u015f temeline dayanan \u015fekillerini resimlerden izlemek kabil olmaktad\u0131r. “(ATAMAN, 1947 ,s .22)<\/p>\n M\u0131s\u0131rl\u0131lar gibi di\u011fer eski\u00e7a\u011f uygarl\u0131klar\u0131n\u0131n bir\u00e7o\u011funda da de\u011fi\u015fik dans t\u00fcrleri geli\u015fmi\u015fti. Babil, Asur, Pers gibi Ortado\u011fu ve Mezopotamya, \u0130nka, Aztek ve Maya gibi Amerika uygarl\u0131klar\u0131nda da dinsel, dind\u0131\u015f\u0131 ve sava\u015f danslar\u0131 bulundu\u011funu ve bu uygarl\u0131klarca olduk\u00e7a \u00f6nem verildi\u011fim arkeolojik bulgulardan anlayabiliyoruz.<\/p>\n Hint Uygarl\u0131\u011f\u0131nda Dans<\/strong><\/p>\n Hindistan’da tiyatronun yarat\u0131c\u0131s\u0131 say\u0131lan Brahma, Budha dininin ilkelerini anlatan d\u00f6rt Veda’ya “Natya-Veda” denilen ve konusu tiyatro olan be\u015finci Veda’y\u0131 ekledi. \u0130.\u00d6. 200 y\u0131l\u0131nda da Hindistan’\u0131n en eski m\u00fczik kuramc\u0131s\u0131 Bharata Muni, “Natya-\u015eastra” ad\u0131n\u0131 verdi\u011fi d\u00fcnyan\u0131n en eski dramaturji \u00e7al\u0131\u015fmas\u0131n\u0131 yapt\u0131. Natya-\u015eastra dans, oyunculuk ve dram sanatlar\u0131n\u0131 ele alan bir yap\u0131tt\u0131. Bu yap\u0131tla birlikte oyunlu dans ve \u015fark\u0131lar, efsaneleri ve dinsel konulan i\u015fliyordu. (NUTKU, 1985, s.26)<\/p>\n Sonralar\u0131 \u00e7ok geli\u015fme g\u00f6steren Hint dans\u0131 “Kathakali”yi ortaya \u00e7\u0131kard\u0131. Kathakali do\u011funun en gizemli anlat\u0131m dans\u0131d\u0131r. Yaln\u0131zca “Mudra”n\u0131n (elin duru\u015f bi\u00e7imi) d\u00f6rt binden fazla t\u00fcr\u00fc oldu\u011fu saptanm\u0131\u015ft\u0131r. Bu t\u00fcr geleneksel Hint danslar\u0131, Budha \u00f6\u011fretisini ve evrensel epikleri i\u00e7eren “Ramayana” (“Ram”,dans anlam\u0131na gelir) ve “Mahabharata” masallar\u0131n\u0131 anlat\u0131r. \u00c7in’de \u0130.\u00d6.2200 y\u0131llar\u0131nda dahi \u00e7ok d\u00fczenli dinsel t\u00f6renlerin yap\u0131ld\u0131\u011f\u0131 ve sava\u015f ba\u015far\u0131lar\u0131n\u0131n dansl\u0131 anlat\u0131mla sahneye aktar\u0131ld\u0131\u011f\u0131 belgelenmi\u015ftir. \u015eang Hanedan\u0131’n\u0131n tahtta oldu\u011fu s\u00fcrede (\u0130.\u00d6.1766-1122) danslar ya\u011fmur ya\u011fd\u0131rma, ekin bi\u00e7me gibi sosyal i\u00e7erikli olarak, kurulan bir sahne \u00fczerinde yap\u0131l\u0131rd\u0131. Dinsel ezgilerle desteklenen bu danslar\u0131n izleyicileri ise di\u011fer uygarl\u0131klarda oldu\u011fu gibi halk de\u011fil imparator, sarayl\u0131lar ve din adamlar\u0131yd\u0131. Japonya’da dans sanat\u0131 yine dinsel k\u00f6kenlidir. Japon tiyatrosunun te\u00admeli olan “Kagura”lar, Japon danslar\u0131n\u0131n da atas\u0131 say\u0131l\u0131r. \u015einto’ya tap\u0131nmak i\u00e7in d\u00fczenlenen bu dans\u0131n sanat\u00e7\u0131lar\u0131 da \u015einto tap\u0131na\u011f\u0131n\u0131n kad\u0131n dans\u00e7\u0131lar\u0131 idi. Kagura’n\u0131n kapsam\u0131 i\u00e7inde avc\u0131l\u0131k t\u00f6renlerinden kalan “\u015ei\u015fi” dans\u0131 da vard\u0131. Kagura tanr\u0131n\u0131n varl\u0131\u011f\u0131n\u0131, her an her yerde oldu\u011funu anlatmak i\u00e7in yap\u0131l\u0131rd\u0131.<\/p>\n Japon dansl\u0131 tiyatro sanat\u0131nda olduk\u00e7a \u00f6nemli yer tutan danslar da “Gigaku”, “Bugaku”, “Kyogen”, g\u00fcn\u00fcm\u00fcze dek varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcrerek \u00f6nemini yitirmeyen “No” ve “Kabuki” danslar\u0131d\u0131r. (NUTKU, 1985, ss. 122-127)<\/p>\n No, geleneksel bi\u00e7imiyle bir y\u00fcksek z\u00fcmre tiyatrosudur. Ba\u015frol\u00fc y\u00fcz\u00fc maskeli bir dans\u00e7\u0131 oynar. Maskeler dans\u00e7\u0131n\u0131n ait oldu\u011fu sosyal s\u0131n\u0131f\u0131, ki\u015fili\u011fini, ya\u015f\u0131n\u0131 ya da i\u00e7inde bulundu\u011fu ruhsal durumu belirtir. Simgesel anlat\u0131m\u0131 olduk\u00e7a fazla olan No’da dans\u00e7\u0131n\u0131n elindeki yelpaze bazen bir b\u0131\u00e7a\u011f\u0131, bazen bir sa\u00e7 f\u0131r\u00e7as\u0131n\u0131, bir i\u00e7ki kadehini, bir kelebe\u011fi, ok ve yay\u0131, uzaktaki bir da\u011f\u0131 ya da yere d\u00fc\u015fen bir kar tanesini simgeler. E\u015flik m\u00fczi\u011fi de geleneksel Japon 5’li sistemine g\u00f6re d\u00fczenlenmi\u015ftir. Orkestra ise bir tahta fl\u00fct ve \u00fc\u00e7 vurmal\u0131 \u00e7alg\u0131dan olu\u015fur.<\/p>\n Kabuki, No’nun daha bir genelle\u015ftirilip, basitle\u015ftirilmi\u015fidir ve alt tabaka yani burjuva k\u00f6kenlidir. Koyu bir makyaj ve makyajlarda stilizasyon \u00f6n plandad\u0131r. Kabuki dans\u0131nda jest ve mimiklerin \u00f6nemi b\u00fcy\u00fckt\u00fcr. \u00c7alg\u0131lar\u0131n ve m\u00fczi\u011fin de No’ya oranla \u00f6nemi daha fazlad\u0131r. M\u00fczik Kabuki’de ruhsal bir g\u00fcd\u00fcleme sa\u011flamaktad\u0131r. Birka\u00e7 nota ile izleyici uyar\u0131l\u0131r, yumu\u015fak par\u00e7alarla a\u015fk ve \u00fcz\u00fcnt\u00fc anlat\u0131l\u0131r ya da birka\u00e7 sert davul vuru\u015fuyla azg\u0131n duygular dile getirilir. Temel \u00e7alg\u0131lar fl\u00fct ve davuldur. Konular\u0131 No’ya g\u00f6re daha ger\u00e7ek\u00e7idir. \u00c7o\u011funlukla a\u015fktan kaynaklanan k\u0131skan\u00e7l\u0131k duygular\u0131, \u00f6l\u00fcmc\u00fcl kavgalar ve Samurai d\u00fcellolar\u0131 konu edilir. (\u00c7OLPAN, 1964,s. 3)<\/p>\n","protected":false},"excerpt":{"rendered":" KOÇKAR M. Tekin Koçkar ÇAĞLAR BOYUNCA İLETİŞİM SANATI OLARAK DANS ve HALK DANSLARI Yunan Uygarlığında Dans: Eski Yunanistan’da dans, şiir ve ezgiden ayrı düşünülemezdi. Bu üç sanat dalı. Müzik (Müz’ler sanatı) adı altında tek bir sanat dalı halinde girmişti. (ATAMAN,1947,s.35) Müzik ve dansın, tutkular ve ahlak değerleri üzerindeki etkileri konusunu uzun uzadıya ele alan düşünür […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"0","ocean_second_sidebar":"0","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"0","ocean_custom_header_template":"0","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"0","ocean_menu_typo_font_family":"0","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"0","ocean_post_oembed":"","ocean_post_self_hosted_media":"","ocean_post_video_embed":"","ocean_link_format":"","ocean_link_format_target":"self","ocean_quote_format":"","ocean_quote_format_link":"post","ocean_gallery_link_images":"off","ocean_gallery_id":[],"footnotes":""},"categories":[53],"tags":[],"class_list":["post-6017","post","type-post","status-publish","format-standard","hentry","category-dans","entry"],"_links":{"self":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/6017","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/comments?post=6017"}],"version-history":[{"count":3,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/6017\/revisions"}],"predecessor-version":[{"id":20447,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/6017\/revisions\/20447"}],"wp:attachment":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/media?parent=6017"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/categories?post=6017"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/tags?post=6017"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n<\/span><\/strong> \u00c7A\u011eLAR BOYUNCA \u0130LET\u0130\u015e\u0130M SANATI OLARAK
\n DANS ve HALK DANSLARI<\/span><\/p>\n![](\"http:\/\/www.circassiancenter.com\/cc-turkiye\/sanat\/dans\/images\/0016_anaerkil.gif\")
\n Anaerkil toplumlarda do\u011fum, evlenme ve olum t\u00f6renlerindeki rit\u00fcel tap\u0131nmalar ana tanr\u0131\u00e7an\u0131n kutsall\u0131\u011f\u0131na adan\u0131rd\u0131. Bunu \u00f6rnekleyen, tac\u0131 \u00fczerinde trans halinde d\u00f6nerek dans edip tap\u0131nanlar\u0131n fig\u00fcrleriyle s\u00fcslenmi\u015f ana tanr\u0131\u00e7a ba\u015f\u0131. (KIBRIS, I.\u00d6. 6.yy.)<\/span><\/p>\n![](\"http:\/\/www.circassiancenter.com\/cc-turkiye\/sanat\/dans\/images\/0017_eskiyunanistan.gif\")
\n Eski Yunanistan’ da APOLLO onuruna yap\u0131lan bir festivalde dans eden k\u0131z ve erkek fig\u00fcr\u00fc (TARANTO, y.\u0130.0. 410)<\/span><\/p>\n![](\"http:\/\/www.circassiancenter.com\/cc-turkiye\/sanat\/dans\/images\/0018_maenads.gif\")
\n MAENADS- DIONYSUS’a taparken. Boyal\u0131 pi\u015fmi\u015f toprak kap. (NAPOL\u0130 Ulusal M\u00fczesi, STAMNOS, y.\u0130.\u00d6. 420)<\/span><\/p>\n![](\"http:\/\/www.circassiancenter.com\/cc-turkiye\/sanat\/dans\/images\/0019_eskiyun.gif\")
\n Eski Yunanistan’da bir\u00e7ok yar\u0131-tanr\u0131sal kahraman\u0131n g\u00f6revi bu d\u00fcnyan\u0131n insan\u0131na \u00f6teki d\u00fcnyadan bir hazine getirmekti. Bu g\u00f6rev o hazineyi koruyan g\u00fc\u00e7lerle m\u00fccadeleyi gerektiriyordu. POSEJDON’nun o\u011flu HERCULES ile TR\u0130TON aras\u0131ndaki sava\u015f s\u0131ras\u0131nda el ele tutu\u015farak dans eden NEREID’lerin resmedildi\u011fi boyal\u0131, pi\u015fmi\u015f topraktan yap\u0131lm\u0131\u015f \u00e7anak. (YUNAN\u0130STAN, \u0130.\u00d6. 6.yy)<\/span><\/p>\n![](\"http:\/\/www.circassiancenter.com\/cc-turkiye\/sanat\/dans\/images\/0020_hint.gif\")
\n Hint mitolojisinde tanr\u0131 KRISHNA ile GOPIS’in danslar\u0131na, el ele tutu\u015farak danslar\u0131yla, \u00e7alg\u0131lar\u0131yla e\u015flik eden \u00e7oban k\u0131zlar. Hindistan’da d\u00fc\u011f\u00fcn hediyelerinin \u00f6rt\u00fclmesinde kullan\u0131lan, muslin kuma\u015f \u00fczerine sim i\u015fleme \u00f6rt\u00fc. (KUZEYH\u0130ND\u0130STAN, 18.yy)<\/span><\/p>\n![](\"http:\/\/www.circassiancenter.com\/cc-turkiye\/sanat\/dans\/images\/0021_corbybantes.gif\")
\n CORYBANTES dans\u0131, Yunan r\u00f6lyefi (VAT\u0130KAN M\u00dcZES\u0130)<\/span><\/p>\n![](\"http:\/\/www.circassiancenter.com\/cc-turkiye\/sanat\/dans\/images\/0022_yunanhasat.gif\")
\nYunan hasat ve ba\u011fbozumu festivallerinde bereket tanr\u0131lar\u0131 danslarla \u015fereflendirilirdi. Pi\u015fmi\u015f topraktan yap\u0131lm\u0131\u015f r\u00f6lyef \u00fczerine resmedilmi\u015f Ba\u011fbozumu Dans\u0131.
\n(MYRENE, K\u00fc\u00e7\u00fck Assa ROMA d\u00f6nemi)<\/span><\/p>\n![](\"http:\/\/www.circassiancenter.com\/cc-turkiye\/sanat\/dans\/images\/0023_pyrric.gif\")
\n PYRRIC dans\u0131. Bu dans CRETE’den SPARTA’ya di\u011fer Yunan b\u00f6lgelerine kadar yay\u0131lm\u0131\u015ft\u0131. R\u00f6lyefte K\u00fc\u00e7\u00fck ZEUS’u tehdit eden CHRONOS’tan (Saturn) onu koruyan KOURETES’\u0131n Pyrric dans\u0131 anlat\u0131l\u0131yor. (CAMPANIAN r\u00f6lyefleri LOUVRE M\u00fczesi, PAR\u0130S)<\/span><\/p>\n
\n M\u0131s\u0131r Uygarl\u0131\u011f\u0131nda Dans<\/b><\/p>\n
\n \u00c7in Uygarl\u0131\u011f\u0131nda Dans<\/b><\/p>\n
\n Japon Uygarl\u0131\u011f\u0131nda Dans<\/b><\/p>\n![](\"http:\/\/www.circassiancenter.com\/cc-turkiye\/sanat\/dans\/images\/0024_hintli.gif\")
\n Hintli bir BHARATANATYAM dan\u00e7\u0131<\/span>.<\/span><\/p>\n![](\"http:\/\/www.circassiancenter.com\/cc-turkiye\/sanat\/dans\/images\/0025_kanbuki01.gif\")
\n KABUK\u0130’de Kad\u0131n rol\u00fcnde bir akt\u00f6r<\/span><\/p>\n![](\"http:\/\/www.circassiancenter.com\/cc-turkiye\/sanat\/dans\/images\/0026_kanbuki02.gif\")
\n“No g\u00f6sterisi”<\/span><\/p>\n