Weapon dance

A weapon dance employs weapons—or stylized versions of weapons—traditionally used in combat in order to simulate, recall, or reenact combat or the moves of combat in the form of dance, usually for some ceremonial purpose. Such dancing is quite common to folk ritual in many parts of the world. Weapon dancing is certainly ancient; among the earliest historical references we have are those that refer to the pyrrhichios, a weapon dance in ancient Sparta, in which the dance was used as a kind of ritual training for battle.
Related to weapon dances and war dances is the dance of the hunt. A very early reference to a weapon dance of the hunt comes in the form of a rock carving at Çatal Höyük, the large neolithic settlement in south-central Anatolia. It depicts a hunting ritual involving dancers holding their bows; one figure has a bow in each hand, two perform artistic leaps and another holds a horn-shaped stick and is striking a frame drum.

Examples

Europe

Early examples of sword and spear dances can be found amongst the Germanic tribes of Northern Europe, such as those mentioned by Tacitus, the Norse peoples and the Anglo-Saxon tribes. Sutton Hoo is thought to show figures dancing with spears.
Other references to such traditions include that in Constantine VII Porphrogenitus’ Book of Ceremonies which describes the Varangian Guard dancing in two circles, with some wearing skins or masks, along with chants of “Toúl!” and clashing staves on shields.
Sword dances exist in some parts of Europe. The weapon may be used to act out mock combat during the dance, or may be incorporated as an element of the dance, intertwining with other swords. In some places, sticks are used instead of swords. Iberian stick dances display two opposite rows of dancers. A common sword dance in Europe is the moresca in Spain, in which the dance recalls the Reconquista from the 12th to 15th centuries.
The gun parade of the Moros y cristianos also celebrates these battles, as does the British morris dance.
In North Macedonia and Northern Italy, weapon dances may be used to exorcise evil spirits before a wedding. Sabre dancing exists in the Balkans; the most famous is Albanian, where two male rivals simulate a duel over a woman. The Galician jogo do pau involves two rivals with long sticks. Other weapons, such as axes may be used in some places. Lance dances, dagger dances, and even rifle dances are in parts of Europe.
In the Scottish Highlands, some dances used the lochaber axe, the broadsword, targe and dirk, and the flail. The Highland dance resembles a combative dance similar to those of Indonesian pencak silat, which has the performer executing knife techniques combined with wrestling-style kicks, trips, and sweeps.
File:26.12.16 Grenoside Dance 113.jpg|thumb|left|Boxing Day 2016 – The Grenoside Sword Dance Captain holds aloft the sword lock before placing it around his neck
Hilt-and-point sword dances exist in many places in Europe. In this kind of dance, the swords interlock to form a “rose,” or “lock,” that is placed around the neck of a participant to simulate decapitation. As well, crossed-sword dances are common in Europe. Typically, dancers execute complicated patterns of steps over and between the swords. In some variations, clay pipes may replace the swords. Many European sword dances were appropriated by trade guilds, with tools replacing the swords. In Turkey and Greece there exists a butchers’ dance called the hassapikos. It is now a social dance but goes back to a battle mime in the Middle Ages performed with swords and performed by members of by the butchers' guild. Also in Turkey are the so-called “guerrilla dances”, performed by dances arranged in a circle who make swishing and whiffling sounds with their swords, followed by mock combat.
Chain-sword dance is a group dance in which the dancers first use a sword or other implement to link themselves in a chain. In the Hungarian tradition, the Erdőbénye cooper dance represents this form of dance.
Moreška, a sword dance on the Croatian island of Korčula in the Adriatic, recalls combat between Christians and Moros, though in the 19th century the dance changed from Christians vs. Moors to Turks vs. Moors.
Historically, the Hungarian heyduck dance was a soldiers' dance that involved virtuoso whirling of weapons and free-form compositions with battle practice motifs. Such dances also appear in Gypsy, Slovak, Ruthenian, and Transylvanian folklore. In many of these areas, the so-called "stick dancing" of shepherds is a reenactment of combat with real weapons.
In a few isolated sections of Europe, a rather savage male combat dance survives. In the villages of the Transylvania Alps and Carpathian mountains, before Twelfth Night and Whitsunday, nine men from nine villages assemble for the Joc de căluşari or căluş, a rite of initiation. The men engage in fierce battle with sticks, which used to be bloody and sometimes fatal.

Basque dances

Some of the Basque dances feature weapons. The ezpatadantza comes from Durango, Spain in the Basque Country and is danced for authorities and in the Feast of Corpus Christi. After the dance, both opposing rows of dancers raise their weapons and form a corridor for the authorities.
The ezpatadantza and the makildantza employ makila, and end with the dancers raising one of them, lying as a fallen warrior, over their heads.
In the Basque Country the Okrabario Dantza is performed in Legazpi, Gipuzkoa. It is a sword dance in which a participant dances atop a grid of crossed swords held aloft. In Tolosa during the day on Midsummer, the Bordon-Dantza is performed with the figures of the ezpatadantza; some point its origins to the border fights in the Middle Ages, when the Castilian troops from Gipuzkoa won an important victory over the troops from Navarre at the Battle of Beotibar. Sticks simulate some weapons, and halberds—a combination of a spear and a battle-axe—are also used.

Asia

Baris is a traditional dance of Bali, in which a solo dancer depicts the feelings of a young warrior prior to battle. Originally, Baris was performed as a religious ritual. The dancer may bear a kris, a spear, a bow, or other weapons, depending on the variant performed. The word "Baris" literally means "line" or "file", and referred to the line of soldiers who served the rajas of Bali. The dance is usually performed by men in a group with as few as four dancers and as many as
sixty. The ritualistic function of the dance is to show physical maturity by demonstrating military skills, particularly the use of weapons.
In China, dances with weapon have been recorded for a long time. The founder of the Han dynasty Liu Bang was said to be fond of the war dance of the Ba people. Large-scale performances of the dance involved the brandishing of various weapons to the accompaniment of drums and songs in the Ba language. It remained popular through the Tang dynasty and spread as far as Central Asia. The development of art dance, in general, in China reached its peak during the Tang dynasty and then was largely integrated into Chinese Opera practice. Tribal weapon dancing may also be present among the original aboriginal tribes on Taiwan.
The Shaolin martial arts employ weapons in ways that are sometimes enjoyed for aesthetic reasons, however, similar to a dance. Shaolin spear, Yezhan spear, Lanmen spear, and sword and stick exercises may be included. Tai chi also incorporates sword practise in a similar way.
The Dayak people of Borneo are renowned for their solo sword dances, which show the skill of a young man using a sharp mandau. Also, on the island of Borneo one finds the Lotud, an indigenous ethnic group residing in Sabah. The Lotud are well known for their very colourful costumes and their dances, one of which is the Bakanjar, a war-like dance with a man holding a sword and a shield, originally performed to portray the sword fight and heroic exploits of the headhunting days.
In the Indian subcontinent, the sword dance Choliya or Saraon of the Kumaon region of the hills of the Indian state of Uttarakhand started partly due to their long martial tradition and also to give protection to marriage processions. It was also held auspicious and, according to Hindu tradition, warded off evil spirits. It has a very beautiful and graceful form and has techniques which give it the status of a martial art.
Among the traditional weapon dances of India is the Shad Sukmynsiem, performed in the north-eastern state of Meghalaya. Both Christians and Hindus may take part as long as they belong to Khasi community. Young lads clad in colourful silk dhotis dance around with a sword or spear in one hand and a plume in the other. The move in a protective circle around an inner circle of young maidens. A popular dance in Mizoram in the north-east corner of India is Sawlakin, a word that "means spirit of the slain." Traditionally, the dance was led by the warrior who had hunted a big game or killed a man. He would wear his best clothes and a plume of red feather. He would wield a gun or dao and a shield. He would be followed by other dancers in a row, who would also carry weapons, or cymbals or gongs.
The Pashtuns of Afghanistan practice a wide range of weapon dances, including the Khattak Wal Atanrh and the Mahsood Wal Atanrh. A sub-type of the Khattak Wal Atanrh known as the Braghoni involves the use of up to three swords and requires great skill to successfully execute.

Middle East and Asia Minor

There are a number of Arab weapon dances, including the razfah. It was originally practiced at Manga in Muscat, prior to going out on a raid; the object of the dance was to "warm up" for the combat to come. Also, on the Arabian Peninsula a dance named Ardah recalls pre-Islamic tribal battles. Two rows of men face one another, clapping, singing, and dancing in a lively manner, accompanied by large frame drums. At the peak of the dance two swordsmen perform a duel between the rows of dancers.
The Assyrian minority in Syria have a dramatic folk dance called Shora, which commemorates the bloody battles fought by the Ancient Assyrians back in their time consisting of a leader in front with a sword otherwise known as a saypa and a line of men joining together.
Generally speaking, a number of dances of Bedouin origin use weapons and have achieved modern popularity in the Arab states of the Persian Gulf and are associated with festive occasions among the non-Bedouin sedentary population.
In Iran there exists the Çûb-Bâzî, a dance form that probably has its origins in reenactments of combat. Essentially, an attacker and a defender duel with poles. The çûb-bâzî is “…both a dance and a show of skill and bravery; participants are judged by their abilities in the combat aspects, as well as by their grace in executing the dance movements.”