Some examples of random dance forms (3/8/15) -- subject to change! Every dance is associated to a musical form, and the dances respect the rhythm, tempo and some other elements of the music. I didn't reproduce the rhythm patterns below, but it tries to make elements like the number of steps in a basic movement align with the rhythm and so forth. All of the forms below were generated for humanoid forms, but I'm working toward some support for varied creature bodies -- so you'll see stuff below like "left leg" even though that text doesn't appear in the dwarf raws, and you also won't see useful words like "hips" -- it's a work in progress, but it won't necessarily need to progress on that score before the release. There also aren't certain fundamentals like costumes, and I don't expect to get them in for this time. There will be some further restrictions based on entity character that aren't in yet.

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• A social partner dance originating in The Storms of Venerating. The dance is accompanied by a [musical form name]. The dancers perform loosely mingled, moving to the music's atha rhythm. There are partner changes throughout the dance with the lead turning out clockwise. The entire dance has a basic movement called the mafina. There is a series of eight steps in a square pattern with a straight-lined arm carriage. The delicate expressive dance is punctuated by independent body movement and soft rightward bends.
  
  The dance begins with the passage of the music. The partners rarely make contact, communicating intent through spoken cues. This undulating section is punctuated by the runs of the lead.
  
  The dance enters a new section with the next one to two passages of the music. The partners maintain open contact, communicating intent by pushing together. This section is punctuated by repeated right kicks.
  
  The dance enters a new section with the bridge-passage of the music. The partners dance closely, communicating intent by pulling away constantly. This section is punctuated by the spins of the lead, soft leftward bends and the partially realized raised arms of the follower.
  
  The dance enters a new section with the finale of the music. The partners maintain open contact, communicating intent by pushing together constantly. This section is serene, sinuous and refined.
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• A participation dance originating in The Spotted Rope. The dance is accompanied by a [musical form name]. The dancers perform in a single line, moving slower and slower to the music's ngarak rhythm. The entire dance has a basic movement called the atrid. There is a series of five steps in a circular pattern. The passive dance is punctuated by body level changes and rightward bends, with partially realized moves.
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• A solo celebration dance originating in The Slick Rampart. The dance is accompanied by a [musical form name]. The dance is energetic and undulating.
  
  The dance begins with the theme of the music. This section is passionate and vivacious.
  
  The dance enters a new section with the exposition of the theme of the music. This section is flamboyant.
  
  The dance enters a new section with the bridge-passage of the music. This lively aggressive section is punctuated by raised left arms, right kicks and fluid spins.
  
  The dance enters a new section with the recapitulation of the theme of the music. This proud strong section is punctuated by spins.
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• A social partner dance originating in The Nature of Entangling. The dance is accompanied by a [musical form name]. The dancers perform loosely mingled. The partners dance closely, communicating intent by pushing together. This dance is a refined artform, with six specific moves to be mastered. The dance is soft and debauched.
  
  The dance begins with the introduction of the music. There are partner changes with the lead turning out counterclockwise. This section is punctuated by backward bends.
  
  The dance enters a new section with the passages of the music. This section is punctuated by sinuous hand gestures.
  
  The etini is one of the fundamental dance moves. There is a leap with a grotesque facial expression and independent body movement from the lead.
  
  The ile is one of the fundamental dance moves. There is a weightless spin from the follower.
  
  The atha is one of the fundamental dance moves. There is a softly percussive leap from the lead.
  
  The alo is one of the fundamental dance moves. There is a spin with a sinuous hand gesture from the lead and a leap from the follower.
  
  The aveya is one of the fundamental dance moves. There is a straight walk.
  
  The mafina is one of the fundamental dance moves. There is a leap from the lead with a right leg lift, a fluid spin and independent body movement from the lead.
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• A sacred solo dance originating in The Skinny Unions. The dance is accompanied by a [musical form name] as the dancer acts out the story of Ulet. This dance is a refined artform, with two special positions to be mastered. The entire dance has a basic movement called the oth. There is a series of sixteen steps in an intricate pattern with a powerful sway, joyous independent body movement and a high body level. The dance is strong, flamboyant and sharp-edged.
  
  The dance begins with the theme of the music. This section is punctuated by kicks.
  
  The dance enters a new section with the exposition of the theme of the music. This vivacious section is punctuated by passionate counterclockwise quarter turns, large leaps and lively footwork.
  
  The dance enters a new section with the recapitulation of the theme of the music. This proud section is punctuated by kicks.
  
  The ushav is one of the fundamental dance positions. There should be a leg lift.
  
  The asri is one of the fundamental dance positions. There should be a grotesque facial expression.
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• A group celebration dance originating in The Torment of Realms. The dance is accompanied by a [musical form name] as the dancers act out the [poem/lyrics]. The dancers perform in a single line. The dance is straight-lined and sensual.
  
  The dance begins with the theme of the music. This passionate section is punctuated by flamboyant leaps.
  
  The dance enters a new section with the variations on the theme of the music. This section is punctuated by delicate curved walks.
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• A group performance dance originating in The Assaulted Confederations. The dance is accompanied by a [musical form name]. The dancers perform in a single line. This dance is a refined artform, with two special positions to be mastered. The elaborate refined dance is punctuated by flamboyant runs and independent body movement.
  
  The dance begins with the introduction of the music. This section is sensual and graceful.
  
  The dance enters a new section with the passage of the music. This section is punctuated by proud footwork, calm spins and sensual arm carriage.
  
  The dance enters a new section with the finale of the music. This proud section is punctuated by forward bends.
  
  The noloc is one of the fundamental dance positions. There should be a vivacious left leg lift with an expressive raised right arm, a low body level and a spirited facial expression.
  
  The kes is one of the fundamental dance positions. There should be a straight-lined raised left arm shadowed by group members.
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• A social partner dance originating in The Oceanic Bodice. The dance is accompanied by a [musical form name]. The dancers perform loosely mingled, moving to the music's erong rhythm. This dance is a refined artform, with five special positions and four specific moves to be mastered. The entire dance has a basic movement called the atrid. There is a series of two steps in a circular pattern with independent body movement and a high body level from the follower. The dance is passive.
  
  The dance begins with the introduction of the music. The partners rarely make contact, communicating intent briefly through spoken cues. This section is punctuated by large spins.
  
  The dance enters a new section with the theme of the music. The partners maintain open contact, communicating intent by pulling away. This section is delicate.
  
  The dance enters a new section with the bridge-passage of the music. The partners maintain open contact, communicating intent by pushing together briefly. This section is punctuated by counterclockwise half turns.
  
  The dance enters a new section with the variations on the theme of the music. The partners dance closely, communicating intent through touch. This section is relaxed and soft.
  
  The enor is one of the fundamental dance positions. There should be a powerful hand gesture with an understated arm carriage and an understated facial expression.
  
  The dustik is one of the fundamental dance positions. There should be a refined facial expression from the follower with an intense raised left arm, a low body level and a sluggish leftward bend.
  
  The kogan is one of the fundamental dance positions. There should be a graceful forward bend from the follower with a low body level.
  
  The ingish is one of the fundamental dance positions. There should be a leg lift with a refined leftward bend from the lead, a refined raised left arm and a refined hand gesture.
  
  The dudgoth is one of the fundamental dance positions. There should be a low left leg lift from the lead with a delicate arm carriage, an aggressive hand gesture and a low body level.
  
  The stalkob is one of the fundamental dance moves. There is subtle footwork with an aggressive facial expression and an aggressive clockwise eighth quarter turn.
  
  The themor is one of the fundamental dance moves. First, there is relaxed footwork with a high body level, a strong raised arm and a refined counterclockwise eighth turn. Then there is a powerful right leg lift with an intense facial expression. Finally, there is a run from the follower with a raised left arm and independent body movement from the lead.
  
  The murak is one of the fundamental dance moves. There is a relaxed raised arm with a clockwise eighth half turn and strong footwork from the lead.
  
  The alath is one of the fundamental dance moves. There is a calm hand gesture with independent body movement from the follower, a sway from the lead and a weightless clockwise eighth turn.
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• A sacred solo dance originating in The Quick Lyrics. The dance is accompanied by a [musical form name]. This dance is a refined artform, with nine specific moves to be mastered. The subtle relaxed dance is punctuated by spins and leaps, with partially realized moves.
  
  The dance begins with the theme of the music. This section is understated and twisting.
  
  The dance enters a new section with the bridge-passage of the music. This section is punctuated by left leg lifts, kicks and raised right arms.
  
  The dance enters a new section with the variations on the theme of the music. This soft fluid section is punctuated by leftward bends and forward bends.
  
  The eli is one of the fundamental dance moves. There is an understated clockwise eighth turn with fluid independent body movement and a passive backward bend.
  
  The mifava is one of the fundamental dance moves. There is a leap with a spin, an understated right leg lift and a high raised arm.
  
  The nanotha is one of the fundamental dance moves. First, there is a body level change with calm independent body movement. Then there is a raised right arm with a leap, undulating independent body movement and a delicate right leg lift. Then there is a softly percussive leap with a graceful counterclockwise eighth turn and a leg lift. Finally, there is a fluid run with a graceful arm carriage and a graceful body level change.
  
  The licesi is one of the fundamental dance moves. There is a sinuous counterclockwise eighth quarter turn with a calm forward bend, a body level change and fluid footwork.
  
  The oma is one of the fundamental dance moves. There is a leap with a raised right arm, a counterclockwise eighth turn and twisting independent body movement.
  
  The cameda is one of the fundamental dance moves. First, there is a passive body level change with a straight walk. Then there is a spin.
  
  The cida is one of the fundamental dance moves. There is a soft counterclockwise eighth half turn with a raised left arm, a high body level and a calm facial expression.
  
  The lolama is one of the fundamental dance moves. There is a rightward bend with a sluggish spin and independent body movement.
  
  The itho is one of the fundamental dance moves. There is a body level change with graceful footwork and a raised arm.
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• A solo performance dance originating in The Thief of Tiring. The dance is accompanied by a [musical form name]. The entire dance has a basic movement called the sputo. There is a series of two steps in a circular pattern with a clockwise eighth half turn and a low body level. The jerking dance is punctuated by aggressive clockwise half turns and flamboyant hand gestures.
  
  The dance enters a new section with the theme of the music. This proud section is punctuated by independent body movement.
  
  The dance enters a new section with the exposition of the theme of the music. This section is intense.
  
  The dance enters a new section with the bridge-passage of the music. This sharp-edged section is punctuated by independent body movement.
  
  The dance enters a new section with the recapitulation of the theme of the music. This passionate section is punctuated by raised left arms and debauched backward bends.
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• A group celebration dance originating in The Glowing Hame. The dance is accompanied by a [musical form name]. The dancers move in a double circle turning clockwise.
  
  The dance begins with the theme of the music. The dancers perform very quickly to the biban rhythm. This sinuous section is punctuated by sensual right kicks and expressive leaps.
  
  The dance enters a new section with the variations on the theme of the music. The dancers perform quickly to the izeg rhythm. This section is punctuated by passionate facial expressions, crude independent body movement and joyous straight walks.
  
  The dance enters a new section with the bridge-passage of the music. The dancers perform slowly to the ugog rhythm. This fluid powerful section is punctuated by lively hand gestures and twisting footwork.
  
  The dance enters a new section with the finale of the music. This straight-lined section is punctuated by vigorous spins.
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• A sacred solo dance originating in The Belted Rampart. The dance is accompanied by a [musical form name]. The dancer moves along an intricate path, moving to the music's ngarak rhythm. The intense dance is punctuated by vigorous hand gestures and straight walks.
  
  The dance begins with the introduction of the music. This section is lively.
  
  The dance enters a new section with the passages of the music. This powerful vigorous section is punctuated by energetic leftward bends, with large moves.
  
  The dance enters a new section with the finale of the music. This section is punctuated by undulating independent body movement, elaborate backward bends and vigorous footwork.
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• A sacred group dance originating in The Confederacy of Styling. The dance is accompanied by a [musical form name] as the dancers act out the story of Wur. The dancers perform loosely mingled. The debauched dance is punctuated by partially realized moves.
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• A sacred solo dance originating in The Song of Homage. The dance is accompanied by a [musical form name]. This dance is a refined artform, with two special positions to be mastered.
  
  The dance begins with the passage of the music. This aggressive sinuous debauched section is punctuated by twisting raised right arms.
  
  The dance enters a new section with the finale of the music. This section is twisting and sluggish.
  
  The upe is one of the fundamental dance positions. There should be a strong leftward bend with a serene arm carriage.
  
  The thafatha is one of the fundamental dance positions. There should be a subtle facial expression with a spirited hand gesture, a fluid left leg lift and an energetic backward bend.