Many great dancers cover up their physical defects by other aspects necessary for art. It is for this reason that the same type of dancers have a different effect on the audience because education and cultural background of the dancers are different and hence the artistic expressions are also different. Same is true of the spectators whose apprehension of dance is based on their cultural background.

Geography also plays an important part in the apprehension of dances. The Japanese 'Kabuki' has a definite meaning which is highly artistic to the Japanese but they may be only pleasing to foreign eyes. Similarly the Peking Opera or Indian classical dances or the Russian ballet-have a definite significance to a particular type of audience. The same thing cannot be said of folk and group dances. The immense popularity of such dances is mainly due to the limited conventions in such dances common to many nations, simplicity of themes, rhythms, songs and emotions and above all, a collective effect it produces on the minds of the spectators. Most folk and group dances are built on social customs and group cohesion. Folk dances depict the material spirit of the people  as in the Naga-s or 'Jat-s' or the 'Bhill-s', or they may be  

woven round the seasons such as the harvest season, spring and so on. They may be also ritualistic. Most folk dances, all the world have many resemblances and such dances are easily appreciated by the common public. In the creation of new dances, the dancer attempts to liberate himself from all his frustrations and inhibitions. Such creations have a limited scope, because in this release, the creator of the dance will only think of one or two aspects.