It’s no surprise that a culture that loves dance so much would find it a useful tool for channeling magic. So far, I’ve mentioned a few types of specific dances, and while it’s not really important to explain them, world building is my candy, and language play is my particular favorite bonbon.
pri’ramn- “first dance” Term used for the collective of beginner’s dancers and training exercises.
il’li’ramn – “balancing dance” Dances meant to center and ground performers, either opening them up to a group energy or closing them down once a dance is complete.
charin’ramn – “seed dance” Not the fertility dance you might think, charin also refers to a certain kind of bead, and charin’ramn use ropes and scarves strung with these beads to create dazzling light shows, as charin beads respond to magic and aura in many spectacular ways.
areta’ramn -“magic dance” General term for dances that are meant specifically for weaving magic. This does not include dances like the charin’ramn, that use magic incidentally, rather than building and directing it deliberately.
s’era’ramn- “dream dance” Dances used to create alternate states of perception, used for meditation, past life exploration, and divination.
kishkan’ramn – “fire through flesh dance” A group of dances specifically designed to arouse, used in courtship and springtime rites and festivals. kishkan’ramn is also sometimes used to reference sex euphemistically.
There are, of course, many, many more, but these are some of the ones mentioned thus far in the story. It is worth noting that these dances are NOT limited to serpent culture.
In Search of Asylum 