Although there is the same degree of overall collective patterning in Asian dance as in European dance forms, hand gestures are more prominent. There is a general distinction between folk dances and dances of the court or more formal contexts. The former tend not to be accompanied by manuals but are preserved through informal traditions. The latter, whether in India, China, Japan or South-East Asia, tend to be schooled through strict forms of education and training. Broadly speaking, there is more commonality in folk and country dancing across the world than in the specific traditions of court or formal dancing. As far as poetry is concerned, the question of multi-levelled rhythms in Asian poetry was explored in my previous book for Springer, Polyrhythmicity (2021) and will be pursued further in the current chapter. Examples are presented and discussed from a range of Asian cultures, including those from countries where there is a direct correspondence between dance and poetry. These include China, India, Korea, Malaysia, Pakistan, Taiwan, Tonga and the Torres Strait islands (Papua New Guinea/Australia). This chapter also includes discussion of the Chinese written character and its relation to dance forms.