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MURADOVA, Terane. „APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION“. IEDSR Association 6, Nr. 12 (29.03.2021): 218–26. http://dx.doi.org/10.46872/pj.258.
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Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.
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Gailīte, Elīna. „Tautas deju definēšanas problemātika mūsdienās Latvijā“. Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, Nr. 26/2 (11.03.2021): 94–104. http://dx.doi.org/10.37384/aplkp.2021.26-2.094.
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The article “Problems of defining folk dance in Latvia today” examines the aspects that affect the current situation in Latvia, where folk dances are understood as both folk dances that have not been modified by choreographers, dances passed down through generations that can be danced every day, and stage folk dances, which are a type of art performed by folk dance ensembles, created by choreographers and dances adapted to the stage performance. The research aim is to identify and describe the problems that currently exist in the Latvian cultural space, where the definition of folk dances creates tension in the public space and ambiguous opinions among dancers. Nowadays, it is possible to identify such concepts as, for example, folk dance, ethnographic dance, authentic dance, traditional dance, folklore dance, folk dance, folk dance adaptation, field dance, folk ballet, etc. Consistent use of concepts is rarely seen in the documents and research of cultural policymakers and the historical and contemporary works of choreographers and researchers. Often they are only described in general terms. A survey conducted in 2019 shows that dancers consider stage folk dances to be folk dances, and often this separation of dances is not important for them. Another problem is the designation of folk dance ensembles where stage folk dance dancers are dancing. The term misleads; it suggests that folk dances are danced there. However, this designation is linked to its historical time of origin. It is not insignificant that the stage folk dance is more popular, more visible, and massively represented at the Song and Dance Festival. Thus, a part of the society associates it with our folk dances.
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Surya, Windi Kartika, und Nerosti Nerosti. „Eksistensi Tari Andun Dalam Upacara Adat Perkawinan Di Kecamatan Seluma Kabupaten Seluma Provinsi Bengkulu“. Jurnal Sendratasik 10, Nr. 4 (15.12.2021): 51. http://dx.doi.org/10.24036/js.v10i4.114175.
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This research has a problem regarding the formulation of "The Existence of Andun Dance in Seluma Marriage, Seluma Regency, Bengkulu Province". The purpose of this research is to describe and analyze the existence of Andun Dance in traditional wedding ceremonies in Seluma District, Seluma Regency, Bengkulu Province. This research uses descriptive qualitative analysis. Data collection techniques or through literature study, observation, interviews and documentation. The research found that the Andun Dance consists of two types, namely: (1) the Andun lelawanan dance which is danced in pairs and women by bachelors; (2) and most of the Andun Dance by many dancers have been married. Andun dancers are mostly men and women performing separately. There is a periodization of Andun dance through 2 periods, namely: (1) periodization of 2003-2015, Andun Lelawanan Dance exists more than most Andun Dances, according to the purpose of the dance presented is to seek love; (2) Periodically from 2015 to present, Andun Dance is the most widely available. In 2019, the choreography in the Andun Dance was developed which was contested. Dancers in costume from the perspective of the Andun Dance competition, where the female dancers use modern borkat kebaya, songket cloth as a skirt, and a scarf. While the clothes are boy dancer/koko, coat, trousers, gloves, and a skullcap.
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Supeni, Siti. „JAVANESE TRADITIONAL ART-DANCE AS THE IMPLEMENTATION OF CHARACTER EDUCATION OF CHILDREN TO SUPPORT CHILD FRIENDLY SCHOOL“. RESEARCH FAIR UNISRI 4, Nr. 2 (15.08.2020): 48. http://dx.doi.org/10.33061/rsfu.v4i2.4517.
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The purpose of the research is to: ( I) identify character education of children in various Javanese traditional dances, (2) to analyze the needs, output, problems. and learning objectives of child-friendly schools (CFS) in applying character education based on regional dance by interviewing a dancer trainer and a professional dancer who have experiences in creating and practicing the dances, and (3) to identify types of Javanese traditional dance values inside the dances. the types of research is through literary studies, interviews, surveys, observations, and documentation. To analyze the data, the researchers useResearch & Development. The findings show that (1) identification of charactereducation in various Javanese traditional dance, (2) there are the needs, output, problems, and learning objectives of child-friendly schools (CFS) in implementing character education based on regional dance, and (3) types of Javanese traditional dance values from.
Keywords: Javanese Traditional Dance, Character Education, Child-Friendly School
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Kariasa Putra, I. Komang, Tjokorda Udiana Nindhia Pemayun und Gede Yosef Tjokropramono. „Sanghyang Dedari Dance as a Painting Creation Idea“. CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, Nr. 2 (24.10.2022): 87–91. http://dx.doi.org/10.59997/citakara.v2i2.1849.
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Balinese dance is a variety of dances originating from the island of Bali. Balinese dance does not always depend on the storyline. The main goal of Balinese dancers is to dance each stage of movement and sequence with full expression. Sang Hyang Dedari dance is a Balinese dance that is used as a religious tool. Balinese people still believe that when girls aged 9-12 years dance this dance, they will be possessed by the holy spirit of an angel. Usually, the Sang Hyang Dedari Dance is played or danced before the rice harvest around April to resist disease outbreaks, and this dance has been designated as an endangered cultural heritage. By taking the theme of Sanghyang Dedari Dance, it is hoped that it can represent ideas in the creation of painting. The writer's interest in this dance is because this dance is very sacred and unique because starting from the headdress and the clothes used are very simple, and the flowers used are also colorful and easy to get and so that the younger generation in particular to know and preserve Balinese culture, that in some areas still do this tradition. At the visualization stage, the author emphasizes the decorative flow. In addition, it also uses the method of creation, namely Exploration, Improvisation, Formation, and Final Completion. And through these stages, 6 works were created entitled: 1) "Sanghyang Dedari Dance", 2) "Ngukup", 3) "Dancer Possessed by Sanghyang Dedari", 4) "Sanghyang Dedari Dancer", 5) "Aci Bethara Sri", 6 )"Rolling". In the end, a work was created which was appointed to the title "Sanghyang Dedari Dance as an Idea for Painting Creation". The author hopes that the Balinese people are more familiar with the Sanghyang Dedari Dance.
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Hawthorn, Ainsley. „Middle Eastern Dance and What We Call It“. Dance Research 37, Nr. 1 (Mai 2019): 1–17. http://dx.doi.org/10.3366/drs.2019.0250.
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This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly dance’ was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.
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Turabian, Jose Luis. „Doctor-Patient Relationship as Dancing a Dance“. Journal of Family Medicine 1, Nr. 2 (29.11.2018): 1–6. http://dx.doi.org/10.14302/issn.2640-690x.jfm-18-2485.
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The transcendence of the doctor-patient relationship is given by the confirmed fact of its influence on the results of health care. Several models of doctor-patient relationship can be described, but evidence of improved compliance, satisfaction and recall of physician information has been found in patient-centered consultations. Since these concepts of doctor-patient relationship and patient-centered consultation have multiple facets, they are complex to understand and teach. Using a metaphor is a tool that can be useful in these situations. We could say that the "good" doctor-patient relationship is a process where an "alliance" is created: a process in which the doctor adapts to the rhythm of the patient and little by little can help him move towards healthier scenarios; that is, detect "what dance the patient dances and like a good dancer, take a step back, another forward, dancing and pacing with the patient. But there is not a single type of "good" or "adequate" doctor-patient relationship; there is not "a single dance that the patient dances". If "the doctor has to dance with the patient", he has to know that there are many types of dance! The doctor will have to dance dances such as Cha-Cha (which has to be slow or very fast to dance), the Mambo (where the music is faster and the rhythm more complicated - the relationship with an urgent patient); the Merengue (which is danced like walking - informal doctor-patient relationship); el Pasodoble (that you have to dance with a haughty air, but not with rigidity -synchronizing assertiveness and empathy); The Salsa (where you have to learn the basic step separately - discontinuity of the doctor-patient relationship), among others.
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Berdnik, M. „The Impact of Historical Choreographic Origins on Forming Emotional Content in Latin American Ballroom Dance“. Culture of Ukraine, Nr. 80 (30.06.2023): 76–81. http://dx.doi.org/10.31516/2410-5325.080.09.
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Modern ballroom dance is actively developed as a sport whereas the art of dancing, which is characterized by emotions, is disappearing now. The causes are dealt with the low level of performing Latin American ballroom dance as an art and the necessity to develop the origins of this dance. It is also important to perform a particular Ballroom dance emotionally considering its historical roots.
It is fact that now the great number of competitive dance couples give a lot of attention to the physical training of choreographic compositions with a large number of acrobatic tricks and little respect to the aesthetic aspects of dance. Otherwise, they simply do not know how to express the depth of the emotional content of the dance. Dance couples are lack of understanding how to perform a particular ballroom dance. The issue of this study is relevant in Latin American ballroom dance studies as well as should be solved by experienced instructors and their desire to show dancers the importance of aesthetically emotional aspects of dance.
The purpose of this study is to explore the historical origins and stylistic features of Latin American ballroom dance which became the basis of modern Latin American ballroom dance.
The methodology. The author provides an analysis of specific features of the Latin American ballroom dance.
The results. It is shown that according to the history of the origin and standardization of ballroom dance each dance has its own unique style and characteristics as well as its individual emotional features. Cha-cha-cha is characterized by easy flirtation and pleasure. Samba is a dance of celebration, ardour and expression. Rumba is full of passion, impressing and love. Pasodoble is emotional and dramatic-theatrical dance. Jive is light, cheerful and carefree. And these are general features of the emotional and aesthetic component of dance that are very desirable to see in dance and experience them together with the performers.
The scientific novelty. An attempt is made in this paper to show the presence of historical stylistic and emotional features of the Latin American ballroom dances, which are danced as a competition all over the world, are not sufficiently developed in the performance skills of the dancer. Ballroom dances have diverse origins, rhythms, tempos and aesthetics, but have one thing in common: they are all danced emotionally.
A recommendation for further research is the perspective of improving the methodology of teaching the emotional component of Latin American ballroom dance by suggesting the development of aspects such as: active ways of spreading information about the importance of the creative, emotional component of dance (e.g. seminars, master classes), teaching acting skills, developing training exercises for performing the emotional part of the dance, and conducting research in sports psychology.
The practical significance. The material of this article can be used in the practical activities of choreographers, ballroom dance performers and Latin American ballroom dance competition dancers.
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Harefa, Mega Suryawan, Malarsih Malarsih und Rahina Nugrahani. „Analisis Bentuk Penyajian Tari Fanari Niowalu pada Acara Fal�wa di Kecamatan Idan�gawo“. Ideas: Jurnal Pendidikan, Sosial, dan Budaya 10, Nr. 1 (27.03.2024): 223. http://dx.doi.org/10.32884/ideas.v10i1.1548.
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The fanari niowalu dance is a traditional dance which is one of the sacred dances in wedding customs which is only danced by niowalu at the fal�wa which symbolizes that Niowalu is ready to get married and welcomes the extended family of the marafule (groom), guests and the community who come was at the fal�wa event. The purpose of writing this article is to analyze the form of presentation of the fanari niowalu dance using qualitative research methods with an ethnochoreological approach that describes existing problems. This dance is danced at weddings where the dance is started by the mothers of the bride and groom and then continued by the two girls and niowalu to dance together with traditional Nias musical instruments consisting of g�ndra, garamba, and faritia.
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Pype, Katrien. „Dancing for God or the Devil: Pentecostal Discourse on Popular Dance in Kinshasa“. Journal of Religion in Africa 36, Nr. 3-4 (2006): 296–318. http://dx.doi.org/10.1163/157006606778941968.
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AbstractThis article studies the dance poetics and politics of Christians in contemporary Kinshasa. For Kinois (inhabitants of Kinshasa), dance is one of the most important technologies to get in touch with an invisible Other, the divine or the occult. In sermons, and other modes of instruction, spiritual leaders inform their followers about the morality of songs and dances. These discourses reflect pentecostal thought, and trace back the purity of specific body movements to the choreography's source of inspiration. As the specific movements of so-called sacred dances borrow from a wide array of cultural worlds, ranging from traditional ritual dances and popular urban dance to biblical tales, the religious leaders state that not just the body movements, but also the space where people dance and the accompanying songs, define the Christian or pagan identity of the dancer. Therefore, both the reflections upon dance movements and the dance events within these churches will be discussed as moments in the construction of a Christian community.
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Wang, Ziqiao. „Analysis of the Importance of Demeanor Training to the Study of Chinese Folk Dance—Taking Uighur Dance as an Example“. Journal of Educational Theory and Management 2, Nr. 3 (08.10.2018): 84. http://dx.doi.org/10.26549/jetm.v2i3.992.
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Chinese folk dance has a long history and is quite abundant. It is an indispensable source of Chinese classical dance, court dance and professional dance creation. Chinese folk dances are characterized by unpretentiousness, diverse forms, rich content, and vivid images. But these require professional dancers to express through professional training. Even amateur dances need to be completed through well-trained and emotionally full actors.[1] In the process of training, in addition to the necessary basic skills and other physical training, we also need to train the demeanor. We often say that the eyes are the windows of the soul, and the folk dance is more about expressing a feeling to the audience. If the dancer don’t have a good performance and face expression, he or she can’t express the dance work at all. Therefore, this article takes the training of national folk dance as the starting point, combining technical training, stage performance, professional dancers and amateur dancers, taking the Uygur as an example.
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Zakiyati, Nur Muaffah, Agus Cahyono und Syakir Syakir. „Inheritance of Cultural Values of Kethek Ogleng Dance at Darma Giri Budaya Dance Studio in Wonogiri“. Catharsis 9, Nr. 1 (31.05.2020): 28–37. http://dx.doi.org/10.15294/catharsis.v9i1.39033.
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The Kethek Ogleng dance performance is one of the traditional dances that is inherited and there are cultural values at Darma Giri Budaya Dance Studio in Wonogiri Regency. The purpose of this study is to analyze the inheritance of cultural values in the performances of the Kethek Ogleng Dance at the Darma Giri Budaya Dance Studio in Wonogiri Regency. The method used is qualitative with ethnochoreological approaches. The data collection techniques through observation, interviews and document study. The analysis process began from collecting data, reducing dataand clarifying, concluding and interpreting. The cultural value of Kethek Ogleng Dance can be seen in the dance moves, the performing techniques, dancers, time, drama, and technique. The cultural values that are seen from the knowledge obtained is from learning in the Studio and formal schools. Skillis the process of training artists to the dancer of Kethek Ogleng in the studio. Attitude, the artist teaches the attitude of dancer Kethek Ogleng that the talent possessed must be delivered.
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Linggih, Nyoman. „Sasolahan Sanghyang Oncesrawa At Penataran Sasih Temple, Desa Pakraman Pejeng Tampaksiring District, Gianyar Regency“. Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies 3, Nr. 2 (31.10.2019): 191. http://dx.doi.org/10.25078/ijhsrs.v3i2.892.
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<p>The Sanghyang Oncesrawa dance is not just a mere spectacle dance, this dance is in a state of unconsciousness, dancing on a burning fire and even though there are no signs of burning the body parts of the dancers. This dance is not a show or show off strength. The Sanghyang Oncesrawa dance is motivated by the loss of a beloved horse, the king of Bali, namely Sri Gajah Waktera with the title Sri Asta Sura Ratna Bumi Banten, a white hairy horse with a very powerful black tail named kuda oncesrawa. King Bedahulu's favorite horses disappeared and never came again. To commemorate the horse named Oncesrawa, the Sanghyang Oncesrawa Dance was performed in the Sasih Penataran Temple. This dance is classified as the art of sacred dance and when dancing mattress, moves agile (dangkrik-dingkrik = Balinese language) like horse movements. The research was conducted to multiply, raise, explore, socialize, religious dances, especially the Sanghyang Oncesrawa Dance, which so far still many people do not understand correctly. Qualitative research was carried out in the Sasih Penataran Temple through a cultural approach with data sources from figures, dance artists, <em>pemangku, serati</em>, library and photos. The results of the research analysis showed that the Sanghyang Oncersrawa dance is a sacred dance that is only danced on <em>piodalan</em> / large ceremonies (Ngusaba Nyatur), dances on coals in a trance state, bringing <em>pratima / arca / pralingga</em> of Sanghyang Oncesrawa, dances in a row while kicking a burning fire. The Sanghyang Oncesrawa dance has a function, namely; religious, sanctification, social and aesthetic. Sanghyang Oncesrawa dance has religious, sanctification, social, and aesthetic meaning.</p>
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Kepekçi, Yalçın, Can Boğa, Zühey Günal, Hamza Çivi und Emine Özmen. „MYOGLOBINURIA, HEMOGLOBINURIA AND BLOOD PRESSURE CHANGES iN TURKISH FOLK DANCERS“. European Journal of Therapeutics 2, Nr. 1 (01.01.1991): 42–48. http://dx.doi.org/10.58600/eurjther.19910102-501.
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Turkish folk dancers hava won many international competitions i.e. first place in 1986 at Dijon, France; gold hatched in 1986 at Zakupane Poland. Turkish folk danca has almost the sama characteristics as other sports. Soma of the figures in the dances is characteristics as other sports. Soma of the figures in the dances is characterised by sudden movements of the feet to the ground. Rhabdomyolysis has been defined in skiers, football players, and in clay drum players according to previous reports. During the 1991 Turkish folk dance competition, the effects of physical activity and extremity contacts on arterial blood pressure and urinary system were investigated in 119 dancers whom 82 of them were female. There was no apparent difference between sistolic, diastolic and mean arterial pressure levels before and after the competition (p 0.05). Urinary erytrocyte and acid pH values were significantly higher than those values at the begining of the dance. Hemoglobinuria was found in only one female dancer. Granular casts were also detected in the latter dancer. it can be suggested that, hemoglobinuria, myoglobinuria, and microscopic hematuria can be controlled by some precautions. Therefore, the effects of climate, altitude, water-electrolyte needs and toilet education were discussed for healthy dancing.
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DePass, Cecille. „Dancing Our Stories Ourselves: Dancing with Mr. Neville Black“. Cultural and Pedagogical Inquiry 12, Nr. 3 (05.04.2022): 54–58. http://dx.doi.org/10.18733/cpi29616.
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Chapter 10: Introduction to Jazz and Modern Dance, Take 5: Cecille recounts her experiences dancing with Neville Black, a modern dancer who was trained in the USA and returned to Jamaica to choreograph and teach modern and jazz dance to teens and adults. He choreographed several dances for Mrs. Simpson’s ballet performances, and taught with her in the 1960s.
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Sidhi, I. Putu Gede Serana Asta, Ida Ayu Trisnawati und Kompiang Gede Widnyana. „Tari Sesandaran Di Griya Delod Pasar Desa Adat Intaran; Kajian Bentuk, Fungsi Dan Makna.“ Jurnal Igel : Journal Of Dance 4, Nr. 1 (29.06.2024): 47–54. http://dx.doi.org/10.59997/jijod.v4i1.4196.
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The Sesandaran dance at Griya Delod Pasar is a bebali dance that is sacred to the people and was born in the Intaran Traditional Village. This Sesandaran Dance is the same as the Telek Dance which uses a white tapel or mask and has a subtle character. Of course, the Sesandaran Dance which is located at Griya Delod Pasar is created with its own characteristics and identity. These characteristics exist at the beginning, the form of the dance. This Sesandaran Dance Research uses a qualitative research method with a descriptive qualitative approach. The research data was obtained through several stages, namely observation, structured and unstructured interviews, and indirectly through library research and documentation studies. The final task of the independent learning program in the dance study program this time the researcher chose the object of the Sesandaran Dance at Griya Delod Pasar as the object of research.ance, the function and meaning of the dance. The research results obtained that the Sesandaran Dance at Griya Delod Pasar is a group dance danced by ten dancers. The ten dancers are divided into four lean dancers, four jauk omang dancers, one telek dancer “Ni Swarni” and one jauk lingsir or Gore dancer. The Sesandaran dance at Griya Delod Pasar is built with eight dance structures, namely: Pepeson/Bebarisan, crewman, Pepeson Telek “Ni Swarni”, Pengecet, Pepeson Jauk Omang, Pepeson Gore/Jauk Lingsir, Pesiat and Pekaad. This dance has a function as an accompaniment to sacred performances or opening during the procession of mepajar or Ida Sesuhunan napak pertiwi. This Sesandaran dance contains four meanings, namely, religious meaning, creative meaning, aesthetic meaning and identity meaning
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Kietzman, Parry M., und P. Kirk Visscher. „Follower Position Does Not Affect Waggle Dance Information Transfer“. Psyche: A Journal of Entomology 2019 (03.03.2019): 1–5. http://dx.doi.org/10.1155/2019/4939120.
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It is known that the honey bee waggle dance communicates the distance and direction of some item of interest, most commonly a food source, to nestmates. Previous work suggests that, in order to successfully acquire the information contained in a dance, other honey bees must follow the dancer from behind. We revisit this topic using updated methodology, including a greater distance from the hive to the feeder, which produced longer, more easily-read dances. Our results are not congruent with those of earlier work, and we did not conclude that honey bees must follow a dancer from behind in order to obtain the dance information. Rather, it is more likely that a follower can successfully acquire a dance’s information regardless of where she may be located about a dancer.
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Vionnet, Claire. „Auto-Ethnography of Engagement Through Dance“. TSANTSA – Journal of the Swiss Anthropological Association 27 (05.04.2022): 78–93. http://dx.doi.org/10.36950/tsantsa.2022.27.7770.
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This paper proposes a reflection on collaboration through dance. Drawing on ten years of fieldwork within the Swiss contemporary dance scene, the author, an anthropologist, dance scholar, and dancer, discusses her ethnographic practice, method, and writing inspired by collaborative anthropology. The first part of the paper advocates for dance as a practice-based research method, and for auto-ethnography to convey anthropological knowledge in a more accessible way. Research-creation is claimed to particularly suit sensorial topics, tending toward symmetrical relationships between anthropologists and fieldwork interlocutors. Drawing on an applied anthropological project using djembe dances for better social cohesion, the second part of the paper shows one possible engagement with society through dance practice. Generating intimacy and misconceptions, the project Kunda emphasizes how dance can become a laboratory to learn and negotiate intercultural differences.
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Murti, Karinsa Krisna, und Slamet Slamet. „FUNGSI TARI NADRAK PAGUYUBAN RUKUN SANTOSA DESA BRONGKOL KABUPATEN SEMARANG“. Greget 20, Nr. 2 (16.03.2022): 165–80. http://dx.doi.org/10.33153/grt.v20i2.4141.
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The article entitled Functions of the Nadrak Dance Association of Rukun Santosa, Brongkol Village, Semarang Regency aims to determine the function of Nadrak Dance. Nadrak dance is one of the folk dances in the Rukun Santosa Association which is danced in groups. The main problem of this research is the function of the Nadrak Dance. This research uses function theory. The theory of function was expressed by Bastomi. This research is qualitative. The data were collected through observation, interviews, and literature study. The results of this study the authors reveal the form and function of the Nadrak Dance. Form includes elements of motion, rhythm, expression or feeling, costumes, stage, and dancers. Nadrak Dance functions as a sacred art (religious interests) and secular art (a means of communication, education, and recreation).
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Fiskvik, Anne Margrete. „Tracing the Achievements of Augusta Johannesén, 1880–1895“. Nordic Journal of Dance 5, Nr. 2 (01.12.2014): 4–21. http://dx.doi.org/10.2478/njd-2014-0007.
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Abstract Dancer, choreographer and teacher Augusta Johannesén was an important figure in several capacities for Nordic theatrical dance. She danced, taught and choreographed in Sweden, Finland as well as in Russia. Between 1860-1878 she was a member of the so-called Johannensénske Balletselskab, which toured extensively in the Nordic countries. The Johannesénske family settled in the Norwegian capital Kristiania in 1880, and Augusta Johannesén slowly established herself as a professional dance artist at the most important theatres in Kristiania. Over the years she became a dancer, choreographer and teacher of great significance, and her contribution to the development of Norwegian theatre dance cannot be overestimated. She was active as dancer well into the 1910’s and “arranger of dance” up until she died in 1926. As a ballet teacher, she trained hundreds of dancers, including several of those who later went on to play a role in the Norwegian dance- and theatre scene. In many ways, Augusta Johannesén is representative of a versatile dancer that can be found on many European stages, the versatile ballet dancer that was also typical of the Nordic dance scene around the “fin de siècle”. She typically also struggled with stereotypical notion of the “ballerina”. This article focuses on only a part of her career, her first fifteen years in Norway. Between 1880 and 1895 she established herself in Kristiania, dancing at the Christiania Theater and later at the Eldorado. The article also forefront an especially important event in Norwegian Nordic dance history instigated by Johannesén: The establishment of a “Ny Norsk Ballet” (“New Norwegian Ballet”) at the Eldorado theatre in Kristiania in 1892. This is probably the very first attempt at creating a professional ballet company in Norway, and Augusta Johannesén’s contribution is only one of many ways she made a difference to professional theatre dance in Norway.
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Filippidou, Eleni. „Dance Stereotypes. Reflection of gender relations in the ‘Karsilama’ dance in Greece“. International Journal of Research and Innovation in Social Science 06, Nr. 11 (2022): 839–44. http://dx.doi.org/10.47772/ijriss.2022.61143.
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Τhe research field of this paper is the Greek dance ‘Karsilama’ as this is danced in the area of Thrace in Greece. More specifically, the research was carried out in the community of Nea Vyssa, which is located in the northern part of this country. The aim of this research is to study the dances of ‘Karsilama’ in Nea Vyssa, which have rhythm of nine beats (9/8), so that through the analysis of their form, it can be established whether these dances reflect stereotypes of the position of the two sexes in society. The collection of ethnographic data was based on the ethnographic method. Laban’s notation system was used to record the choreographic compositions of ‘Karsilama’ dance, while for the analysis of their structure and form, as well as their codification, the structural-morphological and typological method of analysis was applied, as it is applied in the Greek Τraditional Dance and for their comparison the comparative method was used. Finally, the interpretation of the data was held with the anthropological thinking about gender identity as it appears in anthropological views of dance and particularly in Hanna. From the data analysis was found that the ‘Karsilama’ dances are established the gender hierarchy in the community of Nea Vyssa, highlighting Nea Vyssa in a patriarchal society.
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ALM, IRENE. „Winged feet and mute eloquence: dance in seventeenth-century Venetian opera“. Cambridge Opera Journal 15, Nr. 3 (November 2003): 216–80. http://dx.doi.org/10.1017/s0954586703001733.
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This article shows how central dance was to the experience of opera in seventeenth-century Venice. The first part provides an introduction to the use of dance in Venetian opera and the primary sources – libretti, scores, treatises, and various eyewitness reports. The second section summarizes the extraordinary variety of subjects and style of the dances. A third section treats the musical sources, describing stylistic features of the dance music, as well as providing important insights as to how to identify which vocal or instrumental excerpts would likely have been danced.
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Ria Novitasari, Ni Luh, Ni Made Ruastiti und I. Ketut Sariada. „Oleg Tamulilingan with Badung Style as the Primadona in the Performance Arts of Bali Tourism“. Randwick International of Social Science Journal 4, Nr. 2 (30.04.2023): 481–91. http://dx.doi.org/10.47175/rissj.v4i2.658.
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The Oleg Tamulilingan dance is a traditional Balinese dance with the theme of romance, which depicts the romance of male and female beetles, danced in pairs by a male and female dancer. Researchers have extensively discussed the popularity of the Oleg Tamulilingan Dance. But, no one has disclosed the Badung Style in Oleg Tamulilingan Dance has remained the primadonna of the Bali tourism industry. The question is: what is the structure of the Badung version of the Oleg Tamulilingan dance?; What is the origin of the Badung-style Oleg Tamulilingan dance?. This research was conducted using qualitative methods. The data sources for this study were: Oleg Tamulilingan with Badung Style Dance, dancers, musicians, dance teachers, artists, humanists, experts, and related communities who were selected based on purposive sampling and snowball techniques. All data that has been collected through observation, interviews, and literature studies was analyzed qualitatively. The results of the research show that the Badung Style in Oleg Tamulilingan Dance is performed in the form of a loose dance depicting a male and female beetle making out in a flower garden. This can be seen from the way it is presented, the makeup and clothing, as well as the musical accompaniment used. The structures used in the Oleg Tamulilingan with Badung Style performance are pepeson, pengawak, and pengecet. The emergence of the Badung Style in Oleg Tamulilingan dance was caused by internal and external factors. The internal factor of the Oleg Tamulilingan Dance is the talent of the first dancer, Gusti Ketut Raka Astuti, who teaches his students. The external factor is the development of tourism, which provides an opportunity for the development of the Badung Style in Oleg Tamulilingan Dance and has implications for the enrichment of the presentation model of the Oleg Tamulilingan Dance.
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Hoppu, Petri. „Nordic Folk Dances as Imaginary Geographies“. Congress on Research in Dance Conference Proceedings 2012 (2012): 76–80. http://dx.doi.org/10.1017/cor.2012.8.
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Geography is a feature that typically belongs to the realm of folk dance. Folk dances are often defined as belonging to a certain region, and it is seldom they are considered a result of artistic creativity. In the Nordic countries, folk dancers have co-operated intensively since the early twentieth century, sharing dances with each other. In this presentation, I am arguing that this co-operation has created imaginative geographies of the Nordic region, filled not with landscapes, terrains, or water systems, but with movements, holds, and music. As an example, I will present two Nordic folk dance books from the 1960s. In these books, dances are attached to certain geographical areas, which is not merely contextual information but also entails stylistic features of a specific dance. Most dances are connected to a certain parish, and in some cases the province is mentioned, as well. In practice, for most folk dancers, the names of the areas do not have much significance as material domain, but they are elements of a map of a danced region, and as such the dances are a part of imaginative geographies, performed spaces. Following the British geographer Derek Gregory, I see folk dances as a continuation of performances that necessarily creates novelty, which allows one to experience spaces differently. The books are danced atlases presenting the Nordic region as a series of performed spaces. They address how the Nordic region has been represented in a danced form, emphasizing affiliation and unity, as well as distinction and disjointedness.
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Hoppu, Petri. „The Polska: Featuring Swedish in Finland“. Congress on Research in Dance Conference Proceedings 2014 (2014): 99–105. http://dx.doi.org/10.1017/cor.2014.13.
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The paper examines the Swedish polska as a special case of movementscape in Finnish folk dance. The research is based on ethnographic fieldwork among Finnish folk dancers in 2013. Since the 1970s, the polska has been popular in Swedish folk dance, and this versatile dance form can be seen as emblematic to Swedish folk dance culture. During the last 30 years, Finnish folk dance groups have also eagerly adopted it: not only the dance itself, but a whole new style and embodiment of dancing with improvisation as an important element. Although there have been vernacular polska forms in Finland, as well, and folk dancers have danced them for decades, they have not been able to reach any higher status. Although Finnish folk dancers have adopted dances from other Nordic countries since the early twentieth century, the popularity of Swedish polska exceeds that of any earlier Nordic innovations in Finland.
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Krisnasari, Bening. „Keberagaman Busana Tari Gambyong: Konstruksi Sosial pada Busana Tari Gambyong di Yogyakarta“. INVENSI 8, Nr. 1 (23.02.2023): 31–41. http://dx.doi.org/10.24821/invensi.v8i1.7100.
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Tari Gambyong awalnya merupakan tari tunggal putri yang termasuk dalam tari tradisi gaya Surakarta. Pada perkembangannya, tari tunggal ini dapat ditarikan secara berkelompok, sehingga bisa menyesuaikan keinginan konsumen atau pun penyelenggara acara mengenai jumlah penari yang akan menarikannya. Tari Gambyong sering dijadikan sebagai pentas paket para seniman karena tari Gambyong sering ditarikan untuk pembukaan sebuah acara seperti gala dinner, penyambutan tamu, dan sebagainya. Maka tari Gambyong dapat digolongkan sebagai pertunjukan komersial karena dapat dipentaskan di acara besar maupun kecil. Karena sering dipentaskan pada berbagai acara, permintaan pada busana tari Gambyong pun bermacam-macam untuk menyesuaikan bentuk acara, sehingga terjadi keberagaman bentuk busana tari Gambyong pada masa kini. Artikel ini secara khusus membahas keberagaman bentuk busana tari Gambyong masa kini yang dipengaruhi oleh realita sosial, baik secara sengaja maupun tidak sengaja. Diversity of Gambyong Dance Dress: Social Construction on Gambyong Dance Dress in Yogyakarta Abstract Gambyong dance was originally a women's singles dance which was included in the Surakarta style traditional dance. In its development, this single dance can be danced in groups, so that it can adjust the wishes of consumers or event organizers regarding how many dancers will dance it. The Gambyong dance is often used as a stage for artists' packages because the Gambyong dance is often danced for the opening of an event such as a gala dinner, welcoming guests, and so on. So, the Gambyong dance can be classified as a commercial performance because it can be performed at both big and small events. Dances are often staged at various events, the demand for the Gambyong Dance dress also varies because it adjusts to the form of the event, so that there is a diversity of forms of the Gambyong dance dress today. This article specifically discusses the diversity of forms of contemporary Gambyong dance dress that are influenced by social reality, both intentionally and unintentionally.
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Morris, Geraldine. „Is it a Petipa dance we are watching?“ Dance Research 37, Nr. 2 (November 2019): 220–38. http://dx.doi.org/10.3366/drs.2019.0274.
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To answer this question, I focus on dance movement style in one particular Petipa ballet; but in doing so, I seek to go further and to raise a more fundamental issue, namely, how we should distinguish between classroom technique and art? Petipa dances present a specific example of the problem that arises when choreographers draw on the classroom lexicon, or danse d'école, as a basis for their choreography – leading dancers and rehearsal directors to conflate the values of the classroom with those of the dance. Using a dance from The Sleeping Beauty (1890) as a framework, I explore the issue of dance art and the question of what, if anything, links performance of classroom technique with performance of the art work? 1
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Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai und Takuichi Nishimura. „Determining Partnering Effects in the “Rise and Fall” Motion of Competitive Waltz by the Use of Statistical Parametric Mapping“. Baltic Journal of Sport and Health Sciences 1, Nr. 120 (15.04.2021): 4–12. http://dx.doi.org/10.33607/bjshs.v1i120.1047.
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Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz.
Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and a world champion couple as they danced both solo and in pairs. The Xsens MVN system was used to record their movements, using a capture rate of 240 Hz.
Results. We consequently found that, in the pair condition, the vertical component of the center of mass was smaller for the male dancers and larger for the champion male dancer when compared to their respective solo conditions. However, for the female dancers and the champion female dancer, unlike the males, no significant partner effects were found.
Conclusion. Therefore, in terms of partner effects, the “rise and fall.” motion was smaller for the male dancers and larger for the champion male dancer.
Keywords: DanceSport, ballroom, kinematics, partnering, statistical parametric mapping.
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Khairunnisa, Yussy Talitha, Ely Triasih Rahayu und Muammar Kadafi. „Struktur dan Makna Tarian Yosakoi“. Jurnal SAKURA : Sastra, Bahasa, Kebudayaan dan Pranata Jepang 4, Nr. 1 (28.02.2022): 118. http://dx.doi.org/10.24843/js.2022.v04.i01.p10.
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The purpose of this study was to determine the structure and meaning of movements contained in the yosakoi dance. The yosakoi dance is a traditional dance that was first introduced in 1954 in Kochi prefecture. The kochi yosakoi dance was first performed in a summer festival, with the basic dance was called seicho. Seicho yosakoi is danced with the yosakoi naruko odori song and uses a musical instrument called naruko. Besides at Kochi prefecture, yosakoi also has expanded to the Hokkaido area. Yosakoi dance in Hokkaido is known as yosakoi soran. Yosakoi soran was first created by Hasegawa Gaku in 1992. Different from kochi yosakoi, yosakoi soran was first introduced with the traditional song soran bushi. The type of this study was descriptive qualitative. The data source of this study was the movement of yosakoi dancers, namely the Iroha and Yuujou Taiko groups. The method of this study used literature study, observation and interview. The data analysis technique was conducted by analyzing the movement structure and meaning of the seicho and soran bushi dances based on the semiotic concept of Roland Barthes. The results of this study showed that there were 5 movement structures in the seicho yosakoi dance that contained connotative meanings, and there were 14 movement structures in the soran bushi dance. The conclusion from the structure and meaning of these two dances are that they only have connotative meanings. In the seicho dance, it contains the meaning of an invitation for people to come and have fun during the summer at the yosakoi festival. While in soran bushi, this dance has the meaning of describing how fishermen go to sea to catch fish.
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Ailamazyan, Aida. „Dance and Personality“. Ideas and Ideals 15, Nr. 1-2 (29.03.2023): 406–26. http://dx.doi.org/10.17212/2075-0862-2023-15.1.2-406-426.
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The article is devoted to the problem of personal involvement in dance activity. The author applies an interdisciplinary research methodology: on the one hand, a semiotic analysis of the dance language is carried out and the features of the dance sign are considered, on the other hand, a psychological description of the dancer’s personality is given, a psychological portrait is created. According to the methodology of the cultural-historical approach, the sign is taken in its instrumental function and orientation. The author puts forward a hypothesis about the dual orientation of the dance movement as an expressive language: orientation on the viewer as a visual component of the sign and on the dancer himself through the kinesthetic component. The material of dance as a type of artistic activity is the body of the dancer, which undergoes reinterpretation and symbolization. Not only the body, but also the whole personality can become the material of dance, it can be included and transformed in the course of the dance activity. The bi-directionality of the dance sign can lead to a discrepancy, a rupture of the function of the dance movement, which is expressed in an object relation to one’s own body, in strict control of movements and the non-involvement of the emotional and sensual sphere of the individual in the dance activity. Stage forms of dance contribute more to this discrepancy, developing mainly motor technique in isolation from the semantic side of movement and focusing on the visual expressiveness of dance. On the other hand, ceremonial, sacred, ritual dances, many forms of modern free dance contribute to the integral inclusion of a person in the dance and are aimed at transforming the personality in plastic action. On the basis of biographical material, the destinies of outstanding dancers and dance teachers are analyzed. It is shown how an object attitude to one’s own body and one’s own personality can lead to an internal split and loss of subjectivity. A contradiction may arise between a person’s experience in dance and her/his behavior in real life. It is removed under the condition that a person carries out a transformative activity – work on himself/herself.
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Nugroho, Slamet. „Makna Tarian Sufi Perspektif Komunitas Tari Sufi Dervishe Pekalongan“. JOUSIP: Journal of Sufism and Psychotherapy 1, Nr. 1 (10.06.2021): 69–84. http://dx.doi.org/10.28918/jousip.v1i1.3880.
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Spiritual dance has a deep meaning. One of the Sufi dancers from Dervishe Pekalongan revealed that there are many meanings contained in the dance, one of which is love. The dancer must present love in his heart and in every breath only for Allah, from feelings of love it is hoped that all Sufi dancers can accept and live all life in the world with great love for Allah. Based on this, it is studied about the Meaning of Sufi Dance from the Perspective of the Sufi Dance Community Dervishe Pekalongan. This research is a type of qualitative research. The main target of the research is how to implement the meaning of Sufi dance in the daily life of the Sufi Dance community of Dervishe Pekalongan. The results show that in Sufi dances there are attributes used by the dancers and the movements they perform, including: Sikke, tennur, black belt, and Khuff. The meaning of Sufi dance in the perspective of the Sufi dance community of Dervishe Pekalongan consists of two descriptions, namely the meaning of the attributes and the meaning of the movement.
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Liska, Suzanne. „Somatic ethnographic research: A choreographic process informed by Alexander Technique“. Choreographic Practices 11, Nr. 1 (01.07.2020): 75–99. http://dx.doi.org/10.1386/chor_00013_1.
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I write from the perspective of a dance artist interested in reflecting on and sharing my experiences of applying the Alexander Technique (AT) to a choreographic process. The inquiry was framed by dance ethnography, and I choreographed, danced, interviewed and performed with emerging to established dance artists specializing in Contact Improvisation, and interviewed and participated in lessons and workshops with AT teachers. During each phase of the research, I asked: why and how does AT guide me to embody my practice as a choreographer and dancer? This self-ethnographic research outlines an AT-inspired dance methodology using a systematic somatic process to enhance physical, mental and emotional coordination for choreographers and dancers. I propose that AT expanded my attention moment-to-moment to develop my choreographic intentions and desires.
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Triana Titania Manuaba, Ida Ayu, I. Wayan Dibia und I. Ketut Sariada. „A Dance Work Representing Ida Bagus Blangsinga’s Life Journey (The Maestro of Kebyar Duduk Dance in Blangsinga Style)“. Journal of Aesthetics, Creativity and Art Management 1, Nr. 1 (17.04.2022): 31–36. http://dx.doi.org/10.59997/jacam.v1i1.1594.
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This work aims to represent the figure of Ida Bagus Blangsinga, a master of the Kebyar Duduk dance in Blangsinga style. The method of creation used in this work uses the creation method which includes assessment, experimentation, and formation. This method is easily understood by the stylist to express and visualize several scenes in the work. The form of the chosen work is a new creation dance, because it provides space for development according to the wishes of the stylist. This work is danced by six female dancers and one male dancer using soft make-up and fashion that supports each part of the work. This work uses the fan and reverberation properties. This dance is made as a contribution to the development of Balinese dance especially to the new generation.
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Setyawati, Livia. „Budaya Tari Lengger dalam Perspektif Hukum Islam di Kabupaten Wonosobo)“. Al-Mada: Jurnal Agama, Sosial, dan Budaya 4, Nr. 1 (02.01.2021): 64–77. http://dx.doi.org/10.31538/almada.v4i1.735.
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Research on the culture of Lengger dance in the perspective of Islamic law aims to find out how the implementation of the Lengger dance is carried out by Muslims in Wonosobo Regency, to find out what factors cause the many fans of the Lengger dance in Wonosobo Regency, to find out how the view of Islamic law affects the Lengger dance as culture in Wonosobo Regency. This research uses a descriptive method. The data analysis technique used is qualitative analysis techniques. The results of the data from this article indicate that the Lengger dance culture is carried out on certain occasions, such as welcoming the Indonesian Independence Day, weddings, circumcisions, dreadlocks, etc. Lengger dance has developed until now, influenced by several historical, social, and economic factors. Most of the dancers and the people of Wonosobo are Muslim, in the implementation of the Lengger dance over time the meaning of philosophy in the lyrics or the Lengger dance is getting lost because what attracts dances with the beauty and courage of the dancer or just as entertainment. As the younger generation, they must preserve the culture and stick to Islamic law, namely restoring the religious and moral meaning of the Lengger dance and covering their genitals according to religious orders.
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Jacob, Oluwafemi. „Contributions of Maltina Dance Reality Show to Dance Practice in Nigeria“. NIU Journal of Humanities 8, Nr. 4 (31.12.2023): 277–82. http://dx.doi.org/10.58709/niujhu.v8i4.1863.
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Dance involves the totality and living experience of man from the prehistoric times till date. It was part of all his daily activities such as his work, communication and even in his worship of the gods and ancestors (Nigeria inclusive). To this extent, the Nigeria dance practice has developed greatly even in the face of multi ethnicity as it has given birth to various indigenous dances. These indigenous dances have also been the raw materials to every form of contemporary dances that has emerged over the years. Diverse platforms have also surfaced to help sustain Nigerian dances such as National Arts Festival (NAFEST), Nigeria University Theatre Arts Festival (NUTAF) and the trend of dance reality shows that has been the order of the day within recent times in Nigeria. An undoubted reality television show that has done greatly in the sustainability of Nigerian dances is Maltina Family Dance All Reality Television Show. The functionalist theory of dance is used to unveil the reality show which has been able to adjust to bridge the gap between the prehistoric era and the contemporary or modern era by using technological advances to keep the dance practice in shape. This research will examine Maltina Family Dance All Reality Television Show within the context of dance praxis and the immense contributions to dance practice and sustainability in Nigeria with a view to how it has put Nigeria indigenous dances to practice since the inception till date in the face of globalization and industrialization. It will conclude that the dance reality show has provided dance practitioners both with dance repertoires and engagement with diverse indigenous dances as well as rewards both as individuals and as professionals. Keywords: Dance, Dance Reality Show, Dance Art / Practice, Maltina Dance All Family Reality Television Show.
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Shamshiev, Almat, und Gulnara Jumasseitova. „VARIATIONS OF ELEMENTS OF THE NATIONAL MEN'S DANCE («ZHOLBARYS ZHUREK» BASED ON A DANCE PERFORMANCE)“. Central Asian Journal of Art Studies 10, Nr. 3 (05.10.2023): 145–60. http://dx.doi.org/10.47940/cajas.v10i3.737.
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Abstract. Men's dance in the Kazakh dance art requires special attention in modern choreography. The development of dances for men, the scientific formulation of its history, and development trends are among the most pressing problems in modern dance art. Therefore, this scientific article is devoted to discussing the essence of the national dances of the Kazakh people, including dances for men, ways of their formation and development. The article is based on Almat Shamshiev's dance «Zholbarys zhurek» changes in the national men's dance elements were scientifically differentiated, and various scientific methods and receivers were used in scientific research. In order to determine the essence of men's dance, methods of historical and chronological systematization, differentiation, comparison, and control were used. In comparison, he tried to reveal the features of the dance of the guys through the dance the «Balbirauyn», and gave specific examples of what dance elements were added and what movements and postures were transformed according to the dance «Zholbarys zhurek». He concluded that the development of human consciousness, and the transformation of society are standard with the passage of time, and in this regard, new views appear in the art of dance, the release of new works, and the transformation of existing dance elements is a natural phenomenon and a modern necessity. Today, men who are engaged in the art of dance pay attention to the ability to flex, flexibility. It shows that some dance moves used only in girls ' dances in the past are successfully used in men's dances today. However, he says, in performing movements, the guys dance flexibly in a manner that corresponds to their masculine nature. However, he emphasizes that in making changes, it is necessary to constantly pay attention to Kazakh dances' essence and central national nature. Several recommendations were given on further developing Kazakh men's dance, increasing interest in it in society.
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Grube, Nikolai. „Classic Maya Dance“. Ancient Mesoamerica 3, Nr. 2 (1992): 201–18. http://dx.doi.org/10.1017/s095653610000064x.
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AbstractA long-known verbal glyph in Classic Maya inscriptions is reinterpreted as a glyph for dancing (ahk'ot), apparently an important ritual of the ancient Maya. The glyph is found with scenes showing one or several dancers. Glyphs after the verb can be shown to describe the objects and instruments employed in dances. This article analyzes several examples of Maya dances and the ritual and social context in which they occur. These include the dance with a staff with cloth tied down its length, a dance with a “God K” scepter, a dance with a staff with birds attached to it, a dance with a staff with a “God K” figure seated on top of it, a snake dance, dances in warrior outfit, and dances at royal visits. A variety of dances is represented on polychrome ceramics. Many polychrome ceramics can be shown to depict dancing companion spirits, while others show dances associated with historical events. A comparison with colonial and modern Maya dances shows that they share the same emphasis on dance objects, but that the underlying religious and political messages have changed almost completely.
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Azizah, Rona Cita, Susanna Edelweiss und Angelika Riyandari. „Representing Multicultural Semarang through Gambang Semarang’s Narrative“. Celt: A Journal of Culture, English Language Teaching & Literature 18, Nr. 2 (29.12.2018): 248. http://dx.doi.org/10.24167/celt.v18i2.1300.
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Dance is usually perceived as a structured movement done by a person or more and accompanied by music and in some cases songs. The attention on physical movement often neglects the narrative which may exist behind a dance. Dances often have stories which frame the sequence of movements done by the dancers. The stories in a dance have elements of literature such as theme, plot, characters, and setting. This paper which is part of an on-going research on Semarang traditional dance discusses the story told through the movements and costume of Gambang Semarang dance. Gambang Semarang is traditional performing arts from Semarang which originally consists of music, vocal, dance, and comedy. Gambang Semarang dance was a small part of Gambang Semarang performance, but it is often performed separately from the complete performance now. The dance is commonly accompanied by Gambang Semarang music which combines Javanese music instruments, gamelan, and Chinese music instruments. In some occasions, songs such as Gambang Semarang and Gado-Gado Semarang are presented along with the music. Gambang Semarang dance itself is often considered as Semarang’s identity as the dance tries to embrace the multicultural society of Semarang which are Javanese, Chinese, and Arabs through the dance movements and the costume worn by the dancer. Data were collected through interviews with key informants. The results of the interviews then were analyzed to find out the stories represented by Gambang Semarang. The findings show that dance movements and costumes of Gambang Semarang indeed represent multicultural Semarang.
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Islami, Virdha Fahira, und Kun Setyaning Astuti. „Aesthetic Value of Padduppa Bugis-Makassar Dance as a Guest Welcoming Dance in South Sulawesi“. International Journal of Multicultural and Multireligious Understanding 10, Nr. 5 (08.05.2023): 72. http://dx.doi.org/10.18415/ijmmu.v10i5.4569.
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The aesthetic value of Padduppa Bugis-Makassar Dance as a guest welcoming dance in South Sulawesi. Padduppa dance is a traditional dance originating from the Bugis-Makassar tribe. Padduppa Bugis-Makassar dance as a welcoming dance in South Sulawesi. Padduppa dance is a dance that illustrates that the Bugis people have guests or can be said to be a welcome dance from the Bugis tribe as a sign of gratitude and honor. Padduppa dance comes from the Bugis language, duppa, which means meeting, picking up or meeting. The purpose of this study is to analyze the aesthetics contained in Padduppa Dance as a guest welcoming dance. Studied from the form of dance presentation, dance supporting elements and messages conveyed and the aesthetic value of Bugis-Makassar society contained in the dance. The research method used is a qualitative research method with an aesthetic approach and a choreographic approach. The results showed that initially Padduppa dance was only danced specifically to entertain kings and great guests at traditional parties and wedding parties. Padduppa dance could only be danced by women of noble descent. But over time this dance has shifted. The dance can be performed at any event, whether welcoming guests, circumcision, wedding parties, opening events and other activities. Padduppa dance can also be danced and enjoyed by anyone outside of noble descent. The aesthetic value of Padduppa dance can be seen from the form, content and appearance of Padduppa dance performances.Keywords: Aesthetic Value; Padduppa Dance; Welcoming Guests.
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Filippidou, Eleni. „The Sacred and The Secular in Dance: One Dance, Two Different Functions“. European Journal of Theology and Philosophy 3, Nr. 4 (19.07.2023): 1–7. http://dx.doi.org/10.24018/theology.2023.3.4.119.
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The aim of this paper is to highlight the "sacred" and "secular" character of the Xesyrtos or Gikna dance in the community of Asvestades in Thrace in Greece. In particular, this paper intends to highlight the difference between the "sacred" and the "secular" and the way this dichotomy is reflected in the dance under study. Data was gathered through the ethnographic method. The sacred/secular dichotomy, as proposed in Leach's (1976) theoretical model, is used to analyze the data. Further, Laban's notation system (Hutchinson, 2005; Koutsouba, 2005), was used to record the choreographic compositions of Xesyrtos or Gikna dance, while for the analysis of their structure and form, as well as their codification, the structural-morphological and typological method of analysis was applied. Finally, for the presentation and interpretation of the data, Geertz’s model of "thick description" (2003) was adopted. From the data analysis it was found that the Xesyrtos and Gikna dances are danced in exactly the same way, but are clearly separated and demarcated based on the intentions of the community residents related to the performed function of the dance event.
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López Arnaiz, Irene. „Living Archive. Nyota Inyoka’s Archive: Traces of the Ephemeral and Ancient Dances Reenactment“. Anales de Historia del Arte 32 (14.07.2022): 327–50. http://dx.doi.org/10.5209/anha.83074.
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The French National Library keeps since 1983 the personal archive of the dancer and choreographer Nyota Inyoka (Fonds Nyota Inyoka). This archive comprises twenty-eight boxes of documents, besides costumes belonging to the dancer, which are constitutive as material of enormous value for the necessary recovery of this figure that has fallen into oblivion in the history of dance. This article aims at providing a first approach to the Nyota Inyoka Archive by ramifying the study in two directions. On the one hand, it allows us to articulate some keys to her choreographic proposal and her theoretical conception of dance. On the other hand, it enables us to broaden the reflection towards the relationship between the archive and the dancing body. Nyota Inyoka's repertoire revolves around ancient cultures that refer mainly to traditions from ancient Egypt and South and Southeast Asia. Thus, the archive takes on an important presence linked to the discipline of dance in a double sense. Firstly, the ephemeral nature of this art favors the archive to become an essential element for dance research. Whilst if we take into consideration the choreographic process of the dancer based on visual sources from Egyptian and Asian art, her body is constituted as a living archive. In this sense, I will offer a reading of Nyota Inyoka’s work as a kind of avant la lettre reenactment of ancient dances.
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Haes, Putri Ekaresty. „Pelestarian Budaya dalam Tari Wali Krama Murwa pada Tradisi Usaba Sambah di Desa Pesedahan Karangasem“. Ideas: Jurnal Pendidikan, Sosial, dan Budaya 7, Nr. 3 (20.08.2021): 101. http://dx.doi.org/10.32884/ideas.v7i3.468.
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Penelitian ini bertujuan untuk mengetahui pelestarian budaya yang dilakukan oleh masyarakat desa Pesedahan melalui tari wali krama murwa dalam tradisi usaba samba. Metode kualitatif dengan pendekatan etnografi melalui teknik observasi, wawancara dan dokumentasi. Hasil penelitian menjelaskan bahwa tari wali merupakan tarian sakral yang berfungsi sebagai pelaksana upacara yadnya dan wajib ditarikan oleh penduduk asli setempat (krama murwa), tarian ini memiliki tiga bentuk yaitu Tari Pendet Lanang, Tari Pendet Tari Istri, dan Tari Rejang Lilit. Ketiga tarian ini memiliki makna untuk menyenangkan Ida Betara atau Hyang Kuasa (Tuhan) agar dapat memberikan berkah kemakmuran bagi masyarakat setempat.
This study aims to determine the cultural preservation carried out by the Pesedahan village community through the wali krama murwa dance in the usaba samba tradition. Qualitative method with an ethnographic approach through observation, interviews and documentation techniques. The results of the study explain that the wali dance is a sacred dance that functions as an executor of the Yadnya ceremony and must be danced by the local natives (krama murwa), this dance has three forms, namely the Pendet Lanang Dance, the Pendet Istri Dance and the Rejang Lilit Dance. These three dances have a meaning to please Ida Betara or Hyang Power (God) in order to give the blessing of prosperity to the local community.
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Mantillake, Sudesh. „Panibharata and the Invention of Sinhala Folk Dance Repertoires in Post-Colonial Sri Lanka“. Sri Lanka Journal of the Humanities 43, Nr. 2 (17.08.2023): 40–57. http://dx.doi.org/10.4038/sljh.v43i2.7270.
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This article focuses on the history of the Sinhala folk dance genre and its connection to Sinhala cultural nationalism in Sri Lanka. This paper aims to examine the formation of Sinhala folk dance as a tradition in the context of the rise of Sinhala nationalism during the 1940s and 1950s. Although performing arts were commonly practiced by villagers, the genre named Sinhala Folk Dance (Sinhala gemi näțuma) did not emerge until the 1930s in Sri Lanka. Around 1956, in the midst of the rise of Sinhala cultural nationalism, it is believed that the stylistic choices that preceded the modern creative work of the new nation were drawn from “folk” sources. A classic example of this genre is E.R. Sarachchandra’s play Maname, which became the marker of modern Sinhala theatre, and which was based on the folk theatre tradition, the nadagama. Here, the assumption is that folk art already existed in the villages, and that the Sinhala literati merely borrowed from it to create new performing art forms that represented the nation. However, this assumption is an oversight in folk dance in Sri Lanka, as demonstrated in this article which presents an alternative interpretation of the history of performing arts in Sri Lanka, a history which has not been highlighted in the 1956 cultural revolution discourse. As I demonstrate in this article, Sinhala choreographer Panibharata invented certain dances which are considered Sinhala folk dance today. Sinhala nationalists groomed Panis, a village drummer and dancer, considered to be a low-caste, underprivileged individual into Panibharata, a cosmopolitan artist. Fulfilling these nationalists’ desires, Panibharata created repertoires of “folk dance” that portrayed village life in an exotic and romantic guise, which is aptly exemplified in his goyam näțuma (rice-harvesting dance). Panibharata’s model of folk choreography continues to be interpreted as the genuine and only Sri Lankan folk dance tradition, a narrative that was institutionalized and disseminated through the system of public education. In contrast to that canonical narrative of the Sinhala folk dance tradition, I argue that the staged model of Sinhala folk dance is a fairly recent invention. I analyze archival records, dance curricula, and secondary sources and interpret them according to my personal experiences as a dancer. To contextualize the purely Sinhala folk dance tradition, I compare the Russian folk dance and the Morris dance of England, that developed as separate national folk dance traditions.
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Basirova, Karina B. „THE FOLK MUSIC AND DANCE'S AS A MEANS OF AESTHETIC EDUCATION OF THE DAGESTAN CHILDREN“. History, Archeology and Ethnography of the Caucasus 16, Nr. 3 (01.11.2020): 797–810. http://dx.doi.org/10.32653/ch163797-810.
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This article discusses the theoretical, educational, and educational aspects of aesthetic education of children by means of folk music and dance. The analysis of theoretical and methodological, psychological and pedagogical problems of aesthetic education of children is carried out, and effective means of using the spiritual and cultural value of folk music and dance of the Dagestan peoples are identified. Recommendations for the successful upbringing of children through folk music (song, dance) are defined. It is shown that each of the Dagestan peoples created their own original musical genres, their own instruments, their own original rituals, melodies, and dances.
Song and dance, the playing of the shepherd's pipe and the beating of the drum have always accompanied the life of the highlanders. The dance of the mountaineers "Lezginka" can be called national, folk, as no holiday passes without this fervent dance. Dagestan people join the dance from the cradle and children-dancers cause the greatest delight.
Through music and dance, we can develop children's aesthetic, moral, and physical qualities. A child who receives artistic, aesthetic and moral ideas at an early age, even if he later does not become a dancer or a musician, acquires openness to the world of beauty, kindness, flexibility of thinking, and sensitivity to moral and artistic values for the rest of his life.
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Bennett, Dawn. „Dancer or Dance Artist? Dance Careers and Identity“. International Journal of the Arts in Society: Annual Review 3, Nr. 3 (2008): 73–78. http://dx.doi.org/10.18848/1833-1866/cgp/v03i03/35472.
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Wahyuni, Fitri, und Malta Nelisa. „Pembuatan Purwarupa Ensiklopedia Tarian Adat Minangkabau“. Ilmu Informasi Perpustakaan dan Kearsipan 8, Nr. 1 (29.10.2019): 476. http://dx.doi.org/10.24036/107302-0934.
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AbstractIn this paper we discuss Minangkabau traditional dances in the form of an encyclopedia prototype. The objectives of writing this paper are: (a) to describe the community's needs for information about Minangkabau traditional dances; (b) describes the process of making an encyclopedia of traditional Minangkabau dance prototypes; and (c) describe the constraints and efforts in making an encyclopedia prototype of Minangkabau traditional dance. This study uses a descriptive method with data collection techniques through direct observation and direct interviews with seven different professions, such as the community, students, students, tourists and owners of the Syofyani dance studio. Based on the analysis of the data it can be concluded as follows: First, the need for information about Minangkabau traditional dances is very minimal from the community, this can be seen from people who are not very interested in information about Minangkabau traditional dances because Minangkabau traditional dances are rarely performed and there are no information media which specifically discusses Minangkabau traditional dances. So that the Minangkabau traditional dance is shifted by outside dances such as dance and k-pop. Second, the making of an encyclopedia prototype of Minangkabau traditional dance through several stages, namely: (a) information needed about traditional Minangkabau dances; (b) data collection is done by interviewing techniques; (c) prototype product design encyclopedia of Minangkabau traditional dance using the Photoshop CS6 application; and (d) the resulting form is an encyclopedia prototype which contains information about the types of dance, dance philosophy, property used, music, clothing used in the dance, along with supporting images. Third, constraints and efforts in producing encyclopedias prototype products, namely: (a) resource persons who know about information about Minangkabau traditional dances are difficult to find and efforts to overcome them are done by making an appointment beforehand to the speakers; (b) data collection such as books on Minangkabau traditional dances is difficult to obtain and efforts to determine them are carried out by obtaining data from journals that discuss traditional dances.Keywords: Prototype, Encyclopedia, Minangkabau Indigenous Dance
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Widayanti, Sri. „BEKSAN GOLEK AYUN-AYUN GAYA YOGYAKARTA DALAM PERSPEKTIF AKSIOLOGI“. Jurnal Filsafat 25, Nr. 2 (16.08.2016): 197. http://dx.doi.org/10.22146/jf.12677.
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The Golek Ayun-ayun dance of Yogyakarta's style is a sacred Golek dance style in Javanese tradition that has come down through generations as a national heritage. This dance is a classical Javanese dance comes from the court of Yogyakarta. It depicts a young woman's desire to always look her best.The Golek Ayun-ayun dance celebrates feminine beauty and appeal, including the coquettish dance because this dance portrays a woman who was dressed up. Many varieties of these dances that depict women being dressed up, like for example stole (sondher/sampur) games movement, or pairs of the ring (ali-ali), there is also look in the mirror (ngilo) and so forth. For Golek Ayun-ayun dance which the source comes from Ngayogyakarta court has standard rules or provisions, so it will not change the principle meaning.The principles of classical Javanese dance/Joged Mataram are Sawiji (concentration of mind), Greged (enthusiasm, consciousness), Sengguh (self-confidence), Ora Mingkuh (no surrender). Library research is done by collecting data and completed by interview. The material object of the research is Golek Ayun-ayun dance, and the formal object is axiology. Data analysis by descriptive, Verstehen, interpretation, hermeneutics, comparison, and heuristics method. The result showed that the elements used to organize the dancer makeup and fashion, also the beautiful movement of Golek Ayun-ayun dance is the content /meaning of makeup, fashion, and beautiful movement of Golek Ayun-ayun dance style, while the whole is external form. It contains the aesthetic value as an element of art or the art of dance. The art values in the movement, rhythm, makeup and fashion of Klana Raja dance are sensuous value, formal value, cognitive value, and life value.
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Franko, Mark. „French Interwar Dance Theory“. Dance Research Journal 48, Nr. 2 (August 2016): 104–10. http://dx.doi.org/10.1017/s0149767716000188.
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Interwar French dance and the critical discourses responding to it have until recently been an underdeveloped research area in Anglo-American dance studies. Despite common patterns during the first half of the twentieth century that may be observed between the dance capitals of Berlin, Paris, and New York, some noteworthy differences set the French dance world apart from that of Germany or North America. Whereas in Germany and the United States modern dance asserted itself incontrovertibly in the persons of two key figures—Mary Wigman and Martha Graham, respectively—no such iconic nativist modernist dancer or choreographer emerged in France. Ilyana Karthas's When Ballet Became French indicates the predominance of ballet in France, and this would seem an inevitable consequence of the failure of modern dance to take hold there through at least one dominant figure. Franz-Anton Cramer's In aller Freiheit adopts a more multidimensional view of interwar French dance culture by examining discourse that moves outside the confines of ballet. A variety of dance forms were encouraged in the milieu of the Archives Internationales de la Danse—an archive, publishing venture, and presenting organization—that Rolf de Maré founded in Paris in 1931. This far-reaching and open-minded initiative was unfortunately cut short by the German occupation (1940–1944). As Cramer points out: “The history of modern dance in Europe is imprinted with the caesura of totalitarianism” (13). Although we are somewhat familiar with the story of modern dance in Germany, we know very little about it in France.
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Geng, Jun. „Personalized Analysis and Recommendation of Aesthetic Evaluation Index of Dance Music Based on Intelligent Algorithm“. Complexity 2021 (11.10.2021): 1–15. http://dx.doi.org/10.1155/2021/1026341.
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In the era of Industry 4.0 and 5G, various dance music websites provide thousands of dances and songs, which meet people's needs for dance music and bring great convenience to people. However, the rapid development of dance music has caused the overload of dance music information. Faced with a large number of dances and songs, it is difficult for people to quickly find dance music that conforms to their own interests. The emergence of dance music recommendation system can recommend dance music that users may like and help users quickly discover or find their favorite dances and songs. This kind of recommendation service can provide users with a good experience and bring commercial benefits, so the field of dance music recommendation has become the research direction of industry and scholars. According to different groups of individual aesthetic standards of dance music, this paper introduces the idea of relation learning into dance music recommendation system and applies the relation model to dance music recommendation. In the experiment, the accuracy and recall rate are used to verify the effectiveness of the model in the direction of dance music recommendation.
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Supartha, I. Kadek Dwi Gandika, und I. Putu Agus Sukanta Wijaya. „Analisis Kinerja Sistem Penilaian Lomba Tari Bali Berbasis Mobile“. Jurnal Teknologi Dan Sistem Informasi Bisnis 5, Nr. 1 (29.01.2023): 7–12. http://dx.doi.org/10.47233/jteksis.v5i1.721.
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Balinese dance is a type of dance originating from Bali that has existed for a long time and has been passed down from generation to generation by Balinese people. Balinese dance has 3 kinds of categories, namely Wali Dance (sacred), Bebali Dance and Balih-Balihan Dance (Profane). Balinese dances that are sacred are usually performed on certain days or during religious ceremonies, while profane dances are usually performed for entertainment. In Bali, many types of Balinese dances are contested, such as Barong Dance, Jauk Manis Dance, Jauk Keras Dance, Baris Dance and so on. In this study, the design and development of a Balinese dance competition assessment application was carried out which aims to facilitate the performance of the competition organizing committee and the judges during the assessment and recording of the participants' scores after the competition is held and can display the values transparently to the public. Tests show that when the application is run, it gets a value of 312.3999996185303 on the application and a value of 312.4 in the manual assessment process. The dance assessment application and manual assessment have almost the same value with a percentage accuracy of 99.9%.