Journal articles on the topic 'Dance and dance studies'
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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, no. 2 (August 15, 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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Pype, Katrien. "Dancing for God or the Devil: Pentecostal Discourse on Popular Dance in Kinshasa." Journal of Religion in Africa 36, no. 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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Nowak, Tomasz. "The Importance of the Collection of Oskar Kolberg for Contemporary Choreological Studies." Musicology Today 11, no. 1 (December 1, 2014): 13–22. http://dx.doi.org/10.2478/muso-2014-0011.
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Abstract The mainstream fields of Polish dance research were defined in 1818–1847 by Józef Elsner, Kazimierz Brodziński, Łukasz Gołębiowski and Karol Czerniawski, who broadly characterized some elements of the dances considered as national (the polonaise, mazur, krakowiak and kozak). Oskar Kolberg knew very well the works of all these authors and referred to them many times. However, he was unique in his extensive documentation of dance melodies, information about their geographic origin, and local terminology. He also characterized the dances with regard to their sequence in the traditional context and described the dance technique in an instructive manner. Oskar Kolberg’s documentation for quite a long time remained outside the scope of mainstream research and publications about dance in Poland. In the 1930s Polish representatives of the newly defined field of ethnochoreology were the first to include examples from Kolberg in their works on the ritual dances, regional dances and characteristic dance behaviour types and forms. Kolberg’s works increased in popularity after the World War II. Today the materials left by Oskar Kolberg allow us to establish to a large extent the geographic range and perspective on the changes of dance repertoire, both with regard to choreographic technique and dance types, or a more detailed and critical perspective on the problems of folk terminology in dance phenomena. It may also serve as the point of departure for wider retrospective or comparative studies – which may not be very fashionable today, but which have never been adequately conducted in Poland.
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Franko, Mark. "French Interwar Dance Theory." Dance Research Journal 48, no. 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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Nugroho, Slamet. "Makna Tarian Sufi Perspektif Komunitas Tari Sufi Dervishe Pekalongan." JOUSIP: Journal of Sufism and Psychotherapy 1, no. 1 (June 10, 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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Odefunso, Adebunmi E., Esteban Garcia Bravo, and Yingjie V. Chen. "Traditional African Dances Preservation Using Deep Learning Techniques." Proceedings of the ACM on Computer Graphics and Interactive Techniques 5, no. 4 (September 6, 2022): 1–11. http://dx.doi.org/10.1145/3533608.
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Human action recognition continues to evolve and improve through deep learning techniques. There have been studies with some success in the field of action recognition, but only a few of them have focused on traditional dance. This is because dance actions, especially in traditional African dance, are long and involve fast movements. This research proposes a novel framework that applies data science algorithms to the field of cultural preservation by applying various deep learning techniques to identify, classify, and model traditional African dances from videos. Traditional dances are an important part of African culture and heritage. Digital preservation of these dances in their multitude and form is a challenging problem. The dance dataset was constituted from freely available YouTube videos. Four traditional African dances were used for the dance classification process: Adowa, Swange, Bata, and Sinte dance. Five Convolutional Neural Network (CNN) models were used for the classification and achieved an accuracy between 93% and 98%. Additionally, human pose estimation algorithms were applied to Sinte dance. A model of Sinte dance that can be exported to other environments was obtained.
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Roseman, Marina, and Felicia Hughes-Freeland. "The Dancer and the Dance." Ethnomusicology 38, no. 2 (1994): 389. http://dx.doi.org/10.2307/851760.
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Coorevits, Esther, and Dirk Moelants. "Tempo in Baroque Music and Dance." Music Perception 33, no. 5 (June 1, 2016): 523–45. http://dx.doi.org/10.1525/mp.2016.33.5.523.
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Growing interest in studies on the relationship between music and movement has given rise to many paradigms and theories, including embodied approaches that provide interesting methodologies in studies on music and dance. Insight into the relation between dance and music is particularly important for the Baroque period, as a direct connection between music and dance was omnipresent, even if music was not used to dance to. Many types of Baroque dances existed, each of them with particular dance steps and a specific character, requiring a specific tempo. However, in music performance practice today, the link with the original dance movement is often lost and the tempo variation can be very large. The aim of this study is to compare the interpretations of dancers and musicians regarding Baroque music and dance in an experimental setting. First, we investigate the influence of dance movement on the musical interpretation of a series of Baroque dances. The pieces were recorded both with and without dance accompaniment and the tempo and timing in the different versions were compared. In the second part, dancers performed a particular choreography to music that varied in tempo. Video analysis and questionnaire data were used to evaluate the different performances. The results were compared with the tempi of music recordings of the same dance types, showing a clear difference between music and dance performance. Musicians adapt their interpretation when performing together with the dancers, and the optimal tempo range found for certain Baroque dances coincides only partly with the tempi commonly found in music recordings. The direct link between music and movement and its mutual influence illustrates the importance of an embodied approach in music performance, where in this case dance movement gives concrete information for a “historically informed” performance.
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Schroedter, Stephanie. "Embodying Musical Space." Congress on Research in Dance Conference Proceedings 2012 (2012): 132–39. http://dx.doi.org/10.1017/cor.2012.17.
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The epoch-making dance reforms of the early twentieth century did not only lead to new dance techniques, styles, and movement concepts, but also to an intensive search for new dialogues between music/sound and dance/movement. These new interactions were notable for their reliance on pre-existing music that was usually not intended for dance. Analogous to the choreographers' search for new movements in new (sound) spaces, composers looked for a new physicality of sounds (musical gestures), as well as for new spaces inside and outside of these sounds. Following these mid-twentieth-century developments, choreographers have increasingly chosen “new music” for their creations—compositions beyond the classical repertoire. In my paper, I will explore the choreographic possibilities of “new (non-dance) music” by comparing two examples: Bill T. Jones' solo danced to Edgar Varèses' Ionisation and a solo created by Martin Schläpfer using György Ligeti's Ramification. These examples will serve as case studies to argue for my concept of “kinesthetic listening,” which can be applied to a more general approach to discussions of the embodiment of music. This concept includes not only the perspective of the choreographer and interpreter/dancer, but also the perception of the spectator/listener. As a precondition, music/sound is understood as movement: an audible but not visible, rather an imaginable/imaginary movement that can (but need not) interact with body movements. Body movements/dance, in turn, can interact with music according to different choreographic strategies. To analyze these choreomusical dialogues, a special combination of (and training in) listening to and watching movement is required—informed by models of analysis from musicology and dance studies as well as from phenomenology and cognitive sciences.
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Varga, Sándor. "Two Traditional Central Transylvanian Dances and Their Economic and Cultural/Political Background." Acta Ethnographica Hungarica 65, no. 1 (November 11, 2020): 39–64. http://dx.doi.org/10.1556/022.2020.00004.
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This study focuses on a theme that until now has only been addressed to a lesser degree in dance folkloristics, namely the relationship between dance and politics. I examine two types of Central Transylvanian folk dance, the local variations of the dance group called eszközös pásztortánc (Herdsmen’s Dance with implement) and the local variations of the dance group called lassú legényes (slow male dance), attempting to study their transformation in terms of form and function during the 20th century in a traditional and revival context.1 Using two case studies, I also reflect on the unique system of relations between folklorism and folklorisation in an attempt to illustrate Hungarian and Romanian socio-economic factors and cultural policy underlying the transformation of these dances.
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Weir, Allison. "Collective Love as Public Freedom: Dancing Resistance. Ehrenreich, Arendt, Kristeva, andIdle No More." Hypatia 32, no. 1 (2017): 19–34. http://dx.doi.org/10.1111/hypa.12307.
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In the Indigenous resistance movement that came to be known as “Idle No More,” round dances played a central role. From the beginning of the movement in western Canada in the winter of 2012–13, and as it spread across Turtle Island (North America) and throughout the world, round dances served to bring together Indigenous and non‐Indigenous activists with people in the streets. “At almost every event, we collectively embodied our diverse and ancient traditions in the round dance by taking the movement to the streets, malls and highways across Turtle Island” (The Kino‐nda‐niimi Collective 2014, 24). But why was the round dance important, and how does the dance work to support political resistance?
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Jung, Seung-hye, Joon-ho Kim, Ha-na Cho, Hae-won Lee, and Hyun-ju Choi. "Brand Personality of Korean Dance and Sustainable Behavioral Intention of Global Consumers in Four Countries: Focusing on the Technological Acceptance Model." Sustainability 13, no. 20 (October 9, 2021): 11160. http://dx.doi.org/10.3390/su132011160.
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Brand personality is a useful tool that forms a favorable brand image and that ultimately builds powerful brand equity. However, there has been insufficient empirical research on the brand personality of Korean dance. In the context of using culture and the arts to support national competitiveness, we examine traditional Korean dance in terms of a potential brand personality that can influence the perceptions of global consumers. We look at how this brand can affect consumer perceptions of how easy it is to learn Korean dances as well as their perceptions of the physical benefits of these dances. The respondents included global consumers who had listened to or watched Korean dance music and videos on TV and the Internet, searched for and watched Korean dance videos on YouTube, and searched for Korean dance information on social media at least once. A survey was conducted over the course of four months, from October 2020 to January 2021, in four countries: South Korea, the USA, the UK, and South Africa. Valid data were obtained from 649 individuals. We conducted an empirical study by applying and integrating the technology acceptance model (TAM) to the brand personality of Korean dance. A structural equation model was used to analyze the responses. The brand personality of Korean dance enhanced its perceived ease of use and its perceived usefulness among global consumers, which led to positive attitudes toward the dances. Furthermore, it led to a sustainable behavioral intention, that is, interest in learning traditional Korean dances. Since no studies have integrated Korean dance into a single brand personality to use it as a cultural asset, this study makes considerable contributions to the literature.
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Ai, Hiroyuki, Ryuichi Okada, Midori Sakura, Thomas Wachtler, and Hidetoshi Ikeno. "Neuroethology of the Waggle Dance: How Followers Interact with the Waggle Dancer and Detect Spatial Information." Insects 10, no. 10 (October 11, 2019): 336. http://dx.doi.org/10.3390/insects10100336.
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Since the honeybee possesses eusociality, advanced learning, memory ability, and information sharing through the use of various pheromones and sophisticated symbol communication (i.e., the “waggle dance”), this remarkable social animal has been one of the model symbolic animals for biological studies, animal ecology, ethology, and neuroethology. Karl von Frisch discovered the meanings of the waggle dance and called the communication a “dance language.” Subsequent to this discovery, it has been extensively studied how effectively recruits translate the code in the dance to reach the advertised destination and how the waggle dance information conflicts with the information based on their own foraging experience. The dance followers, mostly foragers, detect and interact with the waggle dancer, and are finally recruited to the food source. In this review, we summarize the current state of knowledge on the neural processing underlying this fascinating behavior.
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Putri, Kemala Dwina, Tati Narawati, Tati Narawati, Trianti Nugraheni, and Trianti Nugraheni. "Eksistensi Karya Seniman Minangkabau Syofyani Yusaf." Gondang: Jurnal Seni dan Budaya 5, no. 1 (April 6, 2021): 15. http://dx.doi.org/10.24114/gondang.v5i1.19413.
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This study intend to analyze the creations of Syofyani Yusaf dance. Study methods using the phenomenological method. Data collection techniques using questionnaires and interviews. The study subject is Syofyani Yusaf. Data analysis techniques using evaluative descriptive. Syofyani Yusaf is one of the prominent artist from West Sumatera. At present there are around 20 dances created. These dances have been studied through dance studio, formal school, and study programs in art colleges. The results of an analysis of Syofyani’s dance shows; (1) the dances theme originaly come from the life of the Minang cultures; (2) Preservation of dance creations is carried out through culture exchange programs and culture knowledge. The results of the study can be concluded that dance creations by Sofyani Yusaf are sill performed and studied by the people not only from the Minang tribe but also another tribes. It is recommended that teachers in formal and non-formal schools become agents of culture exchange programs and culture knowledge.
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Mabingo, Alfdaniels. "Teaching African Dances in the Caribbean: Horizontal Interpenetration and Afrocentricity in Jamaica." Journal of Black Studies 49, no. 8 (June 17, 2018): 735–55. http://dx.doi.org/10.1177/0021934718780561.
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This article examines how pedagogy of African dances can act as a site where issues of Afrocentricity and horizontal interconnection can be activated, negotiated, and embodied. I draw on the selected reflections of the participants in dance workshops and my experiences as a teacher of Ugandan dances in Jamaica to demonstrate how pedagogy allowed the learners to embody, deconstruct, and conceptualize kinaesthetic, storied, and musicalized dance material as valued and valid knowledge that is anchored in the worldviews, dignities, and ontologies of indigenous Ugandan communities from where the dances originate. The article frames pedagogy of the dances as an epistemological and ontological framework through which the learners sought to know, think, do, question, connect, and become. For people of African descent, partaking in teaching and learning processes of the dances created possibilities for cultural connections through experiential, imaginative, participatory, and reflective dance activities. The analysis further reveals how teaching dances from African cultures, a subject that is treated as insignificant within academic and artistic thought, positioned me to en/counter, rationalize, and address the challenges, dilemmas, and anxieties surrounding Black dance scholarship. It is hoped that this article can expand discourses on how African dances can be engaged as valued and valid epistemological and ontological domains in scholarship and practice to pluralize creative and cultural thought and empower communities and liberate their bodies of knowledge that have been dispossessed by Western hegemonic epistemological canons.
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Rochayati, Rully, and Dewi Purwaningsari. "Karya Tari Sang Misionaris : Interpretasi Karya Misi Paulus Tjen On Ngiedi Keuskupan Pangkalpinang." Jurnal Pendidikan dan Penciptaan Seni 2, no. 2 (October 28, 2022): 92–102. http://dx.doi.org/10.34007/jipsi.v2i2.295.
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The Missionary is a dance work which is an interpretation of the work of Paulus Tjen On Ngie’s mission in the Pangkalpinang diocese area. The purpose of realizing this dance work is as an expression of his journey in proclaiming the gospel. The purpose of writing is as a from af accountability for the work. In addition, it is necessary to provide knowledge about the background of the work. The process of creating this dance creation methods, namely exploration, improvisasion, giving shape, and evaluation. These stages are combined with observations, interviewer, and documentation to strengthen the process of creating dance work. Related to this method, literature studies and recording in the from of videos or pictures are also carried out during the process is a dance work with a duration of 08.40 minutes. The from of dance work is very completeconsistingof title, dance moves, number of dancer, floor patterns, dance accompaniment mucis, dance properties, make-up, fashion, stage area, lighting.Overall this dance work is formed with a mature and planned concept and is complete according to the needs of the dance itself.
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Sweet, Jill D. "Dance arenas, dance events." Reviews in Anthropology 21, no. 2 (August 1992): 137–45. http://dx.doi.org/10.1080/00988157.1992.9978027.
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Njaradi, Dunja. "Rethinking participation through dance: A historical-theoretical intersection." Bulletin de l'Institut etnographique 70, no. 2 (2022): 199–215. http://dx.doi.org/10.2298/gei2202199n.
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The paper deals with the idea of participation or community in dance. The idea of community has become key in contemporary discussions about the globalization of contemporary societies, and dance has a large share in the reflections of these global processes. Dance also has a very long tradition of community thinking. From this long and rich tradition, this paper will point out the ways in which the idea of community is reflected in social and artistic dances, pointing out both concrete dance forms and theoretical concepts, ideas and practices. Of the dance forms, the paper will discuss the tango pair dance, the flash mob dance-gathering form as well as the contact improvisation developed within postmodern dance. Of the theoretical and philosophical settings that underpin discussions of community in dance studies, the paper will discuss the concept of kinesthesia or ?kinesthetic empathy?, ?mirror neurons? in neuroscience as well as philosophical reflections on affect.
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Linge, Ina. "Queer Ecology in Loïe Fuller’s Modernist Dance and Magnus Hirschfeld’s Die Transvestiten." Environmental Humanities 14, no. 3 (November 1, 2022): 618–40. http://dx.doi.org/10.1215/22011919-9962937.
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Abstract Dance orients the performer’s body toward both environment and pleasure, yet the intersection of environmental and sexual attunement in dance practice remains an underexplored area of research. This article considers how environmental and sexual readings of dance practice can be brought together by proposing a queer ecological approach to modernist dance. Drawing on research in dance studies, feminist and queer science studies, and sexology studies, the article examines the work of Loïe Fuller, an early pioneer of modernist dance, to show how Fuller’s work engages with themes of both sex and nature and consequently introduces environmentally attuned thinking to early twentieth century sexual knowledge production. By examining the parallels and divergences between Magnus Hirschfeld’s early twentieth-century sexological writing about “transvestitism” and Loïe Fuller’s modernist dance, via the copycat dancer Henry Cyril Paget, this article shows that both dance and sexology rethought the relationship between sex and nature by grappling, to different extents, with a queer vision of nature, where nature loses its explanatory force and moral authority. This reveals the importance of nature and the nonhuman in the production of modern concepts of sex, gender, and sexuality and the important role that dance can play in illuminating the intersection of sex and nature.
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Na’afi Putri, Nur, and Darmawati Darmawati. "ANALISIS GARAPAN TARI SANGGAR SENI SARAI SARUMPUN DI KOTA PADANG." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 13. http://dx.doi.org/10.24036/jsu.v9i2.110494.
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This research aims to find out the dance work of Sarai Sarumpun Art workshops in Padang City. This type of research is qualitative research, and the method used is a description of the analysis. The instruments in this study are the researchers themselves and assisted with supporting instruments such as stationery and mobile phones. The data type uses primary data and secondary data. Data collection techniques are carried out by library studies, observations, interviews, recording and shooting. The steps for analyzing the data are data reduction, data presentation and withdrawal of conclusions. The results showed that the dance work of Sarai Sarumpun Art workshops seen in his three dances is Hoyak Badarai Plate dance, Indang Sarumpun dance, Rampak Nuri Shawl dance. Of these three dances found the wiggle room is dominated by large wiggle room, and the time of movement implementation is dominated by medium time, as well as the use of energy in motion dominated by medium-sized energy. More dance moves are used in curved zig-zag line patterns that produce emotional touches full of feeling (joy). Thus the supporting elements such as the joyous sense of music presented by the variety of sounds and costumes with colorful and varied floor patterns that all reinforce the joyous atmosphere that is presented in the dance of entertainment.Keywords: Analysis, Dance Work, Sarai Sarumpun Art Workshops
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Salus, Carol. "Poetic Transformations in Matisse's Earliest Dance Images." Dance Research 39, no. 1 (May 2021): 6–32. http://dx.doi.org/10.3366/drs.2021.0320.
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Matisse's early dance paintings Joy of Life, Dance (I), and Dance (II) appear in countless art books in which their public receptions are repeatedly treated in a superficial manner. The fame of these works needs to be understood in a fuller context for students of dance and art. Matisse's early dance paintings are carefully examined in terms of their historical influences. His exposure to Isadora Duncan, Loïe Fuller, and the Ballets Russes is considered. The frequent citation of specific folk dances Matisse saw at the time he created these works is challenged. What becomes significant is how poetically Matisse transformed the many sources he absorbed into his own reductive style. Matisse's decades-long interest in dance is demonstrated by select examples from his dance oeuvre. Even as an invalid, Matisse continued to work with dance themes. His joy in watching dance and making dance works, including those for ballet, reflected his passion for colour, motion, and expression of the liveliness he saw in dance. It is hoped that this article can lead to more interdisciplinary scholarship and teaching between dance studies and art history.
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Carroll, Sam. "Hepfidelity: Digital Technology and Music in Contemporary Australian Swing Dance Culture." Media International Australia 123, no. 1 (May 2007): 138–49. http://dx.doi.org/10.1177/1329878x0712300113.
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Since its revival in the 1980s, Lindy hop along with other swing dances has become increasingly popular with middle class youth throughout the developed world. Social dancing plays a central part in local swing dance communities, and DJing recorded music has become an essential part of social dancing. Marked by class and gender, DJing in swing dance communities is also shaped by digital technology, from the CDs, computers and portable media devices which DJs use to play digital musical files to the discussion boards and websites where they research and discuss DJing and the online music stores where they buy CDs and download music. This brief discussion of the preponderance of digital technology in swing dance DJing is part of a larger project considering the mediation of embodied practice in swing dance culture, and it pays particular attention to the ways in which mediated discourse in swing culture reflects wider social forces, yet is also subordinated by the embodied discourse of the dance floor.
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McKinley, Kathy, Sam-Ang Sam, Naomi Hawes Bishop, John Bishop, Chan Moly Sam, Somaly Hay, Malene Sam, et al. "Khmer Court Dance: Cambodian Royal Court Dances." Ethnomusicology 41, no. 1 (1997): 177. http://dx.doi.org/10.2307/852596.
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Lukina, Angelina. "Osuokhai, The Yakut Circle Dance." Sibirica 17, no. 3 (December 1, 2018): 60–67. http://dx.doi.org/10.3167/sib.2018.170306.
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A circle dance, a fundamental element of many traditional cultures, exists in many parts of the world. Scholars have been fascinated by historical and contemporary, mythical and cultural, ritual and semantic aspects of circle dances. The article discusses the Yakut circle dance, osuokhai, influenced by ancient practices and religious ideas of Eurasian nomads. The article reflects on the historical transformations and on the semantics of the osuokhai.
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Anami, Basavaraj S., and Venkatesh Arjunasa Bhandage. "A Comparative Study of Certain Classifiers for Bharatanatyam Mudra Images' Classification using Hu-Moments." International Journal of Art, Culture and Design Technologies 8, no. 2 (July 2019): 58–71. http://dx.doi.org/10.4018/ijacdt.2019070104.
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India is rich in culture and heritage where various traditional dances are practiced. Bharatanatyam is an Indian classical dance, which is composed of various body postures and hand gestures. This ancient art of dance has to be studied under guidance of dance teachers. In present days there is a scarcity of Bharatanatyam dance teachers. There is a need to adopt technology to popularize this dance form. This article presents a 3-stage methodology for the classification of Bharatanatyam mudras. In the first stage, acquired images of Bharatanatyam mudras are preprocessed to obtain contours of mudras using canny edge detector. In the second stage, Hu-moments are extracted as features. In the third stage, rule-based classifiers, artificial neural networks, and k-nearest neighbor classifiers are used for the classification of unknown mudras. The comparative study of classification accuracies of classifiers is provided at the end. The work finds application in e-learning of ‘Bharatanatyam' dance in particular and dances in general and automation of commentary during concerts.
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Chang, Yu-Chi. "Localised Exoticism: Developments and Features of Belly Dance in Taiwan." Physical Culture and Sport. Studies and Research 54, no. 1 (June 1, 2012): 13–25. http://dx.doi.org/10.2478/v10141-012-0003-6.
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Localised Exoticism: Developments and Features of Belly Dance in TaiwanBelly dance has become one of the most popular dances in Taiwan today, with women of various ages participating in this imported dance. With respect to this speedy expansion, the purpose of this study is to investigate current developments, and to distinguish features of Taiwanese belly dance. The method adopted is literature analysis: a large number of Internet news items were collected to capture the trend of belly dancing in Taiwan. This study concludes that belly dance in Taiwan is primarily presented as: an exercise that is beneficial for health; widely accessible and partially embedded in local life; an exercise for all age groups and genders; a blend of multiple cultural elements; outstanding dancers acclaimed as the pride of Taiwan. The representation showed that the development of belly dance was influenced by the Taiwanese social background. Within the Taiwanese cultural landscape of meanings, belly dance moves between the exotic and the local. This study argues that belly dance is better described as "localised-exoticism" in Taiwan.
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von Rosen, Astrid. "Bildaktivism i dansarkivet: Betydelsen av Anna Wikströms Akademi för dans." Nordic Journal of Dance 11, no. 1 (June 1, 2020): 4–15. http://dx.doi.org/10.2478/njd-2020-0002.
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AbstractThe article combines Critical Archival Studies theory about agency and activism with an empirical exploration of dance history in Gothenburg, Sweden’s second city. It focuses on Anna Wikström’s Academy for Dance (1930-1965), an education which has not been explored in previous research. A previous member of The Swedish Ballet, Wikström offered her students courses in artistic dance, dance as physical exercise, pedagogy, and social dancing. Thereby, her broad education differed from the narrow, elitist Ballet School at The Stora Teatern. The article accounts for how the collaboration between choreographer and dancer Gun Lund and Astrid von Rosen, scholar at the University of Gothenburg, contributes new knowledge about the local dance culture. It is argued that archival and activist approaches make it possible for more voices, bodies, and functions to take place in dance history. As such, the exploration complements previous postmodern dance historiography (see for example Hammergren 2002; Morris och Nicholas 2017) with a Gothenburg example.
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Wells, Meredith, and Feng Yang. "Ballroom Dance as a Form of Rehabilitation: A Systematic Review." Biomechanics 1, no. 3 (October 20, 2021): 307–21. http://dx.doi.org/10.3390/biomechanics1030026.
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Chronic health problems, such as neurological conditions or long-lasting diseases, impair patients’ physical and mental functions with a subsequent reduction in overall quality of life. The purpose of this systematic review was to summarize how ballroom dance is being investigated as a rehabilitative method in individuals with neurological or medical diseases. A systematic literature search was conducted in databases including MEDLINE, SPORTDiscus, and PubMed. Of 728 articles located and titles and abstracts screened, 12 studies were included in this review. Study groups included Parkinson’s disease (4 studies), multiple sclerosis (2), spinal cord injury (1), stroke (1), dementia (1), cancer (2), and diabetes (1). Ballroom dances utilized included a combination of smooth and rhythm dances. Results revealed that ballroom dance is effective in improving gait functions, balance, and quality of life among various populations living with chronic neurological or medical conditions. In addition, ballroom dance is safe and associated with a low attrition rate (7.7%). There is increasing evidence to support ballroom dance as a feasible and effective intervention for adults with chronic neurological disorders or medical diseases. Further large-scale, randomized controlled trials are needed to examine the mechanisms, effectiveness, retention, and safety of ballroom dance as a rehabilitative intervention.
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Grau, Andrée. "Why do Dance and Dance Studies need the Anthropology of Dance?" Dance Research Journal of Dance 74, no. 6 (December 31, 2016): 1–14. http://dx.doi.org/10.21317/ksd.74.6.1.
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Tovey, Cara. "The Language of Dance, the Dancer’s Eye, and Aesthetic Experience in Mary Wigman’s Hexentanz II." Seminar: A Journal of Germanic Studies 58, no. 2 (May 1, 2022): 167–82. http://dx.doi.org/10.3138/seminar.58.2.3.
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Early Ausdruckstanz theory often compared Ausdruckstanz to a language to explain how Ausdruckstanz conveys the deeply personal, self-expressive message to its audience. Using Susanne Langer’s study on expression in art and George Lakoff and Mark Johnson’s work on conceptual metaphors in tandem with early dance theory and Mary Wigman’s Hexentanz II, I argue for a conceptual metaphorical understanding of dance as language. Because dance possesses a physical, indexical connection to its meaning, the language of dance consitututes a series of conceptual, rather than linguistic, metaphors that explain how dance conveys meaning through symbolic form, which for Wigman’s Hexentanz II, I demonstrate, is a radically feminist message. Then, turning from the production of meaning in dance towards the perception of said meaning, using Wigman’s theory of the dancer’s eye, I show how the objective of Ausdruckstanz forms a bond between a dancer and audience, incorporating the audience into the dance and creating a new kinesthetic and aesthetic experience. With this goal in mind, Wigman’s Hexentanz II situates itself in the context of other early avant-garde and modernist movements that sought a complete re-evaluation of perception and aesthetic ideals as a response to modernity.
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Wibowo, Denny Eko, Maria Regita Marpaung, Rudy Hartono, Willy Monet Cahyanti, and Andy Wijaya Tie. "Studi Gaya Tari Inai pada Sanggar Sri Kemuning, Panggak Laut, Lingga dalam Perspektif Antropologi Tari." INVENSI 5, no. 1 (July 10, 2020): 27–36. http://dx.doi.org/10.24821/invensi.v1i1.3464.
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Abstrak Tari Inai hampir dikenal di seluruh wilayah persebaran masyarakat Melayu di Indonesia. Tari Inai berhubungan dengan pelaksanaan upacara adat perkawinan masyarakat Melayu dalam prosesi Ber-Inai Besar dan Tepuk tepung Tawar. Lingga merupakan daerah yang melestarikan tari Inai, salah satu buktinya dengan pengakuan Unesco terhadap tari Inai pada tahun 2007 sebagai salah satu Warisan Budaya Tak Benda. Metode penelitian ini adalah kualitatif yang didukung dengan tahap pengumpulan data melalui wawancara dan pengamatan langsung pada seniman tari Inai di Panggak Laut, Lingga. Tujuan penelitian ini adalah melakukan studi terhadap gaya tari Inai di sanggar Sri Kemuning, Lingga asuhan Mawardi. Identitas komunal dari tari Inai terdapat pada adab-adab Islami bagi penari laki-laki dan perempuan dalam menyajikan tari Inai di depan majlis. Studi tentang gaya tari dalam perspektif Antropologi Tari dibedakan dalam dua yakni gaya komunal (emblemic style) dan gaya personal (assertive style). Gaya komunal dan personal menjadi dua hal yang berbeda namun tak terpisahkan karena keduanya bersifat saling pengaruh-mempengaruhi. Aspek gerak, iringan tari, rias dan busana, properti tari, durasi penyajian, dan penari dari tari Inai asuhan Mawardi masih mengandung identitas tari Inai secara umum meskipun beberapa diantaranya telah disesuaikan dengan gaya personal yang diperoleh melalui pewarisan turun temurun dari keluarganya. Gaya komunal tari Inai Lingga juga secara umum juga didasarkan pada gaya antar seniman tari Inai yang telah menjadi pengetahuan bersama. The Inai Dance Style Studies in Sanggar Sri Kemuning, Panggak Laut, Lingga in Anthropology of Dance Perspective Abstract The Inai dance almost known in the all of Melayu peoples distribution domain in Indonesia. The Inai dance style related with traditional wedding ceremonies performance of Melayu people in Ber-Inai Besar and Tepuk Tepung Tawar procession. Lingga is a region that conserving Inai dance, one proof of that is Unesco’s recognition for Inai dance in 2007 as one of Intagible Heritage. This research use qualitative method that support by collecting datas through interviews and directly observation to Inai dance artist in Panggak Laut, Lingga. The aim of this research is studying Inai dance style in sanggar Sri Kemuning, Lingga by Mawardi. Communal identity of Inai dance there is Islamic culture for male and female dancer in the public. Dance style studies in Anthropology of Dance perspectives distinguished in communal style (emblemic style) and personal style (assertive style). Communal and personal style are different two things yet inseparable because has interaction or influence. Dance movement, dance music, make-up and costumes, dance property, dance duration, and dancer from Inai dance by Mawardi still contains common Inai dance identity, although there are be adapted with personal style that obtained through hereditary inheritance form his family. Communal style of Inai dance in Lingga commonly based on style of many Inai dance artist that be a shared knowledge.
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Dang, Yanan, Yiannis Koutedakis, and Matthew Wyon. "Fit to Dance Survey: Elements of Lifestyle and Injury Incidence in Chinese Dancers." Medical Problems of Performing Artists 35, no. 1 (March 1, 2020): 10–18. http://dx.doi.org/10.21091/mppa.2020.1002.
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The Fit to Dance survey has been conducted using primarily Western participants and has provided foundation data for other studies. The purpose of the current study was to replicate the Fit to Dance 2 survey focusing on features of health and injuries in pre-professional and professional Chinese dancers of different genres. The survey was translated into Chinese with several new and modified questions. The survey was posted online for a 3-month period. A total of 1,040 individuals (82.8% female) completed the questionnaire, including 871 dance students (83.7%) and 169 professional dancers (16.3%), with focus in Chinese folk dance (44.4%), Chinese classical dance (25.6%), ballet (10.2%), and contemporary dance (9.8%). Compared to the Fit to Dance 2 survey, alcohol consumption (29% vs 82%; p<0.01) and smoking (13% vs 21%; p<0.05) were significantly less in Chinese dancers, but a higher percentage reported using weight-reducing eating plans (57% vs 23%; p<0.01) or having psychological issues with food (27% vs 24%; p<0.05). Reported injuries in a 12-month period prior to data collection were significantly lower in Chinese dancers (49% vs 80%; p<0.01). The type of injury (muscle and joint/ligament) and perceived cause of injury (fatigue, overwork, and reoccurrence of an old injury) were the same in both the current and previous survey. Mean injury rate ranged from 4.9 injuries/dancer (contemporary) to 3.4 injuries/dancer (Chinese folk dance), which is comparable to previously reported data on Western dance populations. This report provides the first comprehensive data on the health and injury incidence of Chinese dancers.
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Hikota, Riyako Cecilia. "The Christological Perichōrēsis and Dance." Open Theology 8, no. 1 (January 1, 2022): 191–204. http://dx.doi.org/10.1515/opth-2022-0202.
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Abstract In order to take the physical and incorporeal dimension of dance seriously in the context of Christian theology, we propose that it should be the neglected Christological Perichōrēsis (as well as concepts and ideas surrounding it) rather than the Trinitarian Perichōrēsis that is historically and traditionally relevant as a source of a dialogue between Christian theology and dance. First, we propose that the guiding metaphor should be Christ as dancer, historical examples of which already exist unlike with the notion of the Trinity as dance. Then, we look at St Maximus the Confessor’s Christocentric cosmology. With the human being understood as a “microcosm” of body–soul(spirit) unity placed at the center of the entire creation, his Christocentric cosmology could be a potential source for enhancing a dialogue between Christian theology and dance, while helping us overcome the dualistic separation between the body and the spirit and consequently between nature and culture.
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Echegoyen, Soledad, Eugenia Acuña, and Cristina Rodríguez. "Injuries in Students of Three Different Dance Techniques." Medical Problems of Performing Artists 25, no. 2 (June 1, 2010): 72–74. http://dx.doi.org/10.21091/mppa.2010.2014.
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As with any athlete, the dancer has a high risk for injury. Most studies carried out relate to classical and modern dance; however, there is a lack of reports on injuries involving other dance techniques. This study is an attempt to determine the differences in the incidence, the exposure-related rates, and the kind of injuries in three different dance techniques. A prospective study about dance injuries was carried out between 2004 and 2007 on students of modern, Mexican folkloric, and Spanish dance at the Escuela Nacional de Danza. A total of 1,168 injuries were registered in 444 students; the injury rate was 4 injuries/student for modern dance and 2 injuries/student for Mexican folkloric and Spanish dance. The rate per training hours was 4 for modern, 1.8 for Mexican folkloric, and 1.5 injuries/1,000 hr of training for Spanish dance. The lower extremity is the most frequent structure injured (70.47%), and overuse injuries comprised 29% of the total. The most frequent injuries were strain, sprain, back pain, and patellofemoral pain. This study has a consistent medical diagnosis of the injuries and is the first attempt in Mexico to compare the incidence of injuries in different dance techniques. To decrease the frequency of student injury, it is important to incorporate prevention programs into dance program curricula. More studies are necessary to define causes and mechanisms of injury, as well as an analysis of training methodology, to decrease the incidence of the muscle imbalances resulting in injury.
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Morris, Gay. "Dance Studies/Cultural Studies." Dance Research Journal 41, no. 1 (2009): 82–100. http://dx.doi.org/10.1017/s0149767700000541.
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In the mid-1990s several articles appeared in the dance literature calling for a greater alliance between dance scholarship and cultural studies. More recently, dance scholarship has come to be labeled “dance studies,” suggesting that such a link has occurred. Since interdisciplinarity is a key element of cultural studies, it is appropriate to investigate interdisciplinarity in dance studies by examining dance's relationship to cultural studies. This genealogical task, though, is not as straightforward as it might seem. Cultural studies' relationship to the disciplines has not been stable over its half-century of existence. Interdisciplinarity, tied so closely to cultural studies' idea of its own freedom and political mission, has proved difficult to hang onto—so difficult, in fact, that today some consider the field to be in crisis. To complicate matters further, dance and cultural studies developed along different paths; consequently, interdisciplinarity within dance studies is not always conceptualized in the way it is in cultural studies. Cultural studies was initially meant as a political and social intervention that purposefully avoided creating theories of its own, while dance research, long tied to the disciplines of history and anthropology, not only adopted many of the theories and methods of these fields but also developed theories and methods of its own as an aid in analyzing the human body in motion. Where and how, then, do dance and cultural studies meet on the grounds of interdisciplinarity? This is not an idle question; cultural studies has had a major impact on arts and humanities scholarship, and as cultural studies reaches a critical moment of reexamination, new questions arise as to the role of interdisciplinarity, both in cultural studies and in the fields it has so profoundly influenced.
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DEMERS, JOANNA. "Dancing machines: ‘Dance Dance Revolution’, cybernetic dance, and musical taste." Popular Music 25, no. 3 (September 11, 2006): 401–14. http://dx.doi.org/10.1017/s0261143006001012.
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In ‘Dance Dance Revolution’ (DDR), an arcade and home video game distributed by the Japanese entertainment corporation Konami, players move their feet in specific patterns set to electronic dance music. Only by achieving a high accuracy rate can a player advance from one level to the next. DDR enjoys worldwide popularity among teenagers and young adults, partially due to the marketing of the game's ‘soundtracks’ as separate, purchasable collections of underground techno, house, and drum ‘n’ bass. This article considers the Internet communities of DDR fans and their debates concerning ‘mainstream’ culture and musical taste.
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Akas, Nicholas Chielotam. "War dances and cultural identities: a study of the Ogbo dance of Ahaba community in Delta State." UJAH: Unizik Journal of Arts and Humanities 23, no. 1 (August 31, 2022): 105–33. http://dx.doi.org/10.4314/ujah.v23i1.4.
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Ritual Dance is an indispensable performance in the Ahaba community in Delta State because it serves as the connecting link between the world of the living, the dead, and the unborn. Unfortunately, ritual dance has received myopic interpretation as a performance that is totally against the Westernized belief system on morality and idolatry, thereby making some ritualistic dances go into extinction. This debased ideology on ritual dance triggered the aim of this study, to sensitize people that all ritual dances are culturally inspired. The researcher sets to examine the different iconic symbols used in the performance, which made each community where they existed stand out and to interrogate why these ageless ritualistic dances are going into extinction and the possible ways of reviving them. The methodology suitable for this research is descriptive and interpretative design methods, where the researcher will collect data and analysed them accordingly. The theoretical framework for this research is the Cultural Identification theory. Findings exposed how some people dread the selected dance because of its initiation style, form, beliefs cum principles, while some who are members already want to denounce their membership, thereby creating more worrisome impressions on the true image of the dance. In conclusion, ritual dance should not be written off out rightly as being mundane, but empirical studies make it communally appreciated and valued. Historically Ahaba communities are made of warriors who fought for the safety of their community during the warrior. A lot of people were killed during the war by Ahaba warriors. But years later the blood of people they killed during wars started tormenting them and causing a lot of havoc among the warriors, especially when they retired. So Ogho ritual dance was introduced as a purification means to cleanse and separate the living warriors from the spirits of the dead.
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Thiagarajan, Premalatha, and Mohammad Khairi Mokthar. "Self-Rehabilitation Through Dance: An Ethnographic Study on Candy Girls Breast Cancer Survivor Group in Kuala Lumpur, Malaysia." Kajian Malaysia 40, no. 1 (April 27, 2022): 39–58. http://dx.doi.org/10.21315/km2022.40.1.3.
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This study intends to examine a breast cancer survivor group called the Candy Girls. Candy Girls comprises 26 to 30 women (aged between 40 and 73 years), who are breast cancer survivors in the post-clinical phase. They all have successfully undergone various combinations of treatment such as lumpectomy, mastectomy, radiotherapy and chemotherapy for breast cancer and are on the path to recovery and post-recovery. In 2010, this group came together for a year-long research conducted by the Universiti Malaya’s Faculty of Medicine through the Department of Rehabilitation Medicine. Realising the benefits of exercise for the well-being of cancer survivors, Candy Girls decided to continue dancing on their own even after the completion of the research study. With the support of breast surgeons at the University of Malaya Medical Centre (UMMC), this group began a weekly three-hour self-administered exercise session, that is still, to this day, taking place every Saturday. Their activities focus primarily on dance. The group gradually expanded dance genres by incorporating line dance, Latin dances-based Zumba sessions, Malay folk dance forms such as joget and zapin, and Bollywood dance. While the multi-ethnic women are determined to stay healthy and happy through their weekly dance routines, they have made significant impact on women at large by performing dances at Breast Cancer Relays, Awareness Campaigns and Health Conferences. By engaging with this community of survivors, the researchers have not only been able to observe their activities but also to support them through additional yoga and dance trainings. The act of giving back to the community has further strengthened the researchers' relationship with the study subjects and has allowed deeper engagement with the community. This ethnographic research shows that dance as self-rehabilitation, not only enhances physical mobility and emotional well-being, but forges a strong group solidarity among the women as a much-needed support system for survivors.
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Delgado, Celeste Fraser. "Salsa Crossings: Dancing Latinidad in Los Angeles." Dance Research Journal 46, no. 2 (August 2014): 105–10. http://dx.doi.org/10.1017/s0149767714000308.
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It appears to be a ritual among salsa dance scholars to open by sharing a personal salsa experience. I will follow their lead: My introduction to Los Angeles–style salsa came on a Saturday night in the spring of 1999, when I had the pleasure of taking a tour of the city's salsa scene with dance scholar Juliet McMains. Already an established professional ballroom dancer, McMains was just beginning her graduate studies at the University of California–Riverside where I was visiting faculty, having recently co-edited a collection on Latin/o American social dance. Lucky for me, McMains was among the many brilliant students who enrolled in my class on race and dance. The night of our tour, she invited a handsome friend and fellow ballroom dancer to partner first one of us, then the other, throughout the night. He drove us around the city as we stopped at a cramped restaurant-turned-nightclub in a strip mall, at a glamorous ballroom in Beverly Hills, then ended the night downtown at a massive disco in a former movie palace, the Mayan nightclub.
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Giersdorf, Jens Richard, and Yutian Wong. "Remobilizing Dance Studies." Dance Research Journal 48, no. 3 (December 2016): 70–84. http://dx.doi.org/10.1017/s0149767716000322.
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This essay uses as its case study the reconstruction of an East German Vietnamese socialist folk danceSpring in Vietnam(1969) to reflect on Randy Martin's 1998 conviction that Dance Studies has the potential to embody and materialize solutions to intellectual and political issues that have been left out of other academic disciplines. Written as a play script, the essays performs a remobilization of Dance Studies and its potential to reflect on its disciplinary authority.
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Dantas, Mônica, Sandra Meyer, and Suzane Weber. "Dance at Graduate Universities in the South of Brazil: Experiences and Perspectives." Congress on Research in Dance Conference Proceedings 2016 (2016): 127–35. http://dx.doi.org/10.1017/cor.2016.18.
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This round table presents an overview of activities developed at higher education institutions with graduate and postgraduate studies in dance in Brazil, especially southern Brazil. Oddly enough, amid the global crisis in early 2008, the Brazilian government launched an educational program that allowed the expansion of courses at the graduate level, including dance, in several public and free universities. As an example of this scenario, we present our experiences in two public universities, UFRGS and UDESC. These dance courses have seen increasing interest and confrontation the presence of artists and researchers seeking to investigate their own work or the work of others. How can we contemplate structuring contents and methods to teach dance in the university context? How does a dance artist associate the experience of dancing to academic research? How does teaching dance force universities to think about embodied knowledge? The situation of teaching dance in Brazilian universities shows that there is still a lot to be done, considering that the creation of these courses is rather new and that dance, in this context, is an area of ongoing consolidation. The struggle to create a greater number of dance courses in universities is part of the discussion of this session. The practice of teaching dance in universities seeks to articulate repertoires of knowledges that belong to different traditions and artistic experiences transversed by reflections about contemporary dance, and to qualify the teacher, the dancer, and the researcher.
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Shannon, Laura. "Language of the Goddess in Balkan Women’s Circle Dance." Feminist Theology 28, no. 1 (August 6, 2019): 66–84. http://dx.doi.org/10.1177/0966735019859470.
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The author narrates her journey to women’s circle dances of the Balkans, and explores how they incorporate prehistoric signs which Marija Gimbutas called ‘the language of the Goddess’. These symbolic images appear in archaeological artefacts, textile motifs, song words, and dance patterns, and have been passed down for thousands of years in nonverbal ways. The interdisciplinary approach of archaeomythology suggests that the images may carry ideas and values from the Neolithic cultures in which these dances are said to have their roots. Women’s ritual dances affirm the Old European values which honoured the Goddess, the mother principle, and the cycles of life, and offer an extraordinary oasis of women’s empowerment, even within patriarchal culture, indicating that the dances most likely originate in pre-patriarchal egalitarian matriarchy. For women today, even outside the Balkans, these women’s ritual dances offer insight and meaning through an embodied experience of the values of the Goddess.
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Putcha, Rumya S. "Between History and Historiography: The Origins of Classical Kuchipudi Dance." Dance Research Journal 45, no. 3 (December 2013): 91–110. http://dx.doi.org/10.1017/s0149767713000260.
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This article examines the intertwined discourses and debates of classicism, linguistic regionalism, caste, and gender in the case of South Indian dance. By focusing on the dance form, Kuchipudi, from Andhra Pradesh, the first administrative region in India formed on the basis of language, this study exposes the important connections between identity politics and the creation of cultural icons, such as classical dance. This study deconstructs the paradox of Kuchipudi's classicization, as it has become historicized as a symbol of masculine, Brahminical, Telugu culture, on the one hand, and the projects of Indian modernity, which center on the iconicization of the female dancer, on the other.Through archival, discursive, and ethnographic analysis, this article examines how the construction of classicism in Kuchipudi dance creates and supports hegemonic versions of Telugu history. This focus extends previous studies of Indian classical dance by sustaining questions about the reification of the Kuchipudi dancing body, the implications that this has regarding the fate of hereditary courtesan dancers, and the discursive strategies that allow Brahmin male history and female dance practice to coalesce.
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Deinzer, Vanessa, Liam Clancy, and Marc Wittmann. "The Sense of Time While Watching a Dance Performance." SAGE Open 7, no. 4 (October 2017): 215824401774557. http://dx.doi.org/10.1177/2158244017745576.
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Although the judgment of time is an important experience embedded in the context of cognitive and emotional appraisal of events, there are few studies concerning perceived time within an ecologically valid context. Watching a cultural event such as a dance performance is a paradigmatic situation in which viewers perceive time differently as a function of performance characteristics and viewers’ personal engagement. We staged two dance pieces that differed in speed of movement performed by a professional female dancer. Fifty-two participants watched both performances in counterbalanced order and rated their impressions, senses of self, and perceptions of space and time. On average, spectator-participants liked the faster dance better than the slower dance and felt more positive afterward. During the fast dance, participants focused more on the dancer’s breathing and less on their own body. Participant’s subjective perceptions were that time seemed to pass more slowly during the slow dance, but participants estimated the faster dance to have lasted longer. Path analyses revealed that paying attention to one’s bodily signals mediated the feeling of time. As typical flow states are characterized by positive feelings during an activity, as well as by a diminished sense of self and time, these results suggest that the participant’s average response reflected a relatively stronger flow state in the fast dance condition. Future studies might be encouraged assessing time perception in a variety of real-life situations. Participants’ responses could then be assessed with different methodological approaches.
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Kang, Manpreet Kaur. "Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts." Review of International American Studies 13, no. 2 (December 31, 2020): 61–86. http://dx.doi.org/10.31261/rias.9884.
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Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.
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Barlow, Jeremy, and Moira Goff. "Dancing in Early Productions of The Beggar's Opera." Dance Research 33, no. 2 (November 2015): 143–58. http://dx.doi.org/10.3366/drs.2015.0136.
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John Gay's The Beggar's Opera was accepted for production by John Rich, manager at the Theatre Royal, Lincoln's Inn Fields, and received its premiere in January 1728. With its twin satirical targets of Italian opera and political corruption, and its fresh approach to musical entertainment, the opera had an unprecedented success during its first season and continued to be performed every year in London for the remainder of the century. Alongside the many songs, the libretto indicates three contrasting ensemble dances, introduced at key moments of the drama. These dances have been overlooked in most studies of The Beggar's Opera. The article investigates the significance of the dances within the ballad opera, the dancers who may have performed them and what they may have been dancing. Each dance and its music is analysed in detail, and placed within the context of the dance repertoire and wider theatrical background at Lincoln's Inn Fields. The authors also demonstrate the importance of dance in attracting audiences at Lincoln's Inn Fields; and show how, as box office receipts for The Beggar's Opera eventually declined, Rich stimulated demand by introducing divertissements and entr'acte dances unrelated to the show.
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Lepecki, André. "Dance Discourses: Keywords In Dance Research." Dance Research Journal 44, no. 1 (2012): 95–99. http://dx.doi.org/10.1017/s0149767712000010.
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The formation of what Randy Martin has called “critical dance studies” (1998) has gained increased momentum over the past decade. Martin's notion of critical dance studies clarified how dance scholarship was being reshaped by the explicit inclusion of critical theory in its methodologies and epistemologies. One of the major consequences for dance studies in embracing critical theory was the identification of dancing and choreographic practices as being also theory. Understanding dance as theory is not equivalent to seeing dance as the sole provider of the theoretical tools it needs for its own analysis (this would be intolerably solipsistic). Rather, it means that dance becomes a privileged practice ready to provide analytical tools for theorizing other areas of social performances: politics, culture, formations of disciplines and their bodies (docile or resistant). Dance is a mode of theorization that theory itself would need in order to address the social and political problematic brought by issues close to dance such as mobilization, embodiment, subjectivities, participation, representation, desire, discipline, control, etc.
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Winarsih, Sri. "THE ROLE OF BALADA CENDERAWASIH TRADITIONAL DANCE OF PAPUA." British (Jurnal Bahasa dan Sastra Inggris) 9, no. 1 (June 25, 2020): 27. http://dx.doi.org/10.31314/british.9.1.27-36.2020.
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Balada Cenderawasih is a traditional dance of Papua which is performed by a group of dancers in the costumes resembling beautiful Paradise birds. The dance is often performed in many important events in Merauke. This study aims to find out the role of Balada Cencerawasih as a kind of ballad from Papua beyond an art show. Two subjects were studied; the dance and the owner of traditional dance studio. Through overt observation over the dance, and semi structured interview with the owner of traditional dance studio, it was collected the data and were analyzed using Spradley qualitative model. The study shows the roles of Balada Cenderawasih are as; 1) Cultural identity; through the motions, language and symbols; 2) Regional wealth, both material and cultural heritage; through the show includes costumes, musical instruments and the dancer attributes; and 3) Environmental protection; through the values include moral, religious and education.Keywords: balada cenderawasih, ballad, role, traditional dance
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Bauer-Nielsen, Birgitte. "The Choreographer’s View." Nordic Journal of Dance 8, no. 1 (June 1, 2017): 32–39. http://dx.doi.org/10.2478/njd-2017-0005.
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Abstract In 2016, I published a book in Danish ‘Koreografens blik – En performativ koreografisk metode til skabelse af en interkulturel forestilling’. This article is a short presentation of this book. The book qualifies the choreographer’s view, that is, it examines and articulates the choreographic process from idea to product. Because of my dual role as choreographer and scholar, my analysis takes practice-based research and artistic research as its points of departure. On the basis of courtship dances, I have created an intercultural dance performance entitled ‘Sommerfuglen’ (‘The Butterfly’). The performers are dancers and musicians from Tanzania, Vietnam and Denmark. Courtship dances have a ritual status in all three cultures. I analyse the translocal process of the development of an intercultural dance performance in which local Tanzanian courtship dance features are analysed. The focal point of the translocal analysis are artistic and social practices that support the dance performance. What changes occur from translocal practice and/or dialogue? How can they be used in a global dialogue? The theories and methods used to analyse performative choreographic practice have their origins in performative anthropology, performance studies and theories of performativity.
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Alter, Judith B. "Why Dance Students Pursue Dance: Studies of Dance Students from 1953 to 1993." Dance Research Journal 29, no. 2 (1997): 70. http://dx.doi.org/10.2307/1478735.
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