Journal articles: 'Dance-drama'

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Kernan, Alvin, James Redmond, and Alan Brissenden. "Drama, Dance and Music." Modern Language Review 80, no. 2 (April 1985): 407. http://dx.doi.org/10.2307/3728679.

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Nelson, Margaret F., Frank G. Speck, Leonard Broom, and Will West Long. "Cherokee Dance and Drama." American Indian Quarterly 12, no. 1 (1988): 70. http://dx.doi.org/10.2307/1183796.

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Triomphe, Jeannette. "Dance and Drama—The Connection." Journal of Physical Education, Recreation & Dance 57, no. 5 (June 1986): 24–25. http://dx.doi.org/10.1080/07303084.1986.10606119.

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Wijayanti, Okto. "Multiple Intelligences in Learning Musical Dramas for Prospective Primary School Teachers." JOURNAL OF TEACHING AND LEARNING IN ELEMENTARY EDUCATION (JTLEE) 4, no. 1 (February 20, 2021): 98. http://dx.doi.org/10.33578/jtlee.v4i1.7872.

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Prospective teachers who get the 7th semester of Drama and Dance Education courses must have competence, one of which is that the teacher can present interesting learning for children with a drama approach, as a multidisciplinary knowledge that can be taught using role playing methods that are taught more interesting, fun, meaningful, interactive and rich experience. As a student, you can develop multiple intelligence in this subject. Programmed and scheduled musical drama training systems are indeed interesting, because each student is given the freedom to give assessments, provide reinforcement, support, correct weaknesses, mistakes and even object to the work of other groups with the strengths and points of view of the subjectivity expressed by each. students. As a result, sportsmanship is needed in this regard. Through an empirical qualitative approach, with lesson study-based inductive thinking logic. This study aims to describe the various intelligences that appear in learning dance drama, especially the work practice of dance drama projects (musical dramas), both individually and in groups obtained from the performance appraisal contained in the instrument. Important notes in the discussion found several findings about the application of Multiple Intelligences in learning dance and drama, namely: 1) Tools to achieve success that are more concerned with the process of achieving results, 2) Integrative Learning dance drama combines various intelligences, 3) Learning dance and dance drama becomes full of challenges, and more fun, 4) Care for the individual differences of students so that emotional management is needed, 5) Instructional based learning is firm and clearly measurable, 6) The importance of reflection for further improvement, 7) Clarity of goals, achievement of competence and each student's feedback needs to be done.

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Grow, Mary L., and Mattani Mojdara Rutnin. "Dance, Drama, and Theatre in Thailand." Asian Theatre Journal 12, no. 2 (1995): 361. http://dx.doi.org/10.2307/1124117.

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., I. Nyoman Narawidia, I. Gede Mahendra Darmawiguna, S. Kom, M. Sc ., and Gede Saindra Santyadiputra, S. T. ,. M. Cs . "Film Dokumenter Sejarah Drama Tari Gambuh Desa Batuan." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 6, no. 1 (February 20, 2017): 103. http://dx.doi.org/10.23887/karmapati.v6i1.9393.

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Tujuan dari penelitian ini adalah untuk: (1) menghasilkan rancangan dan mengimplementasikan hasil rancangan Film Dokumenter Sejarah Drama Tari Gambuh Desa Batuan; (2) mengetahui respon masyarakat terhadap Film Dokumenter Sejarah Drama Tari Gambuh Desa Batuan. Jenis penelitian yang digunakan dalam penelitian ini adalah penelitian dan pengembangan dengan menggunakan metode cyclic strategy. Film dokumenter sejarah drama tari Gambuh Desa Batuan menganut jenis film dokumenter sejarah, namun dalam beberapa bagian akan dimunculkan unsur rekonstruksi berbantuan animasi 2D, di mana film ini nantinya akan menceritakan bagaimana awal mula drama tari Gambuh muncul hingga berkembang sampai sekarang di Desa Batuan. Dalam film ini tipe film dokumenter yang diusung yaitu tipe interactive, di mana nantinya akan ada beberapa tokoh yang menyampaikan langsung fakta dilapangan lewat wawancara yang ditampilkan dalam film ini. Teknik pengumpulan data dilakukan dengan cara observasi, wawancara, studi literatur, angket, dan dokumentasi. Penelitian ini diimplementasikan menggunakan Adobe Premiere Pro CS 6 sebagai aplikasi pengedit video dan Adobe After Effect CS 6 sebagai aplikasi penambahan efek serta animasi pada video. Hasil penelitian dan pengembangan menunjukkan bahwa Film Dokumenter Sejarah Drama Tari Gambuh Desa Batuan dalam kriteria baik. Hasil yang diperoleh berdasarkan analisis uji ahli isi, uji ahli media, dan uji respon penonton. Untuk isi dari film dokumenter Sejarah Drama Tari Gambuh Desa Batuan sudah sesuai dengan realitas. Respon penonton terhadap film dokumenter Sejarah Drama Tari Gambuh Desa Batuan dapat dikategorikan baik dengan persentase 89.51%.Kata Kunci : Cyclic Strategy, Film Dokumenter, Drama Tari Gambuh. The aims of this research are; (1) to produce and to implement the result design of documentry film the historical of drama Gambuh dance of Batuan village, (2) to know about responses from audiens about documentry film the historical of drama Gambuh dance of Batuan village. This research use cyclic strategy method. Documentry film the historical of drama Gambuh dance of Batuan village genre is historical’s film, but on some scene there’s will be showed a recontruction use on 2D animation, where’s this film will let’s us know how drama Gambuh dance raise and grow up untill now at Desa Batuan. Film type of this documentry is interactive, where’s there will be some people who will bring the facts that’s exist with live interview that’s shown up on this film. The technique that use for collecting data are observation, interview, study literature, questionnaire and documentation. The implementation of this research is uses Adobe Primer Pro CS 6 as the application in editing the video and Adobe After CS 6 as the application that use to adding the effect and animation into the video. This research show that documentry film the historical of drama Gambuh dance of Batuan village has an good criteria. The result of this research are based on the analyzes; test of the content, test of the media and test of the audiens response. The content from documentry film the historical of drama Gambuh dance of Batuan village is based on reality. The category of this film is good with percentages 89.51% that stated by audiens. keyword : Cyclic Strategy, Documentary Film, drama Gambuh dance.

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Sandi, Noviea Varahdilah, and Ririn Setyorini. "Analisis Pembelajaran Drama untuk Meningkatkan Kreativitas Mahasiswa dalam Penulisan Lakon Di Perguruan Tinggi." Jurnal Darussalam: Jurnal Pendidikan, Komunikasi dan Pemikiran Hukum Islam 10, no. 2 (April 19, 2019): 304. http://dx.doi.org/10.30739/darussalam.v10i2.376.

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The aim of this research is to examine process of writing in act of drama, that doing by students in college. The write of script is for developing students creativity and knowledge in order to imagine in field of drama script writing.. Design in this research using qualitative, and the method using descriptive method, that will learn and describe learning of act writing as proponent the running of show in order to developing students creativity in field of dance and drama class. Subject of this research are students of VI semester that take dance and drama class in Peradaban University year of 2017/2018.The analysis technique used interactive model analysis. The results of this study showed that from several students involved in the PGSD1 and PGSD2 classes in making play scripts, only two students passed the selection, two play scripts which were chosen to be performed in dance and drama performances, while the results of this writing showed almost all students cannot develop ideas, experiences and pour creative thoughts into text.

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Enache, Lorette. "Part II. Drama / Choreography5. Theater Dance Atelier." Review of Artistic Education 13, no. 1 (March 1, 2017): 125–29. http://dx.doi.org/10.1515/rae-2017-0016.

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Abstract The substance of the spiritual and cultural life is the syncretism of the arts from the performer-spectator division, that was made concurrently with the “dance” segmentation into work and pleasure. Words were held in formulas, gestures and dance in rhythm. Today, dance is mostly seen as the art of gesture. However, it is remarkable to reflect at to what extent the dance, as an organic necessity, it could further develop into hermetic structures that would still require analyses and studies from researchers in the field. In today‟s theatrical landscape, this formula of artistic expression which was called theatre dance evolved so much so that gesticulations and body exploration became its core components.

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Лепишева, Елена, and Maciej Pieczyński. "Танец в художественной структуре пьес русских, белорусских и польских драматургов 1990-х – 2010-х годов." Studia Wschodniosłowiańskie 20 (2020): 43–62. http://dx.doi.org/10.15290/sw.2020.20.04.

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In this paper, dance is considered as an element of the artistic structure of dramatic works of Russian, Belarusian and Polish authors of the 1990s–2010s. It was revealed that this element represents the level of the chronotope: it becomes one of its expressive modes (creating an atmosphere due to emotional «charge»), manifests itself as a «non-everyday form of behavior» of a character (J. Faryno), as a «spatial motive» (O. Bagdasaryan) as a sense-forming centre of the artistic universe. A comparative analysis of the plays written by Russian, Belarusian and Polish playwrights of the indicated period showed that in Russian drama the transition occured from the dance – a «spatial motive» to the dance – a semantic center representing author’s model of the world and a Nietzschean man in the terms of a spontaneous, unstable world order. That was caused by the strengthening of the performative and receptive potential of modern drama. At the same time, in the Belarusian drama, due to more strong genetic ties with folklore, the dance for a long time has been manifesting itself as a game form of non-everyday behavior, however, since the mid-1990s it is often introduced as a «spatial motive» representing the extremely deformed consciousness of characters. If it comes to Polish drama, despite the actualization of the dance in the significant for its development works, in the latest plays it rarely functions as a semantic center, because of political and social themes predomination. The authors of this paper made an attempt to clarify the reasons for differents of the dance in the Russian, Belarusian, Polish drama of the 1990s–2010s, based on sociocultural factors, as well as on the logic of the development of the literary proces.

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Martin, Kathryn A., and Alison Lee. "A Handbook of Creative Dance and Drama." Theatre Journal 46, no. 2 (May 1994): 300. http://dx.doi.org/10.2307/3208477.

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Chung, Hazel. "Dance and Music in South Asian Drama." Ethnomusicology 30, no. 3 (1986): 582. http://dx.doi.org/10.2307/851610.

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Lee, Dongchoon. "Medieval Korean Drama: The Pongsan Mask Dance." Comparative Drama 39, no. 3-4 (2005): 263–85. http://dx.doi.org/10.1353/cdr.2005.0023.

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Foong, Chan Choong, Wen Ting Tong, Esther G. S. Daniel, and Jamuna Vadivelu. "Dance, drama and laughter: the best medicine." Medical Education 47, no. 5 (April 10, 2013): 516–17. http://dx.doi.org/10.1111/medu.12155.

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Yu, Ping. "The National Bones and Passion of China’s Dance Drama: A Review of China’s Dance Drama Creation in 2015." Ethnic Arts Studies 29, no. 1 (February 28, 2016): 166–71. http://dx.doi.org/10.21004/issn.1003-840x.2016.01.166.

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Son, Woo Kyung. "Moving Images in Dance Performance - Based on the Street Dance Drama "There"." CONTENTS PLUS 12, no. 4 (December 31, 2014): 95–106. http://dx.doi.org/10.14728/kcp.2014.12.04.095.

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Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.

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Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expressive means of dramatic performance. In addition, knowledge of the fundamentals of choreography and its history contributes to the comprehensive development of the director’s personality, his aesthetic education, the formation of artistic taste, the ability to orientate both in traditional and innovative requirements to the choreographic component of the drama performance, to obtain a contemporary idea of the mutual influence of different art forms, so, to raise his professional development. The objectives of this study are to substantiate the features of teaching the discipline “Dance” and determine its place in the contemporary education system of the director of the drama theatre. Methods. An analytical method is used to determine the components of the discipline “Dance” in the teaching system of the students of the specialization “Stage director of the Drama Theatre”. With the help of the system approach, the place and functions of each type of choreography have been identified within the discipline “Dance”; its integrity, functional significance and perspective development in the system of theatre education of directors are demonstrated. Results. The results indicate that in the education system of the director of the drama theatre the discipline “Dance” is essential not only because of the active involvement of the choreography in the arsenal of the demanded expressive means of drama performance, but it also contributes to the comprehensive development of the director’s personality and his proficiency enhancement. In view of this, a discipline program should be formed with the basic knowledge of various types of choreography. The basis of the choreographic training should be a system of classical dance, which brings up the naturalness of the movement performance, expressive gesture and laying the foundation for the study of other types of choreography. The purpose of the historical ballroom dance is to master the character of the dance culture of a certain epoch, the ability to wear a corresponding dress, use the accessories. The study of this section should be accompanied by a conversation about the era and its artistic styles, dance fashion, special considerations on the relationship between a man and a woman in a dance. This is necessary for the future unambiguous determination of the plastic component of the theatre performance in the pieces by the playwrights of the past centuries. The folk dance stage adaptation introduces the customs and culture of different peoples. Studying of dances all nationalities does not make sense, because the spectrum of their use in performances of the drama theatre today is rather narrow. It is required to concentrate on the basic movements of Ukrainian, Russian, Gypsy, Spanish, Italian, Hungarian and Jewish dances, partly – Old Slavic. It is necessary to require of the students the correct manner of performance and form a comprehension about relevance of the using of folk dance in the context of the director’s vision of a particular performance. The need for the future director’s awareness in contemporary dance is due to the fact that its means can create the plastic component of almost any show. The task of the teacher is to train basic knowledge to the students with the obligatory requirement of the faithful character of the performance of a particular artistic movement or style, considering what is sought out in the drama theatre: contemporary, jazz, partially – street and club style. The tango, which sometimes appears in dramatic performances, should be singled out separately; it should be studied in the form of social and scenic variants with the addition of movements of contemporary choreography. In class it is expedient to use improvisation, to offer the students to make dance pieces on their own. Significant attention should be paid to the musical accompaniment of the lesson, the explanation of the tempo-based and rhythmic peculiarities of musical compositions, and to teach the students to choose the background music for their own dance works independently. It is advisable to give some classes in the form of lectures, in particular, use video lectures that clearly represent the nature and manner of performing various types of choreography. Students’ individual work should consist in consolidating practical skills, compiling own dance pieces and familiarizing with the history of choreography. The director will later be able to use all the acquired knowledge while working with the choreographer, and in the absence of the latter, he will be able to create the dance language of the performance independently. Conclusions. Thus, the dance is an integral part of the education system of the drama theatre director, especially at the present stage, at the same time, the plastic arts is one of the most important components of the performance. This necessitates the stage director’s awareness in various types of choreography in order to use the acquired knowledge and skills in the creative work. In dance class, it is necessary to form a general idea of each type of dance, its purpose, manner of performance and features of use in the performances of the drama theatre. It is essential to demand musicality and rhythmic performance, the ability to improvise. It is advisable to hold both practical and lecture classes, to assign tasks for the independent work of creative and educational content. Eventually, the stage expressiveness, the sense of form, style, space, time, rhythm in the dance, knowledge of the features of partnership and ensemble are raised with the students; the skills of working with the actors on the choreographic component of the performance and the ability to cooperate with the choreographer are formed.

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Scott, Gregory. "Dance and Drama in Aristotle's Dramatics (aka Poetics): New Principles from an Ancient Treatise." Congress on Research in Dance Conference Proceedings 2016 (2016): 369–78. http://dx.doi.org/10.1017/cor.2016.49.

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In previous publications I demonstrated that dance and music are essential conditions in the definition of tragedy for Aristotle. This opens the door for a re-examination of the place of theatrical dance in the work usually considered to be the most influential treatise on drama in Western culture. Here I begin to explore how the principles of dance criticism might therefore now be developed, and I also discuss whether Aristotle modifies Plato's own critical principles pertaining to choral art (including dance) from Laws II.

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kangjinwoo. "A Principle of‘sinmyung’realization in ‘Hahwoe mask dance drama'." Journal of Korean Language and Literature Education ll, no. 46 (February 2010): 185–218. http://dx.doi.org/10.17247/jklle.2010..46.185.

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이숭무. "Bongsan Mask Dance Drama into Korean Protestant Worship." THEOLOGICAL THOUGHT ll, no. 140 (March 2008): 275–300. http://dx.doi.org/10.35858/sinhak.2008..140.008.

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Schoon, Susan. "Using Dance Experience and Drama in the Classroom." Childhood Education 74, no. 2 (December 1997): 78–82. http://dx.doi.org/10.1080/00094056.1998.10521923.

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Mohamad, Zukifli. "Twenty Years of Suasana: Producing Malay Dance-Drama." Asian Theatre Journal 32, no. 2 (2015): 619–35. http://dx.doi.org/10.1353/atj.2015.0023.

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Meier, Samuel A., and Choon Leong Seow. "Myth, Drama, and the Politics of David's Dance." Journal of Biblical Literature 110, no. 1 (1991): 142. http://dx.doi.org/10.2307/3267163.

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Stolberg, Tonie L. "Communicating Science through the Language of Dance: A Journey of Education and Reflection." Leonardo 39, no. 5 (October 2006): 426–32. http://dx.doi.org/10.1162/leon.2006.39.5.426.

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Bharatanatyam, the classical dance style of South India, is adept at conveying complex, multilayered narratives. This paper documents and reflects upon the interactions between the author, a scientist and educator, and a professional dance company as they strive to develop and produce a dance-drama about the carbon cycle. The author examines the process by which scientific ideas are shared with the artists and the way a scientific narrative becomes one with an artistic meaning. The paper also examines areas for possible future science-dance collaborations and explores the necessary features for a collaborative science-dance pedagogy.

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von Rosen, Astrid, and Mats Nilsson. "Waltzing with Strindberg: Exploring Practices of Memory in A Dream Play." Nordic Journal of Dance 8, no. 1 (June 1, 2017): 4–15. http://dx.doi.org/10.2478/njd-2017-0002.

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Abstract The aim of this article is to explore embodied practices of memory in Strindberg’s drama A Dream Play from a dance perspective. It is demonstrated that a profound exploration of this hitherto underexplored perspective can provide a fuller and more critically productive understanding of the drama. Even if in recent years international Strindberg studies has moved away from narrowly text-oriented and biographical approaches to his work, and toward multimedia, visual and multisensory aspects of it, dance and choreography are still rare topics within the field. In the article we first look at how Strindberg employed dance in the dramatic text for A Dream Play, and then expand on his dance contexts. Thirdly, we turn to a TV version of A Dream Play from 1980 to explore in particular how the waltz, an immensely popular dance form in Strindberg’s time, evokes and embodies cultural memories in the production. What is presented in the article draws on and further expands our work within the project «Dream-playing across borders: accessing the non-texts of Strindberg’s A Dream Play in Düsseldorf, 1915–18 and beyond», at the University of Gothenburg.

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., Ramlan, Abdul Rozak, Fikriyah ., Nurkholis ., and Yusuf Ibrahim. "Nurturing Moral Values Among the Children: Insights from Dance and Drama-Based Learning." International Journal of Engineering & Technology 7, no. 3.21 (August 8, 2018): 547. http://dx.doi.org/10.14419/ijet.v7i3.21.17231.

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Emerging the immoral behavior being the challenges in Indonesia during the last few decades needs to have alternative approach implemented in the learning process. The serious reconstruction of the national education curriculum has to be conducted into designing the alternative concept, especially inculcating the moral personality within the exciting programs. Among those programs with offering exciting programs, one of them is dance and drama basis. This paper aims to explore the way to inculcate moral values among the children through dance and drama based learning. Literature analysis was conducted from peer reviewed books and journals using the theme of dance and drama based learning. The results indicate that there are three core basis of delivering learning basis of arts where both refer to sharing the art with a significant professional experience to connect with each other in realizing to feel emotional similarities, potential in shaping moral values. Those are the process of receiving knowledge in the sense of sharpening performance with managing the learning habit. This study is expected to contribute to the conceptual basis on how to inculcate the moral values among the children. Thus, moral education should be optimized within this co-curricular program.

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Jones, Daystar/Rosalie. "Dreaming the Fourth Hill." Dance Research Journal 48, no. 1 (April 2016): 13–18. http://dx.doi.org/10.1017/s0149767716000048.

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Dancer. Teacher. Choreographer. Writer. Passionate Amateur Mime and Mask-Maker. Wannabe Puppeteer. Founder, Director of Daystar: Contemporary Dance-Drama of Indian America. Acknowledged ‘pioneer’ of native modern dance USA. My father's insight: One day you will realize that you were blessed to be a descendant of the original peoples of this land.

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Raharja, Budi. "Musik Iringan Drama Tari Pengembaraan Panji Inukertapati Bermisi Perdamaian dan Toleransi." Resital: Jurnal Seni Pertunjukan 20, no. 1 (April 10, 2019): 13–23. http://dx.doi.org/10.24821/resital.v20i1.3459.

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Tujuan penulisan ini untuk mendeskripsikan musik iringan drama tari berjudul “Pengembaraan Panji Inukertapati Bermisi Perdamaian dan Toleransi.” Drama tari tersebut mengisahkan perjalanan Panji Inukertapati menjelajahi beberapa wilayah Nusantara mencari kekasihnya, Dewi Sekartaji. Pembahasan fokus terhadap dinamika pertunjukan, alasan pemilihan bunyi atau lagu, dan hubungan musik dengan gerak tari. Metode interview, observasi, studi literatur, dan studi dokumen digunakanuntuk pengumpulan datanya. Hasil kesimpulan diketahui bahwa musik iringan drama tari tersebut terdiri atas bunyi Dijerido, bunyi aplikasi program DJ (monster dan drum), dan musik-musik daerah (musik Jawa, musik Melayu, musik Papua, dan musik Bali). Musik-musik tersebut dirangkai dalam struktur dramatik kerucut tunggal, digunakan untuk menciptakan atmofir musikal pertunjukan, dan sebagai pedoman penari memeragakan gerak-gerak tari. Hubungannya dengan gerak tari terbagi ke dalam tiga jenis, yaitu hubungan antara pola melodi dengan pola gerak, hubungan antar frase melodi dengan frase gerak, dan hubungan antar karakter melodi dengan karakter gerak.Accompaniment Music for The Journey of Panji Inukertapati Dance Drama for the Peace and Tolerance Mission. The writing article aimed to describing the accompany music for drama dance entitle Panji Inerktupati Journey in peace and tolerance mission. The performance described Inukertapati the journey and passed some regions in archipelago to looking for his lover, Dewi Sekartaji. The disccusion focus on dinamic performance structure, choosing sound and song reason, and its relationship to the movement. The result is the music consisted of Dijeridu instrument sound combined to electrical sounds and some Indonesian folksong (Javanese music, Malay, Papua, and Balinese music). The musics are arranged in single cone dinamic structure, are used to create performance musical atmosphere and as guidance dancers demonstrate movement; hovewer its relationship to movement are classified in three types: relationship of movement pattern with musical sound pattern; music phrase with movement phrase, and song character with movement character.Keywords: Panji journey; drama dance; musical identity

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Nastić, Radmila. "Anthropology and the Theory of Drama." Issues in Ethnology and Anthropology 5, no. 3 (May 14, 2010): 245–60. http://dx.doi.org/10.21301/eap.v5i3.12.

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The paper is an attempt at a systematic account of the history of influences between anthropology and the theory of drama in the twentieth century. The starting point is the definition of drama as a mimesis of the movement towards self-knowledge as rebirth. It is described as a variation of the original spring dance in honour of the regeneration of life represented in the figure of the twice-born Dionysus. Anthropologists whose contribution to the theory of drama has been acknowledged are Jane Harrison, Gilbert Murray, Arnold Van Genep, Joseph Campbell and Victor Turner.

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Hutcheson, Maury. "Memory, Mimesis, and Narrative in the K'iche' Mayan Serpent Dance of Joyabaj, Guatemala." Comparative Studies in Society and History 51, no. 4 (September 17, 2009): 865–95. http://dx.doi.org/10.1017/s0010417509990168.

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It seemed to me a simple question. “What happens in this dance-drama? What is the storyline, the narrative?” I am met by puzzlement. The dancer explains that each such dance has its own set of instruments, its own special costumes and masks. For this one they use a simple, one-man marimba and the costumes come from the nearby town of Chichicastenango.

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Matsue, Jennifer Milioto, Susan M. Asai, and Alison McQueen Tokita. "Nomai Dance Drama: A Surviving Spirit of Medieval Japan." Yearbook for Traditional Music 33 (2001): 177. http://dx.doi.org/10.2307/1519649.

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Harnish, David, and Wayne Vitale. "Music of the Gambuh Theater: Bali's Ancient Dance Drama." Yearbook for Traditional Music 33 (2001): 207. http://dx.doi.org/10.2307/1519680.

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Coaldrake, Kimi, Susan M. Asai, and Alison McQueen Tokita. "Nomai Dance Drama: A Surviving Spirit of Medieval Japan." Ethnomusicology 46, no. 3 (2002): 560. http://dx.doi.org/10.2307/852726.

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Zile, Judy Van. "Nomai Dance Drama: A Surviving Spirit of Medieval Japan." American Ethnologist 27, no. 3 (August 2000): 778–79. http://dx.doi.org/10.1525/ae.2000.27.3.778.

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Spalva, Rita. "Dance in Ancient Greek Culture." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 9, 2015): 451. http://dx.doi.org/10.17770/sie2012vol2.523.

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The greatness and harmony of ancient Greece has had an impact upon the development of the Western European culture to this day. The ancient Greek culture has influenced contemporary literature genres and systems of philosophy, principles of architecture, sculpture and drama and has formed basis for such sciences as astronomy and mathematics. The art of ancient Greece with its penchant for beauty and clarity has been the example of the humanity’s search for an aesthetic ideal. Despite only being preserved in its fragments, the dance of ancient Greece has become an example worthy of imitation in the development of classical dance as well as the 20th century modern dance, inspired by the notions of antique dance by Isadora Duncan. Research in antique dance helps sunderstand the historical relationships in dance ontology, axiology and anthropology.

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Odom, Selma Landen. "Travel and Translation in the Dance Writings of Beryl de Zoete." Dance Research Journal 38, no. 1-2 (2006): 76–86. http://dx.doi.org/10.1017/s014976770000735x.

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Around the time Marcia Siegel's dance writing career began, an important predecessor's ended with the death in 1962 of Beryl de Zoete, critic and ethnologist. Of Dutch descent, de Zoete was born in London in 1879 into a family of brokers whose name still figures prominently on the British stock exchange. Traveling independently, using her gifts for meeting people and learning languages, she wrote three unprecedented ethnographies, beginning with the book she produced with Walter Spies, Dance and Drama in Bali (1938), and followed by The Other Mind: A Study of Dance in South India (1953) and Dance and Magic Drama in Ceylon (1957). From the late 1920s through the mid-1950s, de Zoete also published many articles on her encounters with European dance and music, and her reviews of performances and books appeared regularly in newspapers, most notably in the influential weekly New Statesman and Nation. After she died, her friend Arthur Waley completed her planned collection of short pieces, The Thunder and the Freshness (1963), titled after poet John Keats's description of a waterfall. This image evoked, for her, the sound of dance drumming before dawn.In this talk, I sketch de Zoete's life and begin to think about how she worked as a writer. As part of my doctoral research, I investigated her connections with Dalcroze Eurhythmies, which teaches music through movement and improvisation. I also draw on previous work by Margaret Dale, who remembers de Zoete's visits to Sadler's Wells Ballet rehearsals in the 1940s and later consulted her about presenting Sinhalese dance on BBC television.

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Borbáth, Katalin. "Circle Dance and Dance Therapy for Talented Children with Disadvantages and Special Needs." Tánc és Nevelés 2, no. 1 (February 28, 2021): 135–47. http://dx.doi.org/10.46819/tn.2.1.135-147.

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At the meeting points of different cultures, a unique quality is born. That is what we can experience when sacred round dance, dance therapy, and talent development meet and overlap. The study aims to present a project operated by the Budapest 10th district Educational Consultant Team with the support of the Hungarian National Talent Program. The program, named Square-Dance-Theatre-Scene, was started as an experiment, integrating 12–14-year-old students, including psychologists, drama experts, art therapists, dance therapists, and dance teachers. In the paper, a sacred dance therapeutic workshop is described and analyzed, which was a part of this broader talent management program. The workshop was preceded by an outline of the underlying tripartite theoretical background: The sacred dance workshop’s group dynamics are analyzed with dance and movement therapy methods. The archaic roots of sacred dance related to the therapeutic approach are also displayed. Finally, a SWOT-type summary of the work process is given, including both the project’s strengths and weaknesses.

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Westlake, E. J. "El Güegüence, post-Sandinista Nicaragua, and the Resistant Politics of Dancing." Congress on Research in Dance Conference Proceedings 2011 (2011): 58–64. http://dx.doi.org/10.1017/s0149767711000301.

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Folk dance fulfills a particular function in the survival of communal memory. Community history and identity live through the animated body. But in the case of El Güegüence, Nicaragua's hybrid Spanish-Nahuatl dance-drama, many feel it is a contested tradition with a contested set of significations. Within that contestation, communal memory is fractured and ruptured in ways that produce a unique and dynamic discourse.In this paper, I will focus on Irene López's reworking of El Güegüence as the dance piece El Gran picaro. López has been criticized for altering the “authentic” dance tradition, a criticism she answers by pointing out that the original dance was lost when only the artifact of the dramatic text was preserved. López's reworking functions as collective memory and as an act of restored tradition, an invention meant to stand in for the original as faithfully as the inventor can imagine.I will also examine the redeployment of El Güegüence by groups who have embraced the figure and the act of dancing the masked drama as an expression of the subaltern, the marginalized, and the closeted minority identities within the context of the national culture, specifically Grupo Relajo, with its playful workshops built around the popular story. Ultimately, El Güegüence represents an artifact of the erasure of dance and, by extension, the indigenous body. Both López and Grupo Relajo, through their staging, resurrect the body of the indigenous Other and create a vehicle for the body to move in resistance to such erasure.

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Ivić, Milica, and Igor Koruga. "Archiving the contemporary art of dance in Serbia: Issues with institutionalization, or on betraying the ‘Independence’ of the local dance scene." Maska 32, no. 183 (June 1, 2017): 45–68. http://dx.doi.org/10.1386/maska.32.183-184.45_1.

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After models that have been used so far on the local dance scene, there is a hybrid area of research that stood out in the vast field of research – the question of the institutional status/position of contemporary dance as an art practice, or in an even broader sense – a world of art, whose core value and political position in relation to the local scene was explicitly described as independent from institutions of art and culture. Our research into this issue was based mainly in interviewing eight independent choreographers who have worked with local institutions of dance and drama, primarily through artistic collaborations with directors of institutional drama theatres; we also gathered information in informal talks with other stakeholders in the performing arts. By juxtaposing a theoretical model of institutionalization of each art practice against a hybrid area of research such as this one, this text provides a very brief overview of all these issues as well as the discoveries and dilemmas that we came across during our research.

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Kothari, Saroj. "EFFECTS OF DANCE AND MUSIC THERAPY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–8. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3389.

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Arts have consistently been part of life as well as healing throughout the history of humankind. Today, expressive therapies have an increasingly recognized role in mental health, rehabilitation and medicine. The expressive therapies are defined as the use of art, music, dance/movement drama, poetry/creative writing, play and sand play within the context of psychotherapy, counseling, rehabilitation or health care.Through the centuries, the healing nature of these expressive therapies has been primarily reported in anecdotes that describe a way of restoring wholeness to a person struggling with either mind or body illness. The Egyptians are reported to have encouraged people with mental illness to engage in artistic activity (Fleshman & Fryrear, 1981); the Greeks used drama and music for its reparative properties (Gladding, 1992); and the story of King Saul in the Bible describes music’s calming attributes. Later, in Europe during the Renaissance, English physician and writer Robert Burton theorized that imagination played a role in health and well-being, while Italian philosopher de feltre proposed that dance and Play was central to children’s healthy growth and development (Coughlin, 1990).

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Rahman, Munjulika. "Price of Gold and Light: Power and Politics in Hey Ananta Punya." Congress on Research in Dance Conference Proceedings 2011 (2011): 29–34. http://dx.doi.org/10.1017/s014976771100026x.

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Hey Ananta Punya, a dance-drama adapted and choreographed by the Bangladeshi choreographer Warda Rihab was performed in Kolkata, India, in December 2009. Rihab plays the main character Srimoti, a dancer at the court of King Ajatashatru. Srimoti embraces Buddhism but is not allowed to practice since Ajatashatru decrees Hinduism to be the state religion. In the narrative, Hinduism, the predominant religion of India, represses Buddhism, which is a minority religion in the subcontinent. Even though on the surface the dance-drama deals with Hinduism and Buddhism, the performance is complicated by the knowledge that the choreographer and most of the performers are Bangladeshi Muslims. In the context of Hindu-Muslim conflicts and India's political and economic hegemony in South Asia, the performance can be considered as a critique of India's policies. In considering the choreographer's background and the dance-drama's narrative, aesthetics, and location of performance, I analyze the various structures of power that a Bangladeshi female choreographer operates within during her training and performance in India. Hey Ananta Punya is significant because it points to the complex web of issues involving politics, history, and religion that have been a part of dance in Bangladesh for the past few decades because of India's influence in the field, particularly through Indian-government scholarships for advanced dance training. In the paper, I use Michel Foucault's theory of power as systems of interrelated networks and knowledge as a system of power to show how dance as a form of embodied knowledge can function as a tool in shaping, disseminating, and expressing ideology.

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Zahidi, M. Syaprin. "KSCC dan Diplomasi Budaya Korea." Insignia Journal of International Relations 3, no. 01 (April 15, 2016): 44. http://dx.doi.org/10.20884/1.ins.2016.3.01.467.

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AbstrakEkspansi Budaya Republik Korea yang biasa disebut sebagai Hallyu benar-benar bisa dikatakan menunjukkan hasil yang signifikan di Indonesia. Signifikansi dari ekspansi budaya Republik Korea itu dapat dilihat pada menjamurnya komunitas-komunitas Korea yang dibentuk di beberapa kota di Indonesia seperti Running Man Lovers, Forever Dance center Jakarta (FDC Kpop dance cover), UI Hangugo Dongari dan masih banyak yang lainnya. Dalam Penelitian ini Peneliti Melihat bahwa Republik Korea menggunakan segala sumber dayanya untuk melakukan ekspansi budaya di Indonesia antara lain melalui pameran budaya yang dilakukan oleh Pusat Kebudayaan Korea di Indonesia (KCC), Drama-drama korea yang ditayangkan di Stasiun TV Indonesia dan masih banyak lagi. Di kota Malang sendiri peneli-ti menyimpulkan kesuksesan Diplomasi Budaya Repubik Korea tersebut dapat dilihat dari terbentuknya komunitas korea di kota Malang yaitu Korean Studies and Culture Center (KSCC)Kata-kata Kunci : Diplomasi Budaya, Komunitas Korea, KSCC AbstractCultural expansion of Korean Republic namely Hallyu show the significance result in Indonesia. We can see the sig-nificance result of Cultural expansion form Korean Republic form many korean community which established in In-donesia like Running Man Lovers, Forever Dance Center Jakarta (FDC Kpop dance cover), UI Hangugo Dongari and others. in others word Korean Republic has used all of their capacity to expans their culture in Indonesia through Ko-rean cultural exhibition organized by Korean Cultural Center in Indonesia, Korean Drama which show by tv chanel in Indonesia and many others. In Malang City the successfull of Cultural Diplomacy form Korean Republic marked by the forming of Korean Studies and Culture Center (KSCC).Key Words : Cultural Diplomacy, Korean Community, KSCC

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Nurwani. "The Reconstruction of Ratok Bawak to Ratok Laher Pangulu Drama: Sentimental Study." Britain International of Linguistics Arts and Education (BIoLAE) Journal 1, no. 2 (November 23, 2019): 142–52. http://dx.doi.org/10.33258/biolae.v1i2.75.

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This study aims to look at the sentimental values contained in the drama of Ratok Lareh Pangulu dance drama. Rokok Lareh Pangulu is an embodiment of ratok bawak. As a form of reconstructive Ratok Bawak, the substance, character, contents, points and essence of Ratok Lareh Pangulu dance drama are closely related to the sentimental feelings of the wives and the community when they lose Pengulu, as is the case with Ratok Bawak. Sentimentil are things that are involves feelings, feeling subtle, and easily moved. In order to know the sentimental sense in Ratok Lareh Pangulu as a form of transformation of Ratok Bawak, sentimental theory is used according to Cliford Geertz. The research method was conducted using qualitative methods including literature review, observation, interviews, and documentation. Documentation is done by reconstructing the lamenting culture. The creation of works begins with pondering and interpreting, reinterpreting, exploring, improvising and forming. In Ratok Lareh Pangulu drama, there is a sentimental sense born of emotions built from individuals placed together in Ratok Lareh Pangulu. Fear of the risk felt by the mother and wife of Penghulu has to do with mental, scientific, occupational, and material matters. Desperation because losing the closest person is something sad and frightening. Sentimentality also relates to the enjoyment of victory.

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Kasyanova, Olena. ""Dance щf The Seven Veils" Based щn Oscar Wilde's Drama "Salome" In The Director's Interpretation щf The Modern Era." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 117–32. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233140.

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The urgency to address to the theme of Salome in conditions of postmodern culture is considered. Some attempts are made to read anew and rethink it in the era of current information technology. Attention is paid to the peculiarities of the interpretation of the image of Salome and the "Dance of the Seven Veils" in the iconographic sources of the 12th – early 21st centuries through the prism of the aesthetics of certain era aimed to find artistic means of expression. An overview of the reflection of the event at the feast of Tetrarch Herod in the Gospel of Matthew and Mark. The content of the young princess's fateful dance, which led to irreparable tragic consequences — the beheading of John the Baptist. The necessity of using the concept of different branches of knowledge in order to establish a holistic picture of the development of events in this scene is proved. The sources that inspired O. Wilde to create the drama "Salome" are identified. The peculiarities of artistic interpretations of the image of the princess by the writer S. Mallarme and the artist G. Moreau are reflected in the article, in addition, the author showed the difference in the interpretation in the author's concept by O. Wilde. The stage version of "Salome" of 1902, directed by M. Reinhardt, is analyzed, the master's innovative approaches to the embodiment of dance are singled out against the background of the original scenography solution of M. Krause and L. Corinth, which became an aesthetic discovery in theatrical art of the modern era. Peculiarities of interpretation of Salome's dance based on O. Wilde's drama to O. Glazunov's music, with L. Bakst's decoration, M. Fokin's choreography, which continued modern experiments on the stage embodiment of the said work, are revealed. Priorities are set by dance director M. Fokin to work with iconographic sources, artistic design of the issue over the analysis of his musical drama. The results of the choreographer's search for new, relevant to the modern era, means of stage expression, their non-standard, bold combination to create an original version of the artistic and holistic spectacle are outlined. The influence of innovative discoveries of M. Reinhardt, V. Meyerhold and M. Fokin on further dance interpretations in R. Strauss's opera "Salome"

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Brenneis, Donald, and Bonnie C. Wade. "Performing Arts in India: Essays on Music, Dance and Drama." Asian Folklore Studies 44, no. 1 (1985): 146. http://dx.doi.org/10.2307/1177999.

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Rath, Eric C. "Nomai Dance Drama: A Surviving Spirit of Medieval Japan (review)." Asian Theatre Journal 19, no. 1 (2002): 233–35. http://dx.doi.org/10.1353/atj.2002.0011.

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Pauka, Kirstin, Ivana Askovic, and Barbara Polk. "Umbuik Mudo and the Magic Flute: A Randai Dance-Drama." Asian Theatre Journal 20, no. 2 (2003): 113–46. http://dx.doi.org/10.1353/atj.2003.0025.

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Cravath, Paul. "The Ritual Origins of the Classical Dance Drama of Cambodia." Asian Theatre Journal 3, no. 2 (1986): 179. http://dx.doi.org/10.2307/1124400.

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Zarrilli, Phillip, and Bonnie C. Wade. "Performing Arts in India: Essays on Music, Dance, and Drama." Asian Theatre Journal 3, no. 1 (1986): 132. http://dx.doi.org/10.2307/1124585.

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Perlman, Marc. "Music of the Gambuh Theater: Bali's Ancient Dance Drama (review)." Asian Music 36, no. 2 (2005): 120–25. http://dx.doi.org/10.1353/amu.2005.0021.

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Ryan, Patrick. "Using Traditional English Ritual Dance and Drama in the Classroom." Gifted Child Today Magazine 12, no. 3 (May 1989): 10–12. http://dx.doi.org/10.1177/107621758901200304.

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Journal articles on the topic 'Dance-drama'

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