To see the other types of publications on this topic, follow the link: Dance event.
Journal articles on the topic 'Dance event'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Dance event.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Krisnasari, Bening. "Keberagaman Busana Tari Gambyong: Konstruksi Sosial pada Busana Tari Gambyong di Yogyakarta." INVENSI 8, no. 1 (February 23, 2023): 31–41. http://dx.doi.org/10.24821/invensi.v8i1.7100.
Full textAbstract:
Tari Gambyong awalnya merupakan tari tunggal putri yang termasuk dalam tari tradisi gaya Surakarta. Pada perkembangannya, tari tunggal ini dapat ditarikan secara berkelompok, sehingga bisa menyesuaikan keinginan konsumen atau pun penyelenggara acara mengenai jumlah penari yang akan menarikannya. Tari Gambyong sering dijadikan sebagai pentas paket para seniman karena tari Gambyong sering ditarikan untuk pembukaan sebuah acara seperti gala dinner, penyambutan tamu, dan sebagainya. Maka tari Gambyong dapat digolongkan sebagai pertunjukan komersial karena dapat dipentaskan di acara besar maupun kecil. Karena sering dipentaskan pada berbagai acara, permintaan pada busana tari Gambyong pun bermacam-macam untuk menyesuaikan bentuk acara, sehingga terjadi keberagaman bentuk busana tari Gambyong pada masa kini. Artikel ini secara khusus membahas keberagaman bentuk busana tari Gambyong masa kini yang dipengaruhi oleh realita sosial, baik secara sengaja maupun tidak sengaja. Diversity of Gambyong Dance Dress: Social Construction on Gambyong Dance Dress in Yogyakarta Abstract Gambyong dance was originally a women's singles dance which was included in the Surakarta style traditional dance. In its development, this single dance can be danced in groups, so that it can adjust the wishes of consumers or event organizers regarding how many dancers will dance it. The Gambyong dance is often used as a stage for artists' packages because the Gambyong dance is often danced for the opening of an event such as a gala dinner, welcoming guests, and so on. So, the Gambyong dance can be classified as a commercial performance because it can be performed at both big and small events. Dances are often staged at various events, the demand for the Gambyong Dance dress also varies because it adjusts to the form of the event, so that there is a diversity of forms of the Gambyong dance dress today. This article specifically discusses the diversity of forms of contemporary Gambyong dance dress that are influenced by social reality, both intentionally and unintentionally.
2
Bauana, Agnes Emalisa. "Hermeneutic Study: The Meaning of Lyric From Kebalai Singing In Rote Ndao Society." Jurnal Seni Musik 11, no. 2 (December 31, 2022): 199–205. http://dx.doi.org/10.15294/jsm.v11i2.54004.
Full textAbstract:
Traditional art through music, dance and even traditional rituals becomes a symbol and identity of the community because it is a reflection of collective thoughts and also regional solidarity. Kebalai is a dance danced by the people of Rote and is very famous. The kebalai does not only contain dances but also songs in the form of rhymes which are performed together in every event, from big events such as when. The poetry uses the Rote regional language and the meaning of each song is different. This makes researchers interested in looking at oral literature through the songs from the balai and efforts to document the meaning of the poem from the kebalai entitled "Susue Lain" which means brotherly love. This study uses a hermeneutic study according to Ricoeur. The research method uses qualitative methods and literature studies, data collection techniques. Data collection in this study is by observing and unstructured interviews. The results of the Kebalai research are a dance that is often danced together by the people of Rote, in every event or activity that exists. The conclusion in this study is that Kebalai is a performing art, which in the way of interpreting it uses poetry to convey messages.
3
Fiskvik, Anne Margrete. "Tracing the Achievements of Augusta Johannesén, 1880–1895." Nordic Journal of Dance 5, no. 2 (December 1, 2014): 4–21. http://dx.doi.org/10.2478/njd-2014-0007.
Full textAbstract:
Abstract Dancer, choreographer and teacher Augusta Johannesén was an important figure in several capacities for Nordic theatrical dance. She danced, taught and choreographed in Sweden, Finland as well as in Russia. Between 1860-1878 she was a member of the so-called Johannensénske Balletselskab, which toured extensively in the Nordic countries. The Johannesénske family settled in the Norwegian capital Kristiania in 1880, and Augusta Johannesén slowly established herself as a professional dance artist at the most important theatres in Kristiania. Over the years she became a dancer, choreographer and teacher of great significance, and her contribution to the development of Norwegian theatre dance cannot be overestimated. She was active as dancer well into the 1910’s and “arranger of dance” up until she died in 1926. As a ballet teacher, she trained hundreds of dancers, including several of those who later went on to play a role in the Norwegian dance- and theatre scene. In many ways, Augusta Johannesén is representative of a versatile dancer that can be found on many European stages, the versatile ballet dancer that was also typical of the Nordic dance scene around the “fin de siècle”. She typically also struggled with stereotypical notion of the “ballerina”. This article focuses on only a part of her career, her first fifteen years in Norway. Between 1880 and 1895 she established herself in Kristiania, dancing at the Christiania Theater and later at the Eldorado. The article also forefront an especially important event in Norwegian Nordic dance history instigated by Johannesén: The establishment of a “Ny Norsk Ballet” (“New Norwegian Ballet”) at the Eldorado theatre in Kristiania in 1892. This is probably the very first attempt at creating a professional ballet company in Norway, and Augusta Johannesén’s contribution is only one of many ways she made a difference to professional theatre dance in Norway.
4
Tulk, Janice Esther. "Children’s Dances at First Nation Powwows in Atlantic Canada." Ethnologies 37, no. 2 (October 18, 2017): 29–52. http://dx.doi.org/10.7202/1041487ar.
Full textAbstract:
In this article, based on ethnographic research conducted at Mi’kmaw powwows throughout Atlantic Canada between 2004 and 2010, I will begin to address the lacuna in literature on First Nation children’s dances. I will describe the various children’s dances observed at powwows in Eastern Canada, as well as songs that are specifically used for children’s dances, contextualizing them within the traditional powwow event and in relation to emcee stage talk. I will also illuminate the socio-cultural functions of children’s dance at powwows and the relationship between dance and play. Finally, by focussing specifically on the living dance tradition of Mi’kmaq at cultural events in the Atlantic provinces, I will elucidate some of the forces that act upon informal culture, shaping and re-shaping it through time. This approach will highlight the relationship between popular culture and tradition in this context, revealing the emergent nature of lived traditions.
5
Noble, Katie, Donald Glowinski, Helen Murphy, Corinne Jola, Phil McAleer, Nikhil Darshane, Kedzie Penfield, Sandhiya Kalyanasundaram, Antonio Camurri, and Frank E. Pollick. "Event Segmentation and Biological Motion Perception in Watching Dance." Art & Perception 2, no. 1-2 (2014): 59–74. http://dx.doi.org/10.1163/22134913-00002011.
Full textAbstract:
We used a combination of behavioral, computational vision and fMRI methods to examine human brain activity while viewing a 386 s video of a solo Bharatanatyam dance. A computational analysis provided us with a Motion Index (MI) quantifying the silhouette motion of the dancer throughout the dance. A behavioral analysis using 30 naïve observers provided us with the time points where observers were most likely to report event boundaries where one movement segment ended and another began. These behavioral and computational data were used to interpret the brain activity of a different set of 11 naïve observers who viewed the dance video while brain activity was measured using fMRI. Results showed that the Motion Index related to brain activity in a single cluster in the right Inferior Temporal Gyrus (ITG) in the vicinity of the Extrastriate Body Area (EBA). Perception of event boundaries in the video was related to the BA44 region of right Inferior Frontal Gyrus as well as extensive clusters of bilateral activity in the Inferior Occipital Gyrus which extended in the right hemisphere towards the posterior Superior Temporal Sulcus (pSTS).
6
Niza, Niza Vayatul, and Yusnizar Heniwaty. "EKSISTENSI TARI POH KIPAH PADA MASYARAKAT LHOKSEUMAWE." Gesture : Jurnal Seni Tari 7, no. 2 (January 8, 2019): 59. http://dx.doi.org/10.24114/senitari.v7i2.13305.
Full textAbstract:
ABSTRACT This study is a study of the existence of Poh Kipah dance in Lhokseumawe community. In this discussion using the theories relating to the topic of research is the theory of existence.The method used in this research is qualitative research method. The population in this study as well as a research sample of artists and dancers. Data collection techniques include literature study, interview, observation, and documentation.Based on the research that has been done, the existence of Poh Kipah dance which is seen from three time span, first from 1959-1979, Poh Kipah dance at this time become the beginning of the show performed as entertainment on the implementation to commemorate the Prophet's Maulid and the Circumcision. Where in the past this dance only has some movements such as hitting the fan into the palm of the hand, tapping the fan handle to the floor palm. Music accompaniment using internal music in the form of poetry in chant by syeh and in addition to the fan tap. The pattern of the floor from the beginning of entry has been sitting on the stage, with male dancers who numbered eight or the whole peoples, the clothing was only wearing bay clothing and wearing a cap, where in the dance held in the field and on the yard of the mosque, the purpose of dance Inn as an entertainment event at the Prophet's Maulid event. Second from 1979-1999, Poh Kipah dance in this period nothing changed from its existence in because at this time there is no data or documents that are clear for this dance performance. Third 1999-present, in this period the existence of this dance has undergone several changes that can be seen from the addition of varied motion, the music has been changed with the addition of musical instruments serune kale and rapai, in the composition of the accompaniment, from the side of the dancer has included a female dancer In the composition of the dance, this event is still still encountered in the entertainment event Prophet's Maulid and Circumcision but now we have found also in festivals, and Culture Week of Aceh. Keywords: Existence, Poh Kipah Dance In Lhokseumawe Society.
7
Rosalina, Venny, and Fabio Yuda. "KAJIAN KRITIS TERHADAP PESERTA LOMBA FLS2N CABANG TARI TINGKAT SMP TAHUN 2019 DI PROVINSI SUMATERA BARAT." Melayu Arts and Performance Journal 3, no. 1 (April 1, 2020): 27. http://dx.doi.org/10.26887/mapj.v3i1.1340.
Full textAbstract:
FLS2N is one of the most prestigious competency events in the West Sumatra region. The event provided a platform to continue to hone creativity and develop West Sumatra typical dances. Traditional Minangkabau values are one of the creative sources in packaging the dances that are presented in the competition stems at FLS2N. This study aims to analyze the extent to which the development of dance offerings in dance competition participants in West Sumatra Province. The focus of this research is the winners of the junior high school dance branch in 2019 in West Sumatra Province. This research is a qualitative research with a case study approach, with data collected through direct observation and interview techniques. The results of the study show that seen from critical fist, the dance performances of the winners of the competition at the West Sumatra Province level in 2019 still use motion patterns that tend to repeat old styles and forms. That is, choreologically, it tends not to be well developed. Meanwhile, there is still a tendency for many dance numbers to give less space to female dancers. It is an unfortunate fact that considering history shows that in fact female choreographers were the developers of contemporary Minangkabau dance
8
Gusmail, Sabri, Fifie Febryanti Sukman, and Prasika Dewi Nugra. "Saman dan Bines : Pertemuan Tari Tradisi Pada Peristiwa Budaya Bejamu Saman di Gayo Lues, Aceh." Journal of Education, Humaniora and Social Sciences (JEHSS) 3, no. 2 (December 2, 2020): 658–70. http://dx.doi.org/10.34007/jehss.v3i2.392.
Full textAbstract:
Saman and Bines dance is a traditional art from Gayo Lues, a very inherent existence in the supporting community as a dance that is specifically danced by men for Saman and women for Bines. In this article, the author describes the presentation of the arts at the Bejamu Saman cultural event. As a cultural heritage, the presentation of Saman and Bines in Bejamu Saman activities is the focus of research, how to present Saman and Bines in Bejamu Saman cultural events. This research uses qualitative methods, namely data that has been collected in the field regarding the Saman and Bines dance on Bejamu Saman activities and other data related to the object and focus of the research. The data obtained were then analyzed descriptively-analytically with a textual analysis approach. The purpose of this research was to describe the presentation form of the Saman and Bines dance in Bejamu Saman activities. So that the results of this research can be used as supporting material in future Saman and Bines dance research. Understand the differences in the presentation of Saman and Bines as a spectacle and or as a series of cultural activities. Obtain information related to Bejamu Saman, a cultural event of the Gayo Lues community that represents the social identity of the Gayo Lues community in a reflection of the nation's character.
9
Hanif, Muhammad Hanif, and I. Gusti Agung Gede Arya Kadyanan. "Building TariPedia App as A Typical Balinese Performance Encyclopedia on Mobile Device Platform." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 8, no. 2 (January 8, 2020): 163. http://dx.doi.org/10.24843/jlk.2019.v08.i02.p08.
Full textAbstract:
Indonesia is a country with a variety of cultures and arts. Traditional art dance is one of Indonesia's arts which is one of the important aspects in supporting Indonesian culture and even tourism. Traditional dance has a special attraction to be enjoyed while staying in the midst of rapid development. Therefore, the writer makes a market application that connects the studios, dance groups, and dancers with traditional dancer tenants. TariPedia makes it easy for studio owners, service providers, and event organizers to market their services so that they can be more easily reached by the public and can increase sales of their services with the payment feature through the application. Therefore by developing TariPedia with Prototyping Method and Java Language in its development, TariPedia will continue facilitates the community, especially in the fields of traditional dance and at the same time modernizing regional arts.
10
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.
Full textAbstract:
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?
11
Petac, Silvestru. "Jocul Satului în comuna Mociu. Note pe marginea unui interviu etnocoreologic." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 95–111. http://dx.doi.org/10.47802/amet.2016.30.07.
Full textAbstract:
An event considered profane in the traditional Romanian village, the village dance is still little studied even today, despite the importance the event has had for the traditional socio-cultural life. In connection with an ethno-choreological interview, the paper aims to highlight some of the issues that we considered relevant to understanding the network of social and cultural significations surrounding the event - as it occured until the establishment of collectivization in a small ethnographic area (around Mociu village). In this respect, the paper discusses rules, prohibitions and customs governing the event; the connection between the establishment of communism and the disappearance of the event discussed here; the repertoire that was performed at the village dance and some observations on premarital importance of the village dance.
12
Filippidou, Eleni, Maria Koutsouba, Vassiliki Lalioti, and Vassilis Lantzos. "The Construction of National Identity through Cybernetic Process: The Example of “K’na” Dance Event in Greek and Turkish Thrace." European Review Of Applied Sociology 12, no. 18 (June 1, 2019): 13–31. http://dx.doi.org/10.1515/eras-2019-0002.
Full textAbstract:
AbstractThe research field of this paper is the area of Thrace, a large geopolitical-cultural unit that was divided – due to political reasons – in three subareas distributed among three different countries: Bulgaria, Turkey and Greece. A dance event that used to take place before the border demarcation but is still performed in the Greek and Turkish Thrace is that of “K’na”, a wedding dance event danced by the people of both border areas, despite of the changes in their magical-religious beliefs and the changes brought by socio-economic and cultural development. In particular, the aim of this paper is the study of the “construction” of the national identity of inhabitants both of Greek and Turkish Thrace, as this is manifested through the dance practice within the wedding event of “K’na”, through the lens of sociocybernetics. Data was gathered through ethnographic method as this is applied to the study of dance, while its interpretation was based on sociocybernetics according to Burke’s identity control theory. From the data analysis, it is showed that the “K’na” dance in Greek and Turkish Thrace constructs and reconstructs the national identity of the people who use them as a response to the messages they receive via the communication with “the national others”. In conclusion, the “construction” of the identity results from a continuous procedure of self-regulation and self-control through a cybernetic sequence of steps.
13
Effrata, Effrata, and Tresia Kristiana. "Role of The Local Government in The Preservation Wadian Dadas of Ritual in The East Kalimantan Barito Regency of Central Province." International Journal of Multi Discipline Science (IJ-MDS) 1, no. 2 (April 25, 2018): 153. http://dx.doi.org/10.26737/ij-mds.v1i1.437.
Full textAbstract:
<em>This research is about the role of local government in the effort to preserve the cultural customs that exist in the life of the Dayak people who Ma'anyan live in areas along the Barito river in East Barito regency. Wadian Dadas is one of the means of ceremonies in the field of traditional medicine in Ma'anyan Dayak tribe community in Central Kalimantan Province. That said, Wadian dadas originally Obtained through the inspiration Obtained by a woman named Ineh Ngundri Mountains. The woman is inspired to perform the duties of a god to heal a person or what is commanded by God. This woman is the first Wadian and is a messenger of gods embodied in the form of an eagle, then Wadian will be continued by the next Descendants. This study used descriptive qualitative method. Data collection techniques were conducted by primary and secondary collecting the data through interviews and observations with resource persons, for secondary Data Obtained from history books and documents belonging to the village government. The results Showed that Wadian Dadas originally for the healing rituals of the sick who started with the preparation of offerings, to perform the healing ritual by involving Wadian (shaman) is very trusted by the Dayak community Ma'anyan. Wadians in Ma'anyan Dayak community have now developed into Wadian Dadas Dances. Dadas Wadian dance begins with dances performed in the process of traditional medicine performed by Wadian. In the early 1980s Wadian dadas was known by some so that Wadian dadas the which originally served as a ritual ceremony medication Became an inspiration for the appearance of the dance Wadian Dadas. Dadas Wadian dance is one of the traditional dances. This dance is unique in its simple and energetic motion, the which has deep meaning and is Often presented in traditional events of Central Kalimantan. In the beginning this dance is performed with the excuse to get healed and free from evil spirits cause disease. The findings of this study are as the times progress, this dance is also presented at the event of welcoming and marriage. But there are still many people of Indonesia, even the citizens of Borneo who have not understood and are reluctant to desire to preserve this traditional dance. Dadas Wadian magical dance contains high value Because in every movement contains meaning, even in movement there is a spell pronunciation.</em>
14
Filipov, Milen. "Who Buys the Amsterdam Dance Event?" Event Management 23, no. 6 (December 6, 2019): 953–58. http://dx.doi.org/10.3727/152599519x15506259856426.
Full textAbstract:
The purpose of the research was to examine the profile of the national Amsterdam Dance Event (ADE) visitor. It explored the demographic profile, the buying behavior, the communication activity, and the motivators behind visiting ADE. A quantitative methodology was employed using a convenience sampling method. The research applied an online survey and research literature methodology. Dutch ADE visitors received an active link to the online survey. It was designed in https://surveyplanet. com and distributed via Facebook. The researchers set a 95% confidence level and a margin of error of 10%. Thus, the sample size was calculated as 96 respondents out of 285,000 Dutch ADE visitors for 2016. A total number of 104 (male n = 53, female n = 51) fully completed surveys were returned. Overall, the profile of the ADE visitors of ADE were young people (aged 22–29), predominantly single or in a relationship who attended ADE more than once. They were active communicators on social media before, during, and after the ADE. The ADE visitors' main reasons to attend the festival were the opportunities to experience electronic music in the company of friends, to meet like-minded people, and express themselves. They were primarily students or working people with a medium level of disposable income. They were price sensitive both on tickets and on-site spending. The primary limitation researchers faced was the lack of funding. It affected the research strategy, access to up-to-date industry reports, and the representativeness of the research. However, the study is the first to try to explore the buyer person of the Amsterdam Dance Event.
15
Humphreys, Margaret. "The Dance Event in Ethnographic Perspective." Folk Life 44, no. 1 (January 2005): 110–28. http://dx.doi.org/10.1179/flk.2005.44.1.110.
Full text
16
Humphreys, Margaret. "The Dance Event in Ethnographic Perspective." Folk Life - Journal of Ethnological Studies 44, no. 1 (January 1, 2005): 110–28. http://dx.doi.org/10.1179/043087705798236948.
Full text
17
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.
Full textAbstract:
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.
18
ARGAN, METIN, SABRI KAYA, CANER OZGEN, GOZDE YETIM, and ALIKHAN GUSEYNO. "A look at the bright side of dance: Analysis of the relationship between dance experience, experience quality, satisfaction and word of mouth." Baltic Journal of Health and Physical Activity 13, no. 2 (June 30, 2021): 93–104. http://dx.doi.org/10.29359/bjhpa.13.2.09.
Full textAbstract:
Background: Leisure experience, including dance motivation, is one of the key factors for participation in dance events or festivals. Therefore, the experience quality that facilitates individual relationships is likely to influence the dancers’ participation. The purpose of this study is to determine and to analyze dance experience motivations, experience quality, satisfaction and word-of-mouth. Material and methods: The sample of this study consisted of 201 persons who attended the Turkey Dance Festival and who were selected by the convenience sampling method. In this study, the theoretical principles of structural equation modeling (SEM) were applied with the Amos 20 program to analyze the data. Results: The results showed that there were significant relationships (<0.05) between dance experience motivations, experience quality, satisfaction and WOM. This study results are important both as significant and practical implication for leisure managers’ strategies regarding their leisure and experience motivation, and contribution to the leisure literature. Conclusions: The findings of this study can help event managers contribute to increased participation in sustainable dance practices, and the participant-based experience value can be used as a planning tool to attract the attention of event organizers. The findings of this study also give useful insights into theoretical, practical and managerial implications for dance event organization and provide suggestions for future research.
19
Rosalina, Venny, Gustia Arini E, and Herlinda Mansyur. "Phenomences of Dance Competition Winners at the FLS2N Event in West Sumatera Province (the Study of the Result of Extracurricular Program)." Digital Press Social Sciences and Humanities 6 (2020): 00003. http://dx.doi.org/10.29037/digitalpress.46369.
Full textAbstract:
The phenomenon of the development of dance in West Sumatra always has a shift in accordance with the influence of the times and cultural demands. This can be proven through the most prestigious annual dance event in Indonesia, namely FLS2N. This event proves how the development of dance at the youth level every year. Dance Extracurricular Activities as Non-Formal Education are the main forum for fostering creativity and instilling Minangkabau values in a dance movement. Dance education from adolescence must be implemented in maintaining the values and successors of the next generation so as not to erode the cultural values that exist in Minangkabau. This study aims to analyze the extent to which the development of dance at the school level. See how the efforts and development of dance in the learning room to attend the annual event. The shift in the past few years has resulted in female dancers no longer getting a place in the event because they are considered the work that was born violating cultural norms. Looking at the history of the development of Minangkabau dance, women are actually the most influential people in the development of Minangkabau dance.
20
Lee, Seung-hun, and Mi-sun Kim. "Analysis of inter-rater agreement of latin american and modern dance sport." Korean Journal of Sport Science 31, no. 4 (December 31, 2020): 830–39. http://dx.doi.org/10.24985/kjss.2020.31.4.830.
Full textAbstract:
Purpose The purpose of this study is to identify the consistency and correlation of referee evaluation according to the judging characteristics in the preliminary and semi-final of the Latin event of dance sports, thereby deriving the problem of referee reliability and suggesting alternatives for improvement. Methods The method of study is Based on the performance data of 54 amateur Latin dances match organized by the Korea Dance Sports Federation for a total of three years 11,850(preliminary rounds & semi-final). Based on the Kappa statistics and the degree of agreement(pa), the difference in the group of examination characteristics was derived and the correlation between the five Latin events was analyzed. Results As a result of through this study, the consistency of the dance sports referee and the characteristics of the judging in the event were confirmed, and the number of judges tended to be higher when the number of judges was seven, the more the number of subjects was, and the highest level of agreement was more than 70 percent of the judges. In addition, the higher the concordance of each of the five detailed items, the higher the correlation tendency. Conclusion Differences in visual aspects between dance sports judges and the difference in the judges' ratings due to the revision of the rules, the decrease in the number of competitors participating in the competition, the number of people to be eliminated in each round, and the proportion of judges with experience in the competition are different, and these differences affect the judges and show up in the scores. The Latin dance sports events based on objectivity and reliability to improve the correct standards of judges to find the same raters, work will be required and an assessment element. With a systematic way in and to carry out the review curriculum and educational development is considered necessary.
21
Di Nota, Paula M., Michael P. Olshansky, and Joseph F. X. DeSouza. "Expert Event Segmentation of Dance Is Genre-Specific and Primes Verbal Memory." Vision 4, no. 3 (August 10, 2020): 35. http://dx.doi.org/10.3390/vision4030035.
Full textAbstract:
By chunking continuous streams of action into ordered, discrete, and meaningful units, event segmentation facilitates motor learning. While expertise in the observed repertoire reduces the frequency of event borders, generalization of this effect to unfamiliar genres of dance and among other sensorimotor experts (musicians, athletes) remains unknown, and was the first aim of this study. Due to significant overlap in visuomotor, language, and memory processing brain networks, the second aim of this study was to investigate whether visually priming expert motor schemas improves memory for words related to one’s expertise. A total of 112 participants in six groups (ballet, Bharatanatyam, and “other” dancers, athletes, musicians, and non-experts) segmented a ballet dance, a Bharatanatyam dance, and a non-dance control sequence. To test verbal memory, participants performed a retrieval-induced forgetting task between segmentation blocks. Dance, instrument, and sport word categories were included to probe the second study aim. Results of the event segmentation paradigm clarify that previously-established expert segmentation effects are specific to familiar genres of dance, and do not transfer between different types of experts or to non-dance sequences. Greater recall of dance category words among ballet and Bharatanatyam dancers provides novel evidence for improved verbal memory primed by activating familiar sensorimotor representations.
22
Rosmiati, Ana, Supriyanto Supriyanto, Joko Budiwiyanto, Tubagus Mulyadi, and Soemaryatmi Soemaryatmi. "World Dance Day: A Cultural Conservation in Maintaining Local Wisdom of Traditional Arts." Gelar : Jurnal Seni Budaya 20, no. 2 (December 1, 2022): 75–84. http://dx.doi.org/10.33153/glr.v20i2.4564.
Full textAbstract:
The research entitled " World Dance DAay: A Cultural Conservation in Maintaining Local Wisdom of Traditional Arts" was conducted to explore the strengths in maintaining the existence of traditional arts, which began to shift with the introduction of Western culture. World Dance Day was a dance event with a duration of 24 hours. This event had been going on for several years. It had become a routine agenda at ISI Surakarta by involving the public, community, art activists, cultural observers, foreign participants, and others. World Dance Day could be used as branding in building ISI Surakarta amid competition among higher education institutions. Organized events could be media promotions both domestically and internationally. This event was held once a year in April, on the 29th. The problem in this research was how to maintain the existence of traditional arts through the activation of World Dance Day and brand World Dance Day activation as a medium for introducing art. The purpose of the research was to find ways to maintain the existence of traditional arts through the World Dance Day activation and to find ways to make World Dance Day branding activation a medium for introducing dance arts to the community. This type of research was qualitative descriptive research. The data source in this study was primarily data source in the form of World Dance Day activation. The monitoring method was carried out by identifying the types of activation included in World Dance Day. Data were obtained from the World Dance Day activation. Researchers directly observed the World Dance Day activation and saw Youtube and other social media. The result of this research was to find ways to maintain the existence of traditional arts through World Dance Day activation. Apart from that, they also carried out branding in the form of World Dance Day activation as a medium for introducing dance arts to the community.
23
Bellerose, Christine. "On the Lived, Imagined Body: A Phenomenological Praxis of a Somatic Architecture." Phenomenology & Practice 12, no. 1 (March 30, 2018): 57–71. http://dx.doi.org/10.29173/pandpr29358.
Full textAbstract:
"On the Lived, Imagined Body" is a reflective remembering from the point of view of a movementperformance artist's training session learning to dance with imagined wings when in her livedexperience, the body of the dancer is aware somatically of moving with wings that do not actuallyexist. The overarching conceptualization in this article describes the inner-outer tensions, thekinesthetic, somatic, proprioceptive penetration inward and the visual-kinetic, imaginative reachoutward. The landmark work from dance phenomenologist Maxine Sheets-Johnstone (1966/2015),The Phenomenology of Dance, prompted the author of this article to translate an embodiedexperiential and imagined event for readers who might never have had the experience of a somaticmovement training of dancing with imagined wings as a lived experience. The phenomenology ofdancing as if with lived and imagined wings is developed further as a result of two week-longpresencing workshops taught by contemporary dancer-choreographer and somatics teacher BenoîtLachambre (2015/2016). For movement artists and dance practitioners, experiencing imaginarywings as lived wings means experiencing movement through mindful awareness and consciousintention of a praxis of somatic architecture.
24
Wahyono, Wahyono, and Benny Hutahayan. "Performance art strategy for tourism segmentation: (a Silat movement of Minangkabau ethnic group) in the event of tourism performance improvement." Journal of Islamic Marketing 11, no. 3 (October 16, 2019): 643–59. http://dx.doi.org/10.1108/jima-10-2017-0116.
Full textAbstract:
Purpose The purpose of this paper is to analyze the strategy of performance art, especially Silat Movement (as a source and identity of traditional dance movement of Minangkabau ethnic group), as a marketing medium of tourism, especially in West Sumatera Province. Design/methodology/approach This research used a qualitative approach among six cases of dance. Quantitative method was used to collect data about the dance movement of Minangkabau ethnic group, which is in accordance with the cultural value that they adopt. The data collecting technique used was focus group discussion, documentation, observation and interview. The case study method was used to conduct this research, focusing on the Silat dance movement as a medium to promote tourism. The research method is presented to generate a study that is in harmony with the background and the problem statement. This was a qualitative descriptive analysis research with the aim of providing a comprehensive illustration of performance art as a medium to promote tourism in West Sumatera. Findings Minangkabau ethnic dance movement, which is based on custom and religion, includes movements originating from the Silat movement. Movements in Minangkabau dance include Silat movements, such as attacking and fending off, rolling over, sawhorse posture and leg and hand movements. This is an original movement source and derives from cultural movements born from the fighter. That is why the Minangkabau dancer is a male; females were initially not allowed to dance because the movements are not suitable for them. Movement stylization suitable for a woman appears when she starts involving in dance movements in Minangkabau. Given the basis of culture and religion, the concept of suitable movements for a woman involves having no pelvic-rocking movements, erotic movements (with legs, hands and head) or other movements, such as rolling over, fighting and fending off. When male and female dancers perform together, they are not allowed to touch each other. Originality/value The movement in the dancing art of Minangkabau actually should be in harmony with, balanced on and based on the value of Adat Basandi Syarak, Syarak Basandi Kitabulah, which is the philosophy of the Minangkabau ethnic group. This means, a religious value must be seen in all expressions of dance movements of the Minangkabau ethnic group; no expression should contradict the values of the religious and customs value. A similar perception to the philosophy states that it is very helpful for Indonesian choreographer for the needs of aesthetic from the rich of Indonesian dance. Also, Hastuti and Supriyanti (2012) state that it can be a differentiator from the dance rules of Western thought patterns.
25
Pohjola, Hanna, and Hanna-Kaisa Rajal. "Loukkaantuminen muutoksen mahdollisuutena: holistinen näkökulma tanssin ammattilaisen loukkaantumiskokemukseen." Nordic Journal of Dance 7, no. 1 (June 1, 2016): 4–17. http://dx.doi.org/10.2478/njd-2016-0002.
Full textAbstract:
Abstract This article focuses on describing the experience of a physical injury from a holistic concept. Based on the theme interviews of the three dancer-dance teachers, the data suggests that an injury experience and the related recovery process change the individual meaning-relationships profoundly. For example, an injured dance professional is able to question the body ideals and the methods of dance training that focus merely on the object body. In addition, dance training that endangers health, as well as model-based teaching are perceived critically. Dance professional who has overcome injury heightens not only the awareness of one’s body, but also outlines respect and responsibility towards one’s self. The injury also invokes critical examination of the underlying circumstances behind the injury event to enable self-development and change of perspective in relation to working in the field of dance. Acceptance of the injury enables to perceive the future; it clarifies social responsibility and values, and facilitates pedagogical perspectives that are based on perceiving one’s body as a subject, as well as respecting the body of others.
26
Patteet, Lisbeth, Kristof Maudens, Sarah Wille, Peter Blanckaert, Hugo Neels, and Paul Calle. "When clozapine appears at a dance event…" Acta Clinica Belgica 75, no. 6 (June 14, 2019): 416–20. http://dx.doi.org/10.1080/17843286.2019.1630068.
Full text
27
Buckland, Theresa Jill. "The “Dance Event:” A Complex Cultural Phenomenon." Dance Research Journal 21, no. 1 (1989): 36–37. http://dx.doi.org/10.1017/s014976770000245x.
Full text
28
Krasnow, Donna, Jatin P. Ambegaonkar, M. Virginia Wilmerding, Shane Stecyk, Yiannis Koutedakis, and Matthew Wyon. "Electromyographic Comparison of Grand Battement Devant at the Barre, in the Center, and Traveling." Medical Problems of Performing Artists 27, no. 3 (September 1, 2012): 143–55. http://dx.doi.org/10.21091/mppa.2012.3026.
Full textAbstract:
This study examined utilization of the trunk and lower extremity muscles during grand battement devant in three conditions: at the barre (supported stationary condition in 1st position), in the center (unsupported stationary condition in 1st position), and traveling through space. Forty dancers (age 30.0 ± 13.0 yrs, height 1.63 ± 0.06 m, weight 59.0 ± 7.4 kg, and 13.9 ± 13.3 yrs of training in ballet and/or modern dance) volunteered and were placed in three skill level groups: beginner (n = 12), intermediate (n = 14), and advanced (n = 14). Dancers executed five grand battement devant in each of the three conditions in randomized order. We examined muscle activation bilaterally in eight muscles (abdominals, abductor hallucis, erector spinae, gastrocnemius, gluteus maximus, hamstrings, quadriceps, and tibialis anterior) using surface electromyography, a three-dimensional video biomechanical tracking system to identify events, and force plates. All data were analyzed in four events: stance, initiation, peak, and end. Analysis was done using a linear mixed effects regression model with condition, event, muscle, level, and side as the fixed effects, and subject as the random effect. There were significant effects for muscle 3 event 3 condition (p<0.01) and for level 3 side 3 muscle (p<0.01). Muscle use varied according to the combination of event and condition that was executed, and these differences were also influenced by the level of training of the dancer and the side of the body used. It is recommended that dance educators consider the importance of allocating sufficient time to each of the three conditions (barre, center, and traveling) to ensure development of a variety of motor strategies and muscle activation levels for dance practice.
29
Hermans, Carolien. "Becoming animal: Children's physical play and dance improvisation as transformative activities that generate novel meanings." Journal of Dance & Somatic Practices 11, no. 2 (December 1, 2019): 157–75. http://dx.doi.org/10.1386/jdsp_00003_1.
Full textAbstract:
Abstract This article addresses the transformative potential of children's physical play and dance improvisation. Using the enactive approach as a theoretical framework, it is argued that play and dance improvisation trigger novel sense-making capabilities by a deep engagement with the environment. Both activities give rise to transformative forces, ways of becoming that create openings and passages through which one re-engages and re-connects with the environment. This article combines theoretical reflection with artistic practice. By intermingling the thinking with the doing, I hope to gain embodied insights in underlying mechanisms of both play and dance improvisation. First, I discuss the concept of transformation. Then I explore how the enactive approach can be helpful in understanding the emergence of new values and meanings in both play and dance improvisation through dynamic coupling. From here I move to my artistic practice. I present an auto-ethnographic research that consists of two events. The first event is a spontaneous play event of my 12-year-old daughter that serves as an entrance point to examine animal becomings as transformative forces. The second event is an improvised dance solo, in which I re-enact the animal becomings of my daughter. The aim is to grasp, in a corporeal sense, the transformative forces that are at work here.
30
Susanti, Mila, and Erlinda Erlinda. "ESTETIKA TARI PIRIANG SULUAH DI NAGARI GUNUANG PADANGPANJANG SUMATERA BARAT." Gorga : Jurnal Seni Rupa 8, no. 1 (July 2, 2019): 143. http://dx.doi.org/10.24114/gr.v8i1.12965.
Full textAbstract:
AbstrakTari Piring Suluah merupakan tarian tradisi yang terdapat di Nagari Gunuang Padangpanjang. Tari Piring Suluah ini ditarikan oleh laki-laki maupun perempuan berjumlah genap 2 sampai 10 orang, memakai properti piring yang diujung jari tengahnya dipasang cincin yang terbuat dari dama atau buah kemiri dan Suluah yang menyala diletakkan di atas kepala dengan membawakan gerak-gerak tari yang bersumber dari manusia, alam, dan binatang. Suluah merupakan penerangan masyarakat Gunuang sebelum masuknya listrik. Tari Piring Suluah ditarikan untuk upacara adat seperti pengangkatan panggulu (pemimpin adat), pesata kawinan, kitanan dan acara alek nagari. Tujuan penelitian ini adalah mengungkap nilai estetika yang terkandung dalam tari Piriang Suluah di Nagari Gunuang Padangpanjang Sumatera Barat. Tari ini khasnya menggunakan Suluah yang diletakkan di atas kepala. Metode yang digunakan adalah metode kualitatif, pengumpulan data dilakukan melalui observasi dan mengamati pertunjukan Tari Piring Suluah. Hasil penelitian ini mengungkapkan bentuk, estetika yang terdapat dalam tari Piring Suluah. Nilai estetika tari Piring Suluah tercermin pada unsur-unsur yang membentuk tari Piring Suluah, yaitu adanya gerak, penari, properti, pola lantai, rias busana, musik, dan tempat pertunjukan.Kata Kunci: piring suluah, estetika , nagari gunuang.AbstractSuluah Plate Dance is a traditional dance found in Nagari Gunuang Padangpanjang. The Suluah Piring Dance is danced by even men and women of 2 to 10 people, using a property of a plate on which the middle finger is placed on a ring made of dama or candlenut and Suluah which are lit above the head by bringing dance movements sourced from humans, nature and animals. Suluah is the lighting of the Gunuang community before the entry of electricity. Suluah Piring Dance is danced for traditional ceremonies such as the appointment of the pelulu (traditional leader), marriage ceremony, kitanan and the alek nagari event. The purpose of this study was to reveal the aesthetic values contained in the Piriang Suluah dance in Nagari Gunuang Padangpanjang West Sumatra. This dance is typical of using Suluah which is placed on the head. The method used is a qualitative method, data collection is done through observation and observing the performance of the Suluah Plate Dance. The results of this study reveal the aesthetic form found in the Suluah Plate dance. The aesthetic value of the Suluah Plate dance is reflected in the elements that make up the Suluah Piring dance, namely the existence of movement, dancers, property, floor patterns, dress makeup, music, and the venue.Keywords: suluah plate, aesthetics, nagari gunuang.
31
Fügedi, János. "Simultaneous Events, Parallel Themes, Spatial Oppositions: A Comparative Content Analysis of Traditional Dance." Studia Musicologica 60, no. 1-4 (October 21, 2020): 281–311. http://dx.doi.org/10.1556/6.2019.00014.
Full textAbstract:
This paper focuses on the smallest units and micro-structures of traditional dance. I propose a new approach that ventures beyond the identification of simple syntagmatic relations derived from the temporal succession of movements: a former practice of dance analyses that relied on theories borrowed from linguistics and music. The following discussion, based on the analysis of movement content as spatial change, demonstrates the existence of independent but simultaneous movement events in dance: each event possesses an expressive potential and the capacity for performance as a single rhythmical unit. Identifying events creates the possibility of separating parallel running, autonomous movement themes. Amongst the examined structures, an exceptional one, here termed contrakinesis, emerges, which represents spatial opposition as a recurring, characteristic phenomenon in East Central European traditional dance. The theory of simultaneous events and parallel themes reveals that concepts of expression in traditional dance can be comprehensively recognized only through a content-oriented exploration relying on movement analysis: an approach derived from investigating the dance itself.
32
Filippidou, Eleni, and Maria Koutsouba. "Dance and Socio-Cybernetics: The Dance event of “K’na” As A Shaping Component of The Cultural Identity Amongst the Arvanites of Neo Cheimonio Evros, Greece." Journal of Ethnic and Cultural Studies 7, no. 2 (June 23, 2020): 30. http://dx.doi.org/10.29333/ejecs/342.
Full textAbstract:
The research field of this paper is the wedding dance event of “K’na”, as this takes place by the Arvanites of Greek Thrace, an ethnic group moved to the area from Turkish Thrace in 1923. The aim of this paper is to investigate whether the three components of dance, music and song of Greek traditional dance, as these reflected in the “K’na” dance event amongst the Arvanites ethnic group of Neo Cheimonio (Evros), are related to issues of ethno-cultural identity under the lens of socio-cybernetics. Data was gathered through ethnographic method as this is applied to the study of dance, while its interpretation was based on socio-cybernetics according to Burke’s identity control theory. From the data analysis, it is showed that through the “K’na” dance event the Thracian Arvanites of Neo Cheimonio shape and reshape their ethno-cultural identity as a reaction to the input they receive from their environment. Therefore, the “construction” of their identity, as a constant process of self-regulation and internal control, is subjected to the conditions of a cybernetic process.
33
Li, Ping. "Dance Event Aesthetic and Aesthetic Education Value Analysis." Journal of Computational and Theoretical Nanoscience 13, no. 12 (December 1, 2016): 10090–93. http://dx.doi.org/10.1166/jctn.2016.6217.
Full text
34
Tafarannisa, Melaprilya Anggun, Nursilah Nursilah, and Deden Haerudin. "Manajemen Event Choreonite Vol. 9: Time To Bloom Di Masa Pandemi Covid- 19." Jurnal Seni Tari 10, no. 2 (November 30, 2021): 168–75. http://dx.doi.org/10.15294/jst.v10i2.50272.
Full textAbstract:
Dance Jakarta Selatan dengan fokus tari modern dan kontemporer yang diadakan di masapandemi Covid-19. Penelitian dilakukan untuk mengetahui Proses Manajemen Event sertapenerapan 4 Pilar Kesuksesan Jangka Panjang Manajemen Event. Penelitian dilakukanmenggunakan metode kualitatif deskriptif dengan pendekatan studi kasus agar mendapat data yangempirik, rinci, dan mendalam mengenai potret kondisi event Choreonite Vol. 9: Time To Bloom.Penelitian menunjukkan bahwa proses manajemen event Choreonite Vol. 9: Time To Bloom sanggar tariGigi Art of Dance dijalani dengan baik melalui 5 tahap, yaitu Researching, Designing, Planning,Coordinating dan Evaluating, serta memenuhi penerapan 4 Pilar Kesuksesan Jangka PanjangManajemen Event, yakni dari segi Time, Finance, Technology, dan Human Resource Skills. EventChoreonite Vol. 9: Time to Bloom sanggar tari Gigi Art of Dance menjadi inovasi baru dan menjadipendorong bagi semua orang untuk tetap memaksimalkan potensi serta meningkatkan kemampuanmereka dalam menghadapi tantangan untuk mengadakan event seni pertunjukan yaitu seni tari,khususnya di masa pandemi Covid-19 yang masih terjadi hingga tahun 2021.
35
Tamir, Ilan. "A rare dance." International Review for the Sociology of Sport 56, no. 3 (February 15, 2021): 442–48. http://dx.doi.org/10.1177/1012690221993653.
Full textAbstract:
The enormous success of The Last Dance, the sports documentary on Michael Jordan’s career, and especially his last season, is the result of a rare confluence of factors, each of which is a unique and rare phenomenon in the history of sport. Their combination has already turned the mini-series into a global media event of the kind that is usually reserved for live broadcasts of extraordinary events. A basketball player with unusual personal and professional abilities, supported by a highly polished and well-oiled marketing system; the specific window of time in which his star shone – the late 1990s, when the era of media commercialization and globalization flourished, yet before the emergence of social media and their typical critical discourse; the rise in sports documentaries in recent years; and encasing all of these is the time of the documentary’s broadcast, when sports life across the world ceased due to the coronavirus. The mini-series, which seemingly deals with a single season in the career of a single player in a single sport, is actually so much more. It is a composition reflecting much wider social, sports and media phenomena.
36
Muhammad Sultan Hali and Khairil Anwar. "RUDAT DANCE SHOW PROMOTES MANDALIKA ON MOTO GP." International Journal of Social Science 2, no. 2 (August 4, 2022): 1549–54. http://dx.doi.org/10.53625/ijss.v2i2.3100.
Full textAbstract:
Rudat dance used to perform in traditional Sasak culture called Begawe, roah-thankful ceremonial culture based on primitif way. This nowadays left by millenial and Zillenial. Then pursued to state the problem that how to utilization of the Rudat Dance for the Mandalika Moto GP Event. This research find that Rudat can be perform to be useful Dance for this International event. This research finding indicated two types of Rudat can be used to be shown in tourism persfective. Therefore Rudat can be developed to be one of the target traditional culture to utilized by all stakeholders those who envolved to promote rudat as one of attractive for tourism event.
37
Feldman, Heidi Carolyn. "Staging Public Blackness in Mid-Twentieth-Century Peru: The Repertoires of Pancho Fierro and Cumanana." Theatre Survey 61, no. 2 (April 8, 2020): 203–30. http://dx.doi.org/10.1017/s004055742000006x.
Full textAbstract:
In 1951, Victoria (1922–2014) and Nicomedes Santa Cruz (1925–92) attended a performance at Lima's Teatro Municipal (Municipal Theatre) by the Katherine Dunham Dance Company. Dunham (1909–2006), an African American choreographer and anthropologist, pioneered a “research-to-performance” method to study African-derived dances in the Caribbean and stage them in stylized choreographies. Elite Lima patrons walked out of the theatre during the danced African fertility rite in Dunham's “Rites de Passage,” but the performance left a lasting impression on the Santa Cruzes. Nicomedes Santa Cruz later described the event as the first positive staged demonstration of blackness in Peru—and Victoria Santa Cruz stated that, when they saw Katherine Dunham's production, they knew they had to do something similar. The Santa Cruzes went on to lead a revival of Afro-Peruvian arts in the 1960s and 1970s.
38
Bashkir, Olha, and Oksana Kovalenko. "Educational Potential of Folk-Stage Dance in Educational Institutions of the People's Republic of China." Professional Education: Methodology, Theory and Technologies, no. 14 (November 30, 2021): 90–107. http://dx.doi.org/10.31470/2415-3729-2021-14-90-107.
Full textAbstract:
The article is devoted to the educational potential of folk dance stage adaptation in educational institutions of the People's Republic of China. The purpose of the article is to identify and analyze the educational potential of folk-stage dance in educational institutions of the People's Republic of China. In the article, on the basis of theoretical (study, analysis and generalization of pedagogical literature for comparing and contrasting different views on the selected problem, consideration of theoretical issues in order to determine the basic concepts) and systemic (abstraction and concretization for mentally highlighting a certain property or feature of the subject of research with the aim of more deep study of it and the provision of the subject of concrete expression) research methods the educational potential of folk dance stage adaptation in educational institutions of the People's Republic of China (PRC) was identified and analyzed. The results. Teaching choreographic art in the PRC involves the implementation of students' own potentials in folk art and communication, the formation of needs for positive self-realization. In this regard, the author presents four stages of educating the student’s personality in folk-stage dance classes in educational institutions of the PRC:
the formation of schoolchildren value orientation in the process of their awareness of the goals of folk stage dance adaptation (during choreography classes, namely artistic and stage dance, children values are formed reflecting the value attitude to themselves, to the country in which they live and to other nationalities and states, to labor, history and traditions);
the assimilation of social experience, knowledge, values of universal and national culture through folk-stage dancing classes (Chinese folk-stage dances are valued all over the world because of the exemplary imitation of national traditions and experience, which makes them identical with authentic, folklore and folk dances);
the formation of individual’s views, beliefs, attitudes to the norms, rules of behavior in the process of preparing and performing folk dance stage adaptation (the traditions laid down in the folk stage dances of the PRC presuppose strict adherence to the norms and rules of behavior that form young dancers’ feelings like respect, honor, devotion, which are traditional for Chinese people);
the stimulation of students to self-improvement by means of folk-stage dance (through folk-stage dances, the individual’s self-knowledge of both its physical endurance and moral stamina is realized contributing to constant self-improvement).
The authors concluded that folk-stage dance is bright, expressive and attractive event that arouses the interest of people of all ages, and due to its deep philosophical content it is considered to be effective means of educating students.
39
Dimopoulos, Konstantinos, and Vassiliki Tyrovola. "Dance, “Stereotypes,” and Gender Relations: The Case of Lowland and Mountain Communities of Karditsa (Thessaly)." Congress on Research in Dance Conference Proceedings 2016 (2016): 136–40. http://dx.doi.org/10.1017/cor.2016.19.
Full textAbstract:
Gender identity is the main topic within the field of anthropology of gender: it is an identity with a polysemic character. The present paper focuses on the identity of social gender, since gender is a field of negotiation and a criterion for the analysis of culture. Social gender is a result of social-cultural constructions, established through the repetition of stereotypical dance acts. In this context, dance functions as a symbol, and its study allows the understanding of social structures, and therefore, the understanding of gender identity. Every dance event can be approached as a conceptual field, in which participants act according to gender standards and experience themselves as gender subjects.The aim of this paper is to show the gender social structures and relations within dance and dance practices, as they are imprinted on the mountain and lowland areas of Karditsa (Thessaly), in combination with the predominant social structures. For this purpose, we made use of the theoretical model of Hanna, where dance and dance executions are fields of negotiation of gender identity, as well as Cowan’ s model, according to which social gender can be studied within the context of “dance events.”Through the analysis of these “events,” several discrepancies in social structures and relations were detected between the lowland and mountain communities. These differences are based on dance occasions, and participation or lack of participation of both genders in these occasions, according to dance norms, dance order, and dance types. The above discrepancies constitute gender diversity among lowland and mountain communities, as a result of local social structures and the performative acts.
40
Septiana Putri, Mila, and Nerosti Nerosti. "ANALISIS GERAK DAN KARAKTER TARI KAIN DI PAUAH V KECAMATAN PAUAH KOTA PADANG." Jurnal Sendratasik 9, no. 4 (December 5, 2020): 203. http://dx.doi.org/10.24036/jsu.v9i1.109595.
Full textAbstract:
This study aims to analyze the variety of movements and characters of Kain Dance in Pauh V, Pauh district, Padang city. This isa qualitative research using a descriptive analysis method. The object of the research wasKain Dance in Pauh V, Pauh district, Padang city.This research focused on the analysis of movements and characters. The data were collected through observation, interview, and documentation. The data analysis was conducted in the form of description, and the data were validated by using triangulation technique by comparing the observation data to the data from interview and documentation. The results of the study generally show that Kain dance is a traditional art performed in batagak gala event in Pauh V, Pauh district, Padang City. Kain dance is danced by 2 men, who face to face perform eight kinds of movements: salam pembuka, sambah, gantuang sabalah, rantak tigo, malapia, mailak, kalatiak, mangepo. The floor pattern of Kain dance is a straight line pattern, and the dancers always face each other from the beginning to the end of the dance.The dominant movement is the silat movement in the form of a defensive attack with the characteristic of Rantak Tigomotion. The analysis found in the movement of Kain Dance can be seen from the elements of motion: energy, space, and time. The quality of strong motions with the use of powerful movement intensity is carried out at a fast tempo.This dance is accompanied by a large volume of movement depicting the character of a man who is dashing and temperament. The temperament character contained in Kain Dance is expressed in the attack and block movements. The music which accompanies Kain Dance is two mancak drums. Kain dance is performed at the groom's house in front of the aisle at night in a day before the wedding party. The dancers wear black shirt, endong pants, deta for a headband, and sasampiang attached to the dancer's waist.Keywords: Motion Analysis, Character, Kain Dance
41
Resmayasari, Ira, Assifa Salsabila, and Rini Untari. "PREFERENSI WISATAWAN TERHADAP PERGELARAN TARI KREASI DI KOTA SEMARANG." Jurnal Sains Terapan 12, Khusus (December 12, 2022): 51–66. http://dx.doi.org/10.29244/jstsv.12.khusus.51-66.
Full textAbstract:
Not only entertain and please the audience, especially during this pandemic, creative dance performances can also promote and preserve the richness of art and culture in Semarang city. These show the importance of performing arts to be held. Event Organizers need to plan a strategy to attract tourists. This research was conducted to determine the creative dances in Semarang city and to know the tourists’ preferences in their decisions to visit creative dance performances. The methods used in this research were observations, interviews, and the distribution of questionnaires. The data was processed using the Likert scale and One Score One Criteria Scoring System. The results show that Semarang city has eight creative dance resources. Tourists prefer to visit a dance performance held for one day on weekends for 3-5 hours to celebrate the anniversary of Semarang city with their friends. Tourists prefer the performance to be held at the Semarang State University Auditorium. They prefer to buy the tickets directly at the venue or online and pay via an electronic money application. The results of this study can be used as a reference for Event Organizers in planning dance performances in Semarang city.
ABSTRAKPergelaran tari kreasi dapat mempromosikan dan melestarikan kekayaan seni dan budaya sekaligus memberi hiburan dan kesenangan bagi wisatawan, terutama pada masa yang masih pandemi ini. Hal ini menunjukkan pentingnya pergelaran seni tari kreasi untuk diselenggarakan. Pihak penyelenggara perlu menyusun strategi untuk menarik minat wisatawan. Studi ini dilakukan dengan tujuan mengetahui sumberdaya tari kreasi Kota Semarang dan mengetahui preferensi wisatawan dalam keputusannya untuk mengunjungi pergelaran tari kreasi. Metode yang digunakan dalam penelitian ini adalah observasi, wawancara dan penyebaran kuesioner. Data diolah secara kualitatif deskriptif menggunakan skala Likert dan One Score One Criteria Scoring System. Hasil studi menunjukkan bahwa Kota Semarang memiliki delapan sumberdaya tari kreasi. Wisatawan memilih untuk mengunjungi pergelaran tari kreasi di Kota Semarang yang diadakan selama satu hari saja pada akhir pekan selama 3-5 jam dalam rangka merayakan hari jadi Kota Semarang. Wisatawan memilih mengunjungi pergelaran di Auditorium Universitas Negeri Semarang bersama teman dengan tiket yang bisa dibeli secara langsung ataupun secara online dengan metode pembayaran melalui aplikasi uang elektronik. Hasil studi ini dapat dijadikan acuan bagi penyelenggara event dalam merencanakan pertunjukan seni tari di Kota Semarang.
42
Hartawan, I. Wayan, I. Nyoman Dhana, and I. Nyoman Sama. "Tari Baris Babuang pada Upacara Pegingsiran Jro Pingit di Desa Pengotan." Humanis 25, no. 1 (February 27, 2021): 111. http://dx.doi.org/10.24843/jh.2021.v25.i01.p14.
Full textAbstract:
Bali is one of the islands that is very well known to foreign countries. Besides being famous for its natural beauty it is also known by the nickname of the Thousand Temples. It is known that the Balinese are usually inseparable from the sacred arts which are believed to complement the ceremony. Meanwhile in the village of Pengotan has a sacred dance that is the Baris Babuang dance. Baris Babuang is one element of universal culture that is part of the arts. Baris Babuang dance is danced by carrying banana fronds which can also be called the papah biu war. This research focuses on two things, namely the Babuang Baris Dance Function at the Pegingsiran Jro Pingit ceremony in Pengotan Village and the Meaning of the Babuang Baris Dance at the Pegingsiran Jro Pingit ceremony in Pengotan Village. The purpose and objective of this research is to find out the function and meaning of the implementation of the Babuang Baris Dance at the Jro Pingit ceremony. Then the authors use the Functional Theory of B. Malinowski and the ceremonial theory of William Robertson Smith to help strip the results of the research. This study uses qualitative methods to describe an event or phenomenon that occurs in a research subject such as behavior, perception, motivational action holistically and analyzed by collecting data that has previously been recorded besides audio visual recording, then recorded again in the recapitulation sheet then processed in the form of scientific writing. The results of this study state that, the function of Babuang Row Dance in relation to public trust, functions as a reinforcement of solidarity between citizens and the meaning of Babuang Row Dance to invoke safety, the meaning of kinship meaning the symbol of harmonization.
43
Lukan, Blaž. "Three Sentences About Dance." Maska 37, no. 3 (December 1, 2022): 17–21. http://dx.doi.org/10.1386/maska_00126_1.
Full textAbstract:
This article roams inside a territory of fragmented perspective(s); the author’s writing isn’t focused on dance with the aim to produce meanings based on some established totality, instead, uniqueness generates meanings unto itself, every single time. Blaž Lukan reviews artistic pieces of three individual dancers as authors in their own right: Mala Kline and Kaja Lorenci created the pieces Venera (Venus) and Stabat, while Andreja Podrzavnik performed an improvised event Posebna izdaja (Special Edition).
44
Cannon, James W., and Alinka E. Greasley. "Exploring Relationships Between Electronic Dance Music Event Participation and Well-being." Music & Science 4 (January 1, 2021): 205920432199710. http://dx.doi.org/10.1177/2059204321997102.
Full textAbstract:
While an increasing amount of literature highlights the psychological well-being benefits of musical participation, research focusing on electronic dance music (EDM) event contexts remains scarce. This exploratory mixed methods research draws influence from interdisciplinary research on EDM culture and psychological well-being research on music festivals that suggest EDM event attendance may have a positive influence on well-being. Two studies were implemented. Semistructured interviews with regular attendees of EDM events were undertaken and analyzed thematically (Study 1, n = 7). Four main themes were identified, namely the importance of social, musical, and emotional experiences, and shared values at EDM event. These themes were then used as a basis for developing a questionnaire which explored relationships between scores on facets of EDM event attendance and measures of subjective, social, and psychological well-being (Study 2, n = 103). Results showed that all four EDM event facets were positively associated with psychological and social well-being measures. Principal component analysis was utilized to elucidate nuanced aspects of the four themes and their links to well-being scores. A four-factor model (SMEV) that encapsulates the key psychological beneficial aspects of EDM event attendance has been suggested, and the implications of this model and findings are discussed within the context of future research avenues.
45
Vikárius, László. "Bartók: ‘Bear Dance’." Studia Musicologica 49, no. 3-4 (September 1, 2008): 341–67. http://dx.doi.org/10.1556/smus.49.2008.3-4.7.
Full textAbstract:
‘Bear Dance’ (German ‘Bärentanz’) appears to have been a lesser-known nineteenth-century character piece exemplified by Schumann’s two related compositions in A minor, Twelve Pieces for Four Hands , op. 85, no. 2 and its early version, for piano solo, composed for the Album for the Young but left unpublished, as well as Mendelssohn’s F-major occasional piece. These pieces are all characterized by a very low ostinato-like tone-repetition in the base (recalling the clumsy movements of the bear in Schumann’s pieces while imitating the leader’s drumming in Mendelssohn’s) and a melody in high register in imitation of the leader’s pipe tune. Bartók must have had this particular genre in mind when composing his closing piece for the Ten Easy Piano Pieces (1908), herald of later fast ‘ostinato’ movements, in which the amusing topic, a market place event, is turned into something wild and eerie. The composition and publication history of the piece is reinvestigated on the basis of documents, letters and compositional manuscripts, partly unpublished so far. ‘Bear Dance’ is closely related to the compositions, such as Bagatelles nos. 13 and 14, resulting from the composer’s personal crisis in 1908, due to his unrequited love to the violinist Stefi Geyer, and it also uses a version of the leitmotiv generally named after Geyer by theorists. The employment of characteristics derived from folk music ( kanásztánc [herdsman’s dance] or kolomeika rhythm, strophic structure, etc.) is analyzed as well as the composer’s modernist preference for harmonies integrating minor second/major seventh clash and large-scale tritonal tensions. Bartók’s encounter with a special (but distinctly different) musical type accompanying ritual peasant dances in Romanian villages of Transylvania is also briefly discussed as one of his arrangements of a violin piece, the second movement of the Sonatina for piano (1915) was also entitled as ‘Bear Dance’.
46
Gresnigt, Femke MJ, Pedram Ghaem Maghami, Pieternel van Exter, Annelieke Noordhoff, Tobias van Dijk, Ronald van Litsenburg, Frits Holleman, Mark HH Kramer, and Prabath WB Nanayakkara. "Recreational Drug Use During the Amsterdam Dance Event: Impact on Emergency Services." Substance Abuse: Research and Treatment 16 (January 2022): 117822182211149. http://dx.doi.org/10.1177/11782218221114965.
Full textAbstract:
Background: Recreational drug use is common at large-scale dance events such as the Amsterdam Dance Event (ADE) and severe drug-related complications and deaths occur. Increasing concentrations of cocaine, amphetamine and MDMA have been observed in samples from dance events. Therefore, large dance events are expected to cause an increasing amount of recreational drug related complaints (RDRC) and an increased demand on emergency medical services. Aim: To evaluate the impact of recreational drug related complaints (RDRC) during ADE 2016, compared to regular weeks, and to evaluate the requirement for additional medical personnel. Methods: For this prospective, observational cohort study, patients >12 years old presenting with RDRC at first aid stations (FAS), ambulance service (AA) and ED during ADE, between October 19th and October 24th 2016 were included. From 2 EDs and AA, the RDRC 2 weeks before and after ADE were also collected. Results: An estimated 375.000 people attended ADE. The number of patients with RDRC was 459 at the FAS, 113 at AA and 81 at the ED, and increased significantly during ADE with 225% at AA and with 236% at OLVG ED. Eight patients were admitted. A higher percentage of poly-drug use among ED patients (58%) was found, compared to FAS patients (25%). Also, the proportion of tourists in ED’s (51%) was higher compared to FAS (30%). Conclusions: During ADE 2016, the number of intoxicated patients increased significantly. Eight patients were admitted to the hospital, without any deaths. The absolute number of patients stayed within normal range of emergency medical services capacity.
47
Zulniati, Yosi Dwi, and Indrayuda Indrayuda. "Symbolic Meaning of Dance Movement of Dagong Tradition of Indigenous People of Liong in the Village of Bantan Tengah Sub-District." Science and Environmental Journal for Postgraduate 2, no. 1 (February 18, 2020): 19–29. http://dx.doi.org/10.24036/senjop.v2i1.66.
Full textAbstract:
This research aims to reveal, explain and analyze about: the symbolic meaning of the motion of Dagong dance, and the reason why the people still maintain the dance of Dagong tradition to date. This study uses a qualitative approach with a descriptive method. Data collection is done by observation, documentation and library study. Based on the research findings shows that (1) the symbolic meaning in the Dagong dance can be seen from each of the movements that have meaning and intent in it in the village of Bantan Tengah Sub-district of Bengkalis. Can be reviewed from the historical aspects of Dagong dance There is no change of movement from the past to the present, this dance is already empty because of the absence of dancers anymore. This dance is commonly performed by the indigenous peoples who were married and the event of seventeen Augustusan in the village to enliven. Then from the customary aspect of the existence of Dagong dance makes one that must be done if there is a ceremony of indigenous peoples Liong wedding party because this dance in the Sacred tribe think B Agi Indigenous Liong and there is a ritual process. (2) The process of implementation in the Ritual first by Bomo or the chief of the tribe, then when finished the event of new Ritunya dancers and musicians began to perform the dance. (3) The reason that society still maintains because this dance is a hereditary dance that is considered sacred by the indigenous people, although it is now almost extinct because of the absence of dancers anymore. And this dance is also a distinctive characteristic or self-identity, the original public ID of the tribe liong in village Bantan Central District BantanBengkalis District Riau Province
48
Pengiran Bagul, Awangku Hassanal Bahar, Janie Liew-Tsonis, Charlie Albert Lasuin, Juliana Langgat, Andy Chen Hiung Lee, Pei Sung Toh, Andi Tamsang Andi Kele, Borhan Sareya, and Ruby Salam Abdul Latip. "THE VISITORS’ PERCEPTIONS OF ORGANIZING STREET DANCE COMPETITION IN PROMOTING DOMESTIC TOURISM." BIMP-EAGA Journal for Sustainable Tourism Development 2, no. 1 (June 6, 2013): 10–20. http://dx.doi.org/10.51200/bimpeagajtsd.v2i1.3070.
Full textAbstract:
This article discusses the outcome of a research on tourism promotion through events where the survey was conducted at Borneo Street Dance (BSD) 2012 in Sabah, one of states inMalaysia, and it was organised by the Ministry of Tourism Malaysia. The event was held to promote domestic tourism and to attract youth participation in performing art where they could showcase their talents and creativity. The findings of this research suggested that event such as BSD was able to attract interest and participation among youth from all over the state and this contributed to the promotion of domestic tourism. The event is also able to attract youth’s interest to fill their free time with beneficial and favorable activities while exposing them toethnic diversity in the highly diverse culture of namely Sabah, Sarawak and the Federal Territory of Labuan. This is where the event could foster tolerance and understanding on the diverse ethnic among the youth in Sabah, Sarawak and Labuan and thought to be beneficial to domestic tourism. The research concluded that the event such as BSD should be made to be an annual event to enhance the promotion of domestic tourism industry in Sabah, Sarawak and Labuan among young travellers and Visiting Friend and Relative (VFR) that tied with the event and eventually enhancing the sustainability of the tourism industry in Malaysian Borneo.
49
Campos, Flávio, and Graziela Rodrigues. "Dance, Originality, and Otherness: The BPI Method and the Brazilian Cultural Manifestations." Congress on Research in Dance Conference Proceedings 2016 (2016): 41–45. http://dx.doi.org/10.1017/cor.2016.7.
Full textAbstract:
The purpose of this article is to investigate dancer-researcher-performer (BPI), the Brazilian method of dance composition that was created by professor Graziela Rodrigues in the 1980s. The article aims at showing how such practices are developed from the experience of a performer in relation to some popular manifestation such as a festivity or another cultural event. It also enables one to work directly with popular knowledge that is passed from “generation to generation.” The investigation offers a brief view of my doctoral studies in which I aim at analyzing the aesthetic specificities of this method.
50
Rahayu, Maya Endah, Desfiarni Desfiarni, and Indrayuda Indrayuda. "KEBERADAAN TARI PUTI BUNGO API DI SANGGAR MANDUGO OMBAK KECAMATAN PAYAKUMBUH BARAT KOTA PAYAKUMBUH." Jurnal Sendratasik 8, no. 3 (February 11, 2019): 41. http://dx.doi.org/10.24036/jsu.v7i3.103283.
Full textAbstract:
AbstractThis article aims to describe and illustrate about the existence of the art Dance Studio fire in Bungo Puti Mandugo Payakumbuh Barat Sub-district waves of Payakumbuh. This research was conducted with qualitative, descriptive methods. The main research instrument is the researcher himself, and assisted with the supporting instruments such as stationery and photo cameras. The data type is primary data and secondary data. The technique of data collection is done with the carastudi library, observation, interview and documentation. Steps in analyzing data with the stages of data collection, i.e. selecting, presenting and analyzing data. The results showed that the Dance community on Fire Bungo Puti Ibuh serves as the fulfillment of the needs of the instinct will be beauty. Dance Puti Bungo Api serves as entertainment for the community and displayed at the event helat nagari, a wedding, a race-race and festival. Seen from the creation of dance Puti Bungo fire in 1975 used to welcome President Soeharto. In 1977-2009 there is no appearance but there is still activity exercises. In dance 2010-2016 Puti Bungo Fire began to be noticed by the community so popular in it to be displayed in the event helat nagari, marriage and race. But until now the dance 2017-2018 Puti Bungo Fire rarely shown, but it was still taught in the workshop of Mandugo waves.Keywords: existence, Puti Bungo Api dance, Mandugo Ombak Studio