Journal articles on the topic 'Dance movies'
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1
Levine, Debra. "Theodore Kosloff & Cecil B. DeMille." Experiment 20, no. 1 (October 27, 2014): 146–95. http://dx.doi.org/10.1163/2211730x-12341262.
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The essay explores a rare and unknown 40-year professional and personal relationship between Russian ballet dancer Theodore Kosloff (1882-1956) and Hollywood director Cecil B. DeMille (1881-1959) told through the prism of the making of DeMille’s Madam Satan (mgm 1930). It tracks Kosloff’s colorful career as a dance entrepreneur, from his Bolshoi Ballet beginnings, to his appearance in the premiere Paris season of Diaghilev’s Ballets Russes, to his eventual relocation to Los Angeles where, starting in 1916, he was an acclaimed character actor in nearly 30 silent movies, primarily directed by DeMille. At the outset of the Depression, with the advent of sound in cinema, DeMille relied upon Kosloff as an artistic advisor to bring to fruition Madam Satan his first and only movie musical. The essay analyzes the high-art roots of Kosloff’s bizarre and exceptional ballet mécanique, Madam Satan’s central dance number staged in a moored zeppelin.
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Jang, Seon Hee, and Frank E. Pollick. "Experience Influences Brain Mechanisms of Watching Dance." Dance Research 29, supplement (November 2011): 352–77. http://dx.doi.org/10.3366/drs.2011.0024.
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The study of dance has been helpful to advance our understanding of how human brain networks of action observation are influenced by experience. However previous studies have not examined the effect of extensive visual experience alone: for example, an art critic or dance fan who has a rich experience of watching dance but negligible experience performing dance. To explore the effect of pure visual experience we performed a single experiment using functional Magnetic Resonance Imaging (fMRI) to compare the neural processing of dance actions in 3 groups: a) 14 ballet dancers, b) 10 experienced viewers, c) 12 novices without any extensive dance or viewing experience. Each of the 36 participants viewed short 2-second displays of ballet derived from motion capture of a professional ballerina. These displays represented the ballerina as only points of light at the major joints. We wished to study the action observation network broadly and thus included two different types of display and two different tasks for participants to perform. The two different displays were: a) brief movies of a ballet action and b) frames from the ballet movies with the points of lights connected by lines to show a ballet posture. The two different tasks were: a) passively observe the display and b) imagine performing the action depicted in the display. The two levels of display and task were combined factorially to produce four experimental conditions (observe movie, observe posture, motor imagery of movie, motor imagery of posture). The set of stimuli used in the experiment are available for download after this paper. A random effects ANOVA was performed on brain activity and an effect of experience was obtained in seven different brain areas including: right Temporoparietal Junction (TPJ), left Retrosplenial Cortex (RSC), right Primary Somatosensory Cortex (S1), bilateral Primary Motor Cortex (M1), right Orbitofrontal Cortex (OFC), right Temporal Pole (TP). The patterns of activation were plotted in each of these areas (TPJ, RSC, S1, M1, OFC, TP) to investigate more closely how the effect of experience changed across these areas. For this analysis, novices were treated as baseline and the relative effect of experience examined in the dancer and experienced viewer groups. Interpretation of these results suggests that both visual and motor experience appear equivalent in producing more extensive early processing of dance actions in early stages of representation (TPJ and RSC) and we hypothesise that this could be due to the involvement of autobiographical memory processes. The pattern of results found for dancers in S1 and M1 suggest that their perception of dance actions are enhanced by embodied processes. For example, the S1 results are consistent with claims that this brain area shows mirror properties. The pattern of results found for the experienced viewers in OFC and TP suggests that their perception of dance actions are enhanced by cognitive processes. For example, involving aspects of social cognition and hedonic processing – the experienced viewers find the motor imagery task more pleasant and have richer connections of dance to social memory. While aspects of our interpretation are speculative the core results clearly show common and distinct aspects of how viewing experience and physical experience shape brain responses to watching dance.
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Neumann, Joshua. "Movies, Moves & Music: The Sonic World of Dance Films by Mark Evans and Mary Fogarty." Music Reference Services Quarterly 20, no. 1 (January 2, 2017): 60–62. http://dx.doi.org/10.1080/10588167.2017.1269592.
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Hoover, Elizabeth. "Movies, Moves and Music: The Sonic World of Dance Films eds. by Mark Evans and Mary Fogarty." Notes 75, no. 1 (2018): 111–14. http://dx.doi.org/10.1353/not.2018.0082.
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Lu, Lucia Y. "MOVIES: THE AESTHETIC INTERDISCIPLINARY DEVICE BRIDGING THE DIVERSITY GAP." JOURNAL OF ADVANCES IN LINGUISTICS 6, no. 1 (August 22, 2015): 886–94. http://dx.doi.org/10.24297/jal.v6i1.5178.
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In the course of Exploring Social and Cultural Perspectives on Diversity, a course required for all students of education major, to enhance the teaching of the concepts of multicultural education, and the differentiation of culturally responsive strategies, the author as teacher educator and her students as teacher candidates supplement movies in this course conceptualizing pragmatics, semiotics and aesthetics into literacy education by inviting students of diversity to watch movies, talk about movies, write movies, and act movies. Pragmatics is the study of how language is used for communication in various social and cultural contexts; semiotics is the study of signs like languages, arts, music, dance, drama, films, and paralinguistics which includes the nonverbal communication signals, etc., that human created to mediate the world; and aesthetics is the artistic stance that learners take for responses to literacy experiences. The purposes of this study are multi-functional: to develop the multisensory acquisition of five literacy skills in thinking, listening, speaking, writing and reading in a pleasant and authentic discourse setting. Both students from diversity and mainstream cultures acquire natural language for social interaction. Based on research, most students from diversity need two years to develop the social language, while needing five years to obtain the academic language. The results from this research reveal that audio-visual approach in terms of movies fosters students’ cultural awareness, expedites English as second language acquisition for social function toward academic success and globalization.
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Setyawati, Naris Eka. "HIP HOP AS A REFLECTION OF AMERICAN VALUES: A SEMIOTICS ANALYSIS ON SAVE THE LAST DANCE AND STEP UP MOVIES." Rubikon : Journal of Transnational American Studies 3, no. 2 (July 18, 2019): 29. http://dx.doi.org/10.22146/rubikon.v3i2.34268.
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This study examines seven movies that are based on characters created by Duane Adler. They are two Save the Last Dance and five Step Up movies. This discussion is a library research which is conducted within the framework of American Studies approach under the scope of history, social, and culture. This research uses Barthes’ semiotics theory on myth to analyze the depiction of American phenomena in the movies.The objectives of this study are to examine the portrayal of Hip Hop in United States of America and to analyze the reflection of American values through movies. The discussions on the topic reveal that Hip Hop becomes the source for movies’ narratives. It is manifested in hip hop related scenes of the movies. They portray signs of rebellion and juvenile delinquency in the first order-semiological system. These portrayals reflect American values of rebellion and freedom. Moreover, life struggle and American belief in the land of opportunity play the signs in Barthes’ second order-semiological system. The American values reflected through the discussions are competitiveness, hard work, determined, optimism, and materialism.Keywords: Hip Hop, hip hop, popular culture, semiotics, American values
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Taringan, Yosua Jonathan, Ina Agustina, and Fauziah Fauziah. "OPTIMALISASI GERAK ANIMASI MODERN DANCE PADA TEKNOLOGI MOTION CAPTURE DENGAN TEKNIK MOTION LAYER MENGGUNAKAN ICLONE 6 PRO." Jurnal Ilmiah Informatika 3, no. 1 (June 7, 2018): 169–75. http://dx.doi.org/10.35316/jimi.v3i1.471.
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Motion Capture is an attractive technology for making a movement in the making of movies and games. This technique relies on the recording and motion sampling of an object as data to be transform into 3D form.The purpose of this paper will explain how to optimize movement animation modern dance by using Motion Layer method, presents optimized movement differences that have not been optimized, providing solutions to the creation of animated movements that are still rough. So that can be a reference in the making of movies, 3D animations, or games by combining Motion Capture techniques and Motion Layer method so that every movement produced and shown to be more perfect.
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Saragatsis, Evangelos, and Ifigeneia Vamvakidou. "The Bouzouki’s Signifiers and Significance Through the Zeibekiko Dance Song: "Evdokia’s Zeibekiko"." European Scientific Journal, ESJ 13, no. 35 (December 31, 2017): 125. http://dx.doi.org/10.19044/esj.2017.v13n35p125.
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The objective of this study is to identify the signifiers and significance of the Zeibekiko dance, and those of the bouzouki itself, to a further extent, as they emerge through research conducted in the relevant literature, and which is anchored to those signifiers, as they are highlighted through their presence in material that is obtained from movies. The semiotic analysis of the film “Evdokia”, by A. Damianos (1971), is the research method that is followed. In this context, the main focus is placed on the episode/scene, where Evdokia’s Zeibekiko is displayed on stage. This ‘polytropic’ (polymodal) material that consists of listening to, viewing, playing music, and dancing encompasses a large variety of musicological and gender signifiers that refer to the specific era. The model followed is that of Greimas (1996), as it was used by Lagopoulos & Boklund-Lagopoulou (2016), and Christodoulou (2012), in order to point out those characteristic features that are expressed by the bouzouki, as a musical instrument, through a representative sample of the zeibekiko dance, as it is illustrated in the homonymous film. The analysis of images, as well as of the language message, lead to the emergence of codes, such as the one referring to the gender, and also the symbolic, value, and social codes, and it is found that all these codes agree with the introductory literature research conducted on the zeibekiko dance and the bouzouki. Based on the combination of these approaches to the analysis performed, a number of elements can be clearly identified, such as the dancer’s masculinity, the loneliness that characterizes the dance, the values adhered to and the respect shown to the codes of honor, and all these elements confirm the initial literature research conducted on the zeibekiko dance, and by extent, the fact that the bouzouki expresses all the above characteristics.
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Zakiyati, Nur Muaffah, Agus Cahyono, and Syakir Syakir. "Inheritance of Cultural Values of Kethek Ogleng Dance at Darma Giri Budaya Dance Studio in Wonogiri." Catharsis 9, no. 1 (May 31, 2020): 28–37. http://dx.doi.org/10.15294/catharsis.v9i1.39033.
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The Kethek Ogleng dance performance is one of the traditional dances that is inherited and there are cultural values at Darma Giri Budaya Dance Studio in Wonogiri Regency. The purpose of this study is to analyze the inheritance of cultural values in the performances of the Kethek Ogleng Dance at the Darma Giri Budaya Dance Studio in Wonogiri Regency. The method used is qualitative with ethnochoreological approaches. The data collection techniques through observation, interviews and document study. The analysis process began from collecting data, reducing dataand clarifying, concluding and interpreting. The cultural value of Kethek Ogleng Dance can be seen in the dance moves, the performing techniques, dancers, time, drama, and technique. The cultural values that are seen from the knowledge obtained is from learning in the Studio and formal schools. Skillis the process of training artists to the dancer of Kethek Ogleng in the studio. Attitude, the artist teaches the attitude of dancer Kethek Ogleng that the talent possessed must be delivered.
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Linggih, Nyoman. "Sasolahan Sanghyang Oncesrawa At Penataran Sasih Temple, Desa Pakraman Pejeng Tampaksiring District, Gianyar Regency." Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies 3, no. 2 (October 31, 2019): 191. http://dx.doi.org/10.25078/ijhsrs.v3i2.892.
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<p>The Sanghyang Oncesrawa dance is not just a mere spectacle dance, this dance is in a state of unconsciousness, dancing on a burning fire and even though there are no signs of burning the body parts of the dancers. This dance is not a show or show off strength. The Sanghyang Oncesrawa dance is motivated by the loss of a beloved horse, the king of Bali, namely Sri Gajah Waktera with the title Sri Asta Sura Ratna Bumi Banten, a white hairy horse with a very powerful black tail named kuda oncesrawa. King Bedahulu's favorite horses disappeared and never came again. To commemorate the horse named Oncesrawa, the Sanghyang Oncesrawa Dance was performed in the Sasih Penataran Temple. This dance is classified as the art of sacred dance and when dancing mattress, moves agile (dangkrik-dingkrik = Balinese language) like horse movements. The research was conducted to multiply, raise, explore, socialize, religious dances, especially the Sanghyang Oncesrawa Dance, which so far still many people do not understand correctly. Qualitative research was carried out in the Sasih Penataran Temple through a cultural approach with data sources from figures, dance artists, <em>pemangku, serati</em>, library and photos. The results of the research analysis showed that the Sanghyang Oncersrawa dance is a sacred dance that is only danced on <em>piodalan</em> / large ceremonies (Ngusaba Nyatur), dances on coals in a trance state, bringing <em>pratima / arca / pralingga</em> of Sanghyang Oncesrawa, dances in a row while kicking a burning fire. The Sanghyang Oncesrawa dance has a function, namely; religious, sanctification, social and aesthetic. Sanghyang Oncesrawa dance has religious, sanctification, social, and aesthetic meaning.</p>
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Morrison, Margaret. "Tap and Teeth: Virtuosity and the Smile in the Films of Bill Robinson and Eleanor Powell." Dance Research Journal 46, no. 2 (August 2014): 21–37. http://dx.doi.org/10.1017/s0149767714000266.
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Several films of 1935 catapulted tap dancers Bill “Bojangles” Robinson and Eleanor Powell to movie stardom. Robinson'sThe Littlest Rebeland Powell'sBroadway Melody of 1936utilize a cinematic formula that intercuts the virtuosic footwork of the tap artists with giant close-ups of their toothy grins. The experience for contemporary spectators can be unnerving, as magnified lips, teeth, and eyes dominate the screen and interrupt the pleasure of watching expert tap. While the close-up smile and the choreography of the camera helped the film industry reproduce the excitement of live performance, these dance scenes also mobilize constructions of black masculinity and white femininity, through editing techniques that create multilayered narratives of power, intimacy, and submission. Robinson's close-up can be read as a depiction of racial subservience, as audiences are confronted with the smiling minstrel mask and the perpetuation of the legacy of minstrelsy in Hollywood. Powell's smile in close-up emphasizes her feminine sexual availability and evokes the voyeuristic camera shots of beaming, passive showgirls. The interplay in these two movies between the extremes of the tap dancer's body, the smile and feet, offers an opportunity to examine tap virtuosity within Hollywood's rigid system of racial and gender stereotypes.
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Joshi, Shobhana. "LITERATURE IN PAINTING / PAINTING IN LITERATURE." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 5–9. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.899.
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English : The world is pictorial, it is also a movie. "Who is this painter"! Do not know! But a small part of the universe is born in the middle of these pictures and movies, it is time-consuming. One watches these movies during the movement of breaths and stops. This which he sees, passes through the camera of his eyes and is printed in the mind and heart. He is restless. Let me share that print. A hieroglyph of this sharing from the rest. The script rang, the pictures were painted, the colors were unrefined. Manas became fertile, art enriched by imagination. Art grew to vibrancy from the sentiments of human beings progressed by primitive barbarism. The infinite beauty of the parallel vision of creation embodied dance art, singing art with Prabhavishnuta. The instruments were unmodified. When the replica of nature was found to be a sound form, the concrete shape from the soil and stone was found in the form of "sculpture".
Hindi : सृष्टि चित्रलिखित सी है, चलचित्र भी है। ''ये कौन चित्रकार है''! पता नहीं! पर सृष्टि का एक क्षुद्र हिस्सा भर मनुष्य इन चित्रों-चलचित्रों के बीच ही जनमता है, काल-कवलित होता है। सांसों के आने-जाने और रूक जाने की अवधि में इन चलचित्रों को देखता है। यह जो वह देखता है, उसकी आँखों के कैमरे से गुजरकर दिल-दिमाग में छपता है। उसे बैचेनी होती है। उस छपे को साझा करूँ। इस साझा करने की बैचेनी से जनमी चित्रलिपि। लिपि की बेल फैली, चित्र रचे चितेरों ने, रंग अविष्कृत हुए। मानस उर्वर हुआ, कल्पना से कला समृद्ध हुई। आदिम बर्बरता से आगे बढ़े मनुष्य के भावों से कला को स्पन्दन मिला। सृष्टि के समानांतर दृष्टि के अपरिमित सौंदर्य ने प्रभविष्णुता के साथ नृत्य कला, गायन कला को मूर्त्त किया। वाद्य अविष्कृत हुए। प्रकृति की प्रतिकृति ध्वनि रूप पा गयी तो मिट्टी और पत्थर से ठोस आकार ''मूर्तिकला'' रूप में मिला।
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Swandewi, Catur Karina. "Reconstructing Norms and Values in Gandrung Dance for Halal Tourism in West Nusa Tenggara." International Journal of Multicultural and Multireligious Understanding 6, no. 3 (June 28, 2019): 382. http://dx.doi.org/10.18415/ijmmu.v6i3.837.
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This study examines the norms and values in Gandrung Dance and how they can be reconstructed for the needs in halal tourism industries. The dance performance usually brings negative impacts of stigmatized identities of the dancers particularly the female dancers. The study focuses on dancers in Lombok, NTB, where in around 1965 the dance had been criminalized as immoral and sexual. The study aims at establishing whether the dance can be reconstructed and whether the reconstructed gestures are powerful enough to prevent sexual harassment associated and resulting from the gestures. The study particularly investigates if maintenance of personal distance and dance moves during Gandrung performance can act as powerful self-defense strategies against sexual move and harassment. The subjects of the study were Gandrung dancers, the audiences and Gandrung dance teachers and they were selected purposively based on expertise, access, and convenience. The method used is descriptive and qualitative whereby the data were collected through in-depth interviews and observation. These data were analysed using content and ethnographic analyses. The results show that with the harmony between the music and the dance movements as well as the interaction between the dancer and the pengibing dancer, Gandrung dance can be reconstruct to suit Halal tourism needs. With the advents of three modern types of Gandrung dance (legong, janger, and shanghyang dedari), the dance can now be commercialized for dance presentation. The study also find that negotiation between the dancer and the pengibing on the limit of contact and dance moves prior to dance performance can prevent unwanted sexual gestures and, when this happens, the dancer has the rights to call the pengibingan off and offers it to the other pengibing dancers.
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Franko, Mark. "French Interwar Dance Theory." Dance Research Journal 48, no. 2 (August 2016): 104–10. http://dx.doi.org/10.1017/s0149767716000188.
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Interwar French dance and the critical discourses responding to it have until recently been an underdeveloped research area in Anglo-American dance studies. Despite common patterns during the first half of the twentieth century that may be observed between the dance capitals of Berlin, Paris, and New York, some noteworthy differences set the French dance world apart from that of Germany or North America. Whereas in Germany and the United States modern dance asserted itself incontrovertibly in the persons of two key figures—Mary Wigman and Martha Graham, respectively—no such iconic nativist modernist dancer or choreographer emerged in France. Ilyana Karthas's When Ballet Became French indicates the predominance of ballet in France, and this would seem an inevitable consequence of the failure of modern dance to take hold there through at least one dominant figure. Franz-Anton Cramer's In aller Freiheit adopts a more multidimensional view of interwar French dance culture by examining discourse that moves outside the confines of ballet. A variety of dance forms were encouraged in the milieu of the Archives Internationales de la Danse—an archive, publishing venture, and presenting organization—that Rolf de Maré founded in Paris in 1931. This far-reaching and open-minded initiative was unfortunately cut short by the German occupation (1940–1944). As Cramer points out: “The history of modern dance in Europe is imprinted with the caesura of totalitarianism” (13). Although we are somewhat familiar with the story of modern dance in Germany, we know very little about it in France.
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Kim Sue In. "A Critical Reading of the Female Body, Sexuality, Social Differences Represented in Dance Movies - Focusing on Dirty Dancing , Step Up 2: The Streets , Black Swan -." Korean Journal of Dance Studies 58, no. 1 (January 2016): 1–21. http://dx.doi.org/10.16877/kjds.58.1.201601.1.
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Marcus, Kenneth H. "Dance Moves." Pacific Historical Review 83, no. 3 (November 2012): 487–527. http://dx.doi.org/10.1525/phr.2014.83.3.487.
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This article argues that a group of young African Americans in the 1940s and 1950s used ballet as a means of crossing racial and class barriers of an art form in which few blacks had until then participated. Founded in 1946 by white choreographer Joseph Rickard (1918–1994), the First Negro Classic Ballet was one of the first African American ballet companies in the country's history and the first black ballet company known to last over a decade. With the goal of multiethnic cooperation in the arts, the company created a series of original “dance-dramas,” several with musical scores by resident composer Claudius Wilson, to perform for white and black audiences in venues throughout Southern and Northern California during the postwar era.
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Sari, Novirela Minang. "BENTUK PENYAJIAN TARI KREASI CANGKLAK DI SANGGAR RAMPOE BANDA ACEH." DESKOVI : Art and Design Journal 2, no. 1 (June 30, 2019): 41. http://dx.doi.org/10.51804/deskovi.v2i1.408.
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Penelitian ini membahas tentang sebuah karya tari yang diciptakan di Sanggar Rampoe Kota Banda Aceh. Cangklak adalah salah satu tari kreasi yang sudah berkembang, akan tetapi masih mengikat pada pola tradisi. Oleh karena itu peneliti tertarik untuk mendeskripsikan bentuk penyajian dari tari kreasi Cangklak. Penelitian ini menggunakan metode deskriptif kualitatif guna mendapatkan data-data yang akurat serta memberikan pemahaman terkait dengan bentuk penyajian tari kreasi Cangklak di sanggar Rampoe Banda Aceh. Berdasarkan hasil penelitian terkait dengan bentuk penyajian, tari Cangklak diciptakan pada tahun 2006 oleh Yusri Sulaiman Skm, M. Kes. Tari ini menggunakan iringan musik, seperti rapai, geundrang, seurune kalee. Tari Cangklak adalah sebuah tari yang memvisualisasikan perempuan-perempuan Aceh dengan pesonanya. Gerak tarian yang energik menjadi khas dari tarian ini. Tari Cangklak ditarikan oleh enam orang penari perempuan, jumlah penari tersebut bisa disesuaikan dengan kebutuhan yang diinginkan atau keadaan pentas yang memiliki ruang besar atau kecil.This research tells about an artwork that created at Sanggar Rampoe Banda Aceh. Cangklak is one of the creation dances has been improved but still based on the traditional dance of Aceh. Therefore researchers are interested in describing the presentation form of Cangklak dance creations. This study uses a qualitative descriptive method to obtain accurate data and provides an understanding related to the form of Cangklak creation dance in the Rampoe studio in Banda Aceh. Based on the results of the study related to the form of presentation, Cangklak dance was created in 2006 by Yusri Sulaiman Skm, M. Kes. This dance uses musical accompaniment, such as rapai, geundrang, seurune kalee. Cangklak dance is a dance that visualizes Acehnese women with their charms. The energetic dance moves are typical of this dance. Cangklak dance is danced by six female dancers, the number of dancers can be adjusted to the desired needs or stage conditions that have large or small spaces.
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Na’afi Putri, Nur, and Darmawati Darmawati. "ANALISIS GARAPAN TARI SANGGAR SENI SARAI SARUMPUN DI KOTA PADANG." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 13. http://dx.doi.org/10.24036/jsu.v9i2.110494.
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This research aims to find out the dance work of Sarai Sarumpun Art workshops in Padang City. This type of research is qualitative research, and the method used is a description of the analysis. The instruments in this study are the researchers themselves and assisted with supporting instruments such as stationery and mobile phones. The data type uses primary data and secondary data. Data collection techniques are carried out by library studies, observations, interviews, recording and shooting. The steps for analyzing the data are data reduction, data presentation and withdrawal of conclusions. The results showed that the dance work of Sarai Sarumpun Art workshops seen in his three dances is Hoyak Badarai Plate dance, Indang Sarumpun dance, Rampak Nuri Shawl dance. Of these three dances found the wiggle room is dominated by large wiggle room, and the time of movement implementation is dominated by medium time, as well as the use of energy in motion dominated by medium-sized energy. More dance moves are used in curved zig-zag line patterns that produce emotional touches full of feeling (joy). Thus the supporting elements such as the joyous sense of music presented by the variety of sounds and costumes with colorful and varied floor patterns that all reinforce the joyous atmosphere that is presented in the dance of entertainment.Keywords: Analysis, Dance Work, Sarai Sarumpun Art Workshops
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Ayobade, Dotun. "Invented Dances, Or, How Nigerian Musicians Sculpt the Body Politic." Dance Research Journal 53, no. 1 (April 2021): 5–22. http://dx.doi.org/10.1017/s0149767721000048.
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AbstractPopular dances encapsulate the aliveness of Africa's young. Radiating an Africanist aesthetic of the cool, these moves enflesh popular music, saturating mass media platforms and everyday spaces with imageries of joyful transcendence. This essay understands scriptive dance fads as textual and choreographic calls for public embodiment. I explore how three Nigerian musicians, and their dances, have wielded scriptive prompts to elicit specific moved responses from dispersed, heterogenous, and transnational publics. Dance fads of this kind productively complicate musicological approaches that insist on divorcing contemporary African music cultures from the dancing bodies that they often conjure. Taken together, these movements enlist popular culture as a domain marked by telling contestations over musical ownership and embodied citizenship.
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Robinson, Danielle. "“Oh, You Black Bottom!” Appropriation, Authenticity, and Opportunity in the Jazz Dance Teaching of 1920s New York." Dance Research Journal 38, no. 1-2 (2006): 19–42. http://dx.doi.org/10.1017/s0149767700007312.
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Head tossed back wearing a mile-wide grin, ecstatic arms stretched to the sky, jutting knees counterbalancing a substantial backside—the Jazz Age had no symbol more potent than the moving black body (Figure 1). Nearly always an illustration, and in many cases a caricature, these images depicted anonymous black movers rather than recognizable individuals. Yet, looking beyond this superficial representation, it was actually visibly white dance professionals who primarily marketed jazz steps to the American public as teachers and choreographers. A quick glance through the pages of the nascentDance Magazineof the 1920s reveals numerous jass dance routines with names such as “High Yaller,” “Pickin’ Cotton,” “The Savannah Stomp,” and the “Hula-Charleston,” each represented by a specific white Broadway performer (Fig. 2). Standing just behind each dancer, however, is a dark dancing figure that remains nameless and faceless.
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Delgado, Celeste Fraser. "Salsa Crossings: Dancing Latinidad in Los Angeles." Dance Research Journal 46, no. 2 (August 2014): 105–10. http://dx.doi.org/10.1017/s0149767714000308.
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It appears to be a ritual among salsa dance scholars to open by sharing a personal salsa experience. I will follow their lead: My introduction to Los Angeles–style salsa came on a Saturday night in the spring of 1999, when I had the pleasure of taking a tour of the city's salsa scene with dance scholar Juliet McMains. Already an established professional ballroom dancer, McMains was just beginning her graduate studies at the University of California–Riverside where I was visiting faculty, having recently co-edited a collection on Latin/o American social dance. Lucky for me, McMains was among the many brilliant students who enrolled in my class on race and dance. The night of our tour, she invited a handsome friend and fellow ballroom dancer to partner first one of us, then the other, throughout the night. He drove us around the city as we stopped at a cramped restaurant-turned-nightclub in a strip mall, at a glamorous ballroom in Beverly Hills, then ended the night downtown at a massive disco in a former movie palace, the Mayan nightclub.
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Becker, Svea, and Bruce Williams. "A Madison for Outcasts: Dance and Critical Displacements in Jean-Luc Godard’s Band of Outsiders." Hors dossier 18, no. 2-3 (August 4, 2008): 215–35. http://dx.doi.org/10.7202/018559ar.
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Abstract In light of Timothy Corrigan’s discussion of the cult film as “adopted child,” Godard’s Band of Outsiders (Bande à part) can be viewed as a film which has transcended its original destiny and opened doors to diverse critical and spectatorial receptions. Drawing upon pulp fiction and the “B movie” genre, Godard’s original intent was to make a mainstream film. But it was precisely the film’s homage to the American mainstream that soon led to its cult status in non-mainstream cinema. Based on a pulp fiction novel by Delores Hitchens, Band of Outsiders celebrates dance and movement from American popular culture and, in particular, American jazz dance as popularized in Europe in the early 1960s. In one sequence, the protagonists break into the Madison, a line dance that quickly moved from the African-American community to the white mainstream through such television shows as American Bandstand and to Europe through the work of such performers/teachers as Harold Nicholas. The freedom of movement within a structured environment, which defines the Madison, recalls the director’s own approach to filmmaking as well as his high regard for the physical dexterity of his actors. Inasmuch as each dancer dances the Madison “solo,” the dance allows individual characters to articulate through movement their mental and emotional states. At the same time, it permits the three protagonists to function as a synchronized group, a “band of outsiders.” The Madison sequence, moreover, presents a microcosm of many of the ideological and aesthetic premises of the Nouvelle Vague and is particularly reflective of Godard’s love of Americana. This dance, itself synonymous with the film, is the sequence that generates the most intricate intertextual references as well as the most divergent critical response. The Madison has thus become the vehicle through which Band of Outsiders has come to stand in for non-mainstream cinema at large.
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ÖZTÜRKMEN, ARZU. "ANTHONY SHAY, Choreographic Politics: State Folk Dance Companies, Representation and Power (Middletown, Conn.: Wesleyan University Press, 2002). Pp. 290. $65.00 cloth; $19.95 paper." International Journal of Middle East Studies 35, no. 4 (November 2003): 642–44. http://dx.doi.org/10.1017/s0020743803270264.
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Anthony Shay's Choreographic Politics fills an important gap in the research of the history of folk dancing, a gap opened by the controversial status of “state folk dance ensembles,” whose performances have often been neglected or despised by folklorists and dance scholars. Staged folk dances have always charmed audiences with the energy they embed in their performances but they have also puzzled them, because it is clear that they are more of a “representation” than a true reflection of a locality's reality. The analysis of “state folk dance ensembles,” then, moves on the edges of folklore and “fake lore,” the art of dance and the ethnography of dance. Choreographic Politics touches on this very sense of illusion and disillusion, focusing on the politics of state folk dance ensembles, a cultural product of the post-war era.
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Maksimenko, K. A. "Music and choreography interaction in the stage dances of musical theater productions of the 17th – the first half of the 18th century." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 63–73. http://dx.doi.org/10.34064/khnum2-14.05.
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Background. One of the typical trends of modern musicology is the increasing interest in the problem of components dialogue in the synthetic forms of art. In the context of this global topic, the issue of music and choreography interaction in the stage dances of musical theater productions of the 17th – the first half of the 18th century is of particular interest. The connection of music and choreography in the art of stage dance of the 17th – the first half of the 18th century appears as a kind of continuation of the syncretic unity of ancient art seen through the prism of the professional experience of the creators of court musical and stage productions in the French classicism style. In the court operas, ballets and other types of performances such of the composers, as A. Kampra, J.-B. Lully, J. F. Rameau, the spirit of the antique art was reviving in its own special way representing the “ensemble of arts” in a miniature. The research objective is to identify the features of the combination and interaction of musical and choreographic arts in the stage dances of French musical and theatre productions of the 17th – the first half of the 18th century. The article uses the method of comparative analysis. This method allows to analyze the features and the ways of interaction between the elements of dance and musical syntax. Results. The art of choreography is a rhythm and plastic form of thinking and self-expression, which can reflect reality not only in its eventual plot related manifestations, but also to rise to the broad abstract generalizations. In view of its rather conditional nature, dance requires, to one degree or another, the interpretation of its content. In the 17th and early 18th centuries, the need for such an explanation increases significantly because of the great role of emblems and encoded content in various aesthetic and artistic phenomena. In the dance, the close relation to the court ceremonial, which did not allow the expression of emotions, initiated this feature additionally. For example, at that time one was believed that stepping a minuet means “drawing up secret signs of love”, which were recognized in movements, poses, facial expressions and gestures. In the Baroque Epoch the audience easily was recognizing the content of such dances, whereas for the modern observer and researcher it remains unknown. The dance moves and their combinations in stage dances of the 17th and early 18th century receive a specific meaning in the context of poetic, musical and dance phrases. However, first, the moves of dancers-performers were consistent with the music. As a rule, the result of making a choreographic production depended on the composer’s choice of the musical form. Most of the dances within the researched period were set to music in a two-part form. Less often we can find the samples in the form of a couplet rondo and ostinato variations. When making the dance productions, French choreographers took into account the features of other popular musical forms of the 17th –18th centuries. In some cases they emphasized or combined with their own author’s decision the symmetric basis laid down in the musical structure (the form of rondo), in others – they disclosed the effect of the continuity principle. An example of the embodiment of a choreographic idea set to music in the form of a rondo is the passepied production (fr. passé-pied) “La Gouastalla” realized by R. A. Feye to the music of the unknown composer. The choreographic composition consists of five dance periods corresponding to five sections of the musical form. A slightly different choreography scheme – ABCBC is combined with the symmetric scheme in the musical variation– ABACA. In this production the combination of the musical form and the choreographic composition is somewhat changed, however, this does not mean the complete neglect of the musical form regularities in the construction of the dance general plan. One of the aspects of the musical and choreographic arts combination in French stage dances of the 17th and 18th centuries is the connection with of the choreographic component of the latter with the tonal plan of the musical work. The tonal coloring of the music was reflecting in the formation of a choreographic drawing of dance, in the process of expressing in the movements of various emotions and feelings. Changes of tonalities, the most used of which, as a rule, a certain circle of images and affects, their own “character” carried along at that time, were associated with a variety of transitions in the emotional coloring of the dance. It is from such, emotional, the perception of tonality, the versions of the tonal plans of French dances follows, which are unusual for later canons of Viennese Classicism, in particular, with the violation of the harmonic sequence of T-D-S-T. Conclusions. Thus, the stage dance of the 17th and early 18th century is a peculiar form of embodiment of the “miniature ensemble of arts”, where dance moves and their combinations receive a specific coloring in the context of poetic, musical and dance phrases and certain allegorical meanings. Nevertheless, first and foremost, the moves of dancers-performers were consistent with the music. Obvious is the great dependence of the choreographic production on the musical form and its components – the rhythm as well as the tonal and harmonic plan, which combined with the choreographic elements, prompt the feelings transmitted in the dance, which give to it the life and inspiration.
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Buckland, Theresa Jill. "Dance and Cultural Memory: Interpreting Fin de Siècle Performances of ‘Olde England’." Dance Research 31, no. 1 (May 2013): 29–66. http://dx.doi.org/10.3366/drs.2013.0058.
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In late Victorian and Edwardian England, there existed in performance and in popular historical imagination, a cultural memory of the nation's ancient dances. This national repertoire had largely been constructed through nineteenth-century romantic imagery of ‘olde’ and ‘merrie’ England and appeared across a wide variety of genres and contexts. Alongside the morris, country and maypole dances were courtly dances such as the minuet and gavotte which were fashionable at costume balls, salons and on the stage. These dances were also taught to children of the middle and lower classes as a means of embodying what were regarded as earlier more civilised ways of moving and social interaction, as well as celebrating and engendering a vision of England as happy and communal. This article explores this fascination with England's so-called ancient dances, in particular, the Victorian rococo minuet, as a historically and socially situated manifestation of cultural memory. It raises issues of dance and nationalism, the transmission of fashionable dances across country and class, the recycling of dance imagery and practice, and the trend towards authentication in the revival of dances for popular consumption.
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Chang, Yu-Chi. "Localised Exoticism: Developments and Features of Belly Dance in Taiwan." Physical Culture and Sport. Studies and Research 54, no. 1 (June 1, 2012): 13–25. http://dx.doi.org/10.2478/v10141-012-0003-6.
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Localised Exoticism: Developments and Features of Belly Dance in TaiwanBelly dance has become one of the most popular dances in Taiwan today, with women of various ages participating in this imported dance. With respect to this speedy expansion, the purpose of this study is to investigate current developments, and to distinguish features of Taiwanese belly dance. The method adopted is literature analysis: a large number of Internet news items were collected to capture the trend of belly dancing in Taiwan. This study concludes that belly dance in Taiwan is primarily presented as: an exercise that is beneficial for health; widely accessible and partially embedded in local life; an exercise for all age groups and genders; a blend of multiple cultural elements; outstanding dancers acclaimed as the pride of Taiwan. The representation showed that the development of belly dance was influenced by the Taiwanese social background. Within the Taiwanese cultural landscape of meanings, belly dance moves between the exotic and the local. This study argues that belly dance is better described as "localised-exoticism" in Taiwan.
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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.
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"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.
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King, Jayne. "WomenWork It On Out: An Intergenerational Encounter through Dance." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 151–60. http://dx.doi.org/10.1017/s2049125500000637.
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In “Dance Narratives and Fantasies” Angela Mc Robbie writes that for generations of women dance has represented “an arena for self expression … away from the difficulties of everyday life. … a symbolic escape route from the more normative expectations of young women.” “I dance because it … makes me feel free,” writes Ms Mae, one of twenty seniors who participated in Work It On Out, a community dance project that brought elders together with dance majors at Northwest Vista College. Sharing dances and stories about dance, we would form a unique intergenerational community to celebrate a woman's ongoing love affair with dance. Though dance is not something that old and young typically share, the exuberance in the simple acts of moving together created instant rapport. With Aretha crooning “freedom …” in the background, looking good and shaking our shoulders and hips was a “fem-positive” message of grace, dignity, and strength over circumstance, signified by the freedom of the body.
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Foster, Raisa. "The Presence of Real Reality: Six Theses on Dance Animateuring." Nordic Journal of Dance 5, no. 2 (December 1, 2014): 36–43. http://dx.doi.org/10.2478/njd-2014-0009.
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Abstract Tanssi-innostaminen® (‘dance animateuring’ in English) is an artistic and pedagogical method, which I have developed in order to empower both individuals and communities. By dance animateuring I refer to dance/ movement based activity, in which everyone can find their own way of moving and expressing by movement, but also reflecting the self and its connections to the other and the whole world. In this paper I will argue the six theses that define my approach to contemporary art making in dance animateuring practice: 1) The dancer should never aim to produce something specific but only to be present. 2) The performance shows that everyone can dance. 3) The performance is born from action, not from an idea. 4) The performance is multisensory and multidisciplinary artwork. 5) The performance is incomplete and ambiguous. 6) The performance challenges the conventional ways of seeing the world and people.
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Hanna, Judith Lynne. "Dance and Sexuality: Many Moves." Journal of Sex Research 47, no. 2-3 (March 24, 2010): 212–41. http://dx.doi.org/10.1080/00224491003599744.
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Ay, Hardiansyah. "Analysis of Besaman Music Rhythm Patterns." Journal of Music Science, Technology, and Industry 3, no. 1 (January 31, 2020): 15–24. http://dx.doi.org/10.31091/jomsti.v3i1.960.
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Besaman (bersaman) is a daily mention of the Gayo people for art activities which are currently only known as saman dance. saman is a traditional Gayo art which includes music, dance and literature. Within the elements of music, dance and literature have an equally important portion, in which each type of art takes place in mutualism, such as the motion of creating music, music (melodic form of song and poetic structure) is considered in creating the rhythm of motion. In the perspective of dance music, saman is a dance that uses a form of music presentation internally, internally what is meant is music that arises or is produced by the dancer itself (without accompaniment of music). Music in besaman is produced by clapping hands, chest, thighs, finger flicks and vocals. Clapping hands, chest, thighs and flick fingers form a choreography in the dance. The forms of song melodies and literary structures adjust and are also adjusted in creating a form of musical rhythm as well as dance moves. Therefore, the Gayo community calls this form of art activity with the plait not just dancing saman, because the three types of music, dance and literature take an equally important role in doing this art.
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Rowe, Sharon Māhealani. "We Dance for Knowledge." Dance Research Journal 40, no. 1 (2008): 31–44. http://dx.doi.org/10.1017/s0149767700001352.
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Every year, for hundreds of thousands of tourists, seeing “real Hawaiian hula” in a hotel or in a packaged lū'au setting is standard fare. Commonplace too is receiving one's introduction to hula through any of the many competitions that take place annually in Hawai'i and, with increasing frequency, throughout the world. Still others find hula marketed for its exercise benefits, peddled as the latest fitness fad in gyms and malls across the country. But is hula the allure of exotic dancers evoking prurient responses from tourists, one moment tantalized by undulating hips only to be teasingly chastised the next to “keep your eyes on the hands”? Is it the crisp, impeccably synchronized movement danced before panels of judges at the several hula competitions that mark the year for many hula hālau? Is hula the movement, the meaning conveyed through the movement, or the full context out of which movement casts itself into an art form that inspires passion and perpetuates a traditional way of living?For Mary Kawena Pukui, credited with helping to bring the rich traditional context of hula into the present, hula is “a general name for many types of Hawaiian folk dances” (1942/1980, 70). Pukui's laconic description says everything, and nothing. Everything because hula is the unique dance of the Hawaiian people. Everything because despite the homogenizing influence of hula competition, which has brought only a limited range of the vast hula repertoire to the public's attention over the past thirty-five years, hula encompasses many different styles and types of dances. But it says nothing because hula simply cannot be reduced to Hawaiian folk dance. Hula is a moving encyclopedia inscribed into the sinews and postures of dancers' bodies. It carries forward the social and natural history, the religious beliefs, the philosophy, the literature, and the scientific knowledge of the Hawaiian people.
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Sari, Putri Yunita Permata Kumala. "Etnokoreologi Tari Topeng Banjar pada Upacara Manuping Desa Banyiur Luar Banjarmasin." Pelataran Seni 4, no. 1 (August 18, 2020): 1. http://dx.doi.org/10.20527/jps.v4i1.5608.
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IntisariArtikel ini merupakan kajian etnokoreologi tari topeng Banjar dalam upacara manuping di Desa Banyiur Luar, Kota Banjarmasin. Pen-dekatan kualitatif-deskriptif dipilih dalam penelitian ini. Pengumpulan data menggunakan teknik triangulasi (observasi, wawancara, dokumentasi). Analisis data dilakukan dengan model Miles dan Huberman. Data bentuk topeng dianalisis dengan pende-katan ikonografi model Alessandra Iyer, fisiognomi, dan semiotika. Hasil kajian ini menemukan dalam upacara manuping di Desa Banyiur Luar terdapat sembilan ragam tarian atau karakter topeng. Tari topeng ini merupakan salah satu jenis tari klasik Banjar di Kalimantan Selatan yang memiliki keunikan. Dari aspek gerak, tari topeng ini bersifat spontan dengan memiliki unsur gerak tari japin, serta memiliki dua bentuk gerak yaitu pola tanda plus (+) dan pola lingkaran. Pada umumnya, iringan musik tari topeng pada upacara manuping ini menggunakan perangkat gamelan Banjar.Kata kunci: topeng banjar, tari banjar, manuping, etnokoreologi AbstractThis article is an ethnocoreological study of Banjar mask dance in a manuping ceremony at Banyiur Luar Village, Banjarmasin City. A qualitative-descriptive approach was chosen in this study. Data collec-tion using triangulation techniques (observation, interviews, document-tation). Data analysis was performed using the Miles and Huberman model. Mask shape data were analyzed by using Alessandra Iyer's iconographic approach, physiognomy, and semiotics. The results of this study found that in the manuping ceremony in Banyiur Luar Village, there were nine types of dances or mask characters. This mask dance is one of the classic Banjar dances in South Kalimantan which is unique. From the aspect of dance moves, this mask dance is spontaneous by having elements of japin dance movements, and has two forms of motion, namely the plus sign (+) pattern and the circle pattern. In general, the mask dance music accompaniment at this manuping ceremony uses the Banjar gamelan instrument.Keywords: banjar mask, banjar dance, manuping, ethnocoreology
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Hidayat, Venny Agustin. "GERAK DAN RASA DALAM TARI MERAK JAWA BARAT." DESKOVI : Art and Design Journal 3, no. 2 (December 3, 2020): 104. http://dx.doi.org/10.51804/deskovi.v3i2.804.
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Gerak merupakan unsur utama dari tari. Gerak di dalam tari bukanlah gerak yang realistis, melainkan gerak yang telah diberi bentuk ekspresif dan estetis. Gerak tari selalu melibatkan unsur anggota badan manusia dan berfungsi sebagai media untuk mengkomunikasikan maksud dari pembentukan gerak. Jenis gerak tari yang digunakan, yaitu gerak maknawi, gerak murni, dan gesture. Selain gerak tari, terdapat elemen-elemen ruang, waktu, dan tenaga dalam menari.Metode penelitian yang digunakan, yaitu pendekatan kualitatif. Tujuannya agar penelitian dapat ditemukan, dikembangkan, dibuktikan, dan dapat digambarkan secara sistematis tentang gerak pada tari Merak, sehingga menimbulkan rasa untuk melakukannya. Subjek penelitiannya adalah para anggota yang berada di sanggar tari, terdiri dari para penari merak, pelopor, dan pengola sanggar Pusbitari Bandung. Suatu tarian apabila disajikan sebagai objek seni menjadi sebuah pengalaman bagi para pengamat untuk di hayati dan dimengerti, melalui struktur sensasi, persepsi, dan perasaan dalam menggerakkannya. Sering kali dikatakan bahwa murid-murid pemula tidak siap untuk mencipta dan mendapatkan ketubuhan baru. Melalui kesempatan yang diulang-ulang bagi aktivitas kreatif yang diarahkan sendiri, seorang penari dapat mengembangkan potensi kreatifnya. Pengalaman kreatif yang pertama dalam tari, dialami dengan beberapa tingkat kecemasan. Tingkat kecemasan ini dapat kita pahami dan pengalaman seperti itu sebaiknya diarahkan agar para murid-murid dapat mengatasi rasa takutnya.Motion is the main element of dance. Motion in dance is not a realistic movement, but a movement that has been given an expressive and aesthetic form. Dance moves always involve elements of the human body and function as a medium to communicate the purpose of motion formation. Types of dance movements used, namely meaningful motion, pure motion, and gesture. In addition to dance moves, there are elements of space, time, and energy in dancing. The research method used is a qualitative approach. The goal is that research can be found, developed, proven, and can be described systematically about the movements of the Peacock dance, giving rise to a sense of doing so. The subjects of the research were the members who were in the dance studio, consisting of peacock dancers, pioneers, and processors at the Bandung Pusbitari Studio. A dance when presented as an object of art becomes an experience for observers to be lived and understood, through the structure of sensation, perception, and feeling in moving it. It is often said that novice students are not ready to create and obtain new bodies. Through repeated opportunities for self-directed creative activities, a dancer can develop their creative potential. The first creative experience in dance, experienced with some level of anxiety. This level of anxiety can be understood by us and such experiences should be directed so that students can overcome their fears.
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Miner, Joshua. "Indigenous Surveillance Cinema: Indian Education and the Truant On-Screen." Surveillance & Society 18, no. 4 (November 30, 2020): 467–80. http://dx.doi.org/10.24908/ss.v18i4.13431.
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Recent Indigenous boarding school movies have emphasized representations of surveillance together with the “living dead” as a central motif. After a brief review of surveillance in Indian education, this essay examines a cycle of films—The Only Good Indian (2009), Savage (2009), The Dead Can’t Dance (2010), Rhymes for Young Ghouls (2013), and SNIP (2016)—wherein the practices and technologies of surveillance mediate a dynamic interplay between settler educational institutions and the Native runaway or truant. These films converge a popular undead motif with this longstanding genre figure of resistance by Native/First Nations children to settler systems of administration, drawing on its literary formation that extends back to the first Indigenous writing on federal Indian education. Within this larger field of what we may call Indigenous surveillance cinema, discourses of bureaucratic rationality frame the figure of the truant. These films articulate the ways that representational practices ranging from literacy to cinema uphold systems of identification by which administrative surveillance of Indigenous people continues. Cinematic representations of the supervision of Indigenous bodies recall settler-colonialism’s mobilization of an array of early surveillance technologies for the assimilation of Native children. In this context, the watchful eye of the teacher—a proxy for administrative media—suggests a deeper embedding in settler systems of control. A visual poetics of truancy emerges in Indigenous surveillance cinema, as the truant figure operates dialectically with settler surveillance. The truant spatializes settler management and surveillance in her desire to escape cultural conversion at the hands of these proliferating technologies of representation.
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Jazuli, Muhammad. "Aesthetics of Prajuritan Dance in Semarang Regency." Harmonia: Journal of Arts Research and Education 15, no. 1 (July 8, 2015): 16. http://dx.doi.org/10.15294/harmonia.v15i1.3692.
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<p>The scarcity of aesthetic study of traditional arts has evoked my intention to promote a model of aesthetic study in dance performance. The focus of this research is the aesthetics of Prajuritan dance in Semarang regency. The aesthetics were founded on dance choreography and cultural value systems, which grow and develop in the community of Semarang regency. Dances choreography includes dance background, form, shape, theme, number and formation of dancers, moves, musical accompaniment, make-up and costume, and dance floor patterns. Cultural value systems include communicating stories, expressed symbols, function and meaning of Prajuritan dance for its supporting community. The stories were derived from the heroic tale of Prince Sambernyawa (KGPAA, king Mangkunegara I in Mangkunagaran royal palace, Surakarta) when he rebelled against the arbitrary Dutch colonialists, with his famous spell, “<em>tiji tibeh </em>(<em>mukti siji mukti kabeh</em> – being prosperous for one and all)” and Three Dharma of soldiers, namely “<em>rumangsa melu handarbeni, melu hangrungkebi, mulat sarisa hangrasa wani</em>, which means having sense of belonging, protection, and awareness to bravely do whatever to defend his nation and country. Therefore, Prajuritan dance brings the mission to evoke sense of courage, discipline, and responsibility for the young generation. </p>
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Neave, Nick, Kristofor McCarty, Jeanette Freynik, Nicholas Caplan, Johannes Hönekopp, and Bernhard Fink. "Male dance moves that catch a woman's eye." Biology Letters 7, no. 2 (September 8, 2010): 221–24. http://dx.doi.org/10.1098/rsbl.2010.0619.
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Male movements serve as courtship signals in many animal species, and may honestly reflect the genotypic and/or phenotypic quality of the individual. Attractive human dance moves, particularly those of males, have been reported to show associations with measures of physical strength, prenatal androgenization and symmetry. Here we use advanced three-dimensional motion-capture technology to identify possible biomechanical differences between women's perceptions of ‘good’ and ‘bad’ male dancers. Nineteen males were recorded using the ‘Vicon’ motion-capture system while dancing to a basic rhythm; controlled stimuli in the form of avatars were then created in the form of 15 s video clips, and rated by 39 females for dance quality. Initial analyses showed that 11 movement variables were significantly positively correlated with perceived dance quality. Linear regression subsequently revealed that three movement measures were key predictors of dance quality; these were variability and amplitude of movements of the neck and trunk, and speed of movements of the right knee. In summary, we have identified specific movements within men's dance that influence women's perceptions of dancing ability. We suggest that such movements may form honest signals of male quality in terms of health, vigour or strength, though this remains to be confirmed.
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Alistiana, Lisa. "Proses Kreativitas dan Apresiasi Seni Dalam Pembelajaran Seni Tari Bagi Mahasiswa PIAUD UIN Sunan Ampel Surabaya." Attadrib: Jurnal Pendidikan Guru Madrasah Ibtidaiyah 3, no. 2 (September 29, 2020): 19–25. http://dx.doi.org/10.54069/attadrib.v3i2.106.
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This study aims to develop creativity and appreciation of art in learning dance for students of UIN Sunan Ampel Surabaya PIAUD. Learning dance is very useful for PIAUD students because it can improve the ability to learn dance in art appreciation activities. Creativity in this research is to create a new thing in individual learning. In general, creativity and appreciation lead to the process of moving that drives someone in an action. Desires that must continue to be fostered for the process of learning dance one of them with a form of appreciation, because in the form of appreciation of art contains a beauty or aesthetic dance moves, as well as expression in learning dance know that dance creation also contains a beauty. The process of dance work will be an aesthetic experience for students who are in line with their educational interests through learning dance. This process is carried out continuously so that the appreciation of PIAUD students towards dance as expected and will increase and have creativity towards learning dance when they become kindergarten teachers.
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Et al., Suddhipong Srivichai. "The Activity Model of Moderate Time, More Learning for Learning and Teaching Management in Basic Education." Psychology and Education Journal 58, no. 1 (January 29, 2021): 1622–26. http://dx.doi.org/10.17762/pae.v58i1.956.
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The purposes of this research were; 1. to study the activity model for Moderate Class, More Learning of basic educational students according to the state policy, 2. to develop activities for Moderate Class, and 3. to create activity sets for Moderate Class. The data were collected by questionnaires from 254 students and by in-depth interviews with 10 school administrators. The Results of the Study found that:1. The activity model for Moderate Class, namely; Part 1: Lead consisting of 1) Environment, 2) Principles of policy and theory of Moderate Class, More Learning, and 3) Objectives, Part 2: Model consisting of 1) Work system for information technology concerning students’ skills, interest, and need for using in setting plans, 2) Management process consisting of four learning domains; Head, Heart, Hand, and Health, and Part 3: Implementation consisting of 1) Structure, 2) Decision of school administrators, 3) Evaluation guideline and achievement conditions depending on each school.2. The development of activities for Moderate Class, More Learning of basic educational students according to the state policy consisted of 4 activity groups and was to integrate students’ learning, living and working together with 4 Hs; Head, Heart, Hand, and Health. 3. The four sets of activities were; Activity set 1: Learning management consisted of 2 sub-activities; story telling and match making. Activity set 2: Competency and learning enhancement consisted of 2 sub-activities; junior scientist and fun mathematics. Activity set 3: Characteristics and value enhancement consisted of 2 sub-activities; history through movies and religious conservation, and set 4: Characteristics and value enhancement consisted of 2 sub-activities; aerobics dance and organic agriculture.
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Bugg, Jessica. "Dancing dress: Experiencing and perceiving dress in movement." Scene 2, no. 1 (October 1, 2014): 67–80. http://dx.doi.org/10.1386/scene.2.1-2.67_1.
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Clothing design for dance is an area that has been little documented, particularly in relation to the experience and perception of the dancer. Contemporary dance and clothing can both be understood as fundamentally phenomenological and as such there is further potential to investigate the lived experience of wearing clothing in dance. This article approaches dress in the context of the moving and dancing body, and it aims to develop an understanding of the role of dress in dance by focusing on the sensory, embodied experience and perception of the performer. It addresses questions of how clothing is perceived in movement by the performer, how and if clothing’s design intention, materiality and form motivate physical response, and what conscious or unconscious cognitive processes may be at play in this interaction between the active body and clothing. The intention is to propose developed methods for designers across clothing disciplines to contribute in a meaningful way to the overall dance work. The article draws on an analysis of my practice-led research that employs embodied experience of dress to inform the design and development of clothing as communication and performance. The research has involved close collaboration with a dancer, analysis of recorded interviews, and visual documentation of design and movement. The research has produced data on the dancer’s experience and perception of garments in performance and this is discussed here in relation to writings on perception, performance, the body and cognition. The research is approached through theory and practice and draws on interviews, observation and lived experience. This article is developed from an earlier conference paper that investigated the role and developed potential of clothing in contemporary dance that was presented at the 4th Global Conference: Performance: Visual Aspects of Performance Practice, Inter-Disciplinary.Net, held in Oxford on 17–19 September 2013.
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Kico, Iris, Nikos Grammalidis, Yiannis Christidis, and Fotis Liarokapis. "Digitization and Visualization of Folk Dances in Cultural Heritage: A Review." Inventions 3, no. 4 (October 23, 2018): 72. http://dx.doi.org/10.3390/inventions3040072.
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According to UNESCO, cultural heritage does not only include monuments and collections of objects, but also contains traditions or living expressions inherited from our ancestors and passed to our descendants. Folk dances represent part of cultural heritage and their preservation for the next generations appears of major importance. Digitization and visualization of folk dances form an increasingly active research area in computer science. In parallel to the rapidly advancing technologies, new ways for learning folk dances are explored, making the digitization and visualization of assorted folk dances for learning purposes using different equipment possible. Along with challenges and limitations, solutions that can assist the learning process and provide the user with meaningful feedback are proposed. In this paper, an overview of the techniques used for the recording of dance moves is presented. The different ways of visualization and giving the feedback to the user are reviewed as well as ways of performance evaluation. This paper reviews advances in digitization and visualization of folk dances from 2000 to 2018.
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Tsompanaki, Eleni. "The Effect of Creative Movement-Dance on the Development of Basic Motor Skills of Pre-School Children." Review of European Studies 11, no. 2 (April 12, 2019): 29. http://dx.doi.org/10.5539/res.v11n2p29.
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The purpose of this study is to evaluate the effectiveness of a program for children aged 4-5 with the main tool of creative movement - dance and its influence on the development of basic motor skills. The aim of the intervention program is to develop "moving" motor skills through an organized intervention program with a variety of creative moves and creative dance. The intervention program aims to create a positive environment in which children can overcome negative emotions and join the team, communicate, experiment, discover, co-decide and create new kinetic dance forms.
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Snowber, Celeste. "Dancers of Incarnation." Thème 25, no. 1 (January 7, 2019): 125–38. http://dx.doi.org/10.7202/1055243ar.
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In poetic, sensuous and visceral language this article explores how one liturgical dance artist, whose work as a dancer and educator was centered in dance and theology for decades was informed by an incarnational theology to break open a field of embodied inquiry now situated outside the field of theological studies. The article is in itself a dance consisting of five movements which trace the journey of a liturgical dance artist from theology to doxology, embodied prayer and embodied inquiry to dancing in nature as a cathedral. Here in creating and performing site-specific work in the natural world, all of living and being is an embodied expression of spirit. Attention is given to the Biblical foundation of bodily expression and wisdom, moving to the fields of arts-based research rooted in phenomenology and curriculum theory to open up an embodied and poetic scholarship. Here writing is artistic and scholarly, personal and universal, evoking a physicality through the senses where connections between the holy and ordinary are honoured. Dance, movement and the body are rooted in incarnational and poetic expression and represent a philosophy through the flesh where physicality and spirituality are deeply intertwined.
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Fiskvik, Anne. "Renegotiating Identity Markers in Contemporary Halling Practices." Dance Research Journal 52, no. 1 (April 2020): 45–57. http://dx.doi.org/10.1017/s0149767720000054.
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Contemporary halling, seen in theatrical dance works by the Norwegian choreogaphers Hallgrim Hansegaard and Sigurd Johan Heide, exists in a fluid interplay between traditional dance and influences from other cultures. This article examines how typical halling moves are negotiated and “remixed” through practices taking place inside and outside of the Nordic sphere. Hansegaard and Heide can be seen as representatives of “wayfinding artists,” influenced by migrant practices through moving, “wayfinding” in and out of the Nordic region.
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Kraut, Anthea. "Female Surrogate Labor and White Corporeal Debt in Singin’ in the Rain." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 2 (September 1, 2021): 1–31. http://dx.doi.org/10.1215/02705346-9052774.
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Abstract This essay revisits the question of credit and debt in the celebrated 1952 film musical Singin’ in the Rain (dir. Gene Kelly and Stanley Donen, US) to show how white women's dancing bodies participate in the “talent relocations” that the movie both thematizes and suppresses. Specifically, it focuses on the relationship between Debbie Reynolds, who was a novice dancer when she was cast in the film, and the two other white women dancers who helped shape Reynolds's filmic body: assistant choreographer Carol Haney and dance-in Jeanne Coyne. Combining feminist and critical race perspectives with production studies, film studies, and dance and performance studies, the essay unites often disconnected gendered and racial analyses of the film by emphasizing the gendered forms of labor and the multiracial genealogies through which dance is reproduced. It also shows how the guise of white credibility enabled Reynolds to conceal her intercorporeal and multiracial debts. Finally, the essay argues that the presence of dancers of color in the film, most notably Rita Moreno, haunts the chains of white corporeal debt that bind Reynolds to Haney and Coyne.
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Manalu, Nadra Akbar, and Fifie Febryanti Sukman. "TARI SEUDATI INONG SEBAGAI WUJUD REPRESENTASI KESETARAAN GENDER DIKABUPATEN ACEH BESAR." Gorga : Jurnal Seni Rupa 9, no. 2 (November 8, 2020): 367. http://dx.doi.org/10.24114/gr.v9i2.20673.
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AbstrakAceh erat kaitannya dengan syariat Islam. Kesenian dimanfaatkan sebagai media dakwah untuk mensyiarkan agama Islam kepada seluruh masyarakat diberbagai wilayah Provinsi Aceh. Tari Seudati Inong merupakan tarian tradisonal masyarakat Aceh yang ditarikan oleh perempuan dan gerakannya merupakan imitasi dari Tari Seudati yang ditarikan oleh laki- laki. Tari Seudati Inong biasa juga disebut sebagai Tari Laweut, tarian ini berkembang di pesisisr utara hingga timur daerah Aceh dengan menggambarkan semangat, perjuangan dan doa-doa dalam syair tari tersebut. Tujuan dalam penelitian ini membahas bagaimana bentuk tari Seudati Inong di Kabupaten Aceh Besar dan mengetahui bagaimana tari Seudati Inong sebagai wujud reperesentasi kesetaraan gender di Kabupaten Aceh Besar. Pengumpulan data dan penelitian dilakukan dengan beberapa tahap seperti tinjauan pustaka untuk mendapatkan berbagai informasi tertulis, observasi, wawancara dan dokumentasi untuk mengamati secara langsung perkembangan dan pristiwa yang terjadi dilapangan dan lokasi penelitian berada di Desa Cucum, Kecamatan Kota Jantho, Kabupaten Aceh Besar. Data-data yang telah didapatkan kemudian dianalisa sehingga menghasilkan hasil penelitian lalu disajikan ke dalam bentuk deskriptif. Tari Seudati Inong merupakan salah satu wujud dari representasi kesetaraan gender yang telah ada sejak zaman dahulu. Mengingat Aceh yang merupakan daerah dengan syariat Islam, tarian ini muncul dan berkembang ditengah masyarakat dengan wujud representasi kesetaraan gender, gerakkan tarian dari tari Seudati yang dilakukan oleh laki-laki dan saat ini dengan perkembangan zaman ditarikan oleh perempuan. Tari Seudati Inong tidak memiliki perbedaan gerak dengan tari Seudati, perbedaan hanya berada pada gerak pukulan tangan dimana laki-laki pukulannya di bagian dada dan perempuan di bagian paha. Pola lantai juga memiliki kesamaan dan juga semangat dari tariannya sama dengan tari Seudati. Kata Kunci: seudati inong, kesetaraan gender, Aceh.AbstractAceh culture is closely related to Islamic law. Art is used as a medium of preaching to broadcast Islam to all communities in various regions of Aceh Province. Seudati Inong dance is a traditional Acehnese dance that is danced by women and its movement is an imitation of Seudati Dance which is danced by men. Seudati Inong dance, also known as Laweut Dance, is a dance that develops in the northern to eastern coast of Aceh by depicting the spirit, struggle and prayers in the lyrics of the dance. The purpose of this research is to discuss how the Seudati Inong dance form in Aceh Besar District and to find out how the Seudati Inong dance is a form of representation of gender equality in Aceh Besar District. Data collection and research were carried out in several stages such as literature review to obtain various written information, observations, interviews and documentation to directly observe developments and events that occurred in the field and the research location was in Cucum Village, Jantho City District, Aceh Besar District. The data that has been obtained are then analyzed so that the results of the research are then presented in a descriptive form. Seudati Inong dance is a form of representation of gender equality that has existed since ancient times. Given that Aceh is an area with Islamic law, this dance appears and develops in the community with a form of representation of gender equality, moving the dance from the Seudati dance which is performed by men and nowadays it is danced by women. Seudati Inong dance has no different movements with Seudati dance, the only difference is in the motion of the hand strokes where the male punches on the chest and the female on the thigh. The floor pattern also has similarities and the spirit of the dance is the same as that of the Seudati dance.Keywords: seudati inong, gender equality, Aceh.
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Bannerman, Henrietta. "Migratory Moves and Mobilizing Tactics in British Contemporary Dance." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 5–11. http://dx.doi.org/10.1017/s2049125500000054.
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This paper concerns the migration of American modern dance to Britain throughout the 1960s and 1970s when Martha Graham's technique and repertory were introduced to British dancers and audiences. The author addresses these issues from a historical and phenomenological point of view using her memories and reflections, the data from the research she has conducted into this milestone in British dance history, and the theories of Pierre Bourdieu.
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Ross, Janice. "The Right Moves: Challenges of Dance Assessment." Arts Education Policy Review 96, no. 1 (September 1994): 11–17. http://dx.doi.org/10.1080/10632913.1994.10544014.
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Peterson, K. "Astronomy: Movie Captures Dance of the Crab." Science 272, no. 5267 (June 7, 1996): 1417–0. http://dx.doi.org/10.1126/science.272.5267.1417.
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Moore, Nancy G. "Trans-SSS-Mission: Sixties Dance Moves on." PAJ: A Journal of Performance and Art 27, no. 3 (September 2005): 146–51. http://dx.doi.org/10.1162/pajj.2005.27.3.146.
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