Journal articles on the topic 'Dance music culture'
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1
Carroll, Sam. "Hepfidelity: Digital Technology and Music in Contemporary Australian Swing Dance Culture." Media International Australia 123, no. 1 (May 2007): 138–49. http://dx.doi.org/10.1177/1329878x0712300113.
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Since its revival in the 1980s, Lindy hop along with other swing dances has become increasingly popular with middle class youth throughout the developed world. Social dancing plays a central part in local swing dance communities, and DJing recorded music has become an essential part of social dancing. Marked by class and gender, DJing in swing dance communities is also shaped by digital technology, from the CDs, computers and portable media devices which DJs use to play digital musical files to the discussion boards and websites where they research and discuss DJing and the online music stores where they buy CDs and download music. This brief discussion of the preponderance of digital technology in swing dance DJing is part of a larger project considering the mediation of embodied practice in swing dance culture, and it pays particular attention to the ways in which mediated discourse in swing culture reflects wider social forces, yet is also subordinated by the embodied discourse of the dance floor.
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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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Aterianus-Owanga, Alice. "Dancing an Open Africanity: Playing with “Tradition” and Identity in the Spreading of Sabar in Europe." Open Cultural Studies 3, no. 1 (January 1, 2019): 347–61. http://dx.doi.org/10.1515/culture-2019-0030.
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Abstract This paper describes one of the constructions of African identity that occur through the spreading of sabar in European cities. Basing on a multi-sited fieldwork between Dakar, France and Switzerland, this paper traces the local roots and transnational routes of this Senegalese dance and music performance and presents the “transnational social field” (Levitt and Glick-Schiller) that sabar musicians and dancers have created in Europe. It analyses the representations of Africanity, Senegality and Blackness that are shared in Sabar dances classes, and describes how diasporic artists contribute to (re)invent “traditions” in migration. In this transnational dance world, “blackness” and Africanity are not homogenous and convertible categories of identification, on the contrary, they are made of many tensions and arrangements, which allow individuals to include or exclude otherness, depending on situations and contexts.
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Yanng, Jiseon. "A Study on Gyobang Dance and Music in Honam Area of the Joseon Dynasty." Korean Society of Culture and Convergence 44, no. 7 (July 31, 2022): 373–86. http://dx.doi.org/10.33645/cnc.2022.7.44.7.373.
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The purpose of this study is to study Gyobang dance and music in Honam region during the Joseon Dynasty. Except for Jeju Island, there were six Gyobangs in the Honam region: Namwon, Jeonju, Gwangju, Sunchang, Muju, and Suncheon. The dances that had been passed down to Gyobang in the Honam region are 11 events such as Jengmu, Pogorak, Seonyurak, Geommu, Heonbando, Cheoyongmu, Seungmu, Geommu, Hakdance, Abakmu, and Mudong. Kyobang’s music was handed down 19 songs.
The characteristics of Gyobang dance in Honam region are, first, Gyobang dance contains human joy and anger and contains an unrefined freedom. Second, Gyobang's music contains both calm and folk style. Third, the Gyobang dance of Honam influenced the culture of the Pungryu that harmonized with the nature of Honam.
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Dordzhieva, G. A. "Crane tunes and dances in Kalmyk traditional culture." Languages and Folklore of Indigenous Peoples of Siberia, no. 38 (2019): 33–44. http://dx.doi.org/10.25205/2312-6337-2019-2-33-44.
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The article is devoted to the documentation of music-related phenomena of the Togrun Bi (Crane dance of Kalmyks). The traditional music of Kalmyks is deeply rooted in the culture of Oirad. The new geographical and ethnic environment changed and transformed it. The most obvious shift took place in the dances and musical instruments (their organology, performing style, and tunes). At the same time, on this outskirt of the Mongolian world, some unique forms and genres have been preserved. The sources of the present research are field materials collected by author in late 1990 th in Kalmykia: non-fiarytale prose, two-string dombra tunes with singing, onomatopoeia, and round dances. The participants of Сrane praising ritual were women and children. Similar components are revealed in the ritual Togrugan biilulkhm (Force Crane to dance) and Ova täkh (a sacrifice to a host-spirit of the place). In personal stories and memoires, the mythologic idea of the curse cast by cranes made a connection to arrests, exile and other tragic events in the history of the Kalmyks in the XX century. Characteristics of Crane dances is presented in the musical notations (made by author) and their description. There are the similarities between the Kalmyk round dance with imitations of Crane movements and calls (video recording from the settlement of Yashkul) and circular dances of Evenki, Yakuts, and some other Turkic-languages peoples of Siberia. These rare elements of Kalmyk tradition trail to the regions of South Siberia and Central Asia, from where some Oirad groups brought it to Volga region.
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Diyora, Bharat Tulashibhai. "Music and Dance Culture in the City of Vadodara in the Nineteenth and Twentieth Centuries." Scholars Journal of Arts, Humanities and Social Sciences 9, no. 7 (July 7, 2021): 310–14. http://dx.doi.org/10.36347/sjahss.2021.v09i07.002.
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The arts of dance and music are of great importance to the culture of India. Classical Indian dances and music are among the most graceful and beautiful in the world. The Maharaja Sayajirao Gaekwad as a head of state led to making Baroda a city representative of art, which is at once indigenous and modern. Expert artists from across the Indian Subcontinent were invited to perform as well as to extend the knowledge of music to the people of Vadodara. Artists were often encouraged with awards and rewards for their performances on various occasions. Maharaja Sayajirao wanted to disseminate the tradition as well as ear for music among the people of Vadodara, so he decided to employ more artists in the court. Hence, many young and old, professional and novices were appointed. So this paper covered all the aspect of music and dance which evolved under vision of the Maharaja Sayajirao.
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Aymamí Reñé, Eva. "Kissing the Cactus: Dancing Gender and Politics in Spain." Congress on Research in Dance Conference Proceedings 2012 (2012): 124–31. http://dx.doi.org/10.1017/cor.2012.16.
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In Bésame el Cactus (2004), Sol Picó, modern dancer and choreographer, simultaneously performs flamenco music and dance. Using her body, her shoes, castanets, and hands, she is integrating flamenco—as a cultural symbol of Spain—into a contemporary performance. In a Spain impacted by Franco's dictatorship (1939–1975), the peculiar ambiguous choice of using flamenco in a modern performance raises questions about the construction of national and gender identity, both during the dictatorship and now. Franco's regime promoted a centralized nationalism, and imposed it on the other cultures that were part of the Spanish state. These were cultural regionalisms linked to the historic communities of Catalonia, Galicia, and the Basque Country. During Francoism, popular and folk music and dances were employed as an effort to construct a unified Spanish culture. This paper will address the problems of gender and national construction in contemporary Spain through a close reading of this choreographic piece. A methodological analysis of Bésame el Cactus will be presented using applied performing arts theories. I will also draw upon interview material with the choreographer/performer, Sol Picó. In conclusion, this paper will illustrate the ways in which the heritage of Francoism still informs choreographers' choices, and thereby creates an artificial national music and dance in Spain.
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Georgios, Lykesas. "The Transformation of Traditional Dance from Its First to Its Second Existence: The Effectiveness of Music - Movement Education and Creative Dance in the Preservation of Our Cultural Heritage." Journal of Education and Training Studies 6, no. 1 (December 22, 2017): 104. http://dx.doi.org/10.11114/jets.v6i1.2879.
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Being an indispensable part of our folk tradition, the traditional dance bears elements of our cultural tradition and heritage and passes them down from generation to generation. Therefore, it contributes substantially to the reinforcement of our cultural identity and plays a crucial role in the "cultural development" of our society.Our culture is going through a constant process of mutation. Some traditional elements get lost, while others resist and survive or get transformed and readjust to new emerging circumstances.The aim of the present study is to investigate the learning process of Music/ Movement Education and Creative Dance within the context of the “second existence” of dance, and the way in which this learning process can effectively save and preserve the characteristic cultural traits of the "first existence" of the traditional dance.The experiential way of learning and transmitting dance from one generation to the other, is characterized as “the first existence” of dance. Changes in modern social, political and economic conditions have influenced the Greek traditional dance, which has acquired a more entertaining and tourist-commercial character, while its educational character has transformed going through teacher-centered educational processes. Having undergone this change, the traditional dance is now defined as “the second existence” of folk dance. The conversion of the traditional dance from its "first existence" into its "second existence" is supported and interpreted by the three components of the dancing process, the so-called “communication triangle”: the dancer, the dance and the viewer. The adoption of the particular approach of Music - Movement Education and Creative Dance in teaching Greek traditional dances can preserve and convey a large part of our cultural heritage to the new generation.Only by learning their country’s history and culture will the young generations be able to learn their own identity and make the best of the past in order to live more happily today and create a better future.
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Wickström, David-Emil. "“Drive-Ethno-Dance” and “Hutzul Punk“: Ukrainian-Associated Popular Music and (GEO)Politics in a Post-Soviet Context." Yearbook for Traditional Music 40 (2008): 60–88. http://dx.doi.org/10.1017/s0740155800012108.
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The style [of Ruslana's song “Wild Dances“] can be called “drive-ethno-dance,” a combination of ethnic sounds of the mountain people of the Hutsuls with modern rock, pop and dance elements. (Ruslana n.d.a)Ruslana's winning performance of “Dyki Tantsi” (Wild Dances) at the Eurovision Song Contest 2004 opened with trembity (plural; sing. trembita), alpine horns linked to, inter alia, the Hutsuls (a Ukrainian ethnic minority). However, trembity are not only used by Ruslana, but also incorporated into songs by other Ukrainian groups like Mad Heads XL's “Smereka” (2005) and Haydamaky's “Tini zabutykh predkiv” (2002). The use of local instruments and melodies in the music which Ruslana in the opening quote labels “drive-ethno-dance” is a way in which some groups from Ukraine anchor themselves. According to Armin Siebert, one of the directors of the Berlin Label Eastblok Music, which specializes in music from Eastern Europe, it is also an exciting element of Russian and Ukrainian popular music: A lot of Russian and—even stronger in Ukraine—Ukrainian groups try to use the profoundness of their culture [e.g., folklore] in their modem rock music … And yeah, that's of course something which we especially think is very exciting, because we think that the Slavic culture, roughly speaking, is very profound and that one should not negate that, because it is really something special, which does not exist in the West. (interview, 19 July 2006; my translation)
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Nwamara, Alvan-Ikoku O., and Hope Nkechi Okpala. "The Socio-Cultural Implications of Odezuruigbo Cultural Dance Music in Awka, Awka South Local Government Area of Anambra State." AFRREV IJAH: An International Journal of Arts and Humanities 9, no. 1 (April 28, 2020): 44–57. http://dx.doi.org/10.4314/ijah.v9i1.5.
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Music is an integral part of everyday life in Awka traditional community. It is a very important aspect of their culture. Music accompanies every socio-cultural activity of the people. Consequently, there are varieties of musical types practiced by various categories of people in Awka. This paper is concerned with activities of Odezuruigbo Cultural Dance Music, an outstanding women music group in Awka. It discussed amongst other things the organization and the socio-cultural implications of odezuruigbo cultural dance music. Data for this study were drawn from fieldwork, oral interview and review of related literature. The findings of this study revealed that the impact of odezuruigbo dance group in the life of Awka community is indispensable. It also revealed that some gender dichotomies in the use of some local musical instruments are gradually becoming insignificant. This study recommended that the practice of those socio-cultural festivals which promote the traditional music and dance of the people be encouraged.
Key Words: activity, culture, cultural dance, dance music, and odezuruigbo
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Muda, Iskandar, Uyuni Widiastuti, and Suharyanto. "Assification of Interactive Multimedia-Based Teaching Materials in Class VIII Culture Arts." Britain International of Linguistics Arts and Education (BIoLAE) Journal 4, no. 2 (August 13, 2022): 123–37. http://dx.doi.org/10.33258/biolae.v4i2.708.
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The title of the research is Asification of Interactive Multimedia-Based Teaching Materials in Class VIII Arts and Culture Subjects. The background of this research is that there is no material available for Class VIII Cultural Arts subjects (especially music and dance materials) that use interactive multimedia. The objectives of the research were: to compile teaching materials for the art of music and dance based on interactive multimedia in the Class VIII Cultural Arts learning in the form of a Book Creator. The target achieved in this research is to produce interactive multimedia teaching materials which are integrated into a single unit in the form of a Book Creator. The results of the study resulted in Cultural Arts teaching materials in the form of Book Creator consisting of e-books (materials for the art of music and dance), Malay music learning videos on Sri Langkat songs and techniques for playing Malay musical instruments, and Nias dance learning videos on Giri-giri dance and Nias dance techniques. It is hoped that the existence of Cultural Arts teaching materials using interactive multimedia (Book Creator) can increase students' creativity in learning Cultural Arts.
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Fatrina, Novina Yeni, and Yan Stevenson. "Perubahan Dan Keberlanjutan Tari Balanse Madam Di Lingkungan Masyarakat Nias Padang." Mudra Jurnal Seni Budaya 33, no. 1 (March 6, 2018): 93. http://dx.doi.org/10.31091/mudra.v33i1.318.
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Tulisan berjudul “Perubahan dan Keberlanjutan Tari Balanse Madam di Lingkungan Masyarakat Nias Padang“ bertujuan untuk mengungkapkan perubahan tari Balanse Madam serta menganalisis keberlanjutannya. Tari Balanse Madam merupakan tarian kelompok yang terdiri dari pasangan penari laki-laki dan perempuan yang sudah menikah. Penampilannya diiringi secara live dengan alat musik barat seperti biola, gitar, tamburin, akordeon, dan set drum. Namun setelah banyak para pelaku seninya yang meninggal dunia, sehingga tari Balanse Madam mengalami perubahan. Perubahan terjadi pada penarinya, tidak harus orang yang sudah berumahtangga lagi, sedangkan musik iringannya no use life music. Analisa perubahan tari Balanse Madam diamati dari tahun 1995 sampai tahun 2017. Metode penelitian deskripsi kualitatif dengan pendekatan interaksi dan interpretasi analisis digunakan untuk mengungkapkan permasalahan tersebut. Pelacakan dilakukan dengan melihat dan menganalisa perubahan tari Balanse Madam pada perkembangan elemen pembentuk komposisi tarinya dari tahun 1995 sampai tahun 2017. Penelitian perubahan dan keberlanjutan tari Balanse Madam di lingkungan masyarakat Nias Padang dianalisis dengan menggunakan teori ketahanan budaya yang dikemukakan oleh Edi Sedyawati dan teori elemen pembentuk komposisi yang digunakan oleh R.M. Soedarsono. Hasil penelitian menunjukan bahwa seiring dengan berjalannya waktu, berbagai hal mempengaruhi kondisi tari Balanse Madam, sehingga terjadi perubahan pada beberapa elemen pembentuk tari Balanse Madam. Adapun perubahan tersebut adalah (1) penari terdiri orang-orang yang masih remaja; (2) musik iringan mengalami perubahan irama dan terkadang diiringi musik rekaman. Pemakaian penari remaja dan musik rekaman merupakan salah satu bentuk keberlanjutan tari Balanse Madam. Inilah yang membuat tari Balanse Madam masih tetap bertahan dalam kehidupan masyarakat Nias Padang.The article entitled "The Change and Sustainability of Balanse Madam Dance in the Nias Padang Community" aims to reveal Balanse Madam dance changes and to analyze its sustainability. After many of its supporting artists died, many changes occurred in Balanse Madam dance, both in terms of dancers as well as the music of the accompaniment. Qualitative description research method with the approach of interaction and interpretation analysis was used to reveal this problem. The tracking was done by way of viewing and analyzing Balanse Madam dance changes on the development of forming elements in dance compositions from 1995 to present. The study of change and sustainability of Balanse Madam dance in Nias Padang society was analyzed by using culture endurance theory proposed by Edi Sedyawati and the theory of composition forming elements used by R.M. Soedarsono. The study results showed that over time, various things affect the condition of Balanse Madam dance, resulting in changes in some elements of Balanse Madam dance formation. The changes are (1) the dancers, who used to be housewives, can now be performed by the dancers that are still teenagers; (2) music accompaniment, used to be played directly by musicians, but now can be accompanied by music recordings. The use of teen dancer and music recordings are a form of sustainability carried out in Balanse Madam dance.
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Wu, Chunyang, Muhammad Fauzan Abu Bakar, and Boo Ho Voon. "Aesthetics of Hui Folk Dance as Audience Service to Leverage Audience Satisfaction." International Journal of Service Management and Sustainability 7, no. 1 (March 24, 2022): 125. http://dx.doi.org/10.24191/ijsms.v7i1.17783.
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Hui folk dance has its unique charm as an indispensable part of Chinese folk dance. It reflects the customs and cultural characteristics of the Hui nationality. This article explores the historical formation of Hui folk dance, analyses its formation process in different periods of history, analyses the culture, the body vocabulary of the folk dance, the music, the rhythm of the dance, the influence on the folk dance, and the expression of aesthetic consciousness. Folk dances of the Hui nationality originate from the folk, and they also show their unique living habits, combining dance with the details of life to outline their unique dance posture. Hui folk dance expresses the value of aesthetic emotions, aesthetic knowledge, and aesthetic ideals of dance through historical portraits, national spirits, and traditional canons. The formation, aesthetic consciousness, and aesthetic characteristics of Hui folk dance were analysed to better understand the history and culture of Hui folk dance, learn it, inherit it, promote it, and enrich it for sustainability. Dance aesthetics as part of audience service. The audience will be aesthetically satisfied and this will affect their behavioural intentions.
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Đorđevic, Nenad, and Slavoljub Uzunović. "Niševljanka as a small town originated urban folk dance." Fizicko vaspitanje i sport kroz vekove 9, no. 1 (2022): 117–34. http://dx.doi.org/10.5937/spes2201120d.
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The subject of this paper are city (small town) folk dances in a broader sense and Niševljanka folk dance as a town game in a narrower sense. The aim of the paper was to describe Niševljanka as a town folk dance. The basic task is to write down the music, rhythm and technique of the dance. In the available literature dealing with the systematization and division of folk dances, city folk dances are nowhere to be found as a special type of dance. Maybe rightly so, since they can be traced back to the traditional, original dances. However, given the conditions and time of the origin of these dances, with the migration of the peasantry to the towns and cities, the city dances in some way distanced themselves from the traditional ones. This was influenced by new living conditions, more cramped space, mixtures of the European and Oriental culture, as well as the Europeanization of culture and way of life in general. It can be stated that city folk dances are in fact traditional - original dances that have taken on other aspects of dancing and dancing behavior. If any folk dance has marked our city, and the state in general, from the end of the 19th and the beginning of the 20th century, it is undoubtedly Niševljanka folk dance. Numerous manuscripts, books, travelogues, newspaper articles from that time testify to this fact. This paper is an attempt to point this out and to find in one place the musical, rhythmic and playful record of this, undoubtedly original city folk dance.
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DEMERS, JOANNA. "Dancing machines: ‘Dance Dance Revolution’, cybernetic dance, and musical taste." Popular Music 25, no. 3 (September 11, 2006): 401–14. http://dx.doi.org/10.1017/s0261143006001012.
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In ‘Dance Dance Revolution’ (DDR), an arcade and home video game distributed by the Japanese entertainment corporation Konami, players move their feet in specific patterns set to electronic dance music. Only by achieving a high accuracy rate can a player advance from one level to the next. DDR enjoys worldwide popularity among teenagers and young adults, partially due to the marketing of the game's ‘soundtracks’ as separate, purchasable collections of underground techno, house, and drum ‘n’ bass. This article considers the Internet communities of DDR fans and their debates concerning ‘mainstream’ culture and musical taste.
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Loji, A. C. "Let’s dance: Diversified depictions of queerness in ensemble dance music videos." Queer Studies in Media & Popular Culture 6, no. 1 (March 1, 2021): 35–54. http://dx.doi.org/10.1386/qsmpc_00043_1.
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As delineations of queer and LGBT culture continue to be complicated in academic and community settings, queer musicians are pushing the boundaries of their own gestural expression within their music videos and utilizing the medium of dance to further broaden their self-definitions. Using choreographed group dance, a common convention in mainstream music videos, Sam Smith, Janelle Monáe and Christine and the Queens (and their production teams) make particular creative choices that allow them to expand expressions of identity and solidarity within both the queer community and society at large. In this article, I employ detailed analysis of the aesthetic qualities of three music videos and synthesis of scholarly perspectives as they relate to queer expression to argue that the creative freedom and collaboration inherent to the ensemble dance form provide a rich platform through which these artists can experiment with fluid conceptions of their identities and bring to popular culture the kinds of non-determinative outlooks explored in conceptualizations of queer theory.
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Chakravarty, Devpriya. "Popular Musics of India: An Ethnomusicological Review." Journal of Ethnic and Cultural Studies 6, no. 3 (December 18, 2019): 111. http://dx.doi.org/10.29333/ejecs/267.
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This article brings into discussion the presence of a contemporary popular music culture amongst globalised, urban, Indian youth which is perpetuated by Electronic Dance Music (EDM) festivals. This paper begins with the argument as to how there is no one monolithic popular music scene in India by presenting a historical analysis of a timeline for popular musics of India, a scene that has received scanty scholarly attention.
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Thomson, Raymond A. "Dance bands and dance halls in Greenock, 1945–55." Popular Music 8, no. 2 (May 1989): 143–55. http://dx.doi.org/10.1017/s0261143000003330.
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The Americanisation of British popular culture has been the subject of intensive study and debate. Most of this, however, has had a national focus. It is the purpose of this article to examine aspects of a popular culture at a local level in order to discover the extent to which people were, or felt themselves to be, dominated by America. The history of popular culture is the history of the little people, how they passed their time and recreated themselves. Discoveries made here should cast illumination on the more global claims made by social historians.
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EKPO, Omotolani Ebenezer. "The Eurhythmics of Swange Dance of the Tiv People of Central Nigeria." Journal of Advance Research in Social Science and Humanities (ISSN: 2208-2387) 7, no. 12 (December 31, 2021): 01–09. http://dx.doi.org/10.53555/nnssh.v7i12.1127.
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Eurhythmics in Dalcroze study is defined as the engagement of human body in rhythmic movement and active listening. Jaques-Dalcroze’s involvement of Eurhythmics in music pedagogy is aimed at securing steady position for the body and mind as well as a calculated and unconstrained expression of rhythm. African indigenous music and dance is predominantly functional with intensive assignation of the body and soul of the participants to satisfy the rhythmic drum patterns provided by the musicians. The teaching of music in traditional African settings may be generally informal, yet deliberate. The training technique of the notable indigenous dances in Nigeria informally employ the Dalcroze Eurhythmics teaching technique in the step by step movement pattern and dynamics employed during their group practices, especially with younger members of the group. Among the various traditional dance found in the Tiv clan of central Nigeria, the Swange dance is purposefully selected for this study to validate the relevance of Dalcroze to indigenous Nigerian culture, with regard to music and movement. This paper employ the ethnographic study approach; it combines participatory and observation research methodologies, theoretical engagement, and ample illustrative style of writing, to portray the everyday complexities of music/dance learning among the people.
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Frankenbach, Chantal. "Dancing to Beethoven in Wilhelmine Germany." Journal of Musicology 34, no. 1 (January 1, 2017): 71–114. http://dx.doi.org/10.1525/jm.2017.34.01.71.
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Early in 1904 the American modern dancer Isadora Duncan, already notorious for her barefoot “Greek dancing” to concert music not intended for the stage, created a scandal in Germany by presenting a program of dances to Beethoven’s Seventh Symphony. Critics and composers responded in music journals and the daily press with a vigorous denunciation of Duncan’s trespass into the inner circle of German musical culture. What most disturbed Duncan’s critics, however, was the success of her Beethoven program with the public. Concern over Duncan’s hold on German audiences reveals the anxieties of professional musicians and critics whose status in Germany was also threatened by the popularity of music and dance entertainments in vaudeville and cabaret theater. Together with a musical parody of Duncan by Oscar Straus and a venomous attack by Max Reger, hostile reviews of Duncan illuminate serious musicians’ increasingly tenuous hold on the musical tastes of modern Bildungsbürger audiences.
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Kertesz, Elizabeth. "John Whiteoak. 'Take me to Spain': Australian Imaginings of Spain Through Music and Dance." Context, no. 47 (January 31, 2022): 79–83. http://dx.doi.org/10.46580/cx82573.
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Writing in the late 1920s, J.B. Trend proclaimed that ‘Spain, as we know it today, seems to be pre-eminently a country of the dance, and no interpreter of Spanish music can make us feel its full beauty or vitality unless he feel those vital dance-rhythms within himself.’ This connection between Spain, dance, and the rhythms of its music has long characterised perceptions of Spanish culture, fostering the enduring popularity of Spanish-styled entertainments. In ‘Take me to Spain’: Australian Imaginings of Spain through Music and Dance, John Whiteoak traces this phenomenon through Australian history, from the early colonial era of the 1820s to the 1970s. His narrative concludes before the major changes caused in local Hispanic culture by mass migration from Latin America, the new policy of multiculturalism, and the emergence of world music…
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Na, Risu, and La Gan Chai. "The influence of the history of folk music development on Russian and Chinese folk dances." PHILHARMONICA. International Music Journal, no. 4 (April 2021): 34–53. http://dx.doi.org/10.7256/2453-613x.2021.4.36351.
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The authors consider and analyze the peculiarities of means of dance and plastic expression: pantomime, gestures, choreographic lexics, choreographic pattern, rhythmics, remarks and exclamations. The idea of a combination of a choreographic image and music of Russian and Chinese dances, declared by the authors, is a multi aspect complicated issue which is of a significant scientific interest. The purpose of the research is to reveal the contents of a folk dance stage adaptation which is conveyed with the help of improved means of expression and is an effective tool for the expression of national peculiarities of Russian and Chinese choreography. The authors study the folk dance stage adaptation as a key means of expression of folk music in Russia and China. The scientific novelty of the research consists in a comprehensive analysis and substantiation of the need for preservation of folk dance traditions in modern China as an important component of a traditional training of a future choreography teacher. The authors prove the presence of definitive features of local invariants of Russian folk dances and dance canon and its differences from the canon of folk dances of other regions. The research actualizes the problem of music training of future choreography teachers in the pedagogical theory and artistic education practice. The consideration of this topic is determined by the solution of an urgent problem of preservation of a unique cultural phenomenon of a nation in the aspect of continuous assimilation of culture both among regions and in interstate realms (border areas of countries with unique cultural codes).
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Sinha, Tanusri. "REFLECTION OF MUSIC & DANCE IN ANCIENT INDIAN INSCRIPTION." International Journal of Research -GRANTHAALAYAH 9, no. 4 (May 6, 2021): 375–78. http://dx.doi.org/10.29121/granthaalayah.v9.i4.2021.3875.
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The word ‘inscription’ is derived from the Latin word ‘Inscripto’ which means something that is inscribed or engraved. It was engraved on clay (terracotta), stone pillars, copper plates, walls of temples, caves, and on the surface of much other metal and also even palm leaves. Very often we’ve seen it on coins and seals. It consists of important texts or symbols that reveal crucial information and evidence of ancient kings and their empires. Music is the soul of Indian culture. Indian music has an affluent tradition with its root in Vedic time. It is said that Indian music owes its origin to the Sāma Veda. The Vedic hymns were chanted with a particular pitch and accent which are used in religious work. Dance in India also has a rich and vital tradition since the beginning of our civilization. Dances of Indi were to give symbolic expressions which are also enlightened to religious ideas. Ancient Inscriptions, Engraving of Inscription, Music, Dance, Epigraphical Evidence.
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St John, Graham. "Electronic Dance Music Culture and Religion: An Overview1." Culture and Religion 7, no. 1 (March 2006): 1–25. http://dx.doi.org/10.1080/01438300600625259.
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McLaughlin, Noel. "Bodies swayed to music: dance culture in Ireland." Irish Studies Review 12, no. 1 (April 2004): 77–85. http://dx.doi.org/10.1080/0967088042000192130.
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Brett, Thomas. "Beyond the Dance Floor: Female DJs, Technology and Electronic Dance Music Culture." Popular Music and Society 37, no. 4 (November 19, 2013): 505–8. http://dx.doi.org/10.1080/03007766.2013.855437.
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Hearsum, Paula. "Beyond the Dance Floor: Female DJs, Technology and Electronic Dance Music Culture." Feminist Media Studies 15, no. 2 (February 17, 2015): 359–61. http://dx.doi.org/10.1080/14680777.2015.1008751.
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Barakayeva, Gavkhar. "Healing processes in Uzbek national traditions." Общество и инновации 3, no. 9/S (October 25, 2022): 189–92. http://dx.doi.org/10.47689/2181-1415-vol3-iss9/s-pp189-192.
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Uzbekistan is a country with an ancient and distinctive culture. It absorbed all peculiarities of cultures of different regions along the Great Silk Road here. These echoes can be seen in painting, dance, literature and music of this land. The peoples inhabiting Uzbekistan have always cherished the great heritage of their ancestors, trying to pass it on to their descendants, in its turn enriching it. The music of Uzbek people is original and diverse. «Tanavor» is the unique aspect of the Uzbek culture. In the national perception, «Tanavor» has more or less philosophical effect to regional history, unique traditions, social, emotional and folklore. This phenomenon is an example of oral and professional creativity of Uzbek people, which can be attributed to high samples and features of national music folklore, shaped at the end of the nineteenth century, and which continues to evolve to this day in music and dance.
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Nemes, Robert. "The Politics of the Dance Floor: Culture and Civil Society in Nineteenth-Century Hungary." Slavic Review 60, no. 4 (2001): 802–23. http://dx.doi.org/10.2307/2697496.
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The nineteenth-century Hungarian dance floor provides an invaluable tool for mapping the contours of both an emerging civil society and the political practices of Hungarian nationalism. During the 1840s, consciously “national” costumes, music, dances, and language became de rigueur in all areas of social life, and especially on die dance floor. Because associations and newspapers linked such cultural practices to opposition politics, these balls allowed a large number of men and women usually excluded from public life to display their patriotism and political allegiances. In this way, the diffuse set of ideas, feelings, and allegiances connected witii nineteenth-century liberalism and nationalism spread more widely in Hungary. These developments did not occur without conflict, and an examination of debates surrounding the dance floor reveals widely divergent views on participation in civil society and the boundaries of the nation.
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Surtihadi, R. M. "Music Acculturation in Rhythm of kapang-kapang Bedhaya and Srimpi Dance in the Keraton of Yogyakarta (A Case Study)." International Journal of Creative and Arts Studies 3, no. 2 (December 29, 2017): 47. http://dx.doi.org/10.24821/ijcas.v3i2.1844.
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The research’s aim is to notice the music acculturation in the rhythm of female dance of Bedhaya and Srimpi dances in the Kingdom of Yogyakarta on the line-movement on-to the stage or leaving it (kapang-kapang). Besides, the research is going to discuss a West music instrument acculturation phenomenon with Javanese Traditional Gamelan Orchestra on the rhythm of female dance of Bedhaya and Srimpi dances that are still exist nowadays. The case study is focus on the usage of some West music instrument such as drum (percussion section), woodwind (woodwind section), brass-wind (brass-wind section), and stringed (stringed section) in the rhythm of the dances which are being mentioned above. The method which is being used first is by doing the quality data analysis. The result of the research are two mainly findings; those are 1) the inclusion of various elements of the palace ceremonial ritual by The Netherlands Indies government which were the impact of the European Colonization in the island of Java, especially in Yogyakarta; it has made a mentally structure of the people of Yogyakarta that would have created culture capitalized and which are being used in the context of Yogyakarta as the city of culture. 2) European military music for marching is being the inspiration of the palace to create Gendhing Mars which is being used as the rhythm in the marching movements of female dancers (kapang-kapang) together along with the ensemble of Javanese Traditional Gamelan Orchestra and the European music instruments which are being played in one sound (unisono).
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Kalu, Ogbu U. "Holy Praiseco: Negotiating Sacred and Popular Music and Dance in African Pentecostalism." Pneuma 32, no. 1 (2010): 16–40. http://dx.doi.org/10.1163/027209610x12628362887550.
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AbstractIn post-colonial Africa, Pentecostal-Charismatic Christianity has slowly emerged as an influential shaper of culture and identity through its use of music, media, and dance. This article gives an overview of the transitions that have occurred in African politics, identity awareness, and culture, especially as it relates to the indigenous village public and it’s interface with the external Western public, and how the emergent cultural public has become the most influential player in shaping the African moral universe. Pentecostal-Charismatic Christianity has navigated the shift from a missionary-driven avoidance of indigenous music and dance to the incorporation of indigenous elements, leading in turn to the popularization of Pentecostal music and dance that blends indigenous forms and concepts, Christian symbolism, and popular cultural expressions. The resulting forms have not only shaped Christianity, but also the surrounding culture and its political environment.
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Dorf, Samuel N. "Atossa’s Dream Yoking Music and Dance, Antiquity and Modernity in Maurice Emmanuel’s Salamine (1929)." Les Cahiers de la Société québécoise de recherche en musique 13, no. 1-2 (September 21, 2012): 27–34. http://dx.doi.org/10.7202/1012347ar.
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This essay explores the conflicting trends of tradition and modernism, unity and independence in Parisian musical and dance culture in the late 1920s through an analysis of Maurice Emmanuel’s (1863-1938) aesthetics of contemporary and ancient Greek music and dance. It begins by outlining and critiquing Emmanuel’s relevant scholarly contributions to ancient Greek dance history and music history before demonstrating how these tensions manifested in the 1929 production of Emmanuel’s opera Salamine based on Aeschylus’s The Persians. Exploring Emmanuel’s aesthetics of music and dance (ancient and modern) affords a unique opportunity to see how these creative media were theorized and practiced in the tumultuous years after the Ballets russes, while illustrating some of the conflicts between what Léandre Vaillat termed “the academic and the eurhythmic” in dance and music.
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Lebaka, Morakeng Edward Kenneth. "Informal Learning of Indigenous Music and Dance Through Observation and Imitation: The Case of Bapedi Children’s Musical Arts." European Journal of Language and Literature 8, no. 1 (May 26, 2022): 56. http://dx.doi.org/10.26417/658qju31.
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In Greater Sekhukhune District Municipality, Limpopo Province in South Africa, learning indigenous music and dance through observation and imitation seems to be a dominant and prominent practice of situational learning. Bapedi people tend to have their own distinctive music genres and purposes for their social events. Bapedi children’s musical arts reveal much about Bapedi people and their way of life. This paper sets out to discuss the transmission process of indigenous music and dance through observation and imitation; and musico-artistic skills acquired by children with at least a partial degree of independence during social and cultural events. In the Bapedi culture, music is a natural phenomenon. Dance too, is not excluded. It is a significant aspect of Bapedi people’s music tradition and a ubiquitous medium of communication or expression. Informal interviews, direct observations and video recordings were employed to collect data. The following research questions therefore guided this study: 1) How is social interaction in the Bapedi society viewed as a critical component of situational learning involving the transmission of children’s musical arts? and 2) Do children in the Bapedi society have the ability to recognize and interpret what musical activity/event is taking place and to participate in ways sensitive to the context? The investigation has revealed that in the Bapedi culture, informal learning of indigenous music and dance; and social processes are indissolubly linked and take place within contexts in which members of the society relate to each other and their environment. The results of this study have further shown that the spectrum of learning experiences can range from accidental, unintentional, or reluctant forms of learning to active, intentional, involved, and highly valued forms of learning. It was concluded that in early childhood, it is play that underlies almost all informal learning and holism is a dominant principle in music and dance enculturation process of Bapedi children’s musical arts.
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Nowak, Tomasz. "The Myth of Polishness in Polish Dances. How Ideologies Interpret Phenomena Related to Music and Movement." Musicology Today 15, no. 1 (December 1, 2018): 62–76. http://dx.doi.org/10.2478/muso-2018-0007.
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Abstract The article discusses the myth of Polishness in the context of dances which gained the social status of ‘national’ ones, i.e. those incorporated into the canon of national culture. I shall start by establishing the terminology and chronology related to the phenomenon of ‘national dance’, and sum up Mieczysław Tomaszewski’s comments on the ways of expressing nationality in music, including dance, and the various aspects of this phenomenon. Methodologically speaking, the present paper is based on the concept of myth as presented by Joseph Campbell, Leszek Kołakowski and Maria Janion, as well as on the findings of Jan Berting, Christiane Villain-Gandossi, Maria Janion and Jan Stęszewski concerning the phenomenon of stereotypes, which are crucial to defining a myth. The main body of my text has been dedicated to the conditions in which the myth of Polish dance was born, its form and relation to the ideology of Sarmatism then current among the Polish nobility, and to its subsequent transformations. Further transformations took place mainly under the influence of a specifically conceived Romanticism, in which the nation’s struggle for liberation took pride of place, accompanied by the cult of the family as a bastion of national culture, in which women played a prominent role as model wives and mothers, as well as by an interest in folk culture, which attracted the upper social strata to folk dances and led to the emergence of the claim (unsupported by existing sources) that the nobility’s dances had folk origins (this myth was particularly popular among the adherents of chłopomania, i.e. the intelligentsia’s fascination with, and interest in, the peasantry). In the final section I point to the durability of the myths concerning Polish national dances, which – thanks to educational efforts and to broadly conceived artistic work – are universally present in the social consciousness also today.
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Chaturvedi, Saraswati. "Culture of Rajasthan and its inherent folk music." International Journal of Research -GRANTHAALAYAH 6, no. 2 (February 28, 2018): 197–201. http://dx.doi.org/10.29121/granthaalayah.v6.i2.2018.1562.
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The state of Rajasthan, as the name suggests, is a state filled with many colors, the food, dress and dress of this state are very much embedded in the folk culture, folklore, folklore, folk dance and folklore.Word meaningThe word 'Lok' is a very ancient word, the meaning of the word 'Lok' can be derived from the mass society which is deeply spread on the earth. The word 'Lok' refers to an important mass community.Folk songs used in Rajasthan's folk cultureIn these folk songs we have the philosophy of folk culture of Rajasthan, they can be categorized as follows -Ritual folk songs: Wadhwa, Chalk, India, Zartzga, turmeric, horse etc. are the main folk songs related to the rites.Folklore related to dance: Different types of folk songs are sung by different castes in dances performed on festivals.Folklore of commercial castes: In Rajasthan, many castes sing these folk songs to make a living.Folklore of Bhil caste: The life of Bhil caste people is full of dance, songs and humor humor.The following institutions are contributing immensely in promoting the folk culture of Rajasthan. Their names are Jawahar Arts Center Jaipur, Western Zone Cultural Center Udaipur etc. In this way we can say in the context of folk music of Rajasthan that their future will be bright.
राजस्थान राज्य जैसा कि नाम से ही प्रतीत होता है कि यह राज्य कई रंगों से भरा हुआ राज्य हैं, इस प्रदेश का खान-पान, पहनावा यहाँ की लोकसंस्कृति, लोकवाद्य, लोकगीत, लोकनृत्य तथा लोकनाट्य जनसमुदाय में अत्यन्त रूप से समाहित दिखाई देते है। लोक शब्द से तात्पर्य’लोक’ शब्द एक बहुत प्राचीन शब्द है ’लोक’ शब्द का अर्थ उस जन समाज से लगाया जा सकता है जो गहराई से पृथ्वी पर फैला रहता है। ’लोक’ शब्द एक महत्वपूर्ण जन समुदाय की ओर संकेत करता है।राजस्थान की लोकसंस्कृति में प्रयुक्त लोकगीतइन लोकगीतों में हमें राजस्थान की लोक संस्कृति के दर्शन होते हैं उनका निम्नलिखित प्रकार से वर्गीकरण किया जा सकता है -संस्कार सम्बन्धी लोकगीतः- वाधावा, चाक, भारत, जरतजगा, हल्दी, घोड़ी आदि संस्कार सम्बन्धी प्रमुख लोकगीत होते हैं।नृत्य सम्बन्धी लोकगीतः- त्यौहार-पर्वों पर किये जाने वाले नृत्यों में विभिन्न जातियों द्वारा विभिन्न प्रकार के लोकगीत गाये जाते हैं। व्यवसायिक जातियों का लोकगीतः- राजस्थान में अनेक जातियाँ अपनी जीविका चलाने के लिये इन लोकगीतों को गाती है। भील जाति के लोकगीतः- भील जाति के लोगों का जीवन नृत्य, गीतों एवं हास्य विनोद से परिपूर्ण होता हैं। राजस्थान की लोक संस्कृति को प्रोत्साहन देने में निम्नलिखित संस्थाऐं अत्यधिक योगदान दे रही हैं। उनके नाम है, जवाहर कला केन्द्र जयपुर, पश्चिम क्षेत्र सांस्कृतिक केन्द्र उदयपुर आदि। इस प्रकार से हम राजस्थान के लोक संगीत के सन्दर्भ में कह सकते हंै कि इनका भविष्य उज्जवल रहेगा।
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Cvijanovic, Irina. "Performing sound of the past: Remix in electronic dance music culture." Muzikologija, no. 17 (2014): 87–104. http://dx.doi.org/10.2298/muz1417087c.
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The term remix, defined as an activity of taking data from pre-existing materials to combine them into new forms according to personal taste, relates to various elements and areas of contemporary culture. Whichever model used, consideration of the remix depends on recognition of pre-existing cultural codes. Therefore, as a second layer, the remix relies on the authority of the original and it functions at the meta-level. The audience may see a trace of history with the pre-existing object and the meaning creates in the viewer(s), reader(s), listener(s) or, in the contemporary world of DJs and popular electronic dance music culture - in dancer(s). With the aim of specifying modes of creating particular ambients, this paper will consider and examine the song Why Don?t You? remixed by Marko Milicevic, a Serbian DJ also known as Gramophonedzie, and illuminate how material from the past can create a constructive (musical) dialogue.
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Sharma, Sonal. "NEW EXPERIMENTS IN CLASSICAL DANCES." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3480.
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Culture is the identity of any country, region, region, village city. India is a country steeped in cultural prosperity. Culture has many elements. Among those elements, dance and music are the most powerful elements. India is the only country where the scriptures were composed for dance music. In the scriptures rules were made for music and dance drama etc. The dance music which came under these classical rules got the name of classical dance and music.There are seven classical dance styles in India. If we look at the history of each, then we will see that many changes were made in the ancient and present form of each to make the dance more visible. These new experiments were done in her dance distinctions, in her performance, in her music, in her costumes.
संस्कृति किसी भी देश प्रदेश, अंचल, गाँव शहर की पहचान होती है। भारत सांस्कृतिक समृद्धि से ओतप्रोत एक देश है। संस्कृति के निर्माता कई तत्व होते हंै। उन तत्वों में नृत्य व संगीत सबसे सशक्त तत्व होते हैं। भारत एकमात्र ऐसा देश है जहाॅं पर नृत्य संगीत के लिए शास्त्रों की रचना की गई। शास्त्रों में संगीत व नृत्य नाट्य आदि के लिए नियम बनाए गए । इन शास्त्रीय नियमों के अन्तर्गत आने वाले नृत्य संगीत को शास्त्रीय नृत्य व संगीत की संज्ञा प्राप्त हुई।भारत में सात शास्त्रीय नृत्य शैलियाँ हैं। अगर प्रत्येक के इतिहास पर दृष्टि डाली जाए तो हमें दृष्टिगोचर होगा कि प्रत्येक के प्राचीन एवं वर्तमान स्वरूप में कई परिवर्तन हुए नृत्य को और दर्शनीय बनाने के लिए कई नवीन प्रयोग किए गए। यह नवीन प्रयोग उसके नर्तन भेदों में, उसके प्रदर्शन क्रम में, उसके संगीत में, उसकी वेशभूषा में किए गए।
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Baral, Sujata. "Nepalese Culture: Special Reference to Folk Music and Dance." Rainbow Journal 8, no. 1 (August 1, 2019): 50–55. http://dx.doi.org/10.3126/rainbowj.v8i1.44251.
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Folk music of Nepal reflects the aesthetic sense of the people and has been preserved by Oral tradition. Religions practiced in Nepal are Hinduism, Buddhism, Islam, Christianity, Jainism, Sikhism, Bon, ancestor worship, and animism. The majority of Nepalese are Hindus and Buddhists too, and these two religions have co-existed in harmony through centuries. Nepal is a multi-lingual, multi-cultural, and multi-diverse country. Being a small country located in between China and India of south Asia, though it has multi-dimensional folk and traditional culture and dances among the many ethnicities, tribes, and indigenous people. Many scattered contributions can be found in the literature but the concise and specific study about the topic is still unexplored. This paper highlighted to explore overall Nepalese culture and folk music and dances which are existed in various places of social life.
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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.
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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.
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Sacchetti, Clara, and Batia Stolar. "Dancing Italian Culture: Venezia et al." Congress on Research in Dance Conference Proceedings 2016 (2016): 337–43. http://dx.doi.org/10.1017/cor.2016.45.
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How does Le Stelle, an ethnic dance group in the multicultural city of Thunder Bay, Ontario, Canada, represent Italian culture? Our article broaches this question by analyzing Le Stelle's 2012 “Carnivale of Venezia” dance. While the number is meant to evoke the Italian Renaissance, it creatively uses kinetic movements from ballet, Irish step dancing, and the Italian tarantella. It is staged to a 1950s Mantovani song mixed with music from Assassin's Creed II; and it utilizes Italian peasant costuming and Venetian masks. Our paper examines Le Stelle's use of these hybridities in staging Italian culture.
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Conner, Christopher T., and Nathan Katz. "Electronic Dance Music: From Spectacular Subculture to Culture Industry." YOUNG 28, no. 5 (July 31, 2020): 445–64. http://dx.doi.org/10.1177/1103308820926102.
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This article is an attempt to show the dialectical nature of Guy Debord’s (1967/1994, The Society of the Spectacle, Aldgate Press) concept of the spectacle, showing how its employment as a resistance technique by electronic dance music (EDM) subculturalists would also help shape it into a corporately organized culture industry (Horkheimer & Adorno, 1944/1969). In doing so, we show the overlap between the French Internationalist approach and that of the Frankfurt School, and how the combination of these two concepts provides for a more nuanced conceptualization in which the agency of social actors ultimately resulted in the shaping of the subculture into a culture industry. In other words, we attempt to address the critique that the approaches endorsed by both schools are overly deterministic in their approach. We attempt to overcome this limitation by showing how promoters’ decisions to compromise with law enforcement agencies resulted in changes drastically altering the music subculture.
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Montano, Ed. "DJ Culture in the Commercial Sydney Dance Music Scene." Dancecult 1, no. 1 (2009): 81–93. http://dx.doi.org/10.12801/1947-5403.2009.01.01.05.
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K.M., Isaac, and Emmanuel O.A. "Rejection of Indigenous Music? Reflections of Teaching and Learning of Music and Dance in Tamale International School." African Journal of Social Sciences and Humanities Research 4, no. 2 (May 19, 2021): 74–86. http://dx.doi.org/10.52589/ajsshr-muuuijwv.
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Culturally responsive teaching and learning in schools creates an engaging and accessible learning environment that ensures continuity in the traditions of the people. One of the aspects of culture which engages students effectively in the learning process is music and dance. However, the instructional delivery of Music and Dance in Tamale International School scarcely includes the indigenous music content to a broader perspective. The paper was an investigation to find out how music and dance was taught in Tamale International School. It also highlights the attitudes of students towards the teaching and learning of Music and Dance. Using the cultural theory of Education as the theoretical framework, and a case study research design, participants were drawn from the pupils, the music teacher as well as the headteacher of the school. Interview and observation were the main instruments for the data collection. It was revealed that teaching of music and dance in the Tamale International School was a problem due to the fact that the school is one of the Western colonized schools with much historical orientation on Western music thereby relegating African music to the background. Attitudes of pupils towards the study of African music component of the music and dance syllabus being negative due to their religious background and the orientation received from their parents. Situated within the cultural education theory, the paper concludes that when students are given the opportunity to learn traditional music very often at school, it will help them to know theirs as Africans and embrace it in spite of their orientations from their religious background.
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T. Lobo, Joseph. "Is Folk Dance Still Thriving? Personal Experience and Interest in Philippine Traditional Dances as a Basis on Strengthening the Love for Culture and the Arts." International Journal of Education and Humanities 2, no. 2 (June 8, 2022): 48–60. http://dx.doi.org/10.58557/ijeh.v2i2.82.
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A correlational study which aims to determine the relationship between the level of personal experience and level of interest of students taking BPEd and BPeA at City College of Angeles towards Philippine traditional Dances. Frequency and percentage were used to determine the number of students who answered the online survey questionnaire, while Pearson r was used to determine the relationship between personal experience and interest. The study findings shown that most of the respondents has an average experience in Philippine traditional dances. It was also found out that most of the respondents are interested in learning folk dance in respect to dance steps, music, costume and dance history. Lastly, it was found out that the level of personal experience and level of interest of students to Philippine traditional dances are significantly related to each other. Based on the findings of the study, proposed dance programs/activities will be provided which can be part of the projects of the institute, to intensify their appreciation to the culture and arts of the Philippines steered by one of the core values of the college – Patrimony. Limitation of this study is, it only focuses on BPEd and BPeA students. Additional respondents from other programs which are not part of this study is highly recommended
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Hodgson, Amanda. "Beyond the Opera House: Some Victorian Ballet Burlesques." Dance Research 38, no. 1 (May 2020): 7–24. http://dx.doi.org/10.3366/drs.2020.0288.
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Histories of ballet have tended to pay little attention to Victorian theatre dance that was not performed in the opera house or the music hall. A great deal of dance was embedded in such popular theatrical genres as melodrama, extravaganza and burlesque, and is therefore best understood in the context of the wider theatrical culture of the period. This essay examines two ballet burlesques performed at the Adelphi Theatre in the 1840s: The Phantom Dancers (a version of Giselle) and Taming a Tartar (based on Le Diable à quatre). When located in relation to the generic qualities of other theatrical burlesques of the period, their particular combination of parody and serious attention to classical dance is clarified. In both plays classical dance is set against more demotic dance styles. This serves as a way of mocking the excesses of the original ballets, but also as a way of interrogating the nature and significance of the danse d’école when presented to a popular theatre audience.
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MARINESCU, ANGELICA. "What’s in a dance? Dalkhai: from a religious community ritual, to a pro-scenium performance." International Review of Social Research 11, no. 1 (December 14, 2021): 298–313. http://dx.doi.org/10.48154/irsr.2021.0028.
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An educational international project, initiated by a Romanian organisation, comprising folk dances from around the world, has challenged me to go deeper into understanding one of the most popular dance forms of Western Odisha, Dalkhai. Traditionally a religion-based folk dance connected to the agrarian culture of local Adivasi communities, it has been gradually developed into a cultural pattern of Odisha, Eastern India. Considering folklore as intangible cultural heritage of humanity, according to UNESCO definition, I explore the expression of this ritual-dance, in connection to the Adivasi culture, as Dalkhai is considered the goddess of fertility, initially worshipped by the tribal people/Adivasi like Mirdha, Kondha, Kuda, Gond, Binjhal, etc., but also in its recent metamorphosis into a proscenium representation. The Dalkhai dance is becoming visible and recognised at state, national and even international form of dance, while in the Adivasis communities it is noted that the ritual becomes less and less performed. Consulting the UNESCO definitions and documents on Intangible Cultural Heritage is useful for understanding how to approach a choric ritual, involving a tradition, music and dance, enhancing the importance of safeguarding cultural diversity while confronting cultural globalization. Its approach, in accordance with ‘universal cultural rights’, emancipatory politics concerning world culture and multiculturalism, opposes the disappearances and destruction of local traditions, indigenous practices. Heritage concerns the whole community, conferring an identity feeling, and supporting the transmission to the next generations, sustainable development, often involving economic stakes, becoming essential for developing the territories (Chevalier, 2000).
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Wirata, I. Wayan. "COLLABORATION OF SASAK AND BALINESE ETHNIC ART PERFORMANCES IN THE CARRYING CAPACITY OF LOMBOK TOURISM." MEDIA BINA ILMIAH 14, no. 4 (November 3, 2019): 2351. http://dx.doi.org/10.33758/mbi.v14i4.344.
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Tourism is all community activities related to tourists. The growth and development of tourism can increase the country's foreign exchange. This view can improve tourism both in terms of infrastructure and superstructure. In addition, art can be used as a support for tourism. Remembering art is one of the creations, intentions, and human works to maintain his life. Cultural elements include: dance, music and art which are introduced to tourists through tourism. Dance and music which is used as a tourist attraction on attractions are staged, in order to introduce culture as local and foreign tourists. Performing arts can be used as a supportive power for tourism and can be collaborated in order to package and provide a collaboration art performance pattern. The collaborative art performances include Sasak Ethnic Dance such as: Rudat Dance, Gendang Beleq; in addition to Balinese dance arts such as Panyembrama Dance, Gabor Dance and Pendet Dance.
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CHONG, LEE SUAN. "A GRASP ON THE NATURE OF LUNDAYEH THROUGH THEIR TRADITIONAL DANCE CULTURE." International Journal of Creative Future and Heritage (TENIAT) 3, no. 2 (December 31, 2015): 1–22. http://dx.doi.org/10.47252/teniat.v3i2.365.
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AbstrakPenduduk Lundayeh terdapat di Tenom, Sipitang dan Long Pa Sia, di sepanjang pantai barat Sabah, Malaysia. Bentuk dan sistem tarian Lundayeh telah melalui perubahan dan variasi sejak kewujudan mereka di Borneo. Artikel ini mengkaji dalam pelbagai aspek, termasuk muzik, pakaian, pergerakan, fungsi dancerita-cerita daripada tarian tradisional yang diamalkan dalam masyarakat Lundayeh hari ini di Kemabong, Sabah. Tarian tradisional Lundayeh yang masih diamalkan berdasar terutamanya kepada aspek budaya, sosial dan agama hidup Lundayeh. Kajian ini membawa kepada penemuan corak pemikiran, falsafahhidup dan perspektif dunia Lundayeh yang dipengaruhi oleh agama dan budaya purba mereka. Tarian tradisional Lundayeh berfungsi sebagai satu saluran untuk memahami sifat orang Lundayeh sebagai salah satu kumpulan etnik kecil di dunia. Pemahaman tentang sifat orang Lundayeh akan terus menyumbang ke arah perkongsian dan penemuan dalam dimensi ilmu kemanusiaan yang baru.
AbstractLundayeh populations are found in the areas of Tenom, Sipitang and Long Pa Sia, along the west coast of Sabah, Malaysia. Lundayeh dance forms and systems have gone through changes and variations since their existence in Borneo. This paper looks into a variety of aspects, including music, costumes, movements, functions and stories of the traditional dances practiced in today’s Lundayeh communities in Kemabong, Sabah. The surviving traditional dances found to have stemmed from the core of Lundayeh cultural, social and religious aspects of life. The study leads to the discovery of the thinking patterns, life philosophies and world perspectives of Lundayeh that are strongly influenced by their religion and ancient culture. Dance music ultimately serves as a tool to understand the nature of Lundayeh people as one of the minor ethnic groups in the world. The understanding of the nature of Lundayeh would further contribute toward sharing and discovering another dimension of human knowledge and wisdom.
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Rietveld, Hillegonda C. "Beyond the Dance Floor: Female DJs, Technology and Electronic Dance Music Culture (Rebekah Farrugia)." Dancecult 6, no. 1 (2014): 127–30. http://dx.doi.org/10.12801/1947-5403.2014.06.01.08.
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Kunej, Drago, and Rebeka Kunej. "Dancing For Ethnic Roots:." Musicological Annual 55, no. 2 (December 13, 2019): 111–31. http://dx.doi.org/10.4312/mz.55.2.111-131.
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Folk dance ensembles within minority ethnic communities (Albanian, Bosniak, Montenegrin, Croatian, Macedonian and Serbian) in Slovenia were formed in the 1990s, after the breakup of Yugoslavia. The authors present the key reasons for the folklore activities that contributed to the emergence of the so-called minority folk dance ensembles, describe their beginnings and how they eventually became organized, institutionalized, and integrated into the amateur culture system in Slovenia. The goal of minority folk dance ensembles is to dance for ethnic roots, but at the same time, the desire to enrich the cultural space in their new county and to integrate into society in which they live.