Relevant bibliographies by topics / Dance tradition

Academic literature on the topic 'Dance tradition'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Dance tradition"

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Tulk, Janice Esther. "Children’s Dances at First Nation Powwows in Atlantic Canada." Ethnologies 37, no. 2 (October 18, 2017): 29–52. http://dx.doi.org/10.7202/1041487ar.

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In this article, based on ethnographic research conducted at Mi’kmaw powwows throughout Atlantic Canada between 2004 and 2010, I will begin to address the lacuna in literature on First Nation children’s dances. I will describe the various children’s dances observed at powwows in Eastern Canada, as well as songs that are specifically used for children’s dances, contextualizing them within the traditional powwow event and in relation to emcee stage talk. I will also illuminate the socio-cultural functions of children’s dance at powwows and the relationship between dance and play. Finally, by focussing specifically on the living dance tradition of Mi’kmaq at cultural events in the Atlantic provinces, I will elucidate some of the forces that act upon informal culture, shaping and re-shaping it through time. This approach will highlight the relationship between popular culture and tradition in this context, revealing the emergent nature of lived traditions.
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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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Filippidou, Eleni. "Tradition and Fakelore: A Case Study in Greek Traditional Dance." European Journal of Humanities and Social Sciences 2, no. 4 (July 18, 2022): 16–22. http://dx.doi.org/10.24018/ejsocial.2022.2.4.291.

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The ethnographic context of this paper is the community of Pentalofos in the region of Thrace in Greece. In the community of Pentalofos, the dance is being experienced and being revived by the same people, who actively participate both in the public dance of the community festival, and in revivals of customary circumstances on stage. Therefore, in this community, the coexistence of dance is observed in its primary environment and its transfer to the dance scene by the same people, who are both members of the community and members of the cultural club. In other words, the simultaneous "first" and "second existence" of dance is observed. The aim of this paper is to compare the traditional and the folkoric dance in Pentalofos of Evros, in order to determine whether they are identical or different, through the example of the dance ‘Babisios’. The collection of ethnographic data was based on the ethnographic method. Laban's notation system was used to record the choreographic compositions of Babisios dance, while for the analysis of their structure and form, as well as their codification, the structural-morphological and typological method of analysis was used, as it is applied in the Greek Τraditional Dance. From the data analysis was found that, although the traditional and fakelore form of Babisios dance is performed by the same people, who are both members of the community and members of the cultural association and often even happen to dance in the same place with both their qualities, show a number of differences. These differences reflect the dance expression of the same people in a specific context and at a given time. Thus, Babisios dance in its "first" existence includes a simple form, being an integral part of the life of the inhabitants of Pentalofos, while in its "second" existence the dance follows the rules of stage presentation, aiming to impress the audience, constituting a choreographic creation.
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Murugathas, Ammankili. "Female Dancers in Ancient Tamil Tradition Rise and Fall – From 200 BC to 300 AD." Shanlax International Journal of Tamil Research 6, no. 1 (July 1, 2021): 8–13. http://dx.doi.org/10.34293/tamil.v6i1.4165.

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The history of origin and development of dance and music tradition of Tamils in the ancient period can be traced merely from Cangam literature-Ettuthokai and Patthuppattu . The period of this literature is considered from 200 BC to later period of 300 AD or early part of the 4th century AD. There is no other evidences excavated about the ancient dancers from archeological sources. K.A Neelakanda Sastry, historian of Tamil Nadu used Ettuthokai and Pattuppattu as a significant source to write the ancient history of Tamil Nadu, as evidences for the history because of non availability of archeological evidences at that time. Ancient Dance tradition of Tamils was originated from the indigenous dance tradition of Tamils, lived in Kurinji (hill Countryand nearby lands) Mullai (pastoral region) Marutham (rivarbanks) Neithal (Coastal Area) and Palai (desert).Cangam literature shows that the tribal people of these lands performed ritual dances . These performances are the roots to the origin of Tamil dances , after that, with the establishment of stateformation of Tamil Nadu skill dancers and minstrels developed new forms of dances and music, in later period these dances were being called as Vettiyal. Dancers and minstrels were lived under the patronage of the kings of Tamil Nadu and loved by the kings. These performers praised the kings’ victory, their patronization and nvolved in their patrons’ family life also. Ritual dances were performed in Cult spots and war front.The literature shows that some of these performances have been developed as classical dances. Nowadays there is an opinion about Baratha natiyam that it was originated from sanskrit sources. But the ancient history of this dance tradition clearly shows that Baratha natiam was originated from the ancient dance tradition of Tamil Nadu. This study focuses the origin and development of dance tradition of ancient Tamils and the performances of female dancers of thisera, and flourished life of the the mas well asin the decline of the kings of three monarchy and other patrons how the dancers lost their wealthy life in the period.
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Gordos, Anna. "Childrens' Scarf Dances." Tánc és Nevelés 2, no. 2 (October 12, 2021): 75–86. http://dx.doi.org/10.46819/tn.2.2.75-86.

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The scarf is a less used tool in the methodology of teaching folk dances. This object, however, had a crucial role both in Hungarian folk dance tradition and in the way of life of peasants. The paper presents the traditional appearances of the scarf in dances and its usage’s symbolic semantic layers with a special focus on wedding pair-choosing dances. The scarf has a privileged role in these playful pair-swapping games, on the one hand as the realisation of improvisation, on the other hand as a means of creating an equal relationship between dance partners. These structural and conceptual conclusions could be translated and applied in the process of dance teaching: the scarf as a tool of methodology eases communication, reveals the dynamism between dance partners and the emotional aspects of dance. The present study is followed by a supplement of 12 scarf games, which provides new ideas for practising dance teachers on how to use the scarf in teaching folk dances.
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Guðmundsdóttir, Aðalheiður. "Om hringbrot og våbendanse i islandsk tradition." Kulturstudier 1, no. 1 (November 30, 2010): 132. http://dx.doi.org/10.7146/ks.v1i1.3886.

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By using those sources traditionally referred to, as well as introducing a number of new ones, the article seeks to shed light on weapon dances within the Nordic countries, placing them in a European context, the intention being to strengthen<br />the basis for further research into this area within the field of Nordic dance studies and history. Until now, the shortage of material has made it difficult for scholars to place potential Nordic weapon dances within the context of comparable<br />traditions known elsewhere in Europe. The purpose of this article is to attempt to fill this gap to some degree by presenting relevant material of a different kind.<br />In order to demonstrate that weapon dances belong to a deep-rooted tradition of dances and games in Northern Europe, some ancient pictorial sources are exhibited<br />and explained. Furthermore, Icelandic sources that shed new light on the coherence of medieval weapon dances are revealed. The Icelandic material, in other words sources which indicate that people in Iceland knew or knew of<br />weapon dances, are of two different kinds: they indicate first of all that Icelanders used to take part in a dance called hringbrot, a dance which appears to be very similar to descriptions of weapon dances of other nations. Secondly, it seems that<br />they created and preserved in their manuscripts drawings that indicate that they knew about weapon dances as early as in the fourteenth and fifteenth centuries.<br />The additional material presented here, which is substantial, is now being analyzed and has a valuable contribution to make to the debate concerning Nordic weapon dances. By putting the Icelandic material in connection with more traditional sources from Northern Europe, and in the broader context of Mid and<br />Western Europe, we should be able to increase our understanding of the context and development of weapon dances.
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Indrayuda, Indrayuda. "TARI TRADISIONAL DALAM RANAH TARI POPULER: KONTRIBUSI, RELEVANSI, DAN KEBERLANJUTAN BUDAYA." Humanus 14, no. 2 (November 30, 2015): 144. http://dx.doi.org/10.24036/jh.v14i2.5680.

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Recent development of dance performance is not only esthetical and artistic; it has improved farther along with social cultural changes and economic development, which is supported by the scientific and technological changes that have encouraged the improvement of the art and knowledge about dances. In choreographic learning in academic environment, the arrangement pattern in choreography is not limited to the conventional that the consequence of movement, but also a media for criticism and expression of the artists. Currently dance does not belong to certain tradition of a community but to individuals. The individual belonging of the dance is widely known as popular dance, both monumental and contemporary dance. In Indonesia, both monumental and contemporary popular dances tend not to be detached from their traditional idiom or spirit in their cultural choreographic background, even all of their arrangement source stems from traditional kinesthetic dance. This phenomenon becomes a new trend in dance creation and dance choreographic learning in Indonesia, many of which are developed by art academicians, art studios and workshops.
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Olga Borisovna, Bursikova, Kuznetsova Natalia Stanislavovna, Amelina Maria Nikolaevna, Tatarintsev Andrey Yurievich, and Trofimov Roman Viktorovich. "ROUND DANCE TRADITION OF BELGORIE: THE SEMANTIC AND CULTURAL ASPECT." Revista de Investigaciones Universidad del Quindío 34, S2 (June 14, 2022): 57–63. http://dx.doi.org/10.33975/riuq.vol34ns2.879.

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The accumulated rich archival material on the musical folklore of the Belgorod region actualizes the problem of the semantic analysis of round dance songs as the dominant genre of the region’s traditional culture. In this work, based on expeditionary materials and researchers’ publications, the choreographic forms of round dances (circular karagods, tanks, figured tanks) of the Belgorod region are identified and described. The general scientific research methods within the framework of comparative, logical and statistical analysis are utilized. The systematic approach to research used in the process of modeling dance culture contributed to the reconstruction of the three-part picture of the world, captured in the dance in many versions.
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SABĂU, Anca Maria, Simona OROS, Dumitra Mădălina PANTEA, Andrada Maria BULZ, and Dana Ioana CRISTEA. "Aspects of the practice of folk dance in Bihor Region - Tradition and perspectives." GeoSport for Society 16, no. 1 (June 30, 2022): 23–37. http://dx.doi.org/10.30892/gss.1603-081.

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Romanian folk dances are a wealth of generations that we owe to preserve, protect and leave our inheritance to our descendants as a proof of our identity and history. By practicing dance, the customs and traditions of the people are learned; young people develop harmoniously due to the various movements in which the dances are composed. Romania has a wide range of games, dances and costumes inherited from tradition, perpetuated through repertoire and ethnography, which convinced us to address and highlight the important role of the traditions, folk dances in Bihor County, the beneficial effect that they have in the personal development of the dancers. The proposed research methodology for the study addresses methods such as the survey method by applying a questionnaire and the statistical-mathematical method. The results highlight the importance of folk dances first present in the family and the fact that passion is the main motivation of dancers that drives them to practice folk dance. It is necessary to give children the opportunity to make direct contact with the sources of popular creation such as dance, music, customs and folk costume, to create optimal conditions for learning our folk dances, the priceless treasure of our people.
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Widiasih, Ni Pande Made, Ni Wayan Sumertini, and Poniman. "TRADISI PEMENTASAN TARI GANDRUNG TELAGA SAKTI DI DESA PAKRAMAN LIMO KECAMATAN NUSA PENIDA KABUPATEN KLUNGKUNG (KAJIAN BENTUK, FUNGSI, MAKNA)." Jurnal Penelitian Agama Hindu 2, no. 1 (May 28, 2018): 409. http://dx.doi.org/10.25078/jpah.v2i1.497.

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<p><em>T</em><em>h</em><em>e Tradition of Gandrung Telaga Sakti Dance Performance in Pakraman Limo village Nusa Penida Sub-district Klungkung Regency is a hereditary tradition recognized by the people of Pakraman Limo village as a sacred tradition to complement the religious ceremony. The uniqueness of Gandrung Telaga Sakti Dance is when this dance will be staged performed a ritual process, such as the selection process of dancers, place and time of staging and the series of ceremonies performed before the staging of Gandrung Telaga Sakti Dance. The results of this study are as follows: 1). Shape Gandrung Telaga Sakti Dance including; History of Gandrung Telaga Sakti Dance Performance, Conditions to Become Dancer Gandrung Telaga Sakti Dance, Gandrung Telaga Sakti Dance Movement, Gandrung Telaga Sakti Dance Performance, Dance Performance Gandrung Telaga Sakti, Gandrung Telaga Sakti Dance Stage, Upakara Gandrung Telaga Sakti Dance, and Supporting Equipment Gandrung Telaga Sakti Dance. 2). The function of Gandrung Telaga Sakti dance performances include art function and cultural preservation, religious function and social function. 3). The meaning of staging of Gandrung Telaga Sakti Dance is symbolic meaning, meaning of aesthetics and meaning of harmony and balance.</em></p>
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Dissertations / Theses on the topic "Dance tradition"

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Grasso, Eliot John. "Melodic variation in the instrumental dance music tradition of Ireland." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11557.

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xxiii, 507 p.
This dissertation contextualizes melodic variation within a cultural, historical, and cognitive framework. This work discusses how traditional musicians learn how to vary melodies by observing norms of social and musical behavior exhibited by senior musicians. The core of this dissertation is the transcription and analysis of fifty source recordings of fifty different Irish musicians playing one tune each dating from between 1904 and 2007. Though the transcriptions of the recordings exhibited a high instance of melodic variation (48.2% of the measures), only a small percentage of variation fell on set accented tones (an average of 7.3%). The considerable invariance of set accented tones suggests that part of what constitutes the concept of a tune in an Irish musician's mind relates to the pitch of these key tones. I introduce the term aesthetic conservatism to designate a philosophical approach to performance practice that seeks to maintain both the dance genre and tune identity. I argue that aesthetic conservatism may be a by-product of archetypes and exemplars created through transcriptions and recording technology. This conservatism may also be a function of famine-induced fear of cultural dissolution or inferiority with respect to more prominent music-making supercultures. I call on the philosophy of aesthetic conservatism to explain why few set accented tones are varied. Of the measures that were varied, 74% of those variations involved the addition, subtraction, or redistribution of ornamentation. To catalogue the variety of variations within this sample, I propose a taxonomy that is designed to account for the number of notes in a measure and to assess intervallic differences over successive repetitions of a tune. Finally, I propose a theory to explain the cognitive processes that allow a musician to vary a melody. I suggest that in the mind of a traditional musician there is both a tune schema and a variation schema. These are flexible models that are distinct and separate but that interact within a short span of time because of the exceptionally efficient anatomy of a musician's brain.
Committee in charge: Anne Dhu McLucas, Chairperson; Lori Kruckenberg, Member; Stephen Rodgers, Member; Glen Waddell, Outside Member
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Brough, Edward Luna. "Jogo de mandinga - game of sorcery - : a preliminary investigation of history, tradition, and bodily practice in capoeira angola /." Connect to resource, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1195592448.

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Campbell, Corinna Siobhan. "Personalizing Tradition: Surinamese Maroon Music and Dance in Contemporary Urban Practice." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10490.

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Through comparing the repertoires, presentational characteristics, and rehearsal procedures of Surinamese Maroon culture-based performance groups within Paramaribo, I outline the concept of personalizing tradition. This is based on the premise that differing social and performative practices lead to different understandings of the same performance genre, and that culture-based collectives, like those discussed here, mobilize tradition in order to fulfill a variety of social needs and aspirations. Their personalizing practices lead to embodied understandings of a variety of concepts, among them tradition, culture, professionalism, and cosmopolitanism. Through learning and presenting this composite of physical significations, performers generate visual and sonic representations of Maroon cosmopolitanism, thereby articulating aspects of the lived realities of Maroons whose life experiences diverge from the most commonly circulated characterizations of Maroon society—namely a population isolated from (or even incapable of comprehending) cosmopolitan and national technologies, aesthetic forms, and knowledge systems. Borrowing from jazz discourse, I posit that satisfaction and social poetic proficiencies arise from performers’ adeptness at playing the changes, in other words their capacities to understand the changing social circumstances in which they are acting and selecting expressive gestures that compliment those circumstances. The concept of playing the changes helps initiate a turn away from assessments of right or wrong ("real" or "made up") and focus instead on the ability to portray oneself to one’s best advantage, come what may. Finally, I demonstrate the advantages of pursuing an integrated approach to performance analysis, in which the study of musical and choreographic elements of performance are examined in combination.
Music
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Boonserm, Pawinee. "Tradition and transformation of Thai classical dance : nation, (re)invention, and pedagogy." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/27274.

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This research aims to analyse the role and consequence of state patronage and promotion of Thai classical dance after the revolution of 1932, when the patronage of court dance changed from royal to state support. This research examines connections between the authority of the state, nationalism, Thai identity, and the invention of tradition, by focussing on the reconstruction of Thai classical dance, the promotion of spirituality in the Wai Khru ceremony, and dance pedagogy. This study uses historical research and ethnography through participant-observation, and interviews with senior dance teachers, national artists, masters of the Wai Khru ceremony, and dance artists in the Fine Arts Department, and also draws on the researcher’s personal experience in dance training as a dancer and dance teacher for several years. The thesis offers a detailed analysis of the socio-political context and cultural policy in relation to the establishment of the Fine Arts Department and the Dramatic Arts College; the national institutions whose main roles were to preserve, perform and offer training in traditional dance. After the revolution of 1932, the Fine Arts department played an important role to authorise, preserve, and standardise Thai classical dance. The function and meaning-making processes surrounding dance changed in accordance with the development of Thai identity and cultural policy. During the period 1932-1945, state policy emphasised the homogeneity of ‘Thai-ness’ and civilization, and traditional dance was adapted and combined with classical, folk and western elements. However, after the mid-1940s, the socio-political and cultural policies changed; the state operated the project of cultural revivalism. The court dance style and its rituals were revived with the establishment of a code of ‘classicalism’ which became the central aesthetic identification of Thai identity. The newly-coined classicalism has become the standard, and has been passed on to succeeding generations in the new educational system. These new invented traditions were preserved as if they were sacred, a practice which continues to the present.
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Bose, Mandakranta. "The evolution of classical Indian dance literature : a study of the Sanskritic tradition." Thesis, University of Oxford, 1990. http://ora.ox.ac.uk/objects/uuid:07f89602-1892-4fa5-9d77-767a874597ef.

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The most comprehensive view of the evolution of dancing in India is one that is derived from Sanskrit textual sources. In the beginning of the tradition of discourse on dancing, of which the earliest extant example is the Natyasastra of Bharata Muni, dancing was regarded as a technique for adding the beauty of abstract form to dramatic performances. An ancillary to drama rather than an independent art, it carried no meaning and elicited no emotional response. Gradually, however, its autonomy was recognized as also its communicative power and it began to be discussed fully in treatises rather than in works on drama or poetics-a clear sign of its growing importance in India's cultural life. Bharata's description of the body movements in dancing and their interrelationship not only provided the taxonomy for all subsequent authors on dancing but much of the information on its actual technique. However, Bharata described only what he considered to be artistically the most cultivated of all the existing dance styles, leaving out regional and popular varieties. These styles, similar in their basic technique to Bharata's style but comprising new types of movements and methods of composition, began to be included in later studies. By the 16th century they came to occupy the central position in the accounts of contemporary dancing and coalesced into a distinct tradition that has remained essentially unchanged to the present time. Striking technical parallels relate modern styles such as Kathak and Odissi to the later tradition rather than to Bharata's. The textual evidence thus shows that dancing in India evolved by assimilating new forms and techniques and by moving away from its early dependency on drama. In the process it also widened its aesthetic scope beyond decorative grace to encompass emotive communication. Beauty of form was thus wedded to the matter of emotional content, resulting in the growth of a complex art form.
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Castorena, Sohnya Sierra. "REMEMBERING AND PERFORMING HISTORY, TRADITION, AND IDENTITY: A MULTI-SENSORY ANALYSIS OF DANZA AZTECA." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/195376.

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Anthropology
Ph.D.
This dissertation investigates the production and reception of a modern transnational pan-indigenous ideology and multi-plex identity, through the acquisition of Danza Azteca expressive cultural practices. My research is situated within the Quetzalcoatl-Citlalli Danza Azteca group, based in Sacramento, California. I argue that through the embodied act of dancing, danzantes are able to access, reconstruct, and express socio-historical memories, feelings, and their sense of space and place, effectively creating a Mexica identity and way of life based in a pan-indigenous ideology, a decolonized consciousness. I explore the expressive cultural practices and the processes that each danzante participates in to create this pan-indigenous ideology and identity. I explore the transformative power and habitus of Danza Azteca, an emergent social movement, and I investigate its ability to act as a vehicle for self-representation for individual danzantes as well as the larger Chicana/o and Native communities in which it is situated. Danza encompasses more than just the physical act of dancing. Danzantes are engaged in the movement, music, as well as the multiple visual representations of danza. A danzante may utilize one or more of danza's expressive cultural practices to produce and express the various manifestations of their multi-plex indigenous identities. Danza is seen not as a dance or a religion, it is viewed among the danzantes as a way of life: as prayer, tradition, heritage, history and dancing identity. I argue that through the expression and reception of danza at Danza Azteca dance events, the indigenous ideology acquired, and the expressive cultural practices shared by the danzantes, grant them the power to construct, produce and express a highly politicized pan-indigenous identity. The production of this pan-indigenous identity and ideology confronts past geo-political and ethnic boundaries and is grounded in the specific socio-political relationships the Quetzalcoatl-Citlalli group is embedded in and the corresponding ideology of the Maestro of the Danza group. I explore how the danzantes connect with socio-historical memories via movement, as well as in Danza art vis-`a-vis the images and symbols on their trajes and armas. I show how danzantes employ Nahua art and symbolism as representations of their gendered, social and cultural identity. I focus upon the body as the site where memories are stored, accessed, and expressed. The performance, experience, and reception of dance is a particularly powerful site for the embodiment, expression and reception of identity and memory.
Temple University--Theses
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King-Dorset, Rodreguez. "Black dance in London 1730-1850 : cultural innovation, tradition, continuity, resistance, adaptation and survival." Thesis, University of Sussex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436235.

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Nance, Curtis Kemal. "Brothers of the 'Bah Yah!': The Pursuit of Maleness in the Umfundalai Tradition of African Dance." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/291024.

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Dance
Ph.D.
Inaugurated by Kariamu Welsh in 1970, Umfundalai is an evolving contemporary African dance technique that draws movements from African and Diasporan dances. As one of the first of thirteen men to study and perform the technique, Umfundalai reified a North American African male identity, empowering me to navigate American and African American social scripts that posit dancing as a non-masculine activity. This study employs an autoethnographic lens to illuminate men's constructions of gender in Umfundalai. Specifically, the research explores maleness, an experienced gendered agency, among eight male practitioners, including the researcher. Brothers of the Bah Yáh is framed as a multi-layered inquiry that applies phenomenological values and procedures to forward an auto-ethnographic intention. The study's qualitative methodology draws on Max van Manen's hermeneutic phenomenology and Anselm Strauss's applied grounded theory, as well as historical description and dance analysis. Sources of data include interviews with seven Umfundalai men, Umfundalai's progenitor and first dance master; an in-depth research journal recording my own lived experience descriptions and memories of dancing Umfundalai; and videos of selected Umfundalai repertory. The study is informed by the literature of masculine studies, highlighting the social function of masculinities as scripted and learned ideals. There is a dearth of resources theorizing the African American presence in African dance on the American concert stage. Drawing on primary sources, the empirical findings of the study are framed in a historical analysis of the emergence of a male presence in Umfundalai since 1993, including male-inspired developments in the technique. Analysis of in-depth interviews reveal that performing Umfundalai choreography affords men an opportunity to dance a self-determined construction of gender performance and that Umfundalai studio practice can be a site for men's affirmation of their `dancer' identities as well as friction with gender performance. Further, while Kariamu Welsh's approach to developing Umfundalai's movement system may be described as gender-neutral, the continuance of Umfundalai by its dance masters substantiated a gendered Umfundalai in which movement and performance were aligned with scripted conventional masculine tropes. The Brothers of the Bah Yáh: The Pursuit of Maleness in the Umfundalai Tradition of African Dance reveals that `the pursuit of maleness' was a unique construction experienced only by the researcher. Contradicting my initial presumption, the other men in this study found their gendered agency outside of Umfundalai. Moreover, a large majority of men in this study draw significantly on conventional masculinities, namely strength and power, to feel their maleness. Further, a spirituality of solidarity was uncovered - an embodied masculinity that can arise while dancing Umfundalai choreography and observing other men dancing at the same time. The dissertation concludes that expressions of maleness as described by Umfundalai's dancing men have currency in sports and in the larger American and African American communities out of which Umfundalai's dance culture emerges. Strength, power, and spiritual transformation situated in similitude represent commonalities of male experiences. At the same time, Umfundalai choreography can house multiple masculinities. Dances like Kariamu Welsh's Raaahmonaaah! (1989) and my Genesis: The Royal Dance of Kings (1996) serve as portals for masculinities that dismantle the hegemony that erodes the community in which it exists. Further research is needed to understand how dancing men can be a force that dismantles racism, sexism, and homophobia.
Temple University--Theses
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Davey, Mervyn Rex. ""As is the manner and the custom" : folk tradition amd identity in Cornwall." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3377.

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The distinctiveness of folk music and dance traditions in Cornwall is at best ignored and at worst denied by the wider British folk movement. Within Cornwall itself, traditional music and dance is not widely recognised as a serious art form. This study challenges this position by arguing that failure to recognise Cornwall’s folk tradition as a distinctive and creative art form is due to hegemonic power relations not the intrinsic nature of Cornish material. It contributes to the debate about the distinctiveness of Cornwall’s historical and cultural identity and shows that folk tradition has an important place in contemporary Cornish studies. This study examines the evolution of folk tradition in Cornwall from the early nineteenth century through to the present day, the meanings ascribed to it and the relationship with Cornish identity. The subject matter is at once arcane and commonplace, for some it is full of mystery and symbolism for others it is just “party time”. It is about what people do and what they think about what they do in relation to the wide spectrum of activities associated with traditional music and dance. These activities range from informal singing sessions and barn dances to ritual customs that mark the turning of the year. In order to establish a research methodology this study draws upon the paradigms of memory, oral history and discursivity. These paradigms provide a range of insights into, and alternative views of, both folk tradition and identity. Action research provides a useful enquiry tool as it binds these elements together and offers a working ethos for this study. Using this model a complex and dynamic process is unveiled within folk tradition that offers a quite different perspective on its relationship with identity and brings into question popular stereotypes.
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Zhu, Min. "The reinvention of tradition: Transformation of Chinese water sleeve dance and Tai Ji in contemporary performer training and performance making." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1987.

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The aim of this practice-led research was to investigate the nature and characteristics of the notion of reinvented tradition in China through the examination of dance practices. First, this research focused on the continuity of tradition demonstrated in the development of Chinese classical dance. Second, it concentrated on the malleability and applicability of two representative Chinese cultural dance practices, water sleeve dance and Tai Ji, in contemporary performance and performer training. The central concept behind this research was the commonly held perception in China that “tradition is a river” (P. Huang, 1990) in the context of the Chinese dance community. The overarching research methodology of this practice-led research involved critical analyses of Chinese classical dance works, 16 workshops with dance and Performance Making students, interviews, focus groups, critical reflection on my dance-making practice and the making of two new performance works: Penanegra and Hunger. Central to this entire research process is a discussion of the tension between tradition and modernity in the phenomenon of reinventing tradition in contemporary Chinese classical dance making, contemporary performance training and in the making of what I identify as contemporary performance influenced by Chinese cultural traditions. During the practice phase of the research, I investigated what traditional insights and techniques could offer contemporary performers and performance makers. In particular, the philosophy and practice of Tai Ji was analysed in relation to contemporary movement training and performance making. The research has culminated in an evaluation of how the changes and ramifications of tradition can be embodied in the current performance context. This research makes two significant contributions to knowledge in terms of understanding tradition and its reinvention. First, this thesis proposes the idea of reinventing tradition to interpret the development of Chinese classical dance since the 1980s, and it articulates the motivations and cultural meanings involved in the creation of contemporary Chinese classical dance. The thesis also analyses the ambiguity of ‘Chinese contemporary dance’ as a new term and demonstrates the hybridity of movement language as a response to the modernisation of Chinese traditional dance. Second, this thesis articulates the interweaving of tradition and originality in artistic creation through the examples of two representative Chinese cultural elements: the water sleeve dance and Tai Ji. The study examines how these cultural forms can be transformed and applied to contemporary training and performance. The water sleeve dance was examined within an intercultural performance project, Penanegra, illustrating how a traditional dance form can be transformed to facilitate communication between different cultural backgrounds and body languages, and how conservatoire training can enable the inheritance of tradition through body memory. Tai Ji was applied to movement training and to the making and performance of a new contemporary work, Hunger. The discussion of Tai Ji and its transformation in this project contributes to understanding psychophysical training practices and discourse. The particular approach to Tai Ji developed in this thesis informs the critical analysis of other Tai Ji-inspired works. Overall, this thesis considers the reinvention of tradition in relation to making tradition relevant to contemporary performance making and performer training. The resulting performances, new training approaches and exegesis contribute to scholarship on the body and movement in performance.
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Books on the topic "Dance tradition"

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Garland, Mike. The morris tradition. [London, England?: Morris Ring, 1990.

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Tradition and creativity in Japanese dance: Kikunokai. New York: Weatherhill, 2001.

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A, Long Richard. The black tradition in American dance. London: Prion, 1989.

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Joe, Nash, ed. The Black tradition in American dance. New York: Rizzoli, 1989.

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Avinash, Pasricha, ed. Indian classical dance: Tradition in transition. New Delhi: Roli Books, 2002.

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Āndhranāṭyam: The Lāsya dance tradition of Āndhras. Hyderabad: Abhinaya Publications, 2001.

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Rao, K. Uma Rama. Kuchipudi Bharatam, or, Kuchipudi dance: A South Indian classical dance tradition. Delhi, India: Sri Satguru Publications, 1992.

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Indirā Gāndhī Rāshṭrīya Mānava Saṅgrahālaya., ed. Teyyam: A divine dance tradition of Kerala. Bhopal: Indira Gandhi Rashtriya Manav Sangrahalaya, 2008.

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McIntyre, Freda. What was that dance?: (over 3000 dances in the English tradition). 2nd ed. (Great Britain): (s.n.), 1992.

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Kathaka, the tradition: Fusion and diffusion. New Delhi: D.K. Printworld, 2008.

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Book chapters on the topic "Dance tradition"

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Katrak, Ketu H. "Beyond Tradition: Contemporary Choreography by Masters of Traditional Indian Dance and Emerging Innovators." In Contemporary Indian Dance, 84–122. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_4.

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Bhargava, Vinita, and Priya Srinivasan. "Classical Indian Dance and the Dancer: Engaging with Tradition and Modernity." In Resistance in Everyday Life, 247–59. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3581-4_18.

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Spiller, Henry, and Elizabeth A. Clendinning. "Identity, Authenticity, and Tradition in Sundanese Dance Music." In Focus: Gamelan Music of Indonesia, 162–202. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003014836-10.

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Zeghmar, Lydia. "Tradition Makers. The Recognition Process of a Local Dance: From the Village to the Institutions." In Turkish Cultural Policies in a Global World, 209–32. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-63658-0_9.

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Hagmann, Lea. "Anglo-Cornish Traditions." In Celtic Music and Dance in Cornwall, 57–77. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003140559-4.

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Ashley, Linda. "Innovation in Dance–Traditional Differences." In Dancing with Difference, 139–71. Rotterdam: SensePublishers, 2012. http://dx.doi.org/10.1007/978-94-6091-985-5_7.

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Koutsouba, Maria I. "Traditional Dance in Urban Settings." In The Routledge Companion to Dance Studies, 285–97. First Edition. | New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315306551-20.

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Barba, Fabián. "Impure Transmissions: Traditions of Modern Dance Across Historical and Geographical Boundaries." In Transmissions in Dance, 37–59. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64873-6_3.

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Williams, Sean. "New Contexts for Music and Dance." In Focus: Irish Traditional Music, 230–58. Second edition. | New York: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429282256-12.

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Jacoff, Rachel. "Vergil in Dante." In A Companion to Vergil's Aeneid and its Tradition, 147–57. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444318050.ch11.

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Conference papers on the topic "Dance tradition"

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Medellín Gómez, Ana Cristina. "DANCE INTERPRETATIVE SIGNS." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-132.

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Savov, Smilen. "DANCE NARRATOLOGY (SIGHT, SOUND, MOTION AND EMOTION)." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-139.

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Seriati, Ni Nyoman, Trie Wahyuni, and Pramularsih Wulansari. "Tradition as a Source of Dance Choreography Creation." In 4th International Conference on Arts and Arts Education (ICAAE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210602.047.

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Daryanti, Fitri, and M. Jazuli. "Teaching Tradition Dance in Children Building Indonesian characters." In Proceedings of the International Conference on Arts and Design Education (ICADE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icade-18.2019.48.

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DARMAWATI, Darmawati. "The Galombang Duo Baleh Dance from Local Tradition to the Performance of Creation Dance." In Sixth International Conference on Languages and Arts (ICLA 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icla-17.2018.48.

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Wirajaya, Asep Yudha, Bani Sudardi, Istadiyantha, and Bagus Kurniawan. "The Transformation of the Dhukutan Oral Tradition into a Dance Film." In 6th International Conference on Education & Social Sciences (ICESS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210918.008.

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Lo, Wai Ling. "Recreating Local Tradition: The Study of the Hang Hau Hakka Unicorn Dance in Hong Kong." In The Twelfth International Convention of Asia Scholars (ICAS 12). Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789048557820/icas.2022.047.

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Desfiarni, Desfiarni. "The Tradition of Indang Tagak Dance in Nagari Lubuk Gadang Utara Solok Selatan: An Aesthetic Study." In Proceedings of the Seventh International Conference on Languages and Arts (ICLA 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icla-18.2019.17.

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Tragtenberg, João, Filipe Calegario, Giordano Cabral, and Geber Ramalho. "TumTá and Pisada: Two Foot-controlled Digital Dance and Music Instruments Inspired by Popular Brazillian Traditions." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10426.

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This paper presents the development process of “TumTá”, a wearable Digital Dance and Music Instrument that triggers sound samples from foot stomps and “Pisada,” a dance-enabled MIDI pedalboard. It was developed between 2012 and 2017 for the use of Helder Vasconcelos, a dancer and musician formed by the traditions of Cavalo Marinho and Maracatu Rural from Pernambuco. The design of this instrument was inspired by traditional instruments like the Zabumba and by the gestural vocabulary from Cavalo Marinho, to make music and dance at the same time. The development process of this instrument is described in the three prototyping phases conducted by three approaches: building blocks, artisanal, and digital fabrication. The process of designing digital technology inspired by Brazilian traditions is analyzed, lessons learned, and future works are presented.
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Erin Kartika, Sumaryadi, Erin Kartika Trizilia, and Sumaryadi Sumaryadi. "The Social Ethics Values in Dancing Motions of Kejei Dance on Rejang Ethnic Marriage Tradition in Curup Rejang Lebong Bengkulu." In Proceedings of the International Conference on Art and Arts Education (ICAAE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icaae-18.2019.41.

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