Academic literature on the topic 'Dance tradition'
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Journal articles on the topic "Dance tradition"
Tulk, Janice Esther. "Children’s Dances at First Nation Powwows in Atlantic Canada." Ethnologies 37, no. 2 (October 18, 2017): 29–52. http://dx.doi.org/10.7202/1041487ar.
Full textGeorgios, 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.
Full textFilippidou, 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.
Full textMurugathas, 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.
Full textGordos, 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.
Full textGuðmundsdóttir, 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.
Full textIndrayuda, 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.
Full textOlga 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.
Full textSABĂU, 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.
Full textWidiasih, 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.
Full textDissertations / Theses on the topic "Dance tradition"
Grasso, Eliot John. "Melodic variation in the instrumental dance music tradition of Ireland." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11557.
Full textThis 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
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.
Full textCampbell, 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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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.
Full textBose, 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.
Full textCastorena, 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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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
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.
Full textNance, 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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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
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.
Full textZhu, 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.
Full textBooks on the topic "Dance tradition"
Garland, Mike. The morris tradition. [London, England?: Morris Ring, 1990.
Find full textTradition and creativity in Japanese dance: Kikunokai. New York: Weatherhill, 2001.
Find full textA, Long Richard. The black tradition in American dance. London: Prion, 1989.
Find full textJoe, Nash, ed. The Black tradition in American dance. New York: Rizzoli, 1989.
Find full textAvinash, Pasricha, ed. Indian classical dance: Tradition in transition. New Delhi: Roli Books, 2002.
Find full textĀndhranāṭyam: The Lāsya dance tradition of Āndhras. Hyderabad: Abhinaya Publications, 2001.
Find full textRao, K. Uma Rama. Kuchipudi Bharatam, or, Kuchipudi dance: A South Indian classical dance tradition. Delhi, India: Sri Satguru Publications, 1992.
Find full textIndirā Gāndhī Rāshṭrīya Mānava Saṅgrahālaya., ed. Teyyam: A divine dance tradition of Kerala. Bhopal: Indira Gandhi Rashtriya Manav Sangrahalaya, 2008.
Find full textMcIntyre, Freda. What was that dance?: (over 3000 dances in the English tradition). 2nd ed. (Great Britain): (s.n.), 1992.
Find full textKathaka, the tradition: Fusion and diffusion. New Delhi: D.K. Printworld, 2008.
Find full textBook chapters on the topic "Dance tradition"
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.
Full textBhargava, 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.
Full textSpiller, 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.
Full textZeghmar, 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.
Full textHagmann, 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.
Full textAshley, 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.
Full textKoutsouba, 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.
Full textBarba, 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.
Full textWilliams, 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.
Full textJacoff, 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.
Full textConference papers on the topic "Dance tradition"
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.
Full textSavov, 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.
Full textSeriati, 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.
Full textDaryanti, 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.
Full textDARMAWATI, 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.
Full textWirajaya, 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.
Full textLo, 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.
Full textDesfiarni, 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.
Full textTragtenberg, 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.
Full textErin 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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