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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AnthropologyPh.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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DancePh.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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Wesp, Henrike. "Folkdans och somatik : en kvalitativ studie om folkdanskroppen och somatik i folkdansundervisning." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-592.
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This study aims to investigate how dance teachers who are educated in Swedish folk dance are reflecting and thinking over the body and the use of bodily self-awareness in their teaching. Furthermore it wants to examine whether the use of somatic principles can act as a tool to support the ideas which dance teachers express. Four folk dance teachers have been interviewed as qualitative empirical material. These interviews have been transcribed and analyzed using codes and categories. The result of the study provides an image of the body as it is seen in folk dance today and points out similarities between that picture and somatics. Folk dance and somatics treat the whole body as a single unit and strive towards a relaxed and functional way of moving. Since folk dance and somatics have these similarities the possibility of using somatic principles in folk dance, such as training to gain consciousness of the body and its different parts to be able to relax actively, is discussed. However the result of this study shows how a rather small part of folk dance teachers think, since it only provides the opinions of four different teachers.
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McIntosh, Jonathan Andrew. "Moving through tradition : children's practice and performance of dance, music and song in south-central Bali." Thesis, Queen's University Belfast, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485056.
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This thesis is an ethnography of children's practice and performance of dance, music and song in the village of Keramas, Gianyar, South-central Bali. Focusing upon power relationships between adults and children and between children themselves in the setting of a Balinese dance studio (sanggar tan), I examine how adults exercise power over children and teenagers in the context of traditional Balinese dance. Furthermore, I investigate the ways in which children incorporate contemporary influences into their songs, games and disco dance performances, thereby exercising agreater degree of power over their own activities. While dance is central to Bali-Hindu religious practice, it is also a medium used to communicate . important aspects of what it means to be Balinese to children. Looking at children's participation in dance activities, I explore how children relate to the world that surrounds them. By moving through tradition children not only perpetuate Balinese traditional dance, 'but also actively engage with global influences. The thesis is divided into six chapters which chronologically follow the journey of children's dance and music . ac. tivities, from lullabies .. through traditional dance to disco dance performances. Although children's songs and lore have received previous attention from scholars, research focusing upon music and dance activities of children still remains on the periphery of ethnomusicological enquiry. By examining children's songs and their learning, practice and performance of traditional and popular dance, I sh~w how dance, music and song are integral elements in the lives of young Balinese. This ethnographic account seeks to provide an insight into research pertaining to Bali as well as to form the foundation for future studies regarding children and the role of music and dance in their everyday lives.
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Lindqvist, Anna. "Dansens plats i skolan : Tradition, utveckling och lärande i Skellefteå kommun." Licentiate thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-59457.
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In 1977 Skellefteå municipality started their work with dance as art in the primary school. By this time, education in the art of dance was an unusual activity in Swedish schools. Commissioned by the Ministry of Education, Swedish Arts Council begun a development work 20 years ago. In april 2005 The Swedish National Agency for School Improvement, Swedish Arts Council, NCFF (a national centra for work with health, ÖrebroUniversity) and the Pupil´s organization signed an agreement. The purpose is to support and develop dance education practice in schools. The aim of this study is to increase knowledge about the tradition and development in dance delimited to dance education in the compulsory school in Skellefteå municipality. Another aim is to describe and analyze how dance contributes to learning in the school setting. Data was collected through interviews mainly with dance teachers and administrators, and through a variety of documentary information, questionnaires and observations. Concerning obser-vations of dance education, ten different classes in primary school were selected. The results of the study indicate that dance in school started as a pioneer work, initiated by the dance teacher Eva Dahlgren, thereafter together with her daughter, Cecilia Björklund Dahlgren. Several significant factors were however crucial for the continued work and the establishment of dance in school in Skellefteå municipality. Cooperation between different participants and an evident definition of dance as an intrinsic value, was important for the further development of dance education. Regarding the tradition of dance implemented by Dahlgren, attention was paid to joy and expression. The prime ideas about dance are still represented in the working plan for dance in school in Skellefteå municipality. In conclusion, there have been few organizational changes during the years. Regarding learning in dance and dance teachers´ approach, a sociocultural perspective indicates the emphasis on interaction between the teacher and pupils. It also brings into focus the communication with body and movements. From a behavioristic perspective, reinforcement /feed-back is common in teaching dance. In summary the dance teacher is in many different aspects an important model for the pupils. By using metaphorical language, and a playful and imaginative educational situation, pupils´ ideas, thoughts and feelings are stimulated.
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Murdoch, J. L. "Unmasking Talchum: An Embodied Inquiry into Korea’s Masked Dance-Drama." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300734669.
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Lupton, Allison. "A collection and examination of the music and dance tradition supported by the Fiddlefern Dancers and the Glenelg Full Moon Country Dance Band in Owen Sound, Ontario." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0005/MQ34936.pdf.
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Pecore, Joanna Theresa. "Sounding the spirit of Cambodia the living tradition of Khmer music and dance-drama in a Washington, DC community /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/196.
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Thesis (Ph. D.)--University of Maryland, College Park, 2004.Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Washington, Erica Lanice. ""Shabach hallelujah!" the continuity of the ring shout tradition as a site of music and dance in black American worship /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1131054976.
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Burns, James Marshall. "The Beard cannot tell stories to the Eyelash : a study of creative transformation in an Ewe funeral dance-drumming tradition." Thesis, SOAS, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416425.
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Coladangelo, L. P. "Ontology and Domain Knowledge Base Construction for Contra Dance as an Intangible Cultural Heritage: A Case Study in Knowledge Organization of American Folk Dance." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1580295429503879.
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Vieira, Camila Camargo. "No giro do rosário: dança e memória corporal na Comunidade dos Arturos." Universidade de São Paulo, 2003. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-04052010-114040/.
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Este trabalho pretende investigar a sutil passagem da memória oral para a corporal, dentro do ritual do Congado, na Comunidade dos Arturos, situada na cidade de Contagem, próximo a Belo Horizonte, em Minas Gerais. A Comunidade se caracteriza pela manutenção de suas tradições, que vêm sendo transmitidas de geração para geração. Os ensinamentos são passados dos mais velhos para os mais jovens através da oralidade, dos cânticos, da dança e do reviver o ritual sagrado. Ao realizar as festas da Libertação, que acontecem no mês de maio, em que comemoram a abolição da escravatura, e a festa de Nossa Senhora do Rosário, no mês de outubro, em que celebram o nascimento de Nossa Senhora do Rosário, os Arturos estão refazendo sua própria história, partilhando uma memória social de um passado histórico, apontando para re-significações no presente.The aim of this work is to investigate a subtle passage from the oral to the body memory within the Congado ritual of the Arturos community, situated in the city of Contagem, near Belo Horizonte, in the State of Minas Gerais. The main characteristic of the community is that it has succeeded in keeping its traditions which have been transmitted from one generation to another. The teachings have been passed down from the elder to the younger members orally, through the chants, the dance and by reviving the sacred ritual. By holding the feast of Liberty in May, which celebrates the abolition of slavery, and the feast of Nossa Senhora do Rosário in October, which celebrates the day of her birth, the Arturos are rewriting their history, sharing the social memory of their historical past and aiming at new meanings in the present.
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Bonetti, Maria Cristina de Freitas. "CONTRA-DANÇA: RITUAL E FESTA DE UM POVO." Pontifícia Universidade Católica de Goiás, 2009. http://localhost:8080/tede/handle/tede/986.
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Previous issue date: 2009-06-23The subject of this dissertation is the counter-dance as cultural, religious and artistic manifestation in the Divine s Feast, Pentecost, even in Pirenópolis as in Santa Cruz. The categories used to interpretate this social fact will be the concepts of tradition, memory and identity. The principal purpose is to study the counter-dance as fundamental element of this ritual and how the comunity live the local memory, tradition, and identity through its construction and continuous reconstruction in the history. It intends to look at the Divine s Feast as the most expressive popular manifestation of Pirenópolis and Santa Cruz. The dissertation intends to prove that the counter-dance is an important fact to the construction of the local identity. The informations were collected through the observation, opened interview, questionnaires, and abundant bibliografic documents. Through the research it checked up that, in fact, the counter-dance in the Pentecost Feast is one of the fundamental elements to compose the identity of Pirenópolis and Santa Cruz, at the same time that is transmitted still nowadays from generation to generation and compose the memory of the local citizens.
O objeto da presente dissertação é a contra-dança como manifestação cultural, religiosa e artística no Ritual da Festa do Divino Pentecostes, tanto em Pirenópolis como em Santa Cruz. As categorias utilizadas para interpretar este fato social serão os conceitos de tradição, memória e identidade. O objetivo principal é estudar a contradança como elemento fundamental deste ritual, e como a comunidade vivência a memória, a tradição e a identidade local através de sua construção e reconstrução contínua na história. Pretende-se também enfocar a Festa do Divino como a manifestação popular mais expressiva de Pirenópolis e Santa Cruz. A dissertação pretende provar que a contra-dança faz parte de um dos fatos mais relevantes para a construção da identidade local. Os dados foram coletados através de observação de campo, entrevistas abertas, questionários e farta documentação bibliográfica. Através da pesquisa verificou-se, que de fato, a contra-dança na Festa de Pentecostes é um dos elementos fundamentais que compõe a identidade pirenopolina e santacruzense, ao mesmo tempo que é transmitida até hoje de pai para filho e compõe a memória dos cidadãos destas localidades.
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Stock, Cheryl F. "Making intercultural dance in Vietnam : issues of context and process from the perspective of an Australian choreographer and her colleagues from Vietnam Opera Ballet Theatre (Nhà Hát Nhạc Vũ Kịch Việt Nam) 1995-1999." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/17527/1/Cheryl_Frances_Stock_Thesis.pdf.
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This thesis explores the creative processes of intercultural performance in an Asian context, through projects undertaken with Vietnam Opera Ballet Theatre, the national dance company in Hanoi. Background research to the study has enabled previously elusive research areas to be made available to English-language scholars and artists - namely, contemporary preservation of Vietnamese dance traditions and professional practice of Vietnamese dance in the đổi mới (open door policy) period. This contextual background highlights the importance of cultural specificity in intercultural performance practice, revealing insights into how and why artistic and aesthetic sensibilities shift when choreographic processes are transferred from an Australian to a Vietnamese setting. The study began with a premise of intercultural performance practice as an equitable sharing of ideas and has ended with the experience of intercultural collaboration as a transforming process, involving cultural translation to and by the local context - in this study through a process of Vietnamisation. Transformations are seen to occur via alteration of professional practices and the metamorphosis of meaning, metaphor and myth, providing substantially new readings of the original ideas. Importantly, the study points to the body as the central site of cultural difference, cultural commonalities and complex intercultural sensibilities. A dual methodology for the research combined artistic practice with theoretical reflection, resulting in a polyphonic text of written, visual and kinetic data. From the extant practice of the researcher/choreographer, a model of intercultural performance was devised which was refined as the two research projects of the pilot and case studies progressed. Reflective analysis of the model was undertaken through the framework of intercultural performance theories, parallel to the artistic practice. Throughout the research process, privileging the voices and bodies of the Vietnamese artists in both their practice and their perceptions of that practice have been fundamental to the outcomes of the study. This is the first in-depth study of contemporary professional dance practice in Vietnam and of intercultural performance practice between Australia and Vietnam.
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Stock, Cheryl F. "Making intercultural dance in Vietnam : issues of context and process from the perspective of an Australian choreographer and her colleagues from Vietnam Opera Ballet Theatre (Nhà Hát Nhạc Vũ Kịch Việt Nam) 1995-1999." Queensland University of Technology, 1999. http://eprints.qut.edu.au/17527/.
Full textAbstract:
This thesis explores the creative processes of intercultural performance in an Asian context, through projects undertaken with Vietnam Opera Ballet Theatre, the national dance company in Hanoi. Background research to the study has enabled previously elusive research areas to be made available to English-language scholars and artists - namely, contemporary preservation of Vietnamese dance traditions and professional practice of Vietnamese dance in the đổi mới (open door policy) period. This contextual background highlights the importance of cultural specificity in intercultural performance practice, revealing insights into how and why artistic and aesthetic sensibilities shift when choreographic processes are transferred from an Australian to a Vietnamese setting. The study began with a premise of intercultural performance practice as an equitable sharing of ideas and has ended with the experience of intercultural collaboration as a transforming process, involving cultural translation to and by the local context - in this study through a process of Vietnamisation. Transformations are seen to occur via alteration of professional practices and the metamorphosis of meaning, metaphor and myth, providing substantially new readings of the original ideas. Importantly, the study points to the body as the central site of cultural difference, cultural commonalities and complex intercultural sensibilities. A dual methodology for the research combined artistic practice with theoretical reflection, resulting in a polyphonic text of written, visual and kinetic data. From the extant practice of the researcher/choreographer, a model of intercultural performance was devised which was refined as the two research projects of the pilot and case studies progressed. Reflective analysis of the model was undertaken through the framework of intercultural performance theories, parallel to the artistic practice. Throughout the research process, privileging the voices and bodies of the Vietnamese artists in both their practice and their perceptions of that practice have been fundamental to the outcomes of the study. This is the first in-depth study of contemporary professional dance practice in Vietnam and of intercultural performance practice between Australia and Vietnam.
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Purba, Mauly 1961. "Musical and functional change in the gondang sabangunan tradition of the Protestant Toba Batak 1860s-1990s, with particular reference to the 1980s-1990s." Monash University, Dept. of Music, 1998. http://arrow.monash.edu.au/hdl/1959.1/8596.
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Jensen, Kirstine Nurdug. "Fremstillingen af en familietradition : en hermeneutisk tolkning." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-682.
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The description of a family tradition – a hermeneutic interpretation The purpose of this thesis is to deepen the knowledge of the description of a family tradition and how it can be analysed and interpreted as well as what a family tradition can consist of. The conclusion is that it can consist of more than just dance and music. The family members’ life circumstances, the social contexts, the use of the body, and the content of the repertoire are also described as important aspects of the family tradition according to my interpretation. To fulfil the purpose of the study, I have used a hermeneutic approach to examine the content of two texts (a magister thesis and a film) in relation to the research context, in which they were made, and to my preunderstanding. The thesis contributes to the field of dance pedagogy by offering an example of how a dance pedagogue can obtain knowledge about a repertoire and/or a tradition and thereby develop their understanding of what they pass on through their teaching.
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Andrade, Joachim. "Shiva abandona seu trono: destradicionalização da dança Hindu e sua difusão no Brasil." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/2018.
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Previous issue date: 2007-04-13Hindu Dance one of the most popular artistic forms of India, has received universal acclamation including in Brazil as one of the subtlest expressions of Hinduism. Its intimate connection with the temple, as a ritualistic art, mirroring the imperceptible feelings of devadasis the dancing girls , reflects he inwardness of Hindu culture. This dance is performed according to the most delicate nuances of a musical piece, or a poem, through the vehicle of a body, reflecting the principles laid down by the Natya Shastra treatise. Through some of the pioneer performing artists and a few dedicated visionaries at the beginning of the XX century, the Hindu dance gained unprecedented popularity and initiated its process of detraditionalization. Accompanying the historical processes of modernization and secularization of India the Hindu dance initially did its passage from temple to theater; e then to the other religions in India and consequently to the west and finally to Brazil. In this research the process of detraditionalization as been organized in three parts. In the first part, some questions have been raised with regard to the changes that the dance would face during the process of detraditinalization and also has shown panoramic view of the dance in Brazil. The second part establishes approximation of the Hindu dance with the empirical analyses of the detraditionalization process from the temple until its arrival to the west. In the third part, we treat the modifications suffered by the art as well as the changes occurred in the lives of the dancers. The conclusion deals with the possible contribution this process has given to the society as general and the Sciences of Religion in particular
A dança hindu, uma das formas artísticas mais populares na Índia, tem recebido reconhecimento universal (inclusive no Brasil) como expressão das mais sutis do Hinduísmo. Sua conexão íntima com o templo, como arte ritualística que espelha sentimentos imperceptíveis das devadasis, dançarinas do Senhor , reflete a tendência introspectiva da cultura hindu. Essa dança era realizada conforme os matizes mais delicados de uma peça, ou de um poema, por intermédio do corpo, refletindo os princípios explicitados no tratado mais antigo da dança, o Natya Shastra . Por meio de dançarinos pioneiros e de visionários dedicados no início do século XX, essa dança alcançou uma popularidade sem precedentes e iniciou o processo de destradicionalização. Acompanhando o processo histórico de modernização e secularização da Índia, a dança hindu inicialmente passou do templo ao teatro; depois para as outras religiões na Índia, para o Ocidente e, por fim, para o Brasil. Nesta pesquisa, organizamos o processo da destradicionalização em três blocos. No primeiro, questionamos as possíveis mudanças que a dança deve enfrentar no processo da destradicionalização; também mapeamos a dança no Brasil. O segundo estabelece uma aproximação entre a dança hindu e a análise empírica da destradicionalização, do templo ao Ocidente. No terceiro bloco examinamos as modificações na arte e também as mudanças na vida dos bailarinos. Conclui-se visando a possível contribuição que esse processo faz à sociedade, em particular aos estudos de Ciência da Religião
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Rani, Maxwell Xolani. "Lost meaning-new traditions : an investigation into the effects of modernity on African social traditional dance in Nyanga, Cape Town." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/11155.
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Includes bibliographical references.The dancers of Nyanga have taken note of the extent to which modernity has caused them to adjust and transform the movement quality and execution of their dances to create new urban African social dances. In addition, the urban dancers' experiences in the field have affected and influenced their craft. These perspectives have served as a point of departure for a re-evaluation of the role and predicaments of African social traditional dance in an urban environment, with specific reference to Nyanga township and raises questions around the manner in which modern agencies such as Christianity, education, multimedia, fashion and geography influence South African social traditional dance.
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Lefèvre, Sébastien. "Afro-mexicains : les rescapés d'un naufrage identitaire : une étude à travers la musique, la danse et l'oralité." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100129/document.
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Être Noir au Mexique c’est avant tout ne pas exister. Ne pas exister pour la Nation : aucune reconnaissance officielle dans le cadre de la pluriculturalité de l’État-nation actée constitutionnellement depuis 2001. Ne pas exister aussi pour les Mexicains eux-mêmes qui ne savent pas qu’ils ont des compatriotes noirs. Et pourtant les Afro-mexicains sont bien présents, sur les côtes de Veracruz, mais surtout sur la côte pacifique, et plus précisément sur la Costa Chica entre les États de Guerrero et Oaxaca. Présents physiquement mais aussi culturellement. Ce qui caractérise la situation des Afro-mexicains est cette tension entre invisibilité et visibilité. L’objectif de cette thèse est de questionner cette tension à travers un corpus de chanson (cumbia et chilena) issu de la tradition populaire afro-mexicaine de la Costa Chica. Chansons qui s’accompagnent toujours de danse et d’une certaine pratique orale spécifique. Plus précisément, on se demandera en quoi la musique-danse-oralité peut-elle être considérée comme une forme de langage de la culture afro-mexicaine, c’est-à-dire dans quelle mesure la musique-danse-oralité des Afro-mexicains est-elle une représentation (une sorte de miroir) de leur identité culturelle ? Ou encore, peut-on analyser la musique-danse-oralité chez les Afro-mexicains comme un espace-temps d’épanouissement (conscient, inconscient ?) de leur culture dans un pays dominé par l’idéologie du métissage. Idéologie excluante, car construite comme un unique dialogue entre Blancs et Indigènes ?In Mexico, Black people are deprived of a real existence. The Nation ignores their existence. They have no official status within the framework of the pluriculturality of the nation which was constitutionally enacted in 2001. Mexican people also ignore them because they do not know that they have black fellow citizens. Yet Afro-Mexican people do exist on the Coast of Veracruz, and mainly on the Pacific Coast, and more precisely on Costa Chica between the states of Guerrero and Oaxaca. Not only do they exist physically-speaking but they also do culturally-speaking. What characterizes the situation of Afro-Mexican people is this duality between invisibility and visibility. The aim of this doctorate is to deal with that duality through a corpus of songs (cumbia and chilena) from the Afro-Mexican popular songs of Costa Chica. These songs always include dances and a specific oral practice. The question is to know how music, dance and orality can be regarded as a form of language of Afro-Mexican culture, that is to say to what extent Afro-Mexican music, dance and orality is a representation –a kind of mirror –of their cultural identity. Or, in other words, can Afro-Mexican music, dance and orality be analysed as a pattern within space and time that enables the fulfillment –either conscious or unconscious- of their culture in a country dominated by the ideology of melting pot ? That ideology excludes some people because it is based upon a dialogue between White people and indigenous people only
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Caplat, Jacques. "Quand le geste technique transforme l'intention : l'évolution de l'accordéon diatonique en Bretagne." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH139/document.
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Ce travail vise à comprendre pourquoi et comment l'accordéon diatonique breton a connu une profonde transformation organologique et stylistique au cours des dernières décennies. L'évolution de l'instrument est ici le témoin des dynamiques historiques et sociales, que l'accordéon présente la particularité d'avoir intégrées dans sa forme-même du fait de sa rare plasticité, et qu'il permet d'éclairer. Statut des musiciens professionnels au sein d'une pratique restée massivement amateur, rôles et mécanismes de l'apprentissage d'un savoir traditionnel initialement basé sur l'oralité, fluctuation des attentes sociales à travers les générations successives, sont quelques-uns des aspects qui se dévoilent au fil de l'étude et qui se relient.À partir du constat d'une mutation organologique progressive, nous chercherons à comprendre les modifications profondes des fonctions sociales jouées par l'instrument. Un retour historique permettra de définir les intentions et le statut des « pionniers » du renouveau de l'accordéon diatonique breton dans les années 1970. En nous appuyant sur ce socle, nous montrerons comment l'accordéon en tant qu'outil est en interaction étroite et permanente avec le geste du musicien et avec son intention (produire des notes – et dans quelle fonction sociale), et combien le passage des générations a renouvelé le contexte d'exposition de l'accordéon et le statut des musiques bretonnes dites « à danser ». Ainsi, nous verrons que la modification progressive de l'intention a conduit à une modification de l'instrument, mais que celle-ci, en retour, fragilise l'efficacité des intentions antérieuresThis work aims to understand why and how the Breton diatonic accordion has undergone a profound organological and stylistic transformation during the last decades. The evolution of the instrument here reflects the historical and social dynamics, that the accordion has integrated into its very form because of its rare plasticity, bringing them into light. The status of professional musicians in a largely amateur context, the roles and mechanisms of learning traditional knowledge initially based on orality, the fluctuation of social expectations through successive generations, are some of the aspects that unfold over the course of the study and connect with one-another.Starting from the observation of a progressive organologic change, we will seek to understand the profound changes of the social functions played by the instrument. A historical overview will allow to define the intentions and the status of the "pioneers" of the revival of the Breton diatonic accordion in the 1970s. Based on this foundation, we will show how the accordion as a tool is in close and permanent interaction with the musician's gesture and with his intention (producing notes – and in what social function), and how much the passage of generations has renewed the context of use of the accordion and the status of Breton music said "to be danced". Thus, we will see that the progressive modification of the intention led to a modification of the instrument, but that this, in turn, weakens the effectiveness of the previous intentions
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Sayyed, Mubaashera Irfan, Наталія Анатоліївна Пилипенко-Фріцак, Наталия Анатольевна Пилипенко-Фрицак, and Nataliia Anatoliivna Pylypenko-Fritsak. "Traditional Indian Dance As Symbolic Nonverbal Communication." Thesis, Sumy State University, 2021. https://essuir.sumdu.edu.ua/handle/123456789/84793.
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Dance could be described as a performance art form in which
the basic tool is the body and its purposefully selected movement in
an intentionally rhythmical and culturally pattern with an aesthetic
value and symbolic potential. Human has been using the body and its
movement as a tool to express feelings and desires since prehistoric
times and continues until now. When we dance, our bodies fire up
with emotion and allow us to express what words cannot. In folk
cultures around the world, people dance to impart knowledge and
wisdom, express their emotions or devotion, and pass down the
stories and legends of their gods and ancestors.
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Paixão, Maria de Lurdes Barros da. "Re-elaborações esteticas da dança negra brasileira na contemporaneidade : analise das diferenças e similitudes na concepção coreografica do Bale Folclorico da Bahia e do Grupo Grial de Dança." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284678.
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Orientador: Inaicyra Falcão dos SantosAcompanha 1 DVD e 1 anexo: "Projeto Redende: experiencias de fruição e re-elaboração estetica das matrizes africanas na dança negra contemporanea brasileira
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta tese descreve a análise da Dança Negra elaborada e ressignificada em dois diferentes contextos sócio-histórico-cultural brasileiro. Para isto realiza-se uma análise das diferenças e similitudes nas re-elaborações etno-ética-estéticacoreográfica e dramatúrgica do Balé Folclórico da Bahia/Salvador/BA e do Grupo Grial de Dança/Recife/PE a partir dos elementos presentes nos signos, símbolos, mitos e danças de origem afro-brasileira. As questões levantadas apontam que estas danças podem ser fontes de produção artística e criação coreográfica concebendo uma proposição dramatúrgica para a Dança Negra Contemporânea Brasileira. Transpondo fronteiras geográficas e culturais, a tese descreve as possibilidades de pesquisa e criação artística a partir da temática afro-brasileira baseada nas relações tecidas entre corpo, memória, tradição e contemporaneidade. A metodologia utilizada será a análise fenomenológica orientada na proposta da etnóloga Juana Elbein dos Santos. O referencial teórico traz autores como Bastide (1983), Kerkhove (1997), Munanga (1999), Santos I. (2006), Santos J. (1996), Silva e Calaça (2006), Suassuna (1977, 2004) e Verger (1997) para ratificar as idéias apresentadas. A análise videográfica e a utilização dos princípios da dança africana são os elementos norteadores do processo de investigação das criações coreográficas do Balé Folclórico da Bahia e do Grupo Grial de Dança. Estas estratégias possibilitam apontar caminhos que explicam como estas companhias de dança lidam com a estética e os conceitos de arte africana no âmbito da Dança Negra Brasileira Contemporânea Brasileira. Propõese uma dramaturgia para a Dança Negra Contemporânea, baseada em princípios etno-ético-estético-coreográfico referenciada na pluralidade das danças tradicionais populares de origem afro-brasileira.
Abstract: This thesis describing the analysis of the Black Dance elaborated and re-signified in two different Brazilian social-historic-cultural contexts. For this one, accomplishes an analysis of the differences and similarities in the re-elaborations ethno-ethics-aesthetic-choreographic and dramaturge of the Folkloric Ballet of Bahia/Salvador/BA and the Grial Group of Dance/Recife/PE from the elements present in the signs, symbols, myths and dances of Afro-Brazilian origin. The raised questions point that these dances can be sources of artistic production and choreographic creation conceiving a dramaturge proposal for Black Brazilian Contemporaneous Dance. Transposing geographic and cultural boundaries, the thesis describes the possibilities of research and artistic creation from the Afro- Brazilian thematic based on the relations between body, memory, tradition and contemporaneousness. The methodology is guided in the proposal of the phenomenology analysis by Juana Elbein dos Santos. The theoretical references bring authors as Bastide (1983), Kerkhove (1997)), Munanga (1999), Santos I. (2006), Santos J. (1996), Silva and Calaça (2006), Suassuna (1977, 2004) and Verger (1997) to ratify the presented ideas. The video graphic analysis and the application of the African Dance principles are the guided elements of the process of investigation of the choreographic creations of the Folkloric Ballet of Bahia and the Grial Group of Dance. These strategies to enable to point ways that explain as these dance companies deal with the aesthetic and the African Art concepts in the scope of Black Brazilian Contemporaneous Dance. To propose a dramaturgy for the Black Brazilian Contemporaneous Dance based on the ethno-ethics-Aestheticchoreographic principles referenced in the plurality of the popular traditional dances of the Afro-Brazilian origin.
Doutorado
Doutor em Artes
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Son, Munmi. "Dance as Healing Therapy| The Use of Korean Traditional Mission Dance in Overcoming Oppression." Thesis, California State University, Los Angeles, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10814071.
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Korean traditional mission dance originates in worship ceremonies in Christian churches and missionary settings, but inherits movement, floor patterns, and motifs from Korean folk dances that are performed as ceremonial rituals. This thesis suggests that as women connect to the healing power present in Korean traditional dance and its hybrid forms, they may be aided in healing from negative experiences with sexist oppression. The author discusses intersectional oppression she experienced in Korea through an autoethnographic research process, her experiences with Korean traditional mission dance pioneered by Soon Ja Park and considers identity transformation and healing in the context of her work as director of the L.A. Argon Mission Dance group. In this way, she expands a choreography model to further these healing processes.
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Chun, Mi Hyun. "Developing a somatic teaching method for Korean traditional dance /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488192447430171.
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Björk, Anna. "Folkdansaren och arkivet : en undersökning av traditionsbärande som kritisk arkivpraktik." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-881.
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The aim of this study is to investigate transmission of knowledge as critical archive practice within folk dance, and thereby contribute to updating the concept tradition bearer. The research questions are: What is done in the situation of knowledge transmission where different folk dance bodies understood as archives – both living dancers and bodies in text and image – meet over time and space? How can these situations be understood theoretically and thus contribute to a new, archive oriented, theoretical understanding of the transmission of knowledge and tradition within folk dance? The empirical material consists of phenomenological interviews with three folk dancers who each participated in two workshops created by the author: in one case, the participants encountered archival material such as text, film and photography, in the other a living dancer understood as an archive. Drawing on critical and pluralizing archive theory, the findings of the study show how both dancers and archive records are stakeholders and agents in creating the affective, dynamic and complex interchanges that take place in both situations. Pluralizing archive theory also proved useful in identifying values and hierarchies among the stakeholders in the folk dance archive. In the interchange between dancer and archive, negotiations between different approaches to tradition took place. Through pluralizing archive theory and the understanding of the body as archive, the concept of tradition bearer may be given a more dynamic and inclusive definition, shifting focus from what it is to what it does, and be considered a complex relational situation.
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Kulkarni, Anagha. "Frames in Harmony - A Critical Analysis of Song Sequences in the Films of Guru Dutt." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_theses/27.
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Guru Dutt was one of the most important filmmakers in India, who worked for a little over a decade starting in 1951. He died prematurely in 1964. In those few years, he made some of Indian cinema?s most memorable films. Song and dance sequences are an integral part of the narrative structure of popular Indian cinema. Guru Dutt, working within that paradigm, devised innovative methods of using song sequences. In his films, the song sequences were not a distraction, but they served the purpose of carrying the narrative forward, expressing the inexpressible, and replacing scenes. He achieved this by his creative use of locations, lyrics, music, camera angles, and placement of the song within the narrative. This study critically analyzes song sequences from five of his films ? Aar Paar (Through and Through, 1954), Mr. and Mrs. 55 (1955), Pyaasa (The Thirsty One, 1957), Kaagaz ke Phool (Paper Flowers, 1959) and Saahib Biwi aur Ghulam (Master Mistress and Slave, 1962). Guru Dutt?s style of song direction focused on realistic depiction and the quality of storytelling. He used each feature of the song to his advantage never losing control of the larger narrative. This study also brings to the fore Guru Dutt?s conflicted views as an artist on the issues of tradition and modernity, and the position of women in the emerging nation.
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Ubom, Enobong Isaac. "The socio-economic values of traditional music and dance in Nigerian development /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11301715.
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Thesis (Ed.D.) -- Teachers College, Columbia University, 1992.Typescript; issued also on microfilm. Sponsor: William Sayres. Dissertation Committee: Maryalice Mazzara. Includes bibliographical references (p. 173-183).
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Matoussi, Souad. "Traditions de danse et subjectivités collectives en Tunisie." Paris 8, 2005. http://www.theses.fr/2005PA083702.
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Dans cette étude, nous avons porté notre attention sur la danse traditionnelle et populaire en Tunisie, tant dans le milieu sacré que profane. La danse collective est étroitement liée au milieu dont elle émane. Elle représente un moyen d’expression privilégié qui véhicule plusieurs aspects de la vie d’un groupe et de son organisation sociale. C’est pourquoi il nous paru pertinent d’étudier la relation étroite entre danse et société en Tunisie. Cette étude de la danse porte sur sa nature, ses usages, sa fonction et la place qui lui est conférée dans la société tunisienne. Pour éclairer toutes ces questions, la présente investigation a été traitée trois parties. Dans la première partie, nous avons essayé de situer la danse tunisienne dans l'éclairage que peuvent lui apporter la religion avec ses normes et tabous et l'histoire avec sa dynamique d'échanges entre différentes cultures et civilisations. Dans la deuxième partie nous avons tenté de décrire et de classifier les danses tunisiennes selon leur fonction (rituelle ou cérémonielle), leurs acteurs (professionnels ou bénévoles) ainsi que leur genre (danse masculine ou féminine). Dans la dernière partie, nous avons essayé de réfléchir sur tous les éléments fournis dans la première et deuxième partie. Notre effort d’interprétation et de synthèse a visé d’abord à définir la place de la danse dans la culture tunisienne et ses fonctions sociales. Ensuite, nous avons considéré la danse comme une expression qui réfléchit les mentalités de chaque groupe ainsi que son identité. Enfin nous avons étudié l’état de la tradition tel que l’enquête de terrain nous a permis de saisirIn this study an attempt has been made to consider Tunisian traditional and popular dancing, both in its sacred and profane milieu. Collective dancing is deeply linked to the environment from witch it emerges. It’s also considered as a form of expression that conveys various aspects of collective life as well as social organisation. Thus, it’s interesting to study the close relationship between dancing and society in Tunisia. In this study, we tried to examine Tunisian popular dancing, its nature and its uses as well as its function and place it holds in Tunisian society. This work is composed of three main parts. Part one tries to situate Tunisian dancing in its relation with two important elements: religion with its norms and taboos; history with its dynamic of exchanges and interactions between different cultures and civilisations. In the second part, we tried to describe and classify Tunisian dances both according to its functions (ritual, ceremonial) and its actors (professional, devotee) also according to gender (masculine, feminine). In the third and last part, we tried to focus on all those elements presented in the first and second part. Our interpretation aimed at, first defining the place of dancing in Tunisian culture as well as its social functions. We then tried to consider dancing as an expression that conveys different groups’ mentalities and identities. Finally, we attempted to study the tradition using fieldwork
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Kim, Sang Kyung. "Physical dance performance : an investigation into the development of a performance technique based on the integration of certain Korean dance technique and contemporary Western styles of dance and physical theatre." Thesis, Brunel University, 2001. http://bura.brunel.ac.uk/handle/2438/4843.
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This development of a performer practice that integrates elements of traditional Korean dance technique and Western forms of physical theatre and contemporary dance is based on an approach to internal understanding and external execution. Central to the work is the concept of body energy, or Ki. This ancient Eastern term is translated into a contemporary practice that enables a performer to engage mental and physical training. Breath and the use of breath in performing are the principal means of achieving this level of engagement.
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Yoo, Si-Hyun. "Contemporary interpretations of the practice of a traditional Korean dance Han Young-Sook's Salpúri Chúm /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488203158826464.
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Tafferner-Gulyas, Viktoria. "Caribbean Traditions in Modern Choreographies: Articulation and Construction of Black Diaspora Identity in L'Ag'Ya by Katherine Dunham." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5137.
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The interdisciplinary field of Dance Studies as a separate arena focusing on the social, political, cultural, and aesthetic aspects of human movement and dance emerged in the late 1980s and early 1990s. Dance criticism integrated Dance Studies into the academy as critics addressed the social and cultural significance of dance. In particular, Jane Desmond created an integrated approach engaging dance history and cultural studies; in the framework of her findings, dance is read as a primary social text. She emphasizes that movement style is an important mode of distinction between social groups, serving as a marker for the production of gender, racial, ethnic, and national identities.
In my work, I examined the ways in which the African American identity articulates and constructs itself through dance. Norman Bryson, an art historian, suggests that approaches from art history, film and comparative literature are as well applicable to the field of dance research. Therefore, as my main critical lens and a theoretical foundation, I adopt the analytical approach developed by Erwin Panofsky, an art historian and a proponent of integrated critical approach, much like the one suggested by Bryson; specifically, his three-tiered method of analysis (iconology). I demonstrate that Erwin Panofsky's iconology, when applied as a research method, can make valuable contributions to the field of Dance Studies. This method was originally developed as a tool to analyze static art pieces; I explore to which extent this method
is applicable to doing a close reading of dance by testing the method as an instrument and discovering its limitations.
As primary sources, I used Katherine Dunham's original recordings of diaspora dances of the Caribbean and her modern dance choreography titled L'Ag'Ya to look for evidence for the paradigm shift from "primitive" to "diaspora" in representation of Black identity in dance also with the aim of detecting the elements that produce cultural difference in dance.
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Lallathin, Jayma R. "Skill acquisition and learning in dance : a traditional vs. biofeedback approach." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1371848.
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Practice and modeling are common approaches to teaching motor skills. Qualitative and quantitative feedback have also been used to improve complex skill learning. The purpose of this study is to determine if providing real-time kinematic feedback in addition to traditional training will enhance skill acquisition of unskilled dancers when compared to traditional dance instruction alone. Two groups of dancers participate in testing and training protocols including a traditional group and a biofeedback training group to examine differences between the two teaching methods. Significant differences were found due to time for knee flexion and hip rotation. Significant differences due to training group were found at one time point for knee flexion. The main finding of this study was that the addition of biofeedback had a limited effect on skill acquisition on beginning level dancers.School of Physical Education, Sport, and Exercise Science
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Zacharioudakis, George. "Taking traditional Cretan dance music forward : interpretations with traditional Cretan instruments and with the Western flute." Thesis, University of Sheffield, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577796.
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This project attempts an interpretation of traditional Cretan dance music with Cretan instruments and with the Western flute. Examining the changes in musical practices brought by the new socio-cultural conditions in Crete from the mid-twentieth century until today, it argues that Western musical trends have indirectly caused the neglect and loss of some pertinent musical qualities and the modification of the traditional Cretan musical character. More particularly, it argues that some old Cretan instruments and repertories are being abandoned, while the non-equal-tempered tuning and the Eastern Mediterranean modal systems are being replaced by Western equivalents. In this context the project endeavours to provide an alternative that restores these characteristics of traditional Cretan music, by revealing and using musical elements which were used around the first half of the twentieth century. In order to do so the project includes a musicological analysis of the traditional Cretan dance music. Specifically, it identifies and explains the non-equal-tempered tuning and the Eastern Mediterranean modal systems; it clarifies the distinct styles of interpretation and it examines other important facets of the music such as texture, structure, melodic development, improvisation and composition. Attempting to reduce the distance between earlier Cretan sound qualities and modern musical perception, the project adjusts the interpretations according to today's aesthetics and introduces modern audiences to new ways of performing traditional Cretan music. This is achieved by utilising the Western flute for the interpretation of the music and by extending the interpretative capabilities of the Cretan instruments. The project contains both written and practical components. The later consists of audio material which demonstrates in performance all the arguments and results presented in the thesis, offering new insights on the interpretation of Cretan music.
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Starbuck, Jennifer 1962. "A redefinition of traditional forms: The imagistic theatre of George Coates and Martha Clarke." Thesis, The University of Arizona, 1993. http://hdl.handle.net/10150/291962.
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This thesis examines the continually changing avant-garde theatre and two artists who have emerged in the style of imagistic theatre. George Coates and Martha Clarke both abandon traditional literary playscripts and create their own work using images as the primary method of communication rather than the traditional word. Specific works of each artist are analyzed through use of text, storyline, visual elements, performer's role, audience reaction and in the case of Coates, his cinematic potentialities. This analysis begins to define the imagistic theatre and its application in the '90s. In addition, the overall potentiality for imagistic theatre as an important form of theatre in the future is discussed, with special attention to the multicultural and interdisciplinary approach.
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Capps, Jonathan Michael. "Transcending Traditions with Glass Orbs in Art." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469127095.
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Andersen, Poul. "Taoist ritual texts and traditions with special reference to 'bugang', the cosmic dance." Online version, 1991. http://bibpurl.oclc.org/web/29968.
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Kwashie, Kuwor Sylvanus. "Transmission of Anlo-Ewe dances in Ghana and in Britain : investigating, reconstructing and disseminating knowledge embodied in the music and dance traditions of Anlo-Ewe people in Ghana." Thesis, University of Roehampton, 2013. https://pure.roehampton.ac.uk/portal/en/studentthesis/transmission-of-anlo-ewe-dances-in-ghana-and-in-britain(9ff88a5d-cdbe-4c58-9c5b-84cbe08c4f22).html.
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Among the Anlo-Ewe of Ghana, dance functions essentially as a pivot around which indigenous cultural practices revolve. Anlo-Ewe music and dance tradition which is the focus of this study, serves as a dynamic tool in the transmission of indigenous knowledge, skills, values and virtues. In addition to being a repository of Anlo-Ewe knowledge dance provides the avenue through which dancers, musicians, story tellers and visual artists are able to document, preserve and transmit indigenous knowledge and reenact the historical, socio-cultural and political structure of the Anlo-Ewe. Twenty-first century global cultural transformation in the midst of constant human migration continues to influence Anlo-Ewe cultural forms. Commodification of dance has affected the educational and cultural function of Anlo-Ewe dance and its related arts and continues to reduce them to mere entertainment activities. Due to these challenges, some Anlo-Ewe youths in Ghana and in Britain are gradually being separated from their cultural heritage and therefore, losing cultural identity. In view of the above, this study responds to the need to examine the elements and functions of Anlo-Ewe dance in the transmission of indigenous knowledge and values to serve as a source of information to help policy makers to create and promote the awareness of the use of Anlo-Ewe knowledge and values among Anlo-Ewe youths and scholars in Ghana, Britain and the diaspora. It investigates the indigenous knowledge and values embedded in Anlo-Ewe dance and the extent to which these cultural forms can be harnessed in building contemporary society in both the indigenous and the international settings. Therefore, this thesis focuses on the dance tradition of the Anlo-Ewe people in Ghana, its emergence in Britain as an art form in cross-cultural education as well as its dynamics or processes of change within the indigenous and international settings. It uses fieldwork including iii auto-ethnography and focuses on my own practice and the 21 years of operations by the British funded ‘Adzido Pan-African Dance Ensemble’ (1984-2005), a Ghanaian group that brought Anlo-Ewe dances to Britain. Through the lenses of key concepts including heritage, aesthetics, identity, nationalism and representation, I explore the fundamental elements of Anlo-Ewe dance, its use and significance as well as how it can be harnessed to serve the needs of contemporary multicultural society.
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Lee, Hee Jung. "Storytelling of the Korean traditional dance "The Hahoe Mask" using interactive multimedia /." Link to online version, 2006. https://ritdml.rit.edu/dspace/handle/1850/2295.
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Maahlamela, Tebogo David. "Sepedi oral poetry with reference to kiba traditional dance of South Africa." Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/63209.
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Previous studies show that contrary to other African languages of fewer speakers, written poetry in Sepedi/Sesotho sa Leboa’s transition from oral to written did not only lag behind, its development was also slow, with less intense treatment. However, this scarcity is not of the actual oral material, but rather its documented version. Vast untreated material at various repositories such as the South African Broadcasting Corporation (SABC) library and the International Library of African Music (ILAM) are facing a risk of being lost due to limited resources and resourcefulness to digitalise them. Investigation of written poetry from 1906 to 2006 attests to the fact that in its written form, Sepedi/Sesotho sa Leboa poetry is still underdeveloped, dominated by “microwaved” collections aiming at nothing beyond meeting school prescription criteria. Calls have been made from the dominant South African poetry narrative that there are no innovative studies in the field of African languages, especially Sepedi/Sesotho sa Leboa. Musicological studies show that contemporary jazz artists have adopted and adapted kiba poetry into jazz music, which resulted into classics of all times. Intensive studies were conducted on such poetic kiba-influenced jazz, but the primary source remains a grey area. The analysis of selected kiba poems shows that kiba poetry is the richest poetic form in the Sepedi/Sesotho sa Leboa with its creative and artistic merit exceeds all other genres. The study further reveals that kiba poetry is the heart of Bapedi/Basotho ba Leboa spirituality, a heart without which some faith institutions will remain incomplete. Furthermore, kiba poetry embodies, among others, poetic genres rarely explored in the South African poetry milieu such as “sound poetry” and poetry of special metrical schemes, of dramatic and devotional essence. Scholarly attention is, therefore, recommended on this repertoire to explore the field beyond this preliminary study, so as to save as many kiba poems as possible, which will enrich the dwindling written poetry milieu. Literary excellence of the treated poems attests to the fact that the artistic wealth of kiba poetry is worthy of attention, and it has potential to transform not only the face of poetry in Sepedi/Sesotho sa Leboa, but of the entire South African poetry landscape.
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Jong, Sze Joon. "Iban Ajat: Digitisation framework for the conservation of a Sarawak traditional dance." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/233171/1/Sze%20Joon_Jong_Thesis.pdf.
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Sarawak Iban's cultural heritage is endangered. Therefore the conservation of its traditional dances is imperative. This study aims to demonstrate how a hybridised research strategy is essential for the conducting of culturally sensitive preservation. My research centres on applications of Motion Capture technology, for the leveraging of observations of the Ajat Dance – through a focus on elemental gyrational manoeuvres. My study does not claim to be a 'panacea'. Rather it showcases the importance of acquiring and incorporating digital oeuvres into one's documentary practices. Through its proof-of-concept involving a 3D simulation, I offer a digitisation framework for delivering decolonised cultural preservation.
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Foley, C. E. "Irish traditional step-dancing in North Kerry : A contextual and structural analysis." Thesis, Goldsmiths College (University of London), 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234896.
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