Journal articles on the topic 'Dance tradition'
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1
Tulk, Janice Esther. "Children’s Dances at First Nation Powwows in Atlantic Canada." Ethnologies 37, no. 2 (October 18, 2017): 29–52. http://dx.doi.org/10.7202/1041487ar.
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In this article, based on ethnographic research conducted at Mi’kmaw powwows throughout Atlantic Canada between 2004 and 2010, I will begin to address the lacuna in literature on First Nation children’s dances. I will describe the various children’s dances observed at powwows in Eastern Canada, as well as songs that are specifically used for children’s dances, contextualizing them within the traditional powwow event and in relation to emcee stage talk. I will also illuminate the socio-cultural functions of children’s dance at powwows and the relationship between dance and play. Finally, by focussing specifically on the living dance tradition of Mi’kmaq at cultural events in the Atlantic provinces, I will elucidate some of the forces that act upon informal culture, shaping and re-shaping it through time. This approach will highlight the relationship between popular culture and tradition in this context, revealing the emergent nature of lived traditions.
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Georgios, Lykesas. "The Transformation of Traditional Dance from Its First to Its Second Existence: The Effectiveness of Music - Movement Education and Creative Dance in the Preservation of Our Cultural Heritage." Journal of Education and Training Studies 6, no. 1 (December 22, 2017): 104. http://dx.doi.org/10.11114/jets.v6i1.2879.
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Being an indispensable part of our folk tradition, the traditional dance bears elements of our cultural tradition and heritage and passes them down from generation to generation. Therefore, it contributes substantially to the reinforcement of our cultural identity and plays a crucial role in the "cultural development" of our society.Our culture is going through a constant process of mutation. Some traditional elements get lost, while others resist and survive or get transformed and readjust to new emerging circumstances.The aim of the present study is to investigate the learning process of Music/ Movement Education and Creative Dance within the context of the “second existence” of dance, and the way in which this learning process can effectively save and preserve the characteristic cultural traits of the "first existence" of the traditional dance.The experiential way of learning and transmitting dance from one generation to the other, is characterized as “the first existence” of dance. Changes in modern social, political and economic conditions have influenced the Greek traditional dance, which has acquired a more entertaining and tourist-commercial character, while its educational character has transformed going through teacher-centered educational processes. Having undergone this change, the traditional dance is now defined as “the second existence” of folk dance. The conversion of the traditional dance from its "first existence" into its "second existence" is supported and interpreted by the three components of the dancing process, the so-called “communication triangle”: the dancer, the dance and the viewer. The adoption of the particular approach of Music - Movement Education and Creative Dance in teaching Greek traditional dances can preserve and convey a large part of our cultural heritage to the new generation.Only by learning their country’s history and culture will the young generations be able to learn their own identity and make the best of the past in order to live more happily today and create a better future.
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Filippidou, Eleni. "Tradition and Fakelore: A Case Study in Greek Traditional Dance." European Journal of Humanities and Social Sciences 2, no. 4 (July 18, 2022): 16–22. http://dx.doi.org/10.24018/ejsocial.2022.2.4.291.
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The ethnographic context of this paper is the community of Pentalofos in the region of Thrace in Greece. In the community of Pentalofos, the dance is being experienced and being revived by the same people, who actively participate both in the public dance of the community festival, and in revivals of customary circumstances on stage. Therefore, in this community, the coexistence of dance is observed in its primary environment and its transfer to the dance scene by the same people, who are both members of the community and members of the cultural club. In other words, the simultaneous "first" and "second existence" of dance is observed. The aim of this paper is to compare the traditional and the folkoric dance in Pentalofos of Evros, in order to determine whether they are identical or different, through the example of the dance ‘Babisios’. The collection of ethnographic data was based on the ethnographic method. Laban's notation system was used to record the choreographic compositions of Babisios dance, while for the analysis of their structure and form, as well as their codification, the structural-morphological and typological method of analysis was used, as it is applied in the Greek Τraditional Dance. From the data analysis was found that, although the traditional and fakelore form of Babisios dance is performed by the same people, who are both members of the community and members of the cultural association and often even happen to dance in the same place with both their qualities, show a number of differences. These differences reflect the dance expression of the same people in a specific context and at a given time. Thus, Babisios dance in its "first" existence includes a simple form, being an integral part of the life of the inhabitants of Pentalofos, while in its "second" existence the dance follows the rules of stage presentation, aiming to impress the audience, constituting a choreographic creation.
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Murugathas, Ammankili. "Female Dancers in Ancient Tamil Tradition Rise and Fall – From 200 BC to 300 AD." Shanlax International Journal of Tamil Research 6, no. 1 (July 1, 2021): 8–13. http://dx.doi.org/10.34293/tamil.v6i1.4165.
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The history of origin and development of dance and music tradition of Tamils in the ancient period can be traced merely from Cangam literature-Ettuthokai and Patthuppattu . The period of this literature is considered from 200 BC to later period of 300 AD or early part of the 4th century AD. There is no other evidences excavated about the ancient dancers from archeological sources. K.A Neelakanda Sastry, historian of Tamil Nadu used Ettuthokai and Pattuppattu as a significant source to write the ancient history of Tamil Nadu, as evidences for the history because of non availability of archeological evidences at that time.
Ancient Dance tradition of Tamils was originated from the indigenous dance tradition of Tamils, lived in Kurinji (hill Countryand nearby lands) Mullai (pastoral region) Marutham (rivarbanks) Neithal (Coastal Area) and Palai (desert).Cangam literature shows that the tribal people of these lands performed ritual dances . These performances are the roots to the origin of Tamil dances , after that, with the establishment of stateformation of Tamil Nadu skill dancers and minstrels developed new forms of dances and music, in later period these dances were being called as Vettiyal.
Dancers and minstrels were lived under the patronage of the kings of Tamil Nadu and loved by the kings. These performers praised the kings’ victory, their patronization and nvolved in their patrons’ family life also.
Ritual dances were performed in Cult spots and war front.The literature shows that some of these performances have been developed as classical dances.
Nowadays there is an opinion about Baratha natiyam that it was originated from sanskrit sources. But the ancient history of this dance tradition clearly shows that Baratha natiam was originated from the ancient dance tradition of Tamil Nadu.
This study focuses the origin and development of dance tradition of ancient Tamils and the performances of female dancers of thisera, and flourished life of the the mas well asin the decline of the kings of three monarchy and other patrons how the dancers lost their wealthy life in the period.
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Gordos, Anna. "Childrens' Scarf Dances." Tánc és Nevelés 2, no. 2 (October 12, 2021): 75–86. http://dx.doi.org/10.46819/tn.2.2.75-86.
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The scarf is a less used tool in the methodology of teaching folk dances. This object, however, had a crucial role both in Hungarian folk dance tradition and in the way of life of peasants. The paper presents the traditional appearances of the scarf in dances and its usage’s symbolic semantic layers with a special focus on wedding pair-choosing dances. The scarf has a privileged role in these playful pair-swapping games, on the one hand as the realisation of improvisation, on the other hand as a means of creating an equal relationship between dance partners. These structural and conceptual conclusions could be translated and applied in the process of dance teaching: the scarf as a tool of methodology eases communication, reveals the dynamism between dance partners and the emotional aspects of dance. The present study is followed by a supplement of 12 scarf games, which provides new ideas for practising dance teachers on how to use the scarf in teaching folk dances.
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Guðmundsdóttir, Aðalheiður. "Om hringbrot og våbendanse i islandsk tradition." Kulturstudier 1, no. 1 (November 30, 2010): 132. http://dx.doi.org/10.7146/ks.v1i1.3886.
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By using those sources traditionally referred to, as well as introducing a number of new ones, the article seeks to shed light on weapon dances within the Nordic countries, placing them in a European context, the intention being to strengthen<br />the basis for further research into this area within the field of Nordic dance studies and history. Until now, the shortage of material has made it difficult for scholars to place potential Nordic weapon dances within the context of comparable<br />traditions known elsewhere in Europe. The purpose of this article is to attempt to fill this gap to some degree by presenting relevant material of a different kind.<br />In order to demonstrate that weapon dances belong to a deep-rooted tradition of dances and games in Northern Europe, some ancient pictorial sources are exhibited<br />and explained. Furthermore, Icelandic sources that shed new light on the coherence of medieval weapon dances are revealed. The Icelandic material, in other words sources which indicate that people in Iceland knew or knew of<br />weapon dances, are of two different kinds: they indicate first of all that Icelanders used to take part in a dance called hringbrot, a dance which appears to be very similar to descriptions of weapon dances of other nations. Secondly, it seems that<br />they created and preserved in their manuscripts drawings that indicate that they knew about weapon dances as early as in the fourteenth and fifteenth centuries.<br />The additional material presented here, which is substantial, is now being analyzed and has a valuable contribution to make to the debate concerning Nordic weapon dances. By putting the Icelandic material in connection with more traditional sources from Northern Europe, and in the broader context of Mid and<br />Western Europe, we should be able to increase our understanding of the context and development of weapon dances.
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Indrayuda, Indrayuda. "TARI TRADISIONAL DALAM RANAH TARI POPULER: KONTRIBUSI, RELEVANSI, DAN KEBERLANJUTAN BUDAYA." Humanus 14, no. 2 (November 30, 2015): 144. http://dx.doi.org/10.24036/jh.v14i2.5680.
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Recent development of dance performance is not only esthetical and artistic; it has improved farther along with social cultural changes and economic development, which is supported by the scientific and technological changes that have encouraged the improvement of the art and knowledge about dances. In choreographic learning in academic environment, the arrangement pattern in choreography is not limited to the conventional that the consequence of movement, but also a media for criticism and expression of the artists. Currently dance does not belong to certain tradition of a community but to individuals. The individual belonging of the dance is widely known as popular dance, both monumental and contemporary dance. In Indonesia, both monumental and contemporary popular dances tend not to be detached from their traditional idiom or spirit in their cultural choreographic background, even all of their arrangement source stems from traditional kinesthetic dance. This phenomenon becomes a new trend in dance creation and dance choreographic learning in Indonesia, many of which are developed by art academicians, art studios and workshops.
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Olga Borisovna, Bursikova, Kuznetsova Natalia Stanislavovna, Amelina Maria Nikolaevna, Tatarintsev Andrey Yurievich, and Trofimov Roman Viktorovich. "ROUND DANCE TRADITION OF BELGORIE: THE SEMANTIC AND CULTURAL ASPECT." Revista de Investigaciones Universidad del Quindío 34, S2 (June 14, 2022): 57–63. http://dx.doi.org/10.33975/riuq.vol34ns2.879.
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The accumulated rich archival material on the musical folklore of the Belgorod region actualizes the problem of the semantic analysis of round dance songs as the dominant genre of the region’s traditional culture. In this work, based on expeditionary materials and researchers’ publications, the choreographic forms of round dances (circular karagods, tanks, figured tanks) of the Belgorod region are identified and described. The general scientific research methods within the framework of comparative, logical and statistical analysis are utilized. The systematic approach to research used in the process of modeling dance culture contributed to the reconstruction of the three-part picture of the world, captured in the dance in many versions.
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SABĂU, Anca Maria, Simona OROS, Dumitra Mădălina PANTEA, Andrada Maria BULZ, and Dana Ioana CRISTEA. "Aspects of the practice of folk dance in Bihor Region - Tradition and perspectives." GeoSport for Society 16, no. 1 (June 30, 2022): 23–37. http://dx.doi.org/10.30892/gss.1603-081.
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Romanian folk dances are a wealth of generations that we owe to preserve, protect and leave our inheritance to our descendants as a proof of our identity and history. By practicing dance, the customs and traditions of the people are learned; young people develop harmoniously due to the various movements in which the dances are composed. Romania has a wide range of games, dances and costumes inherited from tradition, perpetuated through repertoire and ethnography, which convinced us to address and highlight the important role of the traditions, folk dances in Bihor County, the beneficial effect that they have in the personal development of the dancers. The proposed research methodology for the study addresses methods such as the survey method by applying a questionnaire and the statistical-mathematical method. The results highlight the importance of folk dances first present in the family and the fact that passion is the main motivation of dancers that drives them to practice folk dance. It is necessary to give children the opportunity to make direct contact with the sources of popular creation such as dance, music, customs and folk costume, to create optimal conditions for learning our folk dances, the priceless treasure of our people.
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Widiasih, Ni Pande Made, Ni Wayan Sumertini, and Poniman. "TRADISI PEMENTASAN TARI GANDRUNG TELAGA SAKTI DI DESA PAKRAMAN LIMO KECAMATAN NUSA PENIDA KABUPATEN KLUNGKUNG (KAJIAN BENTUK, FUNGSI, MAKNA)." Jurnal Penelitian Agama Hindu 2, no. 1 (May 28, 2018): 409. http://dx.doi.org/10.25078/jpah.v2i1.497.
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<p><em>T</em><em>h</em><em>e Tradition of Gandrung Telaga Sakti Dance Performance in Pakraman Limo village Nusa Penida Sub-district Klungkung Regency is a hereditary tradition recognized by the people of Pakraman Limo village as a sacred tradition to complement the religious ceremony. The uniqueness of Gandrung Telaga Sakti Dance is when this dance will be staged performed a ritual process, such as the selection process of dancers, place and time of staging and the series of ceremonies performed before the staging of Gandrung Telaga Sakti Dance. The results of this study are as follows: 1). Shape Gandrung Telaga Sakti Dance including; History of Gandrung Telaga Sakti Dance Performance, Conditions to Become Dancer Gandrung Telaga Sakti Dance, Gandrung Telaga Sakti Dance Movement, Gandrung Telaga Sakti Dance Performance, Dance Performance Gandrung Telaga Sakti, Gandrung Telaga Sakti Dance Stage, Upakara Gandrung Telaga Sakti Dance, and Supporting Equipment Gandrung Telaga Sakti Dance. 2). The function of Gandrung Telaga Sakti dance performances include art function and cultural preservation, religious function and social function. 3). The meaning of staging of Gandrung Telaga Sakti Dance is symbolic meaning, meaning of aesthetics and meaning of harmony and balance.</em></p>
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Setyo Pambudi, Kukuh. "The Character Education in Topeng Malangan Dance Tradition According Transpersonal Psychology Perspective." Ilomata International Journal of Social Science 1, no. 3 (July 31, 2020): 118–23. http://dx.doi.org/10.52728/ijss.v1i3.103.
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The aim of this research is to uncover the presence of character building in Topeng Malangan dance tradition according to Transpersonal Psychology perspective. This tradition is one of the art cultural heritage that exclusively from Malang and has some rituals as Silem (meditation) and Suguh. There is something unknown beyond human personality which is connected with spirituality so it is correlated with human’s character building. Topeng Malangan dance tradition and all of the rituals inside have contribution and correlation with the character building in the dancer. This research is using qualitative research method with ethnography. It founds that sub-personality and some objects in transpersonal psychology has significant result in building character education at Malang mask dance.
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Öztürkmen, Arzu. "Modern Dance Alla Turca: Transforming Ottoman Dance in Early Republican Turkey." Dance Research Journal 35, no. 1 (2003): 38–60. http://dx.doi.org/10.1017/s0149767700008767.
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This essay looks at the works of Selma Selim Sırrı (b. 1906) and her father Selim Sırrı Tarcan (1874–1956), who wrote on dance in the 1920s, a period that marked the transition from the Ottoman Empire to modern Turkey. The Ottoman Empire ruled across the Mediterranean world between the thirteenth and twentieth centuries, collapsing after World War I. The Republic of Turkey was declared in 1923, distancing itself from the Ottoman tradition to adopt a westernization reform program. Written in the early Republican era, the works of Selma Selim Sırrı and Selim Sırrı Tarcan mark the shift from Ottoman dance traditions to a more Western approach to dance. Inspired by Isadora Duncan, Selma Selim Sırrı (1926) explored the idea of modern dance for Ottoman women in a booklet entitled Selma Selim Sırrı Hanım'ın Bedii Raksları (The Aesthetic Dances of Miss Selma Selim Sırrı, see Fig. 1). Her father was the author of Halk Dansları ve Tarcan Zeybeği (Folk Dances and the Tarcan Zeybek, see Fig. 2), a book that focused on the process of refining folk dances, in particular the zeybek genre, to suit the tastes of an educated, urban audience.
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Njaradi, Dunja. "Rethinking participation through dance: A historical-theoretical intersection." Bulletin de l'Institut etnographique 70, no. 2 (2022): 199–215. http://dx.doi.org/10.2298/gei2202199n.
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The paper deals with the idea of participation or community in dance. The idea of community has become key in contemporary discussions about the globalization of contemporary societies, and dance has a large share in the reflections of these global processes. Dance also has a very long tradition of community thinking. From this long and rich tradition, this paper will point out the ways in which the idea of community is reflected in social and artistic dances, pointing out both concrete dance forms and theoretical concepts, ideas and practices. Of the dance forms, the paper will discuss the tango pair dance, the flash mob dance-gathering form as well as the contact improvisation developed within postmodern dance. Of the theoretical and philosophical settings that underpin discussions of community in dance studies, the paper will discuss the concept of kinesthesia or ?kinesthetic empathy?, ?mirror neurons? in neuroscience as well as philosophical reflections on affect.
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San Diego, Chiedel Joan Gula. "Hataw Subanen." ACPES Journal of Physical Education, Sport, and Health (AJPESH) 2, no. 1 (June 18, 2022): 15–23. http://dx.doi.org/10.15294/ajpesh.v2i1.56495.
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This study aimed to identify the basic Subanen dance steps as the basis for creating an inspired Subanen dance exercise routine. Dance exercise is a well-known activity for all ages. People are passionate about doing it for them to stay fit and healthy. A descriptive method of research was used in the study in which the observation method was utilized. Purposive sampling was used to ensure the authenticity of the dance steps, which were from the true-blooded Subanen dancers. Three pairs of dancers, three musicians, and one key informant were the respondents of the study. Based on the interview and observation results, stamping or “pasagagang” steps is the basic footwork, and twisting or moving the hands and wrist circularly like doing the “kumintang”, the basic hand movement of the dance. Most of the Subanen dances are in 4/4-time signature with the counting of 1, 2, 3, & 4. Their dances usually start with slow movements, then gradually change from moderately fast to fast. “Agong” is the commonly used musical instrument in accompanying their dances. Five basic steps were identified: praise, grace, prayer, casting, and courtship. Based on the basic dance steps, a dance exercise routine called “Hataw Subanen” was created. Thus, exercise does not only use modern dance movements but also traditional or indigenous dances/movements. Hataw Subanen not only promotes a fit and healthy life, but also preserves, enhances, and harnesses one’s indigenous culture and tradition.
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Haes, Putri Ekaresty. "Pelestarian Budaya dalam Tari Wali Krama Murwa pada Tradisi Usaba Sambah di Desa Pesedahan Karangasem." Ideas: Jurnal Pendidikan, Sosial, dan Budaya 7, no. 3 (August 20, 2021): 101. http://dx.doi.org/10.32884/ideas.v7i3.468.
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Penelitian ini bertujuan untuk mengetahui pelestarian budaya yang dilakukan oleh masyarakat desa Pesedahan melalui tari wali krama murwa dalam tradisi usaba samba. Metode kualitatif dengan pendekatan etnografi melalui teknik observasi, wawancara dan dokumentasi. Hasil penelitian menjelaskan bahwa tari wali merupakan tarian sakral yang berfungsi sebagai pelaksana upacara yadnya dan wajib ditarikan oleh penduduk asli setempat (krama murwa), tarian ini memiliki tiga bentuk yaitu Tari Pendet Lanang, Tari Pendet Tari Istri, dan Tari Rejang Lilit. Ketiga tarian ini memiliki makna untuk menyenangkan Ida Betara atau Hyang Kuasa (Tuhan) agar dapat memberikan berkah kemakmuran bagi masyarakat setempat.
This study aims to determine the cultural preservation carried out by the Pesedahan village community through the wali krama murwa dance in the usaba samba tradition. Qualitative method with an ethnographic approach through observation, interviews and documentation techniques. The results of the study explain that the wali dance is a sacred dance that functions as an executor of the Yadnya ceremony and must be danced by the local natives (krama murwa), this dance has three forms, namely the Pendet Lanang Dance, the Pendet Istri Dance and the Rejang Lilit Dance. These three dances have a meaning to please Ida Betara or Hyang Power (God) in order to give the blessing of prosperity to the local community.
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Suhesti, Merry, and Desfiarni Desfiarni. "MAARAK BUNGO LAMANG." Jurnal Sendratasik 9, no. 1 (May 1, 2020): 1. http://dx.doi.org/10.24036/jsu.v8i3.108132.
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AbstractMaarak Bungo Lamang Dance is a result of the creation of dance creations based on the life phenomenon of the Durian River of the South Solok district in order to celebrate the day of the Prophet Maulid. In this regard, the tradition of society that has a sense of gratitude for the day of the Prophet Maulid in a festive way is not separated from the Islamic faith. The dance work "Maarak Bungo Lamang" is an interpretation of the community tradition of the river Durian in welcoming the Prophet's Maulid by means of a journey around the village along with Shalawat-Shalawat. It is as an expression of gratitude for the Prophet's Maulid day. The dance works were performed by 7 dancers, 3 male dancers and 4 female dancers as well as 13 Pendukkung dancers for the early dances, expected to be a new form of dance creations. Program artwork is aimed at adding a wealth of dance artwork, as well as an educational platform for new artists.Keywords: Maarak Bungo Lamang
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Gianvittorio, Laura. "New Music and Dancing Prostitutes." Greek and Roman Musical Studies 6, no. 2 (August 24, 2018): 265–89. http://dx.doi.org/10.1163/22129758-12341323.
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Abstract Old Comedy often brings prostitute-like dancers on stage while parodying the New Music. This paper argues that such dances were reminiscent of sex practices, and supports this view with dance-historical and semantic evidence. For the history of Greek dance, I survey the literary evidence for the existence of a dance tradition that represents lovers and their acts, and which would easily provide Comedy with dance vocabulary to distort. The semantic analysis of three comic passages, all criticising the New Music in sexual terms, shows a consistent overlapping between the semantic fields of eroticism and of bodily movement, with several terms indicating both figures of lovemaking and figures of dance. By performing comically revisited erotic dances or by verbally alluding to them, prostitutes would powerfully embody the conservative criticism of Old Comedy against the new trends in dance promoted by the New Music.
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Farsalena, Sintia. "Perubahan Tari Rentak Kudo Dalam Kehidupan Sosial Masyarakat." Diakronika 20, no. 1 (June 30, 2020): 42. http://dx.doi.org/10.24036/diakronika/vol20-iss1/142.
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This research has a purpose to identify: the impact of changing kudo ritual dance traditions in the social life of people in the village of debai jambi province. This type of research is qualitative descriptive. Sources ie primary data submitted by informants, data sources taken in the form of written notes coming from informants who were interviewed, documentation and literature study. The research findings reveal that the change of kudo rentak tradition in the social life of society in Debai village of Jambi Province has social and moral impact such as the behavior of less polite when dancing, drinking behavior, fights between youth when danced by kudo rentak dance, disturbance of society with Loud music. The social control of the village and community governments is so weak that they are unable to minimize the impact of the tradition.
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Zainudin, Khairul Anuar, and Mohd Effindi Samsuddin. "REKONSTRUKSI STRUKTUR TARIAN POJA BERIDENTITIKAN MASYARAKAT BUGIS DI NEGERI SELANGOR." Jurnal Pengajian Melayu 32, no. 2 (October 26, 2021): 149–70. http://dx.doi.org/10.22452/jomas.vol32no2.9.
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The development and creation of the traditional Selangor Buginese “Poja” dance in 1988 is a heritage art that has undergone dance reconstruction. The reconstruction is linked to the “Pakurru Sumange” dance in South Sulawesi, Indonesia. Kaeppler’s approach to reconstruction (2007) shows that symbols in the “Poja” dance function as a representation of the Buginese community. The study is also based on the theory of creation and tradition by Hobsbawm (1983) and Shill (1981) to understand the relationship between the two aspects of dance involving the traditions of the Bugis community in Selangor. In conclusion, both processes detail the dance’s development, therefore allowing its identity to be linked to the Bugis community in Selangor.
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MISDIH, MUSNIN. "BUDAYA TARI BUBU MENGALAI – MEDIA KONVENSIONAL DAN PEMBENTUKAN TARI MASYARAKAT BISAYA DI BEAUFORT, SABAH." International Journal of Creative Future and Heritage (TENIAT) 1, no. 1 (June 30, 2013): 167–75. http://dx.doi.org/10.47252/teniat.v1i1.77.
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Artikel ini menjelaskan tentang latar belakang masyarakat Bisaya. Ia memperkenalkan budaya tradisi mereka menerusi tarian tradisi Bubu Mengalai yang diamalkan sejak zaman dahulu hingga kini. Kajian ini adalah tertumpu kepada tiga zaman yang berbeza iaitu pada era tahun 1920-an, tahun 40-an dan tahun 2011 yang mana masyarakat ini telah membudayakan tarian Bubu Mengalai dalam kehidupan mereka. Tarian tradisi Bubu Mengalai yang diamalkan oleh penggiat seni tari tradisi suku kaum Bisaya pada hari ini adalah lanjutan daripada tahun 1920-an lagi. Tarian Bubu Mengalai giat dipraktikkan oleh pencinta seni tari tradisi masyarakat Bisaya dan menjadi tetapan warisan bangsa Malaysia. This article explains the background of Bisaya community. It introduces their traditional culture through the traditional dances of Bubu Mengalai that has been practiced since the ancient times. This study is focused on three different times of the era of the 1920's, the 40's and the year 2011 of which this community has cultured the Bubu Mengalai dance in their lives. The traditional dance of Bubu Mengalai practiced by tribal tradition Bisaya dance today is an extension of the 1920's. The dance is actively practiced by Bisaya community who love traditional dance arts and the dance has become the national heritage of Malaysia.
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Crow, Susie. "Developing Craft in the Ballet Class." Dance Research 39, no. 2 (November 2021): 147–57. http://dx.doi.org/10.3366/drs.2021.0340.
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The ballet class is a complex pedagogical phenomenon in which an embodied tradition is transmitted in practice from one generation to the next, shaping not just the dancing but the attitudes and perceptions of dancers throughout their careers. This paper emerges from observations and experience of recent and current ballet class practice, and theoretical investigations into embodied learning in the arts. It outlines the influential role of large hegemonic institutions in shaping how ballet is currently taught and learned; and the effect of this on the class's evolving relation to ballet's repertoire of old and emerging dances as artworks. It notes the increasing importation into ballet pedagogy of thinking rooted in sports science, engendering the notion of the dancer as athlete; and of historic attitudes which downplay the agency of the dancer. I propose an alternative model for understanding the nature of learning in the ballet class, relating it to what Donald Schön calls ‘deviant traditions of education for practice’ in other performing and visual arts ( Schön 1987 p16). I look at the dancer's absorption via the class of ballet's danse d’école, its core technique of academic dance content. I suggest how this process might more constructively be understood through the lens of craft learning and the development of craftsmanship via apprenticeship, the dancer learning alongside the teacher as experienced artist practitioner who models behaviours that foster creativity.
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Widayanti, Sri. "BEKSAN GOLEK AYUN-AYUN GAYA YOGYAKARTA DALAM PERSPEKTIF AKSIOLOGI." Jurnal Filsafat 25, no. 2 (August 16, 2016): 197. http://dx.doi.org/10.22146/jf.12677.
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The Golek Ayun-ayun dance of Yogyakarta's style is a sacred Golek dance style in Javanese tradition that has come down through generations as a national heritage. This dance is a classical Javanese dance comes from the court of Yogyakarta. It depicts a young woman's desire to always look her best.The Golek Ayun-ayun dance celebrates feminine beauty and appeal, including the coquettish dance because this dance portrays a woman who was dressed up. Many varieties of these dances that depict women being dressed up, like for example stole (sondher/sampur) games movement, or pairs of the ring (ali-ali), there is also look in the mirror (ngilo) and so forth. For Golek Ayun-ayun dance which the source comes from Ngayogyakarta court has standard rules or provisions, so it will not change the principle meaning.The principles of classical Javanese dance/Joged Mataram are Sawiji (concentration of mind), Greged (enthusiasm, consciousness), Sengguh (self-confidence), Ora Mingkuh (no surrender). Library research is done by collecting data and completed by interview. The material object of the research is Golek Ayun-ayun dance, and the formal object is axiology. Data analysis by descriptive, Verstehen, interpretation, hermeneutics, comparison, and heuristics method. The result showed that the elements used to organize the dancer makeup and fashion, also the beautiful movement of Golek Ayun-ayun dance is the content /meaning of makeup, fashion, and beautiful movement of Golek Ayun-ayun dance style, while the whole is external form. It contains the aesthetic value as an element of art or the art of dance. The art values in the movement, rhythm, makeup and fashion of Klana Raja dance are sensuous value, formal value, cognitive value, and life value.
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Komala, Sella Tri, Supriyanti Supriyanti, and Rina Martiara. "Pelestarian Tari Andun pada Masyarakat Bengkulu Selatan." Dance and Theatre Review 3, no. 2 (October 20, 2020): 72. http://dx.doi.org/10.24821/dtr.v3i2.4419.
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Preservation of Andun Dance in South Bengkulu. Andun dance is one of the dances of South Bengkulu’s people, which is currently less popular. This dance is a form of cultural and traditional art in South Bengkulu that still exists and has Islam and traditional nuance. In a marriage ceremony, for example, this dance is performed for seven days and seven nights. For those with a modern view, the Andun dance is a series of long and tiring processions and should be abandoned or modified. However, because it has become a custom and tradition, most people still carry out this long procession until now, even though it requires a lot of time and money. Andun dance is now less attractive because there are so many foreign cultures that enter South Bengkulu people, especially its young people. Andun dance is also getting worse because the places to express this dance are decreasing in number. For example, South Bengkulu people’s traditional marriage rituals are usually held for seven days and seven nights. Still, at present, the practices held are not carried out that long. Andun dance, which is currently experiencing ups and downs, has not been able to regrow the community’s interest and youth. This research focuses on how the efforts to preserve the Andun Dance in the people of South Bengkulu. One of the efforts made by the government is to carry out the Andun dance festival. In several leading schools, Andun dance is taught as extracurricular activities. The efforts made by the community regarding the preservation of the Andun dance are deliberating so that the Andun dance can be performed by the middle to lower class communities. Besides, artists also carry out preservation efforts by providing guidance or training for Andun dance to their students.Keywords: preservation; Andun dance; South Bengkulu
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David, Ann R., and Nilima Devi. "“Even the dinner ladies are teaching dance!” Pedagogic Explorations of South Asian Dance in Britain." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 181–87. http://dx.doi.org/10.1017/s2049125500001072.
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This lecture-demonstration examines some of the tensions and contradictions found in the teaching of South Asian dance in Britain through using a demonstration by Leicester Kathak dancer Nilima Devi and evidence gleaned from Ann David's ethnographic research amongst dance students and teachers in Hindu communities in Leicester. It considers how issues of tradition and change within an arena seen as “cultural heritage” are incorporated into pedagogic practice. It questions different perceptions of dance by teenage students and their teachers, as well as articulating some of the problematic areas in the teaching of classical and popular dance forms, such as Kathak, Bharatanatyam, and Bollywood.
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Asante, Kariamu Welsh, and Richard A. Long. "The Black Tradition in American Dance." Dance Research Journal 24, no. 2 (1992): 44. http://dx.doi.org/10.2307/1478529.
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Rakocevic, Selena. "Contribution of Ljubica and Danica Jankovic to establishment of ethnochoreology in Serbia as an academic scholarly discipline." Muzikologija, no. 17 (2014): 219–44. http://dx.doi.org/10.2298/muz1417219r.
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The Jankovic sisters are pioneers of ethnochoreological research in Serbia. Their scholarly methodology is based on intenisve field research and their development of a unique system of dance notation, which enabled them to evolve a system of dance analysis. The year 2014 celebrates multiple anniversaries of Ljubica and Danica Jankovic, their lives and work, but most importantly, it marks the publication of the first of eight volumes of Narodne igre, beginning an eighty year tradition of scholarly investigation of traditional dances in Serbia. The aim of this article is to draw attention to the Jankovic sisters for their major contribution in developing ethnochoreology in Serbia.
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Malcheva, Todorka. "ART, MEANING AND CLASSIFICATION OF BULGARIAN FOLK DANCE." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (June 5, 2019): 1791–95. http://dx.doi.org/10.35120/kij31061791m.
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Playing Bulgarian folk dances- horoes, is a fascinating, emblematic and centuries’ years old tradition. The folk dance is an important part both from different holidays and from the everyday life of Bulgarians. This is one of the most significant and fascinating folklore activities, making Bulgaria famous all over the world. We can define Bulgarian national dance as an exceptionally beautiful art. This is a skill that makes people happy and energetic. Folk dances reveal the temper of our nation. At the same time, in the rhythm of the dance lives the collective spirit, which attributes to feeling joy, delight and rest when dancing with other people.That is why Bulgarian folk dance is not only a way to feel happy. It gathers, gives strength, teaches, expresses and above all- gathers the people of Bulgaria. It is also a way to be closer to nature. That is why Bulgarian folk dance is strength for the spirit. It is a magic for the soul- chases away tiredness and bad mood by generating positive energy and releasing the discomfort and stress. The following text presents classification of the Bulgarian folk dances- horoes according to different and various criteria. They are divided into groups according to: the performers, the type of dancing chain, metrorhythm, customs, folklore regions, tempo and others. The following resume confirms the variety and wealth of Bulgarian folk dance. The text also defines the dance as a magic that preserved our spirit and our nation throughout our history. It is not only a magic that is still alive, but a magic that is actively represented by different dancing formations nowadays. Bright costumes, thrilling music and energetic horoes – they always provoke emotions and loud applause among native and foreign public. The charming nature of Bulgarian dances is the reason why they are still alive and have been passed from one generation to the other. In this way, this centuries’ years old tradition will be preserved for the future generations and the Bulgarian shall never be forgotten.
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Elyadi, Marfinetri, and Lora Gustia Ningsih. "PERUBAHAN TARI GANDAI PADA MASYARAKAT MUKOMUKO PROVINSI BENGKULU." Gorga : Jurnal Seni Rupa 8, no. 2 (September 25, 2019): 291. http://dx.doi.org/10.24114/gr.v8i2.14674.
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AbstrakTari gandai merupakan sebuah tari tradisi yang ada di Mukomuko provinsi Bengkulu. Tari ini berasal dari cerita rakyat Malin Deman dan Puti Bungsu, Malin Deman merupakan manusia bumi dan Puti Bungsu merupakan manusia langit. Tari ini awalnya ditarian untuk menghibur Puti Bungsu yang berpisah dengan Malin Deman. Tari ini di tarian oleh beberapa penari perempuan secara berpasang-pasangan. Gerakan tari Gandai di ambil dari gerakan satwa yang mengambarkan kekecewaan malin deman yang ditinggal oleh Puti Bungsu. Pada saat ini tarian ini sudah berubah menjadi tari untuk hiburan dalam acara-acara perkawinan ataupun acara pesta rakyat di Kabupaten Mukomuko. Tari ini memiliki Sembilan gerak sesuai dengan lobang pada serunai gandai. Serunai gandai merupakan alat musik pengiring dalam tarian gandai. pada saat ini tari gandai sudah mengalami perubahan, baik dari segi bentuk tari maupun dari segi fungsi. Tujuan penelitian ini adalah untuk mengungkap bagaimana perubahan tari Gandai pada masyarakat Mukomuko Provinsi Bengkulu metode yang digunakan adalah metode kualitatif, pengumpulan data dilakukan melalui observasi dan mengamati tari Gandai tradisi dan kreasi.Kata Kunci: tari gandai, perubahan, Mukomuko.AbstractGandai dance is a traditional dance in mukomuko, Bengkulu province. This dance comes from the folklore Malin Deman and Puti Bungsu, Malin Deman is an earth man and the youngest Puti Bungsu is a celestial man. This dance was originaly danced to entertain Puti Bungsu who parted ways with Malin Deman. This dance is danced by several female dancers in pairs. The Gandai dance movement was taken from the animal movement which depicted the disappointment of Malin Deman who was left by the youngest Puti. At this time the dance has turned into a dance for entertainment in weddings or folk parties in Mukomuko District. This dance has nine movements inaccordance with the hole in yhe smart alley. The clever grun is a musical instrument accompaniment in smart dance. At this time the smart dance has undergone changes, both in terms of dance form and in terms of dance form and in terms of function. The purpose of this study was to reveal how the change of smart dance in the Bengkulu Province Mukomuko community method used was a qualitative method, data collection was carried out through observation and observing the traditional dance of tradition and creation. Keywords: gandai’s dance, change, Mukomuko.
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Mostova, I., and E. Yanyna-Ledovska. "Folk dance of Slobozhanshchyna in the fair tradition." Culture of Ukraine, no. 77 (September 28, 2022): 97–102. http://dx.doi.org/10.31516/2410-5325.077.12.
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The purpose of the article is to study the peculiarities of the Sloboda folk dance development in the context of the historic genesis of the fair tradition in the region that provides grounds for further functioning of the folk dance, argues for the peculiarities of the dance canon and will expand the themes of modern choreographers’ creativity.
The methodology. The research methodology is based on the main cultural approaches. The historical approach to the study of the fair as an artistic phenomenon provided a comprehensive understanding of the formation, functioning and development of folk dance in the tradition. The system approach formed the idea of fairs as a complex cultural phenomenon, all elements of which are interconnected and interact with each other.
The results. The Sloboda fairs, from the time of their establishment to the present, are not only trade and economic events but also cultural and artistic events, designed to preserve the customs and traditions of the region. In the fair tradition, a folk dance performed mainly communicative and entertaining functions, today it also relays the artistic heritage. Due to internal inter-ethnic communi-cation, which improved assimilation, a regional dance canon was formed, which makes the modern folk-stage dance of Slobozhanshchyna recognizable. The only negative manifestation of the growth of interest in fair culture and works of decorative and applied art and folklore is the levelling of regional features caused by the attraction to quantitative indicators.
The scientific novelty. The novelty of the research lies in the fact that a comprehensive analysis of the folk-dance functioning in the system of the fair tradition, with the account of socio-cultural and historical changes, was carried out for the first time. In contrast to previous studies, the fairs of Slobozhanshchyna were studied not as a trade and economic event, but from the point of view of their importance for the development of the traditional culture in the region.
The practical significance. The obtained theoretical results can become the basis for further research in the field of genres and types of folk art of Slobozhanshchyna, writing of educational and methodological manuals for secondary and higher education institutions, and will be auxiliary material for ballet master activities. The analysis of choreographic works fixedly attached in the article will preserve the creativity of contemporaries for future generations.
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Malarsih, Malarsih, Tjetjep Rohendi Rohidi, Totok Sumaryanto, and Hartono Hartono. "Mangkunegaran dance style in the custom and tradition of Pura Mangkunegaran." Harmonia: Journal of Arts Research and Education 17, no. 2 (December 24, 2017): 136. http://dx.doi.org/10.15294/harmonia.v17i2.12128.
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<p>Mangkunagaran dance style is regarded as a cultural identity that is highly upheld by Mangkunagaran’s society. In the organization that lives in Mangkunagaran, the sustainability of Mangkunagaran dance style is protected by the special art institution namely Langen Praja, under a bigger organization in Mangkunagaran namely Reksa Budaya. The existence of Mangkunagaran dance style is in fact related to the custom and tradition in Pura Mangkunagaran. The aim of this research is to find out how Mangkunagaran dance style is and what kind of roles that Mangkunagaran dance style has that may influence the custom and tradition in Pura Mangkunagaran. Methods used in this research is qualitative. Techniques of data collection used were observation, interview, and documentation study and the data validity technique implemented was data triangulation. Meanwhile, the data was analysed by using text analysis towards the Mangkunagaran dance style and the context analysis towards the role of Mangkunagaran dance in the custom and tradition had by Pura Mangkunagaran.</p>
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Wulandari, Devita, Okta Hadi Nurcahyono, and Abdul Rahman. "Revisiting Tradition-Religion Relationship in Javanese Tayub Dance: How Local Community Deals with Dilemmas." Walisongo: Jurnal Penelitian Sosial Keagamaan 29, no. 1 (May 20, 2021): 121–40. http://dx.doi.org/10.21580/ws.29.1.8578.
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Tayub is one of the traditional arts in Indonesia that is still preserved until today. This dance art, for example, is practiced by the Indonesian Islamic Da'wah Institute (LDII) community. Tayub, usually held once a year, is believed to have high values, although many people perceive it negatively. This study aims to reveal why the local religious community still maintains and practices Tayub dance art. The study employs a qualitative approach with a case study on Tayub dance art practiced by the LDII community in Sukoharjo. Data for this study were collected from observations, interviews, and documentation. The study reveals that the socio-religious traditional art practiced by the LDII community brings the community into a dilemma; they should live by either following traditions or carrying out religious tenets. The LDII community continues to maintain and practice the Tayub dance art as an expression of their gratitude. The local community believes that there are noble values contained in Tayub dance art, such as gratitude for God's grace, friendship, and harmony in society. However, many still view this art as a tradition that is not in accordance with religious tenets.
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Rakočević, Selena. "Tracing the discipline: Eighty years of ethnochoreology in Serbia." New Sound, no. 42 (2013): 58–86. http://dx.doi.org/10.5937/newso1341058r.
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The interest for traditional dance research in Serbia is noted since the second part of the 19th century in various ethnographical sources. However, organized and scientifically grounded study was begun by the sisters Danica and Ljubica Janković marked by publishing of the first of totally eight volumes of the "Folk Dances" [Narodne igre] in 1934. All eight books of this edition published periodically until 1964 were highly acknowledged by the broader scientific communities in Europe and the USA. Dance research was continued by the following generation of researchers: Milica Ilijin, Olivera Mladenović, Slobodan Zečević, and Olivera Vasić. The next significant step toward developing dance research began in 1990 when the subject of ethnochoreology was added to the program of basic ethnomusicological studies at the Faculty of Music in Belgrade and shortly afterward in 1996 in the Academy of Arts in Novi Sad. Academic ethnochoreological education in both institutions was established by Olivera Vasić. The epistemological background of all traditional dance research in Serbia was anchored mostly in ethnography focused on the description of rural traditions and partly in traditional dance history. Its broader folkloristic framework has, more or less, strong national orientation. However, it could be said that, thanks to the lifelong professional commitment of the researchers, and a relatively unified methodology of their research, ethnochoreology maintained continuity as a scientific discipline since its early beginnings. The next significant milestone in the development of the discipline happened when traditional dance research was included in the PhD doctoral research projects within ethnomusicological studies at the Faculty of Music in Belgrade. Those projects, some of which are still in the ongoing process, are interdisciplinary and interlink ethnochoreology with ethnomusicology and related disciplines. This paper reexamines and reevaluates the eighty years long tradition of dance research in Serbia and positions its ontological, epistemological and methodological trajectories in the broader context of its relation to other social sciences/humanities in the contemporary era of interdisciplinarity and postdiciplinarity.
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Dimopoulos, Konstantinos, Georgios Fountzoulas, and Chariton Charitonidis. "MAPPING THE VARIOUS FORMS OF THE DANCE “SOUSTA” ON THE ISLAND OF RHODES." International Journal of Education and Social Science Research 05, no. 05 (2022): 476–91. http://dx.doi.org/10.37500/ijessr.2022.5526.
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A thorough look into the dance tradition in Greece leads to the observation a single dance can appear in various forms from one region to another or even among municipalities. Focusing on the island of Rhodes in Dodecanese it may be observed that one specific dance, called “Sousta”, is danced in different forms among various communities. The aim of this paper is to map “Sousta” dance through its recording, in order to showcase the variety of forms of this dance on the island of Rhodes. Through this mapping, eventual similarities but also differences among those dance forms will arise. Collection and processing of data is based on the principles of bibliographic research. Analysis, description, and interpretation of the forms of “Sousta” dance was carried out according to the Labanotation dance recording system. From the ethnographic data and the comparative presentation of the forms of “Sousta” dance it is observed a variety when it comes to the dance execution. There are common patterns of the “Sousta” dance, which are repeated, modified and transformed and that leads to such a great variety of forms that this dance presents.
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Lemos, Justine. "Radical Recreation: Non-Iconic Movements of Tradition in Keralite Classical Dance." Recherches sémiotiques 32, no. 1-2-3 (December 10, 2014): 47–82. http://dx.doi.org/10.7202/1027772ar.
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Many studies assume that dance develops as a bearer of tradition through iconic continuity (Downey 2005; Hahn 2007; Meduri 1996, 2004; Srinivasan 2007, 2011, Zarrilli 2000). In some such studies, lapses in Iconic continuity are highlighted to demonstrate how “tradition” is “constructed”, lacking substantive historical character or continuity (Meduri 1996; Srinivasan 2007, 2012). In the case of Mohiniyattam – a classical dance of Kerala, India – understanding the form’s tradition as built on Iconic transfers of semiotic content does not account for the overarching trajectory of the forms’ history. Iconic replication of the form as it passed from teacher to student was largely absent in its recreation in the early 20th century. Simply, there were very few dancers available to teach the older practice to new dancers in the 1960s. And yet, Mohiniyattam dance is certainly considered to be a “traditional” style to its practitioners. Throughout this paper I argue that the use of Peircean categories to understand the semiotic processes of Mohiniyattam’s reinvention in the 20th century allows us to reconsider tradition as a matter of Iconic continuity. In particular, an examination of transfers of repertoire in the early 20th century demonstrates that the “traditional” and “authentic” character of this dance style resides in semeiotic processes beyond Iconic reiteration; specifically, the “traditional” character of Mohiniyattam is Indexical and Symbolic in nature.
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Launay, Isabelle. "Citational Poetics in Dance: … of a faun (fragments) by the Albrecht Knust Quartet, before and after 2000." Dance Research Journal 44, no. 2 (2012): 49–69. http://dx.doi.org/10.1017/s0149767712000101.
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How does one come to terms with the “already said” or the “already danced”? I ask this in light of the many instances where contemporary dance has insistently undertaken—as a condition of its own renewal—a critique of past works that have been transmitted through the oral tradition. This undoing of the oral tradition's dominance has instantiated a new relation to the past in contemporary dance. Hannah Arendt throws some light on this process when she quotes Walter Benjamin, for whom modernity required that we find a different way of connecting with the past—one that would replace transmission with citationality. To cite, in speech act theory, as in dance, presupposes that the authority of the past be replaced with that disquieting ability of the past to infiltrate the present in a disembodied way (Arendt 1974, 291). The challenge of citation to the prestige of oral person-to-person transmission of a dance has introduced a new way for contemporary artists to relate to and re-embody past works.
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Sibarani, Robert, and Christina Rayani Panggabean. "Tradisi Sijagaron pada Upacara Kematian Saur Matua di Kabupaten Toba." Journal of Language Development and Linguistics 1, no. 1 (July 14, 2022): 45–54. http://dx.doi.org/10.55927/jldl.v1i1.740.
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In this study the author discusses "the Sijagaron Tradition at the Death Ceremony of Saur Matua in Toba Regency".What Elements Are In Sijagaronnand How is Sijagaron's Dance and Hata-Hata Performance. This study aims to describe what elements are contained in Sijagaron, How is the performance of dances and dances of Sijagaron, How are cultural values and norms in Sijagaron. The method used in this research is a descriptive qualitative method. and The theoretical basis used to analyze is the theory of oral tradition.
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Irkhen, I. I., and Li Rui. "CHOREOGRAPHIC BORROWINGS AS A FORM OF PROMOTING THE RUSSIAN BALLET TRADITION IN CHINA." Arts education and science 1, no. 1 (2020): 95–102. http://dx.doi.org/10.36871/hon.202001012.
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The article is devoted to cross-cultural communication between Russia and China in the context of ballet. The main object of the study is the Russian ballet tradition in China. The emphasis is payed to the work, done by Russian teachers, who supervised China’s first ballet productions, introduced the Russian methodology of teaching the classical dance developed by A. Vaganova and built a system of ballet education. Thus, thanks to Russian teachers the national ballet of China developed its own internationally acclaimed school of dance with its key elements such as technical skills, geometry of dance and deep implications, related to the national dance traditions. The development of the national ballet was greatly influenced by the Russian ballet tradition passed on and reproduced in China. The research methodology is based on the systematic approach to cross-cultural communication and choreographic borrowings occurring as a result. The article uses such methods as content analysis of Russian and Chinese writings, chronological method and cultural analysis. It comes to the conclusion that the Russian ballet tradition in China was promoted by Russian emigrants (dancers, teachers, choreographers, musicians) either directly or indirectly. Choreographic borrowings were firmly implanted in the ballet dance training system. The Beijing Dance Academy training system is based on the Russian ballet school. A. Vaganova’s teaching methods, including her strict methodological sequencing of developing motor skills, flexibility and adaptability to the national dance style laid the foundation for the new Chinese ballet.
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Ewing-Pierce, Jennifer. "The ethos of the periphery." Performing Ethos: An International Journal of Ethics in Theatre & Performance 10, no. 1 (December 1, 2020): 127–36. http://dx.doi.org/10.1386/peet_00028_3.
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In the scholarly world where disembodied language and intellectualism reign, Kaustavi Sarkar, a dancing archive, performs embodied epistemologies. Even in her native Odissi dance discipline, Sarkar works from the margin as a questioner and an experimenter in a codified practice that values obedience and tradition. It is from this periphery that Sarkar develops a unique ethos of traditional dance that turns the conservatism of classical forms to open-layered intracultural and intercultural dance dialogues through dance.
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Bordelon, Candace A. "Finding “the Feeling” Through Movement, Music, and Memory: Oriental Dance, Tarab, and Umm Kulthūm." Congress on Research in Dance Conference Proceedings 2012 (2012): 12–21. http://dx.doi.org/10.1017/cor.2012.2.
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In the tradition of Arab music, artists aspire to generate tarab, an experiential quality described by ethnomusicologist A. J. Racy as a merger between music and emotional transformation. Although there is no exact equivalent in Western language, the most common English words used to capture the meaning of tarab are “ecstasy,” “transcendence,” and “enchantment.” Music frequently identified as being tarab music includes that of Egyptian singer Umm Kulthūm, a towering figure in twentieth century Arab music. Oriental dance (the name used in Egypt, but commonly referred to as belly dance) is customarily performed to this genre of music, which dancers acknowledge as an inseparable part of the dance. This study unravels how the Oriental dancer, in tandem with the music of Umm Kulthūm, engages with the audience to create the experience of tarab—a deeply emotional state generated by the invocation of personal, cultural, and public memories that is often collectively experienced by dancer, musicians, and audience. This study is based on interviews with four Egyptian dancers and four North American dancers who performed extensively in the Middle East. This research, while both building on and theorizing from the current ethnomusicological research on tarab music, foregrounds the dancer's voice and her experiences while embodying and performing to this music, offering a new analysis that brings the dancer into the discourse and expands our understanding of Oriental dance as a performance and aesthetic experience apart from the traditional notions of Orientalism.
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Polyakova, Anna S. "Folk dance: the problem of definition, demarcation and historical transformation." Yaroslavl Pedagogical Bulletin 1, no. 118 (2021): 189–94. http://dx.doi.org/10.20323/1813-145x-2021-1-118-189-194.
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Folk dance is an integral part of modern choreographic culture. At the same time, the definition of its place and role in modern artistic realities is complicated not only by understanding the boundaries of this phenomenon, but also by contradictory approaches to understanding its essence. Folk dance is also understood as folk dance, or vice versa, later layers of dance culture, not associated with ritual actions. Also, some researchers put forward the thesis that folk dance is only an area for – traditional culture, as well as the phenomena of everyday dance culture that are entrenched in the folk tradition. Quite often in modern choreographic culture, folk dance is likened to the concept of «folk stage dance» – a kind of specific model of folk dance culture, created and embodied in the conditions of the stage space. And this, as will be discussed in this article, is not legitimate. All these processes are not accidental. To a certain extent, they demonstrate the difficulties in the formation of the very phenomena related to folk dance: from traditional forms to stage versions of its representation. This article defines the boundaries of the definition of «folk dance», gives its periodization in accordance with the cultural and historical periods, and also highlights the main sources of its formation. Particular attention is paid to identifying the specific features of folk dance, among which the most vividly highlighted: ritual and ceremonial basis, syncretism, synthetism, special mentality, anonymity, heterofunctional character, imitativeness, improvisational character, tradition and rules of performance, the relationship with the musical and song basis, its collective representation. The article outlines a culturological approach to further understanding the phenomenon of «folk dance» in scientific discourse.
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Walker, Graham B. "Tradition and Context: The Dance of Empowerment." Review & Expositor 94, no. 3 (August 1997): 379–90. http://dx.doi.org/10.1177/003463739709400305.
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Milder, Patricia. "Innovation Meets Tradition on Summer Dance Stages." PAJ: A Journal of Performance and Art 33, no. 2 (May 2011): 51–57. http://dx.doi.org/10.1162/pajj_a_00038.
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Alferov, Sergey V. "VOICING THE MOVE: DISCURSIVE PRACTICES OF SCOTTISH DANCE INSTRUCTION." Вестник антропологии (Herald of Anthropology), no. 2 (54) (June 10, 2021): 177–97. http://dx.doi.org/10.33876/2311-0546/2021-54-2/177-197.
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Bridging dance anthropology and multimodal discourse analysis, the article focuses on language used to teach and/or describe various versions of the pas de basque step in Highland, Scottish country, Scottish step and “called” Ceilidh dancing of Scotland. It analyses pedagogic discourse observed during on- and offline classes and dance events across the globe alongside the author’s own embodied experience as a Scottish dancer, learner and teacher. When examining culturally and somatically contextualised uses of English in Scottish dance pedagogy, the article takes into account a range of dance manuals and instructions published between 1950 and 2020 by the Royal Scottish Country Dance Society, the Royal Scottish Official Board of Highland Dancing, the United Kingdom Alliance of Professional Teachers of Dancing and other organisations and individuals. Revisiting issues of communicating (and delegating) authority, (re)shaping the dance tradition(s) and providing/refraining from regulation, the study is aimed at helping to better appreciate the mutual interconnectedness between pedagogic discourse, on the one hand, and dance learning and teaching as an embodied social and cultural experience, on the other.
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Aterianus-Owanga, Alice. "Dancing an Open Africanity: Playing with “Tradition” and Identity in the Spreading of Sabar in Europe." Open Cultural Studies 3, no. 1 (January 1, 2019): 347–61. http://dx.doi.org/10.1515/culture-2019-0030.
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Abstract This paper describes one of the constructions of African identity that occur through the spreading of sabar in European cities. Basing on a multi-sited fieldwork between Dakar, France and Switzerland, this paper traces the local roots and transnational routes of this Senegalese dance and music performance and presents the “transnational social field” (Levitt and Glick-Schiller) that sabar musicians and dancers have created in Europe. It analyses the representations of Africanity, Senegality and Blackness that are shared in Sabar dances classes, and describes how diasporic artists contribute to (re)invent “traditions” in migration. In this transnational dance world, “blackness” and Africanity are not homogenous and convertible categories of identification, on the contrary, they are made of many tensions and arrangements, which allow individuals to include or exclude otherness, depending on situations and contexts.
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Dordzhieva, G. A. "Crane tunes and dances in Kalmyk traditional culture." Languages and Folklore of Indigenous Peoples of Siberia, no. 38 (2019): 33–44. http://dx.doi.org/10.25205/2312-6337-2019-2-33-44.
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The article is devoted to the documentation of music-related phenomena of the Togrun Bi (Crane dance of Kalmyks). The traditional music of Kalmyks is deeply rooted in the culture of Oirad. The new geographical and ethnic environment changed and transformed it. The most obvious shift took place in the dances and musical instruments (their organology, performing style, and tunes). At the same time, on this outskirt of the Mongolian world, some unique forms and genres have been preserved. The sources of the present research are field materials collected by author in late 1990 th in Kalmykia: non-fiarytale prose, two-string dombra tunes with singing, onomatopoeia, and round dances. The participants of Сrane praising ritual were women and children. Similar components are revealed in the ritual Togrugan biilulkhm (Force Crane to dance) and Ova täkh (a sacrifice to a host-spirit of the place). In personal stories and memoires, the mythologic idea of the curse cast by cranes made a connection to arrests, exile and other tragic events in the history of the Kalmyks in the XX century. Characteristics of Crane dances is presented in the musical notations (made by author) and their description. There are the similarities between the Kalmyk round dance with imitations of Crane movements and calls (video recording from the settlement of Yashkul) and circular dances of Evenki, Yakuts, and some other Turkic-languages peoples of Siberia. These rare elements of Kalmyk tradition trail to the regions of South Siberia and Central Asia, from where some Oirad groups brought it to Volga region.
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MARINESCU, ANGELICA. "What’s in a dance? Dalkhai: from a religious community ritual, to a pro-scenium performance." International Review of Social Research 11, no. 1 (December 14, 2021): 298–313. http://dx.doi.org/10.48154/irsr.2021.0028.
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An educational international project, initiated by a Romanian organisation, comprising folk dances from around the world, has challenged me to go deeper into understanding one of the most popular dance forms of Western Odisha, Dalkhai. Traditionally a religion-based folk dance connected to the agrarian culture of local Adivasi communities, it has been gradually developed into a cultural pattern of Odisha, Eastern India. Considering folklore as intangible cultural heritage of humanity, according to UNESCO definition, I explore the expression of this ritual-dance, in connection to the Adivasi culture, as Dalkhai is considered the goddess of fertility, initially worshipped by the tribal people/Adivasi like Mirdha, Kondha, Kuda, Gond, Binjhal, etc., but also in its recent metamorphosis into a proscenium representation. The Dalkhai dance is becoming visible and recognised at state, national and even international form of dance, while in the Adivasis communities it is noted that the ritual becomes less and less performed. Consulting the UNESCO definitions and documents on Intangible Cultural Heritage is useful for understanding how to approach a choric ritual, involving a tradition, music and dance, enhancing the importance of safeguarding cultural diversity while confronting cultural globalization. Its approach, in accordance with ‘universal cultural rights’, emancipatory politics concerning world culture and multiculturalism, opposes the disappearances and destruction of local traditions, indigenous practices. Heritage concerns the whole community, conferring an identity feeling, and supporting the transmission to the next generations, sustainable development, often involving economic stakes, becoming essential for developing the territories (Chevalier, 2000).
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Rafi, Rafi, and Herlinda Mansyur. "KOREOGRAFI TARI PIRIANG BAKENCAK DI SANGGAR TARI TUAH SAKATO KECAMATAN PAUAH KOTA PADANG." Jurnal Sendratasik 8, no. 2 (December 1, 2019): 48. http://dx.doi.org/10.24036/jsu.v8i1.106522.
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Abstract This article aims to reveal and describe the choreography of Piriang Bakencak dance at Sanggar Tuah Sakato in Kecamatan Pauh Kota Padang. This type of research is qualitative research using descriptive methods. This research instrument is self-research and assisted by supporting instruments such as stationery and cameras. Data types use primary data and secondary data. Data collection techniques are conducted by way of library studies, observations, interviews and documentation. The steps for analyzing data are data collection, data reduction, data presentation and withdrawal of conclusions. The results showed that Piriang Bakencak dance was a group-shaped creation that used the composition of the group, and was directed by a lift in the Koto Anau tradition. This Bakencak dish dance is a development of tradition with a choreography approach. In Piriang Bakencak dance There are elements of dance composition consisting of theme, motion, top design, floor design, dramatic design, music design, process, equipment and choreography group. It was concluded that Piriang Bakencak dance was directed by planning choreography by the fact. Because Piriang Bakencak dance in the start of an idea that is present from the tradition, and was directed in a form of a clear, then directed again with more new movements. Keywords: choreography, Piriang Bakencak Dance, Sakato Classes Workshops Dance
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Людмила Щур. "НАРОДНА ХОРЕОГРАФІЧНА КУЛЬТУРА ЗАХІДНОГО ПОДІЛЛЯ: ПРОБЛЕМА РЕКОНСТРУКЦІЇ ТАНЦЮВАЛЬНОЇ ТРАДИЦІЇ." Science Review, no. 10(27) (December 30, 2019): 22–28. http://dx.doi.org/10.31435/rsglobal_sr/30122019/6864.
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Due to globalization processes in the modern society there is an urgent need to preserve and develop the cultural heritage of the Ukrainian people. Today, the scientific understanding of the development of various types of Ukrainian creative activities is especially relevant. Among the variety of artistic genres, folk choreographic culture is a striking phenomenon. However, not only the government, but also scientific and educational institutions, choreographic ensembles of both professional and amateur levels should make efforts in order to preserve and develop folk choreographic traditions in the modern socio-cultural space.The problem of dance genres restoration, where the main focus is on preserving the national choreographic culture of the studied region, remains relevant today. The purpose of the article is to recreate a complete picture of functioning of folk dance art in Western Podillya in the course of its historical development and transformation. The beginning of the study of authentic Western Podillya dance genres dates back to second half of the XIX century. It indicates the way of life and style of some traditional dance genres in the territory of the studied region. In order to highlight the problem of restoration of the Western Podillya dance tradition, we briefly summarize the genre classification and its stylistic features. In order to reconstruct the dance tradition of the region, we have organized research work of the creative laboratory, which was created on the base of the Vesnyanka dance ensemble of the Ternopil Volodymyr Hnatiuk National Pedagogical University. The structural and functional model of the activity of the ensemble-laboratory of Western Podillya ethnography in the form of a graphic image developed by us consists of two main blocks.The research has shown that due to the unity of content and form, the folk choreographic culture of Western Podillya influences the formation of personality and performs certain functions of socialization.
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Rohman, Fandy Aprianto. "TAYUBAN IN SAPARAN TRADITION IN TEGALREJO SUB-DISTRICT OF ARGOMULYO DISTRICT, SALATIGA." Jantra. 14, no. 2 (December 27, 2019): 149–58. http://dx.doi.org/10.52829/jantra.v14i2.93.
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Tegalrejo is the only sub-district in Salatiga that still preserves the tayuban, a traditional dance where men dance directly with women. The dance is performed each year as the climax in the village cleansing ceremony of the Saparan festival. The tayuban, which is an important function in the ceremony, has been passed down from generation to generation is well maintained by the people of Tegalrejo sub-district. The tayuban also functions as an entertainment for the local people. This qualitative research aims to describe the tayuban and its elements. The data were collected from interviews, observation, and available documents. The research has found that the elements of the tayuban include ledhek (female dancers), pengrawit (gamelan musicians), penjanggrung (men who dance together with ledheks), and offerings.
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Sinha, Tanusri. "REFLECTION OF MUSIC & DANCE IN ANCIENT INDIAN INSCRIPTION." International Journal of Research -GRANTHAALAYAH 9, no. 4 (May 6, 2021): 375–78. http://dx.doi.org/10.29121/granthaalayah.v9.i4.2021.3875.
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The word ‘inscription’ is derived from the Latin word ‘Inscripto’ which means something that is inscribed or engraved. It was engraved on clay (terracotta), stone pillars, copper plates, walls of temples, caves, and on the surface of much other metal and also even palm leaves. Very often we’ve seen it on coins and seals. It consists of important texts or symbols that reveal crucial information and evidence of ancient kings and their empires. Music is the soul of Indian culture. Indian music has an affluent tradition with its root in Vedic time. It is said that Indian music owes its origin to the Sāma Veda. The Vedic hymns were chanted with a particular pitch and accent which are used in religious work. Dance in India also has a rich and vital tradition since the beginning of our civilization. Dances of Indi were to give symbolic expressions which are also enlightened to religious ideas. Ancient Inscriptions, Engraving of Inscription, Music, Dance, Epigraphical Evidence.