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Journal articles on the topic 'Danse du lion'
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1
Egervari, Tibor. "Enseigner l'Inenseignable ou "Les Fous Inventent les Modes et les Sages les Suivent"." Theatre Research in Canada 17, no. 1 (January 1996): 120–27. http://dx.doi.org/10.3138/tric.17.1.120.
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Il est intéressant de noter que parmi tous les arts d'interprétation, le théâtre est le seul à ne pas avoir de véritables concours ou de compétitions. Certes, il existe des festivals avec des prix, des palmarès de fin de saison dans quelques grandes villes de théâtre, mais il n'y a rien de comparable à l'influence des Oscars, de la Palme ou du Lion d'or. Encore moins y a-t-il des concours d'interprètes comme en musique ou en danse classique. La raison en est relativement simple: il y a longtemps que le théâtre a perdu toute communauté de codes, seul instrument pouvant permettre des comparaisons justes et équitables. Or, comme l'enseignement est essentiellement une transmission de savoir, ou de savoir-faire, organisée autour de codes, l'enseignement théâtral de ce siècle a été fortement marqué par cette absence. Plus affecté que tout le reste par cet état de choses, l'enseignement de la mise en scène demeure constamment empêtré dans des débats idéologiques. Afin de démêler un peu l'écheveau je vais consacrer quelques lignes à l'évolution générale de l'enseignement théâtral.
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Mazéas, Dominique, and Claire Nioche. "Regards partagés sur l’émergence du lien par la danse." Recherches en psychanalyse N° 35/36, no. 1/2 (April 5, 2024): 118–32. http://dx.doi.org/10.3917/rep2.035.36.0118.
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La proposition d’une médiation danse pour de jeunes enfants autistes et leurs parents reçus en groupes multifamiliaux sert d’appui à une réflexion sur la valeur de l’expérience subjective et esthétique dans une démarche thérapeutique, mais aussi de recherche. Le dispositif (EtuDanse) qui en découle, permet un croisement des regards (des danseurs, d’observateurs et de chercheurs cliniciens) et une attention particulière à la potentialité heuristique des émotions esthétiques partagées dans l’appréhension des processus archaïques qui se déploient dans la rencontre dansée. Ces processus archaïques, à la fois éprouvés dans le mouvement dansé improvisé et mis en lumière par une narrativité spécifique issue de l’observation, rendent plus intelligible l’émergence des représentations spatiales et corporelles qui favorisent les échanges intersubjectifs des enfants avec leur environnement.
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Chang, Long Qiang, and Shi Ming Shen. "The Study on the Development and Innovation of Equipment Materials Used for China Competitive Dragon Lion Dance Sports." Applied Mechanics and Materials 253-255 (December 2012): 451–55. http://dx.doi.org/10.4028/www.scientific.net/amm.253-255.451.
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The development of competitive Dragon and Lion Dance movement promotes the innovation of its equipment materials in return, so applicable and practical equipment is the basis for the development of competitive Dragon and Lion Dance sport. However, with the rapid development of sports Dragon and Lion Dance movement, its used equipment has seriously lagged behind in technological development. Some equipment is not easy to handle, some can’t be reused and even lead to injury in athletes or other problems. Therefore, based on the research into the development and innovation of new materials with the method of the expert interview、questionnaire and visit investigation, a set of perfect ideas on selecting competitive Dragon and Lion Dance sports equipment are formed preliminarily. The writer hopes for providing a theoretical reference for the Dragon Lion Dance Competition Organizing Committee, the Dragon and Lion Dance teams and coaches, which promotes the further development of Dragon and Lion Dance movement.
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Santarpia, A., E. Brabant, E. Jauffret, J. L. Mouysset, and A. Menicacci. "Effets revitalisants de la Danse Mouvement Thérapie dans la remission du cancer du sein." Psycho-Oncologie 13, no. 3-4 (December 2019): 191–201. http://dx.doi.org/10.3166/pson-2019-0107.
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Objectif : Cette étude qualitative vise à décrire les effets revitalisants d’un protocole de Danse Mouvement Thérapie chez une patiente en rémission d’un cancer du sein, Mme Magnolia (66 ans). Matériel et méthodes : Mme Magnolia participe à un atelier de Danse Mouvement Thérapie composé de dix moments d’expérience corporelle. Nous utilisons d’abord le logiciel T-LAB Plus 2018 (version 4.0.2.7) pour le calcul des associations de mots lemmatisés (cooccurrences) ensuite une interprétation de la narration selon l’approche de Carl Gustav Jung et de Rollo May. Résultats : La narration de Mme Magnolia peut s’organiser à travers cinq catégories d’expériences corporelles impliquant l’activation de l’archétype du Puer Aeternus ou Enfant divin. Plus précisément, nous avons identifié : « L’effort et le courage de se jeter et s’ouvrir au monde », « Renouer avec le corps et ressentir son éveil », « La mise entre parenthèses de la maladie, générant un sentiment de liberté », « Le plaisir de danser en lien avec un sentiment d’être acceptée », « Le plaisir de danser en lien à l’évocation nostalgique d’un temps lointain ». Conclusion : Nous pensons que « le travail psychique avec la Danse Mouvement Thérapie » peut non seulement éloigner le patient du fardeau de la maladie (symptômes, plaintes, gènes et douleurs physiques), mais aussi générer des expériences corporelles revitalisantes (sensation de liberté physique, éveil psychocorporel, sentiments d’ouverture au monde) et une narration riche d’éléments symboliques.
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Beaudet, Jean-Michel. "Le lien. Sur une danse des Wayãpi (Amazonie)." Protée 29, no. 2 (April 12, 2005): 59–66. http://dx.doi.org/10.7202/030626ar.
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Ce texte propose une description et une analyse simple d’une danse amazonienne. Les Wayãpi, peuple du plateau des Guyanes, ne mettent en oeuvre que des danses collectives, où les danseurs sont en même temps instrumentistes et chanteurs. Dans cette danse en chaîne, où les interprètes se tiennent par l’épaule, le rythme semble se fonder sur le souffle commun plutôt que sur une pulsation préétablie. Enfin, ce souffle commun ne semble être possible, ne réussir que si les hommes, qui jouent des instruments à vent, prennent appui sur leur « cavalière » pour respirer. Ainsi, cette présentation tente de comprendre comment cette forme musicochorégraphique associe les différences (individuelles, de sexe, etc.), la posture respiratoire et le mouvement d’ensemble.
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Zhan, Sudan, and Wan Jamarul Imran Wan Abdullah Thani. "EMBRACING TRADITIONS AND INNOVATIONS OF SUIXI LION HEADS IN LION DANCE PERFORMANCES IN CHINA." International Journal of Applied and Creative Arts 6, no. 1 (June 30, 2023): 65–90. http://dx.doi.org/10.33736/ijaca.5663.2023.
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This study investigates the incorporation of traditions and innovations in the use of Suixi Lion Heads in lion dance performances in China. Suixi Lion Heads are a form of folk art that has been passed down through generations, and their design incorporates new elements while still maintaining their traditional essence. Through an analysis of the visual symbols and production process of Suixi Lion Heads, this study explores how the balance between tradition and innovation has contributed to their popularity and success in lion dance performances. The simplified production process of Suixi Lion Heads allows for faster and more cost-effective production, resulting in streamlined designs that are better suited to contemporary aesthetics and market demands. Furthermore, this study highlights the importance of promoting and developing Suixi Lion Head culture through lion dance performances, which can facilitate the preservation and evolution of the tradition. By embracing both traditions and innovations, Suixi Lion Heads continue to play a vital role in the cultural heritage of China, providing a link between the past and the present in lion dance performances.
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Auriac-Slusarczyk, Emmanuèle, and Maya Corman. "Faire danser les écoliers : comment ? Pourquoi ?" Enfances & Psy N° 98, no. 4 (December 7, 2023): 91–100. http://dx.doi.org/10.3917/ep.098.0091.
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L’école, lieu d’instruction, conjugue l’éducation à l’élan d’émancipation favorisant le développement de l’enfant : intellectuel, social, affectif, émotionnel, physique/moteur . Les humanités défendues et soutenues par la nouvelle bureaucratie scolaire installent des compétences aux termes suspects : projet, inclusion, bienveillance, éducation positive. Ces humanités pourraient être étouffées sous de belles intentions. Déclarer la danse en son mouvement utile aux enfants, aussi important qu’il paraisse, impose d’en examiner les conditions pédagogiques. Loin de vouloir imposer une énième normalité contre-productive, nous exposerons comment l’alliance de l’instruction et de la danse oblige à une formation pédagogique dépassant l’enseignement des « arts ». Psychologue et psycholinguiste, en appui sur des expériences personnelles de danseuses amateures impactées par la dérive sectaire de la danse-thérapie, nous proposons une réflexion pour que les écoliers jouissent non du simple adjuvant de danse mais occupent l’espace de mouvement dansé en lien avec eux-mêmes.
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Irsyadi, Muammar, and Yully Ambarsih Ekawardhani. "Sign Reading of the Meaning of Shape and Color in the Lion Dance." ARTic 6, no. 1 (December 21, 2023): 559–69. http://dx.doi.org/10.34010/artic.v6i1.9909.
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One of the foreign artistic and cultural heritages that has become part of Indonesian culture, namely the lunar New Year celebration where there is a tradition of Barongsai dance performances. Barongsai is an animal found in Chinese mythology that resembles a lion and has two forms, the Northern Lion and the Southern Lion. Each form has a different meaning based on its visual elements. This research on the lion dance raises the issue of how to read the visual elements in the lion dance, both in terms of the shape and color of the lion dance. The purpose of this research is to identify the meaning content in the visual elements of the lion dance, namely through shape and color so that the meaning of the lion dance can be known. Qualitative methods are used in this research and in color analysis using the Chairunnisak and Choirul color sign study method in analyzing color meaning. Observation, interviews, and literature were used to obtain data. The results of the analysis of the meaning of shape and color in Barongsai, found the same meaning, namely stability, courage, excellence, strength, leadership, wisdom, justice, knowledge, enthusiasm, longevity, women, charm, welfare, luck, cheerfulness, happiness, health, black and white colors also have the meaning of death. the results of the study are expected to be useful for other researchers in researching Barongsai in the future.
Keywords: Barongsai; Culture; Imlek; Visual; Color; Lunar year
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Li, Dongbiao, and Narantsatsral Delgerkhuu. "Exploring the Application of Digital Technology in the Protection and Dissemination of Intangible Cultural Heritage of Dragon and Lion Dance Sports." Journal of Global Humanities and Social Sciences 6, no. 1 (January 24, 2025): 22–27. https://doi.org/10.61360/bonighss252017600104.
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With the rapid development of digital technology, the time is ripe for digital technology to be integrated into the protection and transmission of intangible cultural heritage of dragon and lion dance sports (dragon and lion dance). This paper discusses the application paths of digital technology in the protection and dissemination of dragon and lion dance, including the construction of a digital system, the establishment of a digital cultural archive, the construction of a digital display platform, the development of intangible cultural heritage online courses and the promotion of digital innovation. These paths are aimed at accurately recording and preserving dragon and lion dance skills through high-tech means, broadening dissemination channels, enhancing interactive cultural experiences, and promoting international dissemination. The integration of digital technology not only provides a new means for the protection of dragon and lion dance, but also injects new vitality into its inheritance and development, which is of great significance for the promotion of Chinese outstanding traditional culture.
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Li- Yuan Cheng, Liang- Teng Wu, and Joyce Say. "The comparison between emotional and informational support: A case study of Shiou Faction in Taiwan." World Journal of Advanced Research and Reviews 15, no. 1 (July 30, 2022): 239–45. http://dx.doi.org/10.30574/wjarr.2022.15.1.0687.
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Lion dance represented carrying favorable luck to individuals. After the patriot government moved to Taiwan, the inhabitants of the Guangdong Province brought the neighborhood originalities of society exercises (Lion dance) back to Taiwan. Endlessly had effectively opened up the exposure had coordinated a Shiou Faction Lion Dance bunch in Taiwan. By underlining individuals situated advancement, which will cover subjects of social mental learning hypothesis and the four parts of social help. Figuring out how much thickness the people cooperate with one another's, with the assistance of interpersonal organization investigation and chart. The object is to figure out which social help can lead the gathering to be fortitude, and which backing is awesome for the Shiou Faction Lion Dance association.
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Zhan, Sudan, and Wan Jamarul Imran Bin Wan Abdullah Thani. "Conveying Spirit Through Form: An Exploration on the Shape Symbols of Foshan Awakening Lion Head." Art and Society 3, no. 1 (February 2024): 89–100. http://dx.doi.org/10.56397/as.2024.02.08.
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This study begins by focusing on the shape elements of the Foshan lion head, aiming to understand the unique design symbols and cultural significance of the vibrantly colored Foshan Awakening Lion. The research delves into the distinct features of the Foshan lion head, examining its role as a confluence of historical heritage, regional characteristics, and folk beliefs. Through an analysis of various visual elements of the lion head, such as size, shape, and decorative patterns, the study unveils the embedded cultural narratives and historical significances. Additionally, this research discusses the evolution of these elements within the Foshan lion dance culture, highlighting their importance in the preservation and development of Southern Chinese lion dance traditions. The findings of this research contribute to a deeper understanding of the artistic value and cultural implications of the Foshan lion head. This work is of significant importance for the preservation of cultural heritage in the Foshan region and provides theoretical support for the research and inheritance of Southern Chinese lion dance culture. By offering a comprehensive cultural interpretation of the Foshan lion head’s stylistic features, this study enhances the reader’s understanding of its role and significance in the traditional culture of the Foshan area, offering valuable insights and directions for future research and practices in related cultural fields.
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Ieamkaew, Chiraphan, Supachai Singyabuth, and Ourarom Chantamala. "Maintaining Ethnicity and Social Networks: Engkor Lorgow, Lion, Dragon Dance, Performing Arts of the Chinese Ethnic Group in Udonthani Province." Academic Journal of Interdisciplinary Studies 9, no. 6 (November 19, 2020): 69. http://dx.doi.org/10.36941/ajis-2020-0112.
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The research titled “Maintaining Ethnicity and Social Networks: Engkor Lorgow, Lion, Dragon Dance Performing Arts of the Chinese Ethnic Group in Udonthani Province” was qualitative research that emphasized on investigated and collected data from the field study, document, and related research and presented in descriptive analysis, particularly at Thung Si Muang Annual Festival in 2018. The objectives of the study consisted of three criteria: 1) to study of the development of the Chinese ethnic group in Udonthani, 2) to analyze the role of the Engkor Lorgow, Lion, Dragon Dance Performing Arts in maintaining ethnicity and social network of Chinese ethnic group in Udonthani, and 3) to analyze how the culture of Engkor Lorgow, Lion, Dragon Dance Performing Arts helped created social group between Chinese ethnic group and the local people in Udonthani. The study results found that the Engkor Lorgow, Lion, Dragon Dance was part of the ritual at Chao Pu-Ya shrine. The Chinese ethnic group worked together on the ceremony by holding the Chinese Opera to show the belief and faith of traditional Chinese culture and to gather all Chinese together to maintain their ethnicity and create social networks with one another. Chinese Operas were held annually in Thung Si Muang, Udonthani province, Thailand, and had adapted the Engkor Lorgow, Lion, Dragon Dance to be more spectacular and fit in with social contexts in Udonthani. The dance was promoted to be one of the provincial identities and played an important role in tourism in Udonthani. Thus, the Engkor Lorgow, Lion, Dragon Dance has been a ritual that helped assemble and created social networks between the Chinese ethnic group and other ethnic groups in Udonthani province.
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Riyadi, Riyadi, Eko Satriya Hermawan, Musa Pelu, and Guntur Arie Wibowo. "REAKTULISASI DAN PENGEMBANGAN MODEL PELESTARIAN BARONGSAI SEBAGAI MODAL SOSIAL HARMONI MULTIETNIS DI SURAKARTA." SEUNEUBOK LADA: Jurnal ilmu-ilmu Sejarah, Sosial, Budaya dan Kependidikan 9, no. 2 (October 12, 2022): 243–54. http://dx.doi.org/10.33059/jsnbl.v10i2.6361.
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The problem that arises in this research is how to make a pattern in the form of a prototype / model of lion dance so that it is always present not only in annual rituals such as Chinese New Year, but can live throughout the year by optimizing the lion dance for the benefit of rituals, rituals, tourism, entertainment, and sports. sports, considering that most of the players are Javanese so that Javanese and Chinese can blend naturally within the framework of multicultural life, which is achieved by the development of one of the Chinese cultures, especially the performing arts of Barongsai which is expected to be able to improve the economy of the people of Surakarta in the tourism sector (ecotourism). From the problems above, the following questions can be formulated: First, to what extent is the lion dance developed outside the interests of traditional rituals?; Second, to what extent is the appreciation of the public and the government for using the lion dance in various interests?; Third, how to formulate a development model that allows accommodation of the lion dance function as a ritual, tourism, entertainment, and sport, in an integrated manner?; and Fourth, how are stakeholder and stakeholder responses that can be done in FGD and expert judgment. With strong multicultural social stability, various positive impacts in the economic and cultural tourism fields can be formed. In the development of the lion dance performance, it is very important to develop synergistically the integration of Ritual, Tourism, Entertainment, and Sports.
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Mazéas, Dominique. "La médiation danse parents-enfants autistes : un « chant-et-danse »… et regards." Enfances & Psy N° 98, no. 4 (December 7, 2023): 113–24. http://dx.doi.org/10.3917/ep.098.0113.
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En prenant appui sur le dispositif clinique et de recherche EtuDanse, cet article tente de préciser la place et la fonction d’un observateur dans un groupe à médiation danse avec de jeunes enfants autistes et leurs parents. Observer la danse d’enfants qui n’ont pas encore accès à des représentations corporelles et spatiales stables suscite un travail spécifique du regard. Il s’y déploie une réceptivité aux résonances émotionnelles et esthétiques qui apparaissent entre les mouvements des danseurs. Cette réceptivité aide en retour les participants à se représenter les expériences qu’ils traversent. L’observation de ce type de groupe révèle aussi combien les enfants observent eux-mêmes avant de danser. Elle aide à comprendre comment l’échange des regards est soutenu par la composition de traces de mouvements en chacun des partenaires du lien.
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Olivia, Olivia, ShuiQing Zhu, and ShuiQing Zhu. "印尼泗水黄龙体育会龙狮队的发展研究." KLAUSA (Kajian Linguistik, Pembelajaran Bahasa, dan Sastra) 6, no. 1 (September 19, 2022): 73–84. http://dx.doi.org/10.33479/klausa.v6i01.512.
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【摘要】舞狮是源自中国的一种民间艺术活动，其形成经历了漫长的历史过程，慢慢成为了一种独特的中国传统文化。这种文化在中国得到广泛的传播，后随着华人移民到世界各地，舞狮活动也被带入，可以说是有华人的地方就有舞狮。而印度尼西亚作为一个拥有大量华人移民的国家，舞狮活动也在本国传播，舞狮活动在传播中结合吸收了当地的文化，有自己的特色，成为了印尼文化的组成部分。本文以泗水黄龙体育会舞狮团队研究对象，采用了访谈和文献研究方法，从舞狮的起源、表演动作、表演流程等对其进行了研究。研究表明：黄龙体育会舞狮团队自1978年成立到现在，经历了“新持序”时期，宗教改革，舞狮队从队员血统、舞狮仪式、训练方法到舞狮的功能都发生了很大的变化。
【关键词】舞狮，民间活动，黄龙体育会舞狮团队，印尼，泗水
Abstract
The lion dance is a kind of folk art activity originated from China. Its formation has gone through a long historical process and has gradually become a unique Chinese traditional culture. This kind of culture has been widely spread in China. Later, as Chinese emigrated to all over the world, lion dance activities were also brought in. It can be said that there is lion dance where there are Chinese. As a country with a large number of Chinese immigrants in Indonesia, lion dance activities are also spread in the country. The lion dance activities incorporate local culture in the spread, have their own characteristics, and become an integral part of Indonesian culture. This article uses the research object of the lion dance team of the “Surya Naga” Sports Club in Surabaya, using interviews and literature research methods to study the lion dance's origin, performance, and performance process. Studies have shown that since the establishment of the Lion Dance Team of the “Surya Naga” Sports Club in 1978, it has gone through the "new order" period and religious reform. The lion dance team has experienced a lot of changes from the blood of the members, the lion dance ceremony, the training method to the function of the lion dance already had a big change.
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Sudan, Zhan, and Wan Jamarul Imran Wan Abdullah Thani. "A Study on the Colour Elements and Symbols of Foshan Awakening Lion Head." International Journal of Art and Design 8, no. 2 (July 10, 2024): 32–41. http://dx.doi.org/10.24191/ijad.v8i2.1960.
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This paper studies the colour symbolism of the Foshan awakening lion head, a key element of Foshan’s cultural heritage and the lion dance. The lion head’s colours are closely tied to the region’s history, culture, and community beliefs. The study examines various colours and their meanings, exploring how they contribute to the lion head’s visual and symbolic impact. Using qualitative methods, including literature reviews, artisan interviews, and field observations, the research looks at traditional and evolving colour schemes in Foshan Awakening Lion Heads. The findings show that each colour and pattern holds specific cultural significance, symbolising values like auspiciousness and prosperity. The paper stresses the importance of preserving these colour symbols to maintain the cultural identity of the Foshan lion dance, while also recognising the need for respectful evolution in response to contemporary tastes.
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Chen, Liangjun, Yuhang Liu, Tao Zuo, Tongyu Meng, Yang Xu, Pei Luo, and Mingyuan Huang. "Teaching Practice of Dragon and Lion Dance in Colleges and Universities with the Support of Big Data Technology." Wireless Communications and Mobile Computing 2022 (August 12, 2022): 1–10. http://dx.doi.org/10.1155/2022/4733795.
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Colleges and universities are an important part of China’s higher education. They undertake the important task of cultivating talents and are an important part of the construction of a harmonious society. Building a harmonious campus is not only the cornerstone of building a harmonious society but also the internal need to promote the comprehensive, coordinated, and sustainable development of various undertakings in colleges and universities, but also an important goal of the construction, reform, and development of colleges and universities. Therefore, building a harmonious campus has become a new task for colleges and universities, and the construction of harmonious campus culture is the core content of building a harmonious campus. Dragon and lion dance, which originated in China, is a nationally unique art form and deeply contains broad Chinese traditional culture. Studying the role of dragon and lion dance in promoting the construction of harmonious campus culture in colleges and universities will help to strengthen the school’s sports work and enhance national unity, so as to promote the construction of a harmonious campus. Firstly, combined with the characteristics of dragon and lion dance practice, this paper expounds on the development value and strategy of dragon and lion dance in colleges and universities. Then, with the support of big data, the teaching of dragon and lion dance in colleges and universities was studied. An improved depth neural network is used to analyze the data using deep neural mapping support vector machine (DNMSVM) and cross-connected convolutional network. Simulation experiments verify the effectiveness of the model and promote the promotion and popularization of the dragon and lion dance in colleges and universities.
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Xu, Danlei, Peera Phanlukthao, and Yihan Ke. "Cultural Identity of Guangdong Lion Dance in Chinese Intangible Cultural Heritage Through Anthropological Perspectives." International Journal of Sociologies and Anthropologies Science Reviews 4, no. 4 (August 23, 2024): 391–400. http://dx.doi.org/10.60027/ijsasr.2024.4511.
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Background and Aims: This study delves into the cultural identity of the Guangdong Lion Dance within the context of Chinese intangible cultural heritage, employing anthropological perspectives to unravel its significance and impact. The aim is to explore and analyze the Guangdong Lion dance's cultural identity in intangible Chinese cultural heritage through anthropological perspectives. Materials and Methods: Employing qualitative approaches, including surveys, interviews, and thematic analysis. A structured interview was designed to gather data on participants' demographics, exposure to the Lion Dance, perceptions of cultural identity, and attitudes toward intangible cultural heritage preservation. Participant selection involved recruiting individuals from Guangdong communities with diverse backgrounds, ensuring representation across age groups, genders, and socio-economic statuses. Results: Reveal the deep historical roots and cultural significance of the Guangdong Lion Dance, highlighting its role as a symbolic representation of auspiciousness, prosperity, and communal unity. Despite facing challenges such as modernization and commercialization, the Lion Dance remains adaptable and relevant in contemporary contexts, showcasing its dynamic evolution and enduring resonance within Chinese cultural heritage. Conclusion: This study contributes valuable insights into the complexities surrounding the Guangdong Lion Dance's cultural identity, emphasizing the need for sustainable preservation strategies, enhanced community engagement, and education initiatives. A significant Chinese intangible cultural heritage requires enhanced preservation efforts through collaboration with local authorities, institutions, scholars, and practitioners and global awareness through cultural exchange programs.
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Gao, Songyue. "Cross-century, Together with the Lions Journey: A Case Study of Lion Dance Practice in Wuzhou, Tengxian Secondary School." Communications in Humanities Research 8, no. 1 (October 31, 2023): 120–30. http://dx.doi.org/10.54254/2753-7064/8/20230980.
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As a traditional Chinese folk art that often appears during important festivals or commercial activities, the cultural value and influence of the lion dance is very far-reaching. In the past 20 years, with the rapid development of society, the protection and inheritance of traditional Chinese culture have become a top priority on the road to preserving historical memory, and the lion dance culture popular in southern China and Southeast Asia, like many other traditional Chinese cultures, is facing the challenge of how to continue passing on. By reviewing the materials, this study learned that there is a lion dance cultural hall in Wuzhou, Guangxi, which has a history of nearly 200 years - Bilin Tang, which has received the support of the Wuzhou Municipal Government to deliberately establish the first professional lion dance major in the Tengxian Secondary School. Out of a desire to gain a clearer understanding of the current status of the preservation and inheritance of this traditional Chinese culture, the author finally contacted Mr. Zhong Dao Ren, the current director of Bilin Tang, and with his support, the author went to Tengxian Secondary School to interview in person. The author communicated with Mr. Deng and the students of the lion dance troupe and obtained a lot of valuable information and materials. Meanwhile, the author conducted more in-depth research under the guidance of Professor Bradd Shore at Emory University, resulting in this paper. The inheritance of the lion dance culture encounters not only the problems of funding, government support, and motivation for an inheritance but also the problem of how to make the inheritance of traditional Chinese culture and the development of the trend of the times mutually integrate into the current social context. To avoid the extinction of traditional Chinese folk art like the Southern Lion culture, it is necessary to attract more attention and resonate the interest of young people in such culture. Only the organic integration of traditional culture with modern elements can be an effective means for the long-term survival of traditional Chinese culture.
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Back, Hyun-soon. "The Lion Dance and Meaning of the Dance in Bukcheong Lion Play." Journal of International Culture & Arts 5, no. 1 (August 30, 2023): 81–91. http://dx.doi.org/10.46506/jica.2024.5.1.081.
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Li, Dongbiao, and Narantsatsral Delgerkhuu. "A Study on the Impact of Dragon and Lion Dance Instruction on Adolescents' Awareness of Intangible Cultural Heritage in Sports." Contemporary Education and Teaching Research 6, no. 1 (January 24, 2025): 22–27. https://doi.org/10.61360/bonicetr252017520105.
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As a sports non-heritage program, dragon and lion dance is of great significance to the youth's recognition and inheritance of sports culture. This paper analyzes the influence of dragon and lion dance teaching on the youth's knowledge of non-heritage sports. It reveals its positive role in enhancing cultural cognition, promoting the development of sports skills, cultivating social skills, and stimulating the awareness of inheritance and innovation. To promote the popularization and development of the dragon and lion dance among young people, we can build an all-round and multi-level teaching and practice system by focusing on policy leadership, teacher training, teaching mode innovation, social support, and cooperation. The implementation of these strategies can not only enrich the sports and cultural life of young people, enhance their physical quality and cultural self-confidence, but also effectively promote the living inheritance of sports non-heritage culture, and inject youthful vigor into the promotion and development of Chinese outstanding traditional culture. The teaching of dragon and lion dance, as a link between the past and the future, has inestimable value for the comprehensive development of youth and cultural heritage.
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De Hertogh, A. A., and M. Tilley. "Planting Medium Effects on Forced Swaziland- and Dutch-grown Hippeastrum Hybrids." HortScience 26, no. 9 (September 1991): 1168–70. http://dx.doi.org/10.21273/hortsci.26.9.1168.
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The Swaziland-grown Hippeastrum bulbs `Summertime' and `Sun Dance' reached the market and flowering stages of development in fewer days than the Dutch-grown bulbs `Apple Blossom' and `Red Lion'. `Sun Dance' was the quickest flower and `Red Lion' the slowest. The effects of the planting medium on days to market and flowering were variable and no medium appeared to be the best for this criterion. `Summertime' and `Red Lion' produced longer leaves at flowering than `Apple Blossom' and `Sun Dance'. Three media that led to the production of the longest leaves, a desirable trait, were: Sunshine no. 4, Fafard 3-B, and Sunshine Post-Harvest. `Apple Blossom' was the tallest cultivar followed by `Sun Dance', `Red Lion', and `Summertime'. Effects of the planting medium on total plant height were variable. The overall plant quality ratings for use as potted plants ranged from 3.4 to 3.8 out of 4 for `Summertime', `Sun Dance', and `Red Lion'. `Apple Blossom' was rated 3.0 because it was tall and had short leaves. It would be suitable as a cut flower. Regardless of the planting medium used, `Apple Blossom' lost the greatest amount of old basal roots. Consequently, it produced many new basal roots. The planting medium had variable effects on old and new basal roots and secondary root growth, depending on the cultivar. Based on all the flowering criteria and the rooting responses, the best media for all cultivars as potted plants were Fafard 3-B and Sunshine Mix no. 4. Fafard no. 2 was best for cut-flower usage since it produced taller plants with a good root system.
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Scarpulla, Mattia. "Archives, danse1 et recréation. Une introduction2." Archives 46, no. 1 (March 22, 2016): 15–34. http://dx.doi.org/10.7202/1035720ar.
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Dans son article, Mattia Scarpulla s’intéresse aux archives courantes et historiques du milieu professionnel de la danse qu’il nous décrit à travers les fonctions de transmission et de diffusion. Les archives administratives de ce milieu prennent différentes formes et sont autant de moyens de transmission, que ce soit lors de la création de la chorégraphie, de sa représentation ou encore de sa recréation. Le document d’archives, ainsi transmis, est porteur de la mémoire de la danse et du potentiel créatif des oeuvres. L’auteur explique qu’à la base de la mémoire de la danse, il y a sa disparition, d’où la nécessité de la conserver pour une nouvelle création. Quant aux archives historiques du domaine, elles possèdent également ce fort potentiel créatif qui se manifeste, entre autres, par la diffusion d’archives qui deviennent des oeuvres en elles-mêmes.Scarpulla nous présente trois institutions vouées à la conservation de ces archives, chacune possédant ses propres enjeux et approches, soit la bibliothèque de la danse Vincent-Warren, le Centre national de la danse et le Musée de la danse, situé à Rennes. Par ces exemples, l’auteur évoque la question des archives en lien avec la nécessité de produire de nouvelles mémoires, de nouvelles danses et aborde des sujets tels que le pouvoir de dire, les enjeux politiques institutionnels et les enjeux personnels propres à ce milieu. Ces derniers aspects sont des ouvertures vers des considérations sur la production d’archives, en tenant compte du facteur humain et créatif à la base d’un choix ou d’une action.
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Stella, Lucia. "Chorégraphies de la rencontre primordiale « accordansant – corps liant »." Enfances & Psy N° 98, no. 4 (December 7, 2023): 137–49. http://dx.doi.org/10.3917/ep.098.0137.
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Cet article veut questionner la place de la danse dans un service de périnatalité. Dans quelle mesure la danse peut-elle créer du lien ? Comment peut-elle soutenir la création d’un lien suffisamment adéquat entre la mère et le bébé ? Dans quelle mesure peut-elle soutenir la création d’une chorégraphie de la rencontre primordiale ? À partir de notre recherche doctorale, fondée sur l’articulation entre danse, psychanalyse et clinique de la périnatalité, nous essayerons d’étudier ces questionnements en nous appuyant sur l’étude d’une dyade qui a participé à « Accordanse », un dispositif de soin et de recherche médiatisé par la danse et accueillant des mères et leur bébé.
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Irsyadi, Muammar, and Yully Ambarsih Ekawardhani. "Barongsai Form and Color at the Cap Go Meh Festival in Singkawang City." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 6 (March 31, 2023): 584–90. http://dx.doi.org/10.34010/icobest.v4i.432.
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The aim of this study is to identify the significance of the visual elements of the Barongsai In Singkawang City, West Kalimantan during the Cap Go Meh festival. Qualitative methodologies were used to perform research on the Barongsai visual aspects. Observation, interviews, and documentation are used to acquire data. Due to the predominantly Chinese population, Singkawang City is also known as Amoy City. One of the inherited legacies of art and culture in Singkawang City that is still being preserved today is the Barongsai Dancing Art, which can be seen at the annual Chinese New Year celebrations planned by the Chinese community. According to research, the Barongsai is a mythical animal from Chinese mythology that resembles a lion and comes in two forms: the North Lion and the South Lion. Each form has a distinct meaning based on the visual elements it has. The findings of this study can help comprehend how each Lion Dance performed at the Cap Go Meh festival differs from one another in order to show respect for one of Indonesia's cultural traditions. This study was conducted in the hopes that it will be useful to researchers who study lion dances in the future. It can be concluded that the visual components of the lion dance are created by paying attention to their beauty as well as considering every meaning that will be associated with them.
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Dongdong, Chen, and Anastasіia Bondar. "POPULARIZATION OF CHINESE NATIONAL TRADITIONAL KINDS OF SPORTS." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 6(151) (June 29, 2022): 9–13. http://dx.doi.org/10.31392/npu-nc.series15.2022.6(151).01.
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The article analyzes the problem of popularization of Chinese national traditional kinds of sports. The purpose of the study was to determine ways to promote national traditional sports. The research involved 322 respondents, including 271 ordinary Chinese citizens (Hainan Province) and 51 professionals in physical education, i.e. athletes and coaches involved in the development of Chinese national traditional kinds of sports. The average age of respondents was 25 years.
The following methods were used during the study: theoretical analysis and generalization of scientific literature, document analysis, system analysis, sociological survey, methods of mathematical data processing.
One of the most popular and world-famous Chinese national traditional kind of sports is the Dragon and Lion dance, which is recognized as an official kind of sports for the transformation from a national dance to a competitive activity. More than 60% of respondents, athletes, coaches and ordinary citizens assess the popularity of Dragon and Lion dance in the country above average, which indicates its public recognition and commitment to it by citizens. Most respondents consider it as a symbol of traditional holidays. 72.5% of respondents like this kind of sports. About 44% of physical culture specialists, athletes and trainers consider the main advantage of Dragon and Lion dance to improve the festive atmosphere, and only 25% of them consider that its fitness function is important. Only 36% of the respondents highly appreciate the function that shows a very low level of public awareness of the positive impact of Dragon and Lion dancing on the human body. Most respondents believe that the Dragon and Lion dance should be spread in China and abroad (33% of professionals in physical education, athletes, coaches, and 67.8% of citizens), the main sources of information about this kind of sports is media, according to the idea of the most part of respondents.
So the main ways to popularize national traditional kinds of sports are identified as the formation of appropriate public policy, effective marketing, introduction in educational institutions and campuses, raising public awareness through the media (especially the Internet); dissemination among rural residents, combining innovative elements of the competition program with traditional ones, improving the system of international and national competitions.
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Avaunt, Casey. "The Lion Dance in Boston’s Chinatown." Theatre Symposium 29, no. 1 (2022): 73–85. http://dx.doi.org/10.1353/tsy.2022.0006.
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Ying, Loo Fung, and Loo Fung Chiat. "Dramatizing 1Malaysia in Contemporary Chinese Lion Dance." Asian Theatre Journal 33, no. 1 (2016): 130–50. http://dx.doi.org/10.1353/atj.2016.0008.
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Fournier, Marion. "Le cheveu dénoué chez Pina Bausch. Mutation d’une transgression esthétique." Allemagne d'aujourd'hui N° 245, no. 3 (September 28, 2023): 129–42. http://dx.doi.org/10.3917/all.245.0129.
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L’article explore l’importance des cheveux dans l’œuvre de la chorégraphe allemande Pina Bausch (1940-2009) et leur interprétation dans la réception critique. Pina Bausch, connue pour avoir développé le Tanztheater , a opté pour une utilisation des cheveux de ses danseuses allant souvent à l’encontre des normes sociales établies. Dans les années 1970, elle faisait danser ses danseuses les cheveux lâchés, rompant avec un code traditionnel provenant de la danse classique. Les cheveux détachés étaient associés à la liberté, à l’authenticité et à l’individualité du corps, en opposition aux normes de contrôle de la coiffure. Au fil des décennies, le motif des cheveux détachés a évolué, mais est resté transgressif, remettant en question des canons de beauté contemporains. À l’aube des années 2000, les cheveux longs et disciplinés étaient devenus obligatoires pour les danseuses de la compagnie. Les critiques de danse ont comparé cette esthétique capillaire à celle des publicités pour les shampoings. L’article examine la nature et l’intensité du lien entre l’imagerie des cheveux dans les œuvres de Pina Bausch et celle diffusée dans la publicité, reflet de discours sociaux portés sur le corps. Au Tanztheater , la liberté de manipuler ses cheveux n’était pas autorisée, ce qui contrastait avec la tendance en vigueur qui poussait à choisir à sa guise la longueur, la coupe, la couleur de sa chevelure. Malgré les changements de normes esthétiques dans la société, Pina Bausch a maintenu son caractère transgressif en utilisant les cheveux comme moyen de sculpter un imaginaire du corps.
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Kárpáti, János. "Music of the Lion Dance in Japanese Tradition." Studia Musicologica Academiae Scientiarum Hungaricae 41, no. 1 (June 1, 2000): 107–17. http://dx.doi.org/10.1556/smus.41.2000.1-3.4.
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Lei, WANG, and MEI Lin-qi. "Modernization Transformation and Cultural Adaptation of Lion Dance." Leisure Sports and Health 3, no. 2 (2023): 32–36. http://dx.doi.org/10.35534/lsh.0302006.
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McGuire, Colin. "Constructing and Negotiating Chinese Cultural Identity in Diaspora Through Music and Martial Arts." Intersections 38, no. 1-2 (September 28, 2020): 105–19. http://dx.doi.org/10.7202/1071676ar.
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The Hong Luck Kung Fu Club has been a fixture of Toronto’s Chinatown for over fifty years. Its curriculum includes not only self-defence skills, but also percussion music for accompanying martial arts demonstrations and lion dancing. Hong Luck’s blurred genre is a tool for preserving, transmitting, and promoting culture. At the same time, practitioners negotiate their identities in diverse ways. I thus interpret kung fu as a flexible, embodied practice whose purview extends beyond physical combat. Based on fieldwork at Hong Luck, this article uses cognitive semantics and phenomenology to demonstrate that kung fu, lion dance, and percussion help (re)construct Chinese identities emergently and strategically.
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Barton, Jintana T. "A Comparative Study of Chinese Musical Activities in Chinese and Thai Cultural Contexts." MANUSYA 10, no. 2 (2007): 1–13. http://dx.doi.org/10.1163/26659077-01002001.
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This research explores the influence of Chinese music as it is reflected in cultural activities in China and Thailand. In China, music has been used since long before the time of Confucius (551-479 BC) as a learning tool, and the Chinese who migrated into Southeast Asia and ultimately Thailand brought their music with them. In Thai society, Chinese music has been used in traditional ways. Although the music remains closer to what was brought with the immigrants, it has been adopted into Thai society in ways that go far beyond the original Chinese use. This research found that some Chinese musical activities have become ingrained into Thai culture and society such as Lion Dance group performances in the processions for the ceremonial candle (Tian Phansa), the Khan Mak procession, and the Songkran Festival procession. The Lion Dance group also has a photo of a famous Thai monk on the front of a big drum. We also found that the khim is the most popular Chinese musical instrument among Thai people.
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Avaunt, Casey. "Sisterhood in the City: Creating Community through Lion Dance." Dance Research Journal 54, no. 3 (December 2022): 91–106. http://dx.doi.org/10.1017/s0149767722000328.
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This article examines notions of “sisterhood” by focusing on an all-women's lion dance company called Gund Kwok, based in Boston's Chinatown. Gund Kwok, which limits membership to those who identify as female and Asian American, provides a space for women to perform this traditional male-only dance style. Company members have created a community of “sisters” to address layers of gendered and racial oppression. Despite concerns that scholars have raised about how community formations, such as sisterhoods, can be overly idealistic and potentially harmful, this study highlights the role of sisterhood in Gund Kwok and the important functions it serves for the group. It argues that Gund Kwok is a diverse community that draws from the ideology of sisterhood as a way of articulating Asian American cultural identity outside the scope of Western cultural frameworks and the dance's patriarchal tradition.
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장욱. "The Research on Symbolic Meanings in Korea’s Lion Dance." Journal of Next-Generation Humanities and Social Sciences ll, no. 13 (March 2017): 181–99. http://dx.doi.org/10.22538/jnghss.2017..13.181.
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Lee, BuYong. "The change of Lion Dance in Japanese classical literature." Japanese Cultural Studies 82 (April 30, 2022): 225–48. http://dx.doi.org/10.18075/jcs..82.202204.225.
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Lee, BuYong. "The change of Lion Dance in Japanese classical literature." Japanese Cultural Studies 82 (April 30, 2022): 225–48. http://dx.doi.org/10.18075/jcs..82.202204.225.
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Avaunt, Casey. "Impermeable bodies: Women who lion dance in Boston’s Chinatown." Theatre, Dance and Performance Training 12, no. 2 (April 3, 2021): 149–63. http://dx.doi.org/10.1080/19443927.2021.1902381.
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Gong, Xue. "The Lion-Dragon Dance in the Chongqing Connectivity Initiative." Asian Education and Development Studies 10, no. 1 (October 2, 2019): 135–45. http://dx.doi.org/10.1108/aeds-11-2018-0169.
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Purpose Since China’s “opening-up” in the late 1970s, Singapore has played a major role in enhancing China’s engagement with the world, especially in economic terms. This traditional relationship is well manifested in the third government-to-government (G–G) project under the BRI, which is known as the Chongqing Connectivity Initiative (CCI). The purpose of this paper is to address the following question: despite Singapore’s initial reluctance to agree on a third G–G project with China, why did Singapore eventually decide to join the CCI? Design/methodology/approach This paper draws on archives of over 700 Chinese language media reports and over 400 English language media reports, as well as private interactions with scholars interested in Sino-Singapore relations and with both sides’ officials in charge of the CCI project. Findings The paper finds that it is the goal of connecting the region, along with the need to maintain Singapore’s relevance to China and the regional economy that led to Singapore’s participation in the third G–G project. This paper also uses this case to analyse the changes that are taking place in the bilateral economic relations. Originality/value Despite wide media coverage, op-ed commentaries and respective government statements, there are a limited number of academic studies on the rationale of the third G–G project and contemporary Sino-Singapore relations in the literature. The scholarship has not addressed the rationale for Singapore’s changing attitude towards CCI and the manner in which the CCI has improved cooperation (or upgraded cooperation to a broader and regional level).
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Li, Tsai-Yen, and Je-Ren Chen. "Procedural rhythmic character animation: an interactive Chinese lion dance." Computer Animation and Virtual Worlds 17, no. 5 (2006): 551–64. http://dx.doi.org/10.1002/cav.154.
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Noble-Kooijman, Jacques-Kees. "The Worst Adventure of Yvain: Adventure, Conjointure , Manufacture in Le Chevalier au Lion." Anastasis. Research in Medieval Culture and Art 6, no. 2 (November 29, 2019): 67–84. http://dx.doi.org/10.35218/armca.2019.2.04.
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Lane, Andrew, Ruth Hewston, Emma Redding, and Gregory P. Whyte. "MOOD CHANGES FOLLOWING MODERN-DANCE CLASSES." Social Behavior and Personality: an international journal 31, no. 5 (January 1, 2003): 453–60. http://dx.doi.org/10.2224/sbp.2003.31.5.453.
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Full-time dancers typically spend a large proportion of time participating in dance classes. The present study examined mood state changes following two contrasting modern-dance styles on a sample of full-time dancers. Twenty-three dancers completed the Brunel University Mood Scale (Terry, Lane, Lane, & Keohane, 1999) to assess anger, confusion, depression, fatigue, tension, and vigor before and after two different dance classes. One class taught was the Jose Limon technique style, characterized by light flowing movement, and the other class taught was the Martha Graham technique style, characterized by bound movements. Results showed that participants reported a positive mood profile before and after both dance classes. Repeated Measures Multivariate Analysis of Variance results indicated a significant interaction effect (Pillai's Trace 6, 15 = .32, p < .01), whereby Vigor increased following the Limon class but remained stable after the Graham class. Future research is also needed to investigate mood changes over a sustained period to evaluate more fully mood states responses to the demands of dance classes.
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Nagao, Yoko. "Folk Performing Arts, Community Life, and Well-being: Why shishimai Matters in Toyama, Japan." Paragrana 22, no. 1 (June 2013): 130–53. http://dx.doi.org/10.1524/para.2013.0010.
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Abstract There is a growing awareness in Japan that well-being is closely linked to social relationships. It is often expressed as a call for tsunagari, relationships with a willing mutual involvement. This paper examines what kind of tsunagari can be fostered through folk performing arts which are rooted in a longstanding belief in a sacred beast represented as shishi (lion). The theory of ritualization is employed to approach shishimai (lion dance) as practice which is inextricably connected to the local perception of well-being. The close observation of hamlets carrying out shishimai in Toyama reveals that it reflects the state of a community and of its members, and often generates intimate and integrative social relations. They not only provide useful resources to attain well-being but are also extended to the symbolic and spiritual dimensions.
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Hartanto, Raphaela Putri, and Deograsias Yoseph Yustinianus Ferdinand. "ANALYSIS OF THE INFLUENCE OF SELF ESTEEM, SELF EFFICACY, AND JOB SATISFACTION ON PERSONNEL PERFORMANCE IN THE KSATRIA LION AND DRAGON DANCE ORGANIZATION SURABAYA." International Conference of Business and Social Sciences 3, no. 1 (December 29, 2023): 242. http://dx.doi.org/10.24034/icobuss.v3i1.366.
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Ksatria Lion and Dragon Dance is one of the lion dance organizations located in Surabaya which is engaged in the preservation of arts and culture. The organization itself has a strength that lies in human resources. However, in reality not all of these human resources can carry out their roles properly. This is supported by its relation to self-esteem, self-efficacy, job satisfaction, and job performance. The number of respondents in this study was 42 respondents, according to the number of team members. The sample used in this study uses a saturated sample technique, which means that the population is the same as the sample. Based on the results of data processing using the SPSS software application version 25.0, the results obtained were that all items for each variable were declared valid with rcount > rtable of 0.3044 and a Sig. < 0.05. All items on the reliability test were declared reliable with a Cronbach's Alpha value ≥0.60. The results of the Kolmogorov – Smirnov method normality test show that the data is normally distributed. The results of the multicollinearity test showed no symptoms of multicollinearity. The heteroscedasticity test showed that in this study there was no heteroscedasticity. The results of the t test show that all of the variables in this study have an effect on personnel performance with a Sig value. < 0.05.
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Brière, Fabienne, and Caroline Ehrlacher-Siffert. "Processus de médiation en danse à l’école primaire." Spirale - Revue de recherches en éducation N° 73, no. 1 (January 30, 2024): 215–30. http://dx.doi.org/10.3917/spir.073.0215.
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Centré sur l’analyse comparative de séances ordinaires de danse menées par deux enseignantes du premier degré en éducation physique et sportive, cet article s’intéresse aux processus de médiation soutenant l’appropriation d’une démarche créative par les élèves. Référée aux études de l’action conjointe en didactique, l’analyse ascendante de la transposition didactique croisant deux échelles, méso-didactique et micro-didactique, met en évidence le rôle déterminant des régulations dans les processus de dévolution en lien avec les références culturelles qui les sous-tendent. Les phénomènes didactiques identifiés questionnent au-delà les conditions d’une véritable continuité du parcours éducatif, artistique et culturel.
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Seigneuric, Alix, and Hakima Megherbi. "La cognition incarnée : une entrée dans la danse." Enfances & Psy N° 98, no. 4 (December 7, 2023): 79–90. http://dx.doi.org/10.3917/ep.098.0079.
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La cognition incarnée pose un cadre pour le développement de recherches qui partent de l’idée que la cognition est avant tout inscrite corporellement. Si ce courant marque une rupture avec la conception cognitiviste traditionnelle, il peut être vu comme une remise au goût du jour de conceptions déjà présentes dans certaines théories du développement, notamment celle de Wallon. Le courant de la cognition incarnée s’appuie sur un grand nombre de données neurophysiologiques et comportementales recueillies majoritairement chez l’adulte mais aussi chez l’enfant. Ces dernières années, la danse en tant qu’outil privilégié a été utilisée pour étudier plusieurs questions centrales soulevées par la perspective de la cognition incarnée. Dans cet article, nous en présentons plusieurs : la boucle action-perception et le rôle de l’expérience corporelle dans la perception, l’appréciation esthétique de la danse et la dimension sociale en lien avec la synchronisation. Pour finir, nous nous proposons d’ouvrir sur les apports de la cognition incarnée dans l’utilisation de la danse comme médium pédagogique ou thérapeutique.
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Kahraman, Cahit. "Continuation of Shishi Matsuri Festival in Murashima village, Japan." BORDER CROSSING 6, no. 2 (July 30, 2016): 107–17. http://dx.doi.org/10.33182/bc.v6i2.486.
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Shishi Matsuri or the Lion Festival is very popular and is often observed in different parts of Japan. Known also as Shishimai or Lion Dance performance, it is a religious festival and an art performance. The fieldwork for this study was carried out in Murashima village, Sugeta town, Ehime prefecture, Japan. The festival is held annually in November and involves everyone in the village. The performers are the local villagers themselves. Although Shishi Matsuri reinforces the sense of belonging, it also creates a sense of collectivity and unity as everyone joins in. Continuation of a tradition of this kind is bound with a number of difficulties and challenges. Financial issues, decreasing young population and natural disasters are but a few such matters faced every year. This study aims to understand the reasons and motivations that make it possible for the community members to carry on with the tradition of the festival despite challenges and difficulties.
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Lumampauw, Andreas, Rustono Farady Marta, Yohanes Nugroho Widyanto, Todd Lyle Sandel, and Sunny Lie. "The art of honing the conscience through bukalapak ads: barongsai Indonesia, juara hati membangun bangsa." International Journal of Visual and Performing Arts 3, no. 1 (June 19, 2021): 9–21. http://dx.doi.org/10.31763/viperarts.v3i1.342.
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Culture is one of the foundations for the existence of Indonesia as a nation, as it is expressed in the second stanza of her national anthem. The government has taken an initiative to prioritize national character building, which places character education to realize the vision of national development. One of the efforts to visualize this Indonesian is constructed through a Bukalapak advertisement entitled “Barongsai Indonesia, Juara Hati Membangun Negeri,” which presented the Kong Ha Hong lion dance group and was published via Youtube. This study aims to see that the character values of the Indonesian nation can be constructed through digital media, more precisely through an advertisement. This research employed a qualitative approach with a constructivist paradigm that sees facts as unique and has a special meaning. In addition, the analysis used Thomas Albert Sebeok's visual semiotics to depict several similar classifications to different visual symbols. It was found that every advertisement scene contained both visual and audio messages related to the adaptation of the culture and character of the Indonesian. The contribution and novelty of this research in its construction of the deep meaning of an advertisement are that the conscience has played a major role in the process of cultural adaptation in which the national characters have been honed through the actual actions in the heart-mind, body, and spirit. This research suggested that the character of the Indonesian nation can be formed through cultural adaptation, as proven by the Kong Ha Hong lion dance
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Duval, Hélène, Caroline Raymond, Delphine Odier-Guedj, Citlali Gimenez, and Caroline Charbonneau. "Regard didactique sur les pratiques à visées inclusives d'enseignantes de danse à l'école québécoise." Journal de recherche en éducations artistiques (JREA), no. 1 (February 1, 2023): 96–109. http://dx.doi.org/10.26034/vd.jrea.2023.3588.
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Depuis quarante ans, la danse fait partie du curriculum scolaire québécois en tant que discipline du domaine artistique. Dans le contexte actuel, les pratiques d’enseignement sont mises au défi par une prérogative d’intégration scolaire, où l’enseignant de danse doit « adapter ses interventions aux besoins et aux caractéristiques des élèves avec handicap ou en difficulté d’adaptation ou d’apprentissage (EHDAA) » (Gouvernement du Québec, 2001). Cet article présente une partie des résultats d’une étude qualitative sur des pratiques d’enseignantes de danse dans des groupes intégrant des EHDAA, dont l’objectif est de décrire les stratégies didactico-pédagogiques et identitaires déployées par les enseignantes dans le but de favoriser la réussite de tous. En s’appuyant sur le concept de dialogue didactique interactif (Raymond, 2014, 2018), nous avons identifié trois grandes orientations de valeurs (Jewett, 1977) agissant comme ciment du lien de confiance enseignante élèves: la valorisation de la singularité et du potentiel de chaque élève, la préservation de l’unité du groupe et la création d’un espace d’expression authentique et égalitaire. Ces dernières, ainsi que la façon dont l’enseignante investit et structure l’espace de classe, favorisent l’utilisation de stratégies didactiques (activité ludique et toucher didactique), facilitant la mobilisation des savoirs de danse en contexte d’intégration scolaire au primaire et au secondaire.
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Lee, Hsiao Mun, Saurabh Garg, Kian Meng Lim, and Heow Pueh Lee. "The sound of drumming for traditional Taiko drumming and lion dance." Applied Acoustics 185 (January 2022): 108434. http://dx.doi.org/10.1016/j.apacoust.2021.108434.
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