Relevant bibliographies by topics / Ecstatic dance

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Ecstatic dance'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 March 2023

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Journal articles on the topic "Ecstatic dance"

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Park, Jong Ran, Takami Yagyu, Naomi Saito, Toshihiko Kinoshita, and Takane Hirai. "Dynamics of Brain Electric Field during Recall of Salpuri Dance Performance." Perceptual and Motor Skills 95, no. 3 (December 2002): 955–62. http://dx.doi.org/10.2466/pms.2002.95.3.955.

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The brain wave activity of a professional Salpuri dancer was observed while the subject recalled her performance of the Salpuri dance when sitting in a chair with closed eyes. As she recalled the feeling of the ecstatic trance state induced by the dance, an increase in alpha brain activity was observed together with marked frontal midline theta activity. Compared to a resting state, the dynamics of the electrical activity in the brain showed an increase in the global field power integral and a decrease in generalized frequency and spatial complexity.
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HELLER, WENDY. "Dancing desire on the Venetian stage." Cambridge Opera Journal 15, no. 3 (November 2003): 281–95. http://dx.doi.org/10.1017/s0954586703001745.

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This article proposes that dance was a central way in which Venetians reinvented the ancient world on the operatic stage. Focusing on Niccolò Bartolini's preface to Venere gelosa (1643) and his use of dance in that opera, this article explores how Venetian balli became a locus for expressing otherwise inexpressible passions and desires – ecstatic Bacchic rituals, the goat-dances of Pan, or the erotic games of nymphs and satyrs – that were integral to the early modern reception of antiquity. It concludes with a consideration of the balli in La Calisto (1652), demonstrating the significance of the dances for understanding the work as a whole.
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Fazekaš, Ana. "Ecstatic Losers/Depressed Utopias: Cyborgian Dance Scores." Maska 36, no. 209 (September 1, 2022): 131–47. http://dx.doi.org/10.1386/maska_00120_1.

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A fragmentary polyphonic takes on questions of Yugofuturism in relation to contemporary dance practices / compulsory psychoanalytic references mixed with personal essay escapades and some easy fiction / a self-archiving cyborgian script-loop of hopeful pessimism and an optimistic approach to failure / mindful stealing from wiser prophets / do not get your hopes up / there is no easy way to say this.
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Fasullo, Lisa, Alina Hernandez, and Gerard Bodeker. "The innate human potential of elevated and ecstatic states of consciousness: Examining freeform dance as a means of access." Dance, Movement & Spiritualities 6, no. 1-2 (July 1, 2020): 87–117. http://dx.doi.org/10.1386/dmas_00005_1.

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Throughout time and across global, spiritual traditions and cultures, elevated/ecstatic states of human experience have been recognized, aspired to and valued as discernible, relevant and inherent states of consciousness for humans to access regularly. This article offers an overview of the existence of the human, innate drive to attain elevated/ecstatic states. This subject area has been examined through a variety of theories, from the biological to the philosophical, and referenced to the considerable body of research on this topic. The authors propose that these states are normal, necessary and purposeful. We posit the emerging genre of freeform/ecstatic dance as being at the beginning stages of a potential cultural revival – a ‘movement’ movement of sorts – as this genre re-introduces western and eastern cultures to what is, in reality, an ancient tradition carried out by and chronicled in civilizations throughout time. Freeform/ecstatic ways of movement and release are put forth as a practical and effective way of accessing essentially blissful and expanded states of consciousness that can, in turn, enhance mood, improve self-esteem and provide a practical application for a postmodern daily wellness practice.
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Hamrin, Tina. "Dance as Aggressiveness." Scripta Instituti Donneriani Aboensis 16 (January 1, 1996): 175–92. http://dx.doi.org/10.30674/scripta.67228.

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The woman who founded Tenho-kötai-jingii-kyö, Kitamura Sayo (1900-1967), publicly announced in July 1945 that the world was coming to an end and that she had been chosen by the absolute deity Tensho Kotai Jingu to be the savior of the world. People began to gather to her banner, a religious organization was formed, and legal incorporation of the group as a religious juridical person took place in January 1947. Teaching that regret, desire, hatred, love and other emotional antipathies were the cause of all misfortune, the founder urged people to free themselves of such restraints by praying earnestly until they attained a state in which the self was completely forgotten. Since the members of the group perform a ritual dance and fall into an ecstatic condition at the group meetings, the movement is called the Dancing Religion.
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Robinson, Danielle. "“Oh, You Black Bottom!” Appropriation, Authenticity, and Opportunity in the Jazz Dance Teaching of 1920s New York." Dance Research Journal 38, no. 1-2 (2006): 19–42. http://dx.doi.org/10.1017/s0149767700007312.

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Head tossed back wearing a mile-wide grin, ecstatic arms stretched to the sky, jutting knees counterbalancing a substantial backside—the Jazz Age had no symbol more potent than the moving black body (Figure 1). Nearly always an illustration, and in many cases a caricature, these images depicted anonymous black movers rather than recognizable individuals. Yet, looking beyond this superficial representation, it was actually visibly white dance professionals who primarily marketed jazz steps to the American public as teachers and choreographers. A quick glance through the pages of the nascentDance Magazineof the 1920s reveals numerous jass dance routines with names such as “High Yaller,” “Pickin’ Cotton,” “The Savannah Stomp,” and the “Hula-Charleston,” each represented by a specific white Broadway performer (Fig. 2). Standing just behind each dancer, however, is a dark dancing figure that remains nameless and faceless.
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Moores, D. J. "Dancing the Wild Divine: Drums, Drugs, and Individuation." Journal of Jungian Scholarly Studies 15, no. 1 (March 23, 2020): 64–83. http://dx.doi.org/10.29173/jjs126s.

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For complex reasons, Carl Jung was apprehensive of ecstatic rites in which participants dance to hypnotic drumming and transcend normal states of ego. He was also strongly opposed to the use of LSD, mescaline, and other psychotropic agents often used in such rites, cautioning that psychedelics facilitate access to unconscious energies one is ill-equipped to absorb. This paper represents a challenge to Jung's thinking on both issues. Drawing upon recent research in shamanic studies and the once-again blossoming field of psychedelic research, D. J. Moores demonstrates the limitations of Jung's caution and argues for the value of ecstatic rites in depth work.
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Deagon, Andrea. "The “Effeminate Dancer” in Greco-Roman Egypt: The Intimate Performance of Ambiguity." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 69–77. http://dx.doi.org/10.1017/s2049125500000522.

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In the cosmopolitan Greco-Roman world of the second and third centuries CE, the termsmagodos, malakos, andkinaidos/cinaedusidentified a category of performer usually described (inadequately) as the “effeminate dancer.” This paper investigates the nature of the “effeminate dancer's” performance and his function in the various societies in which such entertainment is attested, focusing on Roman Egypt. In a world where men typically played women's roles in mainstream drama and dance, the “effeminate dancer's” performance eluded these accepted conventions of theatrical illusion. Raising the specter of distorted masculinities such as the passive homosexual and the eunuch, and evoking the ecstatic cults that were a mainstay of feminine religious experience in the ancient Mediterranean, the “Effeminate dancer” stirred up anxieties about social and sexual transgression and simultaneously allayed them through elegant performance.
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Akcay, Zeynep. "Dance, Long Exposure and Drawing: An Absurd Manifesto about the Female Body." International Journal of Film and Media Arts 6, no. 3 (December 31, 2021): 67–84. http://dx.doi.org/10.24140/ijfma.v6.n3.05.

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This paper summarises the evolution and production process of Kam, a long-exposure pixilation/ 2D animation film with a unique aesthetic approach that took three years to formulate and complete due to an iterative/fragmented production schedule. Kam, which means “shaman” in old Turkish, was conceived as a response to the rise of conservative and misogynist official discourse in Turkey, and it features a woman’s fierce dance. For this film, Turkish dancer Sevinc Baltali’s improvised performance was captured by the author using the technique of long-exposure photography. Condensing the motion of the dancer, the still frames created a flowing image on screen in which the dancer’s body is sometimes hardly perceivable. The dance flow was then recreated to the music of Amolvacy, an underground New York band featuring a modern interpretation of tribal music. Finally, the manifesto of the film was reinforced by adding another layer, this time of primitive drawings by the author, on top of the images, creating a more pronounced expression of the anger and the rebellious energy of the female body. This article argues that the unique aesthetics of the film attained at the end of an iterative and fragmented production process allowed a multi-layered liminal space for meaning to emerge. By elaborating on the relationship between the aesthetic approach, the political stance and the production methodology of this film, this article aims to demonstrate how animation can create an evocative and visceral experience that highlights and communicates what Herzog (2010) defines as “ecstatic truth”.
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Gore, Georgiana, Andrée Grau, and Maria Koutsouba. "Advocacy, Austerity, and Internationalization in the Anthropology of Dance (Work in Progress)." Congress on Research in Dance Conference Proceedings 2016 (2016): 180–90. http://dx.doi.org/10.1017/cor.2016.25.

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This paper is concerned with resonances of the tragic in twentieth-century central-European dance theatet, to be discussed with particular reference to Pina Bausch's 1975 Orpheus and Eurydice. In my study Resonances of the Tragic: Between Event and Affect (2015), I have argued that in terms of a history of the “longue durée,” the evocation of the tragic occurs in a field of tension between technique, the mise-en-scène, and conceptions, as well as procedures and moments of interruption, of suspension, of disruption and of the indeterminable resulting from ecstatic corporeality. Its structure and function can generate an event in the emphatic sense of the term; consequently, it provides a paradigm for recognizing structures of form and of an aesthetic of reception, structures emerging from individual constellations of the fictional and choric, absence and presence. From the perspective of dance studies, the tragic emanates from the representation of horrendous monstrosity testing the limits of what can be imagined by means of the moved body in all senses of the word; but how exactly does Bausch produce the qualities of the ambivalent, ambiguous, and paradoxical—and, consequently, the tragic?
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Dissertations / Theses on the topic "Ecstatic dance"

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Kieft, Eline. "Dance, empowerment and spirituality : an ethnography of Movement Medicine." Thesis, University of Roehampton, 2013. https://pure.roehampton.ac.uk/portal/en/studentthesis/dance-empowerment-and-spirituality-an-ethnography-of-movement-medicine(37601d43-dd3c-498f-88a4-8e2c0004360f).html.

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This thesis offers the first anthropological description of Movement Medicine, a contemporary movement meditation practice that blends together and is informed by different ingredients such as ecstatic dance, shamanism, voice work, and psychotherapeutic elements. Both the practice and the thesis emphasise movement, relationship with self, others and the world, ritual and ceremony. My argument is that the combination of different traditions that inform the practice, together with its metaphoric language and use of a variety of symbols opens different ways of viewing and managing life processes, so contributing to experiences of expanded consciousness and a sense of reconnection. The dance enables an integration of opposites and the creation of a new frame of meaning or reference. The motivation behind this study is a curiosity about people’s search for meaning and (self-)understanding in western culture at this time. With the decline of traditional religious frameworks, the focus of this search has changed, leading to the remarkable rise of so called alternative spiritualities. Having danced all my life and being a Movement Medicine participant myself, I am particularly intrigued by the role that dance can play in dealing with the increasing demands of a fast and often fragmented world. Through a combination of hermeneutic and ethnographic methodologies, which include over five years of participant observation, 25 qualitative interviews and analysis of 190 articles in three volumes of the ‘School of Movement Medicine’s’ newsletter, I provide an analysis of people’s experiences to elucidate the mechanisms and contributions of this practice to the participants’ wellbeing, their personal growth and their experience of spirituality. In the first part of the thesis (Introduction, and Chapters 1, 2, 3 and 4), I situate the practice within the socio-historic context of growth movements that have emerged since the 1960s, and explore the background of Movement Medicine, its 9 ‘philosophy’ and symbols, aspects regarding the ‘School of Movement Medicine’ as a business, and the relation of the practice to other traditions and world views such as (neo-)shamanism and New Age. This also includes a detailed description of the practice in Chapter 4. After a brief Intermezzo, in the second part of the thesis (Chapters 5-8) I discuss the empirical data, describing how, according to participants, Movement Medicine contributes to personal growth and wellbeing in the areas of body, emotions, mind and spirituality. Through this dance practice, people are able to experience anew their own embodiment and connection to others, and this has an empowering, healing and transformational impact on their sense of self. The insights gleaned through the practice do not remain within the confines of the studio but are integrated into participants’ daily lives in multiple ways, contributing to changes with regard to the body, self, relationships, work, values, actions and spirituality. The thesis contributes to understanding what can constitute meaningful, transformative experiences and therefore has a wider relevance. It presents not just another example of the rise of alternative spiritualities and the continued search for meaning in western culture, but develops this understanding in a way that might also be applied to and implemented in settings such as schools, community centres and social care work, helping people deal with the demands of contemporary culture in a variety of situations.
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Daon, Yardena. "THE COGNITIVE SEMIOTICS OF POETRY AND DANCE: EMOTIVE EMBODIMENT OF ECSTATIC SENSORIAL COGNITION IN MODERN REPRESENTATIONS." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1269981658.

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Books on the topic "Ecstatic dance"

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Rahman, Mohd Kipli Abdul. Mabuk mistikal: Semiotik metafizik dalam kuda kepang mabuk. [Minden], Pulau Pinang: Penerbit Universiti Sains Malaysia, 2009.

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Rahman, Mohd Kipli Abdul. Mabuk mistikal: Semiotik metafizik dalam kuda kepang mabuk. [Minden], Pulau Pinang: Penerbit Universiti Sains Malaysia, 2009.

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Bushman shaman: Awakening the spirit through ecstatic dance. Rochester, Vt: Destiny Books, 2005.

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Susanne, Gödde, ed. Ekstase. München: Edition Text + Kritik, 2012.

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Jaranan: The horse dance and trance in East Java. Leiden: KITLV Press, 2008.

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Victoria M. Clara van Groenendael. Jaranan: The horse dance and trance in East Java. Leiden: KITLV Press, 2008.

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Nancy, Van Deusen, Del Giudice Luisa, and Italian Oral History Institute, eds. Performing ecstasies: Music, dance, and ritual in the Mediterranean. Ottawa: Institute of Mediaeval Music, 2005.

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The religious dancing of American slaves, 1820-1865: Spiritual ecstasy at baptisms, funerals, and Sunday meetings. Lewiston: Edwin Mellen Press, 2008.

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Roth, Gabrielle. Ecstatic Dance. Sounds True, 2000.

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Roth, Gabrielle. Ecstatic Dance. Sounds True Audio, 2004.

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Book chapters on the topic "Ecstatic dance"

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Main, Lesley. "The Transmission–Translation–Transformation of Doris Humphrey’s Two Ecstatic Themes (1931)." In Transmissions in Dance, 85–107. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64873-6_5.

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"The dance floor as urban altar: how ecstatic dancers transform­the­lived­experience­of­cities­." In Spiritualizing the City, 163–80. Abingdon, Oxon ; New York : Routledge, [2017] | Series:: Routledge, 2016. http://dx.doi.org/10.4324/9781315680279-19.

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Sloan, Nate, Charlie Harding, and Iris Gottlieb. "When the Drop Broke the Pop Song." In Switched On Pop, 46–52. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190056650.003.0005.

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Rihanna and Calvin Harris ushered in the first major revision to conventional pop form in decades when they inserted a new musical section borrowed from electronic dance music (EDM) into their hit “We Found Love,” discussed in Chapter 4. The song ratchets up intensity like a rollercoaster by migrating the “build and drop” approach of EDM into pop. The sections are two sides of the same coin: the build generates pent-up energy and the drop releases it, all but requiring listeners to bounce up and down in fifteen seconds of ecstatic joy. It is hard to say whether the pop drop is a permanent change or a passing fad, but the result in “We Found Love” is a song that generates a feeling of ecstatic liberation not only through a pounding beat and celebratory lyrics, but also through its denial of formal expectation.
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Smith, Christopher J. "Sacred Bodies in the Great Awakenings." In Dancing Revolution, 14–28. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042393.003.0002.

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This chapter is the first of the historical case studies, which are presented over the course of the book in approximate chronological order, and focuses on late-eighteenth-century frontier Pentecostalism, particularly in the Cumberland Plateau. It employs period sources, such as first-person descriptions, architecture, and cultural geography, to explore the phenomenon of ecstatic movement in frontier worship--the dance idiom called, in the period, “the jerks”--as revealing syncretic European-African-Native body vocabularies. It establishes an important theme throughout the book, namely the importance of collision between diverse immigrant and indigenous groups, especially in border or marginal geographic or socioeconomic circumstances, in the synthesis of movement and sound that yielded American performance idioms.
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"ecstatic dances around numberless fires; from." In A Director Prepares, 91–92. Routledge, 2003. http://dx.doi.org/10.4324/9780203165546-16.

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