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Relevant bibliographies by topics / Folk dancing

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Academic literature on the topic 'Folk dancing'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Folk dancing"

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Sprague, Marty. "Folk Dancing." Journal of Dance Education 13, no. 2 (April 2013): 64. http://dx.doi.org/10.1080/15290824.2012.709430.

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Febles, Jorge. "Spanish Folk Dancing." Hispania 71, no. 2 (May 1988): 446. http://dx.doi.org/10.2307/343098.

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Rhone, Jeffrey. "The Challenge and Benefit of Evaluating Folk Dancing Quality." General Music Today 31, no. 1 (June 16, 2017): 10–15. http://dx.doi.org/10.1177/1048371317713068.

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The physical, social, and music attributes inherent to folk dancing make it an ideal component of music education curricula. The communal experience of folk dancing is unprecedented for many adults and children. These experiences are unique because folk dancing can foster individual and group learning through music, and noncompetitive play. There is, however, currently a lack of assessment tools available to music educators for evaluating student folk dancing quality. In this discussion, the author examines the genre through the eyes of dance and physical educators, and the extant recreational folk dancing community. This exploration leads to the identification of observable skills and aesthetic features of good-quality folk dancing. This information culminates in the Folk Dancing Proficiency Rubric, created by the author, for use in educational settings.

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S. Javina , MAED, Freddie. "STUDENTS AWARENESS AND PERFORMANCE INPHILIPPINE FOLK DANCES." International Journal of Advanced Research 9, no. 01 (January 31, 2021): 730–42. http://dx.doi.org/10.21474/ijar01/12350.

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This research aimed to determine the students level of awareness and performance in folk dance that served as basis of developing program for promotion of folk dancing skills in Bitin National High School for the school year 2017 to 2018.The descriptive research was used in the study using the Grade 9 students of Bitin National High School as the respondents. A self-made questionnaire and rubrics for dance performance were used to describe the level of awareness and dance performance skills of the respondents. Mean and standard deviation and Pearson r correlation using an alpha level of .05 were used as the statistical tools.The study revealed the following findings. Majority were 15 years old (90), followed by 14 years old (65), 16 years old (53), 17 years old (23) and the least 18 years old (10) with total number of 241.The over-all mean of 3.30 shows that the students are Moderately Interested about Philippine folk dances. For the Level of awareness of the students to folk dance related variables. In terms of the following variables: objectives, has an over-all mean (OM) of 3.30, strategies (OM=3.71), skills in folk dancing (OM=3.77), availability of dance materials (OM=2.88), and training (OM=3.12) were all interpreted as Moderately Aware. While exposure to Philippine folk dances (OM=3.43) shows that the students are somewhat awareto Philippine folk dances. Only the competence of the dance instructor was rated highly aware.With regard to the performance of the Grade 9 students in folk dancing fundamental skills, for the three categories given: poise and grace, timing and rhythm, interpretation of literature, most of the respondents were rated as Moderately Aware.The Correlation of folk-dance awareness variables as to poise and grace shows No Significant Correlation to folk dancing fundamental skills. The second category for folk dancing fundamental skills, timing and rhythm shows Negligible Correlation to folk dance awareness variables. The third category which is the interpretation of literature also shows Negligible Correlation to folk dance awareness related variables.

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Kunej, Drago, and Rebeka Kunej. "Dancing For Ethnic Roots:." Musicological Annual 55, no. 2 (December 13, 2019): 111–31. http://dx.doi.org/10.4312/mz.55.2.111-131.

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Folk dance ensembles within minority ethnic communities (Albanian, Bosniak, Montenegrin, Croatian, Macedonian and Serbian) in Slovenia were formed in the 1990s, after the breakup of Yugoslavia. The authors present the key reasons for the folklore activities that contributed to the emergence of the so-called minority folk dance ensembles, describe their beginnings and how they eventually became organized, institutionalized, and integrated into the amateur culture system in Slovenia. The goal of minority folk dance ensembles is to dance for ethnic roots, but at the same time, the desire to enrich the cultural space in their new county and to integrate into society in which they live.

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Yi, Gina J. "Teaching about the Korean Ganggangsullae Folk Tradition in General Music Class." Music Educators Journal 105, no. 3 (March 2019): 45–53. http://dx.doi.org/10.1177/0027432118815961.

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Korean folk music has been rarely included in the Western music curriculum due to limited materials for music teachers to use. This article introduces Ganggangsullae, a prominent Korean folk tradition (called a “folk play” by Koreans) that incorporates singing and dancing, and discusses its historical background and the unique elements of Korean folk music that it illuminates: Korean rhythm, minyo singing, dancing, and dialogue play. In addition, this article offers practical teaching guidance for incorporating Ganggangsullae into the elementary general music classroom.

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Palmer, Bob. "Winding up … except incest and folk dancing." European Eating Disorders Review 6, no. 4 (December 1998): 290. http://dx.doi.org/10.1002/(sici)1099-0968(199812)6:4<290::aid-erv267>3.0.co;2-c.

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Kaya, M., and A. Yilmaz. "Analysis on the effects of folk dance training on players’ spatial expectation levels." Physical education of students 23, no. 5 (October 26, 2019): 249–55. http://dx.doi.org/10.15561/20755279.2019.0506.

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Background and Study Aim: The purpose of this study was to investigate the effects on spatial perception and spatial anticipation levels the effects of control and study groups with 16 week training folk dancing training. Material and Methods: 120 voluntary college students with no folk dancing background, 60 of which is female has participated in the study. The study group had folk dancing training of 16-week whereas control group has not done any training. Brixton Spatial Expectations test was administered to control groups at the first, eighth and sixteenth weeks of the training. Validation of which has previously been done "Prospects Brixton Spatial Test" has been used in the study. A statistical analysis of the data obtained was done with available statistical software (IBM SPSS Statistics 19, SPSS inc., An IBM Co., Somers, NY) and the significance level was taken as 0.05 and 0.01. Similar results were obtained between experimental and control groups in this study. Results: There were not significant differences between groups in terms of measurement time as well as in gender. As a result: Short-term training of folk dancing seems to have no impact on the level of spatial perception. Conclusions: To have a significant effect, a long-term folk dance training is required. In addition, level of spatial perception on folk dance training has no significant difference in terms of gender.

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Taylor, Mary. "Does folk dancing make Hungarians?Táncház, folk dance as mother tongue, and folk national cultivation." Hungarian Studies 22, no. 1-2 (September 2008): 9–29. http://dx.doi.org/10.1556/hstud.22.2008.1-2.2.

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Broyer, Nili R. "Reinforcing Zionist ableism in Israeli wheelchair folk dancing." Research in Drama Education: The Journal of Applied Theatre and Performance 22, no. 3 (June 26, 2017): 332–38. http://dx.doi.org/10.1080/13569783.2017.1326807.

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Dissertations / Theses on the topic "Folk dancing"

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Kaschl, Elke. "Dance and authenticity in Israel and Palestine : performing the nation /." Leiden : Brill, 2003. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.

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Wu, Wei-Chi. "Dancing Within Taiwanese-ness| International Folk Dancing Communities in Taiwan and California." Thesis, University of California, Riverside, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10935353.

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This research investigates Taiwanese dancers? practice of international folk dancing through interviews and participant-observation. International folk dancing is a specific dance genre, in which its practitioners explore various regional folk dances around the world, regardless of their ethnicities. I define this practice as a transnational embodiment, because it not only covers folk dances from different countries, but also was a government-sanctioned exercise during the Taiwanese Martial Law Period (1945-1987). Furthermore, many Taiwanese immigrants in California are still practicing this dance for the purpose of connecting with people with similar backgrounds. In this regard, international folk dancing is a historical product from Taiwan?s Martial Law Period, and it also functions as an instrument to scrutinize some Taiwanese immigrants? conceptions of national and cultural identity in California. My dissertation starts from post-World War II Taiwan, when international folk dancing was introduced from the United States and became a mass exercise of the Taiwanese people during Martial Law. For the National Government at this time, international folk dancing was a means of presenting Taiwan?s political alignment with the United States. For the Taiwanese people, however, this dance form was a way to understand the outside world under extreme limitations on information access outside Taiwan during Martial Law. My investigation then shifts to Taiwanese immigrants? current practice of international folk dancing in California. Though these immigrants do not limit their practice to Taiwan-specific dances and are embodying cultures of others, international folk dancing is a strong transnational embodiment that enables these Taiwanese immigrants to reconstruct their idea of home in the United States and to present a new definition of Taiwanese identity through practicing others? nationalisms. Furthermore, I demonstrate that Taiwanese dancers of different generations in both regions are constantly constructing the notions of ?folk? and ?international? through their diverse living and dancing experiences. I argue that international folk dancing challenges these concepts when compared to previous scholars? examinations. Additionally, this dance form demonstrates its practitioners? cultural awareness that even though the practice seems to be inclusive, its dancers are much aware of issues of authenticity, appropriation, and cross-cultural politics. Finally, this sub-genre of self-choreographed dancing indicates a Taiwanized international folk dancing practice. Self-choreographed dancing was developed by the Taiwanese international folk dancing community during the Martial Law Period, and in California, it is practiced more in the Taiwanese international folk dancing groups but is missing in Western dancers? community. As this sub-genre stretches the ideas of ?folk,? ?international,? and the sense of cultural awareness, the dissertation also explores this difference between Taiwanese and Western international folk dancing communities to emphasize the notion of Taiwanese-ness. International folk dancing serves to scrutinize relationships between Taiwan and the United States after World War II. Meanwhile, California-based Taiwanese immigrants apply their past dancing memories to their current practice of international folk dancing, suggesting new definitions to existing conceptions of Taiwanese identity. Moreover, the unstableness in the dance form?s translations in Mandarin Chinese?tu-feng-wu or shi-jie min-su wu-dao?indicates that there is no consistent understanding of ?folk,? ?international,? and even ?international folk dancing? itself. The lack of coherent translation furthermore signals varied interpretations of Taiwanese-ness by Taiwanese people from different places and of different generations.

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Holden, Patsy. "Civilized Dancing: The Evolution of Ballroom Dancing from African Trance and Folk Dance." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1173.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
Philosophy

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Ballantyne, Patricia H. "Regulation and reaction : the development of Scottish traditional dance with particular reference to Aberdeenshire, from 1805 to the present day." Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230127.

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This thesis examines historical developments in Scottish dance over the past two hundred years and considers how they combined to shape the current traditional dance and music culture in Scotland. This work examines the effects of increasing regulation and standardisation during the twentieth century through an assessment of the experiences, viewpoints and opinions of present-day practitioners. The business practice and increasing professionalisation of nineteenth-century dancing masters active in the North-East of Scotland, and that of A. Cosmo Mitchell in particular, is considered in relation to the formation of the regulatory societies. The introduction of standardisation is examined through a comparison of nineteenth- and twentiethcentury published sources for the 'Highland Fling'. Tensions and contrasts in traditional dance and music are assessed by a consideration of the approach taken by influential traditional music education establishments such as Fèisean nan Gàidheal and by examining the relationship between Highland dancing and Highland piping. Reactions to regulation such as the (re)introduction of percussive step dance to Scotland and the growth in popularity of informal, 'called' ceilidh dancing are evaluated. The relationship between traditional dance and music in Scotland today is considered in the light of recurring themes such as professionalisation, regulation, authority, reactions to the status quo and the revival of an approach to or concept of dance rather than the revival of an historically verifiable style.

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LaVita, James A. "Theorizing dance practice : toward an ethnography of movement /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Yuen, Lai-fong. "Teacher's self-efficacy : the determining factor for Hong Kong folk dance teaching /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25755328.

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Schmidt, Hans. "Die Sardana Tanz der Katalanen /." Hamburg : [s.n.], 1985. http://catalog.hathitrust.org/api/volumes/oclc/23645743.html.

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Pee, Mary Teresa Lay Hoon. "The development of Chinese, Indian and Malay dance in Singapore to the 1970s." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35808/7/35808_Digitised%20Thesis.pdf.

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Genet, Coline. "Dialogues between a violin and a body : How to be a dancing musician on stage ?" Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4217.

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The folk tradition has often been divided between two sections: on one side is music,on the other is dance. The aim of this research is to study the relationships between dance and music inside one individual to create a new profile: the dancing musician.The process of this research went through different stages. First of all, I relied on my background as a folk musician and dancer to enable dialogue between these two profiles. Then I went beyond the boundaries of the folk tradition by mixing improvisation and folk music. Finally, I analysed movements, meters and expression of each part in order to combine them and to resolve technical issues of the multitasking process. The present study shows different ways of using this dance-music combination as a creative tool and explains what effects those arts have on each other.

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Godula, Olga. "Echoes and memories of Poland music and dance in the Polish community of Toledo, Ohio /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1213008130.

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Books on the topic "Folk dancing"

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Storey, Rita. Irish dancing. North Mankato, MN: Sea to Sea Publications, 2006.

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Fajardo, Libertad V. Visayan folk dances. Metro Manila, Philippines: National Book Store, 1992.

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Davis, Susanne J. Recreational folk dance. 2nd ed. Dubuque, Iowa: Kendall/Hunt Pub. Co., 2009.

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Suhr, Moon Ja Minn. Korean folk & ethnic dance. San Luis Obispo: California Polytechnic State University, El Corral Publishers, 1985.

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Plater, Ormonde. Cajun dancing. Gretna, La: Pelican Pub. Co., 1993.

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Solway, Andrew. Country and folk dance. Oxford: Heinemann Library, 2008.

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Beijing zhong ti yin xiang chu ban zhong xin. Shi jie wu dao da shang. Beijing: Beijing zhong ti yin xiang chu ban zhong xin --, 2006.

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Storey, Rita. Line dancing. North Mankato, MN: Sea to Sea Publications, 2006.

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Martin, György. Hungarian folk dances. 2nd ed. New York: Puski, 1988.

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Patnaik, Dhirendranath. Folk dances of Orissa. Bhubaneswar: Orissa Sangeet Natak Akademi, 2000.

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Book chapters on the topic "Folk dancing"

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Ashley, Linda. "Folk Dance a Survival Story." In Dancing with Difference, 25–33. Rotterdam: SensePublishers, 2012. http://dx.doi.org/10.1007/978-94-6091-985-5_2.

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Wood, Brent. "Dancing to fateful folk tales." In The Tragic Odes of Jerry Garcia and the Grateful Dead, 88–123. 1. | New York : Routledge, 2020. | Series: Ashgate popular folk and music series: Routledge, 2020. http://dx.doi.org/10.4324/9780429198380-4.

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Tambe, Anagha. "Folk dance/vulgar dance: erotic lavani and the hereditary performance labour." In The Dancing Body, 39–52. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003484059-3.

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Georgiev, Plamen K. "Chalga,Turbo Folk and Manele: Dancing “Unleashed” Liberties." In Self-Orientalization in South East Europe, 49–62. Wiesbaden: VS Verlag für Sozialwissenschaften, 2012. http://dx.doi.org/10.1007/978-3-531-93271-2_3.

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Björk, Anna, and Petri Hoppu. "18. Minuet Constructions and Reconstructions." In The Nordic Minuet, 481–96. Cambridge,UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0314.18.

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The chapter analyses contemporary forms of the minuet in Sweden and Finnish-speaking Finland. In both cases, the minuet traditions disappeared a long time ago, but since the late twentieth century, the folk dancers created minuets for different purposes. In Sweden, the minuet was reconstructed by Börje Wallin, using old documents from Sweden and comparing them to Danish and Finnish-Swedish minuets. As a result of his work, the minuet became a part of today’s repertoire of the urban folk dance communities. In Finnish-speaking Finland, folk dancers composed new minuet choreographies for the stage with Finnish-Swedish minuets as the most important example. Opposite to the Swedish minuet reconstruction, the Finnish minuets were not created for social dancing but performances.

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Rossen, Rebecca. "Dancing Folk." In Dancing Jewish, 140–88. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199791767.003.0007.

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Budd, C. J., and C. J. Sangwin. "Dancing with mathematics." In Mathematics Galore!, 38–61. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198507697.003.0003.

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Abstract In the popular imagination, the mention of folk dancing conjures up many images. Brownies shuffling round an old church hall, while Brown Owl plays the piano and Tawny Owl sings encouragement. Morris dancers, decked out in flowers and ribbons and only slightly drunk, hitting each other on the head with large sticks. Mad Scotsmen, hurtling across the mountains, jumping on swords, and doing strange things with a haggis. This all seems rather remote from mathematical equations like. So why should mathematicians be at all interested in folk dancing? One possible explanation is that to the general public, mathematicians and folk dancers have one thing in common: they are eccentric, mad, and generally detached from reality. (Indeed it was Bernard Shaw who said that you should try anything once, apart from folk dancing.) But there is a much more significant connection between mathematics and folk dancing: both are concerned with patterns. To be precise we can think of a folk dance as the performance of a series of simple motions according to a set of rules. The purpose of these motions may seem strange at first but when combined together they can produce some wonderfully complex dances involving every girl or boy in the room. Indeed some of the best dances involve very complex patterns which marvellously simplify at the end of the dance so that you always end up with the same partner as the one you started with. If you watched such a dance from a bird’s eye view, you would see each dancer trace out an intricate path carefully interwoven with those of the other dancers. There in a nutshell is the basis for nearly all of the well-known traditional English, Scottish, and American dances such as Lucky Seven, Dashing White Sergeant, Nottingham Swing, Dorset Four Hand Reel, most square dances and, of course, the Hokey-Cokey (always a good dance to end an evening with, even if the mathematics behind it is a little simplistic). We shall show in this chapter that the patterns formed by the men and women in such dances are closely related to shapes like triangles and squares. Furthermore, the basic mathematics behind the patterns in a folk dance can also be applied to generate patterns in quite different areas, such as making up the tunes in bell-ringing, or knitting jumpers. This demonstrates the real power of good mathematics, that is the ability to transfer ideas rapidly from one area to a quite different one.

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Kapper, Sille. "11. Continuity and Reinvention." In Waltzing Through Europe, 317–42. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.11.

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Kapper (Estonia) focuses mainly on the twentieth century, basing her discussion on information from folk dance collectors and researchers connected to the folk-dance movement. She surveys round dance forms described or referred to as part of this information, and discusses the relationship between round dances and other dances in a local community, particularly if that community was known as a stronghold of traditional dance. She also refers in brief to the folk-dance movement. In this way, she includes two of the groups mentioned above: the ‘dancing crowds’ and the folk dancers, and discusses the place round dancing has within each.

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"APPENDIX: LIST OF SOCIAL AND FOLK DANCES." In It Could Lead to Dancing, 185–88. Stanford University Press, 2021. http://dx.doi.org/10.1515/9781503627802-010.

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Iyer, Usha. "From the Cabaret Number to the Melodrama of Dance Reform." In Dancing Women, 139–78. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938734.003.0005.

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Chapter 4 focuses on two Bharatanatyam-trained stars in the 1950s and 1960s, Vyjayanthimala and Waheeda Rehman, analyzing changes in film dance alongside the canonization of specific classical and folk dance forms by the Sangeet Natak Akademi. By studying how dance training influences acting repertoires, this chapter calls attention to movement, gesture, and bodily comportment to enhance our understanding of virtuosity and technique, proposing a movement-based analysis of film acting grounded in kinesthetic performance and spectatorship. Rehman and Vyjayanthimala’s most ambitious production numbers speak to their own performative desires as trained dancers. Films featuring these A-list actresses as dancing protagonists evince a generic tendency, described here as the “melodrama of dance reform,” which combines the dance spectacular with the “social problem” film, producing in the process cinematic figurations riven with anxieties and aspirations around female sexuality, bodily movement, and economic independence.

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Conference papers on the topic "Folk dancing"

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Videnova, Julieta, Silviya P. Nikolova, and Desislava Vankova. "FOLK DANCING AND HEALTH PROMOTION." In 13th International Technology, Education and Development Conference. IATED, 2019. http://dx.doi.org/10.21125/inted.2019.0108.

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Sousa, João Paulo, Patricia Cordeiro, Rogério Tavares, and João Victor Gomide. "Dancing Into the Digital Age: Experimenting the Digitization of the Pauliteiros Folk Dances." In 2023 18th Iberian Conference on Information Systems and Technologies (CISTI). IEEE, 2023. http://dx.doi.org/10.23919/cisti58278.2023.10211933.

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Young, Choi So. "A STUDY ON THE ORIGIN OF CHEOYONG: THE ANCIENT CULTURAL EXCHANGE BETWEEN CENTRAL ASIA AND KOREA." In UZBEKISTAN-KOREA: CURRENT STATE AND PROSPECTS OF COOPERATION. OrientalConferences LTD, 2021. http://dx.doi.org/10.37547/ocl-01-18.

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In 879 (or 875), Cheoyong, who appeared with several people wearing unfamiliar appearance and strange clothes, performed singing and dancing in front of the king of Silla. After that, he moved to the capital with the king, and it is believed that he performed there. According to the legend, Cheoyong, who came in late at night after performing, found that the god of smallpox was with his wife, sang and danced without anger. The god, who saw Cheoyong's behavior, said he would not invade the place where his image was painted, so his portrait later served as an amulet to prevent disease and ghosts. After that, Cheoyong has left somewhere and his dances and songs remained as Cheoyongmu(dance of Cheoyong) and Cheoyongga(song of Cheoyoung), settling down as a Korean folk art. Cheoyong is seen as a sogd performer who escaped from the political turmoil in China when looking at his appearance, his profession, and the situation at the time, which was not familiar to Koreans.

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