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1
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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VLAŠIĆ, JADRANKA, GORAN OREB, and MAJA HORVATIN-FUČKAR. "Motor abilities necessary to be successful at dancing." Baltic Journal of Health and Physical Activity 9, no. 1 (March 31, 2017): 7–16. http://dx.doi.org/10.29359/bjhpa.09.1.01.
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The aim of the study was to determine the relation between motor abilities and the rate of success in dancing of 85 students of the Faculty of Kinesiology. Efficiency in dancing was represented by the marks given to the subjects by five experts after performing each dance on the basis of a video recording. The variables’ sample to determine motor abilities consisted of the results achieved by measuring motor abilities of coordination, realization of rhythmical structures, balance, movement frequency, flexibility and explosive strength. By means of regression analysis a statistically significant relationship was established between a predictor set of the students’ motor abilities and the overall dancing efficiency criterion (R = 0.67), the predictor set and the folk dances efficiency criterion (R = 0.67) and the predictor set and the social dances’ efficiency criterion (R = 0.62) (p < 0.01). Predictors with the highest rate of the relationship of the predictor set with the overall dancing efficiency criterion and folk dancing efficiency are drumming without the rhythm and side-steps with a 360° turn. The students with a higher level of rhythmic abilities and coordination will be more successful in performing dancing structures.
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Nilsson, Mats. "From Local to Global: Reflections on Dance Dissemination and Migration within Polska and Lindy Hop Communities." Dance Research Journal 52, no. 1 (April 2020): 33–44. http://dx.doi.org/10.1017/s0149767720000042.
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This article discusses dissemination of dances in and out of Sweden, and the dancing communities these processes create. The examples are the African-American Lindy Hop, which originated in New York City, and the polska, a couple dance considered to be the number one Swedish folk dance. Both dances were once used in local community dancing, while today they belong to dancing communities in many places around the world.
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Malcheva, Todorka. "ART, MEANING AND CLASSIFICATION OF BULGARIAN FOLK DANCE." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (June 5, 2019): 1791–95. http://dx.doi.org/10.35120/kij31061791m.
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Playing Bulgarian folk dances- horoes, is a fascinating, emblematic and centuries’ years old tradition. The folk dance is an important part both from different holidays and from the everyday life of Bulgarians. This is one of the most significant and fascinating folklore activities, making Bulgaria famous all over the world. We can define Bulgarian national dance as an exceptionally beautiful art. This is a skill that makes people happy and energetic. Folk dances reveal the temper of our nation. At the same time, in the rhythm of the dance lives the collective spirit, which attributes to feeling joy, delight and rest when dancing with other people.That is why Bulgarian folk dance is not only a way to feel happy. It gathers, gives strength, teaches, expresses and above all- gathers the people of Bulgaria. It is also a way to be closer to nature. That is why Bulgarian folk dance is strength for the spirit. It is a magic for the soul- chases away tiredness and bad mood by generating positive energy and releasing the discomfort and stress. The following text presents classification of the Bulgarian folk dances- horoes according to different and various criteria. They are divided into groups according to: the performers, the type of dancing chain, metrorhythm, customs, folklore regions, tempo and others. The following resume confirms the variety and wealth of Bulgarian folk dance. The text also defines the dance as a magic that preserved our spirit and our nation throughout our history. It is not only a magic that is still alive, but a magic that is actively represented by different dancing formations nowadays. Bright costumes, thrilling music and energetic horoes – they always provoke emotions and loud applause among native and foreign public. The charming nature of Bulgarian dances is the reason why they are still alive and have been passed from one generation to the other. In this way, this centuries’ years old tradition will be preserved for the future generations and the Bulgarian shall never be forgotten.
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Kont-Rahtola, Anneli. "Folk music and dancing on the coast of Kuusalu." Mäetagused 49 (2011): 93–114. http://dx.doi.org/10.7592/mt2011.49.kont-rahtola.
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Wright, Lucy. "Girls’ Carnival Morris Dancing and Contemporary Folk Dance Scholarship." Folklore 128, no. 2 (April 3, 2017): 157–74. http://dx.doi.org/10.1080/0015587x.2016.1231486.
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Đorđevic, Nenad, and Slavoljub Uzunović. "Niševljanka as a small town originated urban folk dance." Fizicko vaspitanje i sport kroz vekove 9, no. 1 (2022): 117–34. http://dx.doi.org/10.5937/spes2201120d.
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The subject of this paper are city (small town) folk dances in a broader sense and Niševljanka folk dance as a town game in a narrower sense. The aim of the paper was to describe Niševljanka as a town folk dance. The basic task is to write down the music, rhythm and technique of the dance. In the available literature dealing with the systematization and division of folk dances, city folk dances are nowhere to be found as a special type of dance. Maybe rightly so, since they can be traced back to the traditional, original dances. However, given the conditions and time of the origin of these dances, with the migration of the peasantry to the towns and cities, the city dances in some way distanced themselves from the traditional ones. This was influenced by new living conditions, more cramped space, mixtures of the European and Oriental culture, as well as the Europeanization of culture and way of life in general. It can be stated that city folk dances are in fact traditional - original dances that have taken on other aspects of dancing and dancing behavior. If any folk dance has marked our city, and the state in general, from the end of the 19th and the beginning of the 20th century, it is undoubtedly Niševljanka folk dance. Numerous manuscripts, books, travelogues, newspaper articles from that time testify to this fact. This paper is an attempt to point this out and to find in one place the musical, rhythmic and playful record of this, undoubtedly original city folk dance.
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Kokanović Marković, Marijana. "Dance in the Salons: Waltzes, Polkas and Quadrilles in Serbian Piano Music of the 19th Century." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 133 (March 21, 2022): 120–33. http://dx.doi.org/10.31318/2522-4190.2022.133.257328.
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As public events, balls had an important role in social life among the Serbs in the Habsburg monarchy in the 19th century. They were organised by the aristocracy and citizens, various associations and ethnic groups. The most prestigious were the so-called “nobles”, id est aristocratic balls, while the civil ones were less elegant. A repertoire of dances was to some extent conditioned by the type of the ball. Waltz, polka and gallop were very popular at civil balls, as well as stylised Serbian folk dances, such as kolo. At noble balls, on the other hand, besides waltzes, polkas and gallops, it was quadrilles and cotillions that enjoyed special popularity. On the other hand, in the young Principality of Serbia, the organisation of the balls began in the 1860’s, both at the prince’s court and in better hotels in Belgrade. In the 1860’s, the ball season in Belgrade was opened by Prince Mihailo Obrenović. The dancing repertoire included Serbian folk and civil dances, as well as modern European dances. Following the example of larger European cities, a trend of dancing in salons was as well widespread among the Serbs. Socialising could spontaneously grow into dancing, and sometimes dancing was the expected grand finale of the evening. In salons one could dance for family entertainment, without guests. In court and civil salons in Belgrade, the gatherings, almost as a rule, ended with dancing of popular international and Serbian folk dances. International salon dances make up about a third of the salon music repertoire for piano. The polka is one of the most frequent international dancing genres in the Serbian piano music of the 19th century. Besides the polka, there are other subtypes of this dance: the polka-mazurka, the polka française, the schnell polka, the polka tremblante, the galopp polka, the polka valse and the polka caprice. After the polka, the waltz is the most frequent international dance genre in the Serbian piano music. Besides the waltzes originally written for the orchestra, numerous waltzes were composed for the piano. The popularity of quadrilles in ballrooms is also reflected in the albums of salon music for the piano. This dance genre, which was composed in a potpourri manner, was especially suitable for having the melodies of popular folk and civil songs arranged in it. While in the first half of the 19th century melodies in the quadrilles were either transcribed from popular operettas or operas, or were originally written by composers, in the second half of the century composers mostly resorted to melodies of Serbian or Slavic folk and civil songs. In the second half of the 19th century, Serbian folk dances, such as kolos, took over the ballrooms and the albums of salon music alike. The approval of the Serbian identity was sought in the kolo, and the emphasis on national characteristics through music was politically dominant in the 19th century.
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Cornish, Helen. "Not All Singing and Dancing: Padstow, Folk Festivals and Belonging." Ethnos 81, no. 4 (February 6, 2015): 631–47. http://dx.doi.org/10.1080/00141844.2014.989871.
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PURTOVA, TAMARA. "THE PROLETARIAT PERFORMS: WORKERS' CLUBS, FOLK DANCING, AND MASS CULTURE." Experiment 2, no. 1 (1996): 477–88. http://dx.doi.org/10.1163/2211730x96x00252.
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Saitova, Erkinoy. "The priority of the art of dancing on public holidays." Общество и инновации 2, no. 10/S (November 22, 2021): 59–62. http://dx.doi.org/10.47689/2181-1415-vol2-iss10/s-pp59-62.
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In this article, the author has analyzed the celebration of national holidays, especially in relation to those that in the years of independence were attached to national traditions, and the role of dance in them. The influence of folk festivals on the improvement of the performing arts of folk dance ensembles was also studied.
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Buckwalter, Melinda. "Hold my hand: A somatic analysis of Sacred Circle Dancing." Journal of Dance & Somatic Practices 12, no. 2 (December 1, 2020): 239–54. http://dx.doi.org/10.1386/jdsp_00026_1.
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In a recent ethnographic study of Sacred Circle Dancing, I noticed that prominent circle dancing websites focused on its meditative and community-building aspects, whilst distinguishing features of practice – circling, handholding, centring and the sacred – remain mostly unaddressed. Developed in 1976 for Findhorn’s spiritual community in Scotland, Sacred Circle Dancing is usually considered from a folk roots perspective. What might somatic analysis offer Sacred Circle Dancing? In their editorial note to the Journal of Dance & Somatic Practices (6:1) on dance and somatic practices across cultures, Sylvie Fortin and Andrée Grau describe a prototype for somatic analysis that uses embodied methodology and challenges logocentric ways of knowing. I argue that somatic analysis excavates a spectrum of values embedded in practice, vital for the ethnographer in understanding why a group chooses a particular dance form. In the case of Sacred Circle Dancing, a contemporary discourse emerges engaging intimacy, culture and identity, ecology and the sacred, suggesting that the practice addresses these needs.
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Molnár, Cecília, Zsófia Pálya, and Rita M. Kiss. "Static Balancing Ability and Lower Body Kinematics Examination of Hungarian Folk Dancers: A Pilot Study Investigating the “Kalocsai Mars” Dance Sequence." Applied Sciences 11, no. 18 (September 21, 2021): 8789. http://dx.doi.org/10.3390/app11188789.
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Folk dance is a collection of traditional dances that requires years of practicing to perform correctly. The aim of the present study was to develop a complex biomechanical measurement procedure that investigated Hungarian folk dancers’ balancing ability and lower body kinematics through a dance movement called “Kalocsai mars”. Therefore, 11 dancers’ motion (5 female and 6 male; age: 20.5 ± 2.5 years; height: 173.82 ± 7.82 cm; weight: 64.77 ± 8.67 kg) was recorded with an optical-based motion capture system and force platforms simultaneously. Before and after the dancing session, static balancing tests were performed, examining bipedal stance with eyes opened and closed conditions. The ANOVA results showed that the values of the range of motions of the knee joint flexion-extension angles and hip flexion averaged for sessions increased significantly (p=0.044, p=0.003, p=0.005) during the dancing sessions. The deviation in the joint angle was greater in the nondominant legs, suggesting that the nondominant side requires more attention to execute the dance steps correctly. The results of the balance tests showed that the oscillation in the posterior direction increased significantly after dancing (p=0.023). In comparison, the visual feedback had no significant effect on the dancers’ balancing ability.
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Spinul, Igor, and Elena Spinul. "THEORETICAL AND METHODOLOGICAL FUNDAMENTALS OF TRAINING OF FUTURE SPECIALISTS OF MODERN BALLOT DANCES." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 128–33. http://dx.doi.org/10.36550/2415-7988-2021-1-195-128-133.
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In recent decades, modern ballroom dancing as an artistic phenomenon is spreading around the world. During the twentieth century, the society formed a clear idea of ballroom dancing as a folk dance (waltz, tango, etc.) and sports competitions of ten standardized ballroom dances. However, in recent times, modern ballroom dancing is increasingly fighting for the right to recognize it as an independent phenomenon of choreographic culture, given the original system of means of expression, which distinguishes it from other types of ballroom choreography (sports and household) and stage forms of folk dance. Modern society places high demands on the professional training of future teachers in the field of culture and art. Fundamental knowledge of philosophy, pedagogy and psychology, ethics and aesthetics, other sciences help to organize the educational process with its main purpose, didactic, educational, developmental tasks, traditional and interactive methods, learning technologies and organizational forms determined by the teacher in accordance with modern requirements. put forward by the «Law of Ukraine on Higher Education» and state educational standards. The process of training a specialist in the field of ballroom dancing is based on the presence of practical training, adjustment, consolidation of movements and skills of the teacher, because without in-depth analysis of body movements in various dance performances, the idea of ballroom dancing Constant quality control and the creation of individual tasks will promote self-analysis of the student, his understanding and understanding of the importance of the balance between mental activity, physical and spiritual development. In the article the author explores the specifics of teaching modern ballroom dancing in higher education; defines the essence, criteria, requirements of choreographic and performing skills as a competence. The characteristics and features of the teacher-choreographer, his personal qualities are presented.
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Panova-Tekath, Gergana. "Virtual Authenticity: On Reinvention, Transformation and Functionality of Traditional Dancing during COVID-19." Interdisciplinary Studies in Musicology 22 (December 29, 2022): 81–92. http://dx.doi.org/10.14746/ism.2022.22.6.
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The following article is dedicated to the changes in folk dancing caused by the Covid pandemic and presents the author’s theoretical ideas on dancing in the digital world. The examples concern the phenomenon of dancing the Bulgarian way by Bulgarians and non-Bulgarians in urban settings, which the author has been studying for years and now diagnoses the emergence of a new virtual model and defines virtual authenticity. On the one hand it relates to the fluid notion of authenticity and organises self-reflection, free expression and rediscovering of one’s own identity in cyberspace. Distance-dancing the Bulgarian way provides a psychosomatic environment with previously unknown online effects and paradoxical dichotomies. In this notion of subjective authenticity, the memory of the social intimacy of circle dancing helps with the social intimacy in the online communication and supports the belief in the whole world as an open community. On the other hand, in addition to focusing on themselves through constrained aloneliness, dancers also engage with themes of the political past, cultural essence and national determination. The verbal discussions in social networks, at virtual folk dance camps and in university classes reveal the solid notion of authenticity. Transparency leads to more knowledge about Bulgaria and its interpretations; endless accessibility improves the correctness of the sources. Nevertheless, the new roles and hierarchies in digital Bulgaria provoke vulnerability and emotion. Recognising the phenomenon as persuasive and flattering communication, the increased verbal exchange connects both the individual and community aspects of authenticity. Even if the dance enthusiasts from Bulgaria and from abroad are not yet fully united in the so-called imagined or digital Bulgaria, the phenomenon participates more than ever in the idea of a global village. Distance-dancing the Bulgarian way creates third spaces of protection and resistance and establishes a global community that has a future beyond the pandemic.
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Ren Keyi and Chong Yew Yoong. "Performing Piano Works Inspired by Folk Dances: “Wu Kui” and “My Spirit Is Dancing”." Environment-Behaviour Proceedings Journal 8, no. 26 (October 29, 2023): 293–98. http://dx.doi.org/10.21834/e-bpj.v8i26.5207.
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The piano work "Wu Kui" (1983) was composed by Chinese composer Zhou Long, inspired by the Manchu folk dance "Da Wu Kui," and "My Spirit is Dancing for Solo Piano" (2010) was composed by Malaysian composer Yii Kah Hoe, inspired by the Balinese baris dance. Both piano works are based on folk dances and use Western compositional techniques to innovate the language of folk music. The author takes these two piano works inspired by folk dances and analyses the performance difficulties of these two to enable the performer to better interpret the piano works and make the performance more convincing.
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Kochman, Maciej, Gabriela Cmela, Wojciech Kasperek, and Mariusz Drużbicki. "Comparison of selected biomechanical variables of lower limbs and dynamic balance between folk and ballroom dancers." Journal of Kinesiology and Exercise Sciences 34, no. 106 (May 28, 2024): 53–59. http://dx.doi.org/10.5604/01.3001.0054.6776.
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Background: The literature review revealed few reports comparing dancers of different dance styles, especially in lower limb biomechanics and dynamic balance. This study aimed to compare the hip and knee ROM, hamstring muscle length, and dynamic balance between Polish folk dancers, ballroom dancers, and non-dancers. Methods: Nineteen Polish folk dancers (FD), fifteen ballroom dancers (BD), and seventeen physically inactive non-dancers (ND) took part in this observational study. The mean dancing experience of the dancers was 7.7 years. The research procedures included the use of the author’s questionnaire, assessment of lower limb range of motion (ROM) (goniometer), measurement of hamstring muscle length (the Active Knee Extension (AKE) Test), and dynamic balance assessment (the Y-Balance Test). Results: Analysis revealed significant differences in knee extension (p=0.001), hamstring muscle length (p <0.0001), and dynamic balance (p=0.02) between the groups. Conclusion: Due to the greater flexibility of the hamstring muscles in dancing groups, the knee hyperextension in ballroom dancers, and the knee limited extension in folk dancers, further research should be conducted to include the hamstring muscle peak force and the lumbopelvic complex assessment.
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Mukhambetzhanov, Sherkhan, and Bibigul Nussipzhanova. "THE SPECIFICS OF THE ARTISTIC IMAGERY OF DANCING IN CHOREOGRAPHIC ART." Central Asian Journal of Art Studies 8, no. 4 (January 5, 2024): 151–62. http://dx.doi.org/10.47940/cajas.v8i4.786.
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The folk stage dance within the framework of choreographic education stands out as one of the most crucial and foundational components of training, alongside classical, duet, historical, everyday, and modern dance disciplines. Beyond being solely an academic subject, folk stage dance embodies a living tradition of stage interpretations of dances from diverse cultures. This facet of choreographic art encompasses a myriad of artistic and pedagogical techniques, manners, and dance styles. Consequently, the cultivation of folk stage dance emerges as one of the most intricate and multifaceted tasks confronting aspiring performers and choreographers. The enduring beauty and cultural significance of this discipline render folk stage dance a perennial focal point in the realm of choreographic education in Kazakhstan. In the contemporary landscape of domestic education, the imperative to enhance the organizational and pedagogical conditions for teaching folk stage dance introduces new challenges to the educational sector. Given the nature of choreographic activity, artistry, and creativity in dance, maintaining professional consistency becomes paramount. The qualitative selection of students becomes indispensable, fostering the cultivation of a genuine vocation for choreography. Essential characteristics such as artistic skill, professionalism, expressiveness, and acting prowess have consistently been demanded from ballet dancers, constituting prerequisites that must be fully nurtured within choreographic schools. In optimal organizational and pedagogical environments, these qualities should be thoroughly developed. The specificity of choreographic imagery lies in the utilization of a system of expressive means, uniquely refracted in the plastic language of dance at every stage of cultural and historical development. Plasticity serves as the primary means of expression when crafting a choreographic image
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Sági, Mária. "The role of amateur groups in Hungary in reviving folk dancing." Leisure Studies 6, no. 1 (January 1987): 25–40. http://dx.doi.org/10.1080/02614368700390031.
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Hughson, John. "Football, folk dancing and fascism: diversity and difference in multicultural Australia." Australian and New Zealand Journal of Sociology 33, no. 2 (August 1997): 167–86. http://dx.doi.org/10.1177/144078339703300203.
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Gailīte, Elīna. "Vietas nozīme stāstījumos par dejošanu Pārdaugavā." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 28 (March 24, 2023): 128–39. http://dx.doi.org/10.37384/aplkp.2023.28.128.
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It is important for people to structure the space around them and give it meaning, and this is evident in the stories of people involved in dance, not only talking about the process of dancing itself but also about the place and space where they dance. The project “Urban Experiences: Narratives, Memories and Place Heritage” (lzp-2020/1-0096), implemented by researchers from the Institute of Literature, Folklore and Art at the University of Latvia and launched in 2021, includes a study in Rīga, Pārdaugava. It involved interviews with representatives of folk dance and stage folk dance groups working in Pārdaugava. In order to deepen the understanding of an important community of practitioners of Latvia’s intangible cultural heritage – dancers and dance teachers – the aim of this article is to find out where folk dance and stage folk dance perform today, which are the places they pay attention to and highlight as important, and how they shape their everyday dance life. Experiencing different places and spaces in the city shapes both the identity of dancers and dance teachers and the perception of a particular place. In other words, there is a two-way interaction: the person shapes the place, and the place shapes the person. Through semi-structured interviews with members of the dance community and subsequent analysis, the place where classes and concerts take place is crucial in sustaining their everyday practices. Rehearsal spaces create an atmosphere for everyday activities and are also important for socialising and maintaining a sense of community. Although most dancing takes place indoors, in recent years, there has been more dancing outdoors. And although this experience has not always been seen as a success, it has provided a different perspective on the space around us, and an opportunity for people who do not dance to be exposed to different dance practices. The article “The importance of place in narratives about dancing in Pārdaugava” analyses the contexts in which places appear in the narratives of people involved in dance, the meanings they attach to them and what they highlight as important characteristics of the dance environment, which in turn constitute this important part of the intangible cultural heritage.
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Hong, Ming. "Aesthetic Characteristics Thinking of Minority Folk Art in Guizhou." Journal of Educational Theory and Management 2, no. 2 (April 16, 2018): 43. http://dx.doi.org/10.26549/jetm.v2i2.736.
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Guizhou, with a cluster of multiple ethnic groups, is located in the southwest of China. In the province, there is up to 49 ethnic minorities whose population occupies around 1/3 of the total. Thanks to this, the multi-ethnic region is endowed with various folk art and culture of distinctive minority styles. This paper briefly discusses the outline of minority folk art in Guizhou, including its development and features, analyzes the aesthetic expression ways and characteristics of the art, and finally, puts forward some further thoughts from fine art, dancing art and batik art. This paper aims to further facilitate the development and innovation of the minority folk art of Guizhou, and add lustre to the progress of our national minority cultures.
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Väisa, Leili, Jaan Ereline, Mati Pääsuke, and Tatjana Kums. "The effect of Estonian folk dance practice on static balance performance in young females." Acta Kinesiologiae Universitatis Tartuensis 26 (December 31, 2020): 61–71. http://dx.doi.org/10.12697/akut.2020.26.06.
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The aim of the present study was to establish the changes that occur in dancers’ static body balance indicators during rest, in case of interfering factors and in stress condition. The sample consisted of 14 advanced female folk dancers at the age of 16–20 years. The participants’ static body balance was measured at the beginning (in the autumn) and at the end (in the spring) of the eight-month dancing period. Static body balance indicators were registered on a dynamographic platform within 30 seconds, standing on bipedal on stable and unstable support surface in eyes-open (EO) and eyes-closed (EC) conditions. The Flamingo test balance control, the balance control after spinning around and jumping tests were conducted only in EO condition. The following parameters were registered: the movements of the centre of pressure (CoP) in the anterior-posterior (AP) and medio-lateral (ML) dimensions; the length, speed and area of the trajectory. According to the study, folk dancers’ CoP movements in the AP and ML dimensions, measured in different conditions (EO, EC), on stable and unstable support surface, did not change significantly after the eight-month dancing practice. The young folk dancers’ static body balance, assessed by CoP movement trajectory, speed and area, improved considerably over the eight-month training period. Flamingo test results indicate that practising folk dance develops the young female folk dancers’ right and left side static stability equally. In the context of Estonian folk dance practice, including preparation for performing at dance festival, the young female folk dancers’ balance performance improved both in vestibular instability (spins, standing on unstable support surface and in EO condition) and fatigue (jumping test) conditions.
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Reshetnikova, T. P., and T. D. Furdak. "THE FOLK DANCING ART AS THE WAY O F TRAINING THE YOUNG PEOPLE." Educational Dimension 13 (May 26, 2022): 210–18. http://dx.doi.org/10.31812/educdim.5766.
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In this article we take into consideration the integrative mechanisms of influence on the forming the learners artistic skills. We can differentiate the following aspects stimulation of folk dancing art such as. The spiritual-integral attitude to the achievements of the traditional national culture, the understanding of the symbols, the realization of the emotionally figurative content of the Ukrainian people's myth poetical creation.
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Hoppu, Petri. "The Polska: Featuring Swedish in Finland." Congress on Research in Dance Conference Proceedings 2014 (2014): 99–105. http://dx.doi.org/10.1017/cor.2014.13.
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The paper examines the Swedish polska as a special case of movementscape in Finnish folk dance. The research is based on ethnographic fieldwork among Finnish folk dancers in 2013. Since the 1970s, the polska has been popular in Swedish folk dance, and this versatile dance form can be seen as emblematic to Swedish folk dance culture. During the last 30 years, Finnish folk dance groups have also eagerly adopted it: not only the dance itself, but a whole new style and embodiment of dancing with improvisation as an important element. Although there have been vernacular polska forms in Finland, as well, and folk dancers have danced them for decades, they have not been able to reach any higher status. Although Finnish folk dancers have adopted dances from other Nordic countries since the early twentieth century, the popularity of Swedish polska exceeds that of any earlier Nordic innovations in Finland.
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Falcone, Jessica Marie. ""Garba With Attitude": Creative Nostalgia in Competitive Collegiate Gujarati American Folk Dancing." Journal of Asian American Studies 16, no. 1 (2013): 57–89. http://dx.doi.org/10.1353/jaas.2013.0010.
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Andreeva, Tamara E., Varvara G. Belolyubskaya, and Kirill N. Struchkov. "Vocabulary reflecting the titles of Evenk and Even dances." Sibirskiy filologicheskiy zhurnal, no. 3 (2021): 165–76. http://dx.doi.org/10.17223/18137083/76/13.
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The paper is a comprehensive description of the vocabulary of the dancing culture of Tungus ethnic groups - Evens and Evenks. The development of Even and Evenk folk dancing art was preconditioned by the peculiarities of their economic activity and way of life and the geographical conditions of the northern region. The dances and games reflect the local features related to the history of Even and Evenk settlements in the territories they currently inhabit. Round and imitative dances, an integral part of all ritual celebrations, are the most typical and distinctive for their dancing culture. Intimate relationship to nature is important for dancing vocabulary formation. The traditional culture of Tungus peoples was considerably influenced by their confession: as pagans, they shaped their mythical and real notions of a totem. The dancing tempo of Evenk round dances was influenced by Yakut round dance osuokhai. The analysis of ethnographic, folklore, linguistic, and the authors’ field materials allowed presenting the titles of Evens’ and Evenks’ imitative round dances for the first time holistically. Common and distinctive features of Even and Evenk vocabulary of the round and imitative dances’ titles are revealed. The notions of dance and song in Even and Evenk languages are often indivisible, expressed by cognate words: Even nѳrgenek “dancing with singing”, Evenk iken, ikevun “dancing with singing”. Most of the vocabulary common to the Even and Evenk languages is indigenous to them, with Evenk-Even linguistic correlations on the lexical and semantic levels, suggesting the commonality of the historical processes affecting the development of these languages.
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Kelley, Vincent D. "Toward a Dialectical Understanding of North Indian Drumming Traditions: Musical Labor, Dance, and the Folk/Classical Distinction in Banaras." Asian Music 55, no. 2 (June 2024): 40–74. http://dx.doi.org/10.1353/amu.2024.a933041.
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Abstracts: The distinction between “ folk” and “classical” is frequently invoked in discourses about North Indian music. This article investigates drumming traditions in the North Indian city of Banaras (Varanasi) to explore the nature of this distinction. Drawing on historical, ethnographic, and formalist methodologies, it proposes a dialectical approach to the study of drumming in North India. Particular attention is given to the structure of hereditary musical labor, the intertwined history of dancing and drumming, and the relationship between folk and classical drumming traditions in Banaras.
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Prickett, Stacey. "Dancing the American Dream: José Limón's War Choreography." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 166–72. http://dx.doi.org/10.1017/s2049125500000285.
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José Limón's early choreography on themes of war and conflict and the dances he created while serving in the U.S. Army during World War II represent diverse identities and ideological perspectives, ranging from antiwar statements to those perpetuating myths of the “American dream.” This paper will examine the myriad of symbols in his dances linked to national identity, which moved beyond “folk” representations, theorized through concepts such as the “imagined community” and a “pan-ethnic Americanism.”
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Kochman, Maciej, Gabriela Cmela, Wojciech Kasperek, Agnieszka Guzik, and Mariusz Drużbicki. "Body Posture and Low Back Pain: Differences between Folk and Ballroom Dancers." Healthcare 12, no. 2 (January 8, 2024): 137. http://dx.doi.org/10.3390/healthcare12020137.
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(1) Background: Dance is extremely diverse in its styles. Each of them presents different training, dynamics, and figures that may impact the body posture and the occurrence of low back pain. This observational study aimed to compare the sagittal curvatures and the range of motion (ROM) of the spine, as well as the low back pain occurrence and its intensity between folk and ballroom dancers. (2) Methods: Fifty-one participants took part in the study (nineteen folk dancers, fifteen ballroom dancers, and seventeen non-dancers) aged 18–32. Study groups did not differ in anthropometric parameters as well as in dancing experience and training frequency. Study procedures included a self-administered questionnaire and a physical examination of the sagittal spine curvatures and ROM. The questionnaire included questions about epidemiological data and the occurrence of chronic pain and its intensity using a Visual Analogue Scale (VAS). (3) Results: There was a significant difference in thoracic kyphosis angle between study groups (p = 0.02). The greatest angle was found in folk dancers and the lowest in ballroom dancers (40 vs. 33 respectively). We have found no significant differences in spine ROM, low back pain occurrence, and intensity between study groups (p > 0.05). We have found no correlation between low back pain and spine curvatures and ROM in dancers (p > 0.05), however, we found a very strong and negative correlation between thoracic spine range of motion and the pain intensity in non-dancers (R= −0.95, p = 0.003). The analysis also revealed that only in folk dancers, but not in ballroom dancers, the BMI correlates positively with dancing experience (R = 0.67, p = 0.002). (4) Conclusions: There are no differences in low back pain occurrence and pain intensity between folk and ballroom dancers, however, the prevalence of low back pain in dancers is very high. Folk dancers seem to have more flexed body posture compared to ballroom dancers.
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ÖZTÜRKMEN, ARZU. "ANTHONY SHAY, Choreographic Politics: State Folk Dance Companies, Representation and Power (Middletown, Conn.: Wesleyan University Press, 2002). Pp. 290. $65.00 cloth; $19.95 paper." International Journal of Middle East Studies 35, no. 4 (November 2003): 642–44. http://dx.doi.org/10.1017/s0020743803270264.
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Anthony Shay's Choreographic Politics fills an important gap in the research of the history of folk dancing, a gap opened by the controversial status of “state folk dance ensembles,” whose performances have often been neglected or despised by folklorists and dance scholars. Staged folk dances have always charmed audiences with the energy they embed in their performances but they have also puzzled them, because it is clear that they are more of a “representation” than a true reflection of a locality's reality. The analysis of “state folk dance ensembles,” then, moves on the edges of folklore and “fake lore,” the art of dance and the ethnography of dance. Choreographic Politics touches on this very sense of illusion and disillusion, focusing on the politics of state folk dance ensembles, a cultural product of the post-war era.
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Papantoniou, Ioanna, and Sofia Pantouvaki. "Folk costume as theatrical costume." Studies in Costume & Performance 7, no. 1 (May 1, 2022): 55–66. http://dx.doi.org/10.1386/scp_00060_1.
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This essay introduces an unpublished talk by Greek stage designer Ioanna Papantoniou (born 1936) entitled ‘Local costume in a theatrical performance’, originally presented at the First Panhellenic Meeting of Ephors (Curators) and Dance Teachers at the Lyceum Club of Greek Women in Athens, in November 1990. Prior to and alongside her professional design career in the field of theatre, Papantoniou was actively engaged as a researcher in ethnography studies on Greek local costumes and folk dances. Driven by her passion for the study of Greek local dress combined with her professional experience as a stage designer, Papantoniou has given several talks on the connections between theatrical performance and folk traditions, as well as on the interrelationship between local dress and theatrical costume on stage and in festivities. In this talk she conflates local costume and folk dance as a form of performance and discusses how these two elements become an artistic creation when it comes to staged performances outside their original setting in a village. Thus, she draws a line between the ‘authentic’ and the staged performance, the latter of which is what she considers contemporary folk dancing in reproduced folk costume to be. The published text is based on a transcript of the talk, translated into English, and further edited by costume designer and scholar Sofia Pantouvaki, who also provides an introduction and numerous annotations to make the talk accessible by an international audience.
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Kovács, Nóra. "The Paradox of Authenticity." Tánc és Nevelés 2, no. 1 (February 28, 2021): 153–57. http://dx.doi.org/10.46819/tn.2.1.153-157.
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The book on the Slovakian authentic folklore movement by the American scholar Joseph Grim Feinberg working in the Czech Republic is a special treat for those interested in dance anthropology. It is always inspiring to look at social and cultural phenomena about the East-Central European region through the eyes of a researcher who is an outlander; this applies to the realm of music and dance, too. The title suggests two fundamental issues that may be interesting and important for Hungarian readers acquainted with the world of folk dancing. One of them is the authenticity of folk-dance related practices; the other is folk dance politics, a topic addressed extensively in the international world of dance anthropology.
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Kapper, Sille. "Post-colonial folk dancing: reflections on the impact of stage folk dance style on traditional folk dance variation in Soviet and post-Soviet Estonia." Journal of Baltic Studies 47, no. 1 (January 2, 2016): 93–111. http://dx.doi.org/10.1080/01629778.2015.1103515.
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Spinul, Ihor, and Helen Spinul. "DEVELOPMENT PROSPECTS OF MODERN BALLROOM DANCES." Academic Notes Series Pedagogical Science 1, no. 206 (January 2022): 259–65. http://dx.doi.org/10.36550/2415-7988-2022-1-206-259-265.
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Today, modern ballroom dance is the priority direction of the development of modern choreographic art, in contrast to folk and pop art. Nowadays, despite the existence of a sufficiently large number of different directions of modern, folk, pop choreography, ballroom dance is becoming not only more and more popular, but also a dynamically developing direction. Therefore, special attention from the point of view of both historical and theoretical-methodical research of ballroom dance requires substantiation of its features and prerequisites for further development, both as a sport and as a choreographic art. The article examines the conditions for the formation of ballroom dancing, its main features, and determines the prospects for the further development of this type of choreographic art. Dance provides an opportunity for physical, aesthetic, spiritual development and education of both children and youth, as well as adults. Learning the best motor skills and skills in the training process is associated with the mobilization and active development of many physiological functions of the human body: blood circulation, breathing, neuromuscular activity, etc. Thanks to the fast rhythm, complex and varied technique, ballroom dancing helps a person to feel self-confidence, prevents the appearance of complexes, trains endurance, the vestibular apparatus, the respiratory system and the heart. In recent years, a new type of leisure activity in the field of ballroom dancing has been actively developing in Ukraine - dancing in the Pro-Am (Professional - amateur) format. Pro-Am is a direction in ballroom dancing where one participant is a professional teacher and the other is an amateur student. In addition to numerous trainings in the dance hall and demonstration performances, such a couple has the opportunity to participate in dance tournaments and festivals. Pro-Am competitions are held both as part of sports ballroom dance tournaments and as independent events. The Pro-Am system is a unique dance training system. An individual approach to each student makes it possible not only to teach him to dance technically correctly, but also to reveal individual capabilities. Everyone who studies has the opportunity to choose the direction that he likes the most and to study in the mode that suits him best, thus, the effectiveness of classes increases.
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Altukhov, V. A. "THE INFLUENCE OF FOLK DANCING ON THE AESTHETIC DEVELOPMENT OF PRESCHOOL AGE CHILDREN." INNOVATIVE SOLUTIONS IN MODERN SCIENCE 8, no. 17 (October 23, 2017): 5. http://dx.doi.org/10.26886/2414-634x.8(17)2017.1.
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Hayday, Matthew. "Fireworks, Folk-dancing, and Fostering a National Identity: The Politics of Canada Day." Canadian Historical Review 91, no. 2 (June 2010): 287–314. http://dx.doi.org/10.3138/chr.91.2.287.
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Preston, Carrie J. "Modernism's Dancing Marionettes: Oskar Schlemmer, Michel Fokine, and Ito Michio." Modernist Cultures 9, no. 1 (May 2014): 115–33. http://dx.doi.org/10.3366/mod.2014.0077.
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Marionettes have inspired dance productions for centuries. In the early twentieth century, choreographers used the figure of the puppet to negotiate tensions between modern mechanization, national folk traditions, and expressive human movement. Modernism's dancing marionettes leap across national borders and genres of dance to appear in Michel Fokine's Petrouchka (1911), the Marionette Dance (1916) of Japanese-born modern dancer Ito Michio, and Bauhaus artist Oskar Schlemmer's Das Triadische Ballett (Triadic Ballet, 1922). All were influenced by modernist marionette theories that referenced Heinrich von Kleist and Gordon Craig. Ballet, modern, and avant-garde dance are often considered separate trajectories in modernism, but their use of the dancing marionette demonstrates a common impulse to explore the relation between machine and human movements.
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T.R, Hebzibah Beulah Suganthi. "Folklore Elements in Vallikannan Novels." International Research Journal of Tamil 4, S-16 (December 12, 2022): 104–13. http://dx.doi.org/10.34256/irjt224s1614.
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Folk literature is created by the common people and preserved by them. Vallikannan is a renowned writer, journalist and author of all kinds of literature, his novels Iruttu Raja, Ninaivu charam and Oruveetin Kathi describe the life of Saiva Velalar in Nellai district in a rustic form. Among these games children's games are swinging, playing Tayakkatam, playing by singing and dancing, playing pandi, and playing Kannambuchi. Other common games are folk songs, titling, calling women by their village names, proverbs, folk performances related to religion, celebrating festivals, paying tribute to the village temple during festivals, performing arts, naming, marriage, processions, performing arts programs at weddings. They use figure of speech in their speech. The folk songs, proverbs and local idioms used by the Nellai district people reveals the author's general knowledge and approach to the people. It can be seen that the folk elements found in lullabies, folk tales, songs, stories, fables, myths, proverbs etc are mixed with the character and sentiment of the Tamil people. The article is about the folklore elements found in Vallikannan novels.
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Zvicevičienė, Solveiga, and Vilmantė Aleksienė. "Awakening Games Genre of Lithuanian Dancing Folklore: the Aspects of Education and Therapy." Pedagogika 120, no. 4 (December 18, 2015): 142–53. http://dx.doi.org/10.15823/p.2015.044.
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Lithuanian folk awakening games for babies and young age children are classified as dancing folklore genre. These are syncretic musical compositions of low volume, intended for infants and small children, which are performed vocalising and in action. This is child-friendly interactive action, which has a playful nature and is based on intensive movement. A rich range of possibilities is noticeable in Lithuanian folk awakening games, necessary for versatile child’s education / learning.
Purpose of article: to disclose the application possibilities of awakening games in work with children, who have special needs:
1) achieving the training goals;
2) achieving the therapeutic goals.
Research method: analysis suitability of children awakening games for education and therapy. Literature of different areas has been reviewed: ethnic culture, music therapy, dance-movement therapy, ethno therapy, developmental psychology, education and special education. It is also based on manuscripts material from the Archives: of Lithuanian Folk Culture Centre, Institute of Lithuanian Literature and Folklore, Ethnomusicology Archive of Lithuanian Academy of Music and Theatre and on its expedition manuscripts material as well.
Drawn conclusions: Lithuanian folk awakening games belong to minor genre of dancing folklore, which is expressed in syncretic musical compositions of low volume, has “encoded”, not yet been researched, broad options of educational and therapeutic content, and can be purposefully used trying to respond to various individual or special needs of a child.
Awakening games can be used in a child‘s education / self-training process for numerous, complementary factors, which stimulate development of a child: training of communication and language, promotion of environmental knowledge and acceptance of changes, shaping of positive behaviour, training of motility, development of playfulness and creativity skills.
Lithuanian folk awakening games can be used in therapeutic process as an effective means of communication formation with a child and activation of its ability to imitate. While playing with a child, conditions are created naturally for its psychological security, self-esteem and confidence; self-expression, self-realization; reducing of its fears; relaxation and experience of pleasure and other.
Awakening games are still important in contemporary culture for versatile child’s development / self-formation and recommended to apply in Lithuanian families, as well as in working methodologies of a special educator, physical therapist, speech therapist, ergotherapist, psychologist and art therapist.
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Höfling, Ana Paula. "Dancing Mestiçagem, Embodying Whiteness: Eros Volúsia's Bailado Brasileiro." Dance Research Journal 52, no. 2 (August 2020): 59–74. http://dx.doi.org/10.1017/s0149767720000170.
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This article analyzes the processes of branqueamento (whitening) contained within the ideology of mestiçagem (racial miscegenation) through the work of Brazilian dancer, choreographer, and dance pedagogue Eros Volúsia (1914–2004) in the context of the establishment of the myth of racial democracy in early twentieth-century Brazil. I argue that Eros Volúsia not only embodied Brazil's allegedly harmonious racial mixture through her stylized “folk” dances, but her bailado brasileiro (Brazilian ballet) in fact choreographed Brazil's modernity and aspirations of whiteness. I compare Volúsia's prominent career as a performer and pedagogue in Brazil with her brief film career in the United States, where Volúsia had the opportunity to follow in Carmen Miranda's footsteps and become the next “Brazilian bombshell,” but instead chose to return to Brazil, where she was able to maintain her white privilege and her status as author and artist.