Journal articles: 'Humanities -> performing arts -> dance'

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WHATLEY, SARAH. "Archives of the Dance (21): Siobhan Davies Dance Online." Dance Research 26, no. 2 (October 2008): 244–57. http://dx.doi.org/10.3366/e0264287508000212.

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In 2006, an Arts and Humanities Research Council (AHRC) grant was awarded to researchers at Coventry University to create a digital archive of the work of Siobhan Davies Dance. The award is significant in acknowledging the limited resources readily available to dance scholars as well as to dance audiences in general. The archive, Siobhan Davies Dance Online, 1 will be the first digital dance archive in the UK. Mid-way through the project, Sarah Whatley, who is leading the project, reflects on some of the challenges in bringing together the collection, the range of materials that is going to be available within the archive and what benefits the archive should bring to the research community, the company itself and to dance in general.

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López Arnaiz, Irene. "Living Archive. Nyota Inyoka’s Archive: Traces of the Ephemeral and Ancient Dances Reenactment." Anales de Historia del Arte 32 (July 14, 2022): 327–50. http://dx.doi.org/10.5209/anha.83074.

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The French National Library keeps since 1983 the personal archive of the dancer and choreographer Nyota Inyoka (Fonds Nyota Inyoka). This archive comprises twenty-eight boxes of documents, besides costumes belonging to the dancer, which are constitutive as material of enormous value for the necessary recovery of this figure that has fallen into oblivion in the history of dance. This article aims at providing a first approach to the Nyota Inyoka Archive by ramifying the study in two directions. On the one hand, it allows us to articulate some keys to her choreographic proposal and her theoretical conception of dance. On the other hand, it enables us to broaden the reflection towards the relationship between the archive and the dancing body. Nyota Inyoka's repertoire revolves around ancient cultures that refer mainly to traditions from ancient Egypt and South and Southeast Asia. Thus, the archive takes on an important presence linked to the discipline of dance in a double sense. Firstly, the ephemeral nature of this art favors the archive to become an essential element for dance research. Whilst if we take into consideration the choreographic process of the dancer based on visual sources from Egyptian and Asian art, her body is constituted as a living archive. In this sense, I will offer a reading of Nyota Inyoka’s work as a kind of avant la lettre reenactment of ancient dances.

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McCann, Gillian. "Performing Gender, Class and Nation: Rukmini Devi Arundale and the Impact of Kalakshetra." South Asia Research 39, no. 3_suppl (September 23, 2019): 61S—79S. http://dx.doi.org/10.1177/0262728019872612.

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Rukmini Devi Arundale, herself a choreographer and dancer, is considered one of the key figures in re-creating Bharatanatyam. Through her utopian arts colony, Kalakshetra, started during the movement towards Indian independence, she taught what she deemed to be a classical, religious and aesthetically pleasing form of dance. Her rejection of what she termed vulgarity and commercialism in dance reflects her Theosophical worldviews and her class position in a rapidly changing South India. The article examines the ways in which her understanding of Bharatanatyam developed in the context of contested forms of nationalism as a gender regime that contributed to creating proper middle-class, Hindu and Indian subjects. It also examines the impacts of this form of cultural heritage relating to gender, culture and nationalism in today’s globalised South Asian dance scenario.

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Bench, Harmony, and Kate Elswit. "Visceral Data for Dance Histories." TDR: The Drama Review 66, no. 1 (March 2022): 37–61. http://dx.doi.org/10.1017/s1054204321000708.

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Between 1947 and 1960, choreographer Katherine Dunham spent over 5,000 days in hundreds of cities on six continents. During that time, almost 200 dancers, drummers, and singers traveled with her, performing 166 repertory pieces. Dunham’s expansive work lends itself to digital approaches that illuminate the complex ways history is iterated across bodies, and how the specific questions raised by dance history underpin a visceral approach to the digital humanities.

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Bench, Harmony, and Kate Elswit. "Dance History and Digital Humanities Meet at the Archives: An Interim Project Report on Dunham's Data." Dance Research 38, no. 2 (November 2020): 289–95. http://dx.doi.org/10.3366/drs.2020.0314.

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This interim project report addresses the ongoing work of Dunham's Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry. The project centres choreographer Katherine Dunham's transnational circulation, and takes a critical mixed methods approach informed by feminist and anti-racist discussions in the digital humanities in order to explore the questions and problems that make data analysis and visualization meaningful for dance history. Dunham's Data sits on robust datasets that we have manually curated from currently undigitized sources – an iterative and evaluative process that approaches these archives and the histories that they contain from a granular perspective. This update contextualizes our particular conjunction of archival and digital methods within dance history's precedents for curating data, and talks through our own datasets as tools for dance historical analysis in terms of Dunham's global legacy.

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Bench, Harmony. "Mapping Touring: Remediating Concert Dance Archives." Dance Research Journal 51, no. 3 (December 2019): 4–27. http://dx.doi.org/10.1017/s0149767719000342.

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This article introduces the digital humanities and dance studies project Mapping Touring, and employs it in an analysis of Denishawn's touring prior to and immediately following the company's 1925–26 tour to Asia. Situated within the archival turn in dance, Mapping Touring emphasizes the possibilities of spatial and comparative analysis for touring dance artists, with information about their location and repertory drawn from archival sources, gathered and stored in a database, and plotted on interactive maps. With Denishawn as a case study, I contend that digital mapping can make visible some of the implications of travel and touring for the circulation and spread of theories of embodiment contained in dance repertory.

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Samarasinghe, Kamani. "A Review of the International Music Conference Themed “Symbiosis of Arts and Cultures: Nurturing Expression, Connection, and Well-being”." Journal of Research in Music 2, no. 1 (January 31, 2024): 54–62. http://dx.doi.org/10.4038/jrm.v2i1.26.

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The 5th International Conference of Faculty of Music, University of the Visual & Performing Arts 2023 (ICFM-2023) was held in the Faculty of Music premises in Colombo from 22 to 23 November 2023 with the main theme ‘Symbiosis of Arts and Cultures: Nurturing Expression, Connection, and Well-being’, brought together an assembly of over a hundred scholars and researchers from India and Sri Lanka and some other countries. The conference featured nineteen sessions delving into various dimensions of the musical landscape with the hope of fostering profound discussions across diverse areas such as music education, pedagogy, musicology, ethnomusicology, performing arts, music and technology, well-being and society, interdisciplinary connections in humanities, social and library sciences, exploring performing arts (including dance, theater and beyond), intangible cultural heritage with a focus on preservation and promotion, and visual art with interdisciplinary expression. Additionally, the program explored theoretical and practical aspects of music and dance therapy. Most participants shared their latest research in person, while some presented online. This conference enriched the knowledge of the participants as well as provided a platform for presenting studies on music and allied subject-related topics. Future music symposia can also introduce a wide variety of sessions to promote and inspire future researchers.

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Bulag, Uradyn E. "Mongolian Music, Dance, and Oral Narrative: Performing Diverse Identities.:Mongolian Music, Dance, and Oral Narrative: Performing Diverse Identities." American Anthropologist 105, no. 2 (June 2003): 452–53. http://dx.doi.org/10.1525/aa.2003.105.2.452.

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Kennedy, Teri. "Why Arts Matter to People and Families Living With Dementia: Interprofessional Health Humanities Collaboration." Innovation in Aging 4, Supplement_1 (December 1, 2020): 566–67. http://dx.doi.org/10.1093/geroni/igaa057.1872.

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Abstract This presentation will share examples of arts-based and creative interventions serving people and their families living with dementia representing evidence-based and promising practices in the United States. Such interventions offer effective non-pharmacological approaches to dementia care including use of the visual arts (e.g., drawings, paintings, sculpture) and performing arts (e.g., music, theatre); literature and writing including reminiscence, biographical approaches, and life story work; photography and Photovoice; and dance and movement as intervention modalities. Current evidence will be presented that demonstrates the effectiveness of arts-based interventions as a form of psycho-social and self-care to alleviate the effects of dementia and enhance the quality of life. Recommendations for future research will be discussed. Strategies will be proposed to develop interprofessional health humanities networks between universities, healthcare systems, libraries, museums, and the arts community to collaborate on the creation of arts-based programs in communities currently without the benefit of such programs.

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Peng, Xun. "Historical Development and Cross-Cultural Influence of Dance Creation: Evolution of Body Language." Herança 7, no. 1 (December 29, 2023): 88–99. http://dx.doi.org/10.52152/heranca.v7i1.764.

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This paper delves into the historical evolution of dance creation and its cross-cultural influences, with a particular focus on the transformation of corporeal language. Commencing from the dance traditions of ancient cultures, the article retraces the dances of Ancient Egypt and Ancient Greece, as well as the religious and courtly dances of the medieval and Renaissance periods. Subsequently, it scrutinizes the emergence of modern dance, encompassing the American modern dance movement and European expressionist dance, along with the evolution of dance techniques and forms. The article delves into the varied manifestations of dance, including pure dance, narrative dance, and experimental dance compositions. It also analyzes the impact of cross-cultural influences and globalization on dance, encompassing dance's role as a medium for cultural dissemination, as well as the internationalization of dance education. Finally, by examining the evolution of corporeal language, it underscores the connection between dance and emotional expression and social corporeal language, including trends in dance creation and interdisciplinary research in the digital age. This article encapsulates the metamorphosis of dance as a form of corporeal language, emphasizing its significance and forthcoming challenges.

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Morris, Gay. "Dance Studies/Cultural Studies." Dance Research Journal 41, no. 1 (2009): 82–100. http://dx.doi.org/10.1017/s0149767700000541.

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In the mid-1990s several articles appeared in the dance literature calling for a greater alliance between dance scholarship and cultural studies. More recently, dance scholarship has come to be labeled “dance studies,” suggesting that such a link has occurred. Since interdisciplinarity is a key element of cultural studies, it is appropriate to investigate interdisciplinarity in dance studies by examining dance's relationship to cultural studies. This genealogical task, though, is not as straightforward as it might seem. Cultural studies' relationship to the disciplines has not been stable over its half-century of existence. Interdisciplinarity, tied so closely to cultural studies' idea of its own freedom and political mission, has proved difficult to hang onto—so difficult, in fact, that today some consider the field to be in crisis. To complicate matters further, dance and cultural studies developed along different paths; consequently, interdisciplinarity within dance studies is not always conceptualized in the way it is in cultural studies. Cultural studies was initially meant as a political and social intervention that purposefully avoided creating theories of its own, while dance research, long tied to the disciplines of history and anthropology, not only adopted many of the theories and methods of these fields but also developed theories and methods of its own as an aid in analyzing the human body in motion. Where and how, then, do dance and cultural studies meet on the grounds of interdisciplinarity? This is not an idle question; cultural studies has had a major impact on arts and humanities scholarship, and as cultural studies reaches a critical moment of reexamination, new questions arise as to the role of interdisciplinarity, both in cultural studies and in the fields it has so profoundly influenced.

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Arnold, Peter J. "Objectivity, Expression, and Communication in Dance as a Performing Art." Journal of Aesthetic Education 29, no. 1 (1995): 61. http://dx.doi.org/10.2307/3333517.

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Bory, Alison, and Ariel Nereson. "A Set of Questions for a Field in Motion: Susan Leigh Foster’s “Choreographies of Protest” and Dance Studies in Theatre Journal." Theatre Journal 75, no. 4 (December 2023): 413–23. http://dx.doi.org/10.1353/tj.2023.a922212.

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Abstract: In her landmark essay “Choreographies of Protest,” Susan Leigh Foster articulated the central concerns of the (at the time) developing field of dance studies. Foster’s following analysis, embedded in her argument about the compositional elements of social action, advanced core dance studies methodologies. On the occasion of the 75th anniversary of Theatre Journal , this essay revisits “Choreographies of Protest,” published in the October 2003 issue, and considers its significance to the fields of theatre, performance, and dance studies. Foster’s famous guiding questions that appeared in this essay, and which foregrounded real-world actions of the body, served to define the methodological approach and possibility of dance studies as a field, both concretizing the queries that previous scholarship had addressed and proposing what might be examined in years to come. In so doing, these seemingly straightforward queries, and the answers they elicit, begin to argue for dance studies as an essential discipline to the humanities, a way of understanding both human experience and human relations.

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Mansfield, Louise, Tess Kay, Catherine Meads, Lily Grigsby-Duffy, Jack Lane, Alistair John, Norma Daykin, et al. "Sport and dance interventions for healthy young people (15–24 years) to promote subjective well-being: a systematic review." BMJ Open 8, no. 7 (July 2018): e020959. http://dx.doi.org/10.1136/bmjopen-2017-020959.

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ObjectiveTo review and assess effectiveness of sport and dance participation on subjective well-being outcomes among healthy young people aged 15–24 years.DesignSystematic review.MethodsWe searched for studies published in any language between January 2006 and September 2016 on PsychINFO, Ovid MEDLINE, Eric, Web of Science (Arts and Humanities Citation Index, Social Science and Science Citation Index), Scopus, PILOTS, CINAHL, SPORTDiscus and International Index to Performing Arts. Additionally, we searched for unpublished (grey) literature via an online call for evidence, expert contribution, searches of key organisation websites and the British Library EThOS database, and a keyword Google search. Published studies of sport or dance interventions for healthy young people aged 15–24 years where subjective well-being was measured were included. Studies were excluded if participants were paid professionals or elite athletes, or if the intervention was clinical sport/dance therapy. Two researchers extracted data and assessed strength and quality of evidence using criteria in the What Works Centre for Wellbeing methods guide and GRADE, and using standardised reporting forms. Due to clinical heterogeneity between studies, meta-analysis was not appropriate. Grey literature in the form of final evaluation reports on empirical data relating to sport or dance interventions were included.ResultsEleven out of 6587 articles were included (7 randomised controlled trials and 1 cohort study, and 3 unpublished grey evaluation reports). Published literature suggests meditative physical activity (yoga and Baduanjin Qigong) and group-based or peer-supported sport and dance has some potential to improve subjective well-being. Grey literature suggests sport and dance improve subjective well-being but identify negative feelings of competency and capability. The amount and quality of published evidence on sport and dance interventions to enhance subjective well-being is low.ConclusionsMeditative activities, group and peer-supported sport and dance may promote subjective well-being enhancement in youth. Evidence is limited. Better designed studies are needed.Trial registration numberCRD42016048745; Results.

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Kaul, Adam R. "Performing Ecstasies: Music, Dance, and Ritual in the Mediterranean." Folk Life 46, no. 1 (January 2007): 165–66. http://dx.doi.org/10.1179/flk.2007.46.1.165.

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Lim, Youngmi. "Korean Fan Dance for Fun: Performing Alterity in Contemporary Japan." Ethnos 80, no. 2 (November 4, 2013): 192–222. http://dx.doi.org/10.1080/00141844.2013.831942.

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AMES, MARGARET. "Dancing Place/Disability." Theatre Research International 40, no. 2 (June 2, 2015): 170–85. http://dx.doi.org/10.1017/s0307883315000048.

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This article is developed from a paper presented at IFTR as part of the Performance and Disability Working Group in summer 2013. The work considered is a practice-as-research contribution by Welsh dance theatre company Cyrff Ystwyth towards a large Arts and Humanities Research Council-funded enquiry into performance, place, dislocation and vulnerability. The article uses contrasting concepts drawn from the work of critical theorists and dance scholars André Lepecki and Carrie Noland to think about the implications of Cyrff Ystwyth's site-specific performance authored by choreographer Adrian Jones, who has a learning disability. The research question is interrogated through the lens of the practice and understandings of place, performance and vulnerability, and proposed in the light of theory and its application to practice. The practice's challenge to theory is then considered as it confronts the researcher's expected outcomes and posits new understandings.

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Bond, Chrystelle Trump. "Southern Dance Traditions—Communities in Motion (Center for Appalachian Studies and Services, Tennessee Humanities Council, and Congress on Research in Dance; East Tennessee State University, 1–3 March 1990)." Dance Research Journal 22, no. 2 (1990): 45–47. http://dx.doi.org/10.1017/s0149767700002631.

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Kasai, Aya, Philippe Chéhère, Rie Harada, Nonoko Kameyama, and Julie Salgues. "La danse du détour: A collaborative arts performance with people touched by Minamata disease." Journal of Applied Arts & Health 14, no. 2 (July 1, 2023): 207–25. http://dx.doi.org/10.1386/jaah_00139_1.

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In May 2019, a group of dancers, photographers and local participants gathered in Minamata, Japan, a community affected by industrial mercury pollution since the 1950s. Philippe Chéhère, Julie Salgues and the Minamata Dance Collective conducted a series of dance sessions with citizens, students, dancers and people touched by Minamata disease in various places of significance in Minamata and explored the potential of movement and its transformation in people and the environment. Through choreographic poetry, they explored the site and the story of Minamata involving 180 people, using dance as a modality of encounter and dialogue. The ten-day dance project culminated in a participatory performance at Minamata Memorial. This case study documents the process of participatory arts by interweaving history, photographs and participants’ voices.

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Covington-Ward, Yolanda. "Roberts, Allen F.: A Dance of Assassins . Performing Early Colonial Hegemony in the Congo." Anthropos 109, no. 2 (2014): 737–38. http://dx.doi.org/10.5771/0257-9774-2014-2-737.

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Han, Yuchen, and Lin Zhang. "Historical Evolution and Cultural Identity of National Dance: Taking Andai Dance as the Research Object." Herança 7, no. 1 (December 22, 2023): 165–76. http://dx.doi.org/10.52152/heranca.v7i1.829.

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The Andai Dance is a traditional folk dance that spreads in the Horqin area of Inner Mongolia. It has strong local and national characteristics, and the dance style is passionate and generous, fully expressing the true feelings of the Mongolian people. It is a form of expression of national folk art integrated with singing and dancing performance and music singing. This paper profoundly explores and studies the inheritance and development of Mongolian Andai Dance in Horqin Grassland, including the form and characteristics of traditional Andai Dance. Understand the evolution of the movement and function of Andai Dance, let the new Andai Dance inherit the most vivid musical and dance elements of the traditional Andai Dance, protect and inherit the traditional culture, and explore the new development trend of Andai Dance in professional creation, performance, and mass popularization.

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Chakrabarti, Pritha. "Performing the region: Sadhona Bose and the modern Bengali film dance." South Asian History and Culture 8, no. 2 (March 24, 2017): 155–70. http://dx.doi.org/10.1080/19472498.2017.1304089.

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Dormani, Carmela Muzio. "So You Think You Can Salsa: Performing Latinness on Reality Dance Television." Journal of Popular Culture 53, no. 3 (June 2020): 720–38. http://dx.doi.org/10.1111/jpcu.12929.

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Reed, Susan A. "Performing Respectability: The Berav, Middle-Class Nationalism, and the Classicization of Kandyan Dance in Sri Lanka." Cultural Anthropology 17, no. 2 (May 2002): 246–77. http://dx.doi.org/10.1525/can.2002.17.2.246.

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Zafeiroudi, Aglaia. "Analyzing and Discussing the Evolution of Arabesque Movement According to Dance Elements and Aesthetics." Academic Journal of Interdisciplinary Studies 12, no. 6 (November 5, 2023): 41. http://dx.doi.org/10.36941/ajis-2023-0152.

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The present paper examines the different types and variations of arabesque dance movement from ancient times until today. The study analyzes and discusses the elements of arabesque dance, its common cultural elements as visualized through a chronological lens, its choreography, and its aesthetics in order to explore its development in terms of needs that arose from period-specific trends and dance stereotypes. The meaning of the term “arabesque” has changed from simply “a group of dancers,” now representing a delicate and highly masterful art. The gradual refinement of arabesque by dancers and instructors evolved an adept dancing system that positions the body in equilibrium by distributing its weight equally. The physical coordination, posture, and grace inculcated through arabesque movement benefit individuals' strength, posture, focus, and performance. Specific dance teaching styles, methods and strategies are also discussed based on outdoor and indoor modern setting, to create innovative education patterns for dancers, schools, academies or companies. Stakeholders, teachers, and instructors in performing arts should ensure the widespread distribution of these methods and their benefits to share their positive impacts with the world. Received: 08 August 2023 / Accepted: 20 October 2023 / Published: 5 November 2023

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Reus, Teresa Gómez. "Performing the (post‐modern) dance of gender: Nancy Spero and images of women." Journal of Gender Studies 2, no. 1 (May 1993): 45–55. http://dx.doi.org/10.1080/09589236.1993.9960528.

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SCHÜẞLER, LOTTE. "Theatre Exhibitions, Models and the Quest for Anschauung." Theatre Research International 47, no. 1 (February 18, 2022): 79–98. http://dx.doi.org/10.1017/s0307883321000614.

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The large-scale theatre exhibitions in Vienna (1892), Berlin (1910) and Magdeburg (1927) contained extensive displays on the history of German-language theatre. This article analyses the pedagogical and epistemological discussions about different ways of mediating theatre history that formed part of the context of the three exhibitions. Curators and scholars used the German term Anschauung to measure the transfer of knowledge in historical exhibitions, reconstruction models and historiography books. This article contributes to the recent scholarship on forms of exhibiting, collecting and archiving theatre, dance and performance. It shows that theatre became an area of focus within the culture of national and international large-scale exhibitions around 1900. This was accompanied by discussions about the appropriate medium to present the history of theatre. Informed by museum pedagogy and humanities hermeneutics, curators and scholars conceived of divergent concepts of theatre history Anschauung.

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Adley, Melanie. "Book Review: Performing Femininity: Dance and Literature in German Modernism. By Alexandra Kolb. Berlin: Peter Lang, 2009. Pp. viii + 316. £40.00." Journal of European Studies 40, no. 3 (August 27, 2010): 294–95. http://dx.doi.org/10.1177/00472441100400030808.

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Cohen, Adrienne J. "Performing excess: urban ceremony and the semiotics of precarity in Guinea-Conakry." Africa 89, no. 4 (November 2019): 718–38. http://dx.doi.org/10.1017/s0001972019000871.

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AbstractIn Conakry, the capital city of the Republic of Guinea, dance ceremonies called sabars, derived from a Senegalese genre of the same name, have become extremely popular for wedding celebrations. Sabar's rise in Guinea coincided with the liberalization of the country's economy and the opening of national borders in the wake of state socialism (1958–84) – events that have produced profound uncertainty for average citizens. This article explores sabar as a practice that grapples affectively with the social and economic changes neoliberal reform has engendered within Guinea. Sabar ceremonies are characterized by instantiations of excess, including hypersexualized dancing, electric amplification and theatrical displays of opulence. By examining excess as an ‘emergent’ quality whose cultural value is undetermined, the article demonstrates how dancers participate in the active constitution and questioning of collective value in Conakry, and how embodiment is central to an anthropology of precarity.

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Li, Qing. "Research on the Integration and Innovation of Culture and Tourism in Dance Performances in Xi'an, China During the Historical Evolution Process." Herança 7, no. 1 (November 30, 2023): 21–32. http://dx.doi.org/10.52152/heranca.v7i1.828.

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As a famous historical and cultural city in China, Xi'an has a long history and rich cultural heritage. In the long process of historical evolution, culture and tourism have become essential pillars of the development of Xi'an. As a unique art form, dance performance not only has the function of inheriting historical memories but also can convey cultural connotations and stimulate emotional resonance. This article provides an in-depth analysis of the current situation and problems in the field of cultural and tourism dance performances in Xi'an. It explores the paths and strategies for its integration and innovation. Through questionnaire survey, this paper analyzes the current situation of problems in the field of cultural tourism and dance in Xi'an, and puts forward a series of concrete and feasible measures, such as mining industrial value, strengthening technology and digital enabling innovation, so as to enhance the competitiveness and influence of Xi'an's cultural tourism industry and promote the sustainable development of this field. Provide useful reference and guidance for developing cultural tourism dance performances in Xi'an, further tap into its potential, and promote the prosperity and innovation of Xi'an's cultural tourism industry.

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Ersoy, Zehra. "‘Building Dancing’: Dance within the Context of Architectural Design Pedagogy." International Journal of Art & Design Education 30, no. 1 (February 2011): 123–32. http://dx.doi.org/10.1111/j.1476-8070.2011.01679.x.

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Rasmussen, Susan J. "The ‘head dance’, contested self, and art as a balancing act in Tuareg spirit possession." Africa 64, no. 1 (January 1994): 74–98. http://dx.doi.org/10.2307/1161095.

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AbstractAmong the Kel Ewey Tuareg of north-eastern Niger, particularly in noble circles, spirit possession is associated with Sudanic/servile cultural origins; so, too, are dancing and drumming. I argue that, in performing a sideways swaying motion of the head and shoulders referred to locally as a dance, women in possession trance transform Sudanic culture. The head dance as flowing, controlled movement, and its central trope of ‘swaying like the branch of a tree’, encapsulate key cultural symbols to make them almost acceptable in traditional noble Tuareg aesthetic/symbolic terms. Yet this motion implies that one is ‘ill’ or ‘in solitude or in the wild’, in need of exorcism that has to be performed on the fringes of the camp or village, outside the tent, after dark, yet in public with an audience.This article uses a synaesthetic approach to show the interconnectedness of symbols. It illustrates the tensions and contradictions of a traditionally stratified society where women now perform a range of semi-servile activities, activities that Moslems, nobles and men generally disapprove of and sometimes oppose. The ‘head dance’ is an elegant compromise that blurs the line between dance and possession, takes on acceptable images from song and the ‘proper’ ways of moving, and ‘grafts’ them on to a particular drum pattern—the whole complex making use of the homonym ‘song/branch’ as the core image or metaphor. Symbols work synergistically in this process.

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Alves Guimarães, Maria Claudia. "The Brazilian Contemporary Dance Scene of the Periferia." Pamiętnik Teatralny 73, no. 1 (March 18, 2024): 57–81. http://dx.doi.org/10.36744/pt.1623.

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The aim of this article is to discuss the recent changes in scenic dance in Brazil. Until the beginning of the 2000s, scenic dance was primarily practiced by middle class white dancers, whereas more recently there is a greater representation of Afro-Brazilians and socially less privileged people who come from the outskirts of cities (periferia). The author argues that this change of paradigm is happening due to cultural policies implemented by local governments, as they attempted to provide entertaining and creative activities to help diminish violence in large urban centers, starting in the 1990s. Since these cultural policies have been developing and increasing during the last twenty years, and taking into consideration the issues of decolonialization present in the broader panorama of Latin America, this article’s goal is to discuss the growing presence of artists and dance collectives addressing ethnic and social issues in their work in an attempt to challenge established hegemonic values. In order to accomplish this task, the author refers to social theories related to decolonialization and marginalized communities of the periphery as established by various theoreticians, including Frantz Fanon, Milton Santos, Stuart Hall, Boaventura de Souza Santos, Walter Mignolo, and Anibal Quijano.

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Hewamanne, Sandya. "Performing 'Dis-respectability': New Tastes, Cultural Practices, and Identity Performances by Sri Lanka's Free Trade Zone Garment-Factory Workers." Cultural Dynamics 15, no. 1 (March 1, 2003): 71–101. http://dx.doi.org/10.1177/a033109.

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This article describes and analyzes how female garment-factory workers in Sri Lanka's Free Trade Zones collectively express their difference from dominant classes and males and articulate their identities as a gendered group of migrant industrial workers by cultivating different tastes and by engaging in oppositional cultural practices. In the urban, modernized, and globalized areas of the FTZs, women develop unique tastes in the realms of music, dance, film, reading material, styles of dress, speech, and mannerisms. By performing subcultural styles that are subversive critiques of dominant values in public spaces, they pose a conscious challenge to the continued economic, social, and cultural domination they endure. But while workers' participation in a stigmatized culture is explicitly transgressive and critical at some levels, their demonstrated acquiescence to different hegemonic influences marks the inseparability of resistance and accommodation.

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Du, Jingge. "Challenging stigmatization through cultural dance: Exploring the role of fengyang flower drums in shaping collective identity, revitalizing tradition, and overcoming social prejudice." Herança 6, no. 2 (October 31, 2023): 217–31. http://dx.doi.org/10.52152/heranca.v6i2.778.

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As an important form of China's intangible cultural heritage, traditional cultural dances such as the Fengyang Flower Drums have a long history and rich value, but they are currently facing the dilemma of being blocked from dissemination, difficult to pass on, and being "stigmatized". This paper explores the Fengyang Flower Drum as a vehicle to study its positive role in shaping collective identity, revitalizing traditions, and overcoming social prejudice. The development and promotion of the Fengyang Flower Drum have helped disadvantaged groups shape their collective identities and gain emotional comfort and empathy through participation and cooperation. The evolutionary process is crucial to the revitalization of traditional culture, and social values and cultural connotations are interdependent and mutually influential. According to the survey, what attracts people to the Fengyang Flower Drum is mainly its historical connotation (80%) and self-indulgence (65%), which is a product of local history and culture, and the regional cultural influence promotes the development of socio-academic and cultural values. As a traditional Chinese cultural dance, the Fengyang Flower Drum plays a positive role in contributing to the promotion of cultural diversity, social harmony, and the development of traditional cultural heritage by shaping collective identity, revitalizing traditions, and overcoming social prejudices. Therefore, reconceptualizing its value and strengthening its inheritance will enable the Fengyang Flower Drum to effectively avoid stigmatization, thereby promoting the revitalization of traditional cultural dances in contemporary society.

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Yeung, Jerry, Alfredo Bautista, Carrey Tik-Sze Siu, Po-Chi Tam, and Kit-Mei Wong. "Arts and Creativity in Hong Kong Kindergartens: A Document Analysis of Quality Review Reports." Creativity. Theories – Research - Applications 9, no. 1 (June 1, 2022): 87–107. http://dx.doi.org/10.2478/ctra-2022-0005.

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Abstract In Hong Kong, the Education Bureau (EDB) regularly assesses the quality of services provided by publicly subsidized kindergartens to children aged 3 to 6. Quality Review (QR) reports are written by government officials and published on the EDB’s website. This study analyzes the feedback pertaining to Arts and Creativity to better understand the role this learning area plays in Hong Kong kindergartens. Lexical and content analyses were applied on 164 QR reports published between 2017 and 2020. Findings showed that: (1) the role of Arts and Creativity in the QR reports is relatively minor, which suggests that this learning area is somewhat secondary in Hong Kong kindergartens; (2) presence of the various art forms differs significantly, with Music and Visual Arts being more frequent than Drama and especially Dance; and (3) classroom activities seem to be teacher-centered, product-oriented, and reproductive. Findings suggest that the Arts and Creativity pedagogies enacted in Hong Kong kindergartens are not fully consistent with the official kindergarten Curriculum Guide, which draws on a Western conceptualization of creativity in the arts. We argue that this curriculum/practice gap reveals the need for local stakeholders to embrace a “glocalization” paradigm. Limitations, future research, and implications are discussed.

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Paiva, Adam. "Preventing, predicting, and simulating the noise impact of one indoor music venue on another through a large glass wall." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A32. http://dx.doi.org/10.1121/10.0015441.

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Jaffe Holden has worked on a confidential new project in Cambridge, MA in a proposed new building which will feature a 2-venue performing arts center in the lower floors of the building. The PAC includes a multi-use theater for music, speech, and dance with a large upstage wall made predominantly of a glass curtain-wall system. On the opposite side of the glass is an atrium with a second smaller venue that will also feature loud music programming. The client would like to allow as much flexibility in programming for both spaces as possible, while avoiding acoustic impact between the two spaces. As acoustical consultants on the project, Jaffe Holden modeled different glazing systems and provided recommendations to achieve the project goals. We used our acoustic lab to simulate the effect of different curtain-wall designs and played back the demo to the client to provide a subjective listening evaluation in addition to computational decibel predictions. This paper will study the acoustical challenges with this pairing, the challenges in acoustically modeling the performance of the curtain-wall, the architectural/constructability/budget challenges associated with the curtain-wall, and the lab demo simulation that was used to help the client make design decisions.

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Dragone, Simone. "Finding Kokoro through the Eyes: Butoh in Roberta Carreri’s Work and Pedagogy." Pamiętnik Teatralny 72, no. 3 (September 1, 2023): 17–40. http://dx.doi.org/10.36744/pt.1638.

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In 1984, Roberta Carreri, Odin Teatret actress since 1974, saw Niwa (The Garden), a Butoh dance performance by Muteki-Sha, and attended a three-day workshop with Natsu Nakajima, direct heir of the Butoh pioneer Tatsumi Hijikata. In 1986, she traveled to Japan to work with Natsu Nakajima and Kazuo Ohno. The meeting with the Asian masters changed her approach to training and the creative process. For her, the most remarkable aspect of this apprenticeship was the work with the eyes. The way the eyes are used in Butoh conditioned Carreri’s training and the creative process of her solo performance Judith (1988). Since those same years, the Italian actress has been developing her own pedagogy. Today, she travels globally leading the workshop Dance of Intentions, which includes “flexing the eyes,” an exercise whereby the actress transmits to trainees how it is possible to shape the quality of scenic presence through the eyes. Drawing on a rich bibliography, Roberta Carreri’s work diaries, unpublished documents, and audiovisual materials kept at the Odin Teatret Archives, this paper aims to analyze how the actress embodied the ability to find the kokoro (Japanese for “heart” or “soul”), its application to the creative process and the performance, as well as her pedagogic work, and how this Butoh apprenticeship conditioned her professional identity.

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Orel, Dmitriy. "SYSTEMATIC TRAINING OF PROFESSIONAL CIRCUS ARTISTSБ (ACROBATS-VOLTIGERS AND AIR GYMNASTS ON THE CORDE-DE-PÉRIL) IN THE INSTITUTION OF HIGHER EDUCATION OF ART SPHERE." ART-platFORM 1, no. 1 (May 14, 2020): 126. http://dx.doi.org/10.51209/platform.1.1.2020.126-140.

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The article outlines the possibility of a systematic principle of training a circus artist in today's conditions. The purpose of the study is to systematically review the training of the future professional circus artist − an acrobat and gymnast. The system of humanitarian, artistic, pedagogical, scientific and professional competencies is traced. The specificity and characteristics of the educational process in the circus industry are determined. The research methodology is based on the desire for an integrated approach to the study of circus culture of related art forms. In addition, empirical, descriptive, and general scientific methods of comparative analysis and synthesis are used. A The scientific novelty consists to identify the characteristic features of specificity and the training of a professional circus artist in genres − acrobatic voltage and air gymnastics on the cord de péril. The circus culture in the process of evolution is enriched with the modern interaction of the performing arts: from introducing stunt elements from sports acrobatics and gymnastics; contemporary theater, in particular acting and psychophysical training; neoclassical ballet school and popular youth styles in contemporary choreography with the borrowing of modern dance, jazz dance; plastic and facial aspects of the school of contemporary pantomime; circus genres − manual balancing, juggling, as well as the humanities and art cycle of instruction. The uniform load of the professional cycle in combination with the artistic and humanitarian opens up new opportunities in the preparation of a contemporary circus artist with professional skills. The emphasis on the student’s use while learning the great possibilities of modern technologies for independent work is electronic sites, video presentations, master classes, training and practical training, creative events create unlimited opportunities for becoming a professional circus artist in the modern labor market, both in Ukraine and abroad. Keywords: circus genres, acrobatics, gymnastics, voltige acrobatic, aerial gymnastics on the cord de parel, circus stunt, stage representation, circus number, choreography, pantomime.

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Hammergren, Lena. "Choreography and Narrative: Ballet's Staging of Story and Desire. Susan L. FosterGendering Bodies/Performing Art: Dance and Literature in Early Twentieth-Century British Culture. Amy Koritz." Signs: Journal of Women in Culture and Society 23, no. 4 (July 1998): 1075–77. http://dx.doi.org/10.1086/495305.

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Tayeb, Leila. "To Follow Bousaadiya." Middle East Journal of Culture and Communication 16, no. 3 (October 25, 2023): 313–36. http://dx.doi.org/10.1163/18739865-01603006.

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Abstract This article takes the figure of Bousaadiya, once performed in varying iterations throughout central North Africa, as an entry point to approach the problematics of mobility and memory in Libya. Bousaadiya performance, a multidimensional set of practices that I read critically as dance, produces an embodied social ground upon which Libyans have enacted and contested racialized practices of belonging and a mobile gravesite where it is possible to interrogate regional histories of enslavement and their material and symbolic legacies. While reading Bousaadiya performance enables an excavation of the trans-Saharan slave trade and its ghostly e/affects, performing Bousaadiya enabled the incomplete burial of these through surrogation, easing particular losses. In this article, I explore both of these aspects of the performativity of Bousaadiya’s dance, which is underscored by the forms of remembering it that continue to proliferate. To follow Bousaadiya is to grapple with the ongoing unresolvedness in Libyan cultural politics of the country’s histories of slave economies and the hierarchies left in their wake and to gesture toward the prospect of repair.

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Hooker, Lynn. "Performing the old world, embracing the new: Festivalization, the carnivalesque, and the creation and maintenance of community in north american hungarian folk music and dance camps." Hungarian Studies 22, no. 1-2 (September 2008): 89–101. http://dx.doi.org/10.1556/hstud.22.2008.1-2.7.

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Szymajda, Joanna, and Anton Ovchinnikov. "Dancing the New Realities: The Beauty and a Beast of the War." Pamiętnik Teatralny 73, no. 1 (March 18, 2024): 15–39. http://dx.doi.org/10.36744/pt.2369.

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This essay is a record of the experience of the ongoing war in Ukraine, presented from the perspective of the contemporary dance artist Anton Ovchinnikov. Captured almost in statu nascendi, his moral dilemmas and difficult choices—personal and artistic—constitute a kind of a war diary, a record of a moment in history. The author also asks important questions about artistic responsibility, whose relevance resounds ever more strongly in the face of the continuing conflict. Joanna Szymajda’s introduction offers a historical panorama of artistic phenomena and attitudes in response to the state of war. The author focuses on 20th- and 21st-century artists, showing the variety of formats and aesthetics in the works of such major figures as Martha Graham, José Limón, John Cranko, and Rami Be’er, among others.

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Nolan, Mary L., and Rebecca Godwin. "Is belly dancing in pregnancy safe and beneficial? The views of two expert panels." Journal of Applied Arts & Health 00, no. 00 (March 17, 2022): 1–11. http://dx.doi.org/10.1386/jaah_00097_1.

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This article describes a study of the impact of belly dancing on women’s experience of pregnancy, labour and birth. In order to identify the core movements of belly dancing suitable for pregnant women, an expert panel of belly dance teachers was convened. Next, based on the teachers’ consensus, a video demonstrating the core movements was produced. Finally, a second expert panel was convened, comprising midwives and childbirth educators, who were asked to comment on the video from their professional standpoints. The panel considered that the movements demonstrated were safe and would help with pregnancy ailments such as back-ache, pelvic discomfort, constipation, sleeplessness and anxiety and that belly dancing would assist pregnant women’s mental health, positive self-image and confidence in their bodies to give birth. The relational aspect of belly dancing in terms of building a sisterhood of women making the transition to motherhood was also noted.

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Daugherty, Elaine DiFalco, and Heather Trommer-Beardslee. "Movement breaks for classroom and online learning: An outreach project connecting university and elementary school students." Journal of Applied Arts & Health 13, no. 1 (March 1, 2022): 97–105. http://dx.doi.org/10.1386/jaah_00090_1.

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After witnessing their own children learn online during the 2020 COVID-19 global pandemic, Heather Trommer-Beardslee and Elaine DiFalco Daugherty collaborated with their university students to create instructional movement videos designed for elementary teachers to use as movement breaks during the school day. Knowing that movement triggers the human brain to reinvigorate focused learning, the video sequences were developed as a tool to aid teachers in providing opportunities to break up long periods of sitting and engage students in active dance play to stimulate multiple senses and therefore increase brain activity. Trommer-Beardslee worked with university students to create movement content while Daugherty worked with them on breath and speech to ensure that the verbal teaching component was articulate and accessible. This article details the inspiration, goals and process used for collaborative, practical engagement and provides a template for replication and further development.

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Mitra, Royona. "living a body myth, performing a body reality: reclaiming the corporeality and sexuality of the Indian female dancer." Feminist Review 84, no. 1 (October 2006): 67–83. http://dx.doi.org/10.1057/palgrave.fr.9400301.

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Manning, Susan. "Dancing Modernism/Performing Politics. Mark FrankoThe Male Dancer: Bodies, Spectacle, Sexualities. Ramsay BurtCorporealities: Dancing Knowledge, Culture and Power. Susan Foster." Signs: Journal of Women in Culture and Society 23, no. 1 (October 1997): 225–29. http://dx.doi.org/10.1086/495242.

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Falkeid, Unn. "Zygmunt G. Barański and Martin McLaughlin, eds. Dante the Lyric and Ethical Poet: Dante lirico e etico. Legenda. London: Modern Humanities Research Association, 2010. xiv + 246 pp. index. $89.50. ISBN: 978–1–906540–04–3." Renaissance Quarterly 64, no. 1 (2011): 157–58. http://dx.doi.org/10.1086/660372.

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Hannoosh, Michèle. ""Quanto dirne si dee non si può dire" : Delacroix lecteur de Dante." Dante e l'Arte 10 (December 18, 2023): 41–62. http://dx.doi.org/10.5565/rev/dea.200.

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La figure de Dante plane sur l’œuvre d’Eugène Delacroix. Depuis son tout premier envoi au Salon en 1822, Dante et Virgile aux Enfers, jusqu’a son Ugolinde 1860, le peintre français n’a cessé de s’inspirer du maître florentin. Plus qu’une une source de sujets, cependant, Dante était partout présent dans ll’esprit et l’imagination de Delacroix. Dans cet article, j’étudierai les divers moyens dont sa lecture de Dante a influencé la pensée esthétique de Delacroix. Le peintre lisait Dante, le traduisait en vers et en prose, réfléchissait sur son style et sur sa place dans l’histoire littéraire ; plus encore, son étude de Dante le conduisit à formuler son propre concept du beau, qu’il développe dans son Journal, qu’il expose dans des articles publiés et qu’il réalise dans la coupole de la bibliothèque du Sénat au Palais du Luxembourg, représentant une scène du Chant IV de L’Enfer .

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Cappuccio, Chiara. "musica di Dante." Dante e l'Arte 10 (December 18, 2023): 199–204. http://dx.doi.org/10.5565/rev/dea.212.

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Journal articles on the topic 'Humanities -> performing arts -> dance'

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