Relevant bibliographies by topics / Irish step dancing

Academic literature on the topic 'Irish step dancing'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Irish step dancing"

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Mollenhauer, Jeanette. "A Changing Focus: The Evolution of Irish Step Dancing Competitions in Australia." Dance Research Journal 51, no. 2 (August 2019): 68–85. http://dx.doi.org/10.1017/s0149767719000196.

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Considerable differences exist between Irish step dancing competitions in the current era and those which were held in the late nineteenth century. This article traces the evolution of step dancing competition praxes in Australia, exposing the multiple transformations which have occurred over time. It focuses on the shift from cultural representation to individual aesthetics and the ways in which this change has resulted from disparate influences both within the genre itself and from the broader sociocultural status of Irish immigrants in Australia.
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Kong, Dejing. "Artistic Style and Cultural Representation of Irish Step Dance - Take Riverdance as an Example." Journal of Education and Culture Studies 5, no. 4 (August 24, 2021): p19. http://dx.doi.org/10.22158/jecs.v5n4p19.

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In Ireland, Irish step dance has been a national identity for a long time. For many people in the world, Riverdance was their first impression about Irish step dance. It brought a boom and a renaissance of Irish step dance. In the twenty-first century, more than twenty years after the Riverdance boom, have people’s perception of Riverdance and Irish culture changed? Thus, this essay explores the experiences of Irish dancing and culture of former Riverdance dancers and audiences in 2021.
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Walsh, Kristin Harris. "Irish-Newfoundland Step Dancing and Cultural Identity in Newfoundland." Ethnologies 30, no. 1 (September 19, 2008): 125–40. http://dx.doi.org/10.7202/018838ar.

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Abstract Step dancing in Newfoundland and Labrador has endured a significant contextual shift in order to remain relevant as both cultural piece and performance genre and it continues to evolve in context and function today, while adhering to Newfoundland’s collective identity. Through its examination of the St. Pat’s Dancers, a St. John’s-based children’s step dancing group, this article addresses the larger philosophical questions of authenticity, heritage and revival in vernacular dance. As a case study in Newfoundland vernacular dance, the St. Pat’s Dancers links together notions of heritage promotion and preservation, and the commodification of culture through the lens of Irishness that is prevalent in Newfoundland culture.
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Sacchetti, Clara, and Batia Stolar. "Dancing Italian Culture: Venezia et al." Congress on Research in Dance Conference Proceedings 2016 (2016): 337–43. http://dx.doi.org/10.1017/cor.2016.45.

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How does Le Stelle, an ethnic dance group in the multicultural city of Thunder Bay, Ontario, Canada, represent Italian culture? Our article broaches this question by analyzing Le Stelle's 2012 “Carnivale of Venezia” dance. While the number is meant to evoke the Italian Renaissance, it creatively uses kinetic movements from ballet, Irish step dancing, and the Italian tarantella. It is staged to a 1950s Mantovani song mixed with music from Assassin's Creed II; and it utilizes Italian peasant costuming and Venetian masks. Our paper examines Le Stelle's use of these hybridities in staging Italian culture.
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Dissertations / Theses on the topic "Irish step dancing"

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Foley, C. E. "Irish traditional step-dancing in North Kerry : A contextual and structural analysis." Thesis, Goldsmiths College (University of London), 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234896.

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Books on the topic "Irish step dancing"

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Irish step dancing. Mankato, Minn: Snap Books, 2008.

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2

Franks, Jill. "Reel Irish": Nationalizing Irish step dance and vaunting the Celtic tiger. Rock Hill, SC: Dept. of English, Winthrop University, 2006.

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Franks, Jill. "Reel Irish": Nationalizing Irish step dance and vaunting the Celtic tiger. Rock Hill, SC: Dept. of English, Winthrop University, 2006.

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Franks, Jill. "Reel Irish": Nationalizing Irish step dance and vaunting the Celtic tiger. Rock Hill, SC: Dept. of English, Winthrop University, 2006.

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5

Will, Heidi. The ghillie girls: Irish dance pals. Chandler, AZ: Cineálta Press, 2008.

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Will, Heidi. The ghillie girls: Irish dance pals. Chandler, AZ: Cineálta Press, 2008.

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7

ill, Ellis Brendan, ed. Kathleen O'Byrne, Irish dancer. Columbus, Ohio: Gingham Dog Press, 2003.

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8

Flanagan, Kathleen M. Steps in time: The history of Irish dance in Chicago. 2nd ed. Madison, WI: Macater Press, 2011.

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9

Thomas, Mark. Irish Step Dancing. Tandem Library, 2001.

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10

Thomas, Mark. Irish Step Dancing (Welcome Books). Children's Press (CT), 2001.

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Book chapters on the topic "Irish step dancing"

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"Nationalism and the Invention of Irish Dancing." In Step Dancing in Ireland, 147–74. Routledge, 2016. http://dx.doi.org/10.4324/9781315610764-14.

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2

Connor, Steven. "Two-step, Nerve-tap, Tanglefoot: Tapdance Typologies in Cinema." In Sounding Modernism, 211–27. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474416368.003.0014.

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Tap dance reminds cinema of its origins in the turn-of-the-century vernacular of vaudeville, circus, carnival and other diffuse kinds of attractions and spectacles. In fact one can make out, in the difference between the smooth aerial flights of a Fred Astaire and the earthier moves of a Bill ‘Bojangles’ Robinson, a rhythmic struggle between the technical sophistication of the cinema in its developed form, and its lowlier, more vulgarly corporeal origins and appetites. This chapter examines the contrast between the clog-dancing rustic (black or Irish) and the sophisticated man-about-town. To do so testifies to a class ambivalence that is never quite resolved in tap dance, which always retains the traces of its ostentatiously corporeal origins, a kind of comic awkwardness that resists being lifted up into the condition of high art. Cutting athwart its slick syncopations, tap dance always acts like a kind decomposition of cinema to its elements of sound and movement, most importantly in its play with the mechanization of human bodies. Tap dance therefore provides an elementary form of cinema’s transaction between body and image, gravity and light.
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