Relevant bibliographies by topics / Modern dance Social aspects

Academic literature on the topic 'Modern dance Social aspects'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Modern dance Social aspects.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Modern dance Social aspects"

1

Buckland, Theresa Jill. "How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack." Dance Research 36, no. 1 (May 2018): 1–32. http://dx.doi.org/10.3366/drs.2018.0218.

Full text
Abstract:
This two-part article examines the contested transition in London's fashionable ballrooms from the established Victorian rotary waltz to the modern English waltz of the early 1920s. Existing scholarship on the dance culture of this period and locale has tended to focus on issues of national identity, gender, race, class and the institutionalisation of popular dance practices. Although these are of profound significance and are here integrated into the analysis, this fresh study focuses on the waltz's choreological aspects and relationship to its ballroom companions; on the dance backgrounds and agency of the waltz's most influential practitioners and advocates, and on the fruitful nexus between theatre, clubs, pedagogy, the press and competitions in transforming style and practice towards modern English ballroom dancing as both a social and artistic form. Part One discusses the kinetic problems that waltzing couples encountered in the face of ragtime dances and tango, the impact of World War One on social dance practices in fashionable London and the response of the press and the dance pedagogic profession to the post-war dance craze. Improvisational strategies are considered as contributory factors in the waltz's muted persistence throughout the war while throwing light on how certain social choreomusical practices might lead to the transmutation of dances into newly recognised forms. The persuasive role of London-based leaders such as Philip Richardson, Madame Vandyck and Belle Harding in these early years of modern ballroom dancing is brought to fresh attention. Part One concludes with the dance teachers’ inconclusive attempts during 1920–21 to define and recommend a waltz form compatible with both a discrete choreomusical identity and the stylistic dictates of modern ballroom dancing
APA, Harvard, Vancouver, ISO, and other styles
2

Shanagher, Sean. "A dancing agency: Jazz, modern and ballroom dancers in Ireland between 1940 and 1960." Irish Journal of Sociology 24, no. 2 (February 1, 2016): 175–99. http://dx.doi.org/10.1177/0791603515625587.

Full text
Abstract:
Studies of social dance in Ireland between the 1930s and 1950s have generally focused on either the disciplined body of ‘Irish dance’ or on the process of disciplining those who favoured non-traditional dance forms. As a result, important aspects of social dance have been obscured. This article assesses the importance of non-traditional forms such as jazz by foregrounding the agency of its participants. It draws primarily on an ethnography of dance culture in Co. Roscommon. The approach has also been inflected by a reflexive dimension that positions the researcher within the research frame. Drawing on developments in dance anthropology, such reflexivity can operate as a useful epistemological tool that problematises the notion of objective research. The main research findings are (1) that dancers during the period, in the face of considerable opposition from cultural nationalists, participated in the construction of a vibrant, cosmopolitan and transgressive dance culture and (2) that dancing pleasures related to music, ‘communitas’ and ‘flow’ formed a central element of these dancing experiences. By according the voices of dance participants – including that of the researcher – a central place, this article places the emphasis squarely on ‘a dancing agency’.
APA, Harvard, Vancouver, ISO, and other styles
3

Kasyanova, Olena. "Architectonics of the "Dance of The Seven Veils "From Richard Strauss's Opera "Salome" Through the Prism of Historical Reconstruction." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 160–80. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251819.

Full text
Abstract:
The phenomenon of the popularity of R. Strauss's opera "Salome" is explained through the prism of a new paradigm of performing arts, which is due to the rethinking of works of the modern era in the context of postmodern aesthetics. A comprehensive intersectional integrated analysis of musicological, iconographic, culturological, theological, social, psychological and physiological components of the work has been carried out. The methodology of key aspects of the research is determined: features of musical drama — genre-stylistic; content of ancient entertainments —historical and stylistic reconstruction; creation of psychological portraits of characters — system analysis; the concept of dance in opera is an interpretive method. The libretto of the opera is compared with O. Wilde's drama highlighting differences in the image of the main character: in the drama — two "Salome lines", in the libretto — three with the addition of "Dance of the Seven Veils" as an important scene in the conflict, personifying the story of the tragic love of a young princess. The peculiarities of the musical drama of the dance scene in the opera are studied, two opposing points of view on its role and place in the score of the work, the thoughts of the composer R. Strauss on this subject are outlined. The nature of dance entertainment at the courts of ancient rulers, the specifics of the performance of dances "Almeh" and "Ghawazi", which could serve as a prototype of the "Dance of the Seven Veils" performed by princess Salome is described in the article. The stylistics of the "Almeh" dances included a demonstration of highly artistic eroticism, and the "Ghawazi" dances a Bacchic seduction. In the dance scene, it is possible to combine these opposite patterns in the context to solve the musical drama of the work. The psychological and physiological features of Salome's age are analyzed, her characteristic features are explained, which could elucidate the logic of the young princess's actions. Psychological portraits of Salome, Jochanaan, Herodes and Herodias have been made, which directly or indirectly influence the specifics of the interpretation of the dance scene. The key aspects of the architectonics of the specified scene, the content of its parts, the correspondence of the nature of the dance performance to their content are determined, which determines the scientific novelty of the research. The results of the research are compared with modern incarnations of the dance scene in the opera, their partial correspondence is revealed in four out of five parts of dance drama, except for the development of the action. In the latter, there is a loss of tempo due to the mismatch between the gradual growth and decline of the musical drama of the dance scene with its choreographic embodiment. The necessity of using the concept of different branches of knowledge to establish a holistic picture of events in this scene is proved. Prospects for research of the chosen issues through the prism of the latest achievements in the field of musical theater, the attraction of modern interpretations to neo-syncretism are predicted.
APA, Harvard, Vancouver, ISO, and other styles
4

Volbea, Beatrice. "Contemporary Dance Between Modern and Postmodern." Theatrical Colloquia 8, no. 1 (May 1, 2018): 307–15. http://dx.doi.org/10.2478/tco-2018-0011.

Full text
Abstract:
Abstract As human beings and artists, what we produce, as well as our own selves, are visibly influenced by a complex ensemble of processes that take place around us and, in time, we can actually be regarded as their result. This evolutionary principle also applies to the role that body expression has in the wide specter of arts, including in dramatic dance and dramatic theatre. All along the XXth century and up until the first decade of the XXIst century, new performative genres have developed, for example, under the influence of political, social and cultural theories and philosophies. The result was the evolution of numerous alternative forms, supported by revolutionary theories in the dramatic field and by new approaches towards performance. Among these, we can find concepts like physical theatre, total theatre and dance theatre, all of them focusing on body expression. A notable aspect of these changes is the fact that they share the recurrent idea of a fusion between different artistic forms, incorporating dance, dramatic play and other theatrical elements in the creative processes and their outputs.
APA, Harvard, Vancouver, ISO, and other styles
5

Portnova, Tatiana V. "Folklore and choreography in the dialogue of cultural and national interaction." Perspectives of Science and Education 59, no. 5 (November 1, 2022): 53–65. http://dx.doi.org/10.32744/pse.2022.5.4.

Full text
Abstract:
Subject and purpose. In the modern world, the preservation, revival and development of folk culture is becoming relevant. Due to a number of reasons, the original folklore samples are lost, and may not be subject to restoration. Therefore, at present, the problems of fixing and preserving unique folklore data that were created at different times and contained in the creations of famous choreographers remain unresolved. Samples of preserved and studied folklore can serve as a means of developing creative activity, both in dance groups and students studying folk choreography. The purpose of the study is to identify the contact links of folklore and dance culture in the context of national interaction, to identify aspects of the development of folk dance as an ethno–cultural phenomenon, to identify the potential of its use in the poly-artistic education of peoples. Materials and methods. The methodological foundation of the study is based on a discussion analysis, which helps to understand that the originality of choreography manifests in the style, manner of performance, number of participants, pace of movements, composition, genre, and traditions. Russian dances are characteristic of certain choreographic customs, which allows us to consider them not only as folk art but also as a national one. This work employs interdisciplinary and integrated approaches involving cultural studies, folklore studies, art history, and other related sciences. The results of the study. For a long time, dance folklore is one of the important forms of preservation and transfer of the accumulated experience of spiritual culture from one generation to another. Folklore is always modern and distant, it includes a variety of genres, images, poetics, which is due to social and domestic functions, also ways of expression in art. Folklore is an important source for choreography, as it serves as a material that directors resort to – directors during dancing, and theaters are examined for scientific purposes. Choreography uses oral and written folklore, both in semantic and structural aspects. He, refracted through the dance language, acquires the instance of visualization. In some cases, visual folklore becomes a conceptual idea of creating choreographic numbers and whole dance ensembles. In the archaic geometry of the early forms of dance, a communicative function is laid related to the cosmic symbols of the interaction of nature and man. Folklore principles developed in folk choreography mainly rely on the realistic method of expression, which contributed to the complexity of national recognized world schools. In the classical dance, a separate direction of characteristic dance was distinguished, based on national folklore, the mandatory study of which is now included in the educational process of choreographic educational institutions. Thus, the study of folklore in folk dance helps to understand social relations in society between representatives of a certain ethnic group, reveal their spiritual and material culture and present the aesthetic level of the creators. Depending on the ethnic composition of the dance group itself, an acquaintance with a folklore of a certain ethnic group occurs. Modern professional choreographic art, reflecting folklore, complicates and modifies it, can be considered in the context of experimental art practices and potentially used in new stage solutions. Conclusions. The conducted study allows us to conclude that the ideological, developmental, informational, educational, and socioeducational functions are important elements in the system of the art of choreography. Consequently, folklore reflects folk history, and choreographic folklore helps to study folk dances characteristic of the ethnos to which it belongs. Folk dances contain information about the nation, and the dialogue of cultures, i.e., through its representatives, allows us to obtain information about cultural values, relationships, and norms of behavior of people of another ethnic group. Thus, folklore and folk choreography broaden our horizons and integrate the connection of generations, and the communicative properties inherent in them characterize a certain people.
APA, Harvard, Vancouver, ISO, and other styles
6

Buckland, Theresa Jill. "How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part Two: The Waltz Regained." Dance Research 36, no. 2 (November 2018): 138–72. http://dx.doi.org/10.3366/drs.2018.0236.

Full text
Abstract:
Part One of this study on the transmutation of the Victorian waltz into the modern English waltz of the early 1920s examined the labile social and choreographic climate of social dancing in London's fashionable ballrooms before, during and just after World War One. The article ended with the teachers’ unsatisfactory effort to characterise the features of a distinctively modern waltz style in response to a widespread discourse to recover and adapt the dance for the contemporary English ballroom. Part Two investigates the role of club and national competitions and exhibition dancers in changing and stabilising a waltz form and style that integrated preferred aspects of both old and new techniques, as advocated by leading waltz advocate and judge, Philip Richardson. This article brings into critical focus not only choreographic contributions by Victor Silvester and Josephine Bradley but also those of models such as Maurice Mouvet, G. K. Anderson, Georges Fontana, and Marjorie Moss whose direct influence in England outweighed that of the more famous American couple Irene and Vernon Castle. The dance backgrounds, training and inter-connections of these individuals are examined in identifying choreological and aesthetic continuities that relate to prevalent and inter-related notions of style, Englishness, art and modernity as expressed through the dancing. Taken as a whole, the two parts provide a case study of innovative shifts in popular dancing and meaning that are led through imitation and improvisation by practitioners principally from the middle class. The study also contributes to dance scholarship on cultural appropriation through concentrating on an unusual example of competition in dance being used to promote simplicity rather than virtuosity. In conclusion, greater understanding of creativity and transmission in popular social dancing may arise from identifying and interrogating the practice of agents of change and their relationships within and across their choreographic and socio-cultural contexts.
APA, Harvard, Vancouver, ISO, and other styles
7

Coladangelo, L. P. "Organizing Controversy: Toward Cultural Hospitality in Controlled Vocabularies Through Semantic Annotation." KNOWLEDGE ORGANIZATION 48, no. 3 (2021): 195–206. http://dx.doi.org/10.5771/0943-7444-2021-3-195.

Full text
Abstract:
This research explores current controversies within country dance communities and the implications of cultural and ethical issues related to representation of gender and race in a KOS for an ICH, while investigating the importance of context and the applicability of semantic approaches in the implementation of synonym rings. During development of a controlled vocabulary to represent dance concepts for country dance choreography, this study encountered and considered the importance of history and culture regarding synonymous and near-synonymous terms used to describe dance roles and choreographic elements. A subset of names for the same choreographic concepts across four subdomains of country dance (English country dance, Scottish country dance, contra dance, and modern western square dance) were used as a case study. These concepts included traditionally gendered dance roles and choreographic terms with a racially pejorative history. Through the lens of existing research on ethical knowl­edge organization, this study focused on principles and methods of transparency, multivocality, cultural warrant, cultural hospitality, and intersectionality to conduct a domain analysis of country dance resources. The analysis revealed differing levels of engagement and distinction among dance practitioners and communities for their preferences to use different terms for the same concept. Various lexical, grammatical, affective, social, political, and cultural aspects also emerged as important contextual factors for the use and assignment of terms. As a result, this study proposes the use of semantic annotation to represent those contextual factors and to allow mechanisms of user choice in the design of a country dance knowl­edge organization system. Future research arising from this study would focus on expanding examination to other country dance genres and continued exploration of the use of semantic approaches to represent contextual factors in controlled vocabulary development.
APA, Harvard, Vancouver, ISO, and other styles
8

Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.

Full text
Abstract:
Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expressive means of dramatic performance. In addition, knowledge of the fundamentals of choreography and its history contributes to the comprehensive development of the director’s personality, his aesthetic education, the formation of artistic taste, the ability to orientate both in traditional and innovative requirements to the choreographic component of the drama performance, to obtain a contemporary idea of the mutual influence of different art forms, so, to raise his professional development. The objectives of this study are to substantiate the features of teaching the discipline “Dance” and determine its place in the contemporary education system of the director of the drama theatre. Methods. An analytical method is used to determine the components of the discipline “Dance” in the teaching system of the students of the specialization “Stage director of the Drama Theatre”. With the help of the system approach, the place and functions of each type of choreography have been identified within the discipline “Dance”; its integrity, functional significance and perspective development in the system of theatre education of directors are demonstrated. Results. The results indicate that in the education system of the director of the drama theatre the discipline “Dance” is essential not only because of the active involvement of the choreography in the arsenal of the demanded expressive means of drama performance, but it also contributes to the comprehensive development of the director’s personality and his proficiency enhancement. In view of this, a discipline program should be formed with the basic knowledge of various types of choreography. The basis of the choreographic training should be a system of classical dance, which brings up the naturalness of the movement performance, expressive gesture and laying the foundation for the study of other types of choreography. The purpose of the historical ballroom dance is to master the character of the dance culture of a certain epoch, the ability to wear a corresponding dress, use the accessories. The study of this section should be accompanied by a conversation about the era and its artistic styles, dance fashion, special considerations on the relationship between a man and a woman in a dance. This is necessary for the future unambiguous determination of the plastic component of the theatre performance in the pieces by the playwrights of the past centuries. The folk dance stage adaptation introduces the customs and culture of different peoples. Studying of dances all nationalities does not make sense, because the spectrum of their use in performances of the drama theatre today is rather narrow. It is required to concentrate on the basic movements of Ukrainian, Russian, Gypsy, Spanish, Italian, Hungarian and Jewish dances, partly – Old Slavic. It is necessary to require of the students the correct manner of performance and form a comprehension about relevance of the using of folk dance in the context of the director’s vision of a particular performance. The need for the future director’s awareness in contemporary dance is due to the fact that its means can create the plastic component of almost any show. The task of the teacher is to train basic knowledge to the students with the obligatory requirement of the faithful character of the performance of a particular artistic movement or style, considering what is sought out in the drama theatre: contemporary, jazz, partially – street and club style. The tango, which sometimes appears in dramatic performances, should be singled out separately; it should be studied in the form of social and scenic variants with the addition of movements of contemporary choreography. In class it is expedient to use improvisation, to offer the students to make dance pieces on their own. Significant attention should be paid to the musical accompaniment of the lesson, the explanation of the tempo-based and rhythmic peculiarities of musical compositions, and to teach the students to choose the background music for their own dance works independently. It is advisable to give some classes in the form of lectures, in particular, use video lectures that clearly represent the nature and manner of performing various types of choreography. Students’ individual work should consist in consolidating practical skills, compiling own dance pieces and familiarizing with the history of choreography. The director will later be able to use all the acquired knowledge while working with the choreographer, and in the absence of the latter, he will be able to create the dance language of the performance independently. Conclusions. Thus, the dance is an integral part of the education system of the drama theatre director, especially at the present stage, at the same time, the plastic arts is one of the most important components of the performance. This necessitates the stage director’s awareness in various types of choreography in order to use the acquired knowledge and skills in the creative work. In dance class, it is necessary to form a general idea of each type of dance, its purpose, manner of performance and features of use in the performances of the drama theatre. It is essential to demand musicality and rhythmic performance, the ability to improvise. It is advisable to hold both practical and lecture classes, to assign tasks for the independent work of creative and educational content. Eventually, the stage expressiveness, the sense of form, style, space, time, rhythm in the dance, knowledge of the features of partnership and ensemble are raised with the students; the skills of working with the actors on the choreographic component of the performance and the ability to cooperate with the choreographer are formed.
APA, Harvard, Vancouver, ISO, and other styles
9

Bakanova, Anna Valentinovna. "“Danse Macabre” in Catalonia: historical-philological aspect." Litera, no. 6 (June 2020): 132–42. http://dx.doi.org/10.25136/2409-8698.2020.6.33183.

Full text
Abstract:
The object of this research is the theatricalizes “Danse Macabre” in the Catalonian city Verges is the only extant in La Bisbal province testimony of the popular in Medieval Western Europe traditions of Macabre. “Danse Macabre” in Verges takes place on a Maundy Thursday: five actors-skeletons with the symbolic inventory in their hands – scythe, colors, urns with ash and hourglass – move to the sounds of drums and remind spectators on the brevity of life and implacable approach of death. The presence of Macabre images in the Medieval art and literature is substantiated by crisis mentality caused by the Black Death and military conflicts. The conclusions on the archetypical features and authentic elements in Catalonian “Danse Macabre” are based on the research of historical-literary context, examination of the main scientific hypothesis regarding the Iberian trace in the emergence of this synthetic genre form, analysis of the circle beginning of Catalonian “Dance Macabre” under the influence of oriental presence on the peninsula. The author assesses modern approaches towards “Danse Macabre” with their sad procession of the representatives of all social classes to mass manifestations of democratic spirit of irreconcilability and resistance, democratic satire that is fighting for social equality facing death and acting against impunity of the powers that be.
APA, Harvard, Vancouver, ISO, and other styles
10

Kostiuk, E. V. "Mass music as a cultural phenomenon of the XX century." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 63–67. http://dx.doi.org/10.30725/2619-0303-2020-3-63-67.

Full text
Abstract:
The article considers mass music as a socio-artistic phenomenon in the culture of the XX century. The article covers the issues of socio-cultural and technological factors that contributed to the development of music as a mass phenomenon in the XX century. The phenomenon of mass music is interpreted in comparison with the elite, academic direction in music, and the features of the social customer are studied. Evaluation of mass music as an artistic and social phenomenon leads to the conclusion that entertainment, as its main function, has a number of features over the course of the century: from the emphasized relaxation dance in the modern era to the concept of play, outrage, and theatricality in the postmodern era. Analyzes the characteristics of mass music as «product of the era of consumption» in the modern art market, which has a «life cycle», and in the conditions of the competition task creators, it is not the embodiment of values and meanings, and their use for the long-term profi t. The article also explores the aspects of musical and artistic specifi city of the considered direction
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Modern dance Social aspects"

1

Eslamboli, Leila. "Shall we dance? : a study of the art of dance and social responsibility." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81486.

Full text
Abstract:
The discussion over whether arts education has an impact on social responsibility has been an interesting field of investigation in the educational realm. Although there still remains a dearth of information surrounding this issue, past research in the field has shed light on the importance of art and aesthetic education. Building upon prior research, this study offers a critical investigation into issues linking social responsibility and arts and aesthetic education. At the core of this study, through the use of a phenomenological framework, insight was offered into whether students' perceptions of a dance program in one British Columbia school assisted them in constructing a more advanced notion of their role in social responsibility. The overall results suggest that the participants believe that the dance program has assisted them in understanding and fulfilling their role in being socially responsible.
APA, Harvard, Vancouver, ISO, and other styles
2

Cummings, John Stewart. "Social and emotional aspects of children's dance in mainstream schools." Thesis, Manchester Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504999.

Full text
Abstract:
Although, in principle, schools and dance teachers support the notion of encouraging social and emotional development, there has been little emphasis on this area within English schools, little theory or research on how it might be applied within mainstream education, and teachers are mostly too busy to prioritise it. The basic model for dance in British schools is "dance as Art", performed for a theatre audience. It is commonly assumed by dance teachers that practice at performing dance boosts children's confidence and self-esteem. Using a social constructionist methodology and qualitative methods of group interviews, I find that children construct a wide variety of discourses about what constitutes dance, much of it based on a social model of dance for enjoyment and for each other, which is largely ignored by schools. Whether pupils gain confidence, or feel embarrassed, depends hugely on the quality of the audience, whether they are judgemental, or witnessing in an empathic way. Potentially, one of the major social and emotional benefits of dance could be as an open workshop to explore aspects of their gender and sexuality. There is still a large swathe of opinion, especially among boys, that school dance is for girls, and that boys who participate in it are "poofs". This attitude prevails much more strongly about the contemporary style of most school dance, than about popular, and more "macho" social forms such as breakdance. Apparently homophobic attitudes among boys are part of a policing of expressions of masculinity among "straight" boys, who suffer from schools' failure to tackle issues of gender, aggravated by a current discourse around so-called "child protection" that restricts most attempts to explore issues of touch and personal space, even within a heterosexual setting. I propose a model from performativity theory, of how both gender and "good dance" are constructed, or performed within schools, in a way which generates a measure of social exclusion, particularly of boys' dance. Using video recorded observations of lessons, I locate school dance within a wider social practice of "discipline of the body" and associated resistance, that constrains what movements are acceptable where and when. Within these constraints, dance lessons offer a space for young people to develop self-awareness, to explore and challenge customary boundaries of movement, the feelings associated with freer movement, and issues of identity. Some children gain self-knowledge, practice co-operation and trust, learn from cultures other than their own, extend their movement and expressive vocabulary, and experience enjoyment and zest for life. Using two contrasting approaches to phenomenology, I illustrate how the "dance as art" model, and the emphasis on school discipline and exam curricula, mostly excludes any emphasis on using movement introspectively to explore feelings and to develop autonomy, as occurs in most body / movement therapeutic settings. An emphasis on choreography omits opportunities to respond spontaneously to a partner in the present moment, or to dance alone for their own pleasure. Children resort to hiding their attempts to escape socialisation, through dance as "crazy" or "wild" self-expression. I emphasise the value of movement and dance as an embodied, non-verbal, non-rational route to knowledge of self, and raise theoretical questions about the limits to social construction, and the possibility of verbalising embodied experience.
APA, Harvard, Vancouver, ISO, and other styles
3

Poona, Sobhna Keshavelal. "Dance and sexual politics some implications of the status of women in selected dance forms." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002377.

Full text
Abstract:
This thesis explores, from a feminist perspective, some implications on the status of women in selected dance forms, and addresses the perceptions of women as 'inferior' and 'subordinate'. One of the intentions behind the work was, indeed, to challenge prevailing perceptions and create an awareness of sexism, capitalism and patriarchy, especially for the uncritical and uninformed who have become its victims. Part 1 offers an analysis of the premises upon which social, political and economic inequality are founded and consolidated, with specific reference to sexual inequality and sexual prejudice. Utilising a Marxist-feminist and semiotic approach, the machinations of the traditional mass media are linked to negative imaging of the female body in support of the sexist, patriarchal, capitalist male manipulator, who benefits from women's subordinate social status. Part 2 addresses the issue of sexual politics, and the implications for dance research and performance. The researcher offers a descriptive analysis of four specific dance forms, which serve to highlight the socialisation and educational processes that shape our perceptions and instruct our lives. A set of questionnaires was sent to fourteen autonomous dance institutions, including those attached to national performing arts councils. The thesis concludes with a summary of the results of the questionnaires that were distributed amongst female dancers, dance students and choreographers. The researcher questions our culture's preoccupation with the female body image, and posits the urgent need for an assessment of this situation, and an education which will create a better understanding and a more harmonious climate for development.
APA, Harvard, Vancouver, ISO, and other styles
4

Jarumai, Cyril Joshua. "Some aspects of modern Irish law." Thesis, National Aviation University, 2021. https://er.nau.edu.ua/handle/NAU/48765.

Full text
Abstract:
By the early 21st Century further amendment to the Constitution has been necessitated by Ireland’s membership of the European Union, which has involved the cession of a degree of sovereignty and the subordination of national law to European law. A significant amendment was effected pursuant to the Good Friday Agreement, when Ireland removed its territorial claim to Northern Ireland and replaced it with the principle of unity by consent.Today’s Irish law due to the pandemic conditions of its development is on the way to its own improvement to regulate social relations effectively and protect the interests of their participants.
APA, Harvard, Vancouver, ISO, and other styles
5

Masipa, Mochaki Deborah. "The effects of a South African Black youth jive on selected biophysical physiological and psycho-social parameters." Thesis, Rhodes University, 1989. http://hdl.handle.net/10962/d1015682.

Full text
Abstract:
This study investigated the effects of a South African Black youth jive on selected Biophysical, Physiological and Psycho-social parameters, using 31 Black youths, males and females (mean age 19.29 yrs) as subjects. All subjects participated in the pre- and post-programme testing protocols (acting as their own control) and in a 7-week jive programme. While the female subjects were significantly (p<0.05) heavier with a greater percentage body fat than their male counterparts, a two factor analysis of variance revealed no significant changes in body composition (p<0.05) of either sex group. However, significant improvements did occur in the cardio-respiratory . parameters of working and recovery heart rates, predicted V0₂ max, and the anaerobic capacity. Here, the males exhibited superior cardio-respiratory qualities and performed better in all motor fitness parameters except flexibility, where no significant sex difference occurred. Also, there were significant improvements in all motor fitness tests with the exception of power (as tested in the 18-Item Illinois test). No significant differences occurred between male and female psycho-social responses with no changes occurring after the 7- week programme. It can be concluded that involvement in the 7-week jive programme improved physiological parameters but failed to bring about alterations in the biophysical and psycho-social domains..
APA, Harvard, Vancouver, ISO, and other styles
6

Young, Nora. "Mastery and enslavement as themes in modern discourses on technology." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59822.

Full text
Abstract:
The author calls into question the primacy of the optimism/pessimism split within modern discourses on technology and suggests rather that the dominant thematic division in these discourses is that between mastery over and enslavement to technology. Each of these is criticized with respect to the faulty conception of control it implies. The author concludes with a view of technology as a social practice in order to move beyond mastery or enslavement.
APA, Harvard, Vancouver, ISO, and other styles
7

Schenck, Cécile. "De la crise de l'homme moderne à la construction de l'homme nouveau dans les arts du spectacle (théâtre et danse) français et allemands des années 1880-1920." Paris 3, 2008. http://www.theses.fr/2008PA030152.

Full text
Abstract:
Ma thèse porte sur l’utopie d’un Homme nouveau, censée remédier à la crise européenne de l’homme moderne apparue dès la fin du XIXe siècle, et sur les différentes conceptions du lien social rattachant l’individu à la collectivité dans deux domaines d’expression : le théâtre et la danse, dont les diverses manifestations dans le champ des arts du spectacle français et allemands reflètent un large spectre de significations esthétiques, morales, idéologiques et politiques, révélateur des profondes mutations culturelles des années 1880-1920. À un moment de grande effervescence politique et intellectuelle liée à l’Histoire européenne, artistes et intellectuels ne cessent d’invoquer la nécessité d’un changement radical de l’homme et du monde. C’est dans les arts du spectacle que cet espoir paraît certes le plus vif, mais aussi le plus ambivalent : dramaturges et chorégraphes tendent en effet à substituer à l’idée proprement révolutionnaire la thématique d’une conversion et d’une rédemption spirituelles, devant réconcilier l’individu avec lui-même et avec sa communauté, comme le montrent, des deux côtés du Rhin, les œuvres d’inspiration wagnérienne dans les années 1880-1920. Des dernières pièces de Villiers de l’Isle-Adam au théâtre mystique de Péladan et aux drames préchrétiens du jeune Claudel, des premières mises en scène chorales de Rudolf Laban aux représentations parisiennes des Ballets russes et suédois, du Théâtre du peuple à la scène futuriste et au Bauhaus, le rêve d’une œuvre d’art totale est indissociable d’une réflexion multiforme sur les possibilités d’un renouveau esthético-religieux de l’humanité décadente
My thesis bears on the utopia of the New Man, which is supposed to be a remedy to the crisis of the modern man at the end of the 19th century. It also bears on the different conceptions of the social ties by means of which the individual is attached to the community ; it explores these conceptions in two domains of expression : theater and dance, whose diverse manifestations in the field of the French and German arts of expression reflect a large spectrum of esthetic, moral, ideological and political significances. Those manifestations reveal the profound cultural mutations of the years 1880-1920. In a time of great political and intellectual effervescence related to the particular moment of European history, artists and intellectuals incessantly evoke the neccessity of a radical change of the man and the world. It is in the arts of spectacle that this hope appears in its most vivid, but also in its most ambivalent : dramatists and choreographs have the tendency to replace to a properly revolutionary idea by the thematics of a spiritual conversion and redemption, that should reconcile the individual with herself and her community, as we can see, on both sides of the Rhin river, the works inspired by Wagner in the years 1880-1920. From the last pieces of Villiers de l’Isle-Adam to the mystical theater of Péladan and the pre-christian pieces of young Claudel, from the first choral stagings of Rudolf Laban to the parisian representations of the Russian and Swedish ballets, from the People’s Theater to the futurist scene and to the Bauhaus, the dream of a total work of art is indissociable from a manifold reflexion on the possibilities of an esthetic and religious renewal of decadent humanity
APA, Harvard, Vancouver, ISO, and other styles
8

Botha, Estelle. "Where dance and drama meet again : aspects of the expressive body in the 20th century." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1704.

Full text
Abstract:
Thesis (MDram (Drama))—University of Stellenbosch, 2006.
Acknowledging theatrical styles such as physical theatre, Tanztheater and poor theatre as forms of ‘total theatre’, and recognizing that there has been a prolonged process of development to reach such a point, the first chapter investigates the historical divide between dramatic dance and drama as starting point. Subsequently, in considering the body as expressive medium, the impact of content and form on the training of the performers’ body for the theatrical context is also evaluated.
APA, Harvard, Vancouver, ISO, and other styles
9

Simmons, Emily H. "All that pushes and pulls: A Choreographic Exploration of the Blurred Relationship Between Individuality and Conformity." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/353.

Full text
Abstract:
All that pushes and pulls is a modern dance work that investigates the blurred relationship between individuality and conformity in Western society. The ensemble piece explores the influence of trends of individuality - social movements that emphasize individualism in an attempt to break from the conformity of mass society yet eventually become adopted into mainstream norms. Through an emphasis on personal movement styles, manipulation of uniform choreography, and explorations of group dynamics and spacing, the piece illustrates how individuals navigate these trends in a society where individual expression has become a requirement rather than a suggestion.
APA, Harvard, Vancouver, ISO, and other styles
10

Jonas-Dwyer, Diana. "The relationship between enjoyment and ongoing participation in A Grade dancesport." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1997. https://ro.ecu.edu.au/theses/880.

Full text
Abstract:
To date no studies have considered enjoyment in Dancesport. Scanlan, Stein and Ravizza, (1989a, 1989b & 1991) have extensively studied enjoyment and recommended further studies be conducted in individual sports. Past research has tended to identity enjoyment as a one off momentary experience termed 'peak performance' (Cohn, 1991) and 'flow' (Csikszentmihalyi, 1975; Kimiecik & Stein, 1992). Many thousands of people participate in Dancesport, the competitive arm of ballroom dancing, both nationally and internationally. Determining the predictors of enjoyment for Dancesport could provide a base upon which to plan activity programs to increase lifelong participation and health. A qualitative approach was used to investigate the sport enjoyment experience of A Grade Adult and A Grade Senior Dancesport competitors from their perspective. In-depth interviews and inductive content analysis to gain insight into the sport. The major theme that emerged from the data was that of "social world". Participation in this world creates enjoyment and whilst they are enjoying their sport they wish to continue competing. Enjoyment sources were related to the physical (increased fitness), mental (the challenge of competition), and social (the social relationship formed with others, ie, coaches, partners and other dancers) elements of the sport.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Modern dance Social aspects"

1

The politics of courtly dancing in early modern England. Amherst: University of Massachusetts Press, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Alien bodies: Representations of modernity, "race," and nation in early modern dance. London: Routledge, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Danser: Enquête dans les coulisses d'une vocation. Paris: Découverte, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Dance, modernity, and culture: Explorations in the sociology of dance. London: Routledge, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Les danses exotiques en France: 1880-1940. Pantin: Centre national de la danse, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Décoret-Ahiha, Anne. Les danses exotiques en France: 1880-1940. Pantin: Centre national de la danse, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Helen, Thomas. Dance, Modernity and Culture. London: Taylor & Francis Group Plc, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Thomas, Helen. Dance, Modernity and Culture. London: Taylor & Francis Inc, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Newhall, Mary Anne Santos. Mary Wigman. Milton Park, Abingdon, Oxon: New York : Routledge, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Dancing and mixed media: Early twentieth-century modern dance theory in text and photography. New York: P. Lang, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Modern dance Social aspects"

1

Adetunji, Charles Oluwaseun, Kingsley Eghonghon Ukhurebor, Olugbemi Tope Olaniyan, Olugbenga Samuel Michael, Julius Kola Oloke, and Benjamin Ewa Ubi. "Ethical and Social Aspects of Modern Biotechnology." In Biosafety and Bioethics in Biotechnology, 51–67. New York: CRC Press, 2022. http://dx.doi.org/10.1201/9781003179177-5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Kashtanova, Ekaterina V., Rafik A. Ashurbekov, and Anastasia S. Lobacheva. "Social Aspects of the Readiness of Modern Society." In Studies in Systems, Decision and Control, 871–79. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56433-9_92.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Zmora, Hillay. "Social Conflict in Late Medieval and Early Modern Europe: Psychological and Social Aspects." In Faces of Communities, 175–92. Göttingen: V&R Unipress, 2014. http://dx.doi.org/10.14220/9783737002813.175.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Navasardova, Eleonora S., Natalya G. Zhavoronkova, and Vyacheslav B. Agafonov. "Modern Trends in the Development of Environmental Emergencies Legislation: Theoretical and Legal Aspects." In Economic Issues of Social Entrepreneurship, 227–34. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77291-8_21.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Barnai, J. "Some Social Aspects of the Polemics between Sabbatians and Their Opponents." In Millenarianism and Messianism in Early Modern European Culture, 77–90. Dordrecht: Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-017-2278-0_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Skorodumova, Olga, and Ibragim Melikov. "Philosophical Aspects of Usage of Social Network Technologies in Modern Professional Education." In Integrating Engineering Education and Humanities for Global Intercultural Perspectives, 820–27. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47415-7_88.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Gryaznova, Elena V., Alexander A. Vladimirov, Svetlana M. Maltceva, Aleksey G. Goncharuk, and Nikolai V. Zanozin. "Problems of Virtualization and Internetization of Social Space." In The 21st Century from the Positions of Modern Science: Intellectual, Digital and Innovative Aspects, 119–24. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-32015-7_14.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Hou, Yulu. "The Collision of Digital Tools and Dance Education During the Period of COVID-19." In Proceedings of the 2022 2nd International Conference on Modern Educational Technology and Social Sciences (ICMETSS 2022), 844–52. Paris: Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-45-9_102.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Yashkova, Elena V., Nadezhda L. Sineva, Sergey V. Semenov, Olga I. Kuryleva, and Anastasia O. Egorova. "The Impact of Digital Technologies on Various Activity Spheres and Social Development." In The 21st Century from the Positions of Modern Science: Intellectual, Digital and Innovative Aspects, 149–55. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-32015-7_18.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Urbano, Igor, Anna Carolina Souza Marques, and Matheus Milanez. "Dance as a Supplementary Instrument for Cardiac Rehabilitation." In Coronary and Cardiothoracic Critical Care, 544–54. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8185-7.ch025.

Full text
Abstract:
Intrinsic socio-cultural and motivational dance aspects, physical demands, general and styles characteristics, may promote positive influence on cardiac rehabilitation programs development and progression, if dance is approached as a supplementary activity and resource for cardiac patients. The aim of this study was to conduct an integrative literature review to evaluate dance as a supplementary activity on cardiac rehabilitation, considering physical demands, dance socio cultural aspects and regular practice related effects on cardiac patients' health and quality of life. Classical ballet and modern dance are not supported by this revision as appropriated alternatives to improve cardiovascular capacities for cardiopaths However, belly dance, ballroom dance, emphasis on Samba, Samkya showed multiple positive effects: glycemia levels reduction, resting heart rate reduction, cholesterol (HDL, LDL) and triglycerides level regulation, BP reduction, cardio respiratory increment and body relaxation.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Modern dance Social aspects"

1

Tanasković, Marija K. "Učenje kroz pokret u pristupima muzičkom obrazovanju." In Nauka i obrazovanje – izazovi i perspektive. University of Kragujevac, Faculty of Edaucatin in Uzice, 2022. http://dx.doi.org/10.46793/noip.403t.

Full text
Abstract:
The movement is related to dance and play, and it is significant for the musical development of an individual and his/her perception of music. Some research results show that learning through movement is familiar to children and can contribute to their development in many aspects (musicality, creativity, but also to their cognitive, social and physical development). Some approaches to music education focusing on the child, which is an imperative of modern upbringing and education, emphasize the importance of understanding the content of learning through sensory perception and practical activities. Music is associated with speech, movement and play, as these elements coexist in children. The paper gives an overview of approaches and methods (Dalcroze, Orff, Kodaly, Gordon) in music education in which movement has a dominant role and significance, as it activates not only the body and the mind, but also encourages the perception of music and its means of expression.
APA, Harvard, Vancouver, ISO, and other styles
2

Sidorenko, E. L. "Corporate Social Responsibility: Some Aspects." In Global Challenges and Prospects of The Modern Economic Development. European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.04.02.204.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Wen, Lizhong. "A Modern Aesthetic Review of Tujia Hand-waving Dance." In 2018 International Seminar on Education Research and Social Science (ISERSS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iserss-18.2018.102.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Wang, Xiaojie, and Chi Zhang. "Connotation Interpretation on Modern Value of National Dance." In Proceedings of the 2018 5th International Conference on Education, Management, Arts, Economics and Social Science (ICEMAESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icemaess-18.2018.229.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Konyukhov, V. Yu, T. A. Oparina, R. S. Zott, and P. N. Konovalov. "Aspects of Modern Engineering Education." In Proceedings of the Internation Conference on "Humanities and Social Sciences: Novations, Problems, Prospects" (HSSNPP 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/hssnpp-19.2019.97.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Guseynov, G. M. "SOCIAL SECURITY OF MODERN RUSSIA: PROBLEMATIC ASPECTS AND PRIORITIES." In XIV International Social Congress. Russian State Social University, 2015. http://dx.doi.org/10.15216/rgsu-xiv-134.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Atitsogbui, R. M. K., E. N. Atitsogbui, and N. V. Zimovets. "Social Aspects of Foreign Borrowings in Modern Russian." In International Scientific Conference "Far East Con" (ISCFEC 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/aebmr.k.200312.082.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Baizigitova, Razia Ravilievna. "Interethnic Conflicts: Social And Legal Aspects." In SCTCGM 2018 - Social and Cultural Transformations in the Context of Modern Globalism. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.03.02.264.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Dureev, S. P. "Educational Aspects Of Modern Engineering Knowledge Quality." In International Conference on Economic and Social Trends for Sustainability of Modern Society. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.10.03.86.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Rodionova, Elena. "Social and Cultural Aspects of Modern Urban Space Gentrification." In International Conference «Responsible Research and Innovation. Cognitive-crcs, 2017. http://dx.doi.org/10.15405/epsbs.2017.07.02.59.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Modern dance Social aspects"

1

MOSKALENKO, O., S. TERESHCHENKO, and E. KASPAROV. PSYCHOLOGICAL ASPECTS OF INTERNET DEPENDENCE. Science and Innovation Center Publishing House, 2022. http://dx.doi.org/10.12731/2658-4034-2022-13-1-3-85-94.

Full text
Abstract:
A review of the literature on the actual problem of modern society - Internet addiction (ID) is presented. ID has negative social, health and economic consequences. The number of Internet addicts is increasing every year. Patients with IS have characteristic symptoms: increased tolerance syndrome (increased time and intensity of Internet activity); syndrome of loss of quantitative and situational control; withdrawal symptoms, with the impossibility of Internet activity and affective disorders develop.
APA, Harvard, Vancouver, ISO, and other styles
2

Iatsyshyn, Anna V., Valeriia O. Kovach, Yevhen O. Romanenko, Iryna I. Deinega, Andrii V. Iatsyshyn, Oleksandr O. Popov, Yulii G. Kutsan, Volodymyr O. Artemchuk, Oleksandr Yu Burov, and Svitlana H. Lytvynova. Application of augmented reality technologies for preparation of specialists of new technological era. [б. в.], February 2020. http://dx.doi.org/10.31812/123456789/3749.

Full text
Abstract:
Augmented reality is one of the most modern information visualization technologies. Number of scientific studies on different aspects of augmented reality technology development and application is analyzed in the research. Practical examples of augmented reality technologies for various industries are described. Very often augmented reality technologies are used for: social interaction (communication, entertainment and games); education; tourism; areas of purchase/sale and presentation. There are various scientific and mass events in Ukraine, as well as specialized training to promote augmented reality technologies. There are following results of the research: main benefits that educational institutions would receive from introduction of augmented reality technology are highlighted; it is determined that application of augmented reality technologies in education would contribute to these technologies development and therefore need increase for specialists in the augmented reality; growth of students' professional level due to application of augmented reality technologies is proved; adaptation features of augmented reality technologies in learning disciplines for students of different educational institutions are outlined; it is advisable to apply integrated approach in the process of preparing future professionals of new technological era; application of augmented reality technologies increases motivation to learn, increases level of information assimilation due to the variety and interactivity of its visual representation. Main difficulties of application of augmented reality technologies are financial, professional and methodical. Following factors are necessary for introduction of augmented reality technologies: state support for such projects and state procurement for development of augmented reality technologies; conduction of scientific research and experimental confirmation of effectiveness and pedagogical expediency of augmented reality technologies application for training of specialists of different specialties; systematic conduction of number of national and international events on dissemination and application of augmented reality technology. It is confirmed that application of augmented reality technologies is appropriate for training of future specialists of new technological era.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Modern dance Social aspects' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography