Journal articles on the topic 'Modern dance Social aspects'
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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.
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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
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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.
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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’.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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
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Singleton, Brian. "K. N. Panikkar's Teyyateyyam: Resisting Interculturalism Through Ritual Practice." Theatre Research International 22, no. 2 (1997): 162–69. http://dx.doi.org/10.1017/s0307883300020563.
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Indian theatre practice under British colonial rule was marked by differing strategies of resistance: agit-prop drama to promote social and political reform; the preservation of classical dance as cultural heritage; and the continuing practice of folk rituals in rural areas outwith the immediate control of the colonial authorities. Postindependence India, however, has witnessed those ‘deviant’ practices of resistance become the dominant ideological performance practices of modern India. Much actor training continued to be modelled on British drama schools such as RADA (Royal Academy of Dramatic Art); classical dances have survived to incorporate certain aspects of western ballet (for example, group sequences in Kathak); and the folk rituals have come increasingly under the microscope of western cultural tourists. Indian theatre practice, therefore, succumbs to the power of the dollar, as western academics and practitioners, with their financial and technological power, act as legitimizing agents for the global recognition of Asian culture. We are at a time when great currency is being attached to the notion of intercultural rejuvenation of home cultures by acts of productive reception with foreign cultures (a more positive definition of the practice by Erika Fischer-Lichte in direct response to Edward Said's charge of cultural colonialism which he terms orientalism). It is worthwhile taking note of how certain forms of modern Indian theatre are resisting intercultural practices, not by refusal or direct opposition, but by theatrical acts of intra-cultural rejuvenation, without the injection of the foreign culture as a serum.
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DIAMOND, CATHERINE. "The Palimpsest of Vietnamese Contemporary Spoken Drama." Theatre Research International 30, no. 3 (October 2005): 207–22. http://dx.doi.org/10.1017/s030788330500146x.
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Unlike most Southeast Asian theatres, Vietnam has created a sizeable corpus of scripted spoken dramas that continue to be popular in performance with urban audiences. Initially influenced by French classicism and Ibsenist realism, the Vietnamese spoken drama, kich noi, very quickly adapted to local social realities and survives by readily incorporating topical subjects. While keeping abreast of current social issues, the theatre nonetheless makes use of its multi-cultural heritage, and in any given modern performance one can see the layers of influence – traditional Sino-Vietnamese hat boi/tuong; Vietnamese cheo theatre, Cham dance, French realism, Soviet constructivism and socialist realism, and most recently, western performance art. The Vietnamese playwrights, set designers, directors, and actors have combined aspects of the realistic theatre with the conventions of their suppositional traditional theatre to come up with a hybrid that is uniquely Vietnamese. It is argued that these manifold layers should be regarded as a kind of palimpsest rather than just as pastiche.
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Haji Bibi, Zainon, Aiza Johari, and Azlina Bujang. "YOUTHS’ AWARENESS TOWARDS SARAWAK’S MALAY CULTURAL HERITAGE: SOCIAL MEDIA." Journal of Information System and Technology Management 4, no. 14 (September 12, 2019): 18–25. http://dx.doi.org/10.35631/jistm.414002.
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Recognized for its own distinctive aspects, Sarawak’s Malay Community is unique, mainly in the aspects of culture, language, and lifestyle. One of the relevant Malay proverbs in the context of heritage states: “Yang lama dikelek, Yang Baharu didukung” means that the traditional custom will always be practiced, while the modern way of life will be embraced. Thus, it is important to preserve these cultural heritages to sustain and protect their values. This study’s objective focuses on the exploration of the Malay youths’ and their awareness towards Sarawak’s Malay Heritage, specifically on Traditional Malay Clothing, Music and Dances. It also recognizes the use of social media as a medium to promote and sustain Sarawak’s Malay Cultural Heritage. The study involves 115 respondents who are undergraduate students of one of the local universities in Sarawak, where they have completed an online survey to address the study’s objectives effectively.
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Usanova, Natalia S., and Marina L. Arkhipova. "Pragmatics of the Ball in Russia in a Diachronic Aspect: from Origins to Modernity." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022): 71–82. http://dx.doi.org/10.37816/2073-9567-2022-65-71-82.
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The paper aims to explore the ballroom culture, namely the Russian ball as an example of a social phenomenon. The study applies a comprehensive approach to the dance evening (ball) and systematizes the changes in its functions throughout the entire period of its development. The authors note that the dynamics of changes may be traced from the moment the ball assemblies of the 18th century were introduced until the end of its active development at the beginning of the 20th century. The case study draws upon literary works, available documentary and archival materials, displaying specifics of the Russian ball. The authors of the research highlight the complexity, variability and inconsistency of the ball`s structure and come to conclusions about the great importance of the Russian ball for the life of the Russian society of the period under study, changes in etiquette as manifestations of historical stages and turning points in the development of society. The paper dwells upon describing the relationship, interaction and place of the participants in the dance evening. At the end of the article, the potential possibilities of using the traditions of the Russian ball in relation to the modern society of Russia are evaluated.
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Maimone, Fabrizio, and Marta Sinclair. "Dancing in the dark: creativity, knowledge creation and (emergent) organizational change." Journal of Organizational Change Management 27, no. 2 (April 8, 2014): 344–61. http://dx.doi.org/10.1108/jocm-12-2012-0197.
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Purpose – The aim of this paper is threefold: to provide a framework for a better understanding of the relationship between creativity, knowledge creation/sharing, and organizational change; to define the key elements at individual and collective level that may contribute to the development of organizational spaces that favour a climate for creativity and knowledge creation as precondition of “emergent change”; and to contribute to the development of a multi-perspective approach to creativity and knowledge creation in twenty-first century organizations. Design/methodology/approach – The paper begins with a review of the emergent non-linear change theories and the change-related processes of knowledge creation. It uses the metaphor of dance to explore the relationship between emergent change and knowledge creation and sharing, and identifies the main factors that may impact this relationship. Findings – The authors' framework suggests that the identified factors act as precondition to emergent change. These factors are critical for change management in organizations operating in today's chaotic environment. Practical implications – The authors' framework suggests that the identified factors act as precondition to emergent change. These factors are critical for change management in modern organizations. The authors propose guidelines and provide examples how to manage work spaces and facilitate the organizational dance. Originality/value – Even though the academic literature already offers some evidence about the role and the centrality of spontaneous change, this paper provides a systematic, multi-perspective approach to the understanding and management of social, cultural and individual characteristics of bottom-up organizational change, focusing on its fundamental aspects of creativity and knowledge creation.
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Yurchenko, Eduard. "The large-scale invasion of the russian federation in Ukraine and the futurology of war: lessons and tasks for the future." Filosofiya osvity. Philosophy of Education 28, no. 1 (August 25, 2022): 70–85. http://dx.doi.org/10.31874/2309-1606-2022-28-1-5.
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The article attempts to raise the question of the impact of the large-scale invasion of the Russian Federation into Ukraine on the modern war, аs a phenomenon and its understanding within the framework of modern science and philosophy. At the same time, dramatic social experience is considered in the context of social training of societies involved in war. The question of the significance of a large-scale war for the formation of Ukrainian society and its transformation is raised. The basic modern concepts of «new generation war» are analyzed. In particular, attention is paid to such concepts as «the war of the fourth generation», «rebellion», «gerasimov`s doctrine», «hybrid war». The article formulates the following seven questions, which indicate a certain research perspective. First, what will be the ratio of state and non-state actors in a large-scale conflict of the new generation in a situation where it is not a confrontation between the state and irregular forces, but a large-scale war between two major powers, in which non-state factors range from national and dance-national forces – to self-organized segments of society? Secondly, what will be the significance of the psychological factor in a large-scale war, when it will be able to acquire the maximum value? Attention to it is inherent in all concepts of war of the new generation, but in any case, it will be balanced by others – such as technological, organizational and others. Third, how will the war affect the social structure and what social structure will the forces involved in it have? Fourth, how far will changes in military affairs due to state-of-the-art technology move? What are the moral and legal problems? Fifth, how far will the blurring of the line between the military and non-military spheres go? Sixth, how will the new principles of governance affect the organizational aspect of war and how will the new principles of military governance affect governance and civilian areas, particularly in economics and politics? Seventh, how will the war of the new generation shape the new civilization of the future, and how will the civilization of the future affect the formation of the war of the new generation?
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Vilhovchenko, T. "SOME HISTORICAL ASPECTS FORMATION OF MODERN CHOREOGRAPHY." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 137–45. http://dx.doi.org/10.33989/2226-4051.2021.23.238271.
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The article traces the historical stages of the emergence and development of modern choreography, its main directions, the influence of outstanding choreographers on the development of the plastic language of modern dance. It is noted that modern dance and its many and varied styles, types, forms arouse interest and the most controversial reactions from both the viewer and the critic. The concept of "modern choreography" was used and was relevant at every stage of the historical development of dance. In this or that historical period, dance was considered innovative and in line with the spirit of its time. Particular attention is paid to modern dance in the article. It incorporated both the aesthetic principles of the early 20th century and the further transformation of the modern dance of the second half of the 20th - early 21st centuries. The work also explores the emergence of the theory of movement, which appeared at the turn of the 19th - 20th centuries. However, despite the absence of a system of choreographic structure, tools for its analysis have already been proposed. This dance did not have a specific form and was aimed at conveying a person's spiritual state. In parallel with the birth of modern dance, new views on its perspectives were framed. The innovators sought to minimize the importance of costume, music, and decoration while maximizing lexical material and depth of thought, which rejected any canons of dance composition. It marked the beginning of a new era - the postmodern era, in which modern choreography evolves, moves in search of new forms and means of expression, changes, creating a new vocabulary, artistic symbols, and understandable signs.
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Osintseva, Nadezhda Vladimirovna. "Philosophical Consideration of Modern Social Dance." Manuskript, no. 4 (March 2021): 780–84. http://dx.doi.org/10.30853/mns210133.
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Pigalev, A. I. "The Wisdom of God as the Eternal Feminine: Dante and V.S. Solovyov on Sophianic Unity." Solov’evskie issledovaniya, no. 4 (December 15, 2021): 54–69. http://dx.doi.org/10.17588/2076-9210.2021.4.054-069.
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The paper deals with the continuity of ideas concerning the Eternal Feminine and Sophia as the Wisdom of God from the point of view of Dante Alighieri and Vl.S. Solovyov. The analysis focuses not so much on the very notion of Sophia as on the meaning, origins, and contexts of their conception of Sophianic unity. The latter, being an ideal form of reducing a multitude to a unity, is considered as either an alternative or a supplement to the model of totality that reproduces the binary and hierarchical structure which at the social and political level is considered to be the pattern of imperial centralism. The study proceeds from the consequences of Dante’s negation of the difference between the spiritual sense of the Holy Scriptures and the literary sense of secular poetry. It is shown that for Dante it was necessary, first of all, to understand under whose inspiration and guidance he composed his verses, which gave particular importance to the image of a guide in his magnum opus. I show that in this context Dante turned to the intuitive representation of the feminine idea as a guiding principle that was personified by Beatrice, although Dante did not use the term “Sophia” and could not use the term “the Eternal Feminine,” which did not yet exist at the time. The disputes in Dante’s time on the essence of monarchy are considered in connection with his understanding of femininity as the guiding principle of such a unity of humanity that could reject a rigid hierarchy and, thus, free itself from imperial centralism. It is pointed out that the social and political aspects of the all-encompassing Sophia, which also resolves contradictions as a supplement to the intrinsically contradictory Logos, were given great importance in Solovyov’s philosophy. The paper concludes that it was Solovyov, who, having identified Sophia with humanity as a whole, created the presuppositions for a detailed study of the structure of Sophia’s unity. This study ends with a discussion of the validity of the convergence of a non-hierarchical Sophianic unity with the deconstructive strategies of modern philosophy, the aim of which is the elimination of binary oppositions and hierarchies from the gender context.
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Koshechko, Nataliia. "THE INFLUENCE OF TYPES OF ART THERAPY ON THE RESOLUTION OF CONFLICT SITUATIONS BY STUDENTS OF HIGHER EDUCATION INSTITUTIONS." Visnyk Taras Shevchenko National University of Kyiv. Pedagogy, no. 1 (13) (2021): 29–33. http://dx.doi.org/10.17721/2415-3699.2021.13.07.
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The article analyzes current ideas on the problem of conflict resolution by high school students who use different types of art therapy. This area of scientific knowledge is designed to help individuals realize their inner state by creating a visual image, metaphors, symbols, videos; it is the development of a person's inherent creativity, which helps in resolving conflict situations. Through creative self-expression, art therapy actualizes personal resources to overcome contradictory situations and gives way to the accumulated energy, thereby harmonizing the emotional sphere. Creating abstract images, the student finds answers to many relevant questions, explores fears and barriers to communication. These images occur unconsciously and spontaneously, which is why anxiety and resistance to self-knowledge are reduced. This provides a diverse range of tools for working with the emotional sphere of the individual. In this context, the content, historical aspect, specifics of art therapy in the use of higher education by students are analyzed. The types of art therapy in solving students' conflict situations are generalized. According to the study, students in overcoming conflict situations prefer the following types of art therapy: music therapy, phototherapy, isotherapy, bibliotherapy, dance and movement therapy, collage, performance, drama, media art therapy and other types. They are harmoniously complemented by combined logotherapy with the use of virtual communication of social networks, which, in the experience of students, provides a quality constructive result in conflict resolution. The latest and most relevant performance, drama therapy, media art therapy in the format of blogging on various Internet platforms are becoming a separate modern type of art therapy that helps creative self-expression, self-affirmation, self-actualization and self-healing of the student's personality.
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Koschechko, N. "ART-THERAPY RESOURCES IN THE MANAGEMENT OF PEDAGOGICAL CONFLICTS IN UNIVERSITIES OF UKRAINE." Visnyk Taras Shevchenko National University of Kyiv. Pedagogy, no. 1 (11) (2020): 12–18. http://dx.doi.org/10.17721/2415-3699.2020.11.03.
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The article analyses actual ideas on the problem of pedagogical conflict management in universities with the help of art therapy resources. This area of scientific knowledge is designed to help the individual to realize their inner state by creating a visual image, metaphors, symbols, videos (art-therapeutic product). Art therapy is a development in the personality inherent in its creativity, which helps in solving conflicts. Through creative expression, art therapy actualizes personal resources for overcoming pedagogical conflicts and provides an output of accumulated energy (aggression), thus harmonizing the emotional sphere. Creating abstract images, the student finds answers too many topical questions, explores fears and barriers to communication. These images arise unconsciously and spontaneously, which is why anxiety and resistance to self-discovery decrease. This provides a diverse range of tools for dealing with the emotional sphere of the individual. Art therapy provides a specific answer to the global question "How to curb emotions in conflict?". In this context, the content, the historical aspect, the specifics of the use of art therapy in universities are analysed and the essence, characterization, dynamics of pedagogical conflicts are revealed. Types of art therapy in the management of pedagogical conflicts in universities are generalized. According to the questionnaire, students overcome the pedagogical conflicts with the following types of art therapy: music therapy (29%), phototherapy (25%), drawing therapy (12%), bibliotherapy (10%) (especially in electronic format), dance and movement therapy (7%), collage (4%) other types (13%). They are harmoniously complemented by combined logotherapy with the use of virtual communication of social networks, which, from the students' experience, provides a qualitative constructive result in solving pedagogical conflicts. Performance, drama, media-art therapy in the format of blogging on various online platforms (YouTube, Instagram, Telegram channels) are all separate modern types of art therapy that helps creative expression, self-affirmation, self-actualization and selfhealing of the personality.
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Lane, Andrew, Ruth Hewston, Emma Redding, and Gregory P. Whyte. "MOOD CHANGES FOLLOWING MODERN-DANCE CLASSES." Social Behavior and Personality: an international journal 31, no. 5 (January 1, 2003): 453–60. http://dx.doi.org/10.2224/sbp.2003.31.5.453.
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Full-time dancers typically spend a large proportion of time participating in dance classes. The present study examined mood state changes following two contrasting modern-dance styles on a sample of full-time dancers. Twenty-three dancers completed the Brunel University Mood Scale (Terry, Lane, Lane, & Keohane, 1999) to assess anger, confusion, depression, fatigue, tension, and vigor before and after two different dance classes. One class taught was the Jose Limon technique style, characterized by light flowing movement, and the other class taught was the Martha Graham technique style, characterized by bound movements. Results showed that participants reported a positive mood profile before and after both dance classes. Repeated Measures Multivariate Analysis of Variance results indicated a significant interaction effect (Pillai's Trace 6, 15 = .32, p < .01), whereby Vigor increased following the Limon class but remained stable after the Graham class. Future research is also needed to investigate mood changes over a sustained period to evaluate more fully mood states responses to the demands of dance classes.
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СЛЕПЦОВА, М. И., and Л. А. КУЗЬМИНА. "The socio-cultural role of the personality of Olga Petrovna Ivanova-Sidorkevich." Vestnik of North-Eastern Federal University. Series "Economics. Sociology. Culturology", no. 3(15) (February 4, 2020): 46–52. http://dx.doi.org/10.25587/svfu.2020.15.53608.
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Ольга Петровна Иванова-Сидоркевич знаковая личность в истории культуры Якутии, в деятельности которой нашли яркое отражение творческий талант и потенциал, характерный народу саха. Статья посвящена раскрытию социокультурной роли личности О. П. Ивановой-Сидоркевич как основателя и руководителя детского ансамбля Амма чэчирэ . Ансамбль успешно представлял художественное искусство Якутии на многих российских площадках. Творческий коллектив стал первым самодеятельным ансамблем в Якутии, удостоившимся звания образцового этнографического ансамбля песни и танца Российской Федерации. В статье рассматриваются особенности сохранения и развития культуры коренных народов Якутии в аутентичном и модернизированном видах на примере опыта ее работы. Вся ее разносторонняя профессиональная и общественная деятельность была направлена на поддержание условий для такого творчества сохранения культурной и природной среды. Определены теоретические аспекты исследования фестиваля искусств как значимой формы современной социально-культурной деятельности. Историческая функция фестиваля включает в себе сохранение и накопление культурных ценностей и достижений, благодаря чему происходит становление общеличностного развития каждого человека и социума в целом. Большинство фестивалей искусств Якутии, связанных с детским творчеством, имеют республиканский статус, их можно отнести к типу национальных межкультурных фестивалей. Появились тематические фестивали, в которых реализуется их историческая функция. Здесь ставится цель не только сохранения памяти о выдающихся деятелях культуры, но и распространения их опыта работы. Реализация проекта детского этнокультурного фестиваля танца служит целям развития художественного образования, поддержки юных дарований, увековечиваниия памяти О. П. Ивановой-Сидоркевич. The article is devoted to the disclosure of the socio-cultural role of the personality of Olga Petrovna Ivanova-Sidorkevich. Her work experience is used as an example to consider the features of the preservation and development of the culture of the indigenous peoples of Yakutia in authentic and modernized forms. All versatile professional and social activities of O.P. Ivanova-Sidorkevich were aimed at maintaining the conditions for such creativity the preservation of the cultural and natural environment. The theoretical aspects are identified of art festival research as significant form of modern socio-cultural activity. The historical function of the festival includes conservation and accumulation of cultural values and achievements, due to which there is a formation of the general development of each person and society as a whole. The most art festivals in Yakutia associated with childrens creation have a republics status. They can be attributed to national intercultural festivals. Project implementation of the childrens ethnocultural dance festival serves the purposes of developing art education, supporting young talents, perpetuating the memory of O.P. Ivanova-Sidorkevich.
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Syvokon, Yuriy. "THEORETICAL ASPECTS OF MODERN TEACHING OF CLASSICAL DANCE IN HIGHER EDUCATIONAL PEDAGOGICAL INSTITUTIONS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 201–5. http://dx.doi.org/10.36550/2415-7988-2021-1-195-201-205.
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The article presents an analysis of the methods of teaching classical dance as a backbone knowledge in the process of teaching students of choreographic areas of universities of culture. The main task of higher education in the field of choreography is the formation of a «complete» model of a graduate in the unity of performing and pedagogical qualities. At the same time, in the context of introducing standards for teachers, the main task of the training is the question «How to teach to dance?», which puts forward the tasks of scientific understanding of the teaching methods as an important condition for the formation of the pedagogical competence of future graduates. The main methodological setting of the research is the presentation of modern practice of choreographic education and teaching classical dance as a system in which all elements are conditioned and subordinated to performing and pedagogical tasks. The relevance of studying the methods of teaching classical dance in higher educational institution is determined by the conditions of the modern stage, which is characterized by the introduction of educational standards as an expected result of the quality of training of future choreographers; expansion of the nomenclature of profiles and directions of choreographic training; introduction of professional standards for teachers in the field of choreographic art. Classical dance at all stages of formation and development of choreographic education in universities is the foundation of training future professionals in the field of dance, a discipline that forms the performing practical skills and abilities of the dancer; «Lexical» basis of the future choreographer-producer, creator of choreographic combinations, sketches, compositions and performances; scientific and theoretical foundation of methods of teaching choreographic disciplines. The possibility of successful implementation of tasks in accordance with the requirements of modern educational standards of training students-choreographers in higher education is due, inter alia, reliance on internal prerequisites for development, which are determined by historical traditions of teaching classical dance methods A. Ya. Vaganova. XX – early XXI century. researchers stand out as the most important in the development of classical dance.
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Oliinyk, Ivanna. "Batyar Songs in Viktor Morozov’s Creativity." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 119–30. http://dx.doi.org/10.31318/2522-4190.2021.130.231211.
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Relevance of the study. The batyar subculture has already become the subject of many scientific works of Polish and Ukrainian researchers as a social phenomenon with its own jargon and cultural traditions. In particular, this issue has become central in the works of U. Jakubowska, A. Kozytsky, O. Kharchyshyn, Y. Vynnychuk, N. Kosmolinska, W. Szolginia and others. Batyar songs as a layer of Lviv city music got a new life thanks to the creativity of V. Morozov, realized in the publication of three albums with neobatyar songs. This group of songs and its genre and intonation parameters have not yet been at the center of musicological research and open up new perspectives for learning of genetic links between urban music and popular contemporary music in Ukraine.The purpose of the study is to analyze the genre and intonation features of Viktor Morozov’s albums, the principles of their cyclization, to explore the genetic links between batyar and neobatyar songs.Results and conclusions. Each of the three albums “Only in Lviv” (“Tilku vi Lvovi”), “Heart of the batyar” (“Serdtse batiara”) and “Batyarsky blues” (“Batiarskyi bliuz”) reveals itself as a large genre, which structure builds an expanded musical dramaturgy. In many aspects, it is connected with principles of the cyclization of academic genres, in particular, the vocal cycle and the program suite. The basis of the dramaturgy development of the albums was the method of contrast at the level of thematic, genre, tempo-metric organization. In addition, all three albums actually formed the one line of transformation of batiar songs from the authentic sound of songs from the period of the 20–30s of the twentieth century, and to new author’s — neobatyar songs, there were created on the basis of modern genres.New plots and themes of the verbal text of neobatyar songs also directly appeal to the original period of the first Lviv batyars at the beginning of the 20th century. The love adventures of the batyars, the struggle for authority and respect among the representatives of the subculture, the love for the native city, the glorification of fearlessness, life with not burdened by laws and fear became the main topics in neobatyar songs too. A characteristic local dialect is preserved, including a combination of vocabulary of various language systems; the use of lexical distortions, obscene vocabulary takes on a new embodiment through modern neologisms, borrowings. Songs are still performed exclusively by men, and the main genre outline is dance, including polkas, waltzes, tango, staer and others. The phenomenon of the double nature of batiar songs is organically embodied, where folklore and author’s songs are expressed through a combination of anonymous and original songs of the prewar period and neobatyar songs created by the authors of the albums. The nebatyars headed by V. Morozov in the albums “Only in Lviv”, “Heart of the batyar” and “Batyar blues” deliberately appeal to the layer of batyar songs, aiming to give new life to the old batyar song genre in the context of modern musical trends, to save the unique phenomenon from oblivion, rethink them in the context of the realities of our time. Thanks to the conceptual approach to the creation of the aforementioned albums, the authors managed not only to organically continue the musical traditions of batyar songs, but also to give them new life at a fresh, even brighter artistic level.
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Shchurina, Evgeniia A. "Gender aspects of naming in dance subculture." Journal of Psycholinguistic, no. 3 (October 1, 2021): 97–108. http://dx.doi.org/10.30982/2077-5911-2021-49-3-97-108.
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The article addresses the issue of gender representation in the names of teams in modern dance competitions. The research material consists of 1260 names of teams that participated in the Project 818 dance championship held in Moscow in the period 2017–2019. The applied methods include semantic interpretation, observation, and ethnography of speech (interviews, surveys). The results of the study have shown that gender-neutral meanings prevail in the names of the teams as well as among the gender-labeled names, with the share of “female” names being higher than that of the “male” ones. It has also been revealed that there is no connection between the gender marking of the name and the actual composition of teams: men can member the teams with pronounced “female” names, and vice versa. At the same time, gender is not a determining parameter when choosing a team name: preference, as a rule, is given to the originality and sonority of the name rather than the inherent gender meanings.
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Zuev, Ilya N., Igor L. Musukhranov, and Ekaterina G. Romanova. "ASPECTS OF THE THEORETICAL UNDERSTANDING OF THE FOLK AND FOLK STAGE DANCE OF ALTAI." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 225–33. http://dx.doi.org/10.17223/22220836/41/19.
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The development of Altai dance is closely related to the history of the Altai people. Modern Altai people, like other Turkic peoples of Southern Siberia, have not preserved traditional dances in the form in which they were performed in everyday life. The reason for this was that the art of dance has a spatially – temporal character and it is difficult to record it. It is necessary in the analysis of folk dance to use the instrumentation of all fields of art science, to apply a systemic and interdisciplinary approach. It is in this that the authors see a further research horizon. In modern conditions, when the self-consciousness of each people increases, choreographic art, as part of the spiritual culture of the people, responds to all the events of life. The relevance of this study is due to the modern trend of the revival of the national and cultural heritage of the Altai Republic. One of the pressing problems of modern choreography, its theoretical understanding, is the study of the origins of folk stage dance. The fact that lacunae exist in this area of historical and cultural knowledge is evidenced by the lack of textbooks, incomplete complexes of educational and methodological literature. Choreographers, both in the educational process and in staging practice, are faced with the need for a clear theoretical design, the development of a scientific apparatus in this matter. In folk dance, closely connected with the life and life of the people, the peculiarities of its character, feelings, temperament, manner of artistic thinking are especially pronounced, that is, a kind of “choreographic portrait of the nation” is created. Folk dance, plastically expresses ethnic historical experience, is a kind of artistic embodiment of the historical memory of the nation, and thus affects the strengthening of national identity. The importance of the theoretical understanding of folklore in the development of choreography (as in musical or decorative art) is difficult to overestimate. He is a source of ideas, expressive means, often becomes an aesthetic standard in the creative activities of the modern choreographer. The national identity of the dance culture of the people is connected with the stable historical community of language, territory, economic life, psychological warehouse, culture of life, customs and traditions. National art bears both the originality of what it reflects and how it reflects. All this is reflected in folk dance, affects the nature of plastic. From here, the dances of one people are not similar to those of another, and even one ethnic group, divided geographically, dances differ. For example, Russian folk dance has common features characteristic of Russian dance in general, but at the same time it also has bright regional features. Dance culture in geographically distant territories varies in character, manner of performance, and originality of drawing, and subject matter. The main difficulty in studying this issue is the difficulty of “translating” the plastic language into speech discourse. Hence the difficulty in fixing and writing the description of choreography. There may be discrepancies and misinterpretations of the records of researchers of the past due to the lack of an agreed methodology and categorical apparatus.
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Urbano, Igor, Anna Carolina Souza Marques, and Matheus Milanez. "Dance as a Supplementary Instrument for Cardiac Rehabilitation." International Journal of Art, Culture and Design Technologies 7, no. 1 (January 2018): 17–29. http://dx.doi.org/10.4018/ijacdt.2018010102.
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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.
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Ovcharenko, N. A., and O. V. Chebotarenko. "Ukrainian modern music: to problem the form of style." Educational Dimension 18, no. 2 (May 10, 2007): 298–305. http://dx.doi.org/10.31812/educdim.5987.
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Some questions of style- and genrefoundation in the native music are considered in this article. The interaction o f dance and singing aspects as a character feature of Ukrainian composer style were analyzed.
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Kalinnikova, M. V. "Social Aspects of Modern Society’s Ecologization." Izvestia of Saratov University. New Series. Series: Sociology. Politology 10, no. 4 (2010): 11–13. http://dx.doi.org/10.18500/1818-9601-2010-10-4-11-13.
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Oborski, Przemyslaw. "Social-technical aspects in modern manufacturing." International Journal of Advanced Manufacturing Technology 22, no. 11-12 (December 1, 2003): 848–54. http://dx.doi.org/10.1007/s00170-003-1573-6.
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Blacker, C. Alexandra. "Cotillion Dance as an Embodiment of Class." Congress on Research in Dance Conference Proceedings 2014 (2014): 14–20. http://dx.doi.org/10.1017/cor.2014.2.
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This paper suggests that social dance, specifically cotillion, teaches students to internalize and reflect ideas relevant to constructions of class. An examination of eighteenth- and nineteenth-century cotillion dance (also referred to as private balls, public balls, assemblies, and dance halls) shows a physical manifestation of class that can still be seen in the modern day dance world. This paper examines social dance in the eighteenth and nineteenth centuries. I use historical references, specifically Elizabeth Aldrich's From the Ballroom to Hell: Grace and Folly in Nineteenth-Century Dance, Linda Tomko's Dancing Class, Gender, Ethnicity, and Social Divides in American Dance, and the Library of Congress Web site to foreground this idea before turning to some modern day case studies. Employing historical as well as interview-based methodologies, the paper combines interviews from present day cotillion directors with my own experiences in the cotillion and professional ballet communities. The paper concludes that social dance in the eighteenth and nineteenth centuries sets up a tradition still carried forth today—one that is more about classed aspirations and courtship and less about dance technique or physical ability.
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Wang, Zheng. "Modern social dance teaching approaches: Studying creative and communicative components." Thinking Skills and Creativity 43 (March 2022): 100974. http://dx.doi.org/10.1016/j.tsc.2021.100974.
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Robinson, Danielle. "The Ugly Duckling: The Refinement of Ragtime Dancing and the Mass Production and Marketing of Modern Social Dance." Dance Research 28, no. 2 (November 2010): 179–99. http://dx.doi.org/10.3366/drs.2010.0103.
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The focus of this article is the transformation of ragtime dancing into modern social dance by hundreds of teachers, writers and performers working in an emerging dance industry, rooted in New York City. Based on dance manuals and magazines of the period, I argue that dance professionals worked collectively to create new products (i.e. dances) that could more easily be mass-produced and marketed. Importantly, they called their efforts a ‘refinement’ of ragtime and justified their work through discourses of artistry and morality. Upon closer examination, however, the changes they made to the dances indicate that artistry and morality were actually achieved by removing the black associations of ragtime dancing and instead, using modern social dance to construct an idealized white racial identity.
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Raud, Inna. "The collection The Folk Costumes of Mulgimaa in the context of the literature on Estonian national costume from the viewpoint of a researcher and craftsman." Studia Vernacula 8 (November 13, 2017): 229–35. http://dx.doi.org/10.12697/sv.2017.8.229-235.
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Estonian folk costumes were foregrounded as a cultural phenomenon in the records written by the leaders of the Estonian national awakening already in the late 19th century. The statements made by them emphasised the importance of wearing and preserving folk costumes.
The main research activity based on museum collections has historically been centred primarily on artefacts, with the aim of the reconstruction of the historical development of each type, taking the origin of the artefacts found in the collections into account. Approaching the subject matter by focusing on the artefacts and classifying them into certain types does help one to gain an understanding of regional specificities, but not of an outfit as a whole. As a researcher and seamstress of folk costumes, I recognise the need for both artefact-centred studies and regional studies.
Estonian folk costumes have previously been treated in three nationwide monographs that have focused on different regions. In addition to instructions on how to make folk costumes, the monographs also contain a selection of technical instructions and illustrations showing the cuts and patterns of sample outfits. At present, there is a need for conducting an in-depth research that would concentrate on each parish separately.
The greatest value of Tiina Jürgen’s book The Folk costumes of Mulgimaa (2015) is the presentation of the variations between the five parishes, together with stories and legends through which we understand people’s relationship to clothing. In addition to such formal aspects, the book also pays attention to clothing as a social phenomenon.
It would make sense to use the book for the purpose of putting together an outfit. After mentioning the component parts of the costumes by concentrating on each parish separately, detailed descriptions of the artefacts are presented in chronological order. Although the repetitions may at first glance appear superfluous, they are needed for those readers who are only interested in their own region.
Lively photographs and illustrations, which, for example, depict clearly the ways of tying a headscarf, wrapping girdles, and attaching wide textile girdles, allow us to visualise the outfits as process. The foregrounding of both summer and winter clothing is commendable. Children’s clothing has unfortunately been disregarded, although it certainly deserves special attention with the Estonian Song and Dance Festival in mind.
In addition to mentioning certain techniques, the process of making folk costumes requires exact descriptions of the materials, cuts, and patterns involved. The most precise information craftsmen can find in this book is related to girdles and edges, but at times questions remain over the nuances of craftwork. Although it is well-known that it is difficult to create faithful reproductions of old pieces of clothing with modern materials, creating a piece that resembles the original as much as possible is more and more often the goal.
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Raud, Inna. "The collection The Folk Costumes of Mulgimaa in the context of the literature on Estonian national costume from the viewpoint of a researcher and craftsman." Studia Vernacula 8 (November 13, 2017): 229–35. http://dx.doi.org/10.12697/sv.2017.8.229-235.
Full textAbstract:
Estonian folk costumes were foregrounded as a cultural phenomenon in the records written by the leaders of the Estonian national awakening already in the late 19th century. The statements made by them emphasised the importance of wearing and preserving folk costumes.
The main research activity based on museum collections has historically been centred primarily on artefacts, with the aim of the reconstruction of the historical development of each type, taking the origin of the artefacts found in the collections into account. Approaching the subject matter by focusing on the artefacts and classifying them into certain types does help one to gain an understanding of regional specificities, but not of an outfit as a whole. As a researcher and seamstress of folk costumes, I recognise the need for both artefact-centred studies and regional studies.
Estonian folk costumes have previously been treated in three nationwide monographs that have focused on different regions. In addition to instructions on how to make folk costumes, the monographs also contain a selection of technical instructions and illustrations showing the cuts and patterns of sample outfits. At present, there is a need for conducting an in-depth research that would concentrate on each parish separately.
The greatest value of Tiina Jürgen’s book The Folk costumes of Mulgimaa (2015) is the presentation of the variations between the five parishes, together with stories and legends through which we understand people’s relationship to clothing. In addition to such formal aspects, the book also pays attention to clothing as a social phenomenon.
It would make sense to use the book for the purpose of putting together an outfit. After mentioning the component parts of the costumes by concentrating on each parish separately, detailed descriptions of the artefacts are presented in chronological order. Although the repetitions may at first glance appear superfluous, they are needed for those readers who are only interested in their own region.
Lively photographs and illustrations, which, for example, depict clearly the ways of tying a headscarf, wrapping girdles, and attaching wide textile girdles, allow us to visualise the outfits as process. The foregrounding of both summer and winter clothing is commendable. Children’s clothing has unfortunately been disregarded, although it certainly deserves special attention with the Estonian Song and Dance Festival in mind.
In addition to mentioning certain techniques, the process of making folk costumes requires exact descriptions of the materials, cuts, and patterns involved. The most precise information craftsmen can find in this book is related to girdles and edges, but at times questions remain over the nuances of craftwork. Although it is well-known that it is difficult to create faithful reproductions of old pieces of clothing with modern materials, creating a piece that resembles the original as much as possible is more and more often the goal.
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Kolb, Alexandra. "The Globalization of Schuhplattler." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 137–43. http://dx.doi.org/10.1017/s2049125500000236.
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This paper analyzes three aspects of the globalization ofSchuhplattler (slap dance), a German-Austrian folk dance. First, there is the actual geographical migration of the dance; second its integration into other artworks, such as modern dance choreographies and films; and third its commercialization through new media technologies, notably Pepsi-Cola's transnational advertising campaign during the 2006 soccer World Cup. The paper assesses the effects of global migration on the worldwide perception of Schuhplattler and its impact on images of Germany.
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Thomson, Raymond A. "Dance bands and dance halls in Greenock, 1945–55." Popular Music 8, no. 2 (May 1989): 143–55. http://dx.doi.org/10.1017/s0261143000003330.
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The Americanisation of British popular culture has been the subject of intensive study and debate. Most of this, however, has had a national focus. It is the purpose of this article to examine aspects of a popular culture at a local level in order to discover the extent to which people were, or felt themselves to be, dominated by America. The history of popular culture is the history of the little people, how they passed their time and recreated themselves. Discoveries made here should cast illumination on the more global claims made by social historians.
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Risner, Doug. "Challenges and Opportunities for Dance Pedagogy: Critical Social Issues and “Unlearning” How to Teach." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 204–9. http://dx.doi.org/10.1017/s2049125500001114.
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Given our panel's focus, I will introduce myself by way of my undergraduate dance pedagogy course and highlight what I will be addressing in my remarks this morning. The young women in my dance pedagogy course bring considerable experience in modern, ballet, and jazz technique and are equally skilled as young performers. These students likely represent a good cross section of students in their third year of undergraduate dance programs in the United States. We begin this pedagogy course by looking at the students'experience of teaching in their own training and dance education.
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Burliai, A. P. ,., V. S. Kostyuk, L. W. Smoliy, and A. A. Osipova. "Modern theories of economic development: social aspects." Collected Works of Uman National University of Horticulture 2, no. 98 (June 20, 2021): 221–31. http://dx.doi.org/10.31395/2415-8240-2021-98-2-221-231.
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The article examines modern theories of economic development in the context of social aspects. The aim of the study is to generalize the social aspects of modern economic theories of development to determine the trajectory and possible directions of social policy. The essence and evolution of models of economic development according to the concepts of welfare are determined. Many well-known foreign researchers are interested in the causes of the wealth of some nations and the poverty and decline of others. Thus, D. Acemoglu and J. Robinson proved that the main condition for achieving the well-being of nations are economic institutions – rules that determine the social efficiency of the economy, incentives and motivations of people, rather than natural and geographical factors. Norwegian A. Reinert believes that rich countries have become rich through a combination of government intervention, strategic investment and protectionism, rather than free trade. American economist M. Olson pointed to the role of private property, taxation, public goods, collective action and contractual rights in economic development. N. Rosenberg and L. Birzdel, A. Sen, E. Duflo and A. Banerjee emphasize that the only issue they focus on is how to increase the material well-being of people, which is measured by the presence of most opportunities to choose and shape the quality of their own lives, to fight not with the consequences of poverty, but with its causes, that is, starting with public education, basic medicine and hygiene. New theoretical approaches to the interpretation of social factors of economic development and social transformations in Ukraine have also been formed in the works of Ukrainian researchers. It is established that a prerequisite for the successful development of the national economic system is to ensure the priority of man, education, health care, environmental protection, which, in turn, stimulate significant economic potential and long-term prosperity of society.
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Vidzemniece, Valda. "MĪLA CĪRULE: A LATVIAN IN THE WORLD OF MODERN DANCE." Culture Crossroads 7 (November 14, 2022): 194–204. http://dx.doi.org/10.55877/cc.vol7.240.
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Mīla Cīrule (1891–1977) is one of the first Latvian dancers who went in for the genre of modern dance at the beginning of the 20th century. At the end of the 1920s the dancer earned her recognition in Germany and Austria, and her name was mentioned among the most striking modern dance choreographers in France in the 1930s; her contribution to teaching dance was also appreciated. Mīla Cīrule is the first Latvian dancer who has become internationally renowned in the field of modern dance. The aim of this research is to follow the development path of Mīla Cīrule’s creative work by gathering information and analysing artistic influences which have created the unusual creative personality aspects of the dancer. Mīla Cīrule was born in Riga; however, she started her dance career in Russia in Ellen Tels’ (Эллен Тельс) school. This school followed Isadora Duncan’s artistic criteria in their creative principles. In parallel with acquisition of free dance, the young dancer attended classical dance classes at soloist Mikhail Mordkin’s (Михаил Михайлович Мордкин) school of the Moscow Bolshoi Theatre (Большой театр). After meeting Mary Wigman and studying the philosophy of German expressionist dance, Mīla Cīrule rethought the principles and expressive means of her art; she refused unnecessary ostentation, and sought an individual way of expression. “Mīla Cīrule’s choreographies are high quality works of art which speak volumes about the choreographer’s rich world of ideas and a good sense of form, while her dance technique is always perfectly adapted to the contents of the staging production” [Dārziņš 1938]. In her staging productions Mīla Cīrule combined an expressive style with very well-considered and precise principles of form creation. In her creative work the brave reliance upon instinctively found movements of the Wigman School always complied with a strict sense of drama structure and subtlety of details that had been acquired from Ellen Tels’ aesthetics of the pantomimic staging productions. As an original and extraordinary personality, Mīla Cīrule is not similar to any artist of her time in her creative work. She adopted and accumulated everything she had learned at many dance schools, and she passed it through the prism of her personality.
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Byczkowska-Owczarek, Dominika. "Dance as a Sign: Discovering the Relation Between Dance Movement and Culture." Kultura i Społeczeństwo 63, no. 3 (September 27, 2019): 63–74. http://dx.doi.org/10.35757/kis.2019.63.3.4.
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This article presents examples of the relationship between culture, dance, and the body in the fields of communication (with oneself, the community, God/deity), the social hierarchy, social values, relations between the individual and the group, and relations between genders, from the perspective of the sociology of the dance. The sociological perspective also indicates the various historical, ritual, control, and regulatory roles that traditional and modern dances play in the communities in which they arise and are performed. The second part of the text contains a case study of the Japanese ankoku butoh dance. The author presents the philosophical roots of the dance (e.g., Japanese mythology, Zen Buddhist philosophy) and the creator’s personal experiences (childhood trauma and post-war social situation) as factors that influenced the dance’s development. The example of ankoku butoh illustrates the interrelation between cultural meanings and dance movements.
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Akenson, James E. "Linkages of Art and Social Studies: Focus upon Modern Dance/Movement." Theory & Research in Social Education 19, no. 1 (January 1991): 95–108. http://dx.doi.org/10.1080/00933104.1991.10505630.
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Baier, Martin, Sri Kuhnt-Saptodewo, H. J. M. Claessen, Annette B. Weiner, Charles A. Coppel, Wang Gungwu, Heleen Gall, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 150, no. 3 (1994): 588–623. http://dx.doi.org/10.1163/22134379-90003081.
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- Martin Baier, Sri Kuhnt-Saptodewo, Zum Seelengeliet bei den Ngaju am Kahayan; Auswertung eines Sakraltextes zur Manarung-Zeremonie beim totenfest. München: Akademischer Verlag,1993 (PhD thesis, Ludwig-Maximilian-Universitiy München). - H.J.M. Claessen, Annette B. Weiner, Inalienable Possessions; The paradox of keeping-while-giving. Berkeley: University of California Press, 1992, 232 pp. Bibl. Index - Charles A. Coppel, Wang Gungwu, Community and Nation; China, Southeast Asia and Australia. Sydney: Asian studies of Australia in association with Allen & Unwin, 1992 (2nd revised edition), viii + 359 pp - Heleen Gall, W. J. Mommsen, European expansion and Law; the encounter of European and Indigenous Law in 19th- and 20th- century Africa and Asia. Oxford; Berg publishers, 1992, vi + 339 pp, J.A. de Moor (eds.) - Beatriz van der Goes, C. W. Watson, Kinship, Property and inheritance in Kerinci, Central Sumatra. Canterbury:University of Kent, Centre for Social Anthropology and computing Monographs no: 4. South-East Asian Series, 1992, ix + 255 pp - Kees Groeneboer, Tom van der Berge, Van Kenis tot kunst; Soendanese poezie in de koloniale tijd. Proefschrift Rijksuniversiteit Lieden, November 1993, 220 pp - Kees Groeneboer, J.E.A.M. Lelyveld, ‘... waarlijk geen overdaad, doch een dringende eisch..’’; Koloniaal onderwijs en onderwijsbeleid in Nederlands-Indië 1893-1942. Proefschrift Rijksuniversiteit Utrecht, 1992. - Marleen Heins, R. Anderson Sutton, Variation in Central Javanese gamelan music; Dynamics of a steady state. Northern Illinois University: Center for Southeast Asian Studies, Monograph series on Southeast Asia, (Special Report 28 ),1993. - Marleen Heins, E. Heins, Jaap Kunst, Indonesian music and dance; Traditional music and its interaction with the West. Amsterdam: Royal Tropical Institute/Tropenmuseum, University of Amsterdam, Ethnomusicology Centre `Jaap Junst’, 1994, E. den Otter, F. van Lamsweerde (eds.) - David Henley, Harold Brookfield, South-East Asia’s environmental future; The search for sustainability. Tokyo: United Nations University Press, Kuala Lumpur: Oxford University Press, 1993, xxxii + 422 pp., maps, tables, figures, index., Yvonne Byron (eds.) - Antje van der Hoek, Keebet von Benda-Beckmann, De emancipatie van Molukse vrouwen in Nederland. Utrecht: Van Arkel,1992, Francy Leatemia-Toma-tala (eds.) - Michael Hitchcock, Brita L. Miklouho-Maklai, Exposing Society’s Wounds; Some aspects of Indonesian Art since 1966. Adelaide: Flinders University Asian studies Monograph No.5, illustrations, 1991, iii + 125 pp - Nico Kaptein, Fred R. von der Mehden, Two Worlds of Islam; Interaction between Southeast Asia and the Middle East.Gainesville etc: University Press of Florida 1993, xiii + 128 pp - Nico Kaptein, Karel Steenbrink, Dutch Colonialism and Indonesian Islam; Contacts and Conflicts 1596-1950. Amsterdam-Atlanta, GA: Rodopi, 1993. - Harry A. Poeze, Rudolf Mrázek, Sjahrir; Politics and exile in Indonesia. Ithaca, N.Y.: Cornell University, Southeast Asia Program, 1994. - W.G.J. Remmelink, Takao Fusayama, A Japanese memoir of Sumatra 1945-1946; Love and hatred in the liberation war. Ithaca: Cornell University (Cornell Modern Indonesia Project Monograph series 71), 1993, 151 pp., maps, illustrations. - Ratna Saptari, Diana Wolf, Factory Daughters; Gender, Household Dynamics, and Rural Industrialization in Java. Berkeley: University of California Press, 1992. - Ignatius Supriyanto, Ward Keeler, Javanese Shadow Puppets. Singapore (etc.): Oxford University Press, 1992, vii + 72 pp.,bibl., ills. (Images of Asia). - Brian Z. Tamanaha,S.J.D., Juliana Flinn, Review of diplomas and thatch houses; Asserting tradition in a changing Micronesia. Ann Arbor: University of Michigan Press, 1992. - Gerard Termorshuizen, Dorothée Buur, Indische jeugdliteratuur; Geannoteerde bibliografie van jeugdboeken over Nederlands-Indië en Indonesië, 1825-1991. Leiden, KITLV Uitgeverij, 1992, 470 pp., - Barbara Watson Andaya, Reinout Vos, Gentle Janus, merchant prince; The VOC and the tightrope of diplomacy in the Malay world, 1740-1800. Leiden: KITLV Press, 1994, xii + 252 pp.
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Oh, Chuyun. "From Seoul to Copenhagen: Migrating K-Pop Cover Dance and Performing Diasporic Youth in Social Media." Dance Research Journal 52, no. 1 (April 2020): 20–32. http://dx.doi.org/10.1017/s0149767720000030.
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This article examines the practice of the Danish K-pop (Korean pop) cover dance crew CODE9 as an example of the rapid cultural exchange on the Internet that reshapes the diffusion of dance styles and ideas. CODE9 demonstrates K-pop as a “migratory dance practice,” forming a transnational dancing community with modern technology at its center. By adapting and embodying K-pop, CODE9 creates a “Thirdspace” in between reality and fantasy, between being oneself and being a Korean idol. With CODE9, K-pop moves in and out of Denmark, through the practice of watching, learning, performing, and then circulating dance online.
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Kant, Marion. "German Gymnastics, Modern German Dance, and Nazi Aesthetics." Dance Research Journal 48, no. 2 (August 2016): 4–25. http://dx.doi.org/10.1017/s0149767716000164.
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At the beginning of the nineteenth century, when Napoleon's French empire conquered much of Europe, the German patriot Friedrich Ludwig Jahn invented the first German national gymnastics program known asTurnen. The idea was to create a new German body and a new form of national discipline. Walking for bodily fitness, to instill national awareness, training on special equipment and rediscovering ancient German dance forms all became part of the new body culture. It is out of this movement with its nationalist and later racist culture that much of the modern gymnastics and dance movements in Germany gained their ideologies. This article sketches some stages of this social and physical continuity, from the resistance to the French to the establishment of the racial state in 1933 and to the provision of a Nazi aesthetic by German modern dancers.
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Giersdorf, Jens Richard. "Trio ACanonical." Dance Research Journal 41, no. 2 (2009): 19–24. http://dx.doi.org/10.1017/s0149767700000620.
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Despite Yvonne Rainer's subversive refusal to stageTrio Aas a spectacle, to have it represent or narrate social structures, or to engage with the audience in a traditional manner, the landmarks of canonization have all been put upon it. The Banes-produced 1978 film of Rainer dancingTrio Awas recently exhibited while the dance was performed live simultaneously by Pat Catterson, Jimmy Robert, and Ian White at the Museum of Modern Art,theinstitution that determines what constitutes important modernist and contemporary art in the United States and, indeed, the Western world. In conjunction with Rainer's famousNO Manifesto, Trio Aappears in nearly every publication on so-called postmodern dance and art. Moreover, the key documentary on postmodern danceBeyond the Mainstream—containingTrio A—is screened in most dance history courses when postmodern dance is discussed. As a result, the choreography became not only a staple on syllabi in dance departments but also in disciplines such as gender studies, film and art history, or communications. Even Susan Au'sBallet and Modern Dance, a conservative historical text utilized in many dance history classes, definesTrio Aas “one of the most influential works in the modern dance repertoire” (Au 2002, 155).
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Schultz, Marianne. "Moving with the Times: The Wellington New Dance Group." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 179–85. http://dx.doi.org/10.1017/s2049125500000303.
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This paper explores the founding of the New Dance Group in Wellington, New Zealand, in 1945. The New Dance Group introduced radical ideas about dance, art, music, politics, and physical education to New Zealand. This paper examines the influence that American and European dance and physical education had on New Zealand's physical and artistic expression and places the introduction of modern dance within the social and cultural landscape of immediate the post—World War II period in New Zealand.
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Filippou, Filippos, Dimitris Goulimaris, Vasilis Serbezis, Maria Genti, and Dimos Davoras. "Collective identity and dance in modern urban Greece." Issues in Ethnology and Anthropology 5, no. 1 (February 19, 2010): 213–21. http://dx.doi.org/10.21301/eap.v5i1.11.
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The aim of this study is to trace the way some cultural groups demonstrate their identity through dance in the contemporary urban society. The survey follows revelry with folk music, singing and dancing organized by a local cultural troupe on the occasion of a feast day. The collection of the ethnographic data relied on long standing observation and the video recording of the revelries between 2000 and 2005. Further information was gathered with the means of a closed questionnaire and open question interviews. In the process of the material two theories were mainly employed: the performance theory and the theory of collective identity in postmodern culture. To sum up, we would say that dance as presented on the feast day reflects the local “multicultural” society’s characteristics. It retains its dynamic with its entity, function and content to be composed of agricultural and urban features. Dance continues to exist since it has the potential to adjust to each time social, economic and historical circumstances.
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Zemskova-Ryabaya, Anna Viktorovna. "Studying positive impact of kizomba on human life." Vestnik of Astrakhan State Technical University 2022, no. 1 (May 31, 2022): 82–88. http://dx.doi.org/10.24143/1812-9498-2022-1-82-88.
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Dance is part of a culture that brings positive emotions. Dances are divided into several types: ballet, ballroom, historical, folk, club, erotic, modern, street, modern ballet, Latin American. Latin American dances are of two types: ballroom and social. Social dance is a special form of communication, an opportunity to organize leisure and pastime. Kizomba belongs to social dances and is practiced on various dance floors and open airs. Kizomba has come from African Angola, but it developed on the dance floors of Latin America, gradually absorbing ele-ments of Cuban, Brazilian and European dances. Thanks to measured and smooth movements, kizomba is easy to master, and practicing it one can become a famous kizombist. The features of kizomba include the correct invita-tion to dance and the correct end of the dance, the ability to correctly build a sequence of fast and slow steps, a smooth change in the direction of the dance, and a general base of movements. It is the basic steps that help to master kizomba correctly, and thanks to the knowledge gained in the lessons and on the YouTube channel, opportunities for learning new dance techniques are given in details. There are several styles of kizomba: Passada, Tarraxinha, Ventoinha, Quadrinha. Kizomba helps to relax after a working day, has a beneficial effect on both mental and physical state of a person. Positive emotions during the dance arise due to the release of endorphins - hormones of happiness, which have a positive effect on the inner world, liberating a person. Kizomba helps to strengthen the body, develops flexibility, strength and endurance.