Academic literature on the topic 'Narrative in dance'
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Journal articles on the topic "Narrative in dance"
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Azizah, Rona Cita, Susanna Edelweiss, and Angelika Riyandari. "Representing Multicultural Semarang through Gambang Semarang’s Narrative." Celt: A Journal of Culture, English Language Teaching & Literature 18, no. 2 (December 29, 2018): 248. http://dx.doi.org/10.24167/celt.v18i2.1300.
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Dance is usually perceived as a structured movement done by a person or more and accompanied by music and in some cases songs. The attention on physical movement often neglects the narrative which may exist behind a dance. Dances often have stories which frame the sequence of movements done by the dancers. The stories in a dance have elements of literature such as theme, plot, characters, and setting. This paper which is part of an on-going research on Semarang traditional dance discusses the story told through the movements and costume of Gambang Semarang dance. Gambang Semarang is traditional performing arts from Semarang which originally consists of music, vocal, dance, and comedy. Gambang Semarang dance was a small part of Gambang Semarang performance, but it is often performed separately from the complete performance now. The dance is commonly accompanied by Gambang Semarang music which combines Javanese music instruments, gamelan, and Chinese music instruments. In some occasions, songs such as Gambang Semarang and Gado-Gado Semarang are presented along with the music. Gambang Semarang dance itself is often considered as Semarang’s identity as the dance tries to embrace the multicultural society of Semarang which are Javanese, Chinese, and Arabs through the dance movements and the costume worn by the dancer. Data were collected through interviews with key informants. The results of the interviews then were analyzed to find out the stories represented by Gambang Semarang. The findings show that dance movements and costumes of Gambang Semarang indeed represent multicultural Semarang.
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de Lucas, Cristina. "Toward a Narratology of Western Narrative Theatre Dance." Narrative 32, no. 1 (January 2024): 101–23. http://dx.doi.org/10.1353/nar.2024.a916607.
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ABSTRACT: Dance is barely present in narrative studies. It is generally accepted as a narrative medium, yet lacks a systematic study that addresses its distinctive qualities. This article focuses on generic theoretical issues of dance as a narrative medium and discusses its place within current narratological debates. The first premise suggested here is that among the diferent manifestations of dance, narrative theatre dance is the fullest expression of narrativity, with a narrative essence that the notions of plot and experientiality help defining and grading. Taking the discussion through routes explored for drama, this essay also argues for a narratological model of the analysis of dance narratives on two levels: the story level and the discourse level understood as performance. Another set of considerations concentrate on the semiotic structure of dance, showing how it can be dissected in a productive way for narratological analyses. The essay ends with a discussion on the relevance of context and cultural conventions for the interpretation of dance. Underpinning these reflections are foundational studies of transmedial narratology, widely-used narratological definitions of narrative, and discussions of the narrative nature of drama as well as key texts from the history, philosophy and analysis of dance. Three examples of dance—John Weaver’s ballet The Loves of Mars and Venus (1717), Kenneth MacMillan’s The Invitation (1960), and Leonid Yakobson’s Vestris (1969)—illustrate this theoretical argumentation.
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NYE, EDWARD. "‘Choreography’ is Narrative: The Programmes of the Eighteenth-Century Ballet d'Action." Dance Research 26, no. 1 (April 2008): 42–59. http://dx.doi.org/10.3366/e0264287508000054.
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In the 1760s, a change in the meaning of the French word ‘chorégraphie’, coined by Feuillet in 1700, coincides with the coming of age of the ballet d'action. At the time when Jean-Georges Noverre, Gasparo Angiolini and others are developing mime dance into a highly elaborate and aesthetically complex stage art, their contemporaries are beginning to use ‘chorégraphie’ to mean the dramaturgical structure of the work rather than a system of notation. The semantic shift suggests that drama is as fundamental to the ballet d'action as a Feuillet transcription is to danse noble. The analogy is sometimes taken further so that ‘chorégraphie’ probably refers to a written plot summary or ballet programme. This has many consequences for the way we think about the ballet d'action. Firstly, we should regard the ballet d'action as danced drama rather than dramatic dance, and secondly, ballet programmes are not peripheral to performance, but provide what contemporaries understand to be ‘choreographic’ information.
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Saenal, Selfiana, Muhammad Jazuli, and Syakir Syakir. "Increasing Student Creativity Through The Implementation Of Dance Learning In Special Schools (SLB)." Edumaspul: Jurnal Pendidikan 7, no. 2 (October 1, 2023): 5424–31. http://dx.doi.org/10.33487/edumaspul.v7i2.7292.
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Abstrak Dance training in schools is one of the basics of learning in cultivating the talent and capacity of stunt actors, and dance learning is very important, considering that dance learning underlines the course of training in developing character which includes coaches and stunt performers and can build the imagination of stunt development for children. normal children as well as for children who have physical or mental disabilities who meet the requirements for dance learning. The aim of this research is to examine the creative dance movements of blind students who use the storytelling learning model in dance learning, as well as the process of incorporating this model into dance learning. This research uses a subjective methodology using fascinating investigative techniques. The subjects in this review were 2 people, namely fourth grade students, the school principal, and the homeroom teacher. Observation, interviews, tests, and documentation are data collection methods. The findings of this research are as follows: the narrative learning model with increased narration in dance learning is very useful in creating dance development imaginations for blind students in the dance experience. The ability of blind stunt performers to obtain data using only the sense of hearing with enhanced narration makes perfect sense to be applied to blind stunt performers, the most common way of implementing the narrative learning model in dance learning can be said to be good because stunt performers do not experience obstacles in the dance experience. and the consequences of using a narrative learning model in dance learning on the development of imagination can be expected to be strong, considering that the imagination of dance development in blind stunt actors develops from the emotional, mental, psychomotor and mental parts.Kata Kunci: Tari, Disabilitas, Sekolah Luar BiasaAbstractDance training in schools is one of the basics of learning in cultivating the talent and capacity of stunt actors, and dance learning is very important, considering that dance learning underlines the course of training in developing character which includes coaches and stunt performers and can build the imagination of stunt development for children. normal children as well as for children who have physical or mental disabilities who meet the requirements for dance learning. The aim of this research is to examine the creative dance movements of blind students who use the storytelling learning model in dance learning, as well as the process of incorporating this model into dance learning. This research uses a subjective methodology using fascinating investigative techniques. The subjects in this review were 2 people, namely fourth grade students, the school principal, and the homeroom teacher. Observation, interviews, tests, and documentation are data collection methods. The findings of this research are as follows: the narrative learning model with increased narration in dance learning is very useful in creating dance development imaginations for blind students in the dance experience. The ability of blind stunt performers to obtain data using only the sense of hearing with enhanced narration makes perfect sense to be applied to blind stunt performers, the most common way of implementing the narrative learning model in dance learning can be said to be good because stunt performers do not experience obstacles in the dance experience. and the consequences of using a narrative learning model in dance learning on the development of imagination can be expected to be strong, considering that the imagination of dance development in blind stunt actors develops from the emotional, mental, psychomotor and mental parts.Keywords : Dance, Disability, Special Schools
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Mantillake, Sudesh. "Panibharata and the Invention of Sinhala Folk Dance Repertoires in Post-Colonial Sri Lanka." Sri Lanka Journal of the Humanities 43, no. 2 (August 17, 2023): 40–57. http://dx.doi.org/10.4038/sljh.v43i2.7270.
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This article focuses on the history of the Sinhala folk dance genre and its connection to Sinhala cultural nationalism in Sri Lanka. This paper aims to examine the formation of Sinhala folk dance as a tradition in the context of the rise of Sinhala nationalism during the 1940s and 1950s. Although performing arts were commonly practiced by villagers, the genre named Sinhala Folk Dance (Sinhala gemi näțuma) did not emerge until the 1930s in Sri Lanka. Around 1956, in the midst of the rise of Sinhala cultural nationalism, it is believed that the stylistic choices that preceded the modern creative work of the new nation were drawn from “folk” sources. A classic example of this genre is E.R. Sarachchandra’s play Maname, which became the marker of modern Sinhala theatre, and which was based on the folk theatre tradition, the nadagama. Here, the assumption is that folk art already existed in the villages, and that the Sinhala literati merely borrowed from it to create new performing art forms that represented the nation. However, this assumption is an oversight in folk dance in Sri Lanka, as demonstrated in this article which presents an alternative interpretation of the history of performing arts in Sri Lanka, a history which has not been highlighted in the 1956 cultural revolution discourse. As I demonstrate in this article, Sinhala choreographer Panibharata invented certain dances which are considered Sinhala folk dance today. Sinhala nationalists groomed Panis, a village drummer and dancer, considered to be a low-caste, underprivileged individual into Panibharata, a cosmopolitan artist. Fulfilling these nationalists’ desires, Panibharata created repertoires of “folk dance” that portrayed village life in an exotic and romantic guise, which is aptly exemplified in his goyam näțuma (rice-harvesting dance). Panibharata’s model of folk choreography continues to be interpreted as the genuine and only Sri Lankan folk dance tradition, a narrative that was institutionalized and disseminated through the system of public education. In contrast to that canonical narrative of the Sinhala folk dance tradition, I argue that the staged model of Sinhala folk dance is a fairly recent invention. I analyze archival records, dance curricula, and secondary sources and interpret them according to my personal experiences as a dancer. To contextualize the purely Sinhala folk dance tradition, I compare the Russian folk dance and the Morris dance of England, that developed as separate national folk dance traditions.
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DOĞANER, Saygın Koray. "DANCER IN THE DARK AS A HYBRID NARRATION." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 12, no. 3 (July 1, 2022): 833–45. http://dx.doi.org/10.7456/11203100/018.
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In this article, in Dancer in the Dark, the third film of Lars Von Trier's Golden Heart Trilogy (Breaking the Waves 1996, Idioterne, 1998, Dancer in the Dark 2000), how music and dance are used, what principles its technique is based on, the mise-en-scene elements used in creating meaning. and the narrative structure of the film was examined. Dancer in the Dark stands out as one of the films where Trier takes naive, childlike, pain-tested, strong and yet fragile women to the center. The film, which has little in common with the musicals in classical narrative cinema, has a musical feature with melodramatic features. The narration of the film creates a hybrid structure between European art cinema and classical Hollywood cinema. The narrative technique of the film also partially complies with the Dogma 95 manifesto published by Trier and three Danish directors.
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MacKenzie, Robin. "Nymph, Scarab, Butterfly: Figures of the Dancer in Mérimée, Flaubert and Proust." Forum for Modern Language Studies 55, no. 3 (July 1, 2019): 308–24. http://dx.doi.org/10.1093/fmls/cqz023.
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Abstract This article examines dance episodes from three works of French fiction written between 1860 and 1920: the roussalka dance from Mérimée’s Lokis, Salomé’s performance in Flaubert’s Hérodias, and the description of an unnamed ballet dancer in Proust’s Le Côté de Guermantes. The texts, in contrasting ways, explore networks of power and desire, as well as the relationship between the aesthetic sphere and the world of social conventions and interactions, thus reflecting the thematic significance of dance in the literary culture of the period. It would be hard to justify constructing a grand narrative that maps the history of dance on to that of its literary representations on the basis of three texts; nevertheless, in the interplay of narrative and metaphor and the portrayal of the dancer’s multiple personae, we can find traces of some major shifts in the evolution of dance from the romantic ballet of the mid-nineteenth century to the coming of modernism at the start of the twentieth.
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Peng, Xun. "Historical Development and Cross-Cultural Influence of Dance Creation: Evolution of Body Language." Herança 7, no. 1 (December 29, 2023): 88–99. http://dx.doi.org/10.52152/heranca.v7i1.764.
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This paper delves into the historical evolution of dance creation and its cross-cultural influences, with a particular focus on the transformation of corporeal language. Commencing from the dance traditions of ancient cultures, the article retraces the dances of Ancient Egypt and Ancient Greece, as well as the religious and courtly dances of the medieval and Renaissance periods. Subsequently, it scrutinizes the emergence of modern dance, encompassing the American modern dance movement and European expressionist dance, along with the evolution of dance techniques and forms. The article delves into the varied manifestations of dance, including pure dance, narrative dance, and experimental dance compositions. It also analyzes the impact of cross-cultural influences and globalization on dance, encompassing dance's role as a medium for cultural dissemination, as well as the internationalization of dance education. Finally, by examining the evolution of corporeal language, it underscores the connection between dance and emotional expression and social corporeal language, including trends in dance creation and interdisciplinary research in the digital age. This article encapsulates the metamorphosis of dance as a form of corporeal language, emphasizing its significance and forthcoming challenges.
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Hutcheson, Maury. "Memory, Mimesis, and Narrative in the K'iche' Mayan Serpent Dance of Joyabaj, Guatemala." Comparative Studies in Society and History 51, no. 4 (September 17, 2009): 865–95. http://dx.doi.org/10.1017/s0010417509990168.
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It seemed to me a simple question. “What happens in this dance-drama? What is the storyline, the narrative?” I am met by puzzlement. The dancer explains that each such dance has its own set of instruments, its own special costumes and masks. For this one they use a simple, one-man marimba and the costumes come from the nearby town of Chichicastenango.
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Markula, Pirkko. "Dancing the ‘Data’." International Review of Qualitative Research 4, no. 1 (May 2011): 35–50. http://dx.doi.org/10.1525/irqr.2011.4.1.35.
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This article traces a process of combining dance and narrative text into performance ethnography. It focuses on how interviews collected during an ongoing research project on serious contemporary dancers' experiences with injuries can ‘be danced’ in a research presentation. The author reflects how the empirical material from the interviews informed a narrative text that, combined with contemporary dance choreography interpreted through Deleuzian rhizomatic analysis, was included into live performance ethnography. The author concludes with a need for an on-going experimentation with the dancing body, theory, and writing in qualitative research.
Dissertations / Theses on the topic "Narrative in dance"
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Sittig, Jennifer M. "Zora Neale Hurston and the Narrative Aesthetics of Dance Performance." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/2303.
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Zora Neale Hurston’s literature involves dance and performance. What makes this a viable topic of inquiry is her texts often exhibit the performative, whether portraying culture or using dance and associated folk rituals to create complex meaning. Hurston’s use of black vernacular and storytelling evokes lyrical expression in "Their Eyes Were Watching God." African and Caribbean Diasporas in Hurston’s literature reflects primitive dance performances and folklore. This novel requires lyrical analysis. The storytelling feature of performance arts and reclamations of the body are present in Hurston’s text. In recent academic settings, the body has come to occupy a crucial place in literary and cultural texts and criticism. Hurston’s versatile material and anthropology techniques are instrumental in reshaping dance history. A new archetype for theorizing the body has surfaced, where the body of text is performance and lyrical expression.
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Neville, Sarah Louise. "Choreographing newmedia dance through the creation of the dance project, Ada." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/15820/1/Sarah_Neville_Thesis.pdf.
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As a choreographer working with new media technologies, I recognised a need to develop choreography informed by the digital age. This study was framed by the development of the dance project Ada, over three stages through a qualitative, interdisciplinary process. Artistic practice as research grounded in task based
choreographic processes led to the following areas of significance in the study, those
being; enacting a narrative, physicalising interactivity, performing virtual dance, and
choreographing through a digital perspective. Findings that enunciated the evolution
of newmedia choreographic forms and structures arose from reflective practice, dialogue with participants and feedback from a live audience.
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Neville, Sarah Louise. "Choreographing newmedia dance through the creation of the dance project,Ada." Queensland University of Technology, 2003. http://eprints.qut.edu.au/15820/.
Full textAbstract:
As a choreographer working with new media technologies, I recognised a need to develop choreography informed by the digital age. This study was framed by the development of the dance project Ada, over three stages through a qualitative, interdisciplinary process. Artistic practice as research grounded in task based choreographic processes led to the following areas of significance in the study, those being; enacting a narrative, physicalising interactivity, performing virtual dance, and choreographing through a digital perspective. Findings that enunciated the evolution of newmedia choreographic forms and structures arose from reflective practice, dialogue with participants and feedback from a live audience.
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Conner, William. "Less Lost: No Touchdown Dance." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5919.
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Less Lost is a feature-length film by William Chase Conner, made as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema
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Beckett, Judith Rosalyn. ""Things real and imagined" : the narrator-reader in Anthony Powell’s A dance to the music of time." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25344.
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Anthony Powell's A Dance to the Music of Time is a "fictional memoir" in which the narrator, Nick Jenkins, describes the events and characters he has observed throughout his life. As such, the primary focus of the novel would seem to be those characters and events, but the way in which Nick relates his story has a considerable impact on the narrative, and, therefore, on that primary focus. Powell has not only chosen to employ a first-person narrator, thereby establishing a specific, and individual, narrative voice, or point of view, but he also has that narrator consume much of novel by describing his perceptions of the world he observes, and this brings into focus the nature of that perspective. Hence, this paper examines the nature of Nick's role in the novel, both as character and narrator, and attempts to delineate the effect that that role has on the novel as a whole.
Essentially, Nick can be characterized as a "reader" who, in effect, "interprets" the characters and events he describes, thereby contributing his imagination to their "construction". Whether he reads actual texts or observes human behaviour, Nick engages in an interpretative process which is analogous to that in which a reader interprets a text: interpreting "signs", constructing "causes", translating texts into images and "meaning-bearing" ideas, and subjecting his own "reading" to scrutiny, thereby effectively "rereading" previous "interpretations". As a "reader", Nick is interested in more than mere description: he not only desires to understand the nature of the people with whom he is involved, but also to appreciate the significance of the events he witnesses, so as to form a kind of pattern which would reveal the central themes of an age. In so doing, he does not merely relate "what happens", thereby "putting up a mirror" to his past; he also describes his experience of that past, so that the narrative does not so much present "reality", as it presents Nick’s perception of reality.
Nick's characterization as a "reader" is founded on specific theories regarding the nature of the reading process, especially as they apply to the relationship between reader and text, and, therefore, the products of his "interpretations" are considered in relation to the creation of fiction. In essence, Nick's "reading" results in the construction of the characters and events he observes, so that ultimately he creates "fictions". In other words, because he does not present "reality", nor even a "reconstruction" of reality, but a "reconstruction" of his perception of that reality, Nick, in fact, "creates" his narrative, thereby constructing fiction. Hence, just as a reader creates the fiction of a novel by interpreting its text, so too does Nick produce fiction by "interpreting" the world he is portraying. Thus, in his "search for knowledge", in his efforts to understand the world around him, Nick "creates" that world, so that knowledge would seem to be the product of the observer's, or "reader's", construction - in essence; a fiction.Arts, Faculty of
English, Department of
Graduate
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Lussier-Ley, Chantale. "Towards an Enhanced Understanding of Dance Education and the Creative Experience." Thesis, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/30354.
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The purpose of this study was to understand the significance of emotions and the body in the lived creative experience in dance. Using a phenomenological approach, I was interested in gaining a deepened understanding of the creative experiences of members of Canada’s contemporary dance community. Currently, dance is taught in multiple contexts of education including K-12 arts education and physical education, recreational studios, university settings such as in faculties of education, kinesiology, and fine arts, and in conservatory-style pre-professional training programs. As a result, there appears to be little evidence of a holistic pedagogical approach. Coming from a predominantly ballet-oriented dance training background, I wanted to learn what it’s like to create dance; specifically how contemporary dancers use their bodies and emotions as part of their creative process.
I had the pleasure of being an invited guest, writer, speaker, and researcher at the 2008 Canada Dance Festival (CDF), a biennial dance festival that takes place in Ottawa, Ontario, Canada. Results shed light on rarely discussed facets of the creative experience in dance. This study explores the way dancers optimally want to feel, how they prepare to feel the way they want to feel, what obstacles they encounter, and what strategies allow them to revisit their optimal feel within their creative experience in dance. Doing so, the role of the body and the emotions in dance are better understood. A description of the 2008 Canada Dance Festival as a transactional space also surfaced. There, the CDF is understood as a place where the art of dance’s perceived meaning and values are discussed, and ultimately negotiated. Finally, results also contributed to an enriched understanding of artistic identity in dance as an ongoing process of becoming. With an enhanced pedagogical understanding of dance education, a final discussion unearths implications of this work and shines a spotlight on future research in dance scholarship.
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Parker, Alan Charles. "Corporeal tales : an investigation into narrative form in contemporary South African dance and choreography." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1007658.
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In the years following the fall of Apartheid in South Africa, dance and choreography have undergone considerable transformation. This investigation stems from one observation relative to this change that has been articulated by two of South Africa's most respected dance critics, Adrienne Sichel and Matthew Krouse. Both critics have noted a growing concern for narrative in South African contemporary choreography, coupled with an apparent propensity for narratives of a distinctly personal and 'autobiographical' nature. In Part One: 'Just after the beginning', the proposed preoccupation with narrative in South African contemporary choreography is discussed in light of the relationship between narrative and the notion of personal identity. The use of the performed narrative as a medium to explore questions about identity is offered as one explanation underpinning this increased proclivity, where the interrogation of the form of the danced narrative provides a site for exploration of personal identity. Part Two: 'Somewhere in the middle' interrogates the notion of form through an in-depth discussion of the experimentation with form within theatrical and antitheatrical dance traditions over the last fifty years. Specific works by three selected South African choreographers (Ginslov, Maqoma and Sabbagha) are discussed in terms of their general approach to narrative form. This provides an illustration of some of the approaches to narrative form emergent in contemporary South African choreographic practices. Part Three: 'Nearing the end' offers Acty Tang's Chaste (2007) as a case study to illustrate the practical application of the dance narrative as a means to interrogate questions relating to personal identity. A detailed analysis of Tang's particular approach to forming the narrative of Chaste is conducted, exposing the intertextual, multimedia and multidisciplinary approach to creating the danced narrative.
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Thomson, Alexis 1863-1924. "Voyeurism and reading : narrative strategy in Anthony Powell's A Dance to the music to time." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60579.
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This thesis will argue that Anthony Powell's A Dance to the Music of Time is a work that can tell us much about our reading process. Powell uses a homodiegetic narrator to tell the stories of a vast array of characters over a large span of time. This narrator, Nicholas Jenkins, is, in the non-sexual sense of the word, voyeuristic. He watches and remembers the actions of others while only participating minimally. Widmerpool, the only other character to appear in all twelve volumes, is a voyeur in the sexual sense of the word. The defining feature of voyeurism is its fundamental asymmetry: the voyeur watches whilst remaining hidden and unseen. It will be argued that the reader is also involved in acts of voyeurism due to his/her asymmetrical relationship with the text. Although this equation of voyeurism and reading may seem to contradict recent reader-response critics, it will be argued that voyeurism is an apt description for the primary stage of reading.
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Wang, Chu-Yun. "Mind the gaps : a narrative inquiry into conceptualizations of Taiwanese dance specialist schoolteachers' professional identity." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14291.
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This study brings together many of the concerns elaborated by other educational researchers: teachers’ voice, teachers’ professional identities, teachers’ lives and work, and teaching professionalism in research in dance education. It aims to study the life stories of school teachers who were initially trained to be dance performers. Using a biographical approach, the life stories of nine Taiwanese secondary school teachers are collected to investigate the influences of their previous experiences, such as dance learning experience, initial teacher training experience, teacher role models, significant people and critical moments, in relation to their notions of professional identity. As this research is based on teachers’ accounts, it brings together nine individual life stories and allows us to compare the existing literature to contribute to educational research and research in dance education in a number of ways. First, the study takes a particular methodological approach, the narrative approach, to conduct a small scale study in a new area, research in dance education. Second, this study carries out empirical work, exploring the professional identity of dance specialist teachers, something not done before. Third, this study applies the existing knowledge from educational research to research in dance in education. Fourth, this study applies an already well-known theory, Wenger’s theories of identity in communities of practice and boundary encounters, but with a new interpretation to investigate the process of identity conceptualization. Fifth, this study tests an old issue – teachers’ professional identity – by exploring teachers’ notions of self that draw upon their previous experiences. Previous relevant studies, however, have been in a Western context; this study is within a Taiwanese context. The complexity of dance in education in the Taiwanese curriculum is highlighted, and the findings offer a picture of a developing sense of dance-trained teachers’ artist-self and teacher-self, and details of the different degrees of influences of previous experiences to the identity conceptualization. Importantly, the connections between the conceptions of the professional identity teachers have and their concepts of the teaching profession are explored. In particular, their voices on professional development are shown throughout the changes to their personal concepts of teacher professionalism, which leads to an argument for professional sharing as a key to supporting teachers in the profession.
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Quinlan, Margaret M. "Narrating Lives and Raising Consciousness Through Dance: The Performance of (Dis)Ability at Dancing Wheels." View abstract, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3371581.
Full textBooks on the topic "Narrative in dance"
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Pegg, Carole. Mongolian music, dance, & oral narrative: Performing diverse identities. Seattle: University of Washington Press, 2001.
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Gopalakrishnan, K. K. Kathakali, dance-theatre: A visual narrative of sacred Indian mime. New Delhi: Niyogi Books, 2016.
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Lapeyre, Chantal. Fictions nécessaires: Pour une danse baroque contemporaine. Pantin: Centre national de la danse, 2021.
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McLerran, Alice. The ghost dance. Toronto: Stoddart, 1995.
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McLerran, Alice. The ghost dance. New York: Clarion Books, 1995.
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Bernard, Arps, ed. Performance in Java and Bali: Studies of narrative, theatre, music, and dance. London: School of Oriental and African Studies, University of London, 1993.
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McLerran, Alice. The ghost dance. New York: Clarion Books, 1995.
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Foster, Susan Leigh. Choreography & narrative: Ballet's staging of story and desire. Bloomington: Indiana University Press, 1996.
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Wallace, Catherine Miles. Dance lessons: Moving to the rhythm of a crazy God. Harrisburg, PA: Morehouse Pub., 1999.
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Stevens, John. Words and music in the Middle Ages: Song, narrative, dance and drama, 1050-1350. Cambridge: Cambridge University Press, 1986.
Find full textBook chapters on the topic "Narrative in dance"
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Press, Carol M., and Vickie J. Scott. "Visual Narrative." In Contemporary Dance Lighting, 29–40. New York: Focal Press, 2022. http://dx.doi.org/10.4324/9781003227397-5.
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Sellers-Young, Barbara, Rosina McCutcheon, and Kathy Foley. "Her-stories in Indonesian Dance Drama." In Narrative in Performance, 53–71. London: Macmillan Education UK, 2019. http://dx.doi.org/10.1057/978-1-352-00417-5_4.
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Filoseta, Roberto. "Electronic Dance Music in Narrative Film." In Foundations in Sound Design for Linear Media, 327–57. New York : Routledge, 2019. | Series: Sound design series; volume 1: Routledge, 2019. http://dx.doi.org/10.4324/9781315106335-13.
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Roebert, Donovan. "The Beginnings of the Repetitive Narrative: 1840–1850." In Western Texts on Indian Dance, 121–38. New York: Jenny Stanford Publishing, 2022. http://dx.doi.org/10.1201/9781003302834-5.
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Risner, Doug. "Motion and Marking in Reflective Practice: Artifacts, Autobiographical Narrative and Sexuality." In Dancing Mind, Minding Dance, 224–31. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003343950-26.
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Matthews, Stephen Ralph. "Being Heard: A Māori Community Narrative." In Intersecting Cultures in Music and Dance Education, 223–46. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-28989-2_13.
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Brown, Steven. "Chapter 6. The pantomimic origins of the narrative arts." In Perspectives on Pantomime, 139–58. Amsterdam: John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/ais.12.06bro.
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The evolutionary study of pantomime provides important insights into the origins of the narrative arts, including visual art, theatre, and narrative forms of dance (e.g., ballet). Drawing, as a motoric activity, shows a strong resemblance to tracing pantomimes. The main difference is that drawing generates an enduring image on a surface, whereas pantomime is “drawing in the air.” The theatrical arts – including dramatic acting, mime acting, and narrative forms of dance – take a more egocentric approach to pantomime than drawing, employing full-body mimicry of the expressive actions of a referent person. Overall, iconic gesturing through pantomime provides an evolutionary foundation for all of the narrative arts. On the flip side, a consideration of the narrative arts themselves provides many new avenues for the exploration of pantomime, including shedding light on gestural models of the origins of language.
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Ding, Guoxing, and Haiquan Chen. "The Carnivalesque Narrative of the Devil Dance: Mo Yan’s Narrative Characteristics in Red Sorghum Clan." In Hallucinatory Realism in Chinese Literature, 125–37. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-0666-6_8.
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Chistova, Elena V. "Non-verbal Semiotics in Dance Narrative and Simultaneous Interpreting: Cognitive Intersections." In Language, Music and Gesture: Informational Crossroads, 125–38. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-3742-1_10.
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Picart, Caroline Joan S. "Loíe Fuller, “Goddess of Light” and Josephine Baker, “Black Venus”: Non-narrative Choreography as Mere “Spectacle”." In Critical Race Theory and Copyright in American Dance, 45–65. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137321978_3.
Full textConference papers on the topic "Narrative in dance"
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Aleandri, Gabriella, and Fernando Battista. "Arts-therapy as innovative educational strategy for embodied narrative, lifelong learning and inclusion." In Seventh International Conference on Higher Education Advances. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/head21.2021.12959.
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Art, artistic expression and arts-therapy can be an opportunity to the pedagogy need to develop effective, innovative and avant-garde visions and strategies on issues considered crucial for cohesion and inclusion, in particular regarding migration issue. Dance-movement-therapy is central to this project which is configured as art-based research in the educational / intercultural field. It is a political-pedagogical project starting within the school context to open up to the territory. The research question therefore aims to verify whether art-therapy can create inclusive and intercultural environments, integrate with autobiographical methods through embodied narratives and stimulate self-awareness and lifelong learning. Main aims are: analyzing ways of inclusion, making significant and transformative changes to growth processes, modifying prejudices and stereotypes. The research, moving within the theoretical and methodological framework of the research-intervention, followed a mixed method preserving its qualitative nature, following the phenomenological and hermeneutic approach and, at the same time, using a questionnaire (Pettigrew, Meertens, 1995), which characterized the quantitative part. Among the main results, the discovery of feeling directed towards new perspectives from which to look at the world, more aware and proactive, emerged. Results have strengthened the choice of adopting a such innovative integrated educational strategy for inclusion and lifelong learning.
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"From the Narrative Structure of Folk Dance Works to Explore the Identity Function of the Role of the Masses." In 2020 International Conference on Social and Human Sciences. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000170.
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Kvítková, Zuzana, and Zdenka Petrů. "APPROACHES TO STORYTELLING AND NARRATIVE STRUCTURES IN DESTINATION MARKETING." In Tourism in Southern and Eastern Europe 2021: ToSEE – Smart, Experience, Excellence & ToFEEL – Feelings, Excitement, Education, Leisure. University of Rijeka, Faculty of Tourism and Hospitality Management, 2021. http://dx.doi.org/10.20867/tosee.06.28.
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Purpose – Storytelling is a very actual trend in destinations´ promotion. Travel narratives are renowned for the ability to arouse interest in the reader. The stories can be told in a written form, visual form, or in a form of movements (dances, theatre, etc.). Travel narratives can include more detailed information, they evoke emotions and empathy. Empathy has then a positive relation to behavioral intentions. Therefore, storytelling as a concept is more and more adopted by destination marketing organisations (DMOs). The approach and use of the concept can be different. The aim of the paper is to identify the approaches, and structures used by DMOs and to reveal the level of readers´ or tourists´ involvement in the narratives. Methodology – The main purpose of research is reached by conducting an empirical study using the qualitative methods of analysis - content analysis, deconstruction of the stories, analyzing the story structure, and comparison of the identified structures with the theory. Quantitative analysis, descriptive statistics and contingency tables are used to analyse the frequency and combinations of storytelling structures and approaches of the DMOs. Findings – A narrative is the central theme of the communication in 65.12% of analyzed campaigns. The most used structures are Petal and Hero´s Journey. The tourists are the main characters in 55.81% of the analyzed campaigns. They are also involved in the story creation in 46.51%. The most used communication channel is YouTube; this is valid on all levels of destinations. Contribution – Storytelling is an important part of destinations´ marketing, however, the research usually brings insight from a narrow or specific point of view (e.g., analysis of one platform or in a form of a case study). This research brings a comprehensive view of the narrative structures used for destinations based on empirical research from several destinations and a deep analysis of the content.
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Buzalskaia, Elena. "THE SPECIFICS OF THE IMAGE COMPONENT OF THE NEW CULTURAL-HUMANITARIAN HOLIDAYS IN RUSSIA." In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.02.
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The author aims to determine the denotation-reference map of new cultural and humanitarian holidays reflected in modern calendars. As a result of the survey of native speakers (234 people aged 17 to 70 years), only 20 holidays out of 50 passed the five percent threshold for knowledge of the existence of a holiday. Some of them are not related to religious or mythological systems, others refer to religious and mythological systems. The second part of the study was conducted in order to identify those holidays that have repetitive patterns of behavior. It was revealed that only 12 new calendar dates have such properties (International Day of Friendship; Intenational Yoga Day; World Kissing Day / International Kiss Day; International Cat Day, International Coffee Day; International Dance Holiday; International Hug Day; Earth Hour; Halloween; Day of the Dead; St Patrick’s Day; Valentine’s Day). The third stage was the identification of typical actions and holiday-related objects using a distributive analysis of the contexts describing them in the media. The results of the study indicate the predominance of the aesthetic function of a modern holiday over a world-modeling one and prove the hypothesis that when a holiday is transferred to another culture, it moves from a religious or mythological picture of the world to a naive one and loses its ritualism and sacred meaning. The results of the data analysis show that the cultural — humanitarian holiday, as a variant of the secular holiday concept, is distinguished by the predominance of the individual aspect over the social, the absence of a ritual component and connection with the narrative at the base of the event; the absence of a system of statuses, the presence of a system of roles; the absence of the process of creating a different space; these holidays are not a means of ethno-cultural identification. The obtained lists of dominant lexemes of cultural-humanitarian holidays are useful in selecting cultural material for creating textbooks on the Russian language for foreign students. The material of the analysis was the articles of the newspaper subcorpus of the Russian National Corpus. Refs 19.
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Ngwenya, Smangaliso. "Passing Through Fragmented Scribbles: Moving Towards Movement, Dance and Choreography Grounded in the Embodied Ecosomatic Paradigm." In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35909.
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This paper explores the artistic creation and embodied practiceled research in the context of creating an ensemble screendance titled “Fragmented Scribbles.” The work explores the embodied scribbles of knowledge that exist within conversations among intellectual, emotional, physical, social, aesthetic, creative, and spiritual realms. The research prioritizes the whole being as a site of artistic exploration, using Passing Through as a pedagogical method. The ecological perception and ecosomatic paradigm are employed to cultivate mindfulness, perceive relationships, develop conceptual flexibility, re-perceive depth, and intentionally use the imagination. The study also examines the unique narratives and associations between internal and physical ecologies of the performers and their sites of performance.
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Lisowski, Daniel. "Motion Capture Body Tracking and Functional Safety in Dynamically Controlled Theatre Automation Systems." In 10th International Conference on Human Interaction and Emerging Technologies (IHIET 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004077.
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Live theatrical performance is an ever-evolving art form in which visionary theater makers are incorporating evolving technologies into performances to connect and engage modern audiences. Recent developments in theatrical motion control systems are enabling vibrant and adaptive control through dynamic automation. Traditional theatrical motion control systems use a set path motion profile to produce predictable movements of scenery and people through space and time. New dynamic control systems utilize an external generated set point parameter to specify the desired motion. This flexibility enables a DJ to control the movement of flown digital chandeliers above a dance floor with their regular beat control or for Alice to control her flown decent as she tumbles down the rabbit hole by changing the position of her arms. Putting the control of the equipment into the hands of the performers is a significant leap in evolution stage automation control.To accomplish the motion tracking of performers on stage, the research team developed a unique set-up of Microsoft Kinect sensors to monitor the stage environment. The skeletal models of up to four performers were captured and transmitted via an ethernet network to the video game engine. The main benefit of this tracking method is that it allowed for both traditionally costumed performers and regularly dressed audience members to be captured by the system. Most motion capture systems in entertainment require the use of custom body suits which can disenchant and distract audiences. Our system maintains the traditional relationship between costume and character while collecting the necessary interactivity data.The natively 3D nature of the video game environment is optimally suited to handle the interaction between performer and the digital environment. Using the skeletal tracking models from the sensor system, the video game engine allowed the performers to dynamically interactive with the stage environment. They could open doors, swat away birds, and flap their wings to fly away. The added benefit of the system was that it allowed members of youth young audiences to be called onto stage to further the narrative with their actions. The resulting system enables a new performance methodology with exciting new options for theatrical storytelling, educational training, and interactive entertainment. This evolution of control adds risks beyond those present in deterministic systems.Dynamic control of entertainment automation systems requires strong conformance to functional safety principles to mitigate the risks to affected personal and environments. Functional Safety is the mitigation of unacceptable injury risks through the implementation of one or more automatic protection functions (often called safety functions). In traditional theatre environments, safety functions have historically been limited to “Emergency Stop” functions which halt all motion when an operator presses “the big red button”. As systems become more complex and utilize dynamic control, theatrical automation control systems need to utilize a functional safety evaluation process to better protect persons and the environment for systematic and random failures in the systems. Industry experts develop best practice procedures to address safety concerns which are written into documents called standards.The presenter conducts research at the intersection of entertainment and engineering, has actively participated in the development of numerous American national standards with the Technical Standards Program of ESTA (Entertainment Services and Technology Association), and is a dual certified functional safety engineer (TÜV Rheinland and Underwriters Laboratories). This presentation will go through the functional safety considerations required to implement dynamic control per national and international standards using examples from realized performance projects led by the presenter.
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Hadzantonis, Michael. "Becoming Spiritual: Documenting Osing Rituals and Ritualistic Languages in Banyuwangi, Indonesia." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.17-6.
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Banyuwangi is a highly unique and dyamic locality. Situated in between several ‘giants’ traditionally known as centres of culture and tourism, that is, Bali to the east, larger Java to the west, Borneo to the north, and Alas Purwo forest to the south, Banyuwangi is a hub for culture and metaphysical attention, but has, over the past few decades, become a focus of poltical disourse, in Indonesia. Its cultural and spiritual practices are renowned throughout both Indonesia and Southeast Asia, yet Banyuwangi seems quite content to conceal many of its cosmological practices, its spirituality and connected cultural and language dynamics. Here, a binary constructed by the national government between institutionalized religions (Hinduism, Islam and at times Chritianity) and the liminalized Animism, Kejawen, Ruwatan and the occult, supposedly leading to ‘witch hunts,’ have increased the cultural significance of Banyuwangi. Yet, the construction of this binary has intensifed the Osing community’s affiliation to religious spiritualistic heritage, ultimately encouraging the Osing community to stylize its religious and cultural symbolisms as an extensive set of sequenced annual rituals. The Osing community has spawned a culture of spirituality and religion, which in Geertz’s terms, is highly syncretic, thus reflexively complexifying the symbolisms of the community, and which continue to propagate their religion and heritage, be in internally. These practices materialize through a complex sequence of (approximately) twelve annual festivals, comprising performance and language in the form of dance, food, mantra, prayer, and song. The study employs a theory of frames (see work by Bateson, Goffman) to locate language and visual symbolisms, and to determine how these symbolisms function in context. This study and presentation draw on a several yaer ethnography of Banyuwangi, to provide an insight into the cultural and lingusitic symbolisms of the Osing people in Banyuwangi. The study first documets these sequenced rituals, to develop a map of the symbolic underpinnings of these annually sequenced highly performative rituals. Employing a symbolic interpretive framework, and including discourse analysis of both language and performance, the study utlimately presents that the Osing community continuously, that is, annually, reinvigorates its comples clustering of religious andn cultural symbols, which are layered and are in flux with overlapping narratives, such as heritage, the national poltical and the transnational.