Relevant bibliographies by topics / Polka (Dance) – History – Europe

Academic literature on the topic 'Polka (Dance) – History – Europe'

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Published: 10 March 2023

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Journal articles on the topic "Polka (Dance) – History – Europe"

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Nitza Davidovitch, Nitza, and Eyal Lewin. "The Polish-Jewish Lethal Polka Dance." Journal of Education Culture and Society 10, no. 2 (September 2, 2019): 15–31. http://dx.doi.org/10.15503/jecs20192.15.31.

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Aim. This paper analyses the inherent paradoxes of Jewish-Polish relations. It portrays the main beliefs that construct the contradicting narratives of the Holocaust, trying to weigh which of them is closer to the historic truth. It seeks for an answer to the question whether the Polish people were brothers-in-fate, victimized like the Jews by the Nazis, or if they were rather a hostile ethnic group. Concept. First, the notion of Poland as a haven for Jews throughout history is conveyed. This historical review shows that the Polish people as a nation have always been most tolerant towards the Jews and that anti-Semitism has existed only on the margins of society. Next, the opposite account is brought, relying on literature that shows that one thousand years of Jewish residence in Poland were also a thousand years of constant friction, with continuous hatred towards the Jews. Consequently, different accounts of World War II are presented – one shows how the Polish people were the victims, and the others deal with Poles as by-standers and as perpetrators. Results and conclusion. Inconsistency remains the strongest consistency of the relations between Jews and Poles. With the unresolved puzzle of whether the Polish people were victims, bystanders or perpetrators, this paper concludes with some comments on Israeli domestic political and educational attitudes towards Poland, that eventually influence collective concepts. Cognitive value. The fact that the issue of the Israeli-Polish relationship has not been deeply inquired, seems to attest to the reluctance of both sides to deal with what seems to form an open wound. At the same time, the revival of Jewish culture in Poland shows that, today more than ever, the Polish people are reaching out to Israelis, and are willing to deal with history at an unprecedented level. As Israelis who wish to promote universal values, a significant encounter with the Polish people may constitute a door to acceptance and understanding of others. Such acceptance can only stem from mutual discourse and physical proximity between the two peoples.
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Golovlev, Alexander. "Dancing the Nation? French Dance Diplomacy in Allied-Occupied Austria, 1945–55." Austrian History Yearbook 50 (April 2019): 166–83. http://dx.doi.org/10.1017/s0067237818000607.

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These excerpts from critical reviewscovering French dance tours in Vienna, Salzburg, and Innsbruck reflect the scale and variety of French cultural engagement and its growing public visibility in Austria. Out of the four Allied powers, it was France, and not the Soviet Union with its “ballet capital,” that made most use of dance and ballet fornation-brandingpurposes, both in sabots and on pointe. France's dance diplomacy exported all genres of dance to Austria in order to portray the politically and militarily weakened nation as arayonnantcultural leader of Europe, whose diversity, supremacy, and grandeur were not undone by 1871 and 1940.
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Burt, Ramsay. "Trio A in Europe." Dance Research Journal 41, no. 2 (2009): 25–27. http://dx.doi.org/10.1017/s0149767700000632.

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Since the mid-1990s European dancers and audiences have played a significant role in the revival of interest in Yvonne Rainer's dance work. Two key examples of this are the restaging of Rainer's Continuous Project-Altered Daily (CP-AD) in 1996 by the French group Quatuor Albrecht Knust and the more recent creation and trial of the Labanotation score of Trio A in London. In her reminiscences printed above, Pat Catterson suggests that Trio A' s “relaxed natural quality, equality of parts, its tame simplicity, and durational patience may be out of synch with today's Zeitgeist.” During Charles Atlas's documentary, Rainer Variations, Rainer herself suggests today's audiences would no longer be prepared to sit through the long slow works she made during the Judson period. If this is currently the case with audiences in the United States, it is not so on the other side of the Atlantic. European audiences for innovative dance and live art seem prepared to take the time to experience and appreciate slow, demanding, experimental work.European choreographers and dance artists who have been interested in Trio A often have a keen and sophisticated, if idiosyncratic, interest in dance history. Artists I have spoken to suggest this interest helps them build on what has already been done and makes them aware of a broader range of creative possibilities. Some say they find it useful to discover dance artists in the past who were working in ways that are similar to their own practices. For example, Xavier Le Roy, who took part in the 1996 restaging of Rainer's CP-AD, performed the “chair pillow” section from it during his 1999 performative lecture Product of Circumstances. His discovery of ordinary, task-based, and pedestrian movement in Rainer's work affirmed his own research into similar kinds of movement.
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Bihari, Peter. "Dance of the Furies. Europe and the Outbreak of World War I." European Review of History: Revue europeenne d'histoire 19, no. 3 (June 2012): 467–69. http://dx.doi.org/10.1080/13507486.2012.695597.

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Chevrier-Bosseau, Adeline. "Dancing Shakespeare in Europe: silent eloquence, the body and the space(s) of play within and beyond language." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (March 30, 2020): 3–17. http://dx.doi.org/10.1177/0184767820914508.

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How does one dance Shakespeare? This question underpins this collection of six articles, which explore how choreographers have invested space and the playtext’s interstices to transpose them into ballet pieces – whether contemporary ballet, classical or neo-classical ballet, or works that fall under the umbrella term of contemporary dance. The authors delineate how the emotions translate into silent danced movement and highlight the physical, somatic element in music – beyond spoken language. Through the triple prism of dance, music and a reflection on silence, this special issue invites us to reconsider questions of embodiment, performance and eloquence in Shakespeare’s plays.
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von Rosen, Astrid. "Om Claude Marchant: Ett historiografiskt bidrag till svart danshistoria i Sverige." Nordic Journal of Dance 12, no. 1 (June 1, 2021): 4–21. http://dx.doi.org/10.2478/njd-2021-0002.

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Abstract In this article, the concept of «black dance» is used as a critical tool to explore the lifelong dance achievements of the black dancer, choreographer and pedagogue Claude Marchant (1919–2004) in relation to history making. Marchant’s history in the US and to some extent in Europe from the 1930s to the 1960s is mapped and analysed, with the aim of better understanding his work in Sweden, and more specifically in Gothenburg. While Marchant is mentioned in previous dance historiographies, there are no in-depth explorations of his life and work. This exploration, therefore, complements both Swedish and international dance research, with an example that problematises history production in relation to black artists such as Marchant. It is argued that a participatory «dance-where-we-dig» method is a useful tool for instigating locally situated historiographical processes of change, and can relate artists such as Marchant to broader, transnational contexts.
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Nevile, Jennifer. "Dance and the Garden: Moving and Static Choreography in Renaissance Europe*." Renaissance Quarterly 52, no. 3 (1999): 805–36. http://dx.doi.org/10.2307/2901919.

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AbstractIn the Renaissance there were close similarities between the static choreography of the formal gardens of the nobility and the moving choreographies performed by the members of the court. The principles of order and proportion, the expression of splendour, the geometrical forms, were all fundamental principles of both Renaissance court dance and the formal garden. The patterns in both these art-forms were meant to be viewed from above. This close similarity in design principles between the horticultural and kinetic arts existed right through the fifteenth and sixteenth centuries and continued into the seventeenth century.
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PIPOYAN, RIMA. "FRANÇOIS DELSARTE’S DOCTRINE AS THE BASIS FOR THE CREATION OF MODERN DANCE." Scientific bulletin 1, no. 43 (August 24, 2022): 192–206. http://dx.doi.org/10.24234/scientific.v1i43.15.

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The article discusses the study of the teachings of François Delsarte, in which an attempt is made to understand the stages of the origin and development of modern dance in different countries. This teaching spread to two countries: the USA, Germany, then it penetrated into Russia and became the basis for the creation of rhythmic and plastic dance studies. All the ideas embodied in the study of the François Delsarte system served as a good basis for the development of a new dance direction at the end of the 19th century. Today, this new dance direction is known to all of us as modern dance. Each country, having its own customs, worldviews and history, interpreted it in different ways: in the USA it was called modern dance, in Germany - expressive dance, and in Russia - rhythmoplastic dance. These phrases had different purposes: several generations of modern dancers in the USA used their ideas and developed the terminology of modern dance in English. Germany had its own interpretation, but since it was not a widely used international language, the terms did not come into use. Today, in Germany and elsewhere in Europe, these terms are also used in English.
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Bahia, Joana. "Dancing with the Orixás." African Diaspora 9, no. 1-2 (2016): 15–38. http://dx.doi.org/10.1163/18725465-00901005.

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This article explores how the body and dance play a central role in the transnationalization of Candomblé among Afro-descendant people and increasingly for white Europeans by creating a platform for negotiating a transatlantic black heritage. It examines how an Afro-Brazilian artist and Candomblé priest in Berlin disseminate religious practices and worldviews through the transnational Afro-Brazilian dance and music scene, such as during the annual presence of Afoxé – also known as ‘Candomblé performed on the streets’ – during the Carnival of Cultures in Berlin. It is an example of how an Afro-Brazilian religion has become a central element in re-creating an idea of “Africa” in Europe that is part of a longer history of the circulation of black artists and practitioners of Candomblé between West Africa, Europe and Latin America, and the resulting creation of transnational artistic-religious networks.
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Franko, Mark. "French Interwar Dance Theory." Dance Research Journal 48, no. 2 (August 2016): 104–10. http://dx.doi.org/10.1017/s0149767716000188.

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Interwar French dance and the critical discourses responding to it have until recently been an underdeveloped research area in Anglo-American dance studies. Despite common patterns during the first half of the twentieth century that may be observed between the dance capitals of Berlin, Paris, and New York, some noteworthy differences set the French dance world apart from that of Germany or North America. Whereas in Germany and the United States modern dance asserted itself incontrovertibly in the persons of two key figures—Mary Wigman and Martha Graham, respectively—no such iconic nativist modernist dancer or choreographer emerged in France. Ilyana Karthas's When Ballet Became French indicates the predominance of ballet in France, and this would seem an inevitable consequence of the failure of modern dance to take hold there through at least one dominant figure. Franz-Anton Cramer's In aller Freiheit adopts a more multidimensional view of interwar French dance culture by examining discourse that moves outside the confines of ballet. A variety of dance forms were encouraged in the milieu of the Archives Internationales de la Danse—an archive, publishing venture, and presenting organization—that Rolf de Maré founded in Paris in 1931. This far-reaching and open-minded initiative was unfortunately cut short by the German occupation (1940–1944). As Cramer points out: “The history of modern dance in Europe is imprinted with the caesura of totalitarianism” (13). Although we are somewhat familiar with the story of modern dance in Germany, we know very little about it in France.
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Dissertations / Theses on the topic "Polka (Dance) – History – Europe"

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AUGUSTYNOWICZ, Ewa Anna. "A new fashion : Polka wave in Europe 1844-1860s." Doctoral thesis, 2016. http://hdl.handle.net/1814/42065.

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Defence date: 28 June 2016
Examining Board: Professor Antonella Romano, Centre Alexandre-Koyré (Supervisor); Professor Pavel Kolar, European University Institute; Professor Michael Werner, Centre Georg Simmel; Professor Markian Prokopovych, Central European University.
This is a thesis about the polka, a dance of women and feminity, love, passion, young and old, peasants, bourgeoisie and aristocrats. And, as I will explain and study in the following pages, it is about one of the spectres haunting Europe in the nineteenth century. A few years ago a short story called "Polkamania" by Joachim H. Stocqueler fell into my hands. This little farce, written in 1844, tells the story of Miss Woolgar, a young lady, who is dying to learn the polka. Then opportunely, a medical student arrives. He tricks the father into thinking that the polka is a new type of medicine that can cure the young lady of ennui. The historian’s curiosity encouraged me to rummage among some dance books and internet websites to find out what was so special about this dance, which Poles usually dance at wedding parties and which contemporary American immigrants consider a part of their cultural and national heritage, to make it a theme of this short story. My curiosity derived not only from the fact that I am Polish but also because, as a musician, I always considered the polka a rather boring, traditional, peasant dance. My short investigation convinced me that it was time to change my mind about this dance form.
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Books on the topic "Polka (Dance) – History – Europe"

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1936-, Keil Angeliki V., ed. Polka happiness. Philadelphia: Temple University Press, 1992.

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Jaffé, Nigel Allenby. Folk dance of Europe. Skipton, North Yorkshire, England: Folk Dance Enterprises, 1990.

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Polka King: The life and times of polka music's living legend. Dallas, Texas: BenBella Books, 2013.

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Corrsin, Stephen D. Sword dancing in Europe: A history. Enfield Lock, Middlesex, UK: Hisarlic Press, 1996.

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Matluck, Brooks Lynn, ed. Women's work: Making dance in Europe before 1800. Madison, Wis: University of Wisconsin Press, 2007.

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Entre cours et jardins d'illusion: Le ballet en Europe, 1515-1715. Pantin: Centre national de la danse, 2014.

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Jennifer, Nevile, ed. Dance, spectacle, and the body politick, 1250-1750. Bloomington: Indiana University Press, 2008.

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Jennifer, Nevile, ed. Dance, spectacle, and the body politick, 1250-1750. Bloomington: Indiana University Press, 2008.

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Greene, Victor R., and Victor Greene. A passion for polka: Old-time ethnic music in America. Berkeley: University of California Press, 1992.

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Bertin, Josseline. Chevaux de souffrance: Les marathons de danse en Europe : 1931-1960. Le Mans: Cénomane, 2014.

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Book chapters on the topic "Polka (Dance) – History – Europe"

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Zebec, Tvrtko. "15. A Twenty-First Century Resurrection." In Waltzing Through Europe, 417–32. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.15.

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Zebek (Croatia) surveys and contextualises the place of round dances, and particularly the Polka, in the twentieth-century Croatia. He shows how the folk-dance movement largely ignored or even rejected the round dances as new and foreign. He then portrays the revival of a ‘shaking’ kind of Polka that has a history in the region, but only rose in popularity as late as the twenty-first century. The peculiar aspect of the revival is that it seems to have arisen independently of the folk-dance movement, among the ‘dancing crowds’.
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Stavělová, Daniela. "5. The Polka as a Czech National Symbol." In Waltzing Through Europe, 107–48. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.05.

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Stavělová (Czech Republic) discusses how the Polka was established as a Czech national symbol during the middle of the nineteenth century. She analyses a large number of sources that discuss the Polka, tracing the dance from its appearance in Czech national circles in the 1830s to its success in Paris in the 1840s. She discusses its consolidation as a Czech symbol through the work of music composers such as Bedřich Smetana in the second part of the century, arguing that it was first and foremost the name of the dance that carried political meaning: Polka as a cultural product fulfilled this goal to a lesser extent. In this way, Stavělová offers a detailed discussion of how the myth of the Polka became a significant aspect of Czech national culture.
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Gremlicová, Dorota. "6. Decency, Health, and Grace Endangered by Quick Dancing?" In Waltzing Through Europe, 149–76. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.06.

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Gremlicová (Czech Republic) provides a detailed analysis of newspaper discussions of dance. She shows how a text of the kind that is often read as evidence of resistance to new dances can be contextualised: she identifies the people behind it, and the political and cultural contexts to which they belonged. Gremlicová takes the Redowa as an example of the dances mentioned in newspaper discussions: a dance that has Slavic roots, just as the Polka does, and possesses the basic characteristics of the Mazurka types. By means of the newspaper sources, Gremlicová explores the reception of the Redowa in the Czech Republic.
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"Spain Between tradition and innovation: two ways of understanding the history of dance in Spain." In Europe Dancing, 156–79. Routledge, 2002. http://dx.doi.org/10.4324/9780203448717-13.

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Katarinčić, Ivana, and Iva Niemčić. "9. Dancing and Politics in Croatia." In Waltzing Through Europe, 257–82. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.09.

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Katarinčić and Niemčić (Croatia) portray the situation around 1830 when round dances arrived in Croatian cities and started to appear in the source material. They demonstrate the tension between national loyalties and the attraction of the fashionable dances imported from abroad, and how solutions were found to satisfy and combine the two streams of influence through the creation of the Salonsko Kolo. This dance is performed by couples forming large and complex formations reminiscent of the Polonaise, the Mazurka or contra dances. Katarinčić and Niemčić‘s article concludes with a discussion of the convoluted paths of this dance through history into the twentieth century, including how it moves back and forth between first and second existence, and how it also survives among diasporic communities of Croatians.
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"Document No. 18: Telegram from Rozanne Ridgeway to All European Diplomatic Posts, “Eastern Europe: Invitation to the Dance”, December 1987." In Masterpieces of History, 264. Central European University Press, 2010. http://dx.doi.org/10.1515/9786155211881-026.

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Fortuna, Victoria. "The Dancing Body on the Line." In Moving Otherwise, 1–30. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190627010.003.0001.

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The introduction first considers the movement for a National Dance Law (2008–), which aims to establish infrastructure and federal funding for all genres of dance in Buenos Aires and throughout the Argentine provinces. It introduces the book’s central concept of “moving otherwise,” outlining the kinds of political engagement it encompasses, as well as how it dialogues with conversations in dance and performance studies. It then explains how the category of “contemporary” dance functions in the text, and argues for an approach to contemporary dance history that decenters the United States and Europe as the original sites and ongoing loci of production. Additionally, it offers a brief overview of the transnational history of modern and contemporary dance in Buenos Aires through examination of the work of Miriam Winslow; Susana Tambutti; and Luciana Acuña and Alejo Moguillansky. Finally, it details the archival, ethnographic, and embodied research methodologies that Moving Otherwise employs.
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Walker, Margaret E. "The ‘Nautch’, the Veil and the Bayadère: The Indian Dance as Musical Nexus." In The Music Road, 213–35. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0011.

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During the early period of mercantile contact with India, the exotic spectacle of the Bayadères or Nautch Girls seized the imagination of western sojourners and inspired an abundance of artistic production back in Europe. The ‘dancing girl’ is found everywhere in late 18th- and 19th-century orientalist paintings, poetry, novels, and of course, ballets, operas and other musical compositions. Although there are substantial studies exploring musical orientalisms in western art music, little attention has been paid to the role of real-life performances in such musical creation. This chapter explores the influence of the colonial interaction with Indian dance performances over the long 19th century. It argues not only for a nuanced and historicised approach to musical encounter but also, given the centrality of the Nautch in the Indian context, for the crucial inclusion of dance in the global history of music.
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Bertrams, Kenneth, Julien Del Marmol, Sander Geerts, and Eline Poelmans. "From Local to Global, 1987–2000." In Becoming the World's Biggest Brewer, 246–330. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198829089.003.0006.

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From the mid-1980s to the turn of the century, the brewing industry transformed dramatically from a local to a highly international or global industry. The official merger group of Artois and Piedboeuf, renamed Interbrew, would play a leading role in this transformation. From its historical position in Western Europe, the group spread its tentacles to Central and Eastern Europe, acquiring brewery after brewery. This chapter recalls the history of the Interbrew group in its rise to a world leader. A first major milestone in this route towards global dominance was an acquisition across the Atlantic of Canada’s largest brewer, Labatt’s, in 1995. In some fifteen years, Interbrew completed a total of no less than forty acquisitions. Meanwhile, the company revamped on all levels. Besides a dance of CEOs in the 1990s, modern management techniques came to the front and the board and shareholders’ structures were professionalized. Decentralization and localism remained at the centre of the group’s corporate strategy, effectively becoming the world’s local brewer.
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Bowditch, Rachel. "Republic of the Imagination, Burning Man and the culture of radical self expression." In Focus on World Festivals. Goodfellow Publishers, 2016. http://dx.doi.org/10.23912/978-1-910158-55-5-3020.

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Burning Man, it could be argued, is the best party on the planet and one of the most elaborate and complexly engineered. Where else could you have a dance party on a large duck where everyone is dressed as their fantasy avatars; or sit on an art car called ‘The Bleachers’ designed like stadium seating to watch and be watched, complete with referees in the standard black and white attire directing playa traffic; or mount a double-decker bus that resembles an underground rave in Eastern Europe; or dangle from cables as you smash your opponent to hard core punk rock at the Thunderdome; or find yourself at a large open-aired dance party with over 5000 people dancing to the world’s most famous DJs and electronic music acts such as Bassnectar and Beats Antique? Burning Man has elevated the art of partying to epic proportions from mobile niche environments to large-scale international acts drawing crowds of thousands. At Burning Man, you can create your own experience and any desire you might have can be found and fulfilled on the playa. It is as if everyone’s fantasy is being played out simultaneously and it is in the collision of these fantasies that meaningful encounters occur. However, to confine and reduce analysis of Burning Man to ‘the world’s best party’ would be to overlook the intricate complexity and layers that constitute this epic annual desert event. The evolution and history of the event has been well documented from a variety of perspectives (See Doherty, Bowditch, Chen, Gilmore, and others) so I will not repeat those histories here. The first official book to chart the history of the event was Brian Doherty’s This is Burning Man: The Rise of a New American Underground (2006) mapping the early formative years of the event from its inception in 1986 on Baker Beach in San Francisco, the impact of the Cacophony Society on the development of the Burning Man ethos, to the transfer of the event to the Black Rock Desert in Nevada in 1990.
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