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Journal articles on the topic 'SOLO DANCERS'
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1
Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai, and Takuichi Nishimura. "Determining Partnering Effects in the “Rise and Fall” Motion of Competitive Waltz by the Use of Statistical Parametric Mapping." Baltic Journal of Sport and Health Sciences 1, no. 120 (April 15, 2021): 4–12. http://dx.doi.org/10.33607/bjshs.v1i120.1047.
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Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz.
Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and a world champion couple as they danced both solo and in pairs. The Xsens MVN system was used to record their movements, using a capture rate of 240 Hz.
Results. We consequently found that, in the pair condition, the vertical component of the center of mass was smaller for the male dancers and larger for the champion male dancer when compared to their respective solo conditions. However, for the female dancers and the champion female dancer, unlike the males, no significant partner effects were found.
Conclusion. Therefore, in terms of partner effects, the “rise and fall.” motion was smaller for the male dancers and larger for the champion male dancer.
Keywords: DanceSport, ballroom, kinematics, partnering, statistical parametric mapping.
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Hawthorn, Ainsley. "Middle Eastern Dance and What We Call It." Dance Research 37, no. 1 (May 2019): 1–17. http://dx.doi.org/10.3366/drs.2019.0250.
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This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly dance’ was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.
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Pruiksma, Rose. "Of Dancing Girls and Sarabandes." Journal of Musicology 35, no. 2 (2018): 145–82. http://dx.doi.org/10.1525/jm.2018.35.2.145.
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The French sarabande is typically characterized as one of the most serious and noble baroque dances in the instrumental suite. New research synthesizing eyewitness accounts, literary sources, and musical analysis reveals the sarabande’s rich history as a theatrical dance regularly performed by female dancers in French court ballets. The groups of girls and solo young women who danced it between 1651 and 1669 invite us to reshape our narrative of the sarabande in France. Both literary references and the theatrical context reveal how the sarabande resonated with layers of culturally inscribed meanings at a time when danced and non-danced sarabandes coexisted side by side. The same individuals moved easily between dancing, watching danced sarabandes in ballets, and playing sarabandes on the keyboard or lute. Spectators and listeners likewise encountered and interpreted sarabandes in multiple settings; knowledge gained through dancing or accompanying dancing did not simply disappear from one performance context to the next. While such embodied knowledge is no longer common cultural currency, examining the historically embodied presence of the sarabande and its ties to female dancers permits a better understanding of its cultural resonances and its appeal in the seventeenth century and opens up a wider range of interpretations of this multi-faceted, multivalent dance type.
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Katrak, Ketu H. "Toward Defining Contemporary Indian Dance: A Global Form." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 129–39. http://dx.doi.org/10.1017/s2049125500000613.
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This essay explores innovations in contemporary Indian dance based in classical Indian dance, martial arts and Western dance vocabularies. Who is making change and how does change work? I delineate the parameters of contemporary Indian dance as a genre (since the 1980s) and distinguish it from Bollywood style “free” dance. I analyze the creative choreography of one prominent contemporary Indian dancer, Chennai (India) based Anita Ratnam. Ratnam's signature style, evoking the “feminine transcendental,” is rooted in Indian aesthetic along with a pan-Asian scope. Ratnam's over twenty-year dance career of solo, group, and collaborative work, along with pioneering artist, Astad Deboo, serve as role models for second-generation contemporary Indian dancers such as Los Angeles–based Post-Natyam Collective's movement explorations, among other dancers based in the diaspora.
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Somba, Robby. "KOREOGRAFI GARONTO’ EANAN: VISUALISASI KERBAU DALAM KEHIDUPAN MASYARAKAT TORAJA." Joged 13, no. 2 (January 8, 2020): 112–24. http://dx.doi.org/10.24821/joged.v13i2.3592.
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Garonto’ Eanan adalah karya tari yang terinspirasi tentang hewan kerbau dalam kehidupan masyarakat Toraja, terkhusus dalam upacara pemakaman Rambu Solo’. Kerbau merupakan hewan yang sangat penting bagi masyarakat Toraja untuk menandai status sosial seseorang. Dalam upacara Rambu Solo’ kerbau wajib dikurbankan untuk memberikan penghormatan terakhir serta menjadi bekal kubur dan harta bagi orang yang meninggal. Tema tari Garonto’ Eanan adalah kekuatan dan kebersamaan. Koreografi ini disajikan dengan pola large group composition, ditarikan tujuh penari laki-laki sebagai presentasi hewan kerbau, dan 12 penari Ma’badong. Gerak yang disajikan berpijak pada gerak tari tradisional Toraja, dikembangkan sesuai dengan ketubuhan penata tari. Karya tari Garonto’Eanan menyajikan tiga bagian. Bagian pertama menghadirkan satu penari laki-laki sebagai pengantar karya yang menyajikan bentuk gerak tradisional Toraja serta bentuk simbolis dari hewan Kerbau. Bagian kedua menyajikan hasil eksplorasi gerak terhadap makna dan nilai Kerbau dalam masyarakat Toraja. Bagian ketiga sekaligus bagian akhir dalam karya ini, memvisualisasikan suasana Rambu Solo’ dan gambaran Kerbau saat tengah beradu, digarap dalam pola garap duet. Bagian ini juga menghadirkan penari Ma’badong. Musik pengiring koreografi ini disajikan dalam format musik live. Rias Busana yang digunakan dalam tari “Garonto’ Eanan” yakni rias karakter, sedangkan desain kostum, baju tanpa lengan dan celana pendek. Garonto’ Eanan is the title of traditional dance telling a story about buffalos in the Toraja community life, especially during the funeral ceremony Rambu Solo’. Buffalos are functioned to mark someone’s social status, making it as one of the most notable animals for the Toraja community. It is obligatory to make buffalos as one of the offerings for the ceremony Rambu Solo’. Buffalo offering aims to express the last admiration and tribute for the dead. The traditional dance Garonto’ Eanan recites power and togetherness as the themes. The choreography is performed by seven male dancers as the buffalo representation and twelve Ma’badong dancers by applying a large group composition pattern. Furthermore, the choreography was arranged by referring to the traditional dancing choreography of Toraja and developed according to the intention of choreographers. The traditional dance Garonto’ Eanan presents three segments. The first segment presents one male dancer performing the dance introduction. He presents traditional choreography of Toraja and portrays buffalos symbolically. The second segment presents the results of choreographic explorations in both meaning and values of buffalos for the Toraja community. The third or the last segment visualizes the atmosphere of Rambu Solo’ and illustrates fighting buffaloes performed by the dancers in pairs. The segment also presents Ma’badong dancers. Moreover, there is a live musical performance accompanying the dance performance. Meanwhile, the Garonto’ Eanan dancers apply the character makeup style; whereas for their costume, they wear a sleeveless shirt and short pants.
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Kattner, Elizabeth. "From Totenmal to Trend: Wigman, Holm, and Theatricality in Modern Dance." Dance Research Journal 50, no. 3 (December 2018): 20–37. http://dx.doi.org/10.1017/s0149767718000347.
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This article examines the development of theatricality in modern dance by comparing two dances: Mary Wigman's Totenmal (1930) and Hanya Holm's Trend (1937). By looking at the interplay between group and solo choreography, lighting design and themes, this paper will show how Holm combined the skills she learned codirecting Totenmal at the Dancers’ Congress in Munich to her work with American dance artists at the Bennington School of the Dance to create her first important work. It will examine why Trend was successful as a collaborative project, as well as show how it diverged ideologically from Wigman's work in the 1930s.
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Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai, and Takuichi Nishimura. "Partnering Effects on Joint Motion Range and Step Length in the Competitive Waltz Dancers." Journal of Dance Medicine & Science 24, no. 4 (December 1, 2020): 168–74. http://dx.doi.org/10.12678/1089-313x.24.4.168.
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Competitive dance, also known as DanceSport, is one of the official sports of the World Games. The most salient characteristic of ballroom dance is the closed-hold position, during which the upper body segments of partner-dancers are linked. This study aimed to investigate partnering effects on joint motion ranges of the lower extremity and step lengths during the waltz in 13 national level competitive dance couples and a world champion couple. A Xsens MVN system was used to record movement at 240 Hz. Solo and pair conditions were examined. Compared with the highly skilled couples, the world champion couple demonstrated superior dance skills for generating the first step length in the pair condition of the waltz. This was particularly evident in the step length and joint motion range of the champion female dancer.
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Meglin, Joellen A. "Victory Garden: Ruth Page's Danced Poems in the Time of World War II." Dance Research 30, no. 1 (May 2012): 22–56. http://dx.doi.org/10.3366/drs.2012.0033.
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During the years 1943–1946, the Chicago choreographer and ballet director Ruth Page created a compact, innovative vehicle for touring, a concert she called Dances with Words and Music. The programme consisted of solo dances accompanied by the poems of Dorothy Parker, Ogden Nash, e. e. cummings, Federico García Lorca, Langston Hughes, Hilaire Belloc, Edna St. Vincent Millay, and others. Page performed her danced poems, speaking the words herself and dialoguing with them in dance, in New York and Chicago, and at Jacob's Pillow. She also toured extensively to smaller cities scattered throughout the Midwest and South, sponsored by colleges and universities, as well as civic associations, independent producers, women's clubs, and USOs. I argue that Page's marriage of poetry and dance was not just a stopgap measure designed to keep her choreographic footing during the lean years when male dancers were enlisted. It was a deliberate strategy to position herself as a front-runner on the American scene – an architect of the American ballet with a sensitive ‘vernacular ear,’ a worldview, and, crucially, a perspective sympathetic to the psyches of young women and children.
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Tomic-Vajagic, Tamara. "Hidden Narratives: Dancers' Conceptualisations of Noncharacter Roles in Leotard Ballets by George Balanchine and William Forsythe." Dance Research 34, no. 2 (November 2016): 170–201. http://dx.doi.org/10.3366/drs.2016.0158.
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The study of dancers' relationships with their noncharacter solo roles in leotard ballets by George Balanchine and William Forsythe reveals a dynamic cluster of flexible and multifaceted conceptualisations. Performers' process includes a range of abstract images, nonfictional and docufictional ideas, metaphoric allusions and storyboarding constructions. Drawing upon Michael Kirby's concept of non-matrixed performing (1987), as well as on ideas from dance aesthetics, narratology, theatre and film theories, noncharacter roles are understood as partly flexible, diverse performing frameworks that contain ambiguity but do not promote characterisation. The findings suggest that the dissolution of character traits in plotless choreography often serves as a catalyst for the performers' polyvalent expressions of their artistic identities, value systems and agency. Observation of performances, in conjunction with direct interviews with expert dancers from several international ballet companies, brings to light the links between the performer's ideas and the effects observable in the dance. Attention to the performers' approaches and aspects of the work which they wish to emphasise reveals less observed aspects of dance texts and illuminates the nature of the ballet dancer's qualitative contribution in non-narrative choreography.
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Lepecki, André. "The Body as Archive: Will to Re-Enact and the Afterlives of Dances." Dance Research Journal 42, no. 2 (2010): 28–48. http://dx.doi.org/10.1017/s0149767700001029.
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Laurence Louppe once advanced the intriguing notion that the dancer is “the veritable avatar of Orpheus: he has no right to turn back on his course, lest he be denied the object of his quest” (Louppe 1994, 32). However, looking across the contemporary dance scene in Europe and the United States, one cannot escape the fact that dancers—contrary to Orpheus, contrary to Louppe's assertion—are increasingly turning back on their and dance history's tracks in order to find the “object of their quest.” Indeed, contemporary dancers and choreographers in the United States and Europe have in recent years been actively engaged in creating re-enactments of sometimes well-known, sometimes obscure, dance works of the twentieth century. Examples abound: we can think of Fabian Barba's Schwingende Landschaft (2008), an evening-length piece where the Ecuadorian choreographer returns to Mary Wigman's seven solo pieces created in 1929 and performed during Wigman's first U.S. tour in 1930; of Elliot Mercer returning in 2009 and 2010 to several of Simone Forti's Construction Pieces (1961/62), performing them at Washington Square Park in New York City; or Anne Collod's 2008 return to Anna Halprin's Parades and Changes (1965), among many other examples.
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Faidi, Maria. "Rolling and Trembling of the Abdomen: Movement as a Subaltern Subject in Colonial Egypt." Congress on Research in Dance Conference Proceedings 2016 (2016): 141–47. http://dx.doi.org/10.1017/cor.2016.20.
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Accordingly to Shay and Sellers-Young (2005) “the term “belly dance” was adopted by natives and non-natives to denote all solo dance forms from Morocco to Uzbekistan that engage the hips, torso, arms and hands in undulations, shimmies, circles and spirals.” Dance historian Curt Sachs depicted the dance as “the swinging of the rectus abdominis” (Sachs 1963). This movement has been performed by many oriental dancers in the past century and has become part of the routine of oriental dancers worldwide. This movement has even named the dance “belly dance,” and become one of the most representative elements of contemporary Egyptian culture.This paper will be organized as follows: firstly, I am going to explain succinctly how I use the term “subaltern” in relation to dance and colonialism. Secondly, I am going to present the main scenarios, actors, and factors in which the rolling and trembling of the abdomen was danced, watched, desired and hated at the end of the nineteenth century, provoking strong love/hate reactions among the fin de siecle public. The discourse intermingles both dance and feminist analysis observing how movement constituted a metaphor of the unequal power relations between the metropolis and the colony within the particular historical context of British colonialism in Egypt.
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Quested, Eleanor, Jos A. Bosch, Victoria E. Burns, Jennifer Cumming, Nikos Ntoumanis, and Joan L. Duda. "Basic Psychological Need Satisfaction, Stress-Related Appraisals, and Dancers’ Cortisol and Anxiety Responses." Journal of Sport and Exercise Psychology 33, no. 6 (December 2011): 828–46. http://dx.doi.org/10.1123/jsep.33.6.828.
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Self-determination theory (Deci & Ryan, 2000) posits basic psychological need satisfaction (BPNS) as essential for optimal functioning and health. Grounded in this framework, the current study examined the role of BPNS in dancers’ cognitive appraisals and hormonal and emotional responses to performance stress. Dancers reported their degree of BPNS 1 month before a solo performance. Threat and challenge appraisals of the solo were recorded 2 hr before the performance. Salivary cortisol and anxiety were measured 15 min before, and 15, 30, 45, and 60 min postperformance. Higher BPNS was associated with lower cortisol responses and anxiety intensity. Challenge appraisals mediated the association between BPNS and cortisol. Threat appraisals mediated the BPNS–anxiety intensity relationship. These findings point to the potential importance of performers’ BPNS for optimal emotional and hormonal homeostasis in performance conditions.
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Jones, Kim. "American Modernism: Reimagining Martha Graham's Lost Imperial Gesture (1935)." Dance Research Journal 47, no. 3 (December 2015): 51–69. http://dx.doi.org/10.1017/s0149767715000352.
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This article explores the process of reimagining Martha Graham's 1935 “lost” work, Imperial Gesture, into a complete work for performance. The solo was last performed by Graham in 1938 and constitutes the first political solo of her career. With no musical score, no notation score, and scant archival evidence, Graham dancer, régisseur, and contemporary choreographer Kim Jones pieced together the fragments left behind. Beginning in 2011, Jones assembled a team of artists in order to reimagine Imperial Gesture for the Martha Graham Dance Company. This article discusses how Jones found primary and secondary sources including thirty-two, unpublished, photographic images by Barbara Morgan; a space diagram by set designer Arch Lauterer; a poem, “Imperial Gesture for Martha Graham,” by John Malcolm Brinnin; and numerous critical reviews from the 1930s. Jones was inspired to imagine and express Graham's sense of activism and social justice within this “lost” work. The dance is a portrait of the undoing of an arrogant despot. Although mainstream critics had little to say about Imperial Gesture, arts critics for Communist and Leftist publications reviewed Imperial Gesture as an example of politically charged art that argued against fascism. The process of reimagining opens up the possibility for a deeper investigation of Graham's work as both publicly and personally political. Additionally, the creative act of reimagining her lost work adds new repertory to the Martha Graham Dance Company for a new generation of Graham dancers and new audiences. In so doing, it also opens a path for a new historiography of Graham's work and legacy.
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Irawati Kusumorasri and Nanik Sri Prihartini. "Empowering Indonesian Dance Performer In Contributing To Creative Economy Program." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 1 (April 6, 2020): 48–53. http://dx.doi.org/10.33153/iicacs.v1i1.13.
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The city of Solo is very well known as the city of culture with various numbers of arts performed and developed in this city. Regarding this, the government attempts to contribute to the creative economy program to increase the standard of living of its citizens and facilitate them to generate their income from their creative skills in art. Therefore, this paper presents the results of the study of empowering dance performers in contributing to creative economy programs and some factors affecting the empowerment process. The descriptive qualitative with grounded research was employed as a research design of this study by utilizing three research instruments, namely observation, interviews with the manager and dance performers, and document analysis to support the results of the interview and observation. The participants of this study are a manager and a group of dance performers from one dance studio in Solo, Indonesia. The data were analysed by referring to the principles of the creative economy and the theory of empowerment art performers. The results of the study reveal that the manager and the dance performers work separately in conducting the dance performance. The manager does not provide sufficient information about the events, goals of the performance, and the number of the salary that they will receive from their performance. The dance performers only dance based on the instruction of the manager and they fulfil their interest in dance art performance and following the entertainment purposes, without considering the economic aspects that they will gain to support their daily lives. Several factors influence the empowerment of dancers, such as the awareness of managers and dancers in generating income from their talents. The dance performers should change their mindset from dancing for entertainment purposes to dancing for commercial purposes. By doing so, the dance performers will be able to support their daily needs and increase the quality of their life.
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Wheeler, Scott, John Paynter, Elizabeth Paynter, Stephen Paulus, Michael Dennis Browne, and Mary Wilkins Freeman. "The Voyage of St. Brendan: A Music-Drama for Baritone Solo, Children's Choirs, Dancers and Orchestra." Notes 43, no. 4 (June 1987): 934. http://dx.doi.org/10.2307/898191.
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Zhen, Yanru, Jilei Huang, Xiaojing Chen, Chuxiong Zhuang, and Yufei Hu. "Detection of Weak Expression of SOLO DANCERS in the Male Germline Using CYCLIN-DEPENDENT KINASE A1 Coding Sequence." Journal of Plant Growth Regulation 39, no. 3 (January 1, 2020): 1236–44. http://dx.doi.org/10.1007/s00344-019-10061-8.
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Azumi, Y. "Homolog interaction during meiotic prophase I in Arabidopsis requires the SOLO DANCERS gene encoding a novel cyclin-like protein." EMBO Journal 21, no. 12 (June 17, 2002): 3081–95. http://dx.doi.org/10.1093/emboj/cdf285.
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Suhesti, Merry, and Desfiarni Desfiarni. "MAARAK BUNGO LAMANG." Jurnal Sendratasik 9, no. 1 (May 1, 2020): 1. http://dx.doi.org/10.24036/jsu.v8i3.108132.
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AbstractMaarak Bungo Lamang Dance is a result of the creation of dance creations based on the life phenomenon of the Durian River of the South Solok district in order to celebrate the day of the Prophet Maulid. In this regard, the tradition of society that has a sense of gratitude for the day of the Prophet Maulid in a festive way is not separated from the Islamic faith. The dance work "Maarak Bungo Lamang" is an interpretation of the community tradition of the river Durian in welcoming the Prophet's Maulid by means of a journey around the village along with Shalawat-Shalawat. It is as an expression of gratitude for the Prophet's Maulid day. The dance works were performed by 7 dancers, 3 male dancers and 4 female dancers as well as 13 Pendukkung dancers for the early dances, expected to be a new form of dance creations. Program artwork is aimed at adding a wealth of dance artwork, as well as an educational platform for new artists.Keywords: Maarak Bungo Lamang
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MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION." IEDSR Association 6, no. 12 (March 29, 2021): 218–26. http://dx.doi.org/10.46872/pj.258.
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Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.
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Sokolova, Alla N. "The “Dance with Daggers” as an Ethno-Marker of Adyghe Culture." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 39–55. http://dx.doi.org/10.21638/spbu15.2021.103.
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This article reviews the history, semantic scope and meaning of the “dance with daggers”, which has survived today as a solo male stage number. The dance is becoming a very important part of academic dance concerts in the North Caucasus, and at the same time dancers with daggers are invited to traditional weddings and corporate parties. Сamechas (kъамэчIас) are identified as military sports and exercises, while also being a modern dance concert number with the same name. The military sport, circus and dance characteristics of this action are revealed in the article. It is proved that the dance is based on the demonstration of military merits, such as the ability to handle sharp knives freely and easily, to throw them at a target, to overcome any obstacles through high jumps, to keep a visible space in sight, to control the body gracefully and to conquer physical pain. In the history of the development of the dance, a multilayered literary text is formed that has mythological and ethno-informational codes. The meaning of using twelve daggers and a papakha (sheepskin hat), symbolizing intellect/reason and equal to any Caucasian man’s head is revealed. The movements on toes allowing one to “rise”, to be close to the gods and to conform to the contours of the mountain landscape, are comparable to the fine graceful movements of mountain animals using any stone or mound as support. Jumping, whirling, lunging, and manipulating with a large number of daggers are considered as signs that reveal deep ethnic values. The choreographic and musical component of the dance is analyzed as well as tricks that are included in the plot of the dance, allowing the performer to demonstrate traditional hand positions, certain steps, jump height, spin speed. The Western Adyghes have formed a stable musical composition for the “dance with daggers”, which consists of three tunes: “Dzherakai Zafak”, “Kabardinka” and an Ossetian melody arranged by the famous Adyghe accordionist Kim Tletseruk. “Gathering” music also symbolically represents the “dance with daggers” as a product and artistic practice of the entire Caucasus.
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Gardner, Sally. "The Dancer, the Choreographer and Modern Dance Scholarship: A Critical Reading." Dance Research 25, no. 1 (April 2007): 35–53. http://dx.doi.org/10.3366/dar.2007.0018.
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This paper undertakes a critical re-examination of the ways in which dance-making relationships between the dancer and the choreographer in American modern dance have been conceptualised in dance discourses. The essay proposes that a defining aspect of modern dance practices (from the moment that, after Duncan and Fuller, it became a group as well as a solo form) was the dancing together of the choreographer and the dancer(s) as the central mode of dance creation and transmission. In dance discourses, however, this dancing relationship is frequently not acknowledged. Texts by dance scholars Susan Leigh Foster, Amy Koritz and Randy Martin which draw on theoretical frameworks from outside dance are analysed in terms of the ways the theoretical frameworks that underpin them both make it possible to raise the question of the nature of the dance-making relationship while at the same time can also make the dancer's and the choreographer's dancing together invisible or unrepresentable. The analysis shows how scholarly discourses and the theoretical frameworks upon which they are built are already invested in regimes of intelligibility and visibility which have consequences for the representation of modern dance. This analysis forms the basis for proposing the need for a non-individualised, inter-subjective and intercorporeal understanding of the dancer and the choreographer and their relationship in modern dance.
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Nuryanto, Sidik, Yetty Isna Wahyu Septiana, and Wini Agustina. "MOTIVASI MAHASISWA MEMILIH PROGRAM STUDI PG PAUD." Jurnal Buah Hati 7, no. 2 (September 14, 2020): 182–96. http://dx.doi.org/10.46244/buahhati.v7i2.1103.
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Solo as a big city has many public and private campuses. UNISRI as one of the private campuses in the city of Bengawan. PAUD PG PAUD is a study program that was opened in 2014 at FKIP. As a new study program the distribution of students does not only come from the Solo residency, but also from outside Java such as (Kalimantan, Sumatra, and Nusa Tenggara). On the other hand the phenomenon of selection of teacher training programs has recently declined, bearing in mind that there are still many graduates who have not absorbed work. The purpose of this study is to describe students' understanding of the study program, as well as their motivation to study at PG PAUD UNISRI. This research uses a qualitative approach with descriptive methods. Data mining techniques using interviews, observation and documentation. The results of the study are students understanding study programs such as vision, mission, goals, graduate profiles through the website or brochure when registering to become new students. Internal motivation (1) profiles of PAUD teacher graduates, PAUD managers, dancers and musicians, APE developers as well as motion and song. (2) Achievement motivation where lectures are not just looking for a diploma but self-actualization. External motivation (1) Campus conditions include transportation access, lecturer quality and adequate and adequate infrastructure. (2) encouragement of parents who want their children to become PAUD teachers.
Abstrak
Solo sebagai kota besar memiliki banyak kampus negeri dan swasta. UNISRI sebagai salah satu kampus swasta yang ada di kota bengawan ini. PG PAUD merupakan Program studi yang dibuka pada tahun 2014 di FKIP. Sebagai program studi baru persebaran mahasiswanya tidak hanya berasal dari karisidenan Solo saja, namun berasal dari luar pulau jawa seperti (Kalimantan, Sumatra, dan Nusa Tenggara). Di sisi lain fenomena pemilihan program studi keguruan belakangan ini menurun, mengingat masih banyak lulusannya belum terserap kerja. Tujuan dari penelitian ini adalah mendeskripsikan pemahaman mahasiswa tentang program studi, serta motivasi mereka untuk kuliah di PG PAUD UNISRI. Penelitian ini menggunakan pendekatan kualitatif dengan metode deskriptif. Penggalian data dengan teknik wawancara, observasi dan dokumentasi. Hasil penelitian adalah mahasiswa memahami program studi seperti visi, misi, tujuan, profil lulusan melalui website atau brosur pada saat akan mendaftar menjadi mahasiswa baru. Motivasi internal (1) profil lulusan guru PAUD, pengelola PAUD, penari dan pemusik, pengembang APE serta gerak dan lagu. (2) Motivasi berprestasi di mana kuliah bukan hanya cari ijasah tapi aktualisasi diri. Motivasi eksternal (1) Kondisi kampus meliputi akses transportasi, kualitas dosen dan sarana prasarana yang sudah layak dan memadai. (2) dorongan orang tua yang menghendaki anaknya menjadi guru PAUD.
Kata Kunci: Motivasi Mahasiswa, Kuliah, Pendidikan Guru PAUD
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Рыжакова, Светлана Игоревна. "Антропологические аспекты современного танца. Беседы с Акрамом Кханом о судьбе, вдохновении и сценическом повествовании." Вестник антропологии (Herald of Anthropology), no. 2 (54) (June 10, 2021): 157–76. http://dx.doi.org/10.33876/2311-0546/2021-54-2/157-176.
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Современный танец – глобальный феномен, однако национальные и этнические аспекты регулярно проявляются и в содержании, и в форме постановок, и в судьбах артистов. Акрам Кхан – один из самых известных и высокооплачиваемых танцоров и хореографов нашего времени: член Ордена Британской Империи за заслуги в области танца с 2005 г., он – создатель множества балетов, представляемых различными труппами, а также автор и исполнитель сольных представлений. Каждое из его выступлений – событие, предлагающее новое видение как формы, так и содержания современного танца. Настоящая статья написана на основе многолетних исследований южноазиатской танцевальной культуры, а также личных бесед Светланы Рыжаковой с Акрамом Кханом в 2017 и 2019 гг. и анализа особенностей его семейной истории, творческого пути и особенности художественной деятельности. Обсуждение проблем этнокультурной идентичности, отношения к языку и к телу, исторической памяти, социальной напряженности, «своего» и «чужого», понятию родины, а также тех путей и способов, с помощью которых современность можно отражать на сцене легли в основу наших разговоров. Contemporary dance is a global phenomenon, but national and ethnic aspects are regularly manifested both in the content and in the form of performances, and in artists’ life-stories. Akram Khan is one of the most famous dancers and choreographers of our time. Member of the Order of the British Empire for Dance Merit since 2005, he is the creator of numerous ballets performed by various troupes and the author and performer of solo programs. Each of his performances is an event that offers a new vision of both the form and the content of contemporary dance. This essay is based on personal conversations of Svetlana Ryzhakova with Akram Khan in 2017 and 2019, as well as observations and analysis of his family history, career and artistic activity. Akram Khan was born and raised in England, but his parents are migrants from Bangladesh, a Muslim, although a very Westernized family. Problems of ethnic and cultural identity, personal attitudes towards language and the body, historical memory, social tension, “friends and foes”, homeland, as well as how modernity can and should be reflected on stage formed the basis of our conversations and reasoning of Akram Khan.
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Rosenberg, Susan. "Trisha Brown's Water Motor." TDR/The Drama Review 56, no. 1 (March 2012): 150–57. http://dx.doi.org/10.1162/dram_a_00150.
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Trisha Brown's signature solo Water Motor (1978) was the first of her choreographies to make the physical intelligence and virtuosity of Brown's unique dancing body the basis for movement and choreography. Preserved in Babette Mangolte's 1978 film, Water Motor returned to the stage in 2011 in its first performance by a dancer other than Brown—an occasion for reexamining the dance's pivotal role in Brown's career.
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Izaty, Rahmi, and Nerosti Nerosti. "BENTUK GARAPAN TARI PIRING LAMPU TOGOK KREASI SANGGAR LUBUAK NAN TIGO KOTA SOLOK." Jurnal Sendratasik 8, no. 1 (July 1, 2019): 53. http://dx.doi.org/10.24036/jsu.v8i1.106420.
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Abstract This study aims to describe and analyze the forms of creation of Tari Piring Lampu Togok at Lubuak Nan Tigo Studio. This type of research was qualitative research with descriptive analytical methods. The main instruments in this study were the researchers themselves and assisted with supporting instruments including stationery, photo cameras and video cameras. The type of data used primary data and secondary data. Data collection techniques were carried out by means of library studies, observation, interviews and documentation. The steps in analyzing data were collecting the data, analyzing data, describing data and makingconclusions. The results of the study showed that the Tari Piring Lampu Togok was a creative dance by Lubuak Nan Tigo studio, arranged based on the dance movements of the traditional Tari Lampu Togok. The creation of the dance production resulteda quality form of work, including: (1) Motion, consists of: (a) opening motions are anta lampu,puta duduak, tagak itiak, duduak maagah piriang, pitungguang ayun piriang, then (b) core movements are ramo-ramo bagaluik, tupai bagaluik, tusuak muko balakang, usuak bawah ateh, simpia tagak, ayun rang mudo, tusuak mangayun, tupai bagaluik jantan, lenggok basamo, tusuak baganti, piriang manabeh tagak, piriang manabeh duduak, langkah puta ramo-ramo, tusuak sasampiang, simpia duduak, ayun ampek panjuru, next (c) the closing motion isputa habih. (2) Varied floor patterns, namely diagonal, triangle, letter V, letter W, circle and horizontal. (3) Accompanying music uses a musical instrument called tambua, talempong, canang, tasa, bansi, sarunai. (4) male dancers weartaluak balango, galembong pants, deta wrapped in batik cloth andsongket Silungkang and the costumes for female dancers wear baju kurung, pants, songketSilungkang, and tanduak wrapped in songket. (5) Female dancers wear beautiful makeup and male dancers wear foundation and powder only. (6) Dancer consists of 6 people;3 female dancers and 3 male dancers.Dancers are able to express their movements by maintaining balance and compactness swiftly so that Lampu Togok stands firmly on the headduring the performance. (7) Property is Lampu Togokitself which used to be a light for the community. The lights are turned on using kerosene. The balance ofTari Piring Lampu Togoksymbolizes caution in facing opponents and living life. The compactness of the Tari Piring Lampu Togok symbolizes the community and togetherness in living life. Keyword: Solok, Lubuak Nan Tigo Studio, Tari Piring Lampu Togok, Form of Creation.
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Schroedter, Stephanie. "Embodying Musical Space." Congress on Research in Dance Conference Proceedings 2012 (2012): 132–39. http://dx.doi.org/10.1017/cor.2012.17.
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The epoch-making dance reforms of the early twentieth century did not only lead to new dance techniques, styles, and movement concepts, but also to an intensive search for new dialogues between music/sound and dance/movement. These new interactions were notable for their reliance on pre-existing music that was usually not intended for dance. Analogous to the choreographers' search for new movements in new (sound) spaces, composers looked for a new physicality of sounds (musical gestures), as well as for new spaces inside and outside of these sounds. Following these mid-twentieth-century developments, choreographers have increasingly chosen “new music” for their creations—compositions beyond the classical repertoire. In my paper, I will explore the choreographic possibilities of “new (non-dance) music” by comparing two examples: Bill T. Jones' solo danced to Edgar Varèses' Ionisation and a solo created by Martin Schläpfer using György Ligeti's Ramification. These examples will serve as case studies to argue for my concept of “kinesthetic listening,” which can be applied to a more general approach to discussions of the embodiment of music. This concept includes not only the perspective of the choreographer and interpreter/dancer, but also the perception of the spectator/listener. As a precondition, music/sound is understood as movement: an audible but not visible, rather an imaginable/imaginary movement that can (but need not) interact with body movements. Body movements/dance, in turn, can interact with music according to different choreographic strategies. To analyze these choreomusical dialogues, a special combination of (and training in) listening to and watching movement is required—informed by models of analysis from musicology and dance studies as well as from phenomenology and cognitive sciences.
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Dinata, Ikrar, and Nerosti Nerosti. "PELESTARIAN TARI PIRIANG DIATEH KARAMBIE DI PAYO KELURAHAN TANAH GARAM KECAMATAN LUBUK SIKARAH KOTA SOLOK." Jurnal Sendratasik 9, no. 2 (September 25, 2020): 53. http://dx.doi.org/10.24036/jsu.v9i1.109502.
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This study aims to preserve a dance called Tari Piriang on Karambie in Payo, Tanah Garam Village, Lubuk Sikarah District, Solok City. This is a qualitative research with a descriptive method. The object of this research is Tari Piriang on Karambie and is focused on its preservation. The data were collected through field observations, interviews, and documentation done by using cameras. Triangulation technique was used to validate the data. It was conducted by comparing the data from observation tothose from interview and documentation. The results show that (1) Tari Piriang on Karambie, which was founded by Rabaim Pandeka Mudo, was found in Payo, Tanah Garam Village, Lubuk Sikarah District, Solok City. (2) The form of Tari Piriang Diateh Karambie still uses the old movement without being recreated. (3) In term of description of Tari Piriang on Karambiein Payo, Tanah Garam Village, Lubuk Sikarah District, Solok City, there are 7 movements namely Pasambahan, Cincang Pambuka Main, Barabah Mandi, Ramo-Ramo Bagaluik, Sairiang Salangkah, Tuduang Daun and Simpie Nan Ampek. The position of the dancers is not certainly determined when moving on the Karambie (coconut) so that the dancers do not panic looking for the positions while dancing on it. The numbers of dancers are 4 to 8 in maximum. (4) The training of Tari Piriang on Karambie in Payo, Tanah Garam Village, Solok City, is conducted 4 times, and the researcheruses teacher-to-student teaching method. The researcher exemplifies the movements and the dancers does the movements taught by the theresearcher. (5) The dancers of Tari Piriang on Karambie wear uniforms, and the dance is accompanied by musical instruments such as Talempong, Gendang, Giring-giring, and recorders. This is successfully performed at Syek Kukut Park in Solok city. Thus, the researcher concludes that preserving Tari Piriang on Karambie has a good impact on the continuity of culture in Payo, Tanah Garam Village, Lubuk Sikarah District, Solok City.Keywords: Preservation, Tari Piriang on Karambie, Payo
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D'CRUZ, MARION, and MARK TEH. "Gostan Forward: A Lecture Performance." Theatre Research International 43, no. 2 (July 2018): 201–22. http://dx.doi.org/10.1017/s0307883318000305.
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Gostan Forward is an excavation of pioneering Malaysian contemporary dancer-choreographer Marion D'Cruz's life history. Conceived in 2009 as a solo lecture performance, it traces D'Cruz's growth as a student, dancer, choreographer and educator, revealing her choices, strategies and influences over the span of a forty-five-year dance career. The performance text published here is accompanied by an introduction from D'Cruz's collaborator and director Mark Teh.
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Milovanović, Dara. "Popular Dance as Archive: Re-imagining Keeps the Fosse Aesthetic Preserved." Dance Research 38, no. 2 (November 2020): 255–70. http://dx.doi.org/10.3366/drs.2020.0312.
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Bob Fosse's instantly recognisable iconographic style and visual aesthetic has often been quoted in music videos, TV shows, and films featuring dance, such as videos by Paula Abdul, Michael Jackson, and Beyoncé. Using Fosse's screendance as a focal point for analysis, this essay seeks to illustrate the dynamics with which subsequent cultural capital of examples of screendance creates a multivocal archive that blends choreographic and screen histories. The idea that popular dance on screen creates an alternative form of archival records challenges the traditional notion of archive as a collection of artefacts by concentrating on works by various artists that quote, borrow and recycle previously available works of popular dance on screen. Quoting and referencing previous dance works, although problematic in terms of copyright and authorship, creates an active process for historical archiving that brings choreographic style and aesthetic to contemporary audiences adjusted to the current socio-political needs of the audience and technological possibilities. Artists reclaim and reformulate the existing repertory to their own political and economic needs therefore creating a regenerative ideology of the way popular dance re-interprets the dances for the given time, space, and context. The examples of dance videos discussed in this essay act as an interpretation of numerous references found in popular culture and therefore challenge the rigid tropes of dance creators as sole producers of dance material and the meanings communicated. Directing attention on to the dance and the corporealities of dancers further questions ideas of authorship as it recognises the bodily history as a fundamental part of web of meanings presented in dance.
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Kellermann, Jonas. "A breach of silence: affective soundscapes in Sasha Waltz’s Roméo et Juliette." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (April 13, 2020): 38–53. http://dx.doi.org/10.1177/0184767820914847.
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This article analyses Roméo’s silent solo dance in German choreographer Sasha Waltz’s staging of Hector Berlioz’s dramatic symphony Roméo et Juliette for the Paris Opera Ballet. The musicless scene, which imagines Roméo’s reaction to the news of Juliette’s ‘death’, exposes the dancer’s physicality through various acoustic means, creating a soundscape that makes the character’s despair accessible to the audience as affective intensities. The solo thus not only brings together competing stances towards emotionalism from classical and non-classical theatre dance, but also builds upon the philosophical interrogation of artistic expression both in Shakespeare’s play and in its musical adaptation by Berlioz.
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Gunnarsdóttir, Katrín. "Dancing labour: Practising a personal archive." Nordic Journal of Dance 12, no. 1 (June 1, 2021): 22–27. http://dx.doi.org/10.2478/njd-2021-0003.
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Abstract This article presents and discusses solo dance practices developed by Katrín Gunnarsdóttir during the years 2014–2020. She started to develop her practices with the solo work Saving History (2014), a chronological charting of her relationship with borrowing movement. As a consequence of that process she became interested in exploring the virtuosity of slowly morphing one movement into another, and that research developed into another solo work, Shades of History (2016). The act of warming up and getting ready for a performance formed the basis of the third solo, Dancing (to) (2020). Through this series of solo performances, Katrín has realized her ongoing interest in dancing labour, performing the archive and a focus on the dancing rather than the dancer.
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Bassi, Karen. "The Ancient Dancer in the Modern World: Responses to Greek and Roman Dance edited by Fiona Macintosh; Modernism's Mythic Pose: Gender, Genre, Solo Performance by Carrie J. Preston." Dance Research Journal 45, no. 1 (April 2013): 111–17. http://dx.doi.org/10.1017/s0149767712000356.
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Perhaps the best-known dancer from Greek antiquity is Hippocleides, who was a suitor for the hand of the daughter of Cleisthenes, the tyrant of Sicyon in the sixth century BCE. According to Herodotus, Hippocleides was “the most outstanding man in Athens for his wealth and good looks,” and Cleisthenes preferred him for his son-in-law “because of his courage” (or “manly virtue,” andragathiê) and because he was related to the Cypselidae of Corinth (Histories 6.127–8). On the day Cleisthenes was to make his decision, however, things took a wrong turn (Histories 6.129.2–4; trans. Waterfield 1998): After the meal, the suitors competed with one another at singing and at public speaking. As the drinking progressed, Hippocleides had a clear lead over the others, but then he told the pipe-player to strike up a tune, and when the musician did so he began to dance (orchêsato). Now, although Hippocleides liked his own dancing a lot, Cleisthenes was beginning to look on the whole business askance. After a while, Hippocleides stopped momentarily and asked for a table to be brought in. When the table arrived there, he first danced a Laconian dance on it, then some Attic figures, and finally stood on his head on the table and waggled his feet around. Hippocleides' uninhibited dancing of the first and second sets of figures had already put Cleisthenes off having him as a son-in-law, but he kept silent because he did not want to scold him. When he saw him making hand gestures with his legs (echeironomêse), however, he could no longer restrain himself. “Son of Tisander,” he said, “you have danced away (aporchêsao) your marriage.” The young man replied, “Hippocleides doesn't care! And that is how the proverb arose.
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Raush, John R., Ross Edwards, Jacob Druckman, Roger Reynolds, and Toshi Ichiyanagi. "Marimba Dances for Solo Marimba (1982)." Notes 49, no. 3 (March 1993): 1278. http://dx.doi.org/10.2307/899022.
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Becker, Svea, and Bruce Williams. "A Madison for Outcasts: Dance and Critical Displacements in Jean-Luc Godard’s Band of Outsiders." Hors dossier 18, no. 2-3 (August 4, 2008): 215–35. http://dx.doi.org/10.7202/018559ar.
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Abstract In light of Timothy Corrigan’s discussion of the cult film as “adopted child,” Godard’s Band of Outsiders (Bande à part) can be viewed as a film which has transcended its original destiny and opened doors to diverse critical and spectatorial receptions. Drawing upon pulp fiction and the “B movie” genre, Godard’s original intent was to make a mainstream film. But it was precisely the film’s homage to the American mainstream that soon led to its cult status in non-mainstream cinema. Based on a pulp fiction novel by Delores Hitchens, Band of Outsiders celebrates dance and movement from American popular culture and, in particular, American jazz dance as popularized in Europe in the early 1960s. In one sequence, the protagonists break into the Madison, a line dance that quickly moved from the African-American community to the white mainstream through such television shows as American Bandstand and to Europe through the work of such performers/teachers as Harold Nicholas. The freedom of movement within a structured environment, which defines the Madison, recalls the director’s own approach to filmmaking as well as his high regard for the physical dexterity of his actors. Inasmuch as each dancer dances the Madison “solo,” the dance allows individual characters to articulate through movement their mental and emotional states. At the same time, it permits the three protagonists to function as a synchronized group, a “band of outsiders.” The Madison sequence, moreover, presents a microcosm of many of the ideological and aesthetic premises of the Nouvelle Vague and is particularly reflective of Godard’s love of Americana. This dance, itself synonymous with the film, is the sequence that generates the most intricate intertextual references as well as the most divergent critical response. The Madison has thus become the vehicle through which Band of Outsiders has come to stand in for non-mainstream cinema at large.
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Crawley, Marie-Louise. "Dance as Radical Archaeology." Dance Research Journal 52, no. 2 (August 2020): 88–100. http://dx.doi.org/10.1017/s0149767720000194.
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This essay examines from an artist-researcher perspective the durational solo dance work Likely Terpsichore? (Fragments), created for and performed at the Ashmolean Museum of Art and Archaeology (UK) in 2018. It asks how dance's presence in the archaeological museum might allow an alternative visibility for ancient female bodies previously rendered only partially visible by history. It makes a claim for dance in the archaeological museum as a subversive act of radical archaeology, in terms of how, by playing on notions of dismembering/remembering histories, it seeks to disrupt received notions of how we view and understand ancient history and culture.
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Regnier, Leonard. "Book Review: Fantastic Dances, for Solo Guitar." International Journal of Music Education os-26, no. 1 (November 1995): 91. http://dx.doi.org/10.1177/025576149502600124.
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Yan, Alycia Fong, Richard Smith, Benedicte Vanwanseele, and Claire Hiller. "Mechanics of Jazz Shoes and Their Effect on Pointing in Child Dancers." Journal of Applied Biomechanics 28, no. 3 (July 2012): 242–48. http://dx.doi.org/10.1123/jab.28.3.242.
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There has been little scientific investigation of the impact of dance shoes on foot motion or dance injuries. The pointed (plantar-flexed) foot is a fundamental component of both the technical requirements and the traditional aesthetic of ballet and jazz dancing. The aims of this study were to quantify the externally observed angle of plantar flexion in various jazz shoes compared with barefoot and to compare the sagittal plane bending stiffness of the various jazz shoes. Sixteen female recreational child dancers were recruited for 3D motion analysis of active plantar flexion. The jazz shoes tested were a split-sole jazz shoe, full-sole jazz shoe, and jazz sneaker. A shoe dynamometer measured the stiffness of the jazz shoes. The shoes had a significant effect on ankle plantar flexion. All jazz shoes significantly restricted the midfoot plantar flexion angle compared with the barefoot condition. The split-sole jazz shoe demonstrated the least restriction, whereas the full-sole jazz shoe the most midfoot restriction. A small restriction in metartarsophalangeal plantar flexion and a greater restriction at the midfoot joint were demonstrated when wearing stiff jazz shoes. These restrictions will decrease the aesthetic of the pointed foot, may encourage incorrect muscle activation, and have an impact on dance performance.
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Alfirević, Dragana, and Andrew Morrish. "The weird dinner guest who came and then just stayed." Maska 30, no. 172 (July 1, 2015): 6–27. http://dx.doi.org/10.1386/maska.30.172-174.6_7.
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I talked with dance pedagogue Andrew Morrish about his beginnings as a teacher and his understanding of education, his motivation to do solo improvisation as a performative practice, and about what his work brings to his colleagues and to this world. He told me about some of the different layers of his work during improvisation that became his methodology, about what it means to be a dancer (and it’s not about how high your legs can go), and what it means to be an artist. He spoke about differences between therapy and solo improvisation, between professional and non-professional artists, and about the transparency one should work with on stage. He also told me that his work is his political response to the current situation in society.
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Cornell, Katherine. "Seeing and Experiencing Chouinard." Ethnologies 30, no. 1 (September 19, 2008): 157–76. http://dx.doi.org/10.7202/018840ar.
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Abstract This article employs Julia Kristeva’s concept of the chora as a means to describe and analyze the dancing body and the body of the spectator. In Revolution in Poetic Language, Kristeva posits the chora as analogous to vocal and kinetic rhythms of the body. As an audience member who also trained as a dancer, I find my body responds instantaneously and rhythmically to dance performances, thereby connecting to the chora. Subsequently, the act of writing becomes a physical manifestation of the theatrical experience. My research questions include: what role does the body play in the transmission of dance to language? How is the essence of the chora transferred from dancer to spectator in the experience of watching a performance? The writings of Julia Kristeva, Roland Barthes and John Martin provide important theories of the body that aid in answering these research questions. With an awareness of the chora in each subject, I examine the transfer of the chora from the dancer to the spectator in the work of Montréal choreographer Marie Chouinard, specifically the male solo Des feux dans la nuit. Marie Chouinard stands out as one of Canada’s most successful and internationally recognized contemporary choreographers. This article considers the impact of Chouinard’s dancing body on the spectator.
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Hebson, Audrey. "Dance and Its Importance in Bach’s Suites for Solo Cello." Musical Offerings 1, no. 2 (2010): 55–64. http://dx.doi.org/10.15385/jmo.2010.1.2.2.
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Lunberry, Clark. "Dance of Light and Loss." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 56–62. http://dx.doi.org/10.1162/pajj_a_00317.
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On a bright and sunny Sunday afternoon in the Ogikubo district of western Tokyo, in the dark basement of Saburo Teshigawara's dance studio and performance space known as Karas Apparatus, an audience gathered to see the dancer's newest solo performance, Fool. The uncurtained stage in the small theatre was empty and unlit, the stage itself far larger, perhaps three times larger than that tight space reserved for those attending the event. What lights there were faintly illuminated only the slightly raised rows of cushions upon which the forty of us in the audience took our seats, waiting for the performance to begin.
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Dermawan, Wisnu. "BODY RECORD: PERJALANAN TUBUH DALAM BINGKAI TARI SRANDUL." Joged 17, no. 1 (July 26, 2021): 42–60. http://dx.doi.org/10.24821/joged.v17i1.5602.
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ABSTRAK“Body Record” dalam Bahasa Indonesia berarti catatan atau rekaman tubuh. Karya tari ini menceritakan perjalanan manusia khususnya perjalanan tubuh tari penata. Karya tari dalam bentuk suita ini dibagi menjadi empat bagian, bagian pertama tentang kelahiran, dua tentang mengenal tari, tiga tentang konflik batin, dan empat mengenai kelahiran kembali.Tari Srandul menjadi inspirasi untuk menciptakan karya tari ini. Ketertarikan berawal dari menyaksikan pementasan tari Srandul di Dusun Dukuh Seman, desa Wonosari, Kecamatan Bulu, Kabupaten Temanggung, Jawa Tengah. Dari sekian banyak hal yang ditangkap dari tari Srandul, penata tertarik pada koreografi tunggalnya yang dihadirkan dalam sebelas segmen, tema perjalanan manusia, gerak mlampah sebagai representasi tema perjalanan manusia, dan tiga unsur pokok tari Srandul yaitu adanya tembang, tembung, dan tari. Tema ini kemudian dihubungkan dengan pengalaman empiris penata khususnya perjalanan tubuh tari penata. Koreografi tari ini merupakan koreografi tunggal yang ditarikan oleh penata tari sendiri. Pertimbangannya adalah untuk mempermudah proses penciptaannya, selain beranggapan bahwa yang paling mengerti tentang hidup dan perjalanan hidup yang pernah dihanyalah penata sendiri. Bisa juga dikatakan bahwa dalang dari kehidupan kita adalah diri kita sendiri. Gerak Mlampah sebagai representasi perjalanan manusia yang ada pada tari Srandul dijadikan transisi antar bagian dalam struktur tari. Melalui karya ini diharapkan muncul generasi-generasi muda untuk ikut terlibat dalam melestarikan dan mengembangkan seni tradisi yang ada di daerahnya masing-masing. ABSTRACT "Body Record" in Indonesian means catatan or rekaman tubuh. This dance work tells about the human journey, especially the journey of choreographer’s dance body. This dance work in the form of suite is divided into four parts, the first part about birth, second about getting to know dance, third about inner conflict, and fourth about rebirth. Tari Srandul (Srandul dance) became the inspiration for creating this dance work. This interest started from watching the Srandul dance performance in Dusun Dukuh Seman, Desa Wonosari, Bulu District, Temanggung Regency, Central Java. Choreographer captures many things from the Srandul dance, and finally interested by the solo choreography presented in eleven segments, the theme about human journey, the movement of mlampah as a representation of the theme, and the three main elements of the Srandul dance, namely the presence of tembang, tembung, and dance. Then the choreographer connecting the theme with his empirical experience, especially the journey of the choreographer's dance body. This dance choreography is a solo work choreography that is danced by the choreographer himself. The choreographer dances the work that was created with the consideration to facilitate the creation process. In addition, the choreographer think that the one who understands the most about life and the journey of life that the choreographer has ever passed is only the choreographer himself. It could also be said that the mastermind of our lives is ourselves. Mlampah movements as a representation of the human journey in Srandul dance are used to move between parts in the dance structure. Through this work, it is hoped that it will create the younger generation to be involved in preserving and developing traditional arts in their respective regions.
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Simonari, Rosella. "Alberto Spadolini's Box: Dance, Silence and the Archive." Dance Research 38, no. 2 (November 2020): 311–29. http://dx.doi.org/10.3366/drs.2020.0316.
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The Italian dancer and painter Alberto Spadolini was rediscovered when a box containing numerous documents relating to his artistic life was recovered in 1978 by his nephew, Marco Travaglini. This box forms the core of the archive assembled by Travaglini since 2004, containing valuable information about his uncle who had been largely-neglected. Spadolini (1907–1972) was born in Ancona, Italy, studied in Rome during the 1920s and moved to France in the 1930s. In 1932, he became a famous music-hall dancer performing in solo numbers and group works with Josephine Baker and Mistinguett, among others. Throughout the decade he came to be known as ‘the nude dancer’, possibly owing to the skimpy costumes he usually wore and his statuesque body. From the 1940s he began painting a series of works featuring ballerinas in tutus. He never spoke to his nephew about his life as dancer, so that when Travaglini found the box, he was amazed at what he discovered. The box constitutes a precious archive, containing photographs, posters, articles, and reviews relating to Spadolini's career as a dancer and painter. I intend to analyse Spadolini's box using methodological tools from archive studies and from dance and cultural history, with particular attention to the concept of cultural hegemony, in order to establish the fundamental importance of such archives to the recovery of neglected figures like Spadolini.
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Wan, Yulin, Shanshan An, Yanchao Zhou, Man Tang, and Qiuyun Liu. "A Solo Dance or a Tango?" Biochemistry Insights 12 (January 2019): 117862641988628. http://dx.doi.org/10.1177/1178626419886280.
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Previous studies have identified genetic factors and Epstein-Barr virus underlying nasopharyngeal carcinoma. A hypothesis postulated that the local buildup of HCl, mediated by hydrogen bond donors and acceptors and basic amino acids, causes cancer. Nasopharyngeal carcinoma incidences are high in the humid southern coastal China, Southeast Asia, and Mediterranean regions, but not in the noncoastal and nonhumid southern Yunnan Province, China, and nonhumid Central China. The nearly saturated humidity in the Huinan period in Guangdong can trigger the expression of proteins with extensive hydrogen bonding to protons, augmenting the formation of HCl that is mutagenic. Given that the Epstein-Barr virus carries high content of hydrogen bond donors and acceptors, the moist environment in the nasal cavity may enable the virus to colonize the site, compounding pertinent investigations as both virus and high humidity are likely to trigger carcinogenesis. Therefore, the phenomena of exceptionally high humidity in regions with high nasopharyngeal cancer rates warrant further investigations.
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Maedza, Pedzisai. "SOLD!: Restaging Dance, Death, and Disability." TDR/The Drama Review 63, no. 4 (December 2019): 181–88. http://dx.doi.org/10.1162/dram_a_00883.
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Themba Mbuli's SOLD! integrates differently abled dancers in a performance that remembers the 1904–08 Namibian genocide. SOLD! pays homage to four unnamed women and a young boy whose mortal remains were among the first skulls repatriated from Berlin to Windhoek in 2011, as it animates the excesses of colonial officials who obtained body parts for use in eugenics, phrenology, and other racial-hygiene sciences.
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Whittall, Arnold. "Hyde - HYDE: Three Dancers; Autumnal; Nocturnes; Second Suite for Solo Cello; Birthday Song; Winter Music; String Quartet. Edward Vanderspar (vla), Katherine Jenkinson (vlc), Evelina Puzaite (pno), Martin Cousin (pno), Aquinas Piano Trio, Juventus Quartet, Instrumental Ensemble c. John Traill. Guild GMCD 7389." Tempo 67, no. 265 (July 2013): 108–9. http://dx.doi.org/10.1017/s0040298213000697.
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Parson, Annie-B. "David Bowie: Dance, Theatre, Other." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 31–32. http://dx.doi.org/10.1162/pajj_a_00313.
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I was just thinking about the perfect strangeness of his performance, his separation from gravity and from what is temporal, his saturated colors, his plastic shape-shifting identity, and his insistence on and intentionality around theatricality. And his dances: the abstraction and the symbol. I have an enduring image in my mind from an early album of his fingers specifically molded in an asymmetric shape to express messages from somewhere we don't know, have never been. His last dance, a solo in the middle of Black Star, so eerie, so loose-limbed. I was thinking of his pure, pitch-perfect spectacle, and the embodiment of spectacle through elaborate makeup and costume, with a gender fluidity that freed us all.
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Noble, Katie, Donald Glowinski, Helen Murphy, Corinne Jola, Phil McAleer, Nikhil Darshane, Kedzie Penfield, Sandhiya Kalyanasundaram, Antonio Camurri, and Frank E. Pollick. "Event Segmentation and Biological Motion Perception in Watching Dance." Art & Perception 2, no. 1-2 (2014): 59–74. http://dx.doi.org/10.1163/22134913-00002011.
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We used a combination of behavioral, computational vision and fMRI methods to examine human brain activity while viewing a 386 s video of a solo Bharatanatyam dance. A computational analysis provided us with a Motion Index (MI) quantifying the silhouette motion of the dancer throughout the dance. A behavioral analysis using 30 naïve observers provided us with the time points where observers were most likely to report event boundaries where one movement segment ended and another began. These behavioral and computational data were used to interpret the brain activity of a different set of 11 naïve observers who viewed the dance video while brain activity was measured using fMRI. Results showed that the Motion Index related to brain activity in a single cluster in the right Inferior Temporal Gyrus (ITG) in the vicinity of the Extrastriate Body Area (EBA). Perception of event boundaries in the video was related to the BA44 region of right Inferior Frontal Gyrus as well as extensive clusters of bilateral activity in the Inferior Occipital Gyrus which extended in the right hemisphere towards the posterior Superior Temporal Sulcus (pSTS).
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Desfiarni, Desfiarni. "TINJAUAN ESTETIKA TARI PIRIANG JORONG LIMAU SUNDAI PASIR TALANG SOLOK SELATAN." Humanus 12, no. 2 (December 9, 2014): 120. http://dx.doi.org/10.24036/jh.v12i2.4032.
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AbstractThis article aims to reveal esthetic values embodied in the traditional plate dance from Jorong Limau Sundai, Pasir Talang Village, South Solok Regency. The dance isspecially performed by women. This qualitative research used descriptive method. Theobject of this study is the structure of performance of the plate dance from Jorong LimauSundai. The researcher is the key instrument in this study. Data was collected byobserving, interviewing, and documentation study. Data was then analysed usingethnographic method. The research found that this dance has traditional esthetics based on local culturalvalues of the Jorong Limau Sundai community. The esthetic values are reflected in themovement structure, costume, floor design, music design, dance technique, and facialexpression of the dancers who are mostly women aged 45 to 48 years old. The estheticvalues of this dance derive from tradition that based in daily values of Jorong LimauSundai community. Key words: Plate Dance Of Jorong Limau Sundai, Esthetic Values, Dan DancePerformance Abstrak Artikel ini bertujuan untuk mengungkapkan nilai estetika yang terkandung dalamstruktur penyajian tari Piriang tradisional dari Jorong limau Sundai Pasir TalangKabupaten Solok Selatan. Tari ini khasnya ditarikan oleh penari perempuan. Penelitianini adalah penelitian kualitatif dengan metode deskriptif. Objek penelitaian adalahstruktur penyajian tari Piriang tradisional Jorong Limau Sundai. Peneliti merupakaninstrumen kunci dalam penelitian ini. Teknik pengumpulan data melalui pengamatanlangsung, wawancara, dan studi pustaka serta pendokumentasian. Data dianalisisdengan metode etnografi. Berdasarkan hasil penelitian bahwa tari ini memiliki estetika tradisional yangberakar pada nilai-nilai budaya lokal masyarakat Jorong Limau Sundai. Nilai estetikapada tari Piriang Jorong Limau Sundai terdapat pada struktur gerak, kostum, disainlantai, disain musik, dan teknik tari serta ekspresi dari penari perempuan yang rata-rataberusia 45 sampai 48 tahun. Nilai estetika tari Piriang Jorong Limau Sundai tidakterlepas dari nilai budaya yang menjadi dasar bagi masyarakat Jorong Limau Sundaidalam kehidupan sehari-harinya. Kata kunci: Tari Piriang Jorong Limau Sundai, nilai estetika dan penyajian tari
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Platvoet, Jan G. "At War With God: Ju/'Hoan Curing Dances." Journal of Religion in Africa 29, no. 1 (1999): 2–61. http://dx.doi.org/10.1163/157006699x00232.
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AbstractIn the 1950s and 1960s, only a few !Kung speaking San, or Bushmen, continued to follow the traditional way of life of nomadic food gathering in the Kalahari semi-desert of Southern Africa. One group were the Ju/'hoansi of the Nyae Nyae and Dobe areas of the Northwestern Kalahari. It is their religion that is discussed in this article. Their central rite was the curing dance, an all-night ritual which they often practised (and practise now, after they have settled permanently, even more commonly than before).2 It served as their major means of maintaining solidarity within their egalitarian bands3 and of removing conflict from it__another means being the sharing of the food they had collected and the meat they had hunted. Solidarity was maintained through the curing dance, partly because the dance was itself a process of sharing, of n/um, 'curing power', and partly because it served as a ritual of exclusion. God and the deceased were blamed for the evil present in the group, were declared personae non gratae and refused admission to the dances as unwelcome aliens, the !Kung waging a continual ritual war upon them as their sole enemies. The special interest of this religion and this ritual for the comparative study of religions is highlighted by an examination of the link between the anthropological study of the !Kung curing dances and recent archaeological research on San art, especially the thousands of rock paintings which have been found all over Southern Africa, and which are interpreted now as reflecting a tradition of San curing dances dating back for many millennia.