Journal articles on the topic 'Transmission practices in dance'
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Belyakova, I. G., and A. L. Mileshko. "COMMUNICATIVE AND INTERCULTURAL ASPECTS OF DANCE IN THE SPACE OF INFORMATION CULTURE." Arts education and science 3, no. 32 (2022): 57–65. http://dx.doi.org/10.36871/hon.202203007.
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The availability of nonverbal communication and perception of visual images and patterns of dance movements in the Internet space has led to active interaction between representatives of different cultures. The emergence of new digital dance practices confirms the need for new methods and approaches to the study of dance culture and its communication properties, including at the intercultural level. Modern technologies make it possible to transmit and record dance information at a new level. The Internet as a means of communication has significantly expanded the boundaries of dance interaction between representatives of different cultures, while "motion capture" technologies allow recording dance information with maximum accuracy, storing and processing patterns of different dance cultures. The article analyzes the features of the transmission and perception of information in the dance art. Within the linear and nonlinear communication models, dance can contain semantic, emotive, deictic, phatic, cognitive and other information. Viral dances, dance videos in Tik Tok, dance videos on video hosting sites represent a new level of intercultural interaction. The transmission of information through several sensory channels at once, as well as the universality of nonverbal information, ensures mutual understanding and helps to eliminate communication barriers. Thus, the application of the information approach to the consideration of dance in the space of modern culture allows to study the peculiarities of the perception and transmission of dance, including between representatives of different cultures interacting in the global information space.
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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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MARINESCU, ANGELICA. "What’s in a dance? Dalkhai: from a religious community ritual, to a pro-scenium performance." International Review of Social Research 11, no. 1 (December 14, 2021): 298–313. http://dx.doi.org/10.48154/irsr.2021.0028.
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An educational international project, initiated by a Romanian organisation, comprising folk dances from around the world, has challenged me to go deeper into understanding one of the most popular dance forms of Western Odisha, Dalkhai. Traditionally a religion-based folk dance connected to the agrarian culture of local Adivasi communities, it has been gradually developed into a cultural pattern of Odisha, Eastern India. Considering folklore as intangible cultural heritage of humanity, according to UNESCO definition, I explore the expression of this ritual-dance, in connection to the Adivasi culture, as Dalkhai is considered the goddess of fertility, initially worshipped by the tribal people/Adivasi like Mirdha, Kondha, Kuda, Gond, Binjhal, etc., but also in its recent metamorphosis into a proscenium representation. The Dalkhai dance is becoming visible and recognised at state, national and even international form of dance, while in the Adivasis communities it is noted that the ritual becomes less and less performed. Consulting the UNESCO definitions and documents on Intangible Cultural Heritage is useful for understanding how to approach a choric ritual, involving a tradition, music and dance, enhancing the importance of safeguarding cultural diversity while confronting cultural globalization. Its approach, in accordance with ‘universal cultural rights’, emancipatory politics concerning world culture and multiculturalism, opposes the disappearances and destruction of local traditions, indigenous practices. Heritage concerns the whole community, conferring an identity feeling, and supporting the transmission to the next generations, sustainable development, often involving economic stakes, becoming essential for developing the territories (Chevalier, 2000).
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Woolley, Andrew. "From Arrangements to New Compositions: Seventeenth-Century French Dance Music in Portuguese and Spanish Keyboard Sources to 1720." De musica disserenda 16, no. 1 (March 10, 2020): 9–35. http://dx.doi.org/10.3986/dmd16.1.01.
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Focussing on four keyboard manuscripts, this article discusses the dissemination, arrangement and adaptation of French-style dance music in Portugal and Spain in the late seventeenth and early eighteenth centuries. It highlights the importance of short scores in facilitating its transmission and discusses how adaptations accorded with local tastes and practices.
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Conroy, Renee M. "Lesley Main (ed.), Transmissions in Dance: Contemporary Staging Practices." Dance Research 37, no. 2 (November 2019): 265–66. http://dx.doi.org/10.3366/drs.2019.0278.
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Nardone, Michael. "Skirmish at the Oasis: On Sonic Disobedience." Leonardo Music Journal 26 (December 2016): 92–96. http://dx.doi.org/10.1162/lmj_a_00983.
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In this article the author theorizes how the idea of a sonic avant-garde resounds today. Focused on technics of noise and site specificity, the author describes the sounds and sites of the Idle No More round dance interventions of the winter of 2012–2013 and hears these protests via the dissonant transmission of the sonic practices and geographical-racial theories of the historical avant-garde.
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Leach, James. "Ownership and transmission in contemporary dance and beyond: A short introduction to the special issue." International Journal of Cultural Property 29, no. 2 (May 2022): 103–6. http://dx.doi.org/10.1017/s0940739122000182.
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AbstractThe aim of this special issue is the investigation and contextualization of specific arts practices for what they can show us about the transmission and ownership of knowledge. Our authors make explicit the modes of sharing that are part of the creative process in contemporary dance and in Irish traditional music and examine the principles of transmission and social mores that allow ideas to move between practitioners. This introduction sets out some context for the issue and our approach, which is to work alongside practitioners to understand and reveal the social principles and expectations of ownership that are part of the process of producing these art forms.
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Crawford, Sally. "Shifting the Beat: Exploring Tap Dance Performance and Identity on a Global Stage." Congress on Research in Dance Conference Proceedings 2014 (2014): 52–58. http://dx.doi.org/10.1017/cor.2014.7.
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The globalization of tap dance carries the possibility of hybridization as well as homogenization of the dance form. The transmission of tap dance to England during the late-nineteenth and early-twentieth centuries enabled individuals to learn repertoire for syllabus examinations and theatrical productions. In 2006, the implementation of the tap jam, an informal event featuring improvised tap dance and live music, introduced the concept of spontaneous musical and movement composition. The tap jams represent shifting cultural processes in global performances of tap dance. This paper will examine the application of global perspectives in how tap dance is performed and practiced in other countries. My discussion will draw from an ethnographic investigation of two tap dance communities located in Manchester and London, England. Utilizing examples from my fieldwork, I demonstrate how the tap jams in England act as a site for constructing individual performance identity, highlighting a move away from homogenized tap performance.
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BELIBOU, Alexandra. "Tibetan Sacred Dances." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 17–24. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.2.
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Entering the world of Tibetan spirituality, we observe a multitude of rituals that involve movement and music, used by the monks for various therapeutic and ritualic purposes. The history of Tibetan dance – the Cham tradition - runs in parallel with the history of Buddhism on this territory. Information on these rituals and dances is found in very few Tibetan documents, almost none in European works, and recently in several works printed in English. This can be explained by their oral transmission in special schools, as well as in secret initiations. As the title mentions, in this article, we will discuss the sacred dances of the Tibetans and not the folk ones. Thus, in the following pages, we will mention some of the dances practiced within the sacred rituals by Tibetan monks.
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PV, Suresh. "The Philosophy and Practice of Indian Classical Dance-Changes and Challenges with Digital Humanities." Journal of Natural & Ayurvedic Medicine 4, no. 3 (July 6, 2020): 1–5. http://dx.doi.org/10.23880/jonam-16000260.
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Traditionally, Indian dance forms were taught through the Guru-Shishya system, where the student stays at the abode of the Guru to develop a strong foundation in the field. This enabled the Guru to nurture the disciple and prepare them to become experts in the vocation alongside all the important values that go with any system of knowledge in ancient Indian tradition. The unique features of Gurukul were deep love, respect and mutual communion. There are significant changes in the current world, where digitization is an unavoidable trend. An objective of this paper is to identify the aspects that are ‘modified’ and sometimes, lost in the process of digitizing Indian Classical dance. It would not be of any help to fight natural evolution and dismiss growth but care has to be taken, not to cut asunder the very purpose of the creation of an art which is to restore righteousness in the world through an aesthetic medium. The spiritual role that it plays in the world, needless to add, is indeed as an agent to kindle peace and friendship between people, beyond all barriers. It would be helpful if the potential attributes that are in threat of getting submerged through digitization, are identified by researchers and artists. For example, during dance training, the pure dance technique and structure can become translated to a satisfying extent as the basic emotional stance is that of vigour. On the other hand, the intense involvement in the expressional mode, the devotional ascent and the one to one transmission during actual presence of teacher and taught in close proximity, seems amiss
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Shi, Weirui, and Arsenio Nicolas. "Enhancing Education and Literacy through the Transmission of Tibetan Folk Music Performing Art in Qinghai Province, China." International Journal of Education and Literacy Studies 11, no. 4 (October 20, 2023): 151–58. http://dx.doi.org/10.7575/aiac.ijels.v.11n.4p.151.
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This study aims to propose guidance for the transmission of Qinghai folk music to the new generation, within the context of education and literacy studies. The sample group for this study consisted of three distinct groups of individuals chosen as key informants for the field research. These groups consist of two informants who are Music and Dance Artists, two informants who are performance artists and general informants. Based on the research, the following strategies are recommended for the transmission of Qinghai folk music to the new generation: utilizing the family institution, organizing social activities, creating a folk music curriculum, organizing international music festivals, and establishing a cultural center. These strategies aim to preserve and promote Qinghai folk music heritage and enrich education and literacy by incorporating cultural traditions into educational practices. This research contributes to the field of education and literacy studies by showcasing novel methodologies and creative applications of theories in transmitting cultural heritage through folk music. By emphasizing the importance of cultural transmission, this study emphasizes the transformative power of Tibetan folk music in fostering educational development, literacy skills, cultural awareness, and artistic expression.
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Lukavic, John P., and Chris Patrello. ""On behalf of the family"." Museum Anthropology Review 16, no. 1-2 (October 5, 2022): 115–34. http://dx.doi.org/10.14434/mar.v16i1.31650.
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This article examines themes of collaboration and stewardship, the importance of cultural protocols, and the intergenerational transmission of knowledge in the context of a Haida totem pole raising ceremony held at the Denver Art Museum in November 2019. Collaborating with members of the Wallace family, direct descendants of the original owners of the house frontal and memorial poles in its collection, the Denver Art Museum organized the event to honor the family’s legacy and the history of the poles. In this article, we outline the planning process, events, and outcomes of the event, and situate this within the context of Haida cultural practices. Combined with an analysis of Haida oratory, song, and dance, we demonstrate the ways in which collaborations that honor Haida cultural protocols can engender meaningful relationships between institutions and originating communities.
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Ruprecht, Lucia. "Gesture, Interruption, Vibration: Rethinking Early Twentieth-Century Gestural Theory and Practice in Walter Benjamin, Rudolf von Laban, and Mary Wigman." Dance Research Journal 47, no. 2 (July 27, 2015): 23–41. http://dx.doi.org/10.1017/s0149767715000200.
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This article compares Rudolf von Laban's and Mary Wigman's practices and theories of gestural flow with Walter Benjamin's theory of gesture as interruption. For Laban and Wigman, gesture mirrors a vitalist understanding of life that is based on the rediscovery of transhistorical continuities between human and cosmic energy. Benjamin's Brechtian gestures address inscriptions and manipulations of bodies, which provide comment on the conditions of society by subjecting to critique the essentializing aspects of historical and vitalist flow. Addressing in particular forms of vibration as both enriching and destabilizing the gestural from its margins, my article explores how vibratory energy indicates a self-reflexive theory of media, but also a revolutionary charge, in Benjamin; how it engenders a politically ambivalent process of transmission between dancers and audience in Laban; and how it becomes an actual mode of movement in Wigman. The historical inquiry contributes to a genealogy of vibration in contemporary dance.
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Frasson, Elisa. "Teaching and practising gestures: An investigation of the work of Accademia sull’Arte del Gesto." Journal of Dance & Somatic Practices 15, no. 1 (June 1, 2023): 107–17. http://dx.doi.org/10.1386/jdsp_00097_1.
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The article investigates the work of Accademia sull’Arte del Gesto, created in 2007 by Italian choreographer Virgilio Sieni, by examining the relationship within teaching and practising gestures with Delfina Stella, his artistic collaborator. Accademia sull’Arte del Gesto is a research project devoted to the study of the gestures, the meaning of body movement and the transmission of dance. This work on the art of the gesture aims to positively intervene on liveability and a possible sense of belonging, tending towards a renewal of the relationship between the body and the territory. The practice of gesture is transmitted both from the choreographer to the movers and vice versa. How are these practices of gestures open to a variety of people? To what extent is a somatic approach supportive in transmitting this practice? In what ways has Sieni, together with his collaborators, developed these pedagogies for gestures? The enquiry combines my own field research experience and narration around the creation , a project by Sieni.
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ANNA, TOMAŃSKA, CHORBIŃSKI PAWEŁ, KLIMOWICZ-BODYS MAŁGORZATA, and MILL PHILIP. "Communication among animals and bioacoustics studies on bees." Medycyna Weterynaryjna 80, no. 05 (2024): 6873–2024. http://dx.doi.org/10.21521/mw.6873.
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The communication of honey bees encompasses diverse forms, focusing on signals that resemble those in the learning process. Bioacoustics plays a crucial role in understanding this phenomenon, especially in the context of social insects, where communicative coding is complex and essential for survival. In this article, various aspects of bee communication are analyzed, examining both acoustics and other forms of information transmission. In the bee family, there are several communication mechanisms, such as the dance of bees, vibrations, buzzing, and singing. The dance communication of honey bees, based on dance movements, dates back as far as 40 million years, making it older than human language. This form of communication is linked to environmental needs and determines the survival of bees. Signals from queen bees are associated with reproductive needs within the colony, and other individuals exhibit diverse sound characteristics. Different species of bees utilize various aspects of the environment for communication, including gravity and the position of the sun. The precision of transmitted signals may depend on the distance to a food source or potential threat. Sounds emitted by bees serve diverse functions, such as deterring predators or recruiting other individuals for food collection. Modern technologies, especially bioacoustics, enable more precise studies of bee communication. Advanced methods of vibrational spectrum analysis even allow the prediction of swarming with high effectiveness, which can be particularly useful in beekeeping practices. Studies on the bioacoustic hive, utilizing stereo microphones and soundproofing, indicate the potential of these technologies for a better understanding of bee communication in natural conditions. However, many aspects of bee communication still require more detailed research, such as the role of honey-filled cells in transmitting vibrations, necessitating the use of precise tools and technologies. The bioacoustic hive project, based on traditional bee frames, provides new insights into bee communication, especially concerning sounds generated during bee collisions within the hive. Conclusions from bioacoustic studies have significant practical potential in apiculture. The use of stereo microphones and soundproofing improves the perception and assessment of acoustic phenomena within the hive. Prospects for utilizing sound recorders for continuous monitoring of life inside the hive, and the assessment of zoo-hygienic conditions, underscore the growing importance of bioacoustics in beekeeping practices. These discoveries open new perspectives for research into the social life of these crucial insect species and their conservation.
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Ikiroma-Owiye, Somieari Jariel. "Traditional Theatrical Practices in a Receding Economy: A Focus on TombianaEgbelegbeFestival of Rivers State." AFRREV IJAH: An International Journal of Arts and Humanities 9, no. 1 (April 28, 2020): 108–17. http://dx.doi.org/10.4314/ijah.v9i1.11.
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Lack of cultural reality has often led to recession in most developing societies as perceived in cultural studies. However, traditional adaptations are often deployed to cushion and possibly reverse the severity of recession across time and space. Instances of such reversals include the Chinese reversal to Confucianism, the Indian resort to Hinduism and the traditional African invocation of ancestral myths, religious observances and festivals. From the re-enactment of the procreative Tombiana Egbelegbe festival we have seen that traditional value creates order and social cohesion in African societies. A reversal to these traditional means of social reengineering will endear these creative practices that create order and social cohesion in African societies. Thus, the theoretical position of Marxist cultural inquiry will be applied as the theoretical framework for this paper. The Methodology applied in this study is research participant observation and sources of data were primary and secondary sources. The findings revealed that consistently, festivals are efforts of man to alleviate human suffering, create order and control his environment through creativity and cultural resourcefulness in performance. It was recommended that given the reality that is subsisting in most Nigerian communities, agrarian festivals, innovative, resourceful and masked designs, costumes, make-up, craftsmanship, dance, and music, drum communication should be encouraged. It was thus concluded that continuous performance will lead to preservation, packaging, promotion and transmission of cultural values from one generation to another which will in turn lead to cultural tourism. Cultural tourism can lead nations out of recession and economic dependence as was experienced in the Indian and Chinese cultural revolutionary experience.
Key Words: Traditional theatrical practices, recession, human capacity development, TombianaEgbelegbe Festival
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MANI MARAN, DURGA DEVI. "How do I Communicate Sringara Rasa (the Emotion Love) Through Pulaneri Vazhakku (Mode of ‘Sensing’)? Experimental Research Study, Practice-Based." International Review of Social Research 11, no. 1 (December 14, 2021): 254–73. http://dx.doi.org/10.48154/irsr.2021.0025.
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Bharathanatyam is practiced for the purpose of experiencing aesthetic pleasure by the actor, dancer and spectator (Rao, 1997). According to ancient treatises such as the Natya Sastra, dancing should be experiential, sensorial and pleasurable. When dance is transmitted, do these core values of the practice get lost? How can we heighten sensorial ranges through the facilitation of a shift in the transmission and dissemination of learning the component Rasa (emotion)? Some of the problems present in the current landscape of learning Bharathantayam is problematic due to the codification of the traditional form and the authoritarian style rooted in its pedagogy. This has left many students feeling incompetent and as a consequence, made the form unattainable. The purpose of my intervention is to make the learning of Sringara Rasa (the emotion of love) a component in the Bharathanatyam curriculum, accessible to all levels of dancers. I hope to achieve this through a sequential model that interrogates cognitive activities present in the engagement of a role or character performing the emotion. My intervention aims at reexamining the theory and practice of Padams (poetic texts) rooted in the Sringara Rasa (emotion of love) and bridging the gaps in learning this component. When dancers introspect, it allows them to access the sensorial dimension of Bharathanatyam.
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Albright, Ann Cooper. "CORD Awards Panel 2014: “Celebrating the Scholarship of Deidre Sklar”." Congress on Research in Dance Conference Proceedings 2015 (2015): 5–7. http://dx.doi.org/10.1017/cor.2015.2.
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You are not quite old enough to be my blood ancestor, but I am going to figure you as one anyway. My desire to claim you as a relative, intellectually speaking, is based on the groundbreaking work you have done across the fields of dance, performance studies and critical cultural studies. Your monograph Dancing with the Virgin: Body and Faith in the Fiesta of Tortugas, New Mexico (2001a) and seminal essays such as “On Dance Ethnography” (2001a) and “Can Bodylore Be Brought to Its Senses?” (1994) have demonstrated that we do not need to leave the body behind as we engage with new theories of cultural meaning. I had always admired your work and thought you were an interesting scholar and fun to be around, but it was being part of your panel on “corporeal rhetorics” during the international “Theory and Practice” conference in Paris, France, in 2007 that helped me make connections between our academic trajectories. This experience really pushed my thinking into new directions. I want to quote your abstract for that panel: This panel presents the concept of “corporeal rhetoric” in order to explore the question of agency vis à vis corporeal regimes. [This use of] “rhetoric” implies that bodily practices and events have somatic effects on performers and audiences that likewise work to convince. In short, kinetic sensation is a medium of persuasion. Acknowledging that techniques of the body carry ideological loads, we explore the persuasive force of manipulations of kinetic energy, the organization of rhythm and temporal dynamics, muscular tension and flow, spatial relations and shape, directionality and focus, to bring out the interplay of the somatic and the ideological in the transmission of movement practice. (Sklar 2007)
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Turgeon, Laurier. "Food Heritage and the Construction of Territory." Ethnologies 36, no. 1-2 (October 12, 2016): 467–83. http://dx.doi.org/10.7202/1037618ar.
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In the Western academic tradition, tangible cultural heritage (monuments, buildings, sites and material objects) has generally been considered as a privileged means of constructing places and territory, whereas intangible cultural heritage (oral traditions, arts, crafts, feasts, rituals, song, music, dance) have been associated with the identification of ethnic groups. This article aims to demonstrate that intangible cultural heritage can also be a powerful means of the construction of place, through a case study that shows how the consumption of home-grown agricultural products in Quebec transforms territories into places of heritage. This transformative process is accomplished, first, by the symbolic production and consumption of place. By clearly identifying the place of origin of the product on the label, in writing as well as in image, the act of eating homegrown products entails a displacement of territory from their place of production to their place of incorporation. The distant and the faraway are brought home and made familiar. To further reinforce the domestication of place, the consumer is invited to come and purchase the homegrown product at the place of production and to bring it back home with him. Second, these places areheritagitizedthrough the social production and consumption of time. Homegrown products are expressions of the continuity of place through the material conservation of food (dehydration, salting, freezing, etc.), the process of ageing itself and, more importantly, the transmission of their intangible qualities (traditional knowledge, transmission of receipts, preservation of taste). These practices become specific to a place to the point that they give the product a distinctive taste that is passed on from generation to generation. It is through taste that the memory of people and place is reactivated. The author of the article further suggests that it is these intangible elements which most efficiently and forcefully express the heritage of place.
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Friskie, Seren Micheal. "The Healing Power of Storytelling: Finding Identity Through Narrative." Arbutus Review 11, no. 1 (July 13, 2020): 19–27. http://dx.doi.org/10.18357/tar111202019324.
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This paper describes the power of storytelling in the context of an Indigenous youth collective, whichgathers each week to share their lived experiences and learn song, dance, and lessons through story. Ibegin with my own life narrative followed by an exploration of how the intergenerational transmissionof historical trauma has left many Indigenous youth searching for a connection to their culture. I thendiscuss research that reveals the importance of cultural continuity, self-determination, and engagementin the community to the healing journey of Indigenous youth. Next, I consider oral storytelling as onemethod of knowledge delivery, utilized by Indigenous Nations for thousands of years, that seamlesslyblends cultural learning and thus connection to identity. I detail the creation of a Youth StorytellingCircle which centres teachings from the Stó:lō, Haida, Nisga’a, Salish, and Popkum Coast Salish Nationssurrounding the shores and rainforests of what is now British Columbia. I conclude with reasons whyengaging youth in their wellbeing through traditional practices is of high importance to us all as Indigenouscommunity members.
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Zaborskaya, Dar'ya, Stanislav Olenev, and Yan' Chzhao. "Semiotic Codes of Chinese Culture." Bulletin of Kemerovo State University. Series: Humanities and Social Sciences 2023, no. 2 (July 4, 2023): 141–48. http://dx.doi.org/10.21603/2542-1840-2023-7-2-141-148.
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Semiotic systems transmit cultural information. Efficient semiotic transmission is concise, fast, and with minimal pragmatic or semantic losses. Nations strive to preserve and communicate information that expresses the specificity of their culture. This research systematized the available data on semiotic systems that encode Chinese culture outside China. The research relied on conceptual and terminological methods of cognitive linguistics, culturology, and general scientific methods, i.e., synthesis, analysis, and comparison. The authors divided semiotic systems into heterogeneous hierarchical levels, represented by territorial, landscape, ritual, and artifact semiotic systems: 1) urban space; 2) ritual and ceremonial practices; 3) dances; 4) landscape singularity; 5) goodwill talismans. The classification made it possible to optimize work with cultural semiotics, as well as to minimize the barrier of semiotic recognition and prevent data distortion, thus facilitating approximation during mutual cultural integration while maintaining cultural specificity. The research prospects include a comparative analysis of the semiotic systems of Chinese culture inside and outside China.
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Morris, Geraldine. "TRANSMISSIONS IN DANCE: CONTEMPORARY STAGING PRACTICES edited by Lesley Main. 2017. London: Palgrave Macmillan. 231 pp., 28 illustrations. $51.50 eBook. $82.37 cloth. $89.68 paper. eBook ISBN: 9783319648736. Cloth ISBN: 9783319648729. Paper ISBN: 9783319878911." Dance Research Journal 52, no. 1 (April 2020): 72–75. http://dx.doi.org/10.1017/s0149767720000078.
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Založnik, Jasmina. "Fugitive Dance." Maska 36, no. 209 (September 1, 2022): 148–58. http://dx.doi.org/10.1386/maska_00121_1.
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The text flows from fiction into a theoretical observation of the individual and collective body and dance ‐ with an emphasis on somatic practices. The author reflects and analyzes the causes of the classification of the senses, especially the negative evaluation of touch, and the consequent displacement of practices that raise awareness of the body in relation to others, accompanied by actual and fictitious historical contexts of the establishment of dance-artistic-activist reformers of social communities.
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Staro, Placida. "Singing in Dance Diffusion and Transmission." Studia Musicologica Academiae Scientiarum Hungaricae 33, no. 1/4 (1991): 249. http://dx.doi.org/10.2307/902448.
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Hawke, Jamie J., and Shannon S. D. Bredin. "Examining the Preferences and Priorities of Dance Educators for Dance Science Information: A Pilot Study." Journal of Dance Medicine & Science 27, no. 2 (June 2023): 107–15. http://dx.doi.org/10.1177/1089313x231178079.
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Introduction: The growing field of dance medicine and science provides dance educators the opportunity to incorporate evidence-based approaches into teaching practices. Incorporating knowledge produced by dance science research into evidence-based practice can improve learning and health outcomes for dance students. Guided by the Knowledge to Action (KTA) Framework, the purpose of this study was to examine the preferences and research priorities of dance educators for receiving, accessing, and implementing dance science knowledge. Methods: Ninety-seven dance educators representing a range of styles, experience, and educational settings completed an online survey. Dance educators responded to questions about the dance science topics they felt were important to their teaching practices, their preferences for receiving dance science information, and areas of dance science that need more research. Results: Responses indicated that dance science was important to participants’ teaching practices although there was variability in which dance science topics were seen as “Absolutely Essential.” Participants reported a preference for receiving dance science information through in-person methods and observations. Variability was also shown in participant responses to statements about the accessibility, format, and applicability of dance science information to teaching practices. Dance educators indicated that the easiest dance science topics to find information about were anatomy, flexibility, biomechanics, and injury prevention; dance educators also identified that more research was needed in mental health and psychology. Conclusion: The findings of this survey provide key considerations for factors such as accessibility, specificity, and resources that are user-friendly to inform future knowledge translation efforts tailored to dance educators.
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Eddy, Martha. "Somatic Practices and Dance: Global Influences." Dance Research Journal 34, no. 2 (2002): 46. http://dx.doi.org/10.2307/1478459.
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Fogarty, Mary. "Musical Tastes in Popular Dance Practices." Congress on Research in Dance Conference Proceedings 2012 (2012): 70–75. http://dx.doi.org/10.1017/cor.2012.7.
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This paper explores the relationship between musical tastes and dance practices in popular dance practices. It is based on ideas that emerged from a multisited ethnography involving the participation in and observation of the practices of breaking, as well as interviews with individual b-boys and b-girls, who often traveled between cities as part of their practices. Although there were many interesting and contradictory observations and participant responses provided by this multigenerational, multicultural scene, one theme emerged as central.
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Alferov, Sergey V. "VOICING THE MOVE: DISCURSIVE PRACTICES OF SCOTTISH DANCE INSTRUCTION." Вестник антропологии (Herald of Anthropology), no. 2 (54) (June 10, 2021): 177–97. http://dx.doi.org/10.33876/2311-0546/2021-54-2/177-197.
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Bridging dance anthropology and multimodal discourse analysis, the article focuses on language used to teach and/or describe various versions of the pas de basque step in Highland, Scottish country, Scottish step and “called” Ceilidh dancing of Scotland. It analyses pedagogic discourse observed during on- and offline classes and dance events across the globe alongside the author’s own embodied experience as a Scottish dancer, learner and teacher. When examining culturally and somatically contextualised uses of English in Scottish dance pedagogy, the article takes into account a range of dance manuals and instructions published between 1950 and 2020 by the Royal Scottish Country Dance Society, the Royal Scottish Official Board of Highland Dancing, the United Kingdom Alliance of Professional Teachers of Dancing and other organisations and individuals. Revisiting issues of communicating (and delegating) authority, (re)shaping the dance tradition(s) and providing/refraining from regulation, the study is aimed at helping to better appreciate the mutual interconnectedness between pedagogic discourse, on the one hand, and dance learning and teaching as an embodied social and cultural experience, on the other.
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Shen, Bingyan, and Kyunghoi Kim. "Cultural Characteristics and Social Values of Mongolian Folk Dance: Focusing on the Dance Drama “The Cavalry”." Korean Society of Culture and Convergence 45, no. 11 (November 30, 2023): 465–73. http://dx.doi.org/10.33645/cnc.2023.11.45.11.465.
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This study focused on the Mongolian national dance drama 'Cavalry' to trace the roots of Mongolian national culture and to examine its historical background. It analyzed the ethnic elements of the dance drama 'Cavalry' and reviewed the diversity of Mongolian culture as depicted in the drama. Finally, the study examined the value of Mongolian national dance culture as depicted in 'Cavalry' and its impact on society. The results revealed that Mongolian national dance goes beyond just being a form of dance, playing a significant role in the derived cultural values, contributing to the transmission and development of national culture. This research is expected to contribute to existing studies on the transmission and development of Mongolian national dance culture.
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Bayless, Martha. "The Fuller Brooch and Anglo-Saxon depictions of dance." Anglo-Saxon England 45 (December 2016): 183–212. http://dx.doi.org/10.1017/s0263675100080261.
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AbstractThe scattered nature of references to dance and the ambiguity of its vocabulary have obscured Anglo-Saxon dance practices, but evidence suggests that dance was a significant cultural phenomenon. The earlier centuries of the Anglo-Saxon period saw the depiction of weapon dances, and later sources also allow us a glimpse of lively secular dance. Performance traditions may have included dance combined with satirical songs, as well as possible secular ritual dance. Finally, scripture provided examples of both holy dance and lascivious female dance. Contemporary iconography of these dance practices, combined with continued associations between dance and music, allow us to understand the conventions in the depiction of dance, and in turn these suggest that the figure of ‘Hearing’ on the Fuller Brooch, traditionally regarded as running, is in fact dancing.
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Choo, Nayoung, and Gwilyun An. "A Study on the Change Process of Halmi Dance in the Act of Halmi and Yeonggam of the Mask Dance Suyeong Yaryu." National Gugak Center 46 (October 31, 2022): 219–36. http://dx.doi.org/10.29028/jngc.2022.46.219.
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This study aims to discuss the direction of preservation through transmission education by examining the changes in the halmi (grandmom) dance of Suyeong yaryu , a national intangible cultural heritage. For this purpose, four performance video materials are comparatively analyzed, based on literature review, and personal interviews with transmission educators and trainees of Suyeong yaru are conducted.
Through this process, the following results are derived. First, the solo dance time of the halmi dance was very short at 40 seconds in the beginning, but gradually increased to 6 minutes at the end. Second, dance movements increased. For example, the movement of twisting a thread and pulling out fine hairs was added instead of looking at the mirror in the face trimming movement. The composition of the solo dance of the halmi dance increased from 6 to 8 dance movements. Third, in practicing dance movements, the individuality of the performers was distinct. In the early days, dance movements were performed in a complex manner, but after the dance notation was established, each dance was performed independently. As the musicians' beats slowed down towards the latter stages, the performers' dance movements were also changed to more leisurely use of the beats.
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Lepecki, André. "Dance Discourses: Keywords In Dance Research." Dance Research Journal 44, no. 1 (2012): 95–99. http://dx.doi.org/10.1017/s0149767712000010.
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The formation of what Randy Martin has called “critical dance studies” (1998) has gained increased momentum over the past decade. Martin's notion of critical dance studies clarified how dance scholarship was being reshaped by the explicit inclusion of critical theory in its methodologies and epistemologies. One of the major consequences for dance studies in embracing critical theory was the identification of dancing and choreographic practices as being also theory. Understanding dance as theory is not equivalent to seeing dance as the sole provider of the theoretical tools it needs for its own analysis (this would be intolerably solipsistic). Rather, it means that dance becomes a privileged practice ready to provide analytical tools for theorizing other areas of social performances: politics, culture, formations of disciplines and their bodies (docile or resistant). Dance is a mode of theorization that theory itself would need in order to address the social and political problematic brought by issues close to dance such as mobilization, embodiment, subjectivities, participation, representation, desire, discipline, control, etc.
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Giguere, Miriam. "Dance Trends: The Dance of E-Communication: E-Mail and Forum Practices." Dance Education in Practice 4, no. 1 (January 2, 2018): 32–34. http://dx.doi.org/10.1080/23734833.2018.1417216.
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Peacock, Allison. "Intuitive fitness—Experiential Modalities in Dance Readiness." Public 33, no. 67 (April 1, 2023): 48–57. http://dx.doi.org/10.1386/public_00141_1.
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Intuitive Fitness is a workshop designed by dance artist and scholar Allison Peacock intended to blend practices of physical training, instant composition, and site-specific creation, while inhabiting the multiple roles of a dance artist (performers, choreographers, event planner, and audience). The workshop’s format is a result of over a decade of international research in contemporary dance and cross-training practices, and the desire to support low-tech dance performance experiences that simultaneously highlight the imaginative while training the physical. This article will detail the research and development of this workshop method, including exercise examples from the first three iterations of Intuitive Fitness, outlining responsive practices that work with site and the unique constellation of participants to build a physical and conceptual readiness for dance.
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Aquino, John Michael D. "Management Practices and Holistic Development of Dance Troupe in Selected Secondary Schools." International Journal of Social Learning (IJSL) 2, no. 2 (April 6, 2022): 186–200. http://dx.doi.org/10.47134/ijsl.v2i2.109.
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Management is a procedure of designing and sustaining an environment where everyone works together to attain the organization's goal. The study is a comparative analysis of the management practices of selected secondary public schools' dance troupe. This study is primarily anchored to the Skills Acquisition Theory (SAT). Specifically, the aims to identify the management practices and holistic development of the dance troupe members. The research study wants to determine the procedures in terms of rehearsals and training, community involvement, qualification of dancers, facilities, financial support, and the level of dancers' attributes in terms of attitude, discipline, and skills. The researcher also wants to determine if there is a significant relationship between the management practices and holistic development on the personal attributes of dance troupe members of the selected secondary public schools. Using a descriptive-quantitative methodology, a self-administered questionnaire was utilized in the survey of 172 dancers. The results revealed that dancers are well-disciplined and highly skilled. The management of the dance troupe struggles in terms of qualifications of the members, facilities, and financial support, which ultimately affect their preparation and training programs. Hence, there is a significant relationship between the management practices and holistic development of dance troupe members. The dance troupe's practices, skills, attitudes, and discipline have to maintain.
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Whatley, Sarah. "Embodied cultural property: Contemporary and traditional dance practices." International Journal of Cultural Property 29, no. 2 (May 2022): 171–81. http://dx.doi.org/10.1017/s0940739122000108.
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AbstractThis article discusses the implications of recording and digitizing a variety of cultural and contemporary dance performance practices, core to a European project known as WhoLoDancE, which focused on issues of reuse, ownership, property, and responsibility. The recordings and subsequent processing of dance material into digital data raised questions about the responsibilities to the dancers who have contributed their material to the project, particularly when it is transformed into data visualizations that can be accessed and reused by others. The article not only focuses on how value accrues in these kinds of resources and sometimes in unexpected ways but also draws attention to how dance remains bound to the communities in which it is performed and tends to resist its abstraction from the body to be commodified as a form of cultural property. This then points to how dance, as intangible cultural heritage, is self-regulating in terms of principles of ownership and attribution.
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Almeida, Doris Dornelles de, and Peter Bent Hansen. "Strategic Management Practices in Brazilian Dance Companies: Between Art and Cultural Industry." Revista Ibero-Americana de Estratégia 12, no. 3 (September 1, 2013): 125–50. http://dx.doi.org/10.5585/ijsm.v12i3.1863.
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This paper highlights trough theoretical and empirical research the main practices of dance companies‟ strategic management in Brazil. The theoretical investigation deepens themes as sponsorship, strategic planning, creation and implementation of creative strategies and economic sustainability in dance companies. The empirical research evolves qualitative method, exploratory and interviews with seven Brazilian dance companies managers from: Goiânia (1), Rio Grande do Sul (3), Paraná (1), Rio de Janeiro (1) e São Paulo (1). The analysis of the main practices of dance companies‟ strategic management is: few practice and considerable concern about strategic management planning; resistance to apply management techniques enforcement; audience and sponsors should have limited influence in dance companies‟ management; difficulty to accept itself inside the competitive cultural industry market. This study contributes for the development and state of art of Management science and Dance studies.
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Macaulay, Vanessa. "Narratives in Black British Dance: Embodied Practices." Contemporary Theatre Review 29, no. 2 (April 3, 2019): 210–11. http://dx.doi.org/10.1080/10486801.2019.1601428.
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Scharff-Olson, Michele R., Henry N. Williford, and Jennifer A. Brown. "Injuries Associated with Current Dance-Exercise Practices." Journal of Dance Medicine & Science 3, no. 4 (December 1999): 144–50. http://dx.doi.org/10.1177/1089313x9900300403.
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Buchanan Murray, Melonie, and Steven Ross Murray. "The performance of gender in American dance." Journal of Kinesiology & Wellness 6, no. 1 (August 13, 2019): 4–11. http://dx.doi.org/10.56980/jkw.v6i1.15.
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With kinesiology defined as the study of human movement, then dance, as one of the oldest forms of physical activity, should be considered. Dance permeates contemporary American culture—from social dancing, to community dance studios, to popular television shows. Dance scholars and cultural theorists agree that the way a society dances elucidates cultural values. If we accept the notion that a culture’s dances reflect the values of that culture, then a scrutiny of American gendered dance practices is warranted. Contemporary society views gender differently than the societies of the socio-historical context in which common Western dance genres, such as classical ballet, were born and developed. By highlighting ways that most dance training reinforces gendered codes of behavior, this paper contributes to discourses surrounding the evolution of dance in America and evolving notions of gender, while also providing a lens that might be applied to a multitude of physical practices.
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Ganser, Elisa. "Dance as Yoga: Ritual Offering and Imitation Dei in the Physical Practices of Classical Indian Theatre." Journal of Yoga Studies 4 (April 10, 2023): 137–71. http://dx.doi.org/10.34000/joys.2023.v4.004.
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In the Nāṭyaśāstra, two main types of physical practices are described in some detail: the so-called “bodily acting” (āṅgikābhinaya) and dance (nṛtta). Although their building blocks are to a large extent common, their purpose appears to be different: while bodily acting is used for dramatic mimesis, dance is said to produce beauty and to be auspicious. Peculiar to the technique of dance are the one hundred and eight karaṇas, complex dance movements that require great coordination, balance and flexibility. Sculptural representations of the karaṇas in the mediaeval temples of South India and in Central Java, as well as some interpretations by contemporary dancers, have elicited comparisons with yogic āsanas, notwithstanding the fact that the karaṇas were first and foremost codified in the context of Sanskrit theatre. More generally, the overlap between dance and yoga-related concepts and practices in antiquity has not been studied in depth. In this chapter, I investigate the connection of dance with the pūrvaraṅga, the preliminary rite that precedes the performance of a play, in order to highlight the connection of some of the physical practices described in the Nāṭyaśāstra’s chapter on dance with ideas of mental cultivation, ritual, and devotion. This connection is particularly evident in the case of the piṇḍībandhas, a set of movements of difficult interpretation that present ideological affinities with practices described in early religious sources, especially, but not exclusively, those of Śaiva affiliation. Finally, I argue that this interface between drama and ritual points to a shared ground for practices and beliefs connected with the body in ancient India.
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Bondea, Vivien. "Relations of dance culture and social structure in a Moldavian rural community." Arta 32, no. 2(AAV) (December 2023): 66–71. http://dx.doi.org/10.52603/arta.2023.32-2.10.
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The social structure of the Moldavian Csángó settlements and the social systems that form in the dance scenes significantly determine the possibility of participation in dance occasions and the formal and stylistic performance of dances. The gender, age, and marital status of community members, as well as the specific position of dancers and the relationship between them, are revealed in dance forms and practices of space use on the dance floor, individual dance construction, and dancers’ behaviour. Through the study of local dance cultures, a social structure is observable that is held together by gendered and generationally defined norms, rules, and obligations. This makes dancing a socially defined collective activity in rural communities in Moldavia, Romania. The aim of this study is to interpret the representational practices of age and social status in dance culture, which are constantly changing, through the example of dance events, especially weddings, in a single Moldavian Csángó village.
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Nilsson, Mats. "Dance Transmission, a Question of Learning or Teaching?" Studia Musicologica Academiae Scientiarum Hungaricae 33, no. 1/4 (1991): 279. http://dx.doi.org/10.2307/902449.
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Hong, Tea-Han. "The Meaning and Transmission of Seoul-gut Dance－." Journal of Namdo folklore 43 (December 31, 2021): 325–47. http://dx.doi.org/10.46247/nf.43.11.
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Ginot, Isabelle. "From Shusterman's Somaesthetics to a Radical Epistemology of Somatics." Dance Research Journal 42, no. 1 (2010): 12–29. http://dx.doi.org/10.1017/s0149767700000802.
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From the precepts of civility and physical deportment in the early modern era to modern gestural routines found in physical therapy and gymnastics, cultural historians of the body have studied the physical practices of hygiene, sports, and medicine. The history of dance is marked by these dance-related practices, which are peripheral to dance itself. One set of contemporary peripheral practices sought out by dancers themselves has been called “somatics,” a term Thomas Hanna proposed in the 1970s (1995). Somatics has since made its way into the dance world, where by now it has achieved widespread recognition as a form of bodily knowledge. This article is concerned with the epistemological status of somatics and, therefore, with the discursive production characteristic of its methods and practices.The first value that we usually attribute to these practices is prophylactic: they serve to prevent professional accidents or provide functional rehabilitation following injuries. Although increasingly integrated into dancer training and dance pedagogy, somatics first found its way into dance as a means to limit accidents. Somatics is also often a resource for the improvement of virtuosity in dance. But it has nevertheless transformed pedagogy into a more “active” and exploratory experience for the student, in which physical sensations are more important than the mirroring and reproduction of forms (Fortin 1996, 2005; Fortin, Long, and Lord 2002). We often see it presented as a “counter power,” an antidote to dominant dance practices. This point of view is poorly documented—possibly because it would not hold up against a strong argument—but it is common knowledge that somatics stands opposed to virtuosity and the “perfect” body image, as seen, for example, in the role these techniques played in the early part of Trisha Brown's choreographic career.
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Stirling, Christabel. "‘Beyond the Dance Floor’? Gendered Publics and Creative Practices in Electronic Dance Music." Contemporary Music Review 35, no. 1 (January 2, 2016): 130–49. http://dx.doi.org/10.1080/07494467.2016.1176772.
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Järvinen, Hanna, Lena Hammergren, Elizabeth Svarstad, Petri Hoppu, and Astrid von Rosen. "Choreographing Histories: Critical Perspectives on Dance Histories in Nordic Dance Practices and Scholarship." Nordic Journal of Dance 14, no. 1 (June 1, 2023): 31–47. http://dx.doi.org/10.2478/njd-2023-0004.
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Fiskvik, Anne. "Renegotiating Identity Markers in Contemporary Halling Practices." Dance Research Journal 52, no. 1 (April 2020): 45–57. http://dx.doi.org/10.1017/s0149767720000054.
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Contemporary halling, seen in theatrical dance works by the Norwegian choreogaphers Hallgrim Hansegaard and Sigurd Johan Heide, exists in a fluid interplay between traditional dance and influences from other cultures. This article examines how typical halling moves are negotiated and “remixed” through practices taking place inside and outside of the Nordic sphere. Hansegaard and Heide can be seen as representatives of “wayfinding artists,” influenced by migrant practices through moving, “wayfinding” in and out of the Nordic region.
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Lana, Iris. "The Batsheva Dance Company Archive Project." Dance Research 38, no. 2 (November 2020): 168–86. http://dx.doi.org/10.3366/drs.2020.0306.
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The article discusses the Batsheva Dance Company Archive Project, conducted by a team I headed in the years 2012–2015. 1 The analysis of this project will assist in understanding both its significance as an archival act of documenting the past, and its influence on the company's present and on Israeli dance. The method of analysis will include a description of the different practices involved in constructing a dance archive; a contextual discussion of archival practices; and a theoretical discussion, principally in the context of changes in current archiving practices and developments in critical thinking about dance as a discipline. The description of the course of events in this article mainly relies on my personal experience and involvement as director of the Batsheva Dance Company Archive Project. The different proceedings, goals, considerations and decisions were documented in monthly reports and in the project's concluding document, and so assisted in tracing the chronicle and details of events. 2
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ZhuGe, Xulong, and Haibin Cao. "Data Sharing Method of College Dance Teaching Resource Database Based on PSO Algorithm." Computational Intelligence and Neuroscience 2022 (August 17, 2022): 1–9. http://dx.doi.org/10.1155/2022/2162981.
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Aiming at the problems of long sharing time, low accuracy, recall, and F1 value in the traditional data sharing method of college dance teaching resource database, a data sharing method of college dance teaching resource database based on PSO algorithm is proposed. Multiple regression KNN method is used to eliminate the data noise of college dance teaching resource database, so as to obtain the missing value and complete the filling of incomplete data of college dance teaching resource database. Taking the preprocessed data as the basic element of transmission object statistics and analysis, establish the data transmission self-service channel of college dance teaching resource database, calculate the similarity of the data according to the unequal length sequence, and use the partial least square method to complete the feature extraction of the resource database data. According to the feature extraction results, particle swarm optimization algorithm is adopted to share the data of college dance teaching resource database. The simulation results show that the accuracy, recall, and F1 value of the data sharing method of college dance teaching resource database based on PSO algorithm are high, and the sharing time is short.