Relevant bibliographies by topics / World dance culture

Academic literature on the topic 'World dance culture'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'World dance culture.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "World dance culture"

1

Aterianus-Owanga, Alice. "Dancing an Open Africanity: Playing with “Tradition” and Identity in the Spreading of Sabar in Europe." Open Cultural Studies 3, no. 1 (January 1, 2019): 347–61. http://dx.doi.org/10.1515/culture-2019-0030.

Full text
Abstract:
Abstract This paper describes one of the constructions of African identity that occur through the spreading of sabar in European cities. Basing on a multi-sited fieldwork between Dakar, France and Switzerland, this paper traces the local roots and transnational routes of this Senegalese dance and music performance and presents the “transnational social field” (Levitt and Glick-Schiller) that sabar musicians and dancers have created in Europe. It analyses the representations of Africanity, Senegality and Blackness that are shared in Sabar dances classes, and describes how diasporic artists contribute to (re)invent “traditions” in migration. In this transnational dance world, “blackness” and Africanity are not homogenous and convertible categories of identification, on the contrary, they are made of many tensions and arrangements, which allow individuals to include or exclude otherness, depending on situations and contexts.
APA, Harvard, Vancouver, ISO, and other styles
2

Bahtiar, Arief Rais, and Muhamad Azrino Gustalika. "Penerapan Metode System Usability Scale dalam Pengujian Rancangan Mobile Apps Gamification Tari Rakyat di Indonesia." JURNAL MEDIA INFORMATIKA BUDIDARMA 6, no. 1 (January 25, 2022): 491. http://dx.doi.org/10.30865/mib.v6i1.3510.

Full text
Abstract:
Indonesia has many dances in each region. Traditional dance and folk dance are dances that existed in Indonesia before the development of contemporary dance. As one of the local cultures in each area, dance art is included in local content at the elementary to high school level. The changing curriculum has disrupted local cultural education in the world of education some time ago. In addition to these factors, the lack of interactive learning media at least affects. The purpose of this study is to develop a learning pattern for folk dance as a local culture in Indonesia through an interactive mobile application. In addition, this research is used to help preserve and introduce the folk dance arts of each region to students in Indonesia. Gamification can be an alternative for developing folk dance learning. What usually happens is the lack of innovation in conventional learning media to attract students' interest in studying local culture, especially folk dance as a local content subject. This activity is a folk dance education about history, regional origins and dance movements. The result of this application is a folk dance game in Indonesia. There are several levels that must be passed to be able to complete this game. Each season will be taken 3 people who get the reward. The rewards that we design are based on the prizes preferred by elementary, junior high and high school students. Based on the results of the System Usability Scale evaluation, the prototype designed got a score of 86.25% and was considered to have met the usability element.
APA, Harvard, Vancouver, ISO, and other styles
3

Franko, Mark. "French Interwar Dance Theory." Dance Research Journal 48, no. 2 (August 2016): 104–10. http://dx.doi.org/10.1017/s0149767716000188.

Full text
Abstract:
Interwar French dance and the critical discourses responding to it have until recently been an underdeveloped research area in Anglo-American dance studies. Despite common patterns during the first half of the twentieth century that may be observed between the dance capitals of Berlin, Paris, and New York, some noteworthy differences set the French dance world apart from that of Germany or North America. Whereas in Germany and the United States modern dance asserted itself incontrovertibly in the persons of two key figures—Mary Wigman and Martha Graham, respectively—no such iconic nativist modernist dancer or choreographer emerged in France. Ilyana Karthas's When Ballet Became French indicates the predominance of ballet in France, and this would seem an inevitable consequence of the failure of modern dance to take hold there through at least one dominant figure. Franz-Anton Cramer's In aller Freiheit adopts a more multidimensional view of interwar French dance culture by examining discourse that moves outside the confines of ballet. A variety of dance forms were encouraged in the milieu of the Archives Internationales de la Danse—an archive, publishing venture, and presenting organization—that Rolf de Maré founded in Paris in 1931. This far-reaching and open-minded initiative was unfortunately cut short by the German occupation (1940–1944). As Cramer points out: “The history of modern dance in Europe is imprinted with the caesura of totalitarianism” (13). Although we are somewhat familiar with the story of modern dance in Germany, we know very little about it in France.
APA, Harvard, Vancouver, ISO, and other styles
4

Carroll, Sam. "Hepfidelity: Digital Technology and Music in Contemporary Australian Swing Dance Culture." Media International Australia 123, no. 1 (May 2007): 138–49. http://dx.doi.org/10.1177/1329878x0712300113.

Full text
Abstract:
Since its revival in the 1980s, Lindy hop along with other swing dances has become increasingly popular with middle class youth throughout the developed world. Social dancing plays a central part in local swing dance communities, and DJing recorded music has become an essential part of social dancing. Marked by class and gender, DJing in swing dance communities is also shaped by digital technology, from the CDs, computers and portable media devices which DJs use to play digital musical files to the discussion boards and websites where they research and discuss DJing and the online music stores where they buy CDs and download music. This brief discussion of the preponderance of digital technology in swing dance DJing is part of a larger project considering the mediation of embodied practice in swing dance culture, and it pays particular attention to the ways in which mediated discourse in swing culture reflects wider social forces, yet is also subordinated by the embodied discourse of the dance floor.
APA, Harvard, Vancouver, ISO, and other styles
5

Olga Borisovna, Bursikova, Kuznetsova Natalia Stanislavovna, Amelina Maria Nikolaevna, Tatarintsev Andrey Yurievich, and Trofimov Roman Viktorovich. "ROUND DANCE TRADITION OF BELGORIE: THE SEMANTIC AND CULTURAL ASPECT." Revista de Investigaciones Universidad del Quindío 34, S2 (June 14, 2022): 57–63. http://dx.doi.org/10.33975/riuq.vol34ns2.879.

Full text
Abstract:
The accumulated rich archival material on the musical folklore of the Belgorod region actualizes the problem of the semantic analysis of round dance songs as the dominant genre of the region’s traditional culture. In this work, based on expeditionary materials and researchers’ publications, the choreographic forms of round dances (circular karagods, tanks, figured tanks) of the Belgorod region are identified and described. The general scientific research methods within the framework of comparative, logical and statistical analysis are utilized. The systematic approach to research used in the process of modeling dance culture contributed to the reconstruction of the three-part picture of the world, captured in the dance in many versions.
APA, Harvard, Vancouver, ISO, and other styles
6

Richardson, Niall, and Fiona Buckland. "Impossible Dance: Club Culture and Queer World-Making." South Atlantic Review 67, no. 3 (2002): 138. http://dx.doi.org/10.2307/3201915.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Dordzhieva, G. A. "Crane tunes and dances in Kalmyk traditional culture." Languages and Folklore of Indigenous Peoples of Siberia, no. 38 (2019): 33–44. http://dx.doi.org/10.25205/2312-6337-2019-2-33-44.

Full text
Abstract:
The article is devoted to the documentation of music-related phenomena of the Togrun Bi (Crane dance of Kalmyks). The traditional music of Kalmyks is deeply rooted in the culture of Oirad. The new geographical and ethnic environment changed and transformed it. The most obvious shift took place in the dances and musical instruments (their organology, performing style, and tunes). At the same time, on this outskirt of the Mongolian world, some unique forms and genres have been preserved. The sources of the present research are field materials collected by author in late 1990 th in Kalmykia: non-fiarytale prose, two-string dombra tunes with singing, onomatopoeia, and round dances. The participants of Сrane praising ritual were women and children. Similar components are revealed in the ritual Togrugan biilulkhm (Force Crane to dance) and Ova täkh (a sacrifice to a host-spirit of the place). In personal stories and memoires, the mythologic idea of the curse cast by cranes made a connection to arrests, exile and other tragic events in the history of the Kalmyks in the XX century. Characteristics of Crane dances is presented in the musical notations (made by author) and their description. There are the similarities between the Kalmyk round dance with imitations of Crane movements and calls (video recording from the settlement of Yashkul) and circular dances of Evenki, Yakuts, and some other Turkic-languages peoples of Siberia. These rare elements of Kalmyk tradition trail to the regions of South Siberia and Central Asia, from where some Oirad groups brought it to Volga region.
APA, Harvard, Vancouver, ISO, and other styles
8

Vernyhor, Dmytro. "The Ukrainian Star of World Ballet." Diplomatic Ukraine, no. XX (2019): 794–98. http://dx.doi.org/10.37837/2707-7683-2019-54.

Full text
Abstract:
The article deals with the life and career path of Serge Lifar, a Ukrainian world-class dancer, choreographer, theorist of choreography, historian and reformer of the 20thcentury ballet, Honorary President of the UNESCO International Dance Council. Serge Lifar was a prolific artist, choreographer and director of the Paris Opéra Ballet, one of the most preeminent ballet companies in Western Europe. Attention is drawn to the fact that pedagogical activity constituted a significant part of Lifar’s work. In 1947, he founded the French Academy of Dance, from 1955 he taught his-tory and theory of dance at Sorbonne University, having developed his own system of ballet dancers’ training and authored more than 20 works on ballet. In the same year, he was recognized as the best dancer and choreographer in France and was awarded the ‘Golden Shoe’. In 1957, he became the founder and rector of the Paris University of Dance. The author emphasizes that Lifar’s creative heritage is huge. He choreographed more than 200 ballets and wrote 25 books on dance theory. Serge Lifar trained 11 ballet stars. Serge Lifar’s style, which he called choreographic neoromanticism, determined the ways of development of the European ballet art of the second half of the 20th century. At the age of 65, Lifar showed his talent as a visual artist. His heritage includes more than a hundred original paintings and drawings, the main plot of which is ballet, dance, and movement. In 1972–1975, exhibitions of his works were held in Cannes, Paris, Monte Carlo and Venice. His yet another passion was books. It all began with Serhii Diahiliev’s personal archive, which included a collection of theatrical paintings, scenery and a library. Lifar bought it from the French government for a one year’s salary at the Grand Opera. In the USSR, Lifar’s name was concealed. Only in 1961, did he and his wife visit it for the first time as the Soviet authorities did not allow him to stage any ballet in the USSR. He always felt he was Ukrainian and ardently promoted the history and culture of his people. In honour of the outstanding countryman, the Serge Lifar International Ballet Competition and the festival ‘Serge Lifar de La dance’ have been held since 1994 and 1995, accordingly. Keywords: cultural diplomacy, art of artistic vision of choreography, Serge Lifar International Ballet Competition.
APA, Harvard, Vancouver, ISO, and other styles
9

MacKenzie, Robin. "Nymph, Scarab, Butterfly: Figures of the Dancer in Mérimée, Flaubert and Proust." Forum for Modern Language Studies 55, no. 3 (July 1, 2019): 308–24. http://dx.doi.org/10.1093/fmls/cqz023.

Full text
Abstract:
Abstract This article examines dance episodes from three works of French fiction written between 1860 and 1920: the roussalka dance from Mérimée’s Lokis, Salomé’s performance in Flaubert’s Hérodias, and the description of an unnamed ballet dancer in Proust’s Le Côté de Guermantes. The texts, in contrasting ways, explore networks of power and desire, as well as the relationship between the aesthetic sphere and the world of social conventions and interactions, thus reflecting the thematic significance of dance in the literary culture of the period. It would be hard to justify constructing a grand narrative that maps the history of dance on to that of its literary representations on the basis of three texts; nevertheless, in the interplay of narrative and metaphor and the portrayal of the dancer’s multiple personae, we can find traces of some major shifts in the evolution of dance from the romantic ballet of the mid-nineteenth century to the coming of modernism at the start of the twentieth.
APA, Harvard, Vancouver, ISO, and other styles
10

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.

Full text
Abstract:
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).
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "World dance culture"

1

Dinerstein, Joel Norman. "Swinging the machine : White technology and Black culture between the World Wars /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Borba, Daniela Farias Garcia de. "APRENDER E ENSINAR A SER GAÚCHO DENTRO DO GRUPO DE DANÇAS BIRIVA TROPEIROS DE DOIS MUNDOS." Universidade Federal de Santa Maria, 2013. http://repositorio.ufsm.br/handle/1/7081.

Full text
Abstract:
This dissertation is part of the Master Degree research of the Post-Graduation Program in Education of Federal University of Santa Maria/ RS, bound into the Education and Arts line and into the Research Group Difference, Education and Culture (DEC-UFSM). The investigation, of ethnographic perspective, has as object the study the dancing group Agrupando Biriva Tropeiro de Dois Mundos , from Encantado city / RS, and it searches for evidence in the meanings of the dance for the participants of this group, in order to take it as more one culture once it generates an own universe of meanings, it produces identities and it deals ways of teaching and learning to be gaúcho. This Master Degree essay is a possible version of comprehension of the process of learning and production of meanings about the gaúcha traditionalist culture inside biriva dancing group. It enrolls as an ethnographic, a narrative text, in which there is the intention of the author‟s impressions, ways and misleading let their footprints for the reader knows the insertion and comprehension process of reality in that this research is submerged, as in the reality of the researched field as the theoretical reality and the author‟s subjectivity.
Esta dissertação é parte de uma pesquisa de mestrado do Programa de Pós-graduação em Educação da Universidade Federal de Santa Maria/RS, vinculada à Linha Educação e Artes e ao Grupo de Pesquisa Diferença, Educação e Cultura (DEC-UFSM). A investigaçãotem como objeto de estudos o grupo de danças Agrupamento Biriva Tropeiro de Dois Mundos , da cidade de Encantado/RS, analisados a partir da perspectiva dos Estudos Culturais, utilizando de autores como Costa (2003), Hall (1997), Silva (1995), Veiga-Neto (2000). Analisaram-se narrativas presentes nas leituras do cotidiano de ensaios e apresentações públicas do grupo e nos artefatos simbólicos, os quais compõem a identificação deste grupo de danças, e problematizou-se a produção de identidades sob o viés das pedagogias culturais. A abordagem da pesquisa é qualitativa, através de um estudo realizado com participantes do Agrupamento BirivaTropeiros de Dois Mundos. Foram utilizados a observação participante, a entrevista e o diário de campo como instrumentos de coleta de dados. Como resultado da investigação, notou-se, na análise de cunho cultural deste grupo de danças, os modos de ser entre os sujeitos deste grupo dão um tom de busca de uma maneira mais autêntica de ser gaúcho, de produzir a dança gaúcha, onde o dançarino possa expressar a sua interpretação para a dança, além do desenvolvimento de certa criticidade em relação ao consumo e à competitividade implicadas nas danças tradicionais. Nesse sentido, vê-se a importância da construção de uma aproximação da educação, nas diversas instâncias culturais, e sobre o produto cultural como o grupo de danças biriva inseridos na abordagem dos Estudos Culturais.
APA, Harvard, Vancouver, ISO, and other styles
3

Ganoe, Kristy L. "Mindful Movement as a Cure for Colonialism." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1367936488.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Goncalves, De Aranjo Passos Stéphanie. "Une guerre des étoiles: les tournées de ballet dans la diplomatie culturelle de la Guerre froide, 1945-1968 /cStéphanie Gonçalves de Aranjo-Passos." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209106.

Full text
Abstract:
Ma thèse de doctorat explore les tournées de ballet des « six grandes » compagnies mondiales pendant la Guerre froide (1945-1968) :ballet de l’Opéra de Paris, Royal Ballet de Covent Garden, Bolchoï et Kirov, New York City Ballet et American Ballet. Elle envisage le ballet comme un outil de diplomatie culturelle transnationale, avec un focus particulier sur les acteurs, qu’ils soient institutionnels, artistiques ou commerciaux. Outre un aspect quantitatif qui nous a amené à cartographier les tournées, il s’agit d’une histoire incarnée par des femmes et des hommes − les danseurs − dont le métier est de tourner sur les scènes internationales, encadrés par des administrateurs et des gouvernements, qui n’ont pas les mêmes priorités et agendas les uns et les autres.

Cette recherche met justement en avant les tensions, les difficultés et les dynamiques entre les différents acteurs. La thèse se construit autour de tournées représentatives du lien ténu entre danse et politique, des épisodes qui mettent en valeur les points chauds de cette Guerre froide, ayant comme point de départ ou d’arrivée Londres et Paris.

La description de la danse comme un langage, une pratique physique et un métier permet de comprendre en quoi la danse peut être un outil de communication politique et comment il a été utilisé comme tel dans la longue durée et en particulier pendant la guerre froide. Les différentes échelles – le passage régulier de la macro-histoire à la micro-histoire et inversement ainsi que les flux d’échanges culturels multiples à l’échelle internationale – ont permis de mettre en avant une multiplicité d'acteurs (artistiques, gouvernementaux, commerciaux). La constitution du mythe de la danseuse étoile, et ses représentations, résonne également avec d’autres figures mythiques construites dans la Guerre froide, comme celle de l’astronaute.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

APA, Harvard, Vancouver, ISO, and other styles
5

Lee, Chao-Chun, and 李招俊. "Battle : The Culture of the Street Dance in Taipei New World Shopping Center." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/02605615222511562414.

Full text
Abstract:
碩士
國立臺北教育大學
體育學系碩士班
95
In recent years, the hip hop spirit can be smelt from the street dance contest held by the government, the street dance association of the school, the art worker with hip hop style, even the creative dance contest of the primary school. Taipei New World Shopping Center was opened at the underground street of Mass Rapid Transit recently. There are some teenagers often occupying one of the squares to dance with the rhythm of music in the air. Some of them show the difficult movements of street dance at the square one by one and team by team. The adult thinks that there are two kinds of problems for teenagers, which are “crime problem” and “learning problem”. The complicatedness of teenagers' phenomenon exceeds this narrow view. This research investigates the contours of underground street Battler from the view of street dancer by adopting the observation and unofficial interview, analyzing and inducting the observation journal, review record of research and feedback document of email, and referring to the street dance experience of research himself. The major objective of this research is to disclose the “inverse” life style of the teenagers' street dance at the underground street, and the space meaning of Battle culture. This research discovers: The street dancer reflects the self concept from clothes, reflects the body situation from dance, and releases the realistic stress from Battle. The “inverse” image shown from their appearance and action means that they want to use the rotation to exert their strength on soul, in order to live with themselves, break through themselves, and “jump” out the view of adult to them. They are not eager to “jump” out the view of adult to them, their soul space is actually broad limitlessly, full of intention and idea. They are not just roll on the ground, make clothes very dirty, injure their body, speak some words that you can not understand on purpose, show some gestures that you can not understand, and listen some music that you think noisy. They are very strong-minded. In their kingdom, the adults who do not understand them can not enter it.
APA, Harvard, Vancouver, ISO, and other styles
6

Chaudhuri, Arun Kumar. "Culture, community, and identity in the "sampled world" : South Asian urban/electronic music in Toronto /." 2005.

Find full text
Abstract:
Thesis (M.A.)--York University, 2005. Graduate Programme in Social Anthropology.
Typescript. Includes bibliographical references (leaves160-169). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11765
APA, Harvard, Vancouver, ISO, and other styles
7

Prébolin, Estelle. "Les cours de danse africaine à Montréal, émergence d’une production socioculturelle et esthétique." Thèse, 2011. http://hdl.handle.net/1866/6894.

Full text
Abstract:
Ce mémoire traite de l’enseignement de la danse africaine en France et au Canada. Cette recherche a débuté en 2007, lorsque l’auteur a participé à un échange étudiant. À la fin de cette expérience, l’auteur en était arrivé à la conclusion que la danse africaine au Québec était abordée comme un bien de consommation et/ou une production socioculturelle relevant de l’imaginaire. La présente analyse explore les avantages et les limites de l’approche méthodologique adoptée par l’anthropologue (qui est, dans ce cas-ci, une ancienne danseuse classique), et les conditions de la rencontre entre les Africains et les occidentaux par la danse. Tandis qu’il reste à démontrer que les critiques postmodernes de l’art de masse s’appliquent dans ce cas-ci, l’analyse montre ici clairement que l’on trouve dans les cours de danse africaine au Québec une forme de conscience professionnelle. Les critiques de la danse et de d’autres formes de démocratisations artistiques tendent à se confondre dans la peur du discours populaire. L’objectif principal de cette recherche est par conséquent d’établir les limites du fétichisme par rapport à la danse africaine et d’explorer en détail les implications de la « hantise du Troisième Homme » communiquée par la recherche ethnographique et l’analyse anthropologique
This thesis deals with the teaching of African dance in France and in Canada. The research for this thesis began in 2007, when the author took part in a student exchange and ended with a consideration of African dance in Quebec as a consumer good and/or an imaginary sociocultural production. The analysis explores the benefits and the limits of the methodological approach embraced by the anthropologist (who is, in this case, a former dancer with training in classical dance), and the terms of the encounter between Africans and Westerners through dance. While it remains to be shown that the post-modernist critiques of mass art apply to this context, the analysis here points to the presence of a professional consciousness in African dance lessons in Quebec. Critiques of dance and other arts as democratization tend to get lost in the fear of popular discourse. The main objective of this research is therefore to establish the limits of the fetishism associated with African dance and to discuss in further detail the « hantise du Troisième Homme », communicated by ethnographic research and anthropological analysis
APA, Harvard, Vancouver, ISO, and other styles
8

DeWitt, Allison Marie. "Visualizing Dante’s World: Geography, History and Material Culture." Thesis, 2019. https://doi.org/10.7916/d8-8m4c-3680.

Full text
Abstract:
This study examines the importance of geographical ideas in Dante’s Commedia and develops a historically sensitive geocritical methodology to analyze the function of real world geography within Dante’s poem. I aim to expand our understanding of the importance of the poet’s use of geography beyond the consulation of geographical sources and consideration of place names. In the first chapter case studies of geographical references with connections to the Islamic world show how historicized approaches open up new possibilities of understanding the medieval significance of the poet’s references. Subsequent chapters explore the relationship of the Commedia’s geography to medieval mapping technologies; comparing the parameters and borders of Dante’s world to the genre of medieval mappaemundi as well as putting this worldview into conversation with the emerging field of portolan charts and the developing navigational technology of the thirteenth century. This project further expands our definition of the stakes of geographical knowledge and traces the the social, political and cultural implications of the various modes of representing the world and how these implications are evident in the scholarly responses to the worldview represented within the Commedia. Ultimately, this project shows how a geocritical historicized reading of the Commedia opens up new directions for Dante studies and puts the geographical material of Dante’s work into conversation with other disciplines. The conclusion ends with a proposal for future digital directions for this research.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "World dance culture"

1

Impossible dance: Club culture and queer world-making. Middletown, Conn: Wesleyan University Press, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Bielby, Denise D. Exporting television and culture in the world market. New York: New York University Press, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Swinging the machine: Modernity, technology, and African American culture between the World Wars. Amherst: University of Massachusetts Press, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Keeping together in time: Dance and drill in human history. Cambridge, Mass: Harvard University Press, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Stemple, Heidi E. Y. Dance the world! Cambridge, MA: Barefoot Books, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

World dances. Vero Beach, Fla: Rourke Press, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Waldman, Carl. Word dance: The language of Native American culture. New York: Facts on File, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Stemple, Heidi E. Y. Tales from the world of dance. Cambridge, MA: Barefoot Books, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

K, Stewart Robert, ed. CNN: Making news in the global market. Luton, Bedfordshire, U.K: University of Luton Press, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Society of Dance History Scholars (U.S.). Conference. Dance in Hispanic cultures: Proceedings of the Society of Dance History Scholars : Fourteenth Annual Conference, New World School of the Arts, Miami, Florida, 8-10 February 1991. [Riverside, Calif.]: Society of Dance History Scholars, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "World dance culture"

1

Rietveld, Hillegonda C. "Spinnin’: Dance Culture on the World Wide Web." In The Media in Britain, 304–13. London: Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27556-4_25.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Sayers, Lesley-Anne. "She might pirouette on a daisy and it would not bend." In Dance, Gender and Culture, 164–83. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22747-1_11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Sayers, Lesley-Anne. "‘She might pirouette on a daisy and it would not bend’." In Dance, Gender and Culture, 164–83. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-23842-2_11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Barker, Tanuja, Darma Putra, and Agung Wiranatha. "14. Authenticity and Commodification of Balinese Dance Performances." In Cultural Tourism in a Changing World, edited by Melanie Kay Smith and Mike Robinson, 215–24. Bristol, Blue Ridge Summit: Multilingual Matters, 2006. http://dx.doi.org/10.21832/9781845410452-016.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Whatley, Sarah, and Amalia G. Sabiescu. "Interdisciplinary Collaborations in the Creation of Digital Dance and Performance: A Critical Examination." In Cultural Heritage in a Changing World, 17–35. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-29544-2_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Zeghmar, Lydia. "Tradition Makers. The Recognition Process of a Local Dance: From the Village to the Institutions." In Turkish Cultural Policies in a Global World, 209–32. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-63658-0_9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Crisafi, Nicolò, and Manuele Gragnolati. "Weathering the Afterlife." In Cultural Inquiry, 63–91. Berlin: ICI Berlin Press, 2020. http://dx.doi.org/10.37050/ci-17_04.

Full text
Abstract:
The essay investigates the meteorological phenomena represented in Dante Alighieri’s Commedia and their interrelation with the subjectivity of the dead in Hell, Purgatory, and Heaven. Examining how the dead weather the afterlife and how the elements affect them, in turn, the essay takes the complex enantiosemy of the word ‘weathering’ as a conceptual guiding thread for the exploration of dynamics of exposure (Inferno), vulnerability (Purgatorio), and receptivity (Paradiso).
APA, Harvard, Vancouver, ISO, and other styles
8

"15: New Sundanese dance for new stages." In Heirs to World Culture, 397–420. BRILL, 2012. http://dx.doi.org/10.1163/9789004253513_016.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

"1. Popular Culture and Music in the Modern World." In Dance of Life, 1–53. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824862114-002.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Chalfa Ruyter, Nancy Lee. "Final Words." In La Meri and Her Life in Dance, 263–68. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9780813066097.003.0011.

Full text
Abstract:
This chapter begins with an overview of La Meri’s life and career and her contribution to the spread of knowledge about different cultures around the world, including world dance and culture. It then discusses her work in relation to modern concerns with theoretical issues—such as appropriation, cultural imposition, orientalism, and so forth—and relates it to concepts that have been investigated in gender and cultural studies. It is important to note that she performed non-Western and Western dances in both Western and non-Western locations. After La Meri settled in the United States, she performed her international repertoire to American audiences, most of whom would have known little or nothing about the foreign cultures where the dances originated. But it’s equally important to understand that both the briefness of La Meri’s actual training in the various dance forms and her minimal or non-existent knowledge of any of the local verbal languages would have limited her understanding of the foreign cultures whose dances she studied, performed, and taught—and about which she wrote.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "World dance culture"

1

Filimonova-Zlatohurska, Ye S. "Ukrainian folk dance as a means of self-identification of the Ukrainian people in the modern world cultural space." In THE INFLUENCE OF CULTURE AND ART ON THE VALUE ORIENTATIONS OF CIVILIZATION IN WAR AND POST-WAR TIMES. Baltija Publishing, 2022. http://dx.doi.org/10.30525/978-9934-26-237-1-22.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Pekcan, Cemre. "The Importance of Cultural Diplomacy in Breaking the Perception of “China Threat”." In International Conference on Eurasian Economies. Eurasian Economists Association, 2016. http://dx.doi.org/10.36880/c07.01658.

Full text
Abstract:
Cultural diplomacy, which is accepted as a sub-branch of public diplomacy, is described as ‘the exchange of ideas, information, art, and other aspects of culture among nations and their peoples in order to foster mutual understanding’ by Milton C. Cummings. Although this term has been used in international relations for centuries, its acceptance as a theory is a relatively new concept. Cultural diplomacy, as a component of both public diplomacy and also Joseph Nye’s ‘soft power’, includes movies, music, dance, exhibitions, various education and exchange programs, literature and cultural programs. In today’s world, China, a super power with its growing economy, started to feature its soft power, public and cultural diplomacy to break the perception of ‘China threat’ theory which shortly claims that the rising power would eventually challenge the hegemon power and war will be inevitable. The aim of this study is to put forward Chinese efforts in promoting cultural diplomacy to break the perception of ‘China threat’ theory by analyzing the elements of China’s cultural diplomacy, which are basically; Confucius Institutes, marketing Chinese cultural products, series of cultural programs and foreign aid. As the outcomes of the research, it is seen that against ‘China Threat’ theory, China clearly keeps emphasizing its peaceful development and wants to improve its image especially after 1989 Tinananmen Crackdown. Hence, as the most important elements of China’s cultural diplomacy; Confucius Institutes have been established throughout the world, Chinese cultural products are being marketed and Chinese foreign policy is becoming more transparent.
APA, Harvard, Vancouver, ISO, and other styles
3

Young, Choi So. "A STUDY ON THE ORIGIN OF CHEOYONG: THE ANCIENT CULTURAL EXCHANGE BETWEEN CENTRAL ASIA AND KOREA." In UZBEKISTAN-KOREA: CURRENT STATE AND PROSPECTS OF COOPERATION. OrientalConferences LTD, 2021. http://dx.doi.org/10.37547/ocl-01-18.

Full text
Abstract:
In 879 (or 875), Cheoyong, who appeared with several people wearing unfamiliar appearance and strange clothes, performed singing and dancing in front of the king of Silla. After that, he moved to the capital with the king, and it is believed that he performed there. According to the legend, Cheoyong, who came in late at night after performing, found that the god of smallpox was with his wife, sang and danced without anger. The god, who saw Cheoyong's behavior, said he would not invade the place where his image was painted, so his portrait later served as an amulet to prevent disease and ghosts. After that, Cheoyong has left somewhere and his dances and songs remained as Cheoyongmu(dance of Cheoyong) and Cheoyongga(song of Cheoyoung), settling down as a Korean folk art. Cheoyong is seen as a sogd performer who escaped from the political turmoil in China when looking at his appearance, his profession, and the situation at the time, which was not familiar to Koreans.
APA, Harvard, Vancouver, ISO, and other styles
4

Paulo, Avner, Carlos Eduardo Oliveira De Souza, Bruna Guimarães Lima e Silva, Flávio Luiz Schiavoni, and Adilson Siqueira. "Black Lives Matter." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10459.

Full text
Abstract:
The Brazilian police killed 16 people per day in 2017 and 3/4 of the victims were black people. Recently, a Brazilian called Evaldo Rosa dos Santos, father, worker, musician, and black, was killed in Rio de Janeiro with 80 rifle bullets shot by the police. Everyday, the statistics and the news show that the police uses more force when dealing with black people and it seems obvious that, in Brazil, the state bullet uses to find a black skin to rest. Unfortunately, the brutal force and violence by the state and the police to black people is not a problem only in this country. It is a global reality that led to the creation of an international movement called Black Lives Matter (BLM), a movement against all types of racism towards the black people specially by the police and the state. The BLM movement also aims to connect black people of the entire world against the violence and for justice. In our work, we try to establish a link between the reality of black people in Brazil with the culture of black people around the world, connecting people and artists to perform a tribute to the black lives harved by the state force. For this, the piece uses web content, news, pictures, YouTube’s videos, and more, to create a collage of visual and musical environment merged with expressive movements of a dance, combining technology and gestures. Black culture beyond violence because we believe that black lives matter. such as the Ku Klux Klan, which bring the black population of the world into concern for possible setbacks in their rights. In Brazil, it is not different. Brazil is the non African country with the biggest afro descendant population in the world and one of the last country in the world to abolish slavery. Nowadays, a black person is 3 times more propense to be killed and most part of the murders in the country happened to afro Brazilians. Marielle Franco, a black city councillor from Rio, the only black female representative and one of seven women on the 51-seat council was killed in 2018. The killers were two former policeman. According to Human Rights Watch, the police force in the state of Rio de Janeiro, Brazil, killed more than 8,000 people between 2005 and 2015, 3/4 of them were black men. At the same time, the African culture strongly influenced the Brazilian culture and most part of the traditional Brazilian music and rhythms can be considered black music.
APA, Harvard, Vancouver, ISO, and other styles
5

Wilson, Jani. "Rōpū Whānau: A whakawhiti kōrero research methodology." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.181.

Full text
Abstract:
Kapahaka is not simply the song and dance of Aotearoa’s Indigenous people. Deeply steeped in mātauranga Māori, kapahaka is a way of simultaneously exemplifying Māori histories, the present, and the future; meanwhile it is a community-focused cultural practice, methodology, and pedagogy. Contemporary kapahaka – both competitive and for entertainment – fosters, develops, validates, and celebrates the Māori world, the language, and our ‘ways’: arguably the fundamental building blocks of Māori ‘popular culture’. The research project Kia Rite! Kapahaka for Screens, from which this presentation is a tiny proportion, will focus on the influence and impact of screen production on the art’s ebbs and flows, and the conflicts between maintaining ‘traditions’ and exploring innovation in and towards the future. Over the last century, the kapahaka art-form has evolved exponentially, and as the wider project will explore, in large part as a response to the advancement of screen technologies. An important strand in Kia Rite! will investigate the kapahaka audience. It employs a refined iteration of Rōpū Whānau, a focus group methodology where closely linked relations will be asked to respond to archival through to contemporary kapahaka footage as a generational screen audience study. Exploring responses to screened kapahaka in this way revisits a whakawhiti kōrero-based audience study method designed to reflect and embody the fundamental whakataukī ‘he aha te kai o ngā rangatira? He kōrero’ (what is the food of chiefs? It is talk.) Rōpū Whānau was developed to move beyond the ‘safety in numbers’ focus group methodology to more of a ‘safety within the whānau’ format. By inviting participants from the same family, a duty to protect the under 18s and inherently control researcher behaviours provides an extra layer of a kind of ‘Māori ethics’. This critical presentation brings forward the fundamental elements of Rōpū Whānau and unpacks how it has been used in various research projects in the past. This is to plot the way forward for Indigenous community-led research methodologies, and encourages the consideration of Indigenous research approaches.
APA, Harvard, Vancouver, ISO, and other styles
6

TYTAR, Olena. "HERMENEUTICS OF DANTE’S INTERPRETATION OF HAPPINESS AS A CONCEPT OF GOOD." In Happiness And Contemporary Society : Conference Proceedings Volume. SPOLOM, 2021. http://dx.doi.org/10.31108/7.2021.59.

Full text
Abstract:
The basis of human nature according to Dante is natural inclination, love to good (Aristotelianism, Thomism). God is the highest blessing but some souls are deceived and choose to love the created world, such love can be broken and become a false love, a sin when either the measure or the choice of worthful goal the object of this love is violated. Thus it becomes a transgression punished in Purgatory or a sin punished in Hell. The crucial thing in person's life is a vision of God. In this respect Dante is a Thomist. It is also important to see Comedy as a kind of model of the universe, Dante embodies mathematical, philosophical, Christological, astrological, numerological and other views in it Keywords: Dante, Thomism, hermeneutics, philosophy of happiness, philosophy of culture
APA, Harvard, Vancouver, ISO, and other styles
7

Paya, Ali. "IN DEFENCE OF UNIVERSAL ETHICAL VALUES AND PRINCIPLES." In Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/wnza5901.

Full text
Abstract:
In the past few decades a new approach to ethical principles known as ‘particularism’ has become fashionable among moral philosophers. According to the particularist the progress in the field of ethics, is from monism (the view that there is only one moral principle), through pluralism (the view that there are many), to particularism (the view that there are none). Jonathan Dancy advocates a radical particularist theory: arguing against a variety of univer- salist–pluralist doctrines, he maintains that there are no moral principles; and, even if there are, our ethical decisions are highly context-dependent, made case by case, without the sup- port of such principles. In this paper, drawing on a number of theoretical concepts used in science as well as the philosophy of science, and making use of Fethullah Gülen’s insights, I try to develop a mod- erate universalist–pluralist model in defence of universal ethical values and principles. This model, I argue, is less vulnerable to Dancy’s criticisms and better equipped, in comparison to Dancy’s own model, to deal with particular moral cases. While particularism in ethics leads to relativism and leaves moral agents with no clear guidelines, the model developed here could serve all moral agents, regardless of credal or cultural association and socio-political outlook, in making sound and commendable moral judgements.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'World dance culture' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography