Journal articles on the topic 'World dance culture'
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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.
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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.
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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.
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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.
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Franko, Mark. "French Interwar Dance Theory." Dance Research Journal 48, no. 2 (August 2016): 104–10. http://dx.doi.org/10.1017/s0149767716000188.
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Interwar French dance and the critical discourses responding to it have until recently been an underdeveloped research area in Anglo-American dance studies. Despite common patterns during the first half of the twentieth century that may be observed between the dance capitals of Berlin, Paris, and New York, some noteworthy differences set the French dance world apart from that of Germany or North America. Whereas in Germany and the United States modern dance asserted itself incontrovertibly in the persons of two key figures—Mary Wigman and Martha Graham, respectively—no such iconic nativist modernist dancer or choreographer emerged in France. Ilyana Karthas's When Ballet Became French indicates the predominance of ballet in France, and this would seem an inevitable consequence of the failure of modern dance to take hold there through at least one dominant figure. Franz-Anton Cramer's In aller Freiheit adopts a more multidimensional view of interwar French dance culture by examining discourse that moves outside the confines of ballet. A variety of dance forms were encouraged in the milieu of the Archives Internationales de la Danse—an archive, publishing venture, and presenting organization—that Rolf de Maré founded in Paris in 1931. This far-reaching and open-minded initiative was unfortunately cut short by the German occupation (1940–1944). As Cramer points out: “The history of modern dance in Europe is imprinted with the caesura of totalitarianism” (13). Although we are somewhat familiar with the story of modern dance in Germany, we know very little about it in France.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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MacKenzie, Robin. "Nymph, Scarab, Butterfly: Figures of the Dancer in Mérimée, Flaubert and Proust." Forum for Modern Language Studies 55, no. 3 (July 1, 2019): 308–24. http://dx.doi.org/10.1093/fmls/cqz023.
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Abstract This article examines dance episodes from three works of French fiction written between 1860 and 1920: the roussalka dance from Mérimée’s Lokis, Salomé’s performance in Flaubert’s Hérodias, and the description of an unnamed ballet dancer in Proust’s Le Côté de Guermantes. The texts, in contrasting ways, explore networks of power and desire, as well as the relationship between the aesthetic sphere and the world of social conventions and interactions, thus reflecting the thematic significance of dance in the literary culture of the period. It would be hard to justify constructing a grand narrative that maps the history of dance on to that of its literary representations on the basis of three texts; nevertheless, in the interplay of narrative and metaphor and the portrayal of the dancer’s multiple personae, we can find traces of some major shifts in the evolution of dance from the romantic ballet of the mid-nineteenth century to the coming of modernism at the start of the twentieth.
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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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Otero, Daniel. "History of the belly dance: is it to entice men or a female’s rite of passage?" Arts & Humanities Open Access Journal 4, no. 5 (October 16, 2020): 203–12. http://dx.doi.org/10.15406/ahoaj.2020.04.00171.
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One of the most beautiful-classical forms of dance which has persisted since 220 B.C.E. (Before the Common Era) came from the Egyptian culture with its traditional ‘bedlah’ (suit) or suit. But it grew from the off-spring of the Arab Empire (Islamic expansions, 632-1492) and then spread towards India.1 It has been said or noted that from this dance style evolved the traditional patterns used by the Indian women with their saris, to the Romani (Gypsy) women while dancing flamenco in the medieval period, and the later burlesque techniques which flourished in the Nineteenth and Twentieth Centuries. Belly dance didn’t only influence these latter cultures, but it further influenced in the ways of dress and fashion for females. A dance taken from humble origins and converted into something for the international spectrum to glorify the body of women who wished to be in contact with Mother Earth/Nature. This dance wasn’t only for a female’s rite of passage. It was modified through different times in history to be danced in the courts of the Imperial Palaces across the Middle East. Through time, even used by the infamous Mata Hari to spy on men and used to get information during World War I. Belly dance grew, and with time became part of the line-up of classical dances. Because it is one of the oldest and most enjoyed worldwide. With this paper, I intend to demonstrate that belly dancing isn’t only to entice. It is more than that, it can be adapted to a woman’s anatomy and give her way into womanhood.
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Nott, James. "Dance Halls: Towards an Architectural and Spatial History,c. 1918–65." Architectural History 61 (2018): 205–33. http://dx.doi.org/10.1017/arh.2018.8.
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AbstractThe dance hall was a symbol of social, cultural and political change. From the mid-1920s until the mid-1960s, the dance hall occupied a pivotal place in the culture of working- and lower-middle-class communities in Britain. Its emergence and popularity following the First World War reflected improvements in the social and economic well-being of the working and lower middle classes. The architecture of dance halls reflected these modernising trends, as well as a democratisation of pleasure. The very name adopted by the modern dance hall, ‘palais de danse’, emphasises this ambition. Affordable luxury was a key part of their attraction. This article examines how the architecture of dance halls represented moments of optimism, escapism and ‘modernity’ in British history in the period 1918–65. It provides the first overview of dance halls from an architectural and spatial history perspective.
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Smalec, Theresa. "Impossible Dance: Club Culture and Queer World-Making (review)." Theatre Journal 55, no. 3 (2003): 558–59. http://dx.doi.org/10.1353/tj.2003.0141.
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Bigus, Olga, Dmytro Bazela, Alina Pidlypska, Olha Bilash, Svitlana Yefanova, and Nataliia Khodakivska. "CHOREOGRAPHY IN THE SYSTEM OF ART EDUCATION: MODERN UKRAINIAN AND WORLD PRACTICE." southern semiotic review 2022ii, no. 16 (July 1, 2022): 204–24. http://dx.doi.org/10.33234/ssr.16.8.
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The research is about the art education, particularly dance and its capacity to transfer knowledge to the present and future generations for their survival and continued practice from the perspective of the world but especially Ukraine. Education in art is one of the oldest forms of education and in modern times there are a lot of other factors that influence the choreography and dance forms. All these factors have been discussed in the study. Purpose of the research is to look into the system of art education and its role in cultural conservation and the dissemination of culture in its globalized world. The other purpose of the project is also to find out the current scenario of the dance forms and the way they get affected by the global developments and their future. The research methodology that has been used in this study is the qualitative as well as the quantitative data as the chief data sampling method. Also, both the secondary and primary data has been taken into consideration for this research. Key words: Dance forms,Art education, Traditional dance, Modern dance, Contemporary dance, Culture.
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Stanich, Veronica Dittman. "Turning the World Upside Down." Dance Research 36, no. 2 (November 2018): 198–223. http://dx.doi.org/10.3366/drs.2018.0238.
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A particular movement – inverting the body to a tail-over-head orientation and fleetingly taking weight on the hands – has been a staple of postmodern dance training and choreography since the early 1990s, yet it remains unnamed and uncodified. Taking a material culture studies approach, I examine this movement closely, using interviews, observation, historical analysis, and a survey of dance practitioners to situate this not-exactly-a-handstand within the field of American postmodern dance. These multiple perspectives yield new insights into the field, its practitioners, and its relationship to the larger cultural picture. I find embodied in this transitional, upside-down movement not only postmodern dance's countercultural and eclectic inheritance but also the conflicted cultural space it occupies. Postmodern dance is old enough to have a tradition, but doesn't want to relinquish its maverick identity; meanwhile, its meaning-making codes are inaccessible to much of the general public even as it begs a bigger audience in order to thrive.
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CHONG, LEE SUAN. "A GRASP ON THE NATURE OF LUNDAYEH THROUGH THEIR TRADITIONAL DANCE CULTURE." International Journal of Creative Future and Heritage (TENIAT) 3, no. 2 (December 31, 2015): 1–22. http://dx.doi.org/10.47252/teniat.v3i2.365.
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AbstrakPenduduk Lundayeh terdapat di Tenom, Sipitang dan Long Pa Sia, di sepanjang pantai barat Sabah, Malaysia. Bentuk dan sistem tarian Lundayeh telah melalui perubahan dan variasi sejak kewujudan mereka di Borneo. Artikel ini mengkaji dalam pelbagai aspek, termasuk muzik, pakaian, pergerakan, fungsi dancerita-cerita daripada tarian tradisional yang diamalkan dalam masyarakat Lundayeh hari ini di Kemabong, Sabah. Tarian tradisional Lundayeh yang masih diamalkan berdasar terutamanya kepada aspek budaya, sosial dan agama hidup Lundayeh. Kajian ini membawa kepada penemuan corak pemikiran, falsafahhidup dan perspektif dunia Lundayeh yang dipengaruhi oleh agama dan budaya purba mereka. Tarian tradisional Lundayeh berfungsi sebagai satu saluran untuk memahami sifat orang Lundayeh sebagai salah satu kumpulan etnik kecil di dunia. Pemahaman tentang sifat orang Lundayeh akan terus menyumbang ke arah perkongsian dan penemuan dalam dimensi ilmu kemanusiaan yang baru.
AbstractLundayeh populations are found in the areas of Tenom, Sipitang and Long Pa Sia, along the west coast of Sabah, Malaysia. Lundayeh dance forms and systems have gone through changes and variations since their existence in Borneo. This paper looks into a variety of aspects, including music, costumes, movements, functions and stories of the traditional dances practiced in today’s Lundayeh communities in Kemabong, Sabah. The surviving traditional dances found to have stemmed from the core of Lundayeh cultural, social and religious aspects of life. The study leads to the discovery of the thinking patterns, life philosophies and world perspectives of Lundayeh that are strongly influenced by their religion and ancient culture. Dance music ultimately serves as a tool to understand the nature of Lundayeh people as one of the minor ethnic groups in the world. The understanding of the nature of Lundayeh would further contribute toward sharing and discovering another dimension of human knowledge and wisdom.
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Zemskova-Ryabaya, Anna Viktorovna. "Studying positive impact of kizomba on human life." Vestnik of Astrakhan State Technical University 2022, no. 1 (May 31, 2022): 82–88. http://dx.doi.org/10.24143/1812-9498-2022-1-82-88.
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Dance is part of a culture that brings positive emotions. Dances are divided into several types: ballet, ballroom, historical, folk, club, erotic, modern, street, modern ballet, Latin American. Latin American dances are of two types: ballroom and social. Social dance is a special form of communication, an opportunity to organize leisure and pastime. Kizomba belongs to social dances and is practiced on various dance floors and open airs. Kizomba has come from African Angola, but it developed on the dance floors of Latin America, gradually absorbing ele-ments of Cuban, Brazilian and European dances. Thanks to measured and smooth movements, kizomba is easy to master, and practicing it one can become a famous kizombist. The features of kizomba include the correct invita-tion to dance and the correct end of the dance, the ability to correctly build a sequence of fast and slow steps, a smooth change in the direction of the dance, and a general base of movements. It is the basic steps that help to master kizomba correctly, and thanks to the knowledge gained in the lessons and on the YouTube channel, opportunities for learning new dance techniques are given in details. There are several styles of kizomba: Passada, Tarraxinha, Ventoinha, Quadrinha. Kizomba helps to relax after a working day, has a beneficial effect on both mental and physical state of a person. Positive emotions during the dance arise due to the release of endorphins - hormones of happiness, which have a positive effect on the inner world, liberating a person. Kizomba helps to strengthen the body, develops flexibility, strength and endurance.
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Turchak, Lesia. "Creativity of O. Gerdan-Zaklynska within the development of Ukrainian and world choreographic culture." Culturology Ideas, no. 21 (1'2022) (2021): 93–101. http://dx.doi.org/10.37627/2311-9489-21-2022-1.93-101.
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The article investigates creative activity of one of the V. Avramenko’s well-known students, Galician choreographer O. Gerdan-Zaklynska in homeland and in emigration. It analyzes her contribution to the development of "expressive" dance in the first half of the 20th century within the specificity of Ukrainian choreographic art. The performing and pedagogical activity of the choreographer is considered in the context of the preservation and development of the national historical and cultural heritage. It is stated that the direction of creative and pedagogical activity of O. Gerdan-Zaklynska in emigration speaks of the desire not only to preserve individual spiritual values and achievements of Ukrainian dance culture, but also to popularize them and concurrently contribute to the synthesis of Ukrainian and foreign choreography. Synthesizing the best traditions of national art with the innovative experience of Western European choreography, O. Gerdan-Zaklynska presented a unique Galician style of performing modern dance at the global level. While searching for the originality and authenticity of Ukrainian folk-stage dance, she invented the so-called motor symbols that contributed to the formation of a new coding of dance.
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Yilin, Li. "“Harmonious World” Realm of Leisure Culture in National Line Dance." Leisure Sports and Health 1, no. 1 (2021): 64–72. http://dx.doi.org/10.35534/lsh.0101010.
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Portnova, Tatiana V. "Folklore and choreography in the dialogue of cultural and national interaction." Perspectives of Science and Education 59, no. 5 (November 1, 2022): 53–65. http://dx.doi.org/10.32744/pse.2022.5.4.
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Subject and purpose. In the modern world, the preservation, revival and development of folk culture is becoming relevant. Due to a number of reasons, the original folklore samples are lost, and may not be subject to restoration. Therefore, at present, the problems of fixing and preserving unique folklore data that were created at different times and contained in the creations of famous choreographers remain unresolved. Samples of preserved and studied folklore can serve as a means of developing creative activity, both in dance groups and students studying folk choreography. The purpose of the study is to identify the contact links of folklore and dance culture in the context of national interaction, to identify aspects of the development of folk dance as an ethno–cultural phenomenon, to identify the potential of its use in the poly-artistic education of peoples. Materials and methods. The methodological foundation of the study is based on a discussion analysis, which helps to understand that the originality of choreography manifests in the style, manner of performance, number of participants, pace of movements, composition, genre, and traditions. Russian dances are characteristic of certain choreographic customs, which allows us to consider them not only as folk art but also as a national one. This work employs interdisciplinary and integrated approaches involving cultural studies, folklore studies, art history, and other related sciences. The results of the study. For a long time, dance folklore is one of the important forms of preservation and transfer of the accumulated experience of spiritual culture from one generation to another. Folklore is always modern and distant, it includes a variety of genres, images, poetics, which is due to social and domestic functions, also ways of expression in art. Folklore is an important source for choreography, as it serves as a material that directors resort to – directors during dancing, and theaters are examined for scientific purposes. Choreography uses oral and written folklore, both in semantic and structural aspects. He, refracted through the dance language, acquires the instance of visualization. In some cases, visual folklore becomes a conceptual idea of creating choreographic numbers and whole dance ensembles. In the archaic geometry of the early forms of dance, a communicative function is laid related to the cosmic symbols of the interaction of nature and man. Folklore principles developed in folk choreography mainly rely on the realistic method of expression, which contributed to the complexity of national recognized world schools. In the classical dance, a separate direction of characteristic dance was distinguished, based on national folklore, the mandatory study of which is now included in the educational process of choreographic educational institutions. Thus, the study of folklore in folk dance helps to understand social relations in society between representatives of a certain ethnic group, reveal their spiritual and material culture and present the aesthetic level of the creators. Depending on the ethnic composition of the dance group itself, an acquaintance with a folklore of a certain ethnic group occurs. Modern professional choreographic art, reflecting folklore, complicates and modifies it, can be considered in the context of experimental art practices and potentially used in new stage solutions. Conclusions. The conducted study allows us to conclude that the ideological, developmental, informational, educational, and socioeducational functions are important elements in the system of the art of choreography. Consequently, folklore reflects folk history, and choreographic folklore helps to study folk dances characteristic of the ethnos to which it belongs. Folk dances contain information about the nation, and the dialogue of cultures, i.e., through its representatives, allows us to obtain information about cultural values, relationships, and norms of behavior of people of another ethnic group. Thus, folklore and folk choreography broaden our horizons and integrate the connection of generations, and the communicative properties inherent in them characterize a certain people.
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Rosmiati, Ana, Supriyanto Supriyanto, Joko Budiwiyanto, Tubagus Mulyadi, and Soemaryatmi Soemaryatmi. "World Dance Day: A Cultural Conservation in Maintaining Local Wisdom of Traditional Arts." Gelar : Jurnal Seni Budaya 20, no. 2 (December 1, 2022): 75–84. http://dx.doi.org/10.33153/glr.v20i2.4564.
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The research entitled " World Dance DAay: A Cultural Conservation in Maintaining Local Wisdom of Traditional Arts" was conducted to explore the strengths in maintaining the existence of traditional arts, which began to shift with the introduction of Western culture. World Dance Day was a dance event with a duration of 24 hours. This event had been going on for several years. It had become a routine agenda at ISI Surakarta by involving the public, community, art activists, cultural observers, foreign participants, and others. World Dance Day could be used as branding in building ISI Surakarta amid competition among higher education institutions. Organized events could be media promotions both domestically and internationally. This event was held once a year in April, on the 29th. The problem in this research was how to maintain the existence of traditional arts through the activation of World Dance Day and brand World Dance Day activation as a medium for introducing art. The purpose of the research was to find ways to maintain the existence of traditional arts through the World Dance Day activation and to find ways to make World Dance Day branding activation a medium for introducing dance arts to the community. This type of research was qualitative descriptive research. The data source in this study was primarily data source in the form of World Dance Day activation. The monitoring method was carried out by identifying the types of activation included in World Dance Day. Data were obtained from the World Dance Day activation. Researchers directly observed the World Dance Day activation and saw Youtube and other social media. The result of this research was to find ways to maintain the existence of traditional arts through World Dance Day activation. Apart from that, they also carried out branding in the form of World Dance Day activation as a medium for introducing dance arts to the community.
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DEVI, LAISHRAM HEMANTAKUMARI, and Yaikhom Hemantakumar. "PROPAGATION OF MANIPURI DANCE TO THE WORLD." International Journal of Research -GRANTHAALAYAH 9, no. 3 (March 27, 2021): 128–31. http://dx.doi.org/10.29121/granthaalayah.v9.i3.2021.3780.
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The then Manipur was a sovereign state ruled by a lineage of many kings. Inspite of being situated in a far, isolated place from other lands and countries and also surrounded by ranges of hills with thick forestation, the inhabitants of this place faced untold hardship in communicating with other external lands and countries. But the state is now recognised by the outside world due to its rich storage of custom, tradition and culture of dance and music.
Indeed, it is very surprising and happy when we think of the matter. That we cannot but remember afresh and count the Universal poet Guru Rabindranath Tagore, the descendants of king of Tripura and Miss Luis Lightfoot of Australia and all dedicated and pioneer preceptors in the field of dance.
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Jędrzejko, Paweł. "Translocality/Methodology. The Americas, or Experiencing the World." Review of International American Studies 13, no. 2 (December 31, 2020): 5–13. http://dx.doi.org/10.31261/rias.10013.
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The Americas offer a peculiar stage for translocal methodologies. If we agree that the products of Chinese American culture—which, in the course of the last 170 years of interaction, has evolved into a unique, American, phenomenon—can not be labeled as “Made in China,” then contemporary Chinese medicine in the Americas cannot legitimately be perceived solely as an ‘import.’ Beyond doubt, phenomena such as the emergence of the American College of Traditional Chinese Medicine at the California Institute of Integral Studies testify to the fact that the once ‘exotic’ forms of therapy are now being granted a status parallel to those developed throughout the history of Western medicine. Increasingly, as translocal, they are becoming recognized as non-foreign elements of the glocal culture. Similarly, the exploration of the physical world, which, to an experienced dancer of Bharatanatyam, Odissi, or any other of the dominant forms of the classical Indian dance is an obvious function of his or her own experience of the ‘body-in-the-world,’ has, translocally, opened up an altogether new space of profound understanding of ourselves in our environment. It is not about the fashionable, politically correct, ‘openness to other cultures’; it is about the opening up to a parallel meditative experience of the “bodymind,” which neither excludes nor isolates the sphere of emotions from the reality of what-is-being-experienced. Or, to express it in terms more easily comprehensible to a Western reader, dance may prove to be a methodology (not just a method) serving the purpose of a more profound understanding of the complexity and unity of the universe, and a language to express this understanding. Making the most of available traditions might produce much greater benefits than remaining locked within just one, Western, Anglonormative, library of concepts. In the context of the ongoing debate on transnational American Studies, the article offers an insight into how the worldwide studies of the Americas and translocality intersect, and how such a perspective may contribute to the multifaceted process of the decolonization, understood both literally and intellectually.
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Jędrzejko, Paweł. "Translocality/Methodology. The Americas, or Experiencing the World." Review of International American Studies 13, no. 2 (December 31, 2020): 5–13. http://dx.doi.org/10.31261/rias.10013.
Full textAbstract:
The Americas offer a peculiar stage for translocal methodologies. If we agree that the products of Chinese American culture—which, in the course of the last 170 years of interaction, has evolved into a unique, American, phenomenon—can not be labeled as “Made in China,” then contemporary Chinese medicine in the Americas cannot legitimately be perceived solely as an ‘import.’ Beyond doubt, phenomena such as the emergence of the American College of Traditional Chinese Medicine at the California Institute of Integral Studies testify to the fact that the once ‘exotic’ forms of therapy are now being granted a status parallel to those developed throughout the history of Western medicine. Increasingly, as translocal, they are becoming recognized as non-foreign elements of the glocal culture. Similarly, the exploration of the physical world, which, to an experienced dancer of Bharatanatyam, Odissi, or any other of the dominant forms of the classical Indian dance is an obvious function of his or her own experience of the ‘body-in-the-world,’ has, translocally, opened up an altogether new space of profound understanding of ourselves in our environment. It is not about the fashionable, politically correct, ‘openness to other cultures’; it is about the opening up to a parallel meditative experience of the “bodymind,” which neither excludes nor isolates the sphere of emotions from the reality of what-is-being-experienced. Or, to express it in terms more easily comprehensible to a Western reader, dance may prove to be a methodology (not just a method) serving the purpose of a more profound understanding of the complexity and unity of the universe, and a language to express this understanding. Making the most of available traditions might produce much greater benefits than remaining locked within just one, Western, Anglonormative, library of concepts. In the context of the ongoing debate on transnational American Studies, the article offers an insight into how the worldwide studies of the Americas and translocality intersect, and how such a perspective may contribute to the multifaceted process of the decolonization, understood both literally and intellectually.
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Kong, Dejing. "Artistic Style and Cultural Representation of Irish Step Dance - Take Riverdance as an Example." Journal of Education and Culture Studies 5, no. 4 (August 24, 2021): p19. http://dx.doi.org/10.22158/jecs.v5n4p19.
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In Ireland, Irish step dance has been a national identity for a long time. For many people in the world, Riverdance was their first impression about Irish step dance. It brought a boom and a renaissance of Irish step dance. In the twenty-first century, more than twenty years after the Riverdance boom, have people’s perception of Riverdance and Irish culture changed? Thus, this essay explores the experiences of Irish dancing and culture of former Riverdance dancers and audiences in 2021.
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Diyora, Bharat Tulashibhai. "Music and Dance Culture in the City of Vadodara in the Nineteenth and Twentieth Centuries." Scholars Journal of Arts, Humanities and Social Sciences 9, no. 7 (July 7, 2021): 310–14. http://dx.doi.org/10.36347/sjahss.2021.v09i07.002.
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The arts of dance and music are of great importance to the culture of India. Classical Indian dances and music are among the most graceful and beautiful in the world. The Maharaja Sayajirao Gaekwad as a head of state led to making Baroda a city representative of art, which is at once indigenous and modern. Expert artists from across the Indian Subcontinent were invited to perform as well as to extend the knowledge of music to the people of Vadodara. Artists were often encouraged with awards and rewards for their performances on various occasions. Maharaja Sayajirao wanted to disseminate the tradition as well as ear for music among the people of Vadodara, so he decided to employ more artists in the court. Hence, many young and old, professional and novices were appointed. So this paper covered all the aspect of music and dance which evolved under vision of the Maharaja Sayajirao.
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Pavlyuk, T. "Anglicization and Canonization of Ballroom Dance, Late 19th — Early 20th Century." Culture of Ukraine, no. 73 (September 23, 2021): 91–97. http://dx.doi.org/10.31516/2410-5325.073.13.
Full textAbstract:
The purpose of this article. The purpose of the article is to determine the specifics of the evolutionary processes in the English dance style of the XX — early XXI century.
The methodology is an organic set of basic research principles: objectivity, historicism, multifactority, systemacity, complexity, development and pluralism, and to achieve the goal, the following methods of scientific knowledge are used: problemchronological, concrete historical, statistical, descriptive, logicalanalytical.
The results. The evolution of the English dance style took place through professionalization. Communication at the international level between teacherschoreographers, the popularization of dance competitions and tournaments, the development of a judging system formed not only the content of new ballroom dances, but also the manner of their performance. The English style of performance has become a model for the world dance society for many years. Foreignborn dances, which were fashionable among the general public, were transformed by the British dance society in the 1920s and 1930s to form the socalled “English style” of ballroom dancing. Consistently claiming that dance is an expression of national character, the country’s professional dancers and dance teachers have sought to create a British dance form that is distinct from foreign forms. It was the process of “Anglicization” of foreign ballroom dancing that became one of the most important elements of the national dance culture of Great Britain in the 1920s and 1930s. The original British school of ballroom dancing, the style and methods of which were popularized in European countries in the early 1930s, led to the development and standardization of requirements for the conduction of competitions and championships. Improving the national rating system, the English system of training and identifying the best performers of ballroom choreography for many decades of the XX century remained the only generally recognized dance school in the world. Now the UK remains a leader in the art of ballroom choreography in many of its aspects — from pedagogical methods of training highclass performers and choreographers to the media and tournament sphere.
The topicality. An attempt has been made to research the topical issues of the development of the English dance style of the XX — early XXI century.
The practical significance. The research may be used in developing lectures by specialists in choreography.
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Çam, Ninel. "Stehblues–Do You Want to Dance with Me?" Nordic Journal of Dance 8, no. 1 (June 1, 2017): 16–25. http://dx.doi.org/10.2478/njd-2017-0003.
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Abstract The participatory dance performance STEHBLUES was created by the duo of Ninel Çam (an artist) and Chris Schaal (a filmmaker), who travel to different cities, mark a 2m x 2m area in a public space, and display an illustrated sign that lets passersby know that they can dance with the standing-and-waiting artist if they want. Chris Schaal documents the performances through still images and videos. Moving images are live-streamed to the World Cafe in Stuttgart. In STEHBLUES, the artist stands in the midst of the marked field in a public space, waiting until a stranger is willing to slow-dance with her. As soon as someone volunteers, a relationship is created in this sphere of dance and becomes an ephemeral part of the city, of the culture, of the world. STEHBLUES travels to different cities that have invited this project to be part of their culture or to cities with which the artists feel a connection.
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Ershova, Olga, and Evgeny Smirnov. "Sports and ballroom dancing competitive infrastructure analysis in the context of international organizations on sports and ballroom dancing." Tambov University Review. Series: Humanities, no. 182 (2019): 123–29. http://dx.doi.org/10.20310/1810-0201-2019-24-182-123-129.
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We consider current problems of scientific and theoretical representations development about competitive infrastructure of Sports and ballroom dancing which are not provided with sufficient scientific comprehension. The purpose is to determine the basis of division used in the world practice of international organizations for sports and ballroom dancing for the classification of competitions, performers, their skills, etc. Interest in sports and ballroom dancing, as a form of social, cultural and leisure activities, increases every year not only abroad but also in Russia. Sports and ballroom dancing in its structure have two programs: Latin American, which includes dances – Cha-cha-cha, Rumba, Samba, Jive, Pasodoble and European, dance – slow waltz, Viennese (fast) waltz, Slow Foxtrot, Quickstep, Tango. Dance and sports clubs cover in their work all age categories from children of three years to people of retirement age. Dance associations are based in cultural institutions, cultural and leisure type, in secondary schools, and in higher educa-tion institutions in the framework of additional education or the organization of cultural and leisure activities. Each dance and sports club, as an element of the structure, is registered in any Russian official organization for ballroom dancing, which, in turn, is a regional and part of the international organization for ballroom dancing. Now, there are actively there are four: 1) WDSF – World DanceSport Federation; 2) WDC – World Dance Council; 3) IDSU – International Dance Sport Union; 4) IDSCA – International Dance Studios and Clubs Association. Each of the organizations provides, contests, competitions, tournaments, Championships of Europe, Asia, world, etc. To analyze the material, we use a comparative typological method. We discover the similarities features and differences in the international organizations activities in sports and ballroom dancing, this information is scientifically investigated for the first time. We define the importance of sports and ballroom dancing competitive and amateur infrastructure for the development of culture and strengthening of a population healthy lifestyle. Also, for the first time in scientific circulation we introduce a systematic material on the activities of international organizations in sports and ballroom dancing.
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Pavliuk, T. "Influence of France on the formation of ballroom choreography in the context of Western Europe culture development in the XVI — early XXI centuries." Culture of Ukraine, no. 72 (June 23, 2021): 166–71. http://dx.doi.org/10.31516/2410-5325.072.23.
Full textAbstract:
The purpose of this paper to analyze the transformations in the French ballroom and choreographic practice, in the context of the development of culture of Western European countries of the XVI — early XXI centuries.
The methodology is an organic set of basic principles of research: objectivity, historicism, multifactority, systemicity, complexity, development and pluralism, and to achieve the goal, the following methods of scientific knowledge are used: problem-chronological, concrete historical, statistical, descriptive, logical and analytical.
The results. The analysis of trends in the development of ballroom dance in France and the influence of French culture on the formation of ballroom choreography in the XVI — early XXI centuries.
The analysis of trends in the development of ballroom dance in France and the influence of French culture on the formation of ballroom choreography in the XVI — early XXI centuries took place. The processes of transformation and democratization of ballroom choreography in the XVIII century, which already in the XIX century turned from salon art into a leisure object for various social strata throughout Europe, were investigated. In the XX century it was France that discovered non-European types of ballroom dancing for Europe, which subsequently acquired standardization in the English professional environment.
In the XX century France became the country where foreign art forms appeared and adapted to the conditions of European realities. France attracted artists from all over the world because of the special national culture formed in it. During the XX century the art of ballroom choreography in France developed rapidly. French performers and teachers continued long-standing national traditions. This factor had a positive effect on the training level of dancers in the field of professional and amateur ballroom dancing. Since 2010, France has been an active member of the World Dance Sports Federation (WDSF). The French Dance Federation (Fédération Française de Danse) is one of the largest organizations that develops ballroom choreography in the country. Over the past decades, dozens of open national and world ballroom dancing championships have been held in French cities (Paris, Marseille, Lyon, Nice, etc.).
The scientific topicality is to identify the processes of the influence of French culture on the development of ballroom choreography in the XVI — early XXI centuries.
The practical significance. The research may be used in developing lectures by specialists in choreography.
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Cvijanovic, Irina. "Performing sound of the past: Remix in electronic dance music culture." Muzikologija, no. 17 (2014): 87–104. http://dx.doi.org/10.2298/muz1417087c.
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The term remix, defined as an activity of taking data from pre-existing materials to combine them into new forms according to personal taste, relates to various elements and areas of contemporary culture. Whichever model used, consideration of the remix depends on recognition of pre-existing cultural codes. Therefore, as a second layer, the remix relies on the authority of the original and it functions at the meta-level. The audience may see a trace of history with the pre-existing object and the meaning creates in the viewer(s), reader(s), listener(s) or, in the contemporary world of DJs and popular electronic dance music culture - in dancer(s). With the aim of specifying modes of creating particular ambients, this paper will consider and examine the song Why Don?t You? remixed by Marko Milicevic, a Serbian DJ also known as Gramophonedzie, and illuminate how material from the past can create a constructive (musical) dialogue.
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Buckland, Theresa Jill. "How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack." Dance Research 36, no. 1 (May 2018): 1–32. http://dx.doi.org/10.3366/drs.2018.0218.
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This two-part article examines the contested transition in London's fashionable ballrooms from the established Victorian rotary waltz to the modern English waltz of the early 1920s. Existing scholarship on the dance culture of this period and locale has tended to focus on issues of national identity, gender, race, class and the institutionalisation of popular dance practices. Although these are of profound significance and are here integrated into the analysis, this fresh study focuses on the waltz's choreological aspects and relationship to its ballroom companions; on the dance backgrounds and agency of the waltz's most influential practitioners and advocates, and on the fruitful nexus between theatre, clubs, pedagogy, the press and competitions in transforming style and practice towards modern English ballroom dancing as both a social and artistic form. Part One discusses the kinetic problems that waltzing couples encountered in the face of ragtime dances and tango, the impact of World War One on social dance practices in fashionable London and the response of the press and the dance pedagogic profession to the post-war dance craze. Improvisational strategies are considered as contributory factors in the waltz's muted persistence throughout the war while throwing light on how certain social choreomusical practices might lead to the transmutation of dances into newly recognised forms. The persuasive role of London-based leaders such as Philip Richardson, Madame Vandyck and Belle Harding in these early years of modern ballroom dancing is brought to fresh attention. Part One concludes with the dance teachers’ inconclusive attempts during 1920–21 to define and recommend a waltz form compatible with both a discrete choreomusical identity and the stylistic dictates of modern ballroom dancing
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Feta, Neneng Rachmalia. "DEVELOPMENT OF KNOWLEDGE MANAGEMENT SYSTEM FOR JAIPONG DANCE." Jurnal Pilar Nusa Mandiri 18, no. 2 (September 13, 2022): 107–16. http://dx.doi.org/10.33480/pilar.v18i2.2930.
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Knowledge for culture is a concept of using information and communication technology to increase usability in the field of culture, especially in managing, documenting, disseminating information and knowledge of cultural arts, especially Sundanese cultural arts, namely the art of jaipong dance. For the art of jaipong dance to be maintained, it is necessary to manage information and knowledge that utilizes the sophistication of information and communication technology towards the noble values of jaipong dance. In that way, the art of jaipong dance can be passed on to each generation to maintain culture as self-identity and show the existence of Sundanese culture in the eyes of the national and even the world. Knowledge Management Systems (KMS) is a solution that can be used to preserve the art of jaipong dance in Indonesia by managing existing knowledge about various things about the art of jaipong dance. The research method uses an integrated knowledge system management cycle. There are three main stages: knowledge capture and/or creation, knowledge sharing and dissemination, and knowledge acquisition and application. Meanwhile, for the formation of knowledge used in this study, the SECI Nonaka model was used. KMS itself can benefit experts, organizations, and the general public. It becomes learning material for every generation. The process of transferring information and knowledge about the movements in the Jaipong dance what musical instruments are used in performances, fashion, and make-up can run. properly and can preserve the art of jaipong dance, which is one of the characteristics of dance in Indonesia.
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Ripalda, Erwin Oscar P. "Tikbubulan: Transitions from Folk Song to Creative Dance." IAFOR Journal of Cultural Studies 7, no. 1 (September 16, 2022): 37–52. http://dx.doi.org/10.22492/ijcs.7.1.03.
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This article tells the story of a teacher creating a dance based on a traditional folk song that has been sung for generations. Since most Philippine folk dances have been studied and created based on the culture of a particular group of people, this study contributes to its wide array of already existing ones. The researcher made use of mimicking a bird which is the theme of the folk song. This included the movements of the bird when it stretches, flies with other birds, its courting movements and how it moves or hops about. These traits are personified in the humorous or playful character of the Waray people. Since studying Philippine folk dance is part of the school curriculum, it is imperative that instructional materials be developed to make the delivery of instructions more meaningful, enjoyable and rewarding with the use of existing materials which are already familiar to students such as folk songs. Using the cultural study as its design, the study explores a new dance based on the Tikbubulan folksong. Basic movements and steps were taken from the dance steps introduced by Francisca Reyes Aquino. Other dance steps were created through the creativity of the choreographer so as to show clearly the characteristics of the Tikbubulan bird and how people mimic it. Despite the cultural influence of other countries, education has a role to play in the preservation of Philippine culture which gives identity to its people and is different from that of other countries around the world.
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Fedorchenko, D. "Evolution of waltz in the European ball culture." Culture of Ukraine, no. 72 (June 23, 2021): 34–38. http://dx.doi.org/10.31516/2410-5325.072.05.
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Problem statement. One of the most popular dance forms of the past centuries was exquisite, soft and smooth waltz which can be called a bright phenomenon of the world choreographic art. However, the scientific and theoretical part of this choreographic art remains quite unstudied.
The purpose of the article is to reveal the sources of formation and evolution of various kinds of waltz in the European program of ballroom dance.
The methodology. The methods used in this article are the following: 1) historical methods that allow to place the chosen work into the perspective of ballroom choreography development; 2) classifications and systematizations that allow to conduct the analysis of how various kinds of waltz formed; 3) stylistic methods used for studying the given form of ballroom dance in the context of the choreographic art.
The results. The history of waltz formation goes back to those times when dance was not just a great art but also a part of the compulsory program of high life education. Waltz received an immense impulse around 1830 owing to two outstanding composers — Franz Lanner and Johann Strauss.
In the modern period of ballroom dance development there are plenty of waltz forms: slow waltz, Viennese waltz, figured waltz, boston, classical waltz and tango-waltz.
The modern European program (Standard) of ballroom dance includes two waltzes: slow and Viennese. Slow waltz opens the program for both adults and professionals, this waltz is a sort of visiting card of a couple in ballroom choreography. From the first movements of a couple one can understand the level of their mastery which includes: rhythmicity, musicality, skills of couple holds and constant moving around the floor while performing complex techniques. In Viennese waltz fast pace is added, which requires good physical training from the performers.
Despite the essential changes in the structure of waltz vocabulary, nowadays this ballroom dance is positioned as a developed form that functions according to the general form-creating laws of ballroom choreography: the variability of the dancing performance technique, the compositional structure of the pattern, the specific characteristics of the choreographic vocabulary, the peculiarity of the musical structure. Given the development of modern ballroom choreography, waltz is the most spectacular dance of the choreographic art and the integral part of the development of society culture.
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Kertesz, Elizabeth. "John Whiteoak. 'Take me to Spain': Australian Imaginings of Spain Through Music and Dance." Context, no. 47 (January 31, 2022): 79–83. http://dx.doi.org/10.46580/cx82573.
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Writing in the late 1920s, J.B. Trend proclaimed that ‘Spain, as we know it today, seems to be pre-eminently a country of the dance, and no interpreter of Spanish music can make us feel its full beauty or vitality unless he feel those vital dance-rhythms within himself.’ This connection between Spain, dance, and the rhythms of its music has long characterised perceptions of Spanish culture, fostering the enduring popularity of Spanish-styled entertainments. In ‘Take me to Spain’: Australian Imaginings of Spain through Music and Dance, John Whiteoak traces this phenomenon through Australian history, from the early colonial era of the 1820s to the 1970s. His narrative concludes before the major changes caused in local Hispanic culture by mass migration from Latin America, the new policy of multiculturalism, and the emergence of world music…
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Erlmann, Veit. "‘Horses in the race course’: the domestication of ingoma dancing in South Africa, 1929–39." Popular Music 8, no. 3 (October 1989): 259–73. http://dx.doi.org/10.1017/s026114300000355x.
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On a Saturday night of January 1930 several thousand African men clad in loin cloths and the calico uniforms of domestic servants thronged a concert in the Workers' Hall of the Durban branch of the Industrial and Commercial Workers' Union (ICU) in Prince Edward Street. To the pounding sounds of hundreds of sticks, successive teams of dancers, some of them trained by Union officials from the rural hinterland, rushed to the stage performing the virile, stamping ingoma dance. The Zulu term ingoma (lit. ‘song’) covers a broad range of male group dances like isikhuze, isicathulo, ukukomika, isiZulu, isiBhaca, umzansi and isishameni. The kinesic patterns of ingoma are inseparably linked to choral songs in call-and-response structure and, as such, constitute a complex statement of the unity of dance and song in Zulu performance culture. The peak of Zulu-speaking migrants' dance culture, ingoma evolved out of the profound transformation of traditional rural Zulu culture through impoverishment, dispossession and labour migration around the first World War. But on that night of January 1930, at the climax of the spectacle, the ingoma dancers struck a particularly defiant note:Who has taken our country from us?Who has taken it?Come out! Let us fight!The land was ours. Now it is taken.We have no more freedom left in it.Come out and fight!The land is ours, now it is taken.Fight! Fight!Shame on the man who is burnt in his hut!Come out and fight! (Perham 1974, p. 196
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Kamble, Dr Sanjay Pandit. "Lavani the Folk Dance of Maharashtra: A Study in Aesthetic." Journal of Humanities,Music and Dance, no. 12 (October 5, 2021): 1–4. http://dx.doi.org/10.55529/jhmd.12.1.4.
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Maharashtra is land of culture and history, its history reveals the great Maratha ruled this land and these great men had affinity with the arts and dance culture of Maharashtra. No other form of dance culture and literature remains limited to particular area or region. In the course of time art and culture becomes part of remaining part of world. Same is the case of Lavani it came from different part but becomes the popular and folk dance of Maharashtra. At the beginning it was performed by the lower caste women but time has changed its role it became very popular form of literature of social reforms. Beside sensuality, beauty and shringar it appealed the masses to change the attitude of caste and other issues. During the time of Peshwas Lavani came to the doorstep of palace and castle. Time has modified into two forms Fadachi and Baithkichi Lavani both are existed on today in the society and still enjoyed by the masses. The main purpose of this paper is to comment on the Lavani as folk dance of Maharashtra from the aesthetic point of view.
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Kamble, Dr Sanjay Pandit. "Lavani The Folk Dance Of Maharashtra: A Study In Aesthetic." Journal of Language and Linguistics in Society, no. 21 (January 15, 2022): 13–17. http://dx.doi.org/10.55529/jlls.21.13.17.
Full textAbstract:
Maharashtra is land of culture and history, its history reveals the great Maratha ruled this land and these great men had affinity with the arts and dance culture of Maharashtra. No other form of dance culture and literature remains limited to particular area or region. In the course of time art and culture becomes part of remaining part of world. Same is the case of Lavani it came from different part but becomes the popular and folk dance of Maharashtra. At the beginning it was performed by the lower caste women but time has changed its role it became very popular form of literature of social reforms. Beside sensuality, beauty and shringar it appealed the masses to change the attitude of caste and other issues. During the time of Peshwas Lavani came to the doorstep of palace and castle. Time has modified into two forms Fadachi and Baithkichi Lavani both are existed on today in the society and still enjoyed by the masses. The main purpose of this paper is to comment on the Lavani as folk dance of Maharashtra from the aesthetic point of view.
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Łapińska, Joanna. "„Nie tańczysz sama przed lustrem. Oni na ciebie patrzą!”. Taniec brzucha jako afektywna strategia uczestnictwa w kulturze w filmie „Czerwony jedwab”." Prace Kulturoznawcze 20 (March 27, 2017): 143–53. http://dx.doi.org/10.19195/0860-6668.20.12.
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“You’re not dancing alone in front of the mirror. They are looking at you!” Belly Dance as an Affective Strategy of Participation in Culture in Satin RougeThe article analyses the film portraits of women performing belly dancing Satin Rouge, 2002 Raja Amari. The film tells the story of awoman who after the death of her husband indulges in entertainment rather unsuitable for aGod-fearing Arab woman: belly dance in aTunis nightclub. The article focuses on dance as an affective strategy of participation in culture. Belly dance understood as aconscious work on one self and abody allows women to express their subjectivity and feel like an individual entity. Female dancing body has the power to affect — the ability to influence other bodies and to express oneself — and thus may create room for negotiation within the hegemonic discourse of men’s power over women in the Arab world.
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Doria, Nicole, and Matthew Numer. "Dancing in a culture of disordered eating: A feminist poststructural analysis of body and body image among young girls in the world of dance." PLOS ONE 17, no. 1 (January 12, 2022): e0247651. http://dx.doi.org/10.1371/journal.pone.0247651.
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Eating disorders among adolescent girls are a public health concern. Adolescent girls that participate in aesthetic sport, such as dance, are of particular concern as they experience the highest rates of clinical eating disorders. The purpose of this study is to explore the experiences of young girls in the world of competitive dance and examine how these experiences shape their relationship with the body; feminist poststructural discourse analysis was employed to critically explore this relationship. Interviews were conducted across Canada with twelve young girls in competitive dance (14–18 years of age) to better understand how the dominant discourses in the world of competitive dance constitute the beliefs, values and practices about body and body image. Environment, parents, coaches, and peers emerged as the largest influencers in shaping the young dancers’ relationship with their body. These influencers were found to generate and perpetuate body image discourses that reinforce the ideal dancer’s body and negative body image.
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Latif, Fauzia. "Tarian dan Topeng Hudoq Kalimantan Timur: suatu Kajian Filsafat Seni." Humaniora 4, no. 1 (April 30, 2013): 712. http://dx.doi.org/10.21512/humaniora.v4i1.3481.
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Indonesia is a rich country of arts and cultures. Dayak culture is one example. Dayak community has distinctive and unique of culture, from art, social system, to belief system. Hudoq mask and dance are samples of the culture of East Kalimantan Dayak community which are not decorative shapes and motifs only, but also full of philosophical meaning and symbol of the community’s faith. The results of this study are very important to record the progress of Dayak culture from ancient to present time, as well as to preserve the high values of Dayak community, as Indonesian people. This study can be used as materials in further Indonesian culture studying and served as examples to the upcoming art design world.
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Andrzejak, Izabela. "Folk dance as a tool of socialist propaganda based on Paweł Pawlikowski’s Cold War." Dziennikarstwo i Media 15 (June 29, 2021): 37–50. http://dx.doi.org/10.19195/2082-8322.15.4.
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The article addressed the issue of using folk dance as a tool of propaganda by the communist party. It is not uncommon to associate the activity of folk groups with the period of socialist realism and the years that followed in. Folk song and dance ensembles have always been a colorful showcase of the country outside of its borders and have often added splendor to distinguished national events with their performances. Nevertheless, their artistic activity was not motivated solely by the beauty of Polish folklore, for folk ensembles formed after World War II were often created to aid the goals of the communist party. Reaching for folk repertoire and transferring regional songs and dances to the stage was seen as opposition to the elite culture. Cultural reform made performances accessible to the working class, and folk song and dance expressed admiration for the work of people in the countryside. In addition to traditional songs from various regions of Poland, the repertoire of these ensembles also included many songs in honor of Stalin and about the Polish-Soviet friendship. Paweł Pawlikowski’s award-winning film, Cold War, which partially follows a song and dance ensemble (aptly named Mazurek), shows many of the dilemmas and controversies that the artists of this period had to face.
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Malyshev, Vladislav B. "Dance of the language: Primordial cultural modalities in the light of metaphor theory." Aspirantskiy Vestnik Povolzhiya 20, no. 7-8 (April 26, 2020): 44–48. http://dx.doi.org/10.17816/2072-2354.2020.20.4.44-48.
Full textAbstract:
The article analyzes the relationship between the conceptual field of metaphor and the primordial cultural modalities in the context of the problem of transcendent instances. Metaphor, mimesis, and poetry as three types of modeling the reality of culture can be correlated in the plane of language representation of the world. The dance of language is the top species of mimetic evolution, whereas metaphor is the key to understanding the mechanism of mimesis in art and culture (I.-G. Herder, F. Nietzsche). The discourse of the primordial cultural modalities in language is clothed in certain images, in certain mimetic forms, in the dance of language. Metaphor is the key to understanding the primordial cultural modalities. It is in the dance of language which a person finds wholeness of being.
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Simoncelli, Adriana. "Dance in Indian culture: A cosmic manifestation of divine creation and a path to liberation." Dziennikarstwo i Media 15 (June 29, 2021): 15–25. http://dx.doi.org/10.19195/2082-8322.15.2.
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Dance is a human cultural activity aimed at non-verbal emotional communication, mentioned for the first time in the circle of European culture by Homer in the Iliad (8th/7th century BC). In Indian culture — the most extensive one of four contemporary civilizations of antiquity (next to Egyptian, Mesopotamian, and Chinese), whose cradle is the Indus Valley Civilization — the first material evidence of the presence of dance is dated between 2300–1750 BC. It is a bronze statuette of a dancing girl, making us aware of the fact that this type of activity has accompanied people since the dawn of time, regardless of their origin and cultural affiliation. India and its oldest religion, Hinduism, have made this art highly prized because of its original, pure spiritual character.
The first treatise entirely devoted to dance, entitled Natyashastra (Treatise on Performing Arts), was written according to tradition between the 2nd century BC and the 2nd century AD, although many premises indicate that its beginnings date back to the 5th century BC, and the final version — to around 5th century AD. Its author was Bharata Muni, an ancient sage, theatrologist and musicologist who allegedly received knowledge of arts from the god Brahma himself to create a symbolic representation of the world which, by showing good and evil, would persuade both the viewers and the performers to act ethically. From Natyashastra it appears that dance was created by the gods for their worship. In its most original form, dance grew out of the sacrificial ritual, hence the knowledge of it was secret, highly codified and communicated in strict confidentiality. The patron of the dance and its divine performer par excellence is the god Shiva in the aspect of Nataraja (Lord of the Dance), who in one image combines god as the creator, protector and destroyer of the universe, while simultaneously containing the Indian concept of an endless time cycle. Accurate recreation of the mythical dance initiated by Shiva guarantees that the faithful achieve salvation by overcoming sin, ignorance, and laziness represented by the demon Apasmara, on whom the god treads in a dancing trance.
For the Indian Hindu culture dance has a highly important ritualistic and mystical meaning, hence it is also present along with music and singing, which is a melodic recitation of sacred verses, in all literature, from the Vedas (sacred books of Hinduism), through encyclopedic Puranas, to epics such as Mahabharata and Ramayana. Dance is indispensable to the theater as well as visual and audiovisual arts, brings relief to those in mourning and sorrow, leads to liberation from samsara (the wheel of incarnations), and is a reflection of divinity in its purest, most dynamic manifestation: movement. Thanks to dance being a rejection of oneself, entering a mystical trance, one can connect with the Absolute here on Earth and experience divinity.
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Smith, Justen O., and Robert N. Pate. "Cultures Around the World: A Unique Approach to Youth Cultural Diversity Education." Journal of Youth Development 2, no. 2 (September 1, 2007): 174–79. http://dx.doi.org/10.5195/jyd.2007.354.
Full textAbstract:
Increasingly diverse cultural trends have significant implications for the educational needs of American youth. Learning about and valuing diverse cultures will help prepare youth to become better citizens in an ever-changing society. Cultures Around the World was developed to meet the educational needs of youth in the area of cultural diversity. The Cultures Around the World program brings to life exciting cultures and customs from countries all over the world. Countries are presented in a unique format by teaching youth (ages 10 to 18) a specific country’s history, culture, food, music, dance, language, religion, and current issues. The Cultures Around the World program can be used by any youth educator. The program comes in a ready to use CD containing presentations, handicraft instructions, language guides, and resource guides for nine different countries (Armenia, Australia, Ecuador, Egypt, England, France, Ghana, Slovakia and Mexico).
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Koten, Irianto Liko, and Cokorda Rai Adi Pramartha. "Semantic Representation of Balinese Traditional Dance." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 8, no. 4 (February 4, 2020): 411. http://dx.doi.org/10.24843/jlk.2020.v08.i04.p07.
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Bali is an island in Indonesia that is rich in culture, for example, is a traditional dance. The traditional dance performance is diverse from one village to another village in Bali. The traditional Balinese dance knowledge should be captured dan documented well in a digital form so that it can be shared easily to different people and generation across the world. The use of ontology as an information representation technique is the preferred solution in this matter because ontology can be used to enhance the development of semantic applications, especially when dealing with semantic webs. In this project, the ontology was built using Protege ontology development tool. We follow the methontology ontology development method where this methodology clearly describes each of its activity. In this study, we focus to describe two variants of Balinese traditional dance (Barong dance and Pendet dance). In the future, we expect that more type of dance can be documented using our proposed ontology.
Keywords: Balinese Dance, Ontology,Semantic Web
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Herz, Iryna. "Dance as a means of assimilating socio-cultural experience." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 199–204. http://dx.doi.org/10.32461/2226-3209.2.2021.240064.
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The purpose of the article is to identify the essence of dance as a means of assimilating the sociocultural experience of the individual. The methodology of the research is based on interdisciplinary and systematicity characterizing the culturological knowledge. The scientific novelty of the results obtained is to formulate the problem of dance in the cultural dimension and in finding out the essence of dance as a means of assimilating socio-cultural experience due to the socio-cultural orientation laid down, which contribute to the full comprehension of the world of culture. Conclusions. Correlation with the eternal foundations of the world and with the most modern innovations makes dance a kind of model of cultural processes. Being a non-verbal system, the language of art performs an indirect function, however, dance - non-national, universal in its linguistic characteristics - does not need translation and therefore is capable of performing a unifying function. The educational and therapeutic possibilities of dance are important in the process of including the individual in the system of social relations; dance is an effective means of overcoming human disunity, acting as a standard of deep orientation towards the surrounding people, and develops the harmony of social understanding deeply rooted in a person.
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МОВА, Людмила. "Contemporary dance as a component of students’ physical education." EUROPEAN HUMANITIES STUDIES: State and Society 3, no. I (September 27, 2019): 16–29. http://dx.doi.org/10.38014/ehs-ss.2019.3-i.02.
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Today in the modern world the basic human need for the development of one's own body and keeping it healthy and fit is a topical issue. Health is one of the most important prerequisites for harmonious, full-fledged life and personal self-realization. And it is precisely physical education that is aimed at the formation of a healthy, physically complete personality and the functional improvement of the organism. Dance is an integral part of a human plastic culture. The danceplastic culture education begins with the knowledge and development of the musculoskeletal system of a dancer. First and foremost, students need to learn how to perform basic dance exercises and movements efficiently, anatomically competently and consciously. In our understanding, the contemporary dance technique (post-postmodern) is the technique based on the natural laws of the body functioning with regard to the organization of movement and breathing. Muscles’ release from excessive tension and the activation of the faction level in movement organization, the natural anatomical work of joints and their strengthening, the structure of the body interrelations - all of the abovementioned should precede the technical dance mastery as a high-quality physical training of a student for further mastering of professional disciplines. That is why, in our opinion, a modern student-dancer should be knowledgeable about the body by the following parameters: how human movement is organized, structural peculiarities of the skeletal mobile zones (joints), the understanding what makes the body move in space, what is the center of the body gravity, how the movement of a person from the lower tier to the upper tier in space is organized, what is primary for understanding and training your body and why breathing is acknowledged as the number one item in teaching contemporary dance, what are fasciae and why the experienced dancers-teachers talk so much about them during their classes, how the floor plays the role of a partner and allows you to feel the zones with excessive tension in your body during movement, what BF (Bartenieff Fundamentals) and LMA (Laban Мovement Аnalysis) are and more.
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Mollona, Massimiliano. "Seeing the Invisible: Maya Deren's Experiments in Cinematic Trance." October 149 (July 2014): 159–80. http://dx.doi.org/10.1162/octo_a_00188.
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In July 1791, the story goes, a small voodoo gathering in Santo Domingo sparked the Haitian Revolution, the first black anti-colonial revolution in history. The glorious history of the “Republic of the black Jacobins” was often celebrated by Surrealist artists in New York and Paris in their exposé of the decadent state of colonial powers in the aftermath of the Second World War. For instance, Haiti is central to André Breton's anti-colonial manifesto, Aimé Cesaire's idea of negritude, Rudy Burckhardt's lyric film symphonies, and Zora Neale Hurston's novels on creole culture. In New York, negritude did not have quite the same revolutionary appeal as in Paris, where Josephine Baker was hailed as a Surrealist goddess of “natural” beauty and power. But the electric Haitian voodoo performances of dancer and choreographer Katherine Dunham attracted a diverse community of African-American artists, émigrés, intellectuals, and communist sympathizers in the off-limits clubs, cafés, and private parties in Harlem. In its uncontainable, carnivalesque power, open forms, and sexual energy, Haitian voodoo captured an attraction to the “primitive” that affected American intellectuals and popular culture alike. Before becoming a Hollywood star, Dunham, of mixed West African and Native American roots, traveled to Haiti to study voodoo rituals for an anthropology degree at the University of Chicago. Fusing American dance, European ballet, and voodoo movements, she became a symbol of the black diaspora. In a recent film interview, Dunham recalls how her young assistant (or “girl Friday,” in the parlance of the time) Maya Deren was fascinated by Haitian dance and would use it to steal the show in rehearsals, public performances, and glitzy parties. The daughter of Russian Jewish émigrés and Trotskyite activists, Deren was struck by the power of this syncretic dance, which blended different cultural backgrounds and formed political consciousnesses while always providing entertainment and energizing dinner parties and giving voice to invisible deities. In her experimental filmmaking, Deren infused this magnetic power of dance into cinema.