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1
DePass, Cecille. "Dancing Our Stories Ourselves: Dancing with Mr. Neville Black". Cultural and Pedagogical Inquiry 12, n. 3 (5 aprile 2022): 54–58. http://dx.doi.org/10.18733/cpi29616.
Testo completoAbstract (sommario):
Chapter 10: Introduction to Jazz and Modern Dance, Take 5: Cecille recounts her experiences dancing with Neville Black, a modern dancer who was trained in the USA and returned to Jamaica to choreograph and teach modern and jazz dance to teens and adults. He choreographed several dances for Mrs. Simpson’s ballet performances, and taught with her in the 1960s.
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Surya, Windi Kartika, e Nerosti Nerosti. "Eksistensi Tari Andun Dalam Upacara Adat Perkawinan Di Kecamatan Seluma Kabupaten Seluma Provinsi Bengkulu". Jurnal Sendratasik 10, n. 4 (15 dicembre 2021): 51. http://dx.doi.org/10.24036/js.v10i4.114175.
Testo completoAbstract (sommario):
This research has a problem regarding the formulation of "The Existence of Andun Dance in Seluma Marriage, Seluma Regency, Bengkulu Province". The purpose of this research is to describe and analyze the existence of Andun Dance in traditional wedding ceremonies in Seluma District, Seluma Regency, Bengkulu Province. This research uses descriptive qualitative analysis. Data collection techniques or through literature study, observation, interviews and documentation. The research found that the Andun Dance consists of two types, namely: (1) the Andun lelawanan dance which is danced in pairs and women by bachelors; (2) and most of the Andun Dance by many dancers have been married. Andun dancers are mostly men and women performing separately. There is a periodization of Andun dance through 2 periods, namely: (1) periodization of 2003-2015, Andun Lelawanan Dance exists more than most Andun Dances, according to the purpose of the dance presented is to seek love; (2) Periodically from 2015 to present, Andun Dance is the most widely available. In 2019, the choreography in the Andun Dance was developed which was contested. Dancers in costume from the perspective of the Andun Dance competition, where the female dancers use modern borkat kebaya, songket cloth as a skirt, and a scarf. While the clothes are boy dancer/koko, coat, trousers, gloves, and a skullcap.
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MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION". IEDSR Association 6, n. 12 (29 marzo 2021): 218–26. http://dx.doi.org/10.46872/pj.258.
Testo completoAbstract (sommario):
Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.
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Marini, Sarwindah, Yurindra, Kiswanto e Anthonia Julia Cancera. "Website Administrasi Dance Sanggar Senam Dengan Model FAST". JURNAL FASILKOM 12, n. 1 (1 maggio 2022): 8–13. http://dx.doi.org/10.37859/jf.v12i1.3527.
Testo completoAbstract (sommario):
Modern dance or dance today, is developing very quickly along with the times. Modern Dance originated in Europe, in 1930. The United States became the center of Modern Dance for experimentation. Modern Dance has several types of movements such as: Break Dance, Hip - Hop Dance, Popping Dance, Locking Dance, Ballroom Dance, and Shuffle Dance. These types of dances are different but after being performed, they are almost the same. Although the movements created have no explanation when expressed, many people like the movement. Dance Dances which are trending among young people are much liked by the public. At the sportsman level, there is a big influence in Indonesia. One of the popular enthusiasts in the community such as Modern Dance. The problems that often occur in Modern Dance are many people, namely information about how the lack of promotion so that many people do not know information about Dance. So we need a website to create a Dance information system. The goal is to facilitate the promotion of dance information. In developing this Dance information system website, it is necessary to analyze and design a website using the UML concept, Database Design with MySql. The result to be achieved is to implement a Dance Information System Website
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Berdnik, M. "The Impact of Historical Choreographic Origins on Forming Emotional Content in Latin American Ballroom Dance". Culture of Ukraine, n. 80 (30 giugno 2023): 76–81. http://dx.doi.org/10.31516/2410-5325.080.09.
Testo completoAbstract (sommario):
Modern ballroom dance is actively developed as a sport whereas the art of dancing, which is characterized by emotions, is disappearing now. The causes are dealt with the low level of performing Latin American ballroom dance as an art and the necessity to develop the origins of this dance. It is also important to perform a particular Ballroom dance emotionally considering its historical roots.
It is fact that now the great number of competitive dance couples give a lot of attention to the physical training of choreographic compositions with a large number of acrobatic tricks and little respect to the aesthetic aspects of dance. Otherwise, they simply do not know how to express the depth of the emotional content of the dance. Dance couples are lack of understanding how to perform a particular ballroom dance. The issue of this study is relevant in Latin American ballroom dance studies as well as should be solved by experienced instructors and their desire to show dancers the importance of aesthetically emotional aspects of dance.
The purpose of this study is to explore the historical origins and stylistic features of Latin American ballroom dance which became the basis of modern Latin American ballroom dance.
The methodology. The author provides an analysis of specific features of the Latin American ballroom dance.
The results. It is shown that according to the history of the origin and standardization of ballroom dance each dance has its own unique style and characteristics as well as its individual emotional features. Cha-cha-cha is characterized by easy flirtation and pleasure. Samba is a dance of celebration, ardour and expression. Rumba is full of passion, impressing and love. Pasodoble is emotional and dramatic-theatrical dance. Jive is light, cheerful and carefree. And these are general features of the emotional and aesthetic component of dance that are very desirable to see in dance and experience them together with the performers.
The scientific novelty. An attempt is made in this paper to show the presence of historical stylistic and emotional features of the Latin American ballroom dances, which are danced as a competition all over the world, are not sufficiently developed in the performance skills of the dancer. Ballroom dances have diverse origins, rhythms, tempos and aesthetics, but have one thing in common: they are all danced emotionally.
A recommendation for further research is the perspective of improving the methodology of teaching the emotional component of Latin American ballroom dance by suggesting the development of aspects such as: active ways of spreading information about the importance of the creative, emotional component of dance (e.g. seminars, master classes), teaching acting skills, developing training exercises for performing the emotional part of the dance, and conducting research in sports psychology.
The practical significance. The material of this article can be used in the practical activities of choreographers, ballroom dance performers and Latin American ballroom dance competition dancers.
6
Gardner, Sally. "The Dancer, the Choreographer and Modern Dance Scholarship: A Critical Reading". Dance Research 25, n. 1 (aprile 2007): 35–53. http://dx.doi.org/10.3366/dar.2007.0018.
Testo completoAbstract (sommario):
This paper undertakes a critical re-examination of the ways in which dance-making relationships between the dancer and the choreographer in American modern dance have been conceptualised in dance discourses. The essay proposes that a defining aspect of modern dance practices (from the moment that, after Duncan and Fuller, it became a group as well as a solo form) was the dancing together of the choreographer and the dancer(s) as the central mode of dance creation and transmission. In dance discourses, however, this dancing relationship is frequently not acknowledged. Texts by dance scholars Susan Leigh Foster, Amy Koritz and Randy Martin which draw on theoretical frameworks from outside dance are analysed in terms of the ways the theoretical frameworks that underpin them both make it possible to raise the question of the nature of the dance-making relationship while at the same time can also make the dancer's and the choreographer's dancing together invisible or unrepresentable. The analysis shows how scholarly discourses and the theoretical frameworks upon which they are built are already invested in regimes of intelligibility and visibility which have consequences for the representation of modern dance. This analysis forms the basis for proposing the need for a non-individualised, inter-subjective and intercorporeal understanding of the dancer and the choreographer and their relationship in modern dance.
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Franko, Mark. "French Interwar Dance Theory". Dance Research Journal 48, n. 2 (agosto 2016): 104–10. http://dx.doi.org/10.1017/s0149767716000188.
Testo completoAbstract (sommario):
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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Zhang, Changlin. "Study of Movement Quality Enhancement Strategies in Modern Dance". Highlights in Art and Design 3, n. 1 (4 giugno 2023): 4–7. http://dx.doi.org/10.54097/hiaad.v3i1.9049.
Testo completoAbstract (sommario):
In the practice of modern dance, many people pay attention to whether the movements are the same as what the teacher has done, whether the rhythm and speed have kept up with the music, and rarely pay attention to the most important part of movement texture, without observing the movement texture shown by the teacher in doing demonstration movements. In modern dance, the performance of movement texture can judge the professionalism of the dancer. How should we train the movement quality of modern dance is the issue to be discussed and studied. In modern dance performance, the accuracy of movement performance and dance texture are inseparable, different dance movement texture, the dance feeling is different, and there is a clear difference in the dance performance with or without movement texture. The main content of this essay is to talk about what kind of importance dance texture has in modern dance, and to explore the strategy of enhancing dance texture in modern dance.
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Shamshiev, Almat, e Gulnara Jumasseitova. "VARIATIONS OF ELEMENTS OF THE NATIONAL MEN'S DANCE («ZHOLBARYS ZHUREK» BASED ON A DANCE PERFORMANCE)". Central Asian Journal of Art Studies 10, n. 3 (5 ottobre 2023): 145–60. http://dx.doi.org/10.47940/cajas.v10i3.737.
Testo completoAbstract (sommario):
Abstract. Men's dance in the Kazakh dance art requires special attention in modern choreography. The development of dances for men, the scientific formulation of its history, and development trends are among the most pressing problems in modern dance art. Therefore, this scientific article is devoted to discussing the essence of the national dances of the Kazakh people, including dances for men, ways of their formation and development. The article is based on Almat Shamshiev's dance «Zholbarys zhurek» changes in the national men's dance elements were scientifically differentiated, and various scientific methods and receivers were used in scientific research. In order to determine the essence of men's dance, methods of historical and chronological systematization, differentiation, comparison, and control were used. In comparison, he tried to reveal the features of the dance of the guys through the dance the «Balbirauyn», and gave specific examples of what dance elements were added and what movements and postures were transformed according to the dance «Zholbarys zhurek». He concluded that the development of human consciousness, and the transformation of society are standard with the passage of time, and in this regard, new views appear in the art of dance, the release of new works, and the transformation of existing dance elements is a natural phenomenon and a modern necessity. Today, men who are engaged in the art of dance pay attention to the ability to flex, flexibility. It shows that some dance moves used only in girls ' dances in the past are successfully used in men's dances today. However, he says, in performing movements, the guys dance flexibly in a manner that corresponds to their masculine nature. However, he emphasizes that in making changes, it is necessary to constantly pay attention to Kazakh dances' essence and central national nature. Several recommendations were given on further developing Kazakh men's dance, increasing interest in it in society.
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Makhmutova, H., e G. Saitova. "ANALYSIS OF UYGHUR DANCE FOLKLORE THROUGH THE PRISM OF A MODERN VIEW". ARTS ACADEMY 7, n. 3 (30 settembre 2023): 5–15. http://dx.doi.org/10.56032/2523-4684.2023.3.7.5.
Testo completoAbstract (sommario):
The article provides a historical analysis of uyghur dance folklore. The worldview of the uyghur people and the reflection of religiosity in their dance culture are considered. On the basis of the studied materials, dances that have not reached our days are revealed. There are also identified dances that, having lost their ritual character, have retained some traditional elements of dance movements. The presented information testifies to the existence of the uyghur dance art since beginning of our era. This led us to believe that modern uyghurs are carriers of a very ancient tradition.
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Vidzemniece, Valda. "MĪLA CĪRULE: A LATVIAN IN THE WORLD OF MODERN DANCE". Culture Crossroads 7 (14 novembre 2022): 194–204. http://dx.doi.org/10.55877/cc.vol7.240.
Testo completoAbstract (sommario):
Mīla Cīrule (1891–1977) is one of the first Latvian dancers who went in for the genre of modern dance at the beginning of the 20th century. At the end of the 1920s the dancer earned her recognition in Germany and Austria, and her name was mentioned among the most striking modern dance choreographers in France in the 1930s; her contribution to teaching dance was also appreciated. Mīla Cīrule is the first Latvian dancer who has become internationally renowned in the field of modern dance. The aim of this research is to follow the development path of Mīla Cīrule’s creative work by gathering information and analysing artistic influences which have created the unusual creative personality aspects of the dancer. Mīla Cīrule was born in Riga; however, she started her dance career in Russia in Ellen Tels’ (Эллен Тельс) school. This school followed Isadora Duncan’s artistic criteria in their creative principles. In parallel with acquisition of free dance, the young dancer attended classical dance classes at soloist Mikhail Mordkin’s (Михаил Михайлович Мордкин) school of the Moscow Bolshoi Theatre (Большой театр). After meeting Mary Wigman and studying the philosophy of German expressionist dance, Mīla Cīrule rethought the principles and expressive means of her art; she refused unnecessary ostentation, and sought an individual way of expression. “Mīla Cīrule’s choreographies are high quality works of art which speak volumes about the choreographer’s rich world of ideas and a good sense of form, while her dance technique is always perfectly adapted to the contents of the staging production” [Dārziņš 1938]. In her staging productions Mīla Cīrule combined an expressive style with very well-considered and precise principles of form creation. In her creative work the brave reliance upon instinctively found movements of the Wigman School always complied with a strict sense of drama structure and subtlety of details that had been acquired from Ellen Tels’ aesthetics of the pantomimic staging productions. As an original and extraordinary personality, Mīla Cīrule is not similar to any artist of her time in her creative work. She adopted and accumulated everything she had learned at many dance schools, and she passed it through the prism of her personality.
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Öztürkmen, Arzu. "Modern Dance Alla Turca: Transforming Ottoman Dance in Early Republican Turkey". Dance Research Journal 35, n. 1 (2003): 38–60. http://dx.doi.org/10.1017/s0149767700008767.
Testo completoAbstract (sommario):
This essay looks at the works of Selma Selim Sırrı (b. 1906) and her father Selim Sırrı Tarcan (1874–1956), who wrote on dance in the 1920s, a period that marked the transition from the Ottoman Empire to modern Turkey. The Ottoman Empire ruled across the Mediterranean world between the thirteenth and twentieth centuries, collapsing after World War I. The Republic of Turkey was declared in 1923, distancing itself from the Ottoman tradition to adopt a westernization reform program. Written in the early Republican era, the works of Selma Selim Sırrı and Selim Sırrı Tarcan mark the shift from Ottoman dance traditions to a more Western approach to dance. Inspired by Isadora Duncan, Selma Selim Sırrı (1926) explored the idea of modern dance for Ottoman women in a booklet entitled Selma Selim Sırrı Hanım'ın Bedii Raksları (The Aesthetic Dances of Miss Selma Selim Sırrı, see Fig. 1). Her father was the author of Halk Dansları ve Tarcan Zeybeği (Folk Dances and the Tarcan Zeybek, see Fig. 2), a book that focused on the process of refining folk dances, in particular the zeybek genre, to suit the tastes of an educated, urban audience.
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C. B. Raya, Victor, Rolland E. Fanggidae e Apriana J. Fanggidae. "Modern dance commodification strategy in tourism promotion (Study on the modern dance community in Kupang city)". Journal of Sustainable Tourism and Entrepreneurship 1, n. 4 (25 giugno 2020): 333–47. http://dx.doi.org/10.35912/joste.v1i4.507.
Testo completoAbstract (sommario):
Purpose: This study aimed to describe the modern dance commodification strategy in promoting cultural tourism in East Nusa Tenggara Province. Research methodology: The research method used in this research is a qualitative method. Respondents used in this study were 15 people. Data processing was performed using a SWOT analysis. Results: According to the analysis results, the most appropriate strategy for the modern dance community in developing cultural tourism in East Nusa Tenggara is to work together with various parties, create online competitions, innovate with culture, and organize independent events by the dancer community. Limitations: This study only discusses the strategy of the commodification of modern dance in tourism promotion in East Nusa Tenggara. Contribution: This research can become scientific information for students specifically studying tourism. Keywords: Modern dance commodification, Tourism promotion
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Martozet, Martozet. "The Existency of Traditional and Modern Dance in Medan City". Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 4, n. 1 (14 gennaio 2021): 203–12. http://dx.doi.org/10.33258/birle.v4i1.1574.
Testo completoAbstract (sommario):
The purpose of this study was to determine the existence or existence of traditional dances and modern dances in Medan. The research problem focuses on the existence of these two dance forms, how is the journey of traditional dance forms from the pre-independence era to the present and the glories of the emergence of new, modern-style dance forms from the 1960s, especially in the city of Meda. In order to approach this problem, the theory of existence is used WJS Poerwadaminta. Apart from that, it was also emphasized aboutunderstanding of traditional and modern dance by Indonesian dance expertsSoedarsono.While the data were collected through field observations, interviews, documentation, and literature study. Furthermore, the data obtained were analyzed through qualitative descriptive methods, narrating the data obtained in the field according to existing facts. From the research results it is known that the city of Medan as a large heterogeneous city, has traditional dances such as the Inai and Zapin Labuhan dances. Inai dance is performed at the evening ceremony, while Zapin Labuhan is performed at the apostolic circumcision ceremony.Zapin appeared in line with the existence of the Malays who lived in this area and were related to the existence of the Deli Sultanate. Zapin Labuhan developed during the reign of Tuanku Panglima Gandar Wahid in the 18th century AD, who was the King of Deli to V. Zapin.consists of several variants such as Zapin Anak Ayam, Zapin Pecah Tiga, Zapin Elang, Zapin Selendang, Zapin Lancang Kuning, Zapin Zat, Zapin Gergaji, and Zapin Zig-Zag.
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Boer, Jacobien de. "‘Sie lieber Hans Brandenburg’. Gertrud Leistikow and Hans Brandenburg". Dance Research 34, n. 1 (maggio 2016): 30–46. http://dx.doi.org/10.3366/drs.2016.0144.
Testo completoAbstract (sommario):
Hans Brandenburg (1885–1968) was one of the first authors of his time to write seriously about modern dance. His book Der moderne Tanz (Modern dance) can be seen as an important source for dance historians. The best known contemporary dancers are discussed as are the schools that Brandenburg considered of relevance for this new art. Brandenburg seems to have been especially impressed by the dancer Gertrud Leistikow (1885–1948) with whom he and his wife Dora Brandenburg-Polster corresponded regularly from 1912 onwards. 1 He regarded her as a great artist, a genius even. It is remarkable that the career of Gertrud Leistikow has remained relatively underexposed, which may also be the reason for various misconceptions about her. 2 One of these is that she was a Nackttänzerin (nude dancer), ashamed of her face and wearing masks or veils to hide it. 3 Using Brandenburg's works and his correspondence with Leistikow (of which only the letters written by Leistikow survive) this essay evaluates Leistikow's role in the emergence of modern dance, deals with misunderstandings and also provides some explanations for her disappearance in obscurity.
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Peng, Xun. "Historical Development and Cross-Cultural Influence of Dance Creation: Evolution of Body Language". Herança 7, n. 1 (29 dicembre 2023): 88–99. http://dx.doi.org/10.52152/heranca.v7i1.764.
Testo completoAbstract (sommario):
This paper delves into the historical evolution of dance creation and its cross-cultural influences, with a particular focus on the transformation of corporeal language. Commencing from the dance traditions of ancient cultures, the article retraces the dances of Ancient Egypt and Ancient Greece, as well as the religious and courtly dances of the medieval and Renaissance periods. Subsequently, it scrutinizes the emergence of modern dance, encompassing the American modern dance movement and European expressionist dance, along with the evolution of dance techniques and forms. The article delves into the varied manifestations of dance, including pure dance, narrative dance, and experimental dance compositions. It also analyzes the impact of cross-cultural influences and globalization on dance, encompassing dance's role as a medium for cultural dissemination, as well as the internationalization of dance education. Finally, by examining the evolution of corporeal language, it underscores the connection between dance and emotional expression and social corporeal language, including trends in dance creation and interdisciplinary research in the digital age. This article encapsulates the metamorphosis of dance as a form of corporeal language, emphasizing its significance and forthcoming challenges.
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Newton-Jackson, Paul. "Early Modern Polonaises and the Myth of Polish Rhythms". Journal of Musicology 41, n. 2 (2024): 179–220. http://dx.doi.org/10.1525/jm.2024.41.2.179.
Testo completoAbstract (sommario):
Scholars have long viewed the history of Polish dances through the lens of “Polish rhythms.” These rhythms are thought to characterize dances known as Polish from the sixteenth-century lute pieces of Hans Neusidler to the piano music of Frédéric Chopin. The notion of Polish rhythms continues to shape our modern reception of eighteenth- and nineteenth-century music: certain patterns are often used as a litmus test for whether a piece is evoking a Polish dance, even in the absence of an identifying label. I demonstrate, however, that there is little historical evidence that specific rhythms rendered dances Polish in the eyes and ears of composers, performers, or listeners from the sixteenth through eighteenth centuries. Instead, the Polish rhythms narrative appears to have stemmed from a misreading of early modern music-theoretical sources on the part of late nineteenth- and early twentieth-century writers, whose arguments were influenced by—and fed into—contemporary ideas of musical nationalism and essentialism. Focusing on eighteenth-century German sources, I also challenge any monolithic notions of Polishness in dance music by revealing how terms such as polonaise could denote multiple distinct dances (or could even refer to non-dance pieces). More broadly, these findings complicate the present-day practice of using abstract notational elements to identify unmarked dance topics, and I show how a greater attentiveness to factors beyond the score is vital for understanding how historical subjects experienced the popular dances of their time.
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Robinson, Danielle. "The Ugly Duckling: The Refinement of Ragtime Dancing and the Mass Production and Marketing of Modern Social Dance". Dance Research 28, n. 2 (novembre 2010): 179–99. http://dx.doi.org/10.3366/drs.2010.0103.
Testo completoAbstract (sommario):
The focus of this article is the transformation of ragtime dancing into modern social dance by hundreds of teachers, writers and performers working in an emerging dance industry, rooted in New York City. Based on dance manuals and magazines of the period, I argue that dance professionals worked collectively to create new products (i.e. dances) that could more easily be mass-produced and marketed. Importantly, they called their efforts a ‘refinement’ of ragtime and justified their work through discourses of artistry and morality. Upon closer examination, however, the changes they made to the dances indicate that artistry and morality were actually achieved by removing the black associations of ragtime dancing and instead, using modern social dance to construct an idealized white racial identity.
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Zabubenina, Irina K. "Dance as an Element of the Wedding Ceremony in Culture of Different Peoples: Traditions and Modernity". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023): 135–49. http://dx.doi.org/10.37816/2073-9567-2023-68-135-149.
Testo completoAbstract (sommario):
The study considers the dance in the context of the wedding ritual and wedding ceremonies in culture of different peoples: Russians, Buryats, Tuvans, Kalmyks and Altaians. The paper explores the dance that accompanied the wedding celebration itself and the dance that was performed at the pre-wedding and post-wedding ceremonies. The author managed to discover a lot of wedding dances in Russian, Buryat and Kalmyk culture. This circumstance illustrates the development of dance culture of peoples and the widespread use of dance in various spheres of life and activity of society. The paper revealed some cults (solar, animals), reflected in wedding dances and examined the images, meanings, symbols of cultures. In addition to traditional wedding dances the research presents a description of modern wedding dance performances highlighting the specifics of modern wedding dances in Russian culture. This study provides a description of a number of lexical, compositional and technical features, the nature and manner of performing popular wedding dances of different peoples. The author analyzes the common features and differences of traditional wedding dances. The regional specificity of wedding dances is considered by the example of Russian, Buryat, Kalmyk culture. The paper confirms the assumption that wedding dance in culture of different peoples acts as an important element of the wedding rite, very representatively reflecting cultural specifics of peoples. The study of traditional wedding dances also allowed the author to conclude that dances of this kind are a vivid presentation of the dialogue of cultures.
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Main, Lesley. "The Pedagogic Significance of Modern Dance Training on the Twenty-First-Century Dancing Body, with Reference to Doris Humphrey's Dance Technique and Movement Philosophy". Congress on Research in Dance Conference Proceedings 41, S1 (2009): 47–53. http://dx.doi.org/10.1017/s2049125500000893.
Testo completoAbstract (sommario):
A primary issue for dance education and training is ensuring that the “trained body” is equipped for the range of activity today's dance practitioner will encounter. Modern dance techniques offer a breadth of knowledge on numerous and inter-related levels, encompassing the physical, physiological, artistic, historical, musical, and analytical. This paper will consider the relevance and benefits that “traditional” modern dance training can have on today's dancer. Issues addressed will include what our students are using technique for; what a codified dance technique can offer; and the progression to a “trained body” and how this can be achieved.
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James, Clive. "MODERN DANCE CERTIFICATE". Yale Review 105, n. 2 (2017): 10–11. http://dx.doi.org/10.1353/tyr.2017.0085.
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Enghauser, Rebecca Gose. "Teaching Modern Dance". Journal of Physical Education, Recreation & Dance 79, n. 8 (ottobre 2008): 36–42. http://dx.doi.org/10.1080/07303084.2008.10598230.
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James, Clive. "MODERN DANCE CERTIFICATE". Yale Review 105, n. 2 (16 marzo 2017): 10–11. http://dx.doi.org/10.1111/yrev.13192.
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Chasteen, John Charles. "The Prehistory of Samba: Carnival Dancing in Rio de Janeiro, 1840–1917". Journal of Latin American Studies 28, n. 1 (febbraio 1996): 29–47. http://dx.doi.org/10.1017/s0022216x00012621.
Testo completoAbstract (sommario):
AbstractRio's pre-Lenten carnival and its Afro-Brazilian dance, samba, have been symbols of Brazilian identity since the 1930s. This article explores the choreographical antecedents of samba, before the crystallisation of the modern dance genre with that name, highlighting the importance of earlier social dances in the evolution of the twentieth-century symbol. It traces the development of carnival dancing in Rio de Janeiro from the time when few danced, through the long reign of the polka, to the emergence of generalised carnival street dancing around 1889. A modified view of the roots of samba has interesting implications for on-going debates on the social meaning of Brazilian carnival.
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Mantillake, Sudesh. "Panibharata and the Invention of Sinhala Folk Dance Repertoires in Post-Colonial Sri Lanka". Sri Lanka Journal of the Humanities 43, n. 2 (17 agosto 2023): 40–57. http://dx.doi.org/10.4038/sljh.v43i2.7270.
Testo completoAbstract (sommario):
This article focuses on the history of the Sinhala folk dance genre and its connection to Sinhala cultural nationalism in Sri Lanka. This paper aims to examine the formation of Sinhala folk dance as a tradition in the context of the rise of Sinhala nationalism during the 1940s and 1950s. Although performing arts were commonly practiced by villagers, the genre named Sinhala Folk Dance (Sinhala gemi näțuma) did not emerge until the 1930s in Sri Lanka. Around 1956, in the midst of the rise of Sinhala cultural nationalism, it is believed that the stylistic choices that preceded the modern creative work of the new nation were drawn from “folk” sources. A classic example of this genre is E.R. Sarachchandra’s play Maname, which became the marker of modern Sinhala theatre, and which was based on the folk theatre tradition, the nadagama. Here, the assumption is that folk art already existed in the villages, and that the Sinhala literati merely borrowed from it to create new performing art forms that represented the nation. However, this assumption is an oversight in folk dance in Sri Lanka, as demonstrated in this article which presents an alternative interpretation of the history of performing arts in Sri Lanka, a history which has not been highlighted in the 1956 cultural revolution discourse. As I demonstrate in this article, Sinhala choreographer Panibharata invented certain dances which are considered Sinhala folk dance today. Sinhala nationalists groomed Panis, a village drummer and dancer, considered to be a low-caste, underprivileged individual into Panibharata, a cosmopolitan artist. Fulfilling these nationalists’ desires, Panibharata created repertoires of “folk dance” that portrayed village life in an exotic and romantic guise, which is aptly exemplified in his goyam näțuma (rice-harvesting dance). Panibharata’s model of folk choreography continues to be interpreted as the genuine and only Sri Lankan folk dance tradition, a narrative that was institutionalized and disseminated through the system of public education. In contrast to that canonical narrative of the Sinhala folk dance tradition, I argue that the staged model of Sinhala folk dance is a fairly recent invention. I analyze archival records, dance curricula, and secondary sources and interpret them according to my personal experiences as a dancer. To contextualize the purely Sinhala folk dance tradition, I compare the Russian folk dance and the Morris dance of England, that developed as separate national folk dance traditions.
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Grube, Nikolai. "Classic Maya Dance". Ancient Mesoamerica 3, n. 2 (1992): 201–18. http://dx.doi.org/10.1017/s095653610000064x.
Testo completoAbstract (sommario):
AbstractA long-known verbal glyph in Classic Maya inscriptions is reinterpreted as a glyph for dancing (ahk'ot), apparently an important ritual of the ancient Maya. The glyph is found with scenes showing one or several dancers. Glyphs after the verb can be shown to describe the objects and instruments employed in dances. This article analyzes several examples of Maya dances and the ritual and social context in which they occur. These include the dance with a staff with cloth tied down its length, a dance with a “God K” scepter, a dance with a staff with birds attached to it, a dance with a staff with a “God K” figure seated on top of it, a snake dance, dances in warrior outfit, and dances at royal visits. A variety of dances is represented on polychrome ceramics. Many polychrome ceramics can be shown to depict dancing companion spirits, while others show dances associated with historical events. A comparison with colonial and modern Maya dances shows that they share the same emphasis on dance objects, but that the underlying religious and political messages have changed almost completely.
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Vītola, Sandra. "Promoting Awareness of the Body's Centre in Classical and Modern Dance Training". SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (17 maggio 2015): 453. http://dx.doi.org/10.17770/sie2015vol2.420.
Testo completoAbstract (sommario):
<p><em>Based on dance theorist insights into the basic components that determine performance of movements in dance, the article analyses promotion of a sense of bodily centre in classical and modern dance training. The most significant condition for a dancer to be able to fit within the confines of the proposed tasks in dance is to govern own body, which is made easier through an understanding of the body’s centre of gravity. Promoting an awareness of muscle activity being fixated within the central point of the body develops an understanding of movements around this point among dancers, which leads to easier control over performed movements. </em></p><p><em>The article aims to analyse the awareness of the body’s centre among dancers and to justify its significance in classical and modern dance training. The article applies the theoretical research method – it characterises classical and modern dance and analyses the sense of body centre in dance. </em></p><p> </p>
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Zemskova-Ryabaya, Anna Viktorovna. "Studying positive impact of kizomba on human life". Vestnik of Astrakhan State Technical University 2022, n. 1 (31 maggio 2022): 82–88. http://dx.doi.org/10.24143/1812-9498-2022-1-82-88.
Testo completoAbstract (sommario):
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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Preston, Carrie J. "Modernism's Dancing Marionettes: Oskar Schlemmer, Michel Fokine, and Ito Michio". Modernist Cultures 9, n. 1 (maggio 2014): 115–33. http://dx.doi.org/10.3366/mod.2014.0077.
Testo completoAbstract (sommario):
Marionettes have inspired dance productions for centuries. In the early twentieth century, choreographers used the figure of the puppet to negotiate tensions between modern mechanization, national folk traditions, and expressive human movement. Modernism's dancing marionettes leap across national borders and genres of dance to appear in Michel Fokine's Petrouchka (1911), the Marionette Dance (1916) of Japanese-born modern dancer Ito Michio, and Bauhaus artist Oskar Schlemmer's Das Triadische Ballett (Triadic Ballet, 1922). All were influenced by modernist marionette theories that referenced Heinrich von Kleist and Gordon Craig. Ballet, modern, and avant-garde dance are often considered separate trajectories in modernism, but their use of the dancing marionette demonstrates a common impulse to explore the relation between machine and human movements.
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Kattner, Elizabeth. "From Totenmal to Trend: Wigman, Holm, and Theatricality in Modern Dance". Dance Research Journal 50, n. 3 (dicembre 2018): 20–37. http://dx.doi.org/10.1017/s0149767718000347.
Testo completoAbstract (sommario):
This article examines the development of theatricality in modern dance by comparing two dances: Mary Wigman's Totenmal (1930) and Hanya Holm's Trend (1937). By looking at the interplay between group and solo choreography, lighting design and themes, this paper will show how Holm combined the skills she learned codirecting Totenmal at the Dancers’ Congress in Munich to her work with American dance artists at the Bennington School of the Dance to create her first important work. It will examine why Trend was successful as a collaborative project, as well as show how it diverged ideologically from Wigman's work in the 1930s.
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Manning, Susan. "Modern dance, Negro dance and Katherine Dunham1". Textual Practice 15, n. 3 (gennaio 2001): 487–505. http://dx.doi.org/10.1080/09502360110070411.
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Gerdes, Ellen. "The Role of Technique in Dance Education: The Example of Tsoying High School, Taiwan". Congress on Research in Dance Conference Proceedings 41, S1 (2009): 216–27. http://dx.doi.org/10.1017/s2049125500001138.
Testo completoAbstract (sommario):
Through questionnaire data, the dance students at Tsoying High School in Taiwan offer an important perspective on dance technique. Engaging with Melanie Bales's concept of the “eclectic” body in American contemporary dance practices, I explore both the historical underpinnings and the students' experience of a Taiwanese curriculum that focuses on ballet, modern dance, and Beijing opera movement. Our conceptions of dance technique and their related pedagogies not only affect the dancer but also affect the integration of dance technique with the rest of the dance field and, subsequently, the role of dance in the greater culture.
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Jiang, Lijun, e Son Kwan Jung. "Using Crisp-Set Qualitative Comparative to Determine the Cultural Hybridity of Modern Dance: Based on American Dance Festival Lifetime Achievement Award". Revista de Gestão Social e Ambiental 18, n. 8 (13 giugno 2024): e07221. http://dx.doi.org/10.24857/rgsa.v18n8-127.
Testo completoAbstract (sommario):
Objective: This research uses Homi Baba’s theory of cultural hybridity to analyze how these cultural hybrid elements are incorporated into the formation of modern dance. Theoretical framework: Fifteen dances with cultural hybrid characteristics by contemporary choreographers who have won the American Modern Dance Festival Lifetime Achievement Award were selected as the research objects, and five conditional variables were identified to examine the phenomenon of different cultural hybridity in modern dance. Crisp-set qualitative comparative analysis (csQCA) was used to determine the relationship of cultural variables in the dances. Method: The crisp-set qualitative comparative analysis (csQCA) in the qualitative comparative analysis (QCA) by Charles Larkin was conducted for analysis. Results and conclusion: Three cultural variables' combinations of dances that can get high attention were obtained. The result shows that "integration of cultural ideological content" is the most important cultural variable. Implications of the research: From the perspective of the combination approach, the dances that mixed with action language, cultural symbolic props, and cultural ideological content had the highest coverage score, which also means that it is easier to get high attention.
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Weiss, David S., Selina Shah e Raoul J. Burchette. "A Profile of the Demographics and Training Characteristics of Professional Modern Dancers". Journal of Dance Medicine & Science 12, n. 2 (giugno 2008): 41–46. http://dx.doi.org/10.1177/1089313x0801200201.
Testo completoAbstract (sommario):
Modern dancers are a unique group of artists, performing a diverse repertoire in dance companies of various sizes. In this study, 184 professional modern dancers in the United States (males N=49, females N = 135), including members of large and small companies as well as freelance dancers, were surveyed regarding their demographics and training characteristics. Te mean age of the dancers was 30.1 ± 7.3 years, and they had danced professionally for 8.9 ± 7.2 years. Te average Body Mass Index (BMI) was 23.6 ± 2.4 for males and 20.5 ± 1.7 for females. Females had started taking dance class earlier (age 6.5 ± 4.2 years) as compared to males (age 15.6 ± 6.2 years). Females were more likely to have begun their training in ballet, while males more often began with modern classes (55% and 51% respectively, p < 0.0001). Te professional modern dancers surveyed spent 8.3 ± 6.0 hours in class and 17.2 ± 12.6 hours in rehearsal each week. Eighty percent took modern technique class and 67% reported that they took ballet technique class. Te dancers who specified what modern technique they studied (N = 84) reported between two and four different techniques. The dancers also participated in a multitude of additional exercise regimens for a total of 8.2 ± 6.6 hours per week, with the most common types being Pilates, yoga, and upper body weightlifting. The dancers wore many different types of footwear, depending on the style of dance being performed. For modern dance alone, dancers wore 12 different types of footwear. Reflecting the diversity of the dancers and companies surveyed, females reported performing for 23.3 ± 14.0 weeks (range: 2-52 weeks) per year; males reported performing 20.4 ± 13.9 weeks (range: 1-40) per year. Only 18% of the dancers did not have any health insurance, with 54% having some type of insurance provided by their employer. However, 23% of the dancers purchased their own insurance, and 22% had insurance provided by their families. Only 16% of dancers reported that they had Workers' Compensation coverage, despite the fact that they were all professionals, including many employed by major modern dance companies across the United States. It is concluded that understanding the training profile of the professional modern dancer should assist healthcare providers in supplying appropriate medical care for these performers.
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Echegoyen, Soledad, Eugenia Acuña e Cristina Rodríguez. "Injuries in Students of Three Different Dance Techniques". Medical Problems of Performing Artists 25, n. 2 (1 giugno 2010): 72–74. http://dx.doi.org/10.21091/mppa.2010.2014.
Testo completoAbstract (sommario):
As with any athlete, the dancer has a high risk for injury. Most studies carried out relate to classical and modern dance; however, there is a lack of reports on injuries involving other dance techniques. This study is an attempt to determine the differences in the incidence, the exposure-related rates, and the kind of injuries in three different dance techniques. A prospective study about dance injuries was carried out between 2004 and 2007 on students of modern, Mexican folkloric, and Spanish dance at the Escuela Nacional de Danza. A total of 1,168 injuries were registered in 444 students; the injury rate was 4 injuries/student for modern dance and 2 injuries/student for Mexican folkloric and Spanish dance. The rate per training hours was 4 for modern, 1.8 for Mexican folkloric, and 1.5 injuries/1,000 hr of training for Spanish dance. The lower extremity is the most frequent structure injured (70.47%), and overuse injuries comprised 29% of the total. The most frequent injuries were strain, sprain, back pain, and patellofemoral pain. This study has a consistent medical diagnosis of the injuries and is the first attempt in Mexico to compare the incidence of injuries in different dance techniques. To decrease the frequency of student injury, it is important to incorporate prevention programs into dance program curricula. More studies are necessary to define causes and mechanisms of injury, as well as an analysis of training methodology, to decrease the incidence of the muscle imbalances resulting in injury.
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Subbulakshmi, S. "Cosmic Dance and The Universe". Shanlax International Journal of Arts, Science and Humanities 10, n. 4 (1 aprile 2023): 11–17. http://dx.doi.org/10.34293/sijash.v10i4.6005.
Testo completoAbstract (sommario):
Hindu religion is the only one in the world has the idea that Cosmos itself undergoes an infinite number of death and rebirths. It is the only religion in which the time scales correspond to those of modern scientific cosmology. The cosmic dance of Nataraja is not a random motion but it is beautifully choreographed movement by law of nature. Nothing in the universe has been created but only transformed from one form to another. So creation and destruction is only a transformation. It is said that the Nataraja is the embody of inner process of human being. The galaxies are moving just like the movement of cosmic dance. It is like the birth and death and our consciousness forming and reforming. Nataraja is called the Cosmic Dancer because it is the most powerful form of dance intriguingly eclectic, keeping everything in the Universe intact. In Physical Science a Subatomic Particle is a particle that composes an Atom. Every subatomic particle not only does an energy dance but is also a pulsating process of creation and destruction without end. The electrons by diffusing around the nucleus forms the unstopped dancing movement. So for the modern physics the dance of cosmic dancer is a dance of subatomic matter. His dance symbolizes the daily rhythm of birth and death and the cosmic cycles of creation and destruction. Cosmic dancer seems to be real as he continually keeps creating and dissolving the forms in the external flow of his dance.
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Jacob, Oluwafemi. "Contributions of Maltina Dance Reality Show to Dance Practice in Nigeria". NIU Journal of Humanities 8, n. 4 (31 dicembre 2023): 277–82. http://dx.doi.org/10.58709/niujhu.v8i4.1863.
Testo completoAbstract (sommario):
Dance involves the totality and living experience of man from the prehistoric times till date. It was part of all his daily activities such as his work, communication and even in his worship of the gods and ancestors (Nigeria inclusive). To this extent, the Nigeria dance practice has developed greatly even in the face of multi ethnicity as it has given birth to various indigenous dances. These indigenous dances have also been the raw materials to every form of contemporary dances that has emerged over the years. Diverse platforms have also surfaced to help sustain Nigerian dances such as National Arts Festival (NAFEST), Nigeria University Theatre Arts Festival (NUTAF) and the trend of dance reality shows that has been the order of the day within recent times in Nigeria. An undoubted reality television show that has done greatly in the sustainability of Nigerian dances is Maltina Family Dance All Reality Television Show. The functionalist theory of dance is used to unveil the reality show which has been able to adjust to bridge the gap between the prehistoric era and the contemporary or modern era by using technological advances to keep the dance practice in shape. This research will examine Maltina Family Dance All Reality Television Show within the context of dance praxis and the immense contributions to dance practice and sustainability in Nigeria with a view to how it has put Nigeria indigenous dances to practice since the inception till date in the face of globalization and industrialization. It will conclude that the dance reality show has provided dance practitioners both with dance repertoires and engagement with diverse indigenous dances as well as rewards both as individuals and as professionals. Keywords: Dance, Dance Reality Show, Dance Art / Practice, Maltina Dance All Family Reality Television Show.
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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, n. 1 (maggio 2018): 1–32. http://dx.doi.org/10.3366/drs.2018.0218.
Testo completoAbstract (sommario):
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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Ailamazyan, Aida. "Dance and Personality". Ideas and Ideals 15, n. 1-2 (29 marzo 2023): 406–26. http://dx.doi.org/10.17212/2075-0862-2023-15.1.2-406-426.
Testo completoAbstract (sommario):
The article is devoted to the problem of personal involvement in dance activity. The author applies an interdisciplinary research methodology: on the one hand, a semiotic analysis of the dance language is carried out and the features of the dance sign are considered, on the other hand, a psychological description of the dancer’s personality is given, a psychological portrait is created. According to the methodology of the cultural-historical approach, the sign is taken in its instrumental function and orientation. The author puts forward a hypothesis about the dual orientation of the dance movement as an expressive language: orientation on the viewer as a visual component of the sign and on the dancer himself through the kinesthetic component. The material of dance as a type of artistic activity is the body of the dancer, which undergoes reinterpretation and symbolization. Not only the body, but also the whole personality can become the material of dance, it can be included and transformed in the course of the dance activity. The bi-directionality of the dance sign can lead to a discrepancy, a rupture of the function of the dance movement, which is expressed in an object relation to one’s own body, in strict control of movements and the non-involvement of the emotional and sensual sphere of the individual in the dance activity. Stage forms of dance contribute more to this discrepancy, developing mainly motor technique in isolation from the semantic side of movement and focusing on the visual expressiveness of dance. On the other hand, ceremonial, sacred, ritual dances, many forms of modern free dance contribute to the integral inclusion of a person in the dance and are aimed at transforming the personality in plastic action. On the basis of biographical material, the destinies of outstanding dancers and dance teachers are analyzed. It is shown how an object attitude to one’s own body and one’s own personality can lead to an internal split and loss of subjectivity. A contradiction may arise between a person’s experience in dance and her/his behavior in real life. It is removed under the condition that a person carries out a transformative activity – work on himself/herself.
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Boye, Seika. "Ola Skanks: Delayed Recognition of a Dance Artist Ahead of Her Time". Canadian Journal of History 56, n. 3 (1 dicembre 2021): 216–28. http://dx.doi.org/10.3138/cjh.56-3-2021-0111.
Testo completoAbstract (sommario):
This essay chronicles my research relationship with choreographer, teacher, educator, and activist Ola Skanks. Canadian-born and of West Indian (St. Lucia and Barbados) descent, Skanks was a groundbreaking dance and fashion design artist who combined modern, Western art forms with traditional dances of the Africa diaspora. I share excerpts from my work to date, including my archival exhibition, It’s About Time: Dancing Black in Canada 1900–1970, to provide context for the circumstances that Black people danced in, socially and/or as performers. This is followed by a selection of photos from Skanks’s archival collection that illustrate the scope of her creative and community contributions. In conclusion, I offer a transcription of a speech I gave when Skanks was inducted into the Dance Collection Danse’s 2018 Encore! Dance Hall of Fame, alongside some of Canada’s most well-known dance artists and community builders. I detail some of the highlights of my meetings with her and also the profundity of the delayed recognition of a woman so far ahead of her time.
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Woodruff, Dianne L., Susan Au e Jack Anderson. "Ballet and Modern Dance". Dance Research Journal 20, n. 2 (1988): 56. http://dx.doi.org/10.2307/1478389.
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Adshead, Janet, e Jack Anderson. "Ballet and Modern Dance". Journal of Aesthetic Education 23, n. 2 (1989): 117. http://dx.doi.org/10.2307/3332950.
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Krieg, Joann P. "Whitman and Modern Dance". Walt Whitman Quarterly Review 24, n. 4 (1 aprile 2007): 208–16. http://dx.doi.org/10.13008/2153-3695.1829.
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Polyakova, Anna S. "“Postfolk Dance”: Investigating a Phenomenon of Modern Dance". Observatory of Culture 14, n. 4 (1 gennaio 2017): 425–30. http://dx.doi.org/10.25281/2072-3156-2017-14-4-425-430.
Testo completo
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Randall, Tresa. "Modern Dance, Negro Dance: Race in Motion (review)". Theatre Journal 57, n. 4 (2005): 771–72. http://dx.doi.org/10.1353/tj.2006.0042.
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Diana V., Schultz. "Modern Dance in the Digital Space: A Screen Dance in the Context of the COVID-19 Pandemic". Humanitarian Vector 16, n. 2 (aprile 2021): 97–102. http://dx.doi.org/10.21209/1996-7853-2021-16-2-97-102.
Testo completoAbstract (sommario):
Modern dance is developing in the face of new threats and opportunities. Like any other social phenomenon, it is affected by external conditions that can affect its content, development and forms. The COVID-19 pandemic has become the most global condition in recent times, the impact of which has become tangible for all spheres of society. Like other branches of art, Contemporary Dance was put into new conditions, which led not only to negative consequences but also caused a surge in the use of information technologies to bring the results of creative research to the viewer. It was the pandemic conditions that contributed to the intensive development of new forms of interaction between the professional choreographic community and the new stage of the development of the screen dance as one of the forms of Contemporary Dance. The article is devoted to the impact of the restrictive conditions of the pandemic on the development of contemporary dance and its form such as a screen dance. We analyzed the few available approaches to determining the essence of a screen dancer, as well as the experience of choreographers in creating dance performances in conditions of self-isolation. The research is based on the analysis of the scientific literature covering problems of development of modern dance and screen dance in the conditions of COVID-19 pandemic. We concluded that representatives of the professional community of choreographers were able to use the conditions of self-isolation to implement new creative ideas, and the screen dance became more popular. Keywords: contemporary dance, screen dance, digital space, pandemic
47
Jones, Daystar/Rosalie. "Dreaming the Fourth Hill". Dance Research Journal 48, n. 1 (aprile 2016): 13–18. http://dx.doi.org/10.1017/s0149767716000048.
Testo completoAbstract (sommario):
Dancer. Teacher. Choreographer. Writer. Passionate Amateur Mime and Mask-Maker. Wannabe Puppeteer. Founder, Director of Daystar: Contemporary Dance-Drama of Indian America. Acknowledged ‘pioneer’ of native modern dance USA. My father's insight: One day you will realize that you were blessed to be a descendant of the original peoples of this land.
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Fortuna, Victoria. "Dancing Argentine Modernity: Imagined Indigenous Bodies on the Buenos Aires Concert Stage (1915–1966)". Dance Research Journal 48, n. 2 (agosto 2016): 44–60. http://dx.doi.org/10.1017/s0149767716000206.
Testo completoAbstract (sommario):
This article argues that the unrealized balletCaaporá(1915), conceived for choreography by Vaslav Nijinsky, and Oscar Araiz'sLa consagración de la primavera(1966,The Rite of Spring) fundamentally shaped the establishment and reimagination of concert dance as a site of modernity in Argentina. Both works danced modernity through imagined pre-Columbian indigenous myths choreographed in Euro-American concert dance forms. In Argentina, “unmarked” ballet and modern dance forms signaled a universalized cultural advancement aligned with the West, while indigenous myths staged “marked” Latin American origins that held racial difference at a distance from the modern present.CaaporáandConsagraciónnegotiated the “marked” and the “unmarked” toward different ends. WhileCaaporástrove to “Argentinize” European ballet at the turn of the century,Consagraciónmarked the move to claim concert dance as Argentine at midcentury. By focusing on the role of indigenism in these two works, this article contributes to scholarship on the modernist negotiation of the marked and unmarked in Latin American concert dance as a strategy for staging—and transcending—the nation.
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Varnacova, Eleonora. "The transformation and interpretation of Carmen’s image in contemporary sports choreography". Studiul artelor şi culturologie: istorie, teorie, practică, n. 1(44) (febbraio 2024): 54–58. http://dx.doi.org/10.55383/amtap.2023.1.10.
Testo completoAbstract (sommario):
The novel Carmen by Prosper Mérimée and later the opera by Georges Bizet from the 19th century to this day serve as the basis for many works of various types and genres of art, including choreography. In the modern conditions of development, the sports dance, as a part of art and sport, is associated with current trends in the evolution of choreographic art. The sports dance is acquiring an increasingly bright aesthetic orientation, expanding the artistic possibilities of the choreographic language. Based on classical canons, using improvisation, the development of the personal style and manner of the dancer, the sports dance can open up new opportunities for the choreographic development, including in terms of involving classical plot themes. The relevance is also determined by the insufficient level of research into the problem of the development of the sports dance in the context of the modern development of choreographic art, the need to improve the training system, both for choreographers and sports dance performers.
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Torres Lepecki, André. "Critical Gestures: Writings on Dance and Culture. By Ann Daly. Middletown, CT: Wesleyan University Press, 2002; pp. 320. $19.95 paper." Theatre Survey 45, n. 1 (maggio 2004): 137–39. http://dx.doi.org/10.1017/s0040557404310082.
Testo completoAbstract (sommario):
Western theatrical dance emerges in the late Renaissance as an increasingly autonomous art form. However, as theatrical dance strove toward the ideal of its own aesthetic self-sufficiency, toward an autonomy that would eventually confer it its place as a truly modern art form, dance developed a paradoxically intimate, intricate, and convoluted relationship with its other—writing. The historical persistence of a continuous dialoguing between dancing and writing indicates how dance's aspirations for aesthetic autonomy were precisely that: an impossible (modern) wishing. Historically, the role and function of writing in regards to dance has been one of partnering. This partnering has oscillated among three foundational modes of writings on dance: the archival (writing as the guarantor of dance's historical survival, as seen already in the late 1500s, in Arbeau's Orcheseography), the choreographic (writing as mode of composing dances directly on paper, as seen in the exams for the Académie Royale in late seventeenth-century France), and the writing of criticism. Of these three modes, criticism—understood as writing aimed at explaining or translating to an audience the opacity of dance's appearing—won't emerge in its incipient form until the late eighteenth century. This mode is today the most prominent role writing takes in relation to dance, in which the function of the critic is simultaneously to preserve and explain the dances she witnesses.