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Azizah, Rona Cita, Susanna Edelweiss i Angelika Riyandari. "Representing Multicultural Semarang through Gambang Semarang’s Narrative". Celt: A Journal of Culture, English Language Teaching & Literature 18, nr 2 (29.12.2018): 248. http://dx.doi.org/10.24167/celt.v18i2.1300.
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Dance is usually perceived as a structured movement done by a person or more and accompanied by music and in some cases songs. The attention on physical movement often neglects the narrative which may exist behind a dance. Dances often have stories which frame the sequence of movements done by the dancers. The stories in a dance have elements of literature such as theme, plot, characters, and setting. This paper which is part of an on-going research on Semarang traditional dance discusses the story told through the movements and costume of Gambang Semarang dance. Gambang Semarang is traditional performing arts from Semarang which originally consists of music, vocal, dance, and comedy. Gambang Semarang dance was a small part of Gambang Semarang performance, but it is often performed separately from the complete performance now. The dance is commonly accompanied by Gambang Semarang music which combines Javanese music instruments, gamelan, and Chinese music instruments. In some occasions, songs such as Gambang Semarang and Gado-Gado Semarang are presented along with the music. Gambang Semarang dance itself is often considered as Semarang’s identity as the dance tries to embrace the multicultural society of Semarang which are Javanese, Chinese, and Arabs through the dance movements and the costume worn by the dancer. Data were collected through interviews with key informants. The results of the interviews then were analyzed to find out the stories represented by Gambang Semarang. The findings show that dance movements and costumes of Gambang Semarang indeed represent multicultural Semarang.
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de Lucas, Cristina. "Toward a Narratology of Western Narrative Theatre Dance". Narrative 32, nr 1 (styczeń 2024): 101–23. http://dx.doi.org/10.1353/nar.2024.a916607.
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ABSTRACT: Dance is barely present in narrative studies. It is generally accepted as a narrative medium, yet lacks a systematic study that addresses its distinctive qualities. This article focuses on generic theoretical issues of dance as a narrative medium and discusses its place within current narratological debates. The first premise suggested here is that among the diferent manifestations of dance, narrative theatre dance is the fullest expression of narrativity, with a narrative essence that the notions of plot and experientiality help defining and grading. Taking the discussion through routes explored for drama, this essay also argues for a narratological model of the analysis of dance narratives on two levels: the story level and the discourse level understood as performance. Another set of considerations concentrate on the semiotic structure of dance, showing how it can be dissected in a productive way for narratological analyses. The essay ends with a discussion on the relevance of context and cultural conventions for the interpretation of dance. Underpinning these reflections are foundational studies of transmedial narratology, widely-used narratological definitions of narrative, and discussions of the narrative nature of drama as well as key texts from the history, philosophy and analysis of dance. Three examples of dance—John Weaver’s ballet The Loves of Mars and Venus (1717), Kenneth MacMillan’s The Invitation (1960), and Leonid Yakobson’s Vestris (1969)—illustrate this theoretical argumentation.
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NYE, EDWARD. "‘Choreography’ is Narrative: The Programmes of the Eighteenth-Century Ballet d'Action". Dance Research 26, nr 1 (kwiecień 2008): 42–59. http://dx.doi.org/10.3366/e0264287508000054.
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In the 1760s, a change in the meaning of the French word ‘chorégraphie’, coined by Feuillet in 1700, coincides with the coming of age of the ballet d'action. At the time when Jean-Georges Noverre, Gasparo Angiolini and others are developing mime dance into a highly elaborate and aesthetically complex stage art, their contemporaries are beginning to use ‘chorégraphie’ to mean the dramaturgical structure of the work rather than a system of notation. The semantic shift suggests that drama is as fundamental to the ballet d'action as a Feuillet transcription is to danse noble. The analogy is sometimes taken further so that ‘chorégraphie’ probably refers to a written plot summary or ballet programme. This has many consequences for the way we think about the ballet d'action. Firstly, we should regard the ballet d'action as danced drama rather than dramatic dance, and secondly, ballet programmes are not peripheral to performance, but provide what contemporaries understand to be ‘choreographic’ information.
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Saenal, Selfiana, Muhammad Jazuli i Syakir Syakir. "Increasing Student Creativity Through The Implementation Of Dance Learning In Special Schools (SLB)". Edumaspul: Jurnal Pendidikan 7, nr 2 (1.10.2023): 5424–31. http://dx.doi.org/10.33487/edumaspul.v7i2.7292.
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Abstrak Dance training in schools is one of the basics of learning in cultivating the talent and capacity of stunt actors, and dance learning is very important, considering that dance learning underlines the course of training in developing character which includes coaches and stunt performers and can build the imagination of stunt development for children. normal children as well as for children who have physical or mental disabilities who meet the requirements for dance learning. The aim of this research is to examine the creative dance movements of blind students who use the storytelling learning model in dance learning, as well as the process of incorporating this model into dance learning. This research uses a subjective methodology using fascinating investigative techniques. The subjects in this review were 2 people, namely fourth grade students, the school principal, and the homeroom teacher. Observation, interviews, tests, and documentation are data collection methods. The findings of this research are as follows: the narrative learning model with increased narration in dance learning is very useful in creating dance development imaginations for blind students in the dance experience. The ability of blind stunt performers to obtain data using only the sense of hearing with enhanced narration makes perfect sense to be applied to blind stunt performers, the most common way of implementing the narrative learning model in dance learning can be said to be good because stunt performers do not experience obstacles in the dance experience. and the consequences of using a narrative learning model in dance learning on the development of imagination can be expected to be strong, considering that the imagination of dance development in blind stunt actors develops from the emotional, mental, psychomotor and mental parts.Kata Kunci: Tari, Disabilitas, Sekolah Luar BiasaAbstractDance training in schools is one of the basics of learning in cultivating the talent and capacity of stunt actors, and dance learning is very important, considering that dance learning underlines the course of training in developing character which includes coaches and stunt performers and can build the imagination of stunt development for children. normal children as well as for children who have physical or mental disabilities who meet the requirements for dance learning. The aim of this research is to examine the creative dance movements of blind students who use the storytelling learning model in dance learning, as well as the process of incorporating this model into dance learning. This research uses a subjective methodology using fascinating investigative techniques. The subjects in this review were 2 people, namely fourth grade students, the school principal, and the homeroom teacher. Observation, interviews, tests, and documentation are data collection methods. The findings of this research are as follows: the narrative learning model with increased narration in dance learning is very useful in creating dance development imaginations for blind students in the dance experience. The ability of blind stunt performers to obtain data using only the sense of hearing with enhanced narration makes perfect sense to be applied to blind stunt performers, the most common way of implementing the narrative learning model in dance learning can be said to be good because stunt performers do not experience obstacles in the dance experience. and the consequences of using a narrative learning model in dance learning on the development of imagination can be expected to be strong, considering that the imagination of dance development in blind stunt actors develops from the emotional, mental, psychomotor and mental parts.Keywords : Dance, Disability, Special Schools
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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, nr 2 (17.08.2023): 40–57. http://dx.doi.org/10.4038/sljh.v43i2.7270.
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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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DOĞANER, Saygın Koray. "DANCER IN THE DARK AS A HYBRID NARRATION". TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 12, nr 3 (1.07.2022): 833–45. http://dx.doi.org/10.7456/11203100/018.
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In this article, in Dancer in the Dark, the third film of Lars Von Trier's Golden Heart Trilogy (Breaking the Waves 1996, Idioterne, 1998, Dancer in the Dark 2000), how music and dance are used, what principles its technique is based on, the mise-en-scene elements used in creating meaning. and the narrative structure of the film was examined. Dancer in the Dark stands out as one of the films where Trier takes naive, childlike, pain-tested, strong and yet fragile women to the center. The film, which has little in common with the musicals in classical narrative cinema, has a musical feature with melodramatic features. The narration of the film creates a hybrid structure between European art cinema and classical Hollywood cinema. The narrative technique of the film also partially complies with the Dogma 95 manifesto published by Trier and three Danish directors.
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MacKenzie, Robin. "Nymph, Scarab, Butterfly: Figures of the Dancer in Mérimée, Flaubert and Proust". Forum for Modern Language Studies 55, nr 3 (1.07.2019): 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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Peng, Xun. "Historical Development and Cross-Cultural Influence of Dance Creation: Evolution of Body Language". Herança 7, nr 1 (29.12.2023): 88–99. http://dx.doi.org/10.52152/heranca.v7i1.764.
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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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Hutcheson, Maury. "Memory, Mimesis, and Narrative in the K'iche' Mayan Serpent Dance of Joyabaj, Guatemala". Comparative Studies in Society and History 51, nr 4 (17.09.2009): 865–95. http://dx.doi.org/10.1017/s0010417509990168.
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It seemed to me a simple question. “What happens in this dance-drama? What is the storyline, the narrative?” I am met by puzzlement. The dancer explains that each such dance has its own set of instruments, its own special costumes and masks. For this one they use a simple, one-man marimba and the costumes come from the nearby town of Chichicastenango.
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Markula, Pirkko. "Dancing the ‘Data’". International Review of Qualitative Research 4, nr 1 (maj 2011): 35–50. http://dx.doi.org/10.1525/irqr.2011.4.1.35.
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This article traces a process of combining dance and narrative text into performance ethnography. It focuses on how interviews collected during an ongoing research project on serious contemporary dancers' experiences with injuries can ‘be danced’ in a research presentation. The author reflects how the empirical material from the interviews informed a narrative text that, combined with contemporary dance choreography interpreted through Deleuzian rhizomatic analysis, was included into live performance ethnography. The author concludes with a need for an on-going experimentation with the dancing body, theory, and writing in qualitative research.
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Esteban, Jose Miguel. "The Inspirations of Our Remembering". Journal of Literary & Cultural Disability Studies 16, nr 1 (1.02.2022): 93–107. http://dx.doi.org/10.3828/jlcds.2022.6.
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How do we breathe through the spaces of our remembering? The article engages in a choreographic narrative that follows the author’s initial attempts to perform a dance of his memories. Inspired by dancer and scholar Katherine Dunham, and her own journey of remembering her childhood through the Black feminist tradition of self-writing, the author questions whose stories are exhaled as they attempt to breathe in their pasts. Breathing in her story, breathing in his story, they inhabit a dance through which the lingering absence and the haunting appearances of disability move them to encounter a different telling of their stories. As they embody a movement through (un)certainty and (un)belonging, a dance of loss and desire, disability reveals itself as the breath that sustains the interpretation of their narratives and the itch that moves their dance. Through this research-creation, the article gestures to disability studies as a necessary orientation in the critical and creative performance of a relationship to stories of the present, past, and future.
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Nuryanto, Nuryanto. "Karya Tari Dewaruci Sebagai Tari Sesaji Dalam Rangka Dies Natalis Isi Surakarta". Acintya Jurnal Penelitian Seni Budaya 15, nr 2 (1.12.2023): 183–92. http://dx.doi.org/10.33153/acy.v15i2.5099.
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The dance work Dewaruci is a new work inspired by Bima's attitude and character in wayang so that it is danced in the dashing male dance of the Surakarta style. The make-up and fashion design refer to the wayang orang characters in the Surakarta style. The purpose of the research entitled Dewaruci Dance Work is to describe the dashing Surakarta style dance used as offering dance at the Surakarta Indonesian Institute of the Arts (ISI) Anniversary ceremony in 2015. The research method of the Surakarta Style Dewaruci Dance Work is a type of qualitative research. Narrative data sources. Data analysis techniques use form and content. Data obtained from observation studies, interviews and documentation. The results of the research, the Dewaruci Dance Work is a themed group dance danced by seven dashing male dancers, as a symbol of the attitude and behavior of the academic community who have reached the age of 51. The gallant movements reflect valor, perseverance, honesty, firmness in studying and practice knowledge so that it is beneficial to society. The movement begins with offerings accompanied by Yogyan Pelog Nem Sieve.Keywords: dashing, dance, offerings, anniversary
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Stolberg, Tonie L. "Communicating Science through the Language of Dance: A Journey of Education and Reflection". Leonardo 39, nr 5 (październik 2006): 426–32. http://dx.doi.org/10.1162/leon.2006.39.5.426.
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Bharatanatyam, the classical dance style of South India, is adept at conveying complex, multilayered narratives. This paper documents and reflects upon the interactions between the author, a scientist and educator, and a professional dance company as they strive to develop and produce a dance-drama about the carbon cycle. The author examines the process by which scientific ideas are shared with the artists and the way a scientific narrative becomes one with an artistic meaning. The paper also examines areas for possible future science-dance collaborations and explores the necessary features for a collaborative science-dance pedagogy.
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Matos, Mariana Inocêncio, i Elirez Bezerra da Silva. "New Notes on the Cardiorespiratory Capacity of Dancers". International Journal of Art, Culture, Design, and Technology 11, nr 2 (1.07.2022): 1–11. http://dx.doi.org/10.4018/ijacdt.305795.
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Cardiorespiratory capacity is one of the most important components of our physical fitnes for the general population. How much this ability is required in dance depends on factors such as dance mode, duration and intensity of step sequences and choreographies, and even the hierarchical position that the dancer occupies within a company. Although far from the values found in athletes, the cardiorespiratory capacity of dancers is good compared to the general population. Although the theme is explored in the 1980s, there are many points that still need further investigation, such as the relationship between this capacity and the performance of a dancer? How to include in the routine of a dancer? Isolated workouts? Still, the evaluation of this ability in dancers seems not yet to happen in the dance routine, even with field tests, such as Dance Specific Aerobic Fitness Test (DAFT) already validated and presented in the literature, why? These are some of the issues addressed in this narrative review.
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Song, Haw Suk. "Narrative Possibilities through Bodyness: Aesthetic of Dance Music and Affective Turn". Korean Association for the Study of Popular Music 29 (31.05.2022): 171–94. http://dx.doi.org/10.36775/kjpm.2022.29.171.
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If the criteria for judging good and not good music correspond to the musical content or meaning, much popular music would not escape the judgment of yet being qualitatively low, and its representative genre is dance music. Compared with movies and dramas, pop music lacks clarity of reproduction and narrative structure. Dance music is more multi-layered and ambiguous than other pop music genres as it contains music, lyrics, and body movements as basic genre characteristics. To discuss the aesthetic aspects of dance music, focusing on the theoretical significance raised from the theory of affect, this study examines dance music (especially Korean dance music since the 2000s), the area farthest from meaning and narrative, as a process of acquiring “non-narrative narrative” based on physical sensibility and popularity.
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Purnama Sari, Dewi, Malarsih Malarsih i Muhammad Jazuli. "Analisis Bentuk Penyajian Tari Bedhaya Retnatama di Kraton Surakarta Hadiningrat". Jurnal Sendratasik 12, nr 2 (8.06.2023): 182. http://dx.doi.org/10.24036/js.v12i2.123178.
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Bedhaya Retnatama dance is one of the classical dances from the Surakarta Hadiningrat Palace. This dance was created by GKR Koes Moertiyah Wandansari during the inauguration of the Surakarta Hadiningrat Kraton Museum. The results of the study show that the form of performance in this dance is almost the same as other Bedhaya dance performances. The difference is that the dance movements are composed more "soblakan" which indicates the firmness conveyed in the theme of this dance. This assertiveness is strengthened by the use of the gandewa property in this dance performance. The firm impression conveyed is packaged elegantly in the presentation of the bedhaya dance which has the characteristics of mbayu mili (smooth). As the reinforcement of the narrative of this dance, cakepan is used which tells about the persistence of contemporary Javanese women. The main objective of this study is to determine the form of the performance of the Bedhaya Retnatama Dance as a whole through the clothing, accompaniment, and properties used. The research in this article uses a qualitative descriptive method with data collection techniques using observation, interviews, and documentation.
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Pruiksma, Rose. "Of Dancing Girls and Sarabandes". Journal of Musicology 35, nr 2 (2018): 145–82. http://dx.doi.org/10.1525/jm.2018.35.2.145.
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The French sarabande is typically characterized as one of the most serious and noble baroque dances in the instrumental suite. New research synthesizing eyewitness accounts, literary sources, and musical analysis reveals the sarabande’s rich history as a theatrical dance regularly performed by female dancers in French court ballets. The groups of girls and solo young women who danced it between 1651 and 1669 invite us to reshape our narrative of the sarabande in France. Both literary references and the theatrical context reveal how the sarabande resonated with layers of culturally inscribed meanings at a time when danced and non-danced sarabandes coexisted side by side. The same individuals moved easily between dancing, watching danced sarabandes in ballets, and playing sarabandes on the keyboard or lute. Spectators and listeners likewise encountered and interpreted sarabandes in multiple settings; knowledge gained through dancing or accompanying dancing did not simply disappear from one performance context to the next. While such embodied knowledge is no longer common cultural currency, examining the historically embodied presence of the sarabande and its ties to female dancers permits a better understanding of its cultural resonances and its appeal in the seventeenth century and opens up a wider range of interpretations of this multi-faceted, multivalent dance type.
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Engelhart, Monica. "The Dancing Picture - The Ritual Dance of Native Australians". Scripta Instituti Donneriani Aboensis 16 (1.01.1996): 75–90. http://dx.doi.org/10.30674/scripta.67224.
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What kind of message does -or did — the dance convey to the Native Australians? Several types of communication can be distinguished in ritual dance. There is the narrative aspect, i.e., the dramatization of a myth, or of certain social relations, there is an aspect of explanation, i.e., the visual performance of significant conditions, an expressive aspect of worship, and even an aspect of transmission, as when the body of the dancer is thought to mediate divine power to the audience. When a dancer is considered possessed, the boundaries between his human identity and the divine are wiped out. This last aspect leads us to the second item of interest regarding the ritual dance in Australia, an issue that has been discussed at length regarding masked dancers in other societies, i.e., the question of whether the dancer is identified with the being represented, or merely performs as an actor in a play. In this discussion, the very technique of dancing may have some explanatory faculty, at least as long as we are dealing with Native Australian ritual dance.
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Schorn, Ursula. "The healing encounter of dance, Gestalt, and art based on Anna Halprin’s Life/Art Process". British Gestalt Journal 24, nr 2 (1.11.2015): 14–20. http://dx.doi.org/10.53667/ppxw4748.
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"Abstract: Anna Halprin, influential American dancer and artist, in her search for new ways to activate the transformative potential in dance, integrated Fritz Perls’ approach to Gestalt therapy in her work, called Life/Art Process. Gestalt principles of awareness in the ‘here and now’ find a structure in the Principles of the Creative Process, a central theoretical model of the Life/Art Process offering a holistic approach to creativity. The experience of physical, emotional, and mental awareness through movement extends into the field of artistic expression in dance and visual arts. The creative encounter between dance and art follows guidelines of the Psychokinetic Visualisation Process as applied to therapeutic settings. Key words: transformative potential of dance, Gestalt and dance, Principles of the Creative Process, Psychokinetic Visualisation Process, from the narrative to the abstract, the intelli- gence of the body."
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Miao, Feng, i Nan Zhang. "Digitization, Preservation, and Dance Narrative Exploration of Red Music Cultural Heritage in Hebei Province: A Multidisciplinary Approach". International Journal of Social Sciences and Public Administration 2, nr 2 (18.03.2024): 211–21. http://dx.doi.org/10.62051/ijsspa.v2n2.31.
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This research paper presents a comprehensive exploration of the digitization, preservation, and dance narrative exploration of Hebei's red music cultural heritage. The study investigates the multifaceted relationship between red music, digital technologies, and dance narratives, aiming to contribute significantly to the theoretical underpinnings and practical strategies for preserving and reinterpreting this unique musical tradition. Through a multidisciplinary lens, the research delves into the theoretical foundations, historical significance, and innovative methods employed to safeguard and transmit the rich narratives embedded within Hebei's red music.Drawing on existing literature, the paper highlights the pivotal role of digital technologies in preserving red music artifacts, including high-resolution audio recording, 3D scanning, and digital archiving systems. It also explores the application of dance narratives as a means to vividly recreate historical contexts and emotional depth inherent in red music compositions. Moreover, the study identifies gaps in current research, emphasizing the need for comprehensive studies addressing the intersection of digital preservation, musical heritage restoration, and dance narrative strategies within the context of China's red music culture.The research findings underscore the effectiveness of innovative choreographic approaches in recontextualizing red music narratives, as well as the potential of multimedia, virtual reality, and augmented reality technologies in designing immersive experiences that enrich audience engagement with this cultural heritage. The implications for practice and policy emphasize the importance of multidisciplinary collaboration, advanced digitization projects, and educational initiatives to ensure the continued vitality and relevance of Hebei's red music cultural heritage.
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STROE, ALINA, SILVIU AXELERAD, ANCA GOGU, LAVINIA MUJA, CORINA FRECUS i CRISTINA MIHAI. "Narrative review on effects of dance therapy in Parkinson’s disease patients". Journal of Complementary Medicine Research 13, nr 3 (2022): 33. http://dx.doi.org/10.5455/jcmr.2022.13.03.07.
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Background: Parkinson's disease is a chronic neurodegenerative disease, with slow insidious onset, characterized by the presence of predominantly motor symptoms such as rest tremor, bradykinesia, and postural instability. Dance therapy has been used for many years for various conditions, especially for patients with Parkinson's disease. Methods: The PubMed, Elsevier, Wiley, and Springer databases were searched using the solitary or combination keywords "dance therapy", "Parkinson's disease", and "dance therapy in neurodegenerative disorders". Finally, the time period covered by the inclusion criteria for the papers chosen for evaluation was 2000–2022. Results: In comparison to other forms of exercise, dance resulted in substantial gains on the UPDRSIII and various other scales. Dance practice similarly resulted in substantial gains in motor scores when compared to the control group. Dance has been shown to enhance disease-related motor parameters and functional mobility in patients. Conclusion: Over time, dance therapy has been shown to help improve balance disorders, coordination of movement and mood. In summary, dance therapy is a novel and engaging kind of physical therapy for individuals with Parkinson's disease that could have a significant effect on motor and non-motor abilities.
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Rahman, Munjulika. "Price of Gold and Light: Power and Politics in Hey Ananta Punya". Congress on Research in Dance Conference Proceedings 2011 (2011): 29–34. http://dx.doi.org/10.1017/s014976771100026x.
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Hey Ananta Punya, a dance-drama adapted and choreographed by the Bangladeshi choreographer Warda Rihab was performed in Kolkata, India, in December 2009. Rihab plays the main character Srimoti, a dancer at the court of King Ajatashatru. Srimoti embraces Buddhism but is not allowed to practice since Ajatashatru decrees Hinduism to be the state religion. In the narrative, Hinduism, the predominant religion of India, represses Buddhism, which is a minority religion in the subcontinent. Even though on the surface the dance-drama deals with Hinduism and Buddhism, the performance is complicated by the knowledge that the choreographer and most of the performers are Bangladeshi Muslims. In the context of Hindu-Muslim conflicts and India's political and economic hegemony in South Asia, the performance can be considered as a critique of India's policies. In considering the choreographer's background and the dance-drama's narrative, aesthetics, and location of performance, I analyze the various structures of power that a Bangladeshi female choreographer operates within during her training and performance in India. Hey Ananta Punya is significant because it points to the complex web of issues involving politics, history, and religion that have been a part of dance in Bangladesh for the past few decades because of India's influence in the field, particularly through Indian-government scholarships for advanced dance training. In the paper, I use Michel Foucault's theory of power as systems of interrelated networks and knowledge as a system of power to show how dance as a form of embodied knowledge can function as a tool in shaping, disseminating, and expressing ideology.
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Goel, Sujata. "In Search of Context, In Search of Home". Arts 12, nr 5 (7.09.2023): 194. http://dx.doi.org/10.3390/arts12050194.
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In this text, the author outlines her personal narrative as a dancer and choreographer over twenty years. She traces her path of migration between the USA, India and Europe in search of artistic context and belonging. Her account addresses larger issues such as Orientalism and Eurocentrism in the global, contemporary dance sphere.
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Patel-Grosz, Pritty, Patrick Georg Grosz, Tejaswinee Kelkar i Alexander Refsum Jensenius. "Coreference and disjoint reference in the semantics of narrative dance". ZAS Papers in Linguistics 61 (1.01.2018): 199–216. http://dx.doi.org/10.21248/zaspil.61.2018.492.
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This paper presents an exploratory production study of Bharatanatyam, a figurative(narrative) dance. We investigate the encoding of coreference vs. disjoint reference in thisdance and argue that a formal semantics of narrative dance can be modeled in line withAbusch’s (2013, 2014, 2015) semantics of visual narrative (drawing also on Schlenker’s,2017a, approach to music semantics). A main finding of our investigation is that larger-levelgroup-boundaries (Charnavel, 2016) can be seen as triggers for discontinuity inferences(possibly involving the dynamic shift from one salient entity to another).Keywords: co-reference, disjoint reference, dance semantics, iconic semantics, picturesemantics.
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Gianvittorio-Ungar, Laura. "Narratives in Motion: the Art of Dancing Stories in Antiquity and Beyond". Greek and Roman Musical Studies 8, nr 1 (13.03.2020): 174–89. http://dx.doi.org/10.1163/22129758-12341367.
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Abstract The purpose of the symposium “Narratives in Motion. The Art of Dancing Stories in Antiquity and Beyond” was to make original contributions to the thriving field of study on ancient Greek and Roman dance by tackling this issue from an angle which is both specific in that it narrows down the focus on dance narrativity across different performance genres, and inclusive in that it encompasses transcultural, transhistorical and practice-based approaches. With eleven talks by classical and dance scholars and two performances by dance artists, the symposium was able to shed light on a range of practices, genres and cultural aspects relating to narrative dance in the ancient and, to a lesser degree, modern world. The event took place on 22-23 June 2018 at the Department of Classics of the University of Vienna, and was sponsored by the FWF-Austrian Science Fund (Project V442-G25 “Aischylos’ diegetisches Drama”).
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Lalonger, Edith, i Jonathan Williams. "Music, Dance and Narrative in Rameau's Zaïs: Bringing the Immortal back to Life". Dance Research 33, nr 2 (listopad 2015): 212–26. http://dx.doi.org/10.3366/drs.2015.0138.
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The year 2014 saw the 250th anniversary of the death of the leading opera composer of the French Enlightenment, Jean-Philippe Rameau (1683–1764). While none of his 30 operas was granted a full production in the UK, semi-staged performances of three were given in London as part of the Rameau Project by Jonathan Williams and the Orchestra of the Age of Enlightenment. This interdisciplinary collaboration is based at Oxford University and has since 2012 been re-examining performance issues in Rameau's operas. Perhaps most fascinating is their research into stylistically-appropriate dance with Baroque dancer and choreographer, Edith Lalonger. As their UK première of Zaïs given at the QEH in April 2014 highlighted, the impact of dance in these rich and colourful works is extraordinary. One year on, Williams and Lalonger reflect on their experiences of bringing Rameau's magical masterpiece to the London stage.
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Newton-Jackson, Paul. "Early Modern Polonaises and the Myth of Polish Rhythms". Journal of Musicology 41, nr 2 (2024): 179–220. http://dx.doi.org/10.1525/jm.2024.41.2.179.
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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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Corpus, Rina Angela. "Dance Beyond the Disquiet of Diaspora: Kristin Jackson's Aesthetic of Independent Dancing". Congress on Research in Dance Conference Proceedings 39, S1 (2007): 12–23. http://dx.doi.org/10.1017/s2049125500000066.
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This essay navigates the dance history and aesthetics of New York–based Filipina-American dance artist Kristin Jackson, who bravely produced herself as an independent dance-maker. It highlights the independent and alternative dance practice of Jackson in the context of her multicultural identity and Filipino diaspora in America. As Jackson straddles both the Philippines and America, we witness in this narrative several issues mobilized around her dance and dance-making.
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Hiscock, Andrew. "Moving Shakespeare: La danse narrative and adapting to the Bard". Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, nr 1 (30.03.2020): 18–37. http://dx.doi.org/10.1177/0184767820914513.
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This article considers the expectations of narrative that frequently surround Shakespearean dance adaptation. Reviewing responses to two contemporary productions ( Le Songe by Les Ballets de Monte Carlo and Golden Hours (As You Like It) by the Rosas company), discussion pays particular attention to critical and audience appetites when attending to performances of Shakespeare on the dance stage. Highlighting contemporary debates in dance studies, the discussion draws to a close examining the challenges of transposing (often well-known) Shakespearean texts into bodily gesture and movement.
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Kim, Hyun-Jung, i Young-Seok Lee. "Physical Narrative in the Dance of [Yuwol]". Journal of acting studies 23 (31.08.2021): 265–78. http://dx.doi.org/10.26764/jaa.2021.23.14.
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Carroll, Noël. "Theatre, dance, and theory: A philosophical narrative". Dance Chronicle 15, nr 3 (styczeń 1992): 317–31. http://dx.doi.org/10.1080/01472529208569103.
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Bulag, Uradyn E. "Mongolian Music, Dance, and Oral Narrative: Performing Diverse Identities.:Mongolian Music, Dance, and Oral Narrative: Performing Diverse Identities." American Anthropologist 105, nr 2 (czerwiec 2003): 452–53. http://dx.doi.org/10.1525/aa.2003.105.2.452.
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Rogers, Catherine, David Leventhal, Leah Apple, Katrina Kostro, Andrew Sudler i Rita Charon. "Observing the World as Dancers Do: Teaching Dance to Medical Students". TDR/The Drama Review 64, nr 3 (wrzesień 2020): 67–78. http://dx.doi.org/10.1162/dram_a_00943.
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On a sunny day in a studio overlooking the Hudson River, a Mark Morris dancer guides a group of medical students in choreographing their patients’ stories. This class in narrative medicine provides a safe laboratory where doctors-to-be learn to view their relationships with future patients as an improvisatory partnered dance in which the choreography adjusts moment to moment as new challenges, details, and possibilities for healing emerge.
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Dewi, Jauhari Kumara. "Nilai-nilai Pendidikan Karakter dalam Gerak Dasar Tari Kejei Bagi Anak Usia Sekolah Dasar". AR-RIAYAH : Jurnal Pendidikan Dasar 6, nr 1 (30.06.2022): 115. http://dx.doi.org/10.29240/jpd.v6i1.4992.
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Education is one of leading sectors in the development of student character. Specifically, it aims to identify character values and integrate them into elementary school’s life. Kejei dance is one of the dances in which there are character values that have a role in shaping elementary school students’ character with God, themselves, others, and their nationality which expressed in every movement of the Kejei dance. The purpose of this study was to discover the meaning contained in the various basic movements of the Kejei dance in the process of shaping elementary students’ character. This research belonged to qualitative research with a narrative approach. Primary data sources are taken from observing the variety of movements of the Kejei dance. In other words, the data were collected through observation and interviews. Afterwards, the data gathered were analyzed through data reduction and conclusions. The results showed that the Kejei dance contains the meaning and value of character education which is reflected in several types of movements including Sembah Menari movement, Bederap Salah Pinggang movement, Metik Jari movement, Mateak Dayung movement, Sembah Penyudo movement, and Mendayung movement. In sum, the overall meanings of the basic movements of the Kejei dance show religious values, tolerance, discipline, and communication.
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Eygerðardóttir, Dalrún. "Drifting: Feminist Oral History and the Study of the Last Female Drifters in Iceland". Feminist Research 2, nr 1 (czerwiec 2018): 1–15. http://dx.doi.org/10.21523/gcj2.18020101.
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This paper examines the story of the last female drifters in Iceland from the voices of women who remembered them. It examines the advantages of the woman-on-woman oral history interview when obtaining women’s perspectives on women’s history. An examination of women’s narrative techniques suggests that women’s narrative style is often consistent with a conversational style; and therefore it is important to construct a space in woman-on-woman oral history interviews that carries a sense of place for a conversation. It also examines the woman-on-woman oral history interview as a continuation of women’s oral tradition in Iceland, especially an oral tradition from medieval Iceland; called a narrative dance (ice. sagnadans). Lastly, it examines the shared features of the Icelandic #Metoo event stories and the Icelandic narrative dances, in relation to woman-on-woman oral history interviews.
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Gélinas, Aline. "Edouard Lock and Bliss: About Dance, Mime, Theatre". Canadian Theatre Review 65 (grudzień 1990): 24–29. http://dx.doi.org/10.3138/ctr.65.005.
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The last label Edouard Lock would like to have applied to his choreographic work is “dance theatre.” The artistic director of La La La Human Steps takes a firm stand against this new trend in the dance scene, stating again and again that it tends to impoverish the vocabulary of movements and impose limitations on the creativity of the choreographer. I would like to analyze some basic notions about these three related fields from my own point of view, which is that of a dance writer, theatre critic and corporeal artist trained in mime. Then, I want to ask: why are some people from the theatre tempted to see Edouard Lock’s dances as being part of dance theatre? First, we need to go back to the history of dance to understand why it has taken so long for it to be recognized as ma jor art form. In fact, this recognition only happened in the course of the 20th century, soon after Serge Diaghilev brought the Russian Ballet to Paris. But even then, dance in Europe was still part of an ambitious, total spectacle which included music from great composers, backdrops by talented young painters and narrative by people with literary inclinations. The public would not come to see dance per se, but to enjoy an evening of very high quality entertainment. This sense of dance was not at all remote from the dreams Richard Wagner had had just a few years before.
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Tucker, Sherrie. "Swing: From Time to Torque (Dance Floor Democracy at the Hollywood Canteen)". Daedalus 142, nr 4 (październik 2013): 82–97. http://dx.doi.org/10.1162/daed_a_00243.
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The Hollywood Canteen (1942–1945) was the most famous of the USO and USO-like patriotic nightclubs where civilian hostesses jitterbugged with enlisted men of the Allied Nations during World War II. It is also the subject of much U.S. national nostalgia about the “Good War” and “Greatest Generation.” Drawing from oral histories with civilian volunteers and military guests who danced at the Hollywood Canteen, this article focuses on the ways that interviewees navigated the forceful narrative terrain of national nostalgia, sometimes supporting it, sometimes pulling away from or pushing it in critical ways, and usually a little of each. This article posits a new interpretative method for analyzing struggles over “democracy” for jazz and swing studies through a focus on “torque” that brings together oral history, improvisation studies, and dance studies to bear on engaging interviewees' embodied narratives on ideologically loaded ground, improvising on the past in the present.
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Shin, Inseop. "Mobility in the Work of Haruki Murakami, Focusing on Dance Dance Dance as a Narrative of Mobility". Kritika Kultura, nr 36 (17.12.2021): 234–52. http://dx.doi.org/10.13185/kk2021.003613.
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Zaini, Mimi Fitriana, i Niloufar Heshmati Manesh. "The Impact of Dance on the Development of Coping Mechanisms Fornarcolepsy: A Narrative Analysis". Jurnal Ilmiah Peuradeun 8, nr 1 (30.01.2020): 17. http://dx.doi.org/10.26811/peuradeun.v8i1.516.
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The purpose of this study was to highlight the experiences of dance as an approach to give optimism in reducing the difficulties of narcoleptic patients that stem close to normal social functioning, and to explore the consequences of dance on narcoleptic patients in physiological, environmental and interpersonal aspects. A semi-structured interview was conducted to 3 selected narcoleptics, age ranging from 30 to 45 years, with at least 6 months of dance experience, using a purposive sampling procedure. Thematic analysis enabled the identification of key components of the impacts of dance and its coping mechanisms as the generated themes from the two research questions to include; 1) Dance as a form of Expression, Being Mindful, Decreased Symptoms, Self-achievement, Self-Enjoyment, Satisfaction level, Self-contentment, Stress-release and Balance of health, 2) Flexibility in Dance Style, Wider perspective in Dance Style, Social Functioning, Attention Skills, Emotion Management, Positive mind-set, Time management, and Intra-Familial relation. The finding from the two research questions was identified across the generated themes. The findings were expected to increase awareness among people in the issue of narcolepsy and its consequences for the purpose of mental health and well-being to promote a healthy lifestyle and better quality of life. Research Implications for the improvement of narcoleptics were also discussed for the purpose of module developments and interventions.
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Dickinson, Peter. "Textual Matters: Making Narrative and Kinesthetic Sense of Crystal Pite's Dance-Theater". Dance Research Journal 46, nr 1 (kwiecień 2014): 61–83. http://dx.doi.org/10.1017/s0149767714000047.
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In this article, I examine the work created by Canadian choreographer Crystal Pite for her company Kidd Pivot, placing it within a larger tradition of dance-theater that combines text and movement, and traffics openly in big emotions and even bigger narrative structures. I argue that Pite's use of text does not just offer a way into, or a representational gloss on, her otherwise abstract movement vocabulary, but also a means of affectively and even kinesthetically re-experiencing that movement post-performance. I focus on Pite's three most recent evening-length programs for Kidd Pivot, and on the different modes of textual address employed therein (voice-over narration, projection, live speech). My goal in analyzing the choreographer's narrative scripts alongside her physical ones is to highlight, on the one hand, the materiality of words within the total sensory environments created by Pite through her dance-theater performances and, on the other, to emphasize their consequentiality in helping to make somatic sense of one's memories of those performances.
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Jung, Woo Jung, i Kangsoon Lee. "Narrative on Street Dance Class at Elementary School". Korean Journal of the Elementary Physical Education 26, nr 1 (30.04.2020): 67–80. http://dx.doi.org/10.26844/ksepe.2020.26.1.67.
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Preece, Bronwyn. "Body inking: butoh: (a poetic narrative): ... artist pages". Journal of Dance & Somatic Practices 11, nr 1 (1.07.2019): 81–97. http://dx.doi.org/10.1386/jdsp.11.1.81_1.
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The writing becomes a limbed extension – a dance – inked on shore and paper by a body moving in these artist pages. The author poetically captures the process of engaging in the 22nd annual Kokoro Dance Theatre Society’s Wreck Beach Butoh Intensive: a nine-day in-studio period, followed by three outdoor performances: on the shores and in the waters of Vancouver, Canada’s Pacific Ocean. Preece captures the days in a poem, synthesizing felt experience with elements of the daily choreography and context, offering palpable, personal and sensual tellings of one woman moving through process, practice and performance. Although specific, the poems remain accessible – interpretable and relatable to the reader – as fresh offerings, as movements themselves.
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VASILIU, Emanuel-Alexandru. "Dance film from Maya Deren to Anne Teresa De Keersmaeker". Theatrical Colloquia 14, nr 1 (1.05.2024): 119–29. http://dx.doi.org/10.35218/tco.2024.14.1.09.
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This study sets out to review the most influential creators in the history of dance film, both historical and recent figures. In approaching dance film I was inspired by my own experience in this field, a short dance film, and by my passion about contemporary dance. I see the communication between cinema and dance as capitalising both on corporeal expressive capacity and the technical means of editing, lighting and oratorical accumulation in the sense of a discourse, whose substance need not be epic or narrative. The studied creators demonstrate the primacy of poetry, as it is transposed into movement, in the making of a dance film.
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Hodgson, Amanda. "Dancing on the Strand: The Adelphi Theatre’s Dance Repertoire, 1840–1860". Dance Research 41, nr 2 (listopad 2023): 235–52. http://dx.doi.org/10.3366/drs.2023.0405.
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Dance was ubiquitous on the early Victorian stage but theatre dance of the period has received little critical attention. Examination of the repertoire of the Adelphi Theatre in London in 1840–1860 shows that dance occurred in a wide range of theatrical contexts including melodrama, farce, extravaganza and burlesque. The Adelphi also specialised in adaptations of Romantic ballets that combined spectacle, narrative, dance and song. In such theatre pieces dance could be not only decorative, but also fully integrated into the structural and thematic contexts in which it was embedded. In The Enchanted Isle, for example, dance makes a suggestive contribution to the political agenda of the play.
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Tai, Amy Ming Wai. "Narrativity in Concerto Barocco by George Balanchine". BACH: Journal of the Riemenschneider Bach Institute 54, nr 2 (2023): 212–36. http://dx.doi.org/10.1353/bach.2023.a907241.
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Abstract: George Balanchine is widely acknowledged as one of the most musical choreographers of the twentieth century. He was also the pioneer of neoclassical ballet, that is, ballet without stories or characters in the conventional sense. Instead, neoclassical ballet focuses on inflecting our interpretation of the music. Not having stories in the conventional sense, however, does not mean that neoclassical ballet is devoid of narrativity, because for Balanchine, dance "has its own means of telling a story" through formalistic elements such as space, movement, and their interaction with music. Concerto Barocco (1941), choreographed to Concerto for Two Violins in D Minor BWV 1043 by J. S. Bach, is one of his first neoclassical ballets and has been praised for its musicality. As such, it serves as a good example for discussing what narrativity is in neoclassical ballet, and its relationship with music. This article analyzes the first movement of this ballet, choreographed to the first movement of Bach's concerto. Balanchine's view on how formalistic elements in dance can tell narratives reflects the view in structuralist and formalist literary theories that form is part of content. Although dance scholars have not used structuralist and formalist literary theories to analyze neoclassical ballets, music theorists such as Fred Maus have adapted these theories to interpret how absolute music tells narratives with tonal tension and relaxation, instrumentation, rhythm, meter, and other parameters. Taking inspiration from these models, this article examines how the formal properties of dance interact with formal properties of music in creating narratives. Bearing in mind the differences among literature, music, and dance, this article extends and refines existing theories where they prove inadequate for understanding the relationship between dance and music. In the first movement of Concerto Barocco , the music generally evokes ideas of conflict and collaboration through tonal departure and return, and the relationship between the soloists and the orchestra. However, exactly how the ideas of conflict and collaboration play out is left indeterminate. Balanchine's choreography tells a tale where the conflict between the soloists and between the soloists and the corps de ballet at the beginning becomes collaboration when the music returns to the home key at the end of the piece. This narrative is enhanced by the choreographic unison at the end, which reinforces the idea of collaboration, and by the emphasis on the tonal narrative of the music at the expense of the thematic one. This article concludes by reflecting on what narrativity means for neoclassical ballet and absolute music. Without words, dance and music can tell intricate narratives in their own ways. Indeterminacy in these media can even be seen as an advantage in enhancing emotional impact and conveying abstract ideas.
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Ogata, Takashi. "The Narrative Generation of Kabuki". Impact 2020, nr 8 (16.12.2020): 68–70. http://dx.doi.org/10.21820/23987073.2020.8.68.
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Japan has a long history of unique artistic expression which has created highly defined genres and styles. This formalisation and tradition have allowed Japan to be home to some of the oldest performing arts, the most famous being Noh and Kabuki. Kabuki, a form of dance-drama, is 400 years old and academics at Iwate Prefectural University are now examining the narrative structures underpinning Kabuki using novel AI techniques
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Desak, Suarti Laksmi. "CEREMONIAL SINGING: KIDUNG AS RELIGIOUS PRAXIS IN CONTEMPORARY BALI". Journal of the Institute of Oriental Studies RAS, nr 3 (21) (2022): 29–42. http://dx.doi.org/10.31696/2618-7302-2022-3-029-042.
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Kidung is Balinese ritual hymn or canticle, typically recited in a homophonic choir by a grop of local singers based on a pre-existing text to accompany religious celebrations. Selected lyric of kidung verse is deliberately recited for a number of ritual reasons. The role of kidung is to complete the ritual and religious celebration as the fifth Gita. The four related ritual gitas or sacred sounds include the sound of symbolic narrative forms (Swara Yantra Abinaya) of wayang puppetry, infused with edification and devine philosophy; the sound of Gamelan music accompanying temple dances (may it be a female Rejang dance, Makerab dance, Sutri, Pendet dance, or male Baris warrior dance, Sandaran dance, etc.); the sound of Kulkul wooden bell, and the sound of Veda / mantra incantation recited by the temple priest, who invariably leads the ritual ceremony. Kidung hymn and gamelan music together create Vadyagita. The dance and the mantra incantation together create Nertya Puja, which creates devine matrix of the on-going ritual ceremony. Almost no Hindu-Balinese religious ceremony (yadnya) is complete without kidung singing with lyrics drawn from Middle Javanese literature. Kidung is used for the panca yadnya (five ceremonies) namely: dewa yadnya (for god), bhuta yadnya (lower spirit), rsi yadnya (for priest), pitra yadnya (for ancestor), and manusa yadnya (for human), with the appropriate kidung text selection. This singing supports the solemnity of spiritual practice of singers and listeners, perfecting the ceremony as an offering of expressive communication.
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Wu, Yuelun. "The Research on the Communication Features of Michael Jordan’s Documentary the Last Dance". BCP Social Sciences & Humanities 21 (15.02.2023): 445–49. http://dx.doi.org/10.54691/bcpssh.v21i.3627.
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As the well-deserved GOAT of the NBA, Michael Jordan and his Bulls team left the best of the NBA in the 1990s and also promoted the NBA to the whole world. But unfortunately, many young fans have never gotten the opportunity to see Jordan play though wearing Jordan's sneakers. The emergence of The Last Dance presented the audience with a most realistic Jordan including his many dark sides, and eventually achieved great success in the field of sports documentaries. This paper will use the example of The Last Dance to explore the characteristics of documentary film distribution in the network age, including how it has been successful and what still needs to be improved. These studies will be of great help to documentary filmmakers as well as any communication researcher. By looking at the narrative approach of The Last Dance, the hottest topics about The Last Dance on social media, the timing of The Last Dance's release, and The Last Dance's ratings in the Chinese market. This research found that The Last Dance used a relatively clever narrative technique that interspersed secondary thread and backstories with the main thread, and that The Last Dance also gained more attention by revealing an unknown side of Jordan, in addition, The Last Dance was released during the NBA lockout, however due to the timing of the Chinese television broadcast and political reasons, The Last Dance failed to sell well in the Chinese market.
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Aprahamian, Serouj. "“There Were Females That Danced Too”: Uncovering the Role of Women in Breaking History". Dance Research Journal 52, nr 2 (sierpień 2020): 41–58. http://dx.doi.org/10.1017/s0149767720000169.
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The dominant narrative regarding breaking history is that the dance developed as an “exclusively male” expression of inner-city “machismo.” In this study, I challenge this narrative by bringing in the voices of breaking's often-neglected founding practitioners. By juxtaposing primary testimonies with mainstream representations, I aim to show how women have histoirically played a critical role in the dance, and how hegemonic discourse has obscured our understanding of hip-hop's beginnings. I also consider how uncovering the role of women in breaking's history reframes prevailing conceptualizations of its gender performance.
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Pierce, Jennifer Ewing. "Toward a Poetics of Transubstantiation: The Performance of Cape Breton Music and Dance". TDR/The Drama Review 52, nr 3 (wrzesień 2008): 44–60. http://dx.doi.org/10.1162/dram.2008.52.3.44.
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Trauma studies and existing performance theory facilitate the exploration of the poetics of an indigenous music and dance form found in Cape Breton Island, Nova Scotia. The Highland Clearances is the background for this overlooked dance form that inscribes and records the unspeakable and unknowable. An interloping, performative autobiographical narrative further illustrates the way Cape Breton dance represents an archival “hauntopia” in the wake of the amnesiac and aphasiac fallout of mass trauma.