Artykuły w czasopismach na temat „Waltz (Dance)”
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Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai i Takuichi Nishimura. "Determining Partnering Effects in the “Rise and Fall” Motion of Competitive Waltz by the Use of Statistical Parametric Mapping". Baltic Journal of Sport and Health Sciences 1, nr 120 (15.04.2021): 4–12. http://dx.doi.org/10.33607/bjshs.v1i120.1047.
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Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz.
Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and a world champion couple as they danced both solo and in pairs. The Xsens MVN system was used to record their movements, using a capture rate of 240 Hz.
Results. We consequently found that, in the pair condition, the vertical component of the center of mass was smaller for the male dancers and larger for the champion male dancer when compared to their respective solo conditions. However, for the female dancers and the champion female dancer, unlike the males, no significant partner effects were found.
Conclusion. Therefore, in terms of partner effects, the “rise and fall.” motion was smaller for the male dancers and larger for the champion male dancer.
Keywords: DanceSport, ballroom, kinematics, partnering, statistical parametric mapping.
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Fedorchenko, D. "Evolution of waltz in the European ball culture". Culture of Ukraine, nr 72 (23.06.2021): 34–38. http://dx.doi.org/10.31516/2410-5325.072.05.
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Problem statement. One of the most popular dance forms of the past centuries was exquisite, soft and smooth waltz which can be called a bright phenomenon of the world choreographic art. However, the scientific and theoretical part of this choreographic art remains quite unstudied.
The purpose of the article is to reveal the sources of formation and evolution of various kinds of waltz in the European program of ballroom dance.
The methodology. The methods used in this article are the following: 1) historical methods that allow to place the chosen work into the perspective of ballroom choreography development; 2) classifications and systematizations that allow to conduct the analysis of how various kinds of waltz formed; 3) stylistic methods used for studying the given form of ballroom dance in the context of the choreographic art.
The results. The history of waltz formation goes back to those times when dance was not just a great art but also a part of the compulsory program of high life education. Waltz received an immense impulse around 1830 owing to two outstanding composers — Franz Lanner and Johann Strauss.
In the modern period of ballroom dance development there are plenty of waltz forms: slow waltz, Viennese waltz, figured waltz, boston, classical waltz and tango-waltz.
The modern European program (Standard) of ballroom dance includes two waltzes: slow and Viennese. Slow waltz opens the program for both adults and professionals, this waltz is a sort of visiting card of a couple in ballroom choreography. From the first movements of a couple one can understand the level of their mastery which includes: rhythmicity, musicality, skills of couple holds and constant moving around the floor while performing complex techniques. In Viennese waltz fast pace is added, which requires good physical training from the performers.
Despite the essential changes in the structure of waltz vocabulary, nowadays this ballroom dance is positioned as a developed form that functions according to the general form-creating laws of ballroom choreography: the variability of the dancing performance technique, the compositional structure of the pattern, the specific characteristics of the choreographic vocabulary, the peculiarity of the musical structure. Given the development of modern ballroom choreography, waltz is the most spectacular dance of the choreographic art and the integral part of the development of society culture.
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Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai i Takuichi Nishimura. "Partnering Effects on Joint Motion Range and Step Length in the Competitive Waltz Dancers". Journal of Dance Medicine & Science 24, nr 4 (1.12.2020): 168–74. http://dx.doi.org/10.12678/1089-313x.24.4.168.
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Competitive dance, also known as DanceSport, is one of the official sports of the World Games. The most salient characteristic of ballroom dance is the closed-hold position, during which the upper body segments of partner-dancers are linked. This study aimed to investigate partnering effects on joint motion ranges of the lower extremity and step lengths during the waltz in 13 national level competitive dance couples and a world champion couple. A Xsens MVN system was used to record movement at 240 Hz. Solo and pair conditions were examined. Compared with the highly skilled couples, the world champion couple demonstrated superior dance skills for generating the first step length in the pair condition of the waltz. This was particularly evident in the step length and joint motion range of the champion female dancer.
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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, nr 1 (maj 2018): 1–32. http://dx.doi.org/10.3366/drs.2018.0218.
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This two-part article examines the contested transition in London's fashionable ballrooms from the established Victorian rotary waltz to the modern English waltz of the early 1920s. Existing scholarship on the dance culture of this period and locale has tended to focus on issues of national identity, gender, race, class and the institutionalisation of popular dance practices. Although these are of profound significance and are here integrated into the analysis, this fresh study focuses on the waltz's choreological aspects and relationship to its ballroom companions; on the dance backgrounds and agency of the waltz's most influential practitioners and advocates, and on the fruitful nexus between theatre, clubs, pedagogy, the press and competitions in transforming style and practice towards modern English ballroom dancing as both a social and artistic form. Part One discusses the kinetic problems that waltzing couples encountered in the face of ragtime dances and tango, the impact of World War One on social dance practices in fashionable London and the response of the press and the dance pedagogic profession to the post-war dance craze. Improvisational strategies are considered as contributory factors in the waltz's muted persistence throughout the war while throwing light on how certain social choreomusical practices might lead to the transmutation of dances into newly recognised forms. The persuasive role of London-based leaders such as Philip Richardson, Madame Vandyck and Belle Harding in these early years of modern ballroom dancing is brought to fresh attention. Part One concludes with the dance teachers’ inconclusive attempts during 1920–21 to define and recommend a waltz form compatible with both a discrete choreomusical identity and the stylistic dictates of modern ballroom dancing
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KUMAZAWA, Masaho. "Japanized Modern Dance “Bikkono Odori”(Crippled Dance) in Kawabata Yasunari’s <i>Waltz of Flowers</i>(1936)". Border Crossings: The Journal of Japanese-Language Literature Studies 15, nr 1 (28.12.2022): 181–97. http://dx.doi.org/10.22628/bcjjl.2022.15.1.181.
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Kawabata Yasunari’s <i>Waltz of Flowers</i> (1936) is a novel that was originally a screenplay for a movie in which several popular female dancers were going to perform. Although the plan to make this film was abandoned, the screenplay of <i>Waltz of Flowers</i> is a good example of modernist work in the early Showa period, and the subsequent novel displays the crossover characteristics that result from combining film and dance with narrative fiction.</br>However, in previous research on Kawabata’s work little attention has been paid to <i>Waltz of Flowers</i>. Instead, much critical work has been done on <i>Snow Country</i> (1935), which was serialized at the same time, so it must be said that there is a bias in the history of this research. To redress this deficit, this paper firstly presents the critical literature on dance in the 1930s, and emphasizes the cultural context of modern dance, as a basis for reading <i>Waltz of Flowers</i>. In particular, it focuses on the three dance scenes in the novel：Suzuko and Hoshie’s duet at the beginning, Hoshie’s solo dance in the middle, and “Bikkono Odori” (crippled dance) near the end. The paper argues that “Bikkono Odori” was a form of Japanized modern dance which connected the styles of Japanese modern dancers in the 1930s.
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Ropo, Arja, i Erika Sauer. "Dances of leadership: Bridging theory and practice through an aesthetic approach". Journal of Management & Organization 14, nr 5 (listopad 2008): 560–72. http://dx.doi.org/10.1017/s1833367200003047.
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AbstractWe wish to develop the argument in this paper that through aesthetic and artistic work, practices and their metaphorical use, we have a potential to better understand the relationship between academic leadership theory and practical action. By aesthetic approach we mean the experiential way of knowing that emphasizes human senses and the corporeal nature of social interaction in leadership. In this paper, we discuss how leadership could look, sound and feel like when seen via the artistic metaphor of dance. We use the traditional dance, waltz and the postmodern dance experience of raves to illustrate our argument. By doing so, we challenge traditional, intellectually oriented and positivistic leadership approaches that hardly recognize nor conceptualize aesthetic, bodily aspects of social interaction between people in the workplace.The ballroom dance waltz is used as a metaphorical representation of a hierarchical, logical and rational understanding of leadership. The waltz metaphor describes the leader as a dominant individual who knows where to go and the dance partner as a follower or at least as someone with a lesser role in defining the dance. Raves, on the other hand representparadigmatically different kind of a dance and therefore a different understanding of leadership. There are neither dance steps to learn, nor fixed dance partners where one leads and the other follows. Even the purpose or aim of dancing may not be known at the beginning of the dance, but it is negotiated as the raves go on. We think that raves describe the organizational life as it is often seen and felt today: chaotic, full of unexpected changes, ambiguous and changing collaborators in networks. Here leadership becomes a collective, distributed activity where the work processes and the targeted outcome is continually negotiated.Through the dance metaphors of waltz and raves, we suggest aspects such as gaze, rhythm and space to give an aesthetic description both to a more traditional and an emerging aesthetic paradigm of leadership where the corporeality of leadership is emphasized. We wish to make the point that leadership is aesthetically and corporeally co-constructed both between the leader and the followers as well as between the researcher and the subjects. The metaphor of dance illustrates the corporeal nature of leadership both to practitioners and theoreticians.
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Ropo, Arja, i Erika Sauer. "Dances of leadership: Bridging theory and practice through an aesthetic approach". Journal of Management & Organization 14, nr 5 (listopad 2008): 560–72. http://dx.doi.org/10.5172/jmo.837.14.5.560.
Pełny tekst źródłaStreszczenie:
AbstractWe wish to develop the argument in this paper that through aesthetic and artistic work, practices and their metaphorical use, we have a potential to better understand the relationship between academic leadership theory and practical action. By aesthetic approach we mean the experiential way of knowing that emphasizes human senses and the corporeal nature of social interaction in leadership. In this paper, we discuss how leadership could look, sound and feel like when seen via the artistic metaphor of dance. We use the traditional dance, waltz and the postmodern dance experience of raves to illustrate our argument. By doing so, we challenge traditional, intellectually oriented and positivistic leadership approaches that hardly recognize nor conceptualize aesthetic, bodily aspects of social interaction between people in the workplace.The ballroom dance waltz is used as a metaphorical representation of a hierarchical, logical and rational understanding of leadership. The waltz metaphor describes the leader as a dominant individual who knows where to go and the dance partner as a follower or at least as someone with a lesser role in defining the dance. Raves, on the other hand representparadigmatically different kind of a dance and therefore a different understanding of leadership. There are neither dance steps to learn, nor fixed dance partners where one leads and the other follows. Even the purpose or aim of dancing may not be known at the beginning of the dance, but it is negotiated as the raves go on. We think that raves describe the organizational life as it is often seen and felt today: chaotic, full of unexpected changes, ambiguous and changing collaborators in networks. Here leadership becomes a collective, distributed activity where the work processes and the targeted outcome is continually negotiated.Through the dance metaphors of waltz and raves, we suggest aspects such as gaze, rhythm and space to give an aesthetic description both to a more traditional and an emerging aesthetic paradigm of leadership where the corporeality of leadership is emphasized. We wish to make the point that leadership is aesthetically and corporeally co-constructed both between the leader and the followers as well as between the researcher and the subjects. The metaphor of dance illustrates the corporeal nature of leadership both to practitioners and theoreticians.
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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 Two: The Waltz Regained". Dance Research 36, nr 2 (listopad 2018): 138–72. http://dx.doi.org/10.3366/drs.2018.0236.
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Part One of this study on the transmutation of the Victorian waltz into the modern English waltz of the early 1920s examined the labile social and choreographic climate of social dancing in London's fashionable ballrooms before, during and just after World War One. The article ended with the teachers’ unsatisfactory effort to characterise the features of a distinctively modern waltz style in response to a widespread discourse to recover and adapt the dance for the contemporary English ballroom. Part Two investigates the role of club and national competitions and exhibition dancers in changing and stabilising a waltz form and style that integrated preferred aspects of both old and new techniques, as advocated by leading waltz advocate and judge, Philip Richardson. This article brings into critical focus not only choreographic contributions by Victor Silvester and Josephine Bradley but also those of models such as Maurice Mouvet, G. K. Anderson, Georges Fontana, and Marjorie Moss whose direct influence in England outweighed that of the more famous American couple Irene and Vernon Castle. The dance backgrounds, training and inter-connections of these individuals are examined in identifying choreological and aesthetic continuities that relate to prevalent and inter-related notions of style, Englishness, art and modernity as expressed through the dancing. Taken as a whole, the two parts provide a case study of innovative shifts in popular dancing and meaning that are led through imitation and improvisation by practitioners principally from the middle class. The study also contributes to dance scholarship on cultural appropriation through concentrating on an unusual example of competition in dance being used to promote simplicity rather than virtuosity. In conclusion, greater understanding of creativity and transmission in popular social dancing may arise from identifying and interrogating the practice of agents of change and their relationships within and across their choreographic and socio-cultural contexts.
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Kaminsky, David. "Leading the Other: Gender and Colonialism in Partner Dancing's Long Century". Dance Research Journal 55, nr 3 (grudzień 2023): 87–105. http://dx.doi.org/10.1017/s0149767723000311.
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In the 1840s, the polka craze established lead/follow partner dancing as the normative social dance structure in the Atlantic world. In the process, it imposed a choreographed performance of bourgeois heteropatriarchy (originally developed with the waltz) on Europe's colonies and post-colonies. However, a central mechanism of the lead/follow system in social partner dance is the woman's body attitude, and as the nature of that attitude changes, so do the associated dances. In the Americas, women acculturated to African-rooted principles of polycentricity disrupted the equilibrium of the lead/follow dynamic, catalyzing the creation of new partner dance forms and techniques. On the one hand, this resulted in an intensification of the lead/follow system such that men could now control and shape the dissociated parts of their partners’ bodies. On the other hand, it also seeded the fissioning and eventual dissolution of the dance partnership itself.
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Weiss, Peter. "Protons May Waltz off Nuclear Dance Floor". Science News 158, nr 17 (21.10.2000): 261. http://dx.doi.org/10.2307/4018628.
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Liao, Guan-Ze, i Chun-Wang Sun. "Geometric patterns of a recursive waltz dance". Digital Creativity 17, nr 2 (styczeń 2006): 113–26. http://dx.doi.org/10.1080/14626260600787811.
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Ershova, Olga, i Evgeny Smirnov. "Sports and ballroom dancing competitive infrastructure analysis in the context of international organizations on sports and ballroom dancing". Tambov University Review. Series: Humanities, nr 182 (2019): 123–29. http://dx.doi.org/10.20310/1810-0201-2019-24-182-123-129.
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We consider current problems of scientific and theoretical representations development about competitive infrastructure of Sports and ballroom dancing which are not provided with sufficient scientific comprehension. The purpose is to determine the basis of division used in the world practice of international organizations for sports and ballroom dancing for the classification of competitions, performers, their skills, etc. Interest in sports and ballroom dancing, as a form of social, cultural and leisure activities, increases every year not only abroad but also in Russia. Sports and ballroom dancing in its structure have two programs: Latin American, which includes dances – Cha-cha-cha, Rumba, Samba, Jive, Pasodoble and European, dance – slow waltz, Viennese (fast) waltz, Slow Foxtrot, Quickstep, Tango. Dance and sports clubs cover in their work all age categories from children of three years to people of retirement age. Dance associations are based in cultural institutions, cultural and leisure type, in secondary schools, and in higher educa-tion institutions in the framework of additional education or the organization of cultural and leisure activities. Each dance and sports club, as an element of the structure, is registered in any Russian official organization for ballroom dancing, which, in turn, is a regional and part of the international organization for ballroom dancing. Now, there are actively there are four: 1) WDSF – World DanceSport Federation; 2) WDC – World Dance Council; 3) IDSU – International Dance Sport Union; 4) IDSCA – International Dance Studios and Clubs Association. Each of the organizations provides, contests, competitions, tournaments, Championships of Europe, Asia, world, etc. To analyze the material, we use a comparative typological method. We discover the similarities features and differences in the international organizations activities in sports and ballroom dancing, this information is scientifically investigated for the first time. We define the importance of sports and ballroom dancing competitive and amateur infrastructure for the development of culture and strengthening of a population healthy lifestyle. Also, for the first time in scientific circulation we introduce a systematic material on the activities of international organizations in sports and ballroom dancing.
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MAGDANZ, TERESA. "“Sobre las olas”: Cultural Synecdoche of the Past". Journal of the Society for American Music 1, nr 3 (17.07.2007): 301–40. http://dx.doi.org/10.1017/s1752196307070101.
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Composed in 1888 by Juventino Rosas, the waltz “Sobre las olas” (“Over the Waves”) soon made its way to North America and beyond, reverberating in the great spaces of the circus, fairground, skating rink, dance hall, and park. Recycled in cartoons and films, in television, and in various cover versions, Rosas's waltz has become a kind of popular liminal music. The complex, circuitous routes it has traveled have led to a present-day musical convention. This essay attempts to lay bare the mechanisms at work in the dissemination of such a widely known piece of music in three ways: 1) by accounting for the multiple themes related to “Sobre las olas”; 2) by considering the range of technologies through which Rosas's waltz has been disseminated; and 3) by theorizing public knowledge of the waltz as a musical “quote,” a snippet recognizable after a few notes.
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Fried, R. G. "The therapeutic waltz. Who is leading the dance?" Archives of Family Medicine 2, nr 8 (1.08.1993): 822–24. http://dx.doi.org/10.1001/archfami.2.8.822.
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Parr, Sean M. "Dance and the Female Singer in Second Empire Opera". 19th-Century Music 36, nr 2 (2012): 101–21. http://dx.doi.org/10.1525/ncm.2012.36.2.101.
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Abstract A vogue for coloratura dance arias began in the 1850s. This emerging genre combined melismatic singing with two hugely popular social dance genres: the bolero and the waltz. Scholars have observed an association between these social dances and a certain euphoric feminine sensuality, but the connection between this youthful ebullience in dance and virtuosic female vocality has been largely ignored. Dancing was notorious in the nineteenth century because of its dangerously arousing and vertiginous effects. As dances increased in speed and difficulty, so too did the singing of sopranos in midcentury Paris. In exploring relationships between dance, femininity, and singing, this article situates coloratura dance arias in the Paris of Napoléon III's Second Empire, a city sometimes condemned for its decadent materialism or dismissed because of its political impotence, in spite of its cultural, architectural, and technological importance. I argue for a connection between coloratura and the female body in precisely the era when the venerable singing style became the almost exclusive domain of the female singer and, simultaneously, reached its apogee in a Paris devoted to all the joy and glamour it could afford. Specific performers such as Marie Cabel and Caroline Carvalho were key to the success and even creation of these dance arias. These sopranos were certainly objectified in a problematic manner, but they were also “envoiced” (Carolyn Abbate's term) as wielders of a compelling musical power: coloratura. In providing virtuosic and luxurious expressions of femininity, these coloratura dance arias established a new sense of female vocality in the aural imagination of the Second Empire.
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Li, Lin, Yuanyuan Liu, Yue Gu i Zhe Zhu. "Application of Heart Rate Combined with Acceleration Motion Sensor in Sports Dance Teaching". Journal of Sensors 2022 (6.10.2022): 1–11. http://dx.doi.org/10.1155/2022/6410339.
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Because of the large amount of exercise, sports dance has the characteristics of good viewing and strong movement, and has gradually entered the campus in recent years. However, sports dance is not only difficult, but also has a wide variety of categories except modern dance and Latin dance. In addition to these two categories, there are 10 kinds of dances in total. Therefore, in teaching, schools have no choice, and students cannot understand which dance styles are most effective for students’ physical exercise. In order to solve the problem that there are many kinds of sports dance and the effect of students’ exercise is unclear, this paper studied sports dance teaching based on heart rate combined with acceleration motion sensor, and obtained the energy consumption in sports dance teaching by using this measurement method. After comparing the effects, four kinds of dance activities, namely quickstep, waltz, rumba, and samba, which are more conducive to physical exercise, were screened out for students in the complex sports dance. In addition, in order to confirm the experimental results of the article, after the teacher improved the physical dance teaching according to the content of the article, it was found that before the experiment, the average scores of the two groups of subjects were 17.5 points and 16.75 points. After the experiment, the scores of the two groups increased by 3.5 points and 2.8 points, respectively. Through the experimental results and data, it can be shown that the research in this paper has played a good role in the improvement of sports dance teaching.
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Thygesen, Mads. "Rammens udkrængning". Peripeti 3, nr 6 (14.03.2024): 61–70. http://dx.doi.org/10.7146/peri.v3i6.107591.
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In his analysis of German choreographer Sasha Waltz’ dance performance Insideout, Mads Thygesen explores the relations between the intentions of the work and its actual, performative »doing«, specifically the way this performance draws attention to its own use of framing devices in the interaction with the audience.
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Vanistendael, Cornelis. "Shaping Europe's First Dance Craze – The Role of Napoleon's Grande Armée in the Dissemination of the Quadrille (1795–1815): Case Studies in Cultural Mobility from the Southern Netherlands". Dance Research 36, nr 1 (maj 2018): 91–111. http://dx.doi.org/10.3366/drs.2018.0222.
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The first decade-and-a-half of the nineteenth century witnessed the unusually-speedy dissemination of a new dance, the quadrille, over a vast territory. The traditional channels of dissemination cannot account for this astonishing process. The circumstances of the Napoleonic wars disrupted the functioning of institutions, publishing and networks of patronage. This article proposes an alternative explanation for the rapid rise of the quadrille. It explores aspects of the military culture of Napoleon's army to account for the veritable dance ‘craze’ associated with the quadrille. During winter campaigns, French forces organized dance lessons on a massive scale. They encouraged peer-to-peer tutoring. Moreover, the organisation of Napoleon's army allowed the formation of networks that were unaffected by the social constraints acting on appropriation processes in civil society. The process is a fine demonstration of the concept of cultural mobility. Although the question of the dissemination of the waltz is of equal importance during the era under study, it will not be addressed here. The origins of the waltz lie in a more distant past and concern a different cultural sphere. The case of the quadrille is a broad European phenomenon. To get a hold on it, this article focuses on case studies from the Southern Netherlands and the principality of Liège, a territory which approximates to contemporary Belgium
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Kokanović Marković, Marijana. "Dance in the Salons: Waltzes, Polkas and Quadrilles in Serbian Piano Music of the 19th Century". Scientific herald of Tchaikovsky National Music Academy of Ukraine, nr 133 (21.03.2022): 120–33. http://dx.doi.org/10.31318/2522-4190.2022.133.257328.
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As public events, balls had an important role in social life among the Serbs in the Habsburg monarchy in the 19th century. They were organised by the aristocracy and citizens, various associations and ethnic groups. The most prestigious were the so-called “nobles”, id est aristocratic balls, while the civil ones were less elegant. A repertoire of dances was to some extent conditioned by the type of the ball. Waltz, polka and gallop were very popular at civil balls, as well as stylised Serbian folk dances, such as kolo. At noble balls, on the other hand, besides waltzes, polkas and gallops, it was quadrilles and cotillions that enjoyed special popularity. On the other hand, in the young Principality of Serbia, the organisation of the balls began in the 1860’s, both at the prince’s court and in better hotels in Belgrade. In the 1860’s, the ball season in Belgrade was opened by Prince Mihailo Obrenović. The dancing repertoire included Serbian folk and civil dances, as well as modern European dances. Following the example of larger European cities, a trend of dancing in salons was as well widespread among the Serbs. Socialising could spontaneously grow into dancing, and sometimes dancing was the expected grand finale of the evening. In salons one could dance for family entertainment, without guests. In court and civil salons in Belgrade, the gatherings, almost as a rule, ended with dancing of popular international and Serbian folk dances. International salon dances make up about a third of the salon music repertoire for piano. The polka is one of the most frequent international dancing genres in the Serbian piano music of the 19th century. Besides the polka, there are other subtypes of this dance: the polka-mazurka, the polka française, the schnell polka, the polka tremblante, the galopp polka, the polka valse and the polka caprice. After the polka, the waltz is the most frequent international dance genre in the Serbian piano music. Besides the waltzes originally written for the orchestra, numerous waltzes were composed for the piano. The popularity of quadrilles in ballrooms is also reflected in the albums of salon music for the piano. This dance genre, which was composed in a potpourri manner, was especially suitable for having the melodies of popular folk and civil songs arranged in it. While in the first half of the 19th century melodies in the quadrilles were either transcribed from popular operettas or operas, or were originally written by composers, in the second half of the century composers mostly resorted to melodies of Serbian or Slavic folk and civil songs. In the second half of the 19th century, Serbian folk dances, such as kolos, took over the ballrooms and the albums of salon music alike. The approval of the Serbian identity was sought in the kolo, and the emphasis on national characteristics through music was politically dominant in the 19th century.
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Dong, Zhishou. "Evaluation of Teacher Competency in Teaching Dance Sports in Selected Universities in Hunan Province, China". Journal of Education and Educational Research 5, nr 1 (14.09.2023): 70–72. http://dx.doi.org/10.54097/jeer.v5i1.11664.
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This paper evaluates the ability of sports dance teachers in selected universities in Hunan province, and selects teachers and students from 5 universities to carry out a questionnaire survey. The results show that ：1.there are more young female teachers, most of whom are only 5-10 years of teaching age;2.In terms of principles and concept of dance sports, the teachers need to focus on how to increase the locomotor and non-locomotor movements, patterns and sequences of movements while applying different dance elements;3. Teachers are needed to prioritize their training to enhance the fluency in the waltz routine and eloquence in employing distinctive style and artistic elements in dance routines; 4. The teachers are still using limited teaching strategies and modality of learning in teaching dance sports;5. The teachers are not consistently giving enough feedback on the performance of the students and to the parents as an important part of the assessment and evaluation of student’s learning.
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Guo, Qing. "On the Origins of Viennese Waltz: Franz Schubert’s Dance Cycles". Manuskript, nr 10 (marzec 2021): 2173–78. http://dx.doi.org/10.30853/mns210361.
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SCOTT, JILL. "Choreographing a Cure: Strauss's Elektra, the Waltz, and Modern Dance". Seminar: A Journal of Germanic Studies 38, nr 3 (wrzesień 2002): 226–40. http://dx.doi.org/10.3138/sem.v38.3.226.
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Schuller, Björn, Florian Eyben i Gerhard Rigoll. "Tango or Waltz?: Putting Ballroom Dance Style into Tempo Detection". EURASIP Journal on Audio, Speech, and Music Processing 2008 (2008): 1–12. http://dx.doi.org/10.1155/2008/846135.
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Paran, Janice. "DANCE IN NEW York: Anniversary Waltz: Maguy Marin's May B". Theater 17, nr 3 (1986): 95–96. http://dx.doi.org/10.1215/01610775-17-3-95.
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O’Rourke, Hannah M., Souraya Sidani, Charlene H. Chu, Mary Fox, Katherine S. McGilton i Jhonna Collins. "Pilot of a Tailored Dance Intervention to Support Function in People With Cognitive Impairment Residing in Long-Term Care: A Brief Report". Gerontology and Geriatric Medicine 3 (1.01.2017): 233372141773467. http://dx.doi.org/10.1177/2333721417734672.
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Older adults who live in long-term care settings are at risk for functional decline, which may be mitigated by regular exercise. Using a single-group repeated measures design, this pilot study explored the feasibility, acceptability, and preliminary effects of a Waltz-based dance intervention delivered to 13 Canadian, English-speaking, long-term care residents with mild to moderate cognitive impairment. The findings supported intervention feasibility, based on a high completion rate (93%), level of attendance ( M = 7.15 of 10 sessions) and level of engagement during dance sessions ( M = 1.75 to 1.97 out of 2.00). On average, residents perceived dance sessions positively, and staff and family participants ( N = 26) rated them as somewhat acceptable overall ( M = 2.37, 0 to 4 scale). Additional research is needed to assess intervention efficacy in a larger sample.
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Draughon, Francesca Draughon. "Dance of Decadence: Class, Gender, and Modernity in the Scherzo of Mahler's Ninth Symphony". Journal of Musicology 20, nr 3 (2003): 388–413. http://dx.doi.org/10.1525/jm.2003.20.3.388.
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The Scherzo of Mahler's Ninth Symphony juxtaposes the Lndler and the waltz, two dances that resonate with cultural meaning. Exploring the part they play in this movement illuminates the socio-political significance of the dances' identification with contrasting-and at the turn of the century increasingly conflicted-social spheres of the Habsburg Empire: The former represented the rural population of the countryside, while the latter represented the bourgeois and aristocratic classes of Vienna. This rural-urban polarity was intimately bound with turn-of-the-century ideologies of gender, the body, and decadence. While the Stadtmensch's body came to be regarded as a potential carrier of a feminized, urban degeneracy, the ideology of Köörperkultur (body culture) proposed a cure for this degeneracy in an idealized chaste and rural male body. Mahler's juxtaposition of the Läändler and waltz, when observed through this lens, creates a narrative of dangerous feminine seduction. Additionally, consideration of Mahler's own politicized body and his relationship to Köörperkultur points to ways in which these two cultural discourses may have informed the popular "death" or "farewell" narrative commonly attributed to the Ninth Symphony.
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Surtihadi, R. M. "Instrumen Musik Barat dan Gamelan Jawa dalam Iringan Tari Keraton Yogyakarta". Journal of Urban Society's Arts 1, nr 1 (10.04.2014): 27–43. http://dx.doi.org/10.24821/jousa.v1i1.786.
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Perpaduan instrumen musik Barat dengan instrumen gamelan Jawa untukmengiringi tari di Keraton Yogyakarta sudah berlangsung sejak lampau. Hingga saatini perpaduan tersebut masih dapat dijumpai. Bermula dari peristiwa kontak budayaBarat dan Timur, instrumen musik Barat telah menjadi bagian dari kelengkapanupacara protokoler Keraton Yogyakarta. Tujuan penulisan ini untuk membuat kajianhistoris perpaduan gamelan Jawa dengan seperangkat instrumen musik orkestraBarat untuk mengiringi pertunjukan tari putri pada bagian kapang-kapang Bedhaya,Srimpi, dan tari putra Lawung Ageng Keraton Yogyakarta. Beberapa instrumenmusik Barat seperti instrumen genderang, tambur (percussion section), instrumengesek (string sections), instrumen tiup kayu (woodwind sections) dan tiup logam (brasssections) digunakan dalam mengiringi tarian-tarian tersebut di atas. Metode kualitatifanalisis data dipakai untuk mengupas masalah ini. Namun, pendekatan sosial-politikjuga akan dipakai dalam mengulas permasalahan yang terkait. Berdasarkan penelitianini dapat disimpulkan bahwa dampak peristiwa intrik politik yang terjadi di keratonterbukti telah memengaruhi kehidupan keseniannya. Kebutuhan upacara protokoleryang merupakan kegiatan rutin pada saat itu dilengkapi dengan berbagai macamsajian pertunjukan musik untuk menambah hidup suasana pesta dansa dengandiiringi musik berirama waltz. Blend of Western Musical Instruments and Javanese Gamelan in DanceAccompaniment and Protocol Ceremonies of Keraton Yogyakarta. Westernmusical intruments have been combined with the Javanese gamelan instruments toaccompany dances performed in Keraton Yogyakarta (the Yogyakarta Palace). It startedwith the coming of the Western culture which then ‘interacting’ with the East. Sincethen, the Western musical instruments have completed the protocol ceremonies held byKeraton Yogyakarta. The objective to be obtained with this research is to historicallystudy the blend of the Javanese gamelan with the Western orchestra musical instrumentsin accompanying the female dance performances, which are the kapang-kapang partof Bedhaya and Srimpi, and the male one i.e. Lawung Ageng. Some Western musicalinstruments like, drums (percussion sections), strings instruments (string sections),woodwind instruments (woodwind sections) and brass (brass sections) are used in thosedances shows. The data are analyzed utilizing the qualitative method. The problem willalso be approached socio-politically. It can be concluded that the political intrigue in thepalace has brought about some impacts on the art living in it. Waltz dance is performed toenliven the dance parties and complements the protocol ceremonies as the routine events.
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Miller, Tyrus. "Shifting: Worker Culture and Life Reform in the Madzsar School". Dance Research Journal 45, nr 2 (sierpień 2013): 124–31. http://dx.doi.org/10.1017/s0149767713000041.
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This recent exhibition in Budapest assembles a fascinating documentation of the life and work of Dr. Alice Madzsar-Jászi (Photo 1), who, from her first opening of a dance school in 1912 to her untimely death in 1935, wove an intricate path through the cultural, political, and artistic avant-gardes of modern Hungary. At the turn of the century, just ten years before Madzsar launched her school, Isadora Duncan had made her solo debut in Budapest, where her improvisation to Strauss's “Blue Danube Waltz” had affected the Hungarian audience like “an electric shock” (Duncan 1927: 74). Madzsar was one of the key figures to channel that early modernist shock into the collective body electric in an increasingly diversified set of dance-related body practices, including free dance, movement culture for women's health, avant-garde theater, worker's sport, recitation choruses, and collective spectacles (Photo 2).
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von Rosen, Astrid, i Mats Nilsson. "Waltzing with Strindberg: Exploring Practices of Memory in A Dream Play". Nordic Journal of Dance 8, nr 1 (1.06.2017): 4–15. http://dx.doi.org/10.2478/njd-2017-0002.
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Abstract The aim of this article is to explore embodied practices of memory in Strindberg’s drama A Dream Play from a dance perspective. It is demonstrated that a profound exploration of this hitherto underexplored perspective can provide a fuller and more critically productive understanding of the drama. Even if in recent years international Strindberg studies has moved away from narrowly text-oriented and biographical approaches to his work, and toward multimedia, visual and multisensory aspects of it, dance and choreography are still rare topics within the field. In the article we first look at how Strindberg employed dance in the dramatic text for A Dream Play, and then expand on his dance contexts. Thirdly, we turn to a TV version of A Dream Play from 1980 to explore in particular how the waltz, an immensely popular dance form in Strindberg’s time, evokes and embodies cultural memories in the production. What is presented in the article draws on and further expands our work within the project «Dream-playing across borders: accessing the non-texts of Strindberg’s A Dream Play in Düsseldorf, 1915–18 and beyond», at the University of Gothenburg.
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Bond, Patricia M. "Dancing at the aliens’ ball: The waltz of the wounded healer". Counselling Psychology Review 36, nr 1 (czerwiec 2021): 24–30. http://dx.doi.org/10.53841/bpscpr.2021.36.1.24.
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A narrative of my developmental trauma is presented. This trauma would not hit the headlines – it was ‘ordinary’, nobody’s fault, just ‘one of those things’. It did however have follow-on effects on emotional difficulties I had as a teenager and adult, on life choices, and on later becoming, and working as, a counsellor. I suggest the metaphor of dance as illustrating the benefit of having a trauma history.
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Gates, Peter, Fred M. Discenzo, Jin Hyun Kim, Zachary Lemke, Joan Meggitt i Angela L. Ridgel. "Analysis of Movement Entropy during Community Dance Programs for People with Parkinson’s Disease and Older Adults: A Cohort Study". International Journal of Environmental Research and Public Health 19, nr 2 (7.01.2022): 655. http://dx.doi.org/10.3390/ijerph19020655.
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Dance therapy can improve motor skills, balance, posture, and gait in people diagnosed with Parkinson’s disease (PD) and healthy older adults (OA). It is not clear how specific movement patterns during dance promote these benefits. The purpose of this cohort study was to identify differences and complexity in dance movement patterns among different dance styles for PD and OA participants in community dance programs using approximate entropy (ApEn) analysis. The hypothesis was that PD participants will show greater ApEn during dance than OA participants and that the unique dance style of tango with more pronounced foot technique and sharp direction changes will show greater ApEn than smoother dance types such as foxtrot and waltz characterized by gradual changes in direction and gliding movement with rise and fall. Individuals participated in one-hour community dance classes. Movement data were captured using porTable 3D motion capture sensors attached to the arms, torso and legs. Classes were also video recorded to assist in analyzing the dance steps. Movement patterns were captured and ApEn was calculated to quantify the complexity of movements. Participants with PD had greater ApEn in right knee flexion during dance movements than left knee flexion (p = 0.02), greater ApEn of right than left hip flexion (p = 0.05), and greater left hip rotation than right (p = 0.03). There was no significant difference in ApEn of body movements (p > 0.4) or mean body movements (p > 0.3) at any body-segment in OA. ApEn analysis is valuable for quantifying the degree of control and predictability of dance movements and could be used as another tool to assess the movement control of dancers and aid in the development of dance therapies.
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Kuliś, Szymon, Matej Chren, Patrizia Proia, Bianca Callegari, Carlo Rossi, Giuseppe Messina i Jan Gajewski. "Kinematic criteria determining swing movement of world class dancesport athletes". Human Movement 25, nr 1 (26.03.2024): 60–67. http://dx.doi.org/10.5114/hm.2024.136055.
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PurposeThe aim of the study was to identify the distinguishing characteristics of the swing movement of the world’s top dancesport couples through kinematic variables.MethodsThe study involved six world-class and six intermediate dance couples. The couples were asked to execute three identical series of three natural turns of the figure in a Viennese Waltz, all being filmed as they danced to music. Six international experts evaluated all the trials of each couple from the point of view of the technical quality component based on the Absolute Judging System. A triaxial rotational angular velocity measurement (gyroscope) device was placed on the dorsal part of the pelvic girdle and on the posterior part of the thorax of each competitor.ResultsAn analysis of covariance demonstrated that regardless of the sports level, the maximum hip girdle angular rotation velocity in the forward swing movement performed by men was significantly related to the judging score achieved (F1,9 = 11.5; p < 0.05; ηp2 = 0.45).ConclusionsThe mean squares of the differences of the hip and thoracic spine angular rotation velocity signals were found to be a good criterion for evaluating the swing movement, which is related to the judges’ evaluation. The descriptions of the performance of complex rotational movements obtained in this study can find their application in the analysis, teaching, and evaluation of dance couples. This is one of the first studies in the literature that deals in detail with swing movement in sports dance.
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Stanciu, Alba Simina. "Body and Interdisciplinarity. From Performance Art to a Choreographic Body Installation". CONCEPT 27, nr 2 (15.07.2024): 127–40. http://dx.doi.org/10.37130/h9vfvv79.
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The true coherence of a performance depends on a structured and efficient vision, which can be symbolically reduced to three “key moments,” each having an essential role in the relationship between the “living body” and its connection with performance, which is more and more defined by interdisciplinary coherences. This paper starts with the American experiments of the 1960s and 1970s, which envisioned the “body” not only as mere “material” for feminist manifestos but also as a medium suitable for achieving the new goals set forth by performance art. The supportive environment around the Judson Dance Theatre created the necessary milieu for the convergence of body, postmodern dance, and visual arts. This openness towards experiment had important consequences for the next stage, the “Flemish wave,” and subsequently on the works of the German choreographer, Sasha Waltz.
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Burriss, Theresa L. "The Activism of Dance Performance in Appalachia: Utilizing the Arts to Address Social and Environmental Crisis and Injustice in the Mountains". American, British and Canadian Studies 39, nr 1 (1.12.2022): 143–67. http://dx.doi.org/10.2478/abcsj-2022-0021.
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Abstract For well over a century, the human and more-than-human of Central Appalachia have endured oppression and exploitation, primarily due to natural resource extraction. In spring 2008, the author led a dark touri to a mountaintop removal coalmining site in Southern West Virginia for colleagues, which included Dance Professor Deborah McLaughlin. As a result, the two collaborated on three evening-length dance/theater works highlighting social and environmental crises and injustices in the region. The performances incorporated contemporary dance, poetry, the spoken word, and the visual arts, as well as contemporary and traditional music. The first, Eating Appalachia: Selling Out to the Hungry Ghost, focused on mountaintop removal coalmining and its environmental and cultural destruction. With Sounds of Stories Dancing, the duo paid homage to millions of mountain residents forced to leave the region to find stable employment, despite longing to remain. In the final piece, The Shadow Waltz, they honored the lives of coalminers with black lung disease, as well as their families. This essay discusses the challenges of creating art that critiques socially constructed messages portrayed as given truths, as well as the educational and social successes of daring to dance truth to power.
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Yushkova, Elena V. "From Gordon Craig to Mark Morris and Sasha Waltz: Stage design of opera / ballet “Dido and Aeneas”". Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, nr 1 (1.03.2020): 100–117. http://dx.doi.org/10.18522/2415-8852-2020-1-100-117.
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The article deals with the impact of the English theatre director Edward Gordon Craig’s innovations in the dance theatre of the end of the 20th to the beginning of the 21st century. We consider one of Craig’s earliest performances in the opera “Dido and Aeneas” by the well-known English composer of the 17th century Henry Purcell., This was first staged in 1900 in London, and we focus on the selected methods and techniques associated with the reforming of theatre language, which were used by choreographers, such as the American Mark Morris and the German Sasha Waltz several decades later. Dance-operas by Morris (staged in 1989 in Belgium), and by Waltz (staged in 2005 in Berlin), despite their completely different approaches to the material, undoubtedly used Craig’s inventions, consciously or unconsciously entering into a dialogue with his experimental performance. Both Morris’s minimalism and Waltz’s baroque abundance stem from English director’s work, although the choreographers do not refer to it directly, since Craig’s innovations have become an inalienable part of theatrical practice in the 20th century. Comparative analysis allows us to discover how the English director’s ideas aimed at the creation of a theatre based on such components as motion, line, colour and rhythm and of a powerful affect on the audience, similar to how it was in ancient theatre, and how this was successfully realized in the work of postmodern choreographers. Special attention is paid to the stage design of performances and to the formation of a visual image and atmosphere of the performance
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Damsholt, Inger. "The Brudevals, ‘Danishness’ and lived reality". Nordic Journal of Dance 11, nr 1 (1.06.2020): 16–27. http://dx.doi.org/10.2478/njd-2020-0003.
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AbstractThis article represents part of the author’s ongoing empirical study of the Danish brudevals (bridal waltz) tradition recognized by the means of three characteristic conditions: a specific piece of music by Niels W. Gade, a particular group choreography in which a circle of clapping guests slowly move closer to the newlywed couple and a final section of the ritual in which guests cut the tips of the groom’s socks. The purpose of the article is to highlight how current realisations of the dance reveal the brudevals as a dynamic living tradition and to show the complexity of the political implications it can have when dancing it. Drawing on Sarah Ahmed’s affect theory, the article argues that different negotiations of the brudevals naturalise various understandings of ‘Danishness’. The article argues that an alternative contemporary form of the brudevals, which incorporates a montage of international popular dance and music, produces a version of national identity that underlines the notion of world citizenship as a significant part of being Danish. In realisations of the brudevals danced by same-sex couples, a kind of ‘Danishness’ is produced through affect that naturalises and celebrates Lesbian, gay, bisexual, transgender, queer/questioning, intersex and asexual (LGBTQIA) marriages. Finally, a Turkish-Danish brudevals produces a multiculturalist understanding of ‘Danishness’, which does not conform to a specific national cultural heritage but can encompass several ethnic groups.
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Barenholtz, Randi L. "The corporate dance: From waltz to tango to achieve women's equality at work". Employment Relations Today 21, nr 2 (czerwiec 1994): 131–37. http://dx.doi.org/10.1002/ert.3910210203.
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Prosen, Jerneja, Nic James, Lygeri Dimitriou, Janez Perš i Goran Vučković. "A Time-Motion Analysis of Turns Performed by Highly Ranked Viennese Waltz Dancers". Journal of Human Kinetics 37, nr 1 (1.06.2013): 55–62. http://dx.doi.org/10.2478/hukin-2013-0025.
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Twenty-four dance couples performing at the 2011 IDSF (International DanceSport Federation) International Slovenia Open were divided into two groups: the first twelve placed couples (top ranked) and the last twelve placed couples (lower ranked). Video recordings were processed automatically using computer vision tracking algorithms under operator supervision to calculate movement parameters. Time and speed of movement were analysed during single natural (right) and reverse (left) turns performed during the Viennese waltz. Both top and lower ranked dancers tended to perform similar proportionate frequencies of reverse (≈ 35%) and natural (≈ 65%) turns. Analysis of reverse turns showed that the top ranked dancers performed less turns on a curved trajectory (16%) than the lower ranked dancers (33%). The top ranked couples performed all turns at similar speeds (F = 1.31, df = 3, p = 0.27; mean = 2.09m/s) all of which were significantly quicker than the lower ranked couples (mean = 1.94m/s), the greatest differences found for reverse turns (12.43% faster for curved trajectories, 8.42% for straight trajectories). This suggests that the ability to maintain a high speed in the more difficult turns, particularly the reverse turns on a curved trajectory, results in the overall dance appearing more fluent as the speed of movement does not fluctuate as much. This aspect of performance needs to be improved by lower ranked dancers if they wish to improve rating of their performance. Future research should determine which factors relate to the speed of turns.
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Spinul, Igor, i Elena Spinul. "THEORETICAL AND METHODOLOGICAL FUNDAMENTALS OF TRAINING OF FUTURE SPECIALISTS OF MODERN BALLOT DANCES". Academic Notes Series Pedagogical Science 1, nr 195 (2021): 128–33. http://dx.doi.org/10.36550/2415-7988-2021-1-195-128-133.
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In recent decades, modern ballroom dancing as an artistic phenomenon is spreading around the world. During the twentieth century, the society formed a clear idea of ballroom dancing as a folk dance (waltz, tango, etc.) and sports competitions of ten standardized ballroom dances. However, in recent times, modern ballroom dancing is increasingly fighting for the right to recognize it as an independent phenomenon of choreographic culture, given the original system of means of expression, which distinguishes it from other types of ballroom choreography (sports and household) and stage forms of folk dance. Modern society places high demands on the professional training of future teachers in the field of culture and art. Fundamental knowledge of philosophy, pedagogy and psychology, ethics and aesthetics, other sciences help to organize the educational process with its main purpose, didactic, educational, developmental tasks, traditional and interactive methods, learning technologies and organizational forms determined by the teacher in accordance with modern requirements. put forward by the «Law of Ukraine on Higher Education» and state educational standards. The process of training a specialist in the field of ballroom dancing is based on the presence of practical training, adjustment, consolidation of movements and skills of the teacher, because without in-depth analysis of body movements in various dance performances, the idea of ballroom dancing Constant quality control and the creation of individual tasks will promote self-analysis of the student, his understanding and understanding of the importance of the balance between mental activity, physical and spiritual development. In the article the author explores the specifics of teaching modern ballroom dancing in higher education; defines the essence, criteria, requirements of choreographic and performing skills as a competence. The characteristics and features of the teacher-choreographer, his personal qualities are presented.
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Soklaridis, Sophie. "Commentary on “The Father-Daughter Dinner Dance: A Waltz With Ethics and COVID-19”". Academic Medicine 96, nr 12 (30.11.2021): 1683. http://dx.doi.org/10.1097/01.acm.0000803760.28371.94.
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Pavleski, Vlatko. "JUDGING OBJECTIVITY ANALYSIS WITH JUDGING COMPONENT “TECHNICAL QUALITIES” IN STANDARD SPORT DANCE “ENGLISH WALTZ”". RESEARCH IN PHYSICAL EDUCATION, SPORT AND HEALTH 9 (2020): 201–6. http://dx.doi.org/10.46733/pesh2090201p.
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Parr, Sean M. "Caroline Carvalho and nineteenth-century coloratura". Cambridge Opera Journal 23, nr 1-2 (lipiec 2011): 83–117. http://dx.doi.org/10.1017/s0954586712000031.
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AbstractThis essay explores how the soprano Caroline Carvalho (née Marie Félix-Miolan, 1827–95) perpetuated and extended the art of coloratura singing in the mid-nineteenth century. Creator of roles in sixteen operas, including five by Gounod, Carvalho achieved ‘superdiva’ status (Rutherford) by cultivating her voice – her ‘mécanisme prodigieux’ – to handle coloratura on a scale that explicitly invoked and rivalled the instrumental virtuosity of Paganini. In premièring the title role of Victor Massé's La Reine Topaze (1856), the soprano sang a variations aria based on the Carnival of Venice folk song and took one of the violinist's variations as a springboard to her own dazzling pyrotechnics. By allying her voice with the musical inventiveness of Paganini, who had achieved deific renown and artistic authority, Carvalho thereby acquired enough authority to catalyse a new genre, the valse-ariette. The popularity of a little-known aria that Gounod arranged for Carvalho, ‘Ah! Valse légère’ (based on the waltz chorus, ‘Ainsi que la brise légère’, from Act II of Faust, 1859), spurred a vogue for vertiginous waltz ariettes. Carvalho's association with this genre suggests even greater creative agency and indicates a shift in coloratura's signification from instrumentality to dance and the expressive body.
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M.M., Marushka. "SOCIAL DANCE SCHOOLS AS A CENTER OF CHOREOGRAPHIC EDUCATION IN GALICIA IN THE INTERWAR TWENTY YEARS (1919–1939)". Collection of Research Papers Pedagogical sciences, nr 90 (4.11.2020): 12–15. http://dx.doi.org/10.32999/ksu2413-1865/2020-90-2.
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Мета статті – визначити соціально-культурні передумовипопулярності та масовості шкіл товарись-ких танців як осередків хореографічного навчання; проаналізувати діяльність шкіл товариських танців у Галичині в міжвоєнне двадцятиліття. Методи. Для досягнення поставленої мети було використано комплекс дослідницьких методів – конкретно-пошуковий, системний метод, метод логіко-історичного аналізу. Конкретно-пошуковий метод застосовувався у роботі з архівними документами та матеріалами періодичних видань із досліджуваної проблематики. Системний метод дав змогу всебічно та комплек-сно розглянути діяльність шкіл товариських танців у Галичині міжвоєнного періоду. Метод логіко-істо-ричного аналізу дозволив систематизувати, проаналізувати дані та інформацію, що стосуються предме-та дослідження. Результати. На основі аналізу архівних матеріалів, публікацій у періодичних виданнях розкрито особливості організації шкіл товариських танців у Галичині 1919–1939 років, систематизова-но інформацію про власників та вчителів шкіл товариських танців, досліджено діяльність професійного зв’язку вчителів товариських танців. Висновки. Встановлено, що популярність та масовість шкіл това-риських танців у Галичині визначали розвиток бальної хореографії, а також роль, яку відігравали танці у тогочасному соціально-культурному житті галичан. Дуже поширеними були дансинґи – громадські зали для танців, у кав’ярнях та рестораціях також біли місця для танців. Часто різноманітні товариства організовували танцювальні вечори, особливо у карнавальний сезон. Репертуар бальної хореографії 20–30-х рр. ХХ ст. включав вальс, тустеп, уанстеп, блюз, фокстрот, квік-степ, чарльстон, танго, свінг, твіст, шіммі, каріоку тощо. Ці танці вивчали у школах товариських танців. Школи танців були у бага-тьох містах Галичини, а саме у Бережанах, Бориславі, Бродах, Дрогобичі, Золочеві, Коломиї, Надвірній, Самборі, Старому Самборі, Станіславові, Стрию, Трускавці. Зміст та методика навчання товариських танців залежали виключно від рівня підготовки педагогів танцювальних шкіл. Учителі танців об’єдну-вались у професійні зв’язки. Протягом 1919–1939 років у Львові діяло кілька таких зв’язків, які об’єд-нували фахових та ліцензованих учителів танців з усієї Східної Галичини. The purpose – to determine the cultural prerequisites for the popularity of social dance schools as centers of choreographic learning; to analyze the activities of social dance schools in Galicia in the interwar twenty years. Methods. To achieve this goal, a set of research methods was used specific search, system method, method of logical-historical analysis. Specific search methods were used when working with documents and materials of periodicals on the researched issues. The systematic method allowed to comprehensively consider the activities of social dance schools in Galicia in the interwar period. The method of logical-historical analysis allowed to systematize, analyze data and information related to the subject of research. Results. Based on the analysis of archival materials, publications in periodicals, the peculiarities of the organization of social dance schools in Galicia in 1919–1939 are revealed, information about the owners and teachers of social dance schools is systematized, the professional communication of social dance teachers is investigated. Conclusions.It is established that the popularity of social dance schools in Galicia determined the development of ballroom choreography, as well as the role played by the dance in the then socio-cultural life of Galicians. Dance halls were widespread, and there were also dance halls in cafes and restaurants. Often various societies organized dance evenings, especially during the carnival season. Repertoire of ballroom choreography of the 20–30s of the XX century included waltz, twostep, onestep, blues, foxtrot, quickstep, charleston, tango, swing, twist, shimmy, karioka, and more. These dances were studied in social dance schools. Dance schools were held in many cities of Galicia, namely in Berezhany, Boryslav, Brody, Drohobych, Zolochiv, Kolomyia, Nadvirna, Sambir, Staryi Sambir, Stanislaviv, Stryi, and Truskavets. The content and methods of teaching social dances depended solely on the professionalism of dance school teachers. Dance teachers formed professional relationships. During 1919–1939, there were several such associations in Lviv, uniting professional and licensed dance teachers from all over Eastern Galicia.
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Parakilas, James. "Disrupting the Genre: Unforeseen Personifications in Chopin". 19th-Century Music 35, nr 3 (2012): 165–81. http://dx.doi.org/10.1525/ncm.2012.35.3.165.
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Abstract What George Sand characterized as the prevalence of “the unforeseen” in Chopin's music can be understood as his programmatic predilection. Within works whose generic titles promise nothing programmatic, he regularly introduces disruptions that announce a previously unsuspected persona in whose mind the music continues to unfold even as that persona brings the premises of the genre under scrutiny. In the Waltz in A♭, op. 42, for instance, a momentary interruption of the waltz beat, like the terminal interruption of the nocturne texture in the Nocturne in B, op. 32, no. 1, produces an ending that tests the capacity of the genre to absorb what most undermines it. In that Nocturne there is a second personifying tension between the genre-establishing texture of singing lines and the genre-challenging daubs of inconsistent damper-pedal coloring, drawing attention to the hand of the composer at work and therefore—if we adopt the insight of Chopin's artistic interlocutor Eugène Delacroix—to his thinking presence. The Mazurka in C Minor, op. 56, no. 3, represents a reverse strategy. There an imagining mind is personified from the beginning, restlessly searching through a catalog of mazurka features, and it is only in the coda, when the music settles into its genre as dance music, that the persona—the element of the unforeseen—retreats.
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Kaplan, Andreas M., i Michael Haenlein. "Two hearts in three-quarter time: How to waltz the social media/viral marketing dance". Business Horizons 54, nr 3 (maj 2011): 253–63. http://dx.doi.org/10.1016/j.bushor.2011.01.006.
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Rewa, Natalie, i Michael J. Sidnell. "Montreal: Festival de Theatre des Ameriques, May-June, 1995". Canadian Theatre Review 86 (marzec 1996): 51–55. http://dx.doi.org/10.3138/ctr.86.009.
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The Festival de theatre des Ameriques is remarkable for the range and quality of the performance spaces that it has available and deploys to such good effect. This is partly due to an extraordinary proliferation of performance spaces in Montreal over the last ten years, unequalled in any other city in Canada in this respect; and it is partly due to the enterprise of Marie Helene Falcon, the Festival’s Director, in acquiring the use of a variety of venues and matching them to specific productions. Her programming has always brought the spectators into performance spaces of various kinds, shapes and sizes and she has often exploited not only the physical attributes of the locations but their local cultural resonances. In 1991, for example, Hip Hop Waltz of Eurydice, the late Reza Abdoh’s brilliant, postmodern reworking of cultural icons for an AIDS-conscious spectatorship was performed in the Clarke Theatre of Concordia University, an all-purpose assembly hall, with few of the markings of a traditional theatre. Similarly, in 1993, Robert Wilson’ s production of Gertrude Stein’s When Doctor Faustus Lights the Lights was performed in UQAM’s newly-completed Salle Pierre Mercure, which architecturally reinforced the spatial rhythms of Wilson’s mise en scène. By contrast Tadeusz Kantor ’s production by Cricot 2 of La Classe morte, featured during the 1991 FTA, was accommodated at the historically significant Theatre Denise Pelletier, where an exhibition of the company’s posters was also mounted. In 1991, when the FTA took the relationship between theatre and dance as one of its themes, it featured Marie Chouinard’s first choreography for a troupe of dancers at the Monument-National, while Falcon also introduced Festival audiences to the possibilities of more intimate dance performances in the new Agora de Danse at UQAM, with Rebis, Alvaro Restrepo’s ritualized dance exploration of space and the spoken word, done in homage to Garcia Lorca.
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Voigt, Katharina. "Corporeality of Architecture Experience". Dimensions 1, nr 1 (1.05.2021): 139–48. http://dx.doi.org/10.14361/dak-2021-0118.
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Editorial Summary In »Corporeality of Architecture Experience« Katharina Voigt examines the embodied knowledge in the perception and the exploration of architectural spaces. She highlights embodiment, experience, and sensation as primary fields of investigation. The interrelation of architecture and the human body is described as dependent on bodily ways of knowing and movement as access to sensory encounters with architecture. Relating to the practice of contemporary dance and particularly the work of Sasha Waltz, she regards the body as an archive, generator, and medium of pre-reflexive knowledge, emphasizing its resonance with the space. She exploits the potential which an investigation of the body-based, sensory experience holds when being explicitly addressed and regarded as an integrated part of both, the perception and the design of architecture. [Uta Graff]
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Pessarrodona, Aurèlia. "Viva, viva la Tirana". Journal of Musicology 39, nr 4 (2022): 469–539. http://dx.doi.org/10.1525/jm.2022.39.4.469.
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While eighteenth-century Spanish folk airs such as the fandango and seguidilla are now gaining more recognition, there remains an important oversight: the tirana, a dance song that became particularly popular during the last third of the century onward, even inspiring foreign composers such as Luigi Boccherini, Ludwig van Beethoven, and Saverio Mercadante. Lacking a systematic study, the tirana has been regarded as a general name for Andalusian songs without clear typologies or concrete, identifying musical characteristics. Based on an analysis of approximately one hundred tiranas found in the repertoire of the old theaters of Madrid (held in the Biblioteca Histórica Municipal de Madrid) and dating from the late 1770s and 1780s, the period of development and consolidation of this dance song, this article verifies that the tirana has distinct attributes and evolved from its earliest forms, originating in Andalusia, to more complex and richer examples. In light of this analysis, it is now possible to investigate the circulation and impact of the tirana abroad in the late eighteenth century. For example, Vicente Martín y Soler’s “Viva, viva la Regina” from Una cosa rara (1786), long wrongfully considered the first onstage manifestation of the Viennese waltz, can now be identified as a tirana.
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Adam, Andreea Maria. "Influencing the Rhythm and Tempo Ability in Sports Dance for Athletes in the Age Group 12-13 Years". GYMNASIUM 23, nr 1 (29.06.2022): 36–53. http://dx.doi.org/10.29081/gsjesh.2022.23.1.03.
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The purpose of the study was to determine the level of rhythm and tempo for dancers. This research was conducted in 12 pairs and was organized between 2016 and 2017. The methods used aimed to improve the ability of rhythm and tempo in the Viennese Waltz byusing specific exercises and means borrowed from other sports. The tests used were: The test for rhythmic ability and the test for tempo which has in its structure regular figures from sports dance. The results confirmed the efficiency of the means used by us intraining. In the tempo test, the subjects obtained in T.I an average value of the mark of 6.37 and in T.F an average of the mark of 8.06. In the test for rhythmic ability, our subjects obtained an average value in T.I of 68.12 points, and an average of 79.37 in T.F. The resultof an organized sports training and a regular repetition of the basic rhythmic structures, influences the rhythm and tempo capacity of the athlete.
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ji-won Lee. "Dance and Politics in Cultural Spaces: The Modification of Greek Mythology Focuses on Medea(2007) of Sasha Waltz". Korean Journal of Dance Studies 59, nr 2 (marzec 2016): 87–99. http://dx.doi.org/10.16877/kjds.59.2.201603.87.
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