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Relevant bibliographies by topics / Ancient Greek dance

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Journal articles

Academic literature on the topic 'Ancient Greek dance'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Ancient Greek dance"

1

Lykesas, Georgios, Christina Papaioannou, Aspasia Dania, Maria Koutsouba та Evgenia Nikolaki. "Τhe Presence of Dance in Female Deities of the Greek Antiquity". Mediterranean Journal of Social Sciences 8, № 2 (2017): 161–70. http://dx.doi.org/10.5901/mjss.2017.v8n2p161.

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Abstract According to philosophers and paedagogists, from antiquity until today, arts and dance in particular have played a determining role in shaping the human personality, as well as in helping people gain a positive perspective of their multi-aspect development in terms of knowledge, perception, creative ability, psychomotor actions, emotional and social elevation. This holistic and anthropocentric approach in antiquity set new ways for perceiving motion -particularly dance- through the dance education. The aim of this study is to provide a well-documented review of dance in religious even

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2

Spalva, Rita. "Dance in Ancient Greek Culture." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 9, 2015): 451. http://dx.doi.org/10.17770/sie2012vol2.523.

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The greatness and harmony of ancient Greece has had an impact upon the development of the Western European culture to this day. The ancient Greek culture has influenced contemporary literature genres and systems of philosophy, principles of architecture, sculpture and drama and has formed basis for such sciences as astronomy and mathematics. The art of ancient Greece with its penchant for beauty and clarity has been the example of the humanity’s search for an aesthetic ideal. Despite only being preserved in its fragments, the dance of ancient Greece has become an example worthy of imitation in

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3

Nektarios, Peter Yioutsos. "Order in ancient Greek dance rituals: The dance of Pan and the Nymphs." Dramaturgias, no. 5 (October 27, 2017): 211–34. http://dx.doi.org/10.26512/dramaturgias.v0i5.8439.

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 Dance maintained an important role in antiquity and was believed to be a ritual act that should be treated and performed with the outmost respect, regardless of its severe or ludicrous character. Despite the lack of adequate data, ancient sources now and again provide enough details on dance rituals, so as to be able to recognize and even more reconstruct the structure and order of an ancient performance, the so-called “τάξις” of Alkman. The cult of Pan and the Nymphs was deeply connected to dance and music. They were mostly celebrated in outdoor shrines and sacred grottos throughout t

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4

Portnova, Tatiana. "Dance in Sculpture of the Early 20th Century." Sculpture Review 68, no. 4 (2019): 22–34. http://dx.doi.org/10.1177/0747528420901915.

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This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The st

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5

Lee Ruyter, Nancy. "A View of Ancient Greek Dance from 1895." Congress on Research in Dance Conference Proceedings 2016 (2016): 333–36. http://dx.doi.org/10.1017/cor.2016.44.

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In 1895, the book Dancing, a broad survey of world dance history, was published in London. Mainly written by Mrs. Lilly Grove (later Dame Lily Grove Frazer) after five years of travel and intensive research, it also includes four short chapters by other authors. It was issued in later editions after 1895 and is still an important early source for information about dance history. Of the 454 pages in Dancing, twenty-six are devoted to ancient Greece. I discuss some of Grove's sources, statements, and conclusions in relation to those of more recent writings about dance in ancient Greece.

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6

Lazou, Anna. "Ο χορός ως αντικείμενο επιστημονικής έρευνας και φιλοσοφίας. Προλεγόμενα". Epistēmēs Metron Logos, № 3 (11 січня 2020): 60. http://dx.doi.org/10.12681/eml.22108.

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The art of dance is now studied in the sciences and philosophy. From the time of the ancient Greek thinkers to the modern era, dance has never ceased to be considered a way of expressing multiple potentialities of culture. The way that man danced in history is also a reflection on every era of man's relationship with nature, the universe and social structures.By selecting the most significant of all references to dance that the modern reader may encounter today, we locate the wealth and variety of information and approaches as well as the interdisciplinary nature of the studies provided. Howev

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7

Dorf, Samuel N. "Atossa’s Dream Yoking Music and Dance, Antiquity and Modernity in Maurice Emmanuel’s Salamine (1929)." Les Cahiers de la Société québécoise de recherche en musique 13, no. 1-2 (2012): 27–34. http://dx.doi.org/10.7202/1012347ar.

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This essay explores the conflicting trends of tradition and modernism, unity and independence in Parisian musical and dance culture in the late 1920s through an analysis of Maurice Emmanuel’s (1863-1938) aesthetics of contemporary and ancient Greek music and dance. It begins by outlining and critiquing Emmanuel’s relevant scholarly contributions to ancient Greek dance history and music history before demonstrating how these tensions manifested in the 1929 production of Emmanuel’s opera Salamine based on Aeschylus’s The Persians. Exploring Emmanuel’s aesthetics of music and dance (ancient and m

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8

Smith, Tyler Jo. "Bodies in Motion." Greek and Roman Musical Studies 9, no. 1 (2021): 49–84. http://dx.doi.org/10.1163/22129758-12341377.

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Abstract Drawing on the combined approaches of ancient Greek iconography, dance history, and the archaeology of ritual and religion, this paper examines dance gesture as a mechanism of ritual communication in ancient Greek vase-painting. After presenting the problems and limitations of matching art and text with regard to dance, as both Classical scholars and practitioners of modern dance have attempted, the paper expands on various ways of showing dance on vases. Special attention is given to komast dancers on black-figure vases and to other types of dance scenes and figures. A rethinking of

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9

Laferrière, Carolyn M. "Dancing with Greek Vases." Greek and Roman Musical Studies 9, no. 1 (2021): 85–114. http://dx.doi.org/10.1163/22129758-12341378.

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Abstract As gods dance, women twirl in choruses, and men leap in kōmos revels on Athenian red-figure vases, their animate bodies must be made to conform to the rounded shape of the vessels. Occasionally, these vases are even included in the images themselves, particularly within the kōmos revel, where the participants incorporate vessels into their dance as props, markers of space, and tools to engage new dance partners. Positioning these scenes within their potential sympotic context, I analyze the vases held by the dancers according to the ancient viewer’s own possible use of these physical

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10

Barboussi, Vasso. "The Beginning of Dance Studies in Greece (1900–1974)." Congress on Research in Dance Conference Proceedings 2016 (2016): 15–20. http://dx.doi.org/10.1017/cor.2016.3.

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The educational system introduced in Greece during the liberation, a period known as the Bavarian Regency (1833–1862), had been, more or less, a copy of the corresponding German system of this period. Koula Pratsika (1899–1984), who established modern dance and professional dance studies in the country, participated in the Delphic festival in 1927 and was influenced by Eva Palmer. She also had been influenced by the 1930s Hellenistic ideology writers and artists. Pratsika was trying to find and develop a dance reflecting Greek tradition, revitalized and encouraged by the ancient spirit. She wa

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