Academic literature on the topic 'Cham (Dance)'
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Journal articles on the topic "Cham (Dance)"
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BAIMACUO, GELINLANGJIE. "The Cham ritual of Padmasambhava in Tibetan Buddhism." International Journal of Sino-Western Studies 20 (July 14, 2021): 187–202. http://dx.doi.org/10.37819/ijsws.20.116.
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This paper discusses the origins of Cham or ritual dance in Tibetan Buddhism, structure»and components of the Cham ritual of Pamasambhava. The first part of the paper explains the Cham ritual dedicated to Padmasambhava and its three main sections ： the ritual of making offerings and reading scriptures; the performing of the ritual dances; and the empowerment of Padmasambhava»known as “Light of the Lotus”. The second part of the paper gives some details of the Padmasambhava Cham, which takes place on the ninth and tenth days of the eleven day ritual»with the Cham on the ninth day known as kya'cham and that on the following day as the dngos gzhi. The Padmasabhava Cham has eighteen parts and one of these parts has seventeen sub-sections»so all together there arc thirty-seven parts performed on the tenth day.
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BELIBOU, Alexandra. "Tibetan Sacred Dances." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (2021): 17–24. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.2.
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Entering the world of Tibetan spirituality, we observe a multitude of rituals that involve movement and music, used by the monks for various therapeutic and ritualic purposes. The history of Tibetan dance – the Cham tradition - runs in parallel with the history of Buddhism on this territory. Information on these rituals and dances is found in very few Tibetan documents, almost none in European works, and recently in several works printed in English. This can be explained by their oral transmission in special schools, as well as in secret initiations. As the title mentions, in this article, we will discuss the sacred dances of the Tibetans and not the folk ones. Thus, in the following pages, we will mention some of the dances practiced within the sacred rituals by Tibetan monks.
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Khanna, Dipankar, and J. Shashi Kiran Reddy. "Vajranŕtyam: a Phenomenological Look at the Cham or Lama Dance as a Meditative Experience." Journal of Dharma Studies 3, no. 1 (2019): 175–91. http://dx.doi.org/10.1007/s42240-019-00043-0.
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DIAMOND, CATHERINE. "The Palimpsest of Vietnamese Contemporary Spoken Drama." Theatre Research International 30, no. 3 (2005): 207–22. http://dx.doi.org/10.1017/s030788330500146x.
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Unlike most Southeast Asian theatres, Vietnam has created a sizeable corpus of scripted spoken dramas that continue to be popular in performance with urban audiences. Initially influenced by French classicism and Ibsenist realism, the Vietnamese spoken drama, kich noi, very quickly adapted to local social realities and survives by readily incorporating topical subjects. While keeping abreast of current social issues, the theatre nonetheless makes use of its multi-cultural heritage, and in any given modern performance one can see the layers of influence – traditional Sino-Vietnamese hat boi/tuong; Vietnamese cheo theatre, Cham dance, French realism, Soviet constructivism and socialist realism, and most recently, western performance art. The Vietnamese playwrights, set designers, directors, and actors have combined aspects of the realistic theatre with the conventions of their suppositional traditional theatre to come up with a hybrid that is uniquely Vietnamese. It is argued that these manifold layers should be regarded as a kind of palimpsest rather than just as pastiche.
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James, Helen Danladi. "Promoting Peaceful Coexistence Through Dialogue and Conflict Resolution." African Journal of Social Sciences and Humanities Research 5, no. 4 (2022): 21–26. http://dx.doi.org/10.52589/ajsshr-xx3tzaz0.
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Mwanatari is a community located between Lafiya and Lamurde in Lamurde LGA of Adamawa State. It lies on Latitude 9.560N and Longitude 11.70E, 164.00m/538.06ft ASL. The community shares boundary with Bwatiye (Bachama and Bata) communities. The ethnic groups found within the area are Mwana, Chobbo, Kwah, Waja, Lunguda, Dadiya, Jenjo, Hausa, and Fulani. The people of Mwanatari are predominantly agrarian. Lamurde is the administrative headquarters of the local government area and it is about 100 kilometers from Yola, the State capital. Like any other people Lamurde local government is noted for its unique cultural heritage. The Bachama people are noted warriors as is easily depicted in their popular dance “Wuro Kaduwe” closely related are the Homtu Gbatakaito at Gyawana which has to do with hunting, and the “Badan” at Nghakawo. They have the “kwete” wrestling festival in the town of Lamurde which comes up once in a year. It is a wrestling between the people of Gyawana and Lamurde. It is during the festival that His Royal Highness the Hama Bachama discloses his plans and vision to his subjects. Apart from Kwete wrestling festival, there is the “Poto” at Waduku, “Vayato” at Gyawana and Opalo. The Kwah “ Gikan” festival is celebrated yearly. The Waja celebrates “Saulawe” Chobbo “ Cito” and “Dikulem” “kreth” among the Lunguda and Dadiya respectively. Lamurde itself is a historical town where western civilization and tradition exist side by side. The Mwana people, according to history migrated from Cham in present day Balanga Local Government Area of Gombe State. The people of Cham migrated from Yamel in the East with some tribes like Lunguda, Tula, and Dadiya at about 1777. They came to Africa through Egypt and settled at Wanda. As a result of unproductive agricultural land, bad climate and weather, the people of Cham being good agriculturalists decided to move from Wanda to a free and fertile land at Fitilai (Kuntur) in 1797. At Fitilai, Baba Dan Bulo, an informant said, “The people of Cham settled in groups according to their clans. In these small clans, there is a type of disperse, cross or integrated relationship which is shown by ties of reputed kingship, chieftaincy and religious complexities. The major clans among these settlements were Fitilai to Bwelimi, and Fitilai to Dijimi, out of which the following small clans emerged: Jabe, Bwelimi, Kwasim, Lebe, Dungurang and Tiksir. These clans believed in peace and have special love and care for one another and therefore regard themselves as brothers (Shete) plural of Chum, brother”.
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Hildebrandt, Antje. "Jonathan Burrows: Towards a Minor Dance. By Daniela Perazzo Domm. Cham: Palgrave Macmillan, 2019. Pp. xiii + 232 + 13 illus. £30.99/€36.39 Hb; £19.99/€25.99 Pb." Theatre Research International 46, no. 1 (2021): 94–96. http://dx.doi.org/10.1017/s0307883320000632.
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Monteiro, Celena. "Contemporary African Dance Theatre: Phenomenology, Whiteness, and the Gaze. By Sabine Sörgel. Cham: Palgrave Macmillan, 2020. Pp. v + 174 + 12 illus. €72.79 Hb; €58.84 Pb." Theatre Research International 46, no. 2 (2021): 254–55. http://dx.doi.org/10.1017/s0307883321000195.
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Dunagan, Colleen T. "PRAGMATIST PHILOSOPHY AND DANCE: INTERDISCIPLINARY DANCE RESEARCH IN THE AMERICAN SOUTH by Eric Mullis. 2019. Cham, CH: Palgrave Macmillan. 247 pp. $89.99 hardcover. ISBN: 9783030293130. $59.99 paper. ISBN: 9783030293154. $44.99 e-book. ISBN: 9783030293147. doi: 10.1007/978-3-030-29314-7." Dance Research Journal 54, no. 1 (2022): 120–22. http://dx.doi.org/10.1017/s0149767722000092.
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Jarvis, Danielle N., and Kornelia Kulig. "Lower Extremity Biomechanical Demands During Saut de Chat Leaps." Medical Problems of Performing Artists 31, no. 4 (2016): 211–17. http://dx.doi.org/10.21091/mppa.2016.4039.
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In dance, high demands are placed on the lower extremity joints during jumping tasks. The purpose of this study was to compare biomechanical demands placed on the lower extremity joints during the takeoff and landing phases of saut de chat leaps. METHODS: Thirty healthy, experienced dancers with 20.8±4.9 yrs of dance training performed 5 saut de chat leaps. A three-dimensional motion analysis system and force plates were used to collect kinematic and kinetic data. Ground reaction force (GRF) peaks and impulse and sagittal plane kinematics and kinetics of the hip, knee, ankle, and metatarsophalangeal (MTP) joints were calculated for the takeoff and landing phases of each leap. RESULTS: Saut de chat takeoffs demonstrated greater braking GRF impulse (p<0.001), while landings demonstrated greater peak vertical GRF (p<0.001). During takeoff, greater kinetic demands were placed on the MTP (p<0.001) and ankle (p<0.001) joints, while during landing greater kinetic demands were placed on the hip (p=0.037) joint. CONCLUSIONS: Both the takeoff and landing phases of saut de chat leaps place significant demands on a dancer’s body. Takeoff involves greater demands on the more distal joints and requires more braking forces, while the landing phase involves greater demands on the more proximal joints of the lower extremity and requires the dancer to absorb more vertical force. These demands, combined with extensive repetition of movements during training, may contribute to the high number of chronic injuries seen in dance.
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Karan, A. "A Dance With Mrs Chan." Annals of Family Medicine 14, no. 4 (2016): 380–81. http://dx.doi.org/10.1370/afm.1922.
Full textDissertations / Theses on the topic "Cham (Dance)"
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Poon, Mun-chie Teresa, and 潘敏慈. "Hong Kong Dance Centre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31982578.
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Henderson, Lisa A. "The Story of Love." University of Akron / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=akron1144759270.
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Papin, Mélanie. "1968-1981 : construction et identités du champ chorégraphique contemporain en France : désirs, tensions et contradictions." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080086/document.
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Cette recherche tente de mettre en évidence les mécanismes d’émergence de la danse contemporaine en France entre 1968 et 1981. Animés par un désir émancipateur de vivre et de danser particulièrement intense dans l’après Mai-68, les danseurs mais aussi journalistes, administrateurs ont produit des micropolitiques au travers desquelles leurs actions collectives et militantes, leurs désirs de pratiques et de danse ont permis de sédimenter, sans pour autant défaire les tensions et la contradictions visibles dès les années 1950, le champ chorégraphique contemporain. Avant d’aborder Mai 68 dans notre première partie, nous dressons un état des lieux du champ chorégraphique dans les années 1950 et 1960 afin de comprendre les conditions d’apparition de cette communauté encore fragile, confrontée à une bataille autour de la notion de modernité entre les tenants d’un héritage « classique » et ceux d’un héritage « moderne ». Si Mai 68 est ensuite envisagé comme un moment politique pour la danse, ses effets « culturels » s’inscrivent tout au long des années 1970. D’abord, ils rendent possible l’accueil des modernités venues des Etats-Unis. Puis, ils favorisent l’installation de modes de production et d’organisation autogérés et collectifs ainsi que des modes de militance en faveur de l’amélioration des conditions de vie et de création. À bien des égards, cette organisation du champ chorégraphique, par les marges et les « forces discrètes », a contribué à ce que l’on a appelé « l’explosion de la Nouvelle danse française » des années 1980<br>This research tries to place in a prominent position the mechanisms of emergence of the contemporary dance in France between 1968 and 1981. Livened up by a desire emancipator to live and to dance particularly intense in the after 1968, the dancers but also journalists, administrators produced micropolitics through which their collective and militant actions, their desires of practices and dance allowed to sediment, without undoing the tension and visible contradictions from the 1950s, the contemporary choreograpic field. Before enter upon 1968 on our first part, we draw up an inventory of the choreographic field in the 1950s and 1960s to understand the condition of appearance of this still fragile community, confronted with a battle around the notion of modernity between the upholders of a « classic » legacy and those of a « modern » legacy. If 1968 is then envisaged as a political moment for the dance, its « cultural » effects join troughout 1970s. At first, they make possible the reception of the modernities come from the United States. Then, they favor the installation of self-managed and collective modes of production and organization as well as modes of militance in favour of the provement of the conditions of life and creation. In some respects, this organization of the choreographic field, by the margins et the « discreet strengths », contributed to what we called « the explosion of the New French dance » in the 1980s
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Quiblier, Marie. "La reprise, un espace de problématisation des pratiques dans le champ chorégraphique français : 1990-2010." Rennes 2, 2011. http://www.theses.fr/2011REN20058.
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Si l’année 1993 correspond à un moment décisif où la création du Quatuor Knust et des Carnets Bagouet met en exergue la problématique de la reprise dans le champ chorégraphique français, les années 2000 sont marquées par la recrudescence et le polymorphisme des pratiques citationnelles. De la citation à la reconstitution, en passant par la variation, la recréation et l’hommage, la reprise est récurrente, prolifique et composite. Ni genre, ni style, ni attitude, la reprise est un « geste » qui offre des résolutions multiples. En revanche, au-delà de sa disparité, elle actualise une mutation substantielle des pratiques dans le champ chorégraphique des années 2000, en termes de transmission, de création, d’énonciation et d’historicisation de l’oeuvre chorégraphique. Pour étudier ce « phénomène », ce travail s’appuie sur des exemples qui exacerbent la portée critique et subversive de la reprise. Plutôt que de chercher à « minimiser » les perturbations qu’elle provoque, les artistes du corpus abordent au contraire la reprise comme un espace de problématisation des pratiques chorégraphiques<br>If the year 1993 is related to a decisive moment when the creation of the Quatuor Knust and the Carnets Bagouet highlight the re-enactment issue in the french choreographic field, the 2000s are marked by the renewed outbreak and polymorphism of quotational practices. From quotation, to reconstruction, turning to variation, re-stating and tribute, re-enactment is recurrent, prolific and composite. Neither a type, a style, nor an attitude, re-enactment is a gesture that offers multiple resolutions. On the other hand, beyond its disparity, it updates a substantial change of the practises in the choreographic field of the 2000s, in terms of transmission, creation, statement and historicisation of the choreographic work. To study the phenomenon, this work is based on examples which sharpen the critical and subversive significance of the re-enactment. Rather than trying to minimize the disruptions it produces, the mentioned artists turn towards re-enactment as to a space of problematization of choreographic practises
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Silva, Suzane Weber da. "Les pratiques du danseur-créateur vis-à-vis des pratiques dominantes en danse contemporaine : trois études de cas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/61250.
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Cette recherche a pour but de comprendre comment certains danseurs-créateurs peuvent se distinguer par rapport aux pratiques dominantes de la danse contemporaine. Pour en rendre compte, j'analyse la pratique artistique de trois danseurs-créateurs: Andrew de Lotbinière Harwood, Lin Snelling et Pamela Newell. J'ai observé leurs processus de création et leurs spectacles au cours de l'automne-hiver 2006-2007 à Montréal. Les cinq créations analysées dans cette étude se nourrissent de la performance, de l'interdisciplinarité, de la collaboration, et surtout de l'improvisation en danse. Cette thèse présente un examen de pratiques soutenu par un certain nombre de livres et d'articles dans le domaine des arts, du théâtre et de la danse. Toutefois, les sociologies du corps et plus spécifiquement l'appareillage conceptuel de Pierre Bourdieu m'offrent des voies afin de scruter sous cet angle les pratiques des trois danseurs-créateurs, angle qui vient enrichir mon expérience et ma formation en art en tant qu'artiste et enseignante. Afin d'atteindre mon objectif de recherche. je m'inspire d'une approche ethnographique comme méthodologie, et de l'étude de cas comme démarche. Les données ont été essentiellement collectées à travers des observations, des entretiens, des enregistrements vidéo et divers documents tels des programmes de spectacle, des coupures de presse, ainsi que des articles et des ouvrages spécialisés en danse contemporaine. Pour l'analyse et J'interprétation des données, je m'inspire des principes de Paillé (1994), qui propose une théorisation ancrée construite, entre au tres, par le biais de la comparaison entre 1a théorisation en construction et la réalité empirique. Une analyse thématique et son interprétation ont été accomplies en gardant un contact permanent entre les données brutes et le cadre théorique. Dans les pratiques des trois danseurs-créateurs analysées, l'improvisation sur scène proche des techniques somatiques a une importance fondamentale et résulte de certains aspects récurrents telles que la réduction de la valorisation des mouvements virtuoses et la recherche d'un rôle plus actif pour le spectateur. En outre, les aspects de collaboration rencontrés dans des créations offrent une alternative face au binôme chorégraphe-interprète, valorisant de cette façon le danseur en tant que créateur, capital symbolique primordial dans le champ de la danse. L'interdisciplinarité offre également des voies de création pour un renouvellement de la notion de chorégraphie, non seulement comme art de composition du mouvement, mais aussi comme art qui intègre d'autres éléments et langages. Ces caractéristiques suggèrent J'évolution, le dynamisme et les modifications en ce qui concerne l'habitus du danseur au sein de la danse contemporaine. Face aux pratiques dominantes qui privilégient un rapport instrumental du corps, les pratiques analysées des trois études de cas proposent des échanges, perceptions et gestions des créations renouvelées ainsi que de nouvelles sociabilités en danse contemporaine qui résultent en un rapport au corps plus réceptif, interactif et participatif.
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Roux, Céline. "Les enjeux de l'attitude performative dans le champ chorégraphique français : 1993-2003." Rennes 2, 2005. http://www.theses.fr/2005REN20037.
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Au-delà des difficultés sémantiques du vocable performance, en se fondant sur le cadre historique de son émergence, cette thèse valorise le concept d'attitude performative qui, dans le champ chorégraphique français, au travers de la décennie 1993-2003, a bénéficié d'un nouvel espace favorable à son épanouissement. Cette attitude performative, contre-pouvoir critique d'un système qui ne répond plus aux désirs des créateurs, propose des alternatives invitant à des évolutions possibles sans révolution inéluctable. Dégénérescence pour certains, libération créatrice pour d'autres, elle s'établit à la fois sporadiquement et aussi en mode réseau pour une génération inconditionnelle. Ni genre, ni mode de création, cette attitude génère un " état d'être " face à la création chorégraphique et à la notion de représentation dans des projets au service des discours. Les projets de cette génération sont nécessairement polymorphes, protéiformes, invitant à partager leur nature transdisciplinaire. L'attitude performative est à la confluence de quatre enjeux théoriques et conceptuels, un lien paradoxal entre concept et expérimentation, une mise en danger dans l'effectuation, une nouvelle prise en considération du spectateur comme participant à l' "être au monde " et la volonté d'enrayer le mode de production. Enfin, dans son essence même, cette attitude, au-delà des situations formelles et médiumniques, se situe toujours dans un positionnement critique face au " grand casino mondial " pour contrecarrer " l'être performant ". Chaque étude de cas est révélatrice de ces enjeux récurrents, véritables véhicules de cet " état d'être ", fondements d'un " art relationnel "<br>Beyond the semantic difficulties of the term performance, taking basis on the historical framework of its emergence, this thesis emphasizes the concept of performative attitude which in the French choreographic field, throughout the 1993-2003 decade, benefitted form a new context favorable to its development. This performative attitude embodies a critical opposition force to a system that no longer corresponds to the creator's desires, offers alternatives encouraging possible evolutions without involving an ineluctable revolution. Degeneracy for some, creative liberation for others, it etablished itself both sporadically and as a network for a generation completly devoted to the idea. Neither a genre nor a system of creation, this attitude generates “a state of being”in the face of choreographic creation and the notion of performance in projects serving discourses. The projects of this generation are necessarily polymorphous, protean, inviting to share their interdisciplinary nature. The performative attitude is at the bridge of four theorical and conceptual stakes : a paradoxical link between concept and experimentation ; the taking of risks in effectuation ; the audience being taken into account in a new way as participating in the “being of the world” : and the will to curb the mode of production. Finally, the essence of this attitude, beyond formal and medium situations always established itself in a critical positioning towards the “big world casino” to thwart the “performing being”. Each case study reveals these recurrent stakes which are true vehicles for this “state of being”, basis of a “relational art”
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Newman, Kurt R. "Response of brook char (Salvelinus fontinalis) and blacknose dace (Rhinichthys atratulus) to acidic episodes in three headwater streams within the Shenandoah National Park, Virginia." Thesis, This resource online, 1995. http://scholar.lib.vt.edu/theses/available/etd-10222009-125212/.
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Glenat, Jean-Marc. "Des hétérotopies incluantes : exploration des usages du tango argentin dans le champ du handicap." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100151.
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L'objectif de cette thèse est d’explorer des lieux où se rencontrent le monde du handicap et celui du tango argentin. Dans ces espaces, qui relèvent d'institution spécialisées ou d'initiatives associatives, des personnes en situation de handicap font, à travers la pratique du tango argentin, l'expérience d'une relation singulière à leur propre corps, au corps de l'autre et à des modes de sociabilité distincts du monde ordinaire. Ces activités permettent également à des personnes « valides », de se confronter à l'altérité à travers des modalités corporelles et sensorielles particulières. En questionnant, ces usages du corps dans une danse où l’esthétique, les formes et les modes de sociabilité sont les marqueurs d’une identité forte, ce travail vient interroger la corporéité contemporaine et questionner les enjeux d’assignation ou d’inclusion qui traversent les pratiques de médiation. M'appuyant sur un concept développé par Michel Foucault (Foucault, 2009), je qualifie ces espaces d'hétérotopies incluantes. L'analyse et l'interprétation du processus de production de ces territoires hétérotopiques, qui prennent la forme d’ateliers, de bals ou d’évènements sont ainsi mises en perspective des discours sur l'inclusion qui traversent nos sociétés. Cette exploration fait appel à une démarche inductive qui a nécessité le recueil de données issues de différentes sources : entretiens, images, observation participante. L'étude de terrain s'est déroulée sur des territoires diversifiés, en France, en Autriche et en Uruguay, sur une période de 4 années. S'appuyant sur une approche sociologique compréhensive, il est étayé, au plan théorique, par des approches multidimensionnelles (sociologie de corps et de l'individu contemporain, sociologie du handicap, généalogie et esthétique du tango argentin, médiations corporelles)<br>The aim of this thesis is to explore places where the world of disability meets that of Argentine tango. In these spaces, which belong to specialized institutions or associative initiatives, people with disabilities, through the practice of Argentine tango, experience a unique relationship with their own body, the body of the other and modes of social skills different from the ordinary world. These activities also allow people without disabilities" to face others by the way of particular body and sensory modalities. By questioning these uses of the body through dance where aesthetics, forms and modes of sociability are the markers of a strong identity, this work questions the contemporary corporeality as well as the issues of assignment or inclusion which go through mediation practices. Based on a concept developed by Michel Foucault (Foucault, 2009), I qualify these spaces as inclusive heterotopia. The analysis and interpretation of the process of production of these heterotopic spaces, which take the form of workshops, balls or events are thus put into perspective of the discourses of inclusion that cross our societies. This exploration uses an inductive approach that required the collection of data from different sources: interviews, images, participant observation. The field study took place in diversified territories, in France, Austria and Uruguay, over a period of 4 years. Based on a comprehensive sociological approach, it is theoretically supported by multidimensional approaches (sociology of the body and the contemporary individual, sociology of disability, genealogy and aesthetics of Argentine tango, bodily mediations)
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Saladain, Lise. "Approche critique du "corps disponible" dans le champ chorégraphique : une contribution à l'étude des modes de structuration du monde de la danse par l'entrée de la diffusion des savoirs." Thesis, Bordeaux, 2017. http://www.theses.fr/2017BORD0004/document.
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Un énoncé est de plus en plus présent aujourd’hui dans le discours de la communauté de la danse : celui de « corps disponible ». Dans une perspective transmissive de la fabrication du danseur, sous cette expression transparaît l’idée que le corps performant en danse n’est plus un corps adapté aux réquisits artistiques d’une danse codifiée mais un corps dont l’adaptation résiderait paradoxalement en sa très grande plasticité tant esthétique que physique. Qu’est-ce que cette nouvelle conception du corps de la danse peut-elle entraîner sur la transmission chorégraphique – et au-delà – dans la société néolibérale actuelle ? L’étude porte d’abord sur le contexte d’émergence et d’imposition de l’idée de corps disponible. Cette exploration poussée de la construction du corps de la danse au 20e siècle nous apprend qu’il existe un lien entre la production culturelle corps disponible et une certaine idée de la liberté. Quelle est, alors, la signification effective de cette expression ? Afin de répondre à cette interrogation, le second pan de l’étude consiste en une ethnographie de près de deux années auprès de compagnies en création. L’observation de l’usage du corps qui y est fait, en travail, entre danseurs et chorégraphes, nous renseigne sur ce savoir-pratique corps disponible :il sert aux danseurs et aux chorégraphes pour produire de nouvelles corporéités. Plus précisément, y est examinée la manière dont la disponibilité du corps s’actualise dans le quotidien de la création en danse en mettant à l’épreuve l’hypothèse selon laquelle le corps considéré comme disponible dans le champ professionnel n’est jamais dissocié de la notion bourdieusienne de disposition. Il s’agira ainsi d’examiner comment s’ajustent disponibilités et dispositions pour rendre intelligible ce savoir corps disponible. Le dernier pan de notre étude sera consacré à l’expansion de ce savoir : Comment les danseurs emploient ce savoir corps disponible dans le métier ? Et comment ce savoir diffuse dans d’autres espaces de pratique ?<br>Very often nowadays, the dance community addresses the following formulation: «available body». Taking an overall look of the transmission process of the making of a dancer, it is suggested that in dance a well rounded performing body is not a body customized to artistic requirements for a codified dance anymore, but a body whose adaptation would paradoxically lie in both esthetic and physical great plasticity. What can this new dance body concept induce on choreographic transmission – and beyond - on today's neoliberal society? The study first examines the context of the emergence and enforcement of the available body idea. This thorough investigation on the construction of a dance body in the 20th century reveals that there is a connection between the available body cultural production and a certain idea of freedom. What is then the actual meaning of this term? In order to answer this question, the second part of the study involves an almost two year ethnography undertaken with companies creating new work. The observation of the use of the body in work context, between dancers and choreographers, provides information on this knowledge-practice available body: it is used by the dancers and choreographers to develop new corporealities. More specifically, the way the availability of the body is brought up to date in the daily creative work process in dance is examined, testing the hypothesis that the body regarded as available within the professional field is never isolated from the Bourdieusian disposition concept. We will thus discuss how do availabilities and dispositions adjust themselves so that to make intelligible this available body knowledge. The last phase of our study will be devoted to the development of this knowledge: How do dancers use this available body knowledge in the profession? And how does this knowledge disseminate to other areas of practice?
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Zuckerman, Lola, and Layla Zami. "Contemporary PerforMemory." Doctoral thesis, Humboldt-Universität zu Berlin, 2018. http://dx.doi.org/10.18452/18656.
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Die Dissertation von L. Zuckerman (auch bekannt als Layla Zami)
erforscht die Wechselbeziehungen zwischen Erinnerung, Bewegung, Diaspora und Zeit/Raum in Tanzproduktionen des 21. Jahrhunderts. In einer innovativen transkulturellen, transdisziplinären und transtemporalen Perspektive setzt die Publikation den Akzent auf die Solo-Arbeiten von sieben zeitgenössischen Choreograph_innen, die in Deutschland, Frankreich, Taiwan, Martinique, Palästina und den USA leben, und Interpret_innen ihrer eigenen Stücke sind. Ausgehend von der Hypothese, dass Körper eine zentrale Rolle in der Aushandlung und Überwindung von Machtverhältnissen spielen, fragt die Forschung was geschehen kann, wenn tanzende Körper die Vergangenheit in die Gegenwart transportieren, im materiellen und im metaphorischen Sinne. Die Autorin leitet ein neues Konzept ein, das im Englischen sowohl Substantiv als auch Verb ist: (to) perforMemory. Sie reflektiert die Besonderheiten der Ausdruckform Tanz in der Darstellung, Herstellung, und Tradierung von kultureller Erinnerung im Bezug auf historische Traumata wie der Holocaust, der Transatlantische Sklavenhandel, die Maafa, die Nakba und zeitgenössische gesellschaftspolitische Herausforderungen.
Das als Spirale konzipierte Buch lädt zu einer Wanderung durch diasporische Tanz_schaften, in denen sich Fragestellungen zu Identität, Körperlichkeit, Zugehörigkeit, Räumlichkeit und Zeitlichkeit entfalten, und sich in der Diskussion von bestimmten Tanzsequenzen wechselseitig beleuchten. Die Doktorarbeit basiert auf den Ergebnissen einer vierjährigen internationalen Forschung. Die Quellen schöpfen aus unterschiedlichen Fachrichtungen, u.a. Gender und Queer Studies, Tanz/Performance, Kulturwissenschaften, Erinnerung, Postkoloniale Studien, Literatur, Quantenphysik, und Lyrik. Die Veröffentlichung beinhaltet ebenfalls die vollständigen Transkripte von persönlichen Gesprächen, die die Autorin mit den Künstler_innen Oxana Chi, Zufit Simon, Wan-Chao Chang, André M. Zachery, Farah Saleh, Christiane Emmanuel und Chantal Loïal aufgenommen hat, sowie Links zu Performance-Ausschnitten.<br>The dissertation by L. Zuckerman (aka Layla Zami) explores the
interrelations and interactions between memory, movement, diaspora, and spacetime in 21st century dance productions. In an innovative transcultural, transdisciplinary and transtemporal approach, the publication focuses on solo works by seven contemporary dancers-choreographers based in Germany, France, Taiwan, Martinique, Palestine and the USA. Contending that corporeality is a site and a source of power, the research asks what happens when moving bodies propel the past into the present, metaphorically and materially. The author introduces a new concept: (to) perforMemory, which is both a noun and a verb, and discusses the specificity of dance in the production and transmission of cultural memory in relation to historical trauma such as the Holocaust, the Transatlantic Slave Trade, Maafa, the Nakba and contemporary sociopolitical challenges.
Conceived in a spiral-like fashion, the book takes the reader through diasporic dancescapes in which notions of identity, home, embodiment, spatiality and temporality unfold and are brought into resonance with each other in the discussion of specific dance examples. The theoretical references connect such various fields as gender studies, dance and performance studies, cultural memory studies, postcolonial studies, literature, quantum physics, queer studies and poetry. Based on doctoral research conducted across the globe from 2013 to 2017, the electronic publication also features the full interview transcripts of personal conversations recorded by the author with the artists Oxana Chi, Zufit Simon, Wan-Chao Chang, André M. Zachery, Farah Saleh, Christiane Emmanuel and Chantal Loïal, as well as links to audiovisual performance excerpts.<br>La thèse explore les interrelations et interactions entre mémoire, mouvement, diaspora et espace-temps dans la danse au XXIème siècle. Dans une approche transculturelle, transdisciplinaire et transtemporelle, la publication se concentre sur des pièces solo chorégraphiées et interprétées par sept chorégraphes contemporain.e.s basé.e.s en Allemagne, France, Martinique, Palestine, à Taiwan et aux Etats-Unis. Estimant que les corps humains sont objets et sujets de relations de pouvoir, la thèse étudie ce qui se passe lorsque les corps dansent le passé au temps présent, au sens propre et au sens figuré. L'auteure introduit un nouveau concept: (to) perforMemory, à la fois un substantif et un verbe en anglais. Elle met en relief la spécificité de la danse comme forme de production et transmission de la mémoire culturelle, en relation avec des traumas historiques tels que l'Holocauste, la Traite triangulaire ou Maafa, la Nakba ainsi que des défis sociopolitiques contemporains.
Conçu comme une spirale, le livre est une invitation au voyage à travers des paysages diasporiques dansés, dans lequel les notions d'identité, d'appartenance, de spatialité, de temporalité et de représentation émergent tour à tour, et s'illuminent mutuellement dans l'analyse de séquences de danse concrètes. Le corpus théorique puise dans des domaines aussi variés que les études de genre, la danse, les études postcoloniales, la litérature, les Cultural Studies, la physique quantique, les études queer et la poésie. Basée sur des recherches doctorales conduites de 2013 à 2017 à travers le monde, cette publication électronique comprend également les transcriptions intégrales des entretiens personnels menés avec les artistes Oxana Chi, Zufit Simon, Chantal Loïal, Christiane Emmanuel, Farah Saleh, Wan-Chao Chang, et André M. Zachery, ainsi que des liens vers des extraits audiovisuels de spectacles.
Books on the topic "Cham (Dance)"
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Gzi-mig Gsang-sngags Bdud-ʼdul Gling-dgon (Sikkim, India), ред. O-rgyan Sbas-yul ʼBras-mo-ljongs kyi shar phyogs Gzi-mig bla ma Ras-chen Grub-mchog-ʼod-gsal-rdo-rjeʼi sku skye ʼbar nyag rje drung Karma-dpal-ldan-chos-rgyal zhabs kyi gsung rtsom thor bu khra bo gzi yi sgrom bu gzhugs so. Zimig Snang-ngag Dud-dul Ling Monastery, 2013.
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France), Musée Guimet (Paris, ed. Au pays du dragon: Arts sacrés du Bhoutan. Réunion des musées nationaux, 2009.
Find full textBook chapters on the topic "Cham (Dance)"
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Eberhard-Kaechele, Marianne, and Andrea Goll-Kopka. "Bridging the Chasm and Calming the Storm: The Relational Perspective on Dance/Movement Therapy for Trauma." In Dance/Movement Therapy for Trauma Survivors. Routledge, 2022. http://dx.doi.org/10.4324/9781003111382-6.
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Gorwa, Joanna, Anna Fryzowicz, Robert Michnik, et al. "Can We Learn from Professional Dancers Safe Landing? Kinematic and Dynamic Analysis of the ‘grand pas de chat’ Performed by Female and Male Dancer." In Innovations in Biomedical Engineering. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15472-1_25.
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"Cham Lineages and Dance Costumes of Bhutan." In Fabric of Life - Textile Arts in Bhutan. De Gruyter, 2015. http://dx.doi.org/10.1515/9783110428612-007.
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Howard, Keith. "From Spectacles to Dance." In Songs for "Great Leaders". Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190077518.003.0008.
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This chapter first explores a large-scale dance spectacle in which 50,000 twenty-something citizens celebrated Kim Il Sung’s birthday in 2000. It then looks at how mass performance spectacles have developed in North Korea, exploring their distinguishing characteristics. Next, a historical and contextual discussion is given (which expands from a brief consideration in the previous chapter), linking to dance, and explaining how the content of mass spectacles are notated and disseminated. This leads to an exploration and explanation of the chamo p’yogibŏp alphabet-based dance notation, developed in Pyongyang and first used in notation scores in the late 1980s. Then, inherited forms of dance (folkloric, indigenous, international), what they became, and the leading dancer Ch’oe Sŭnghŭi (1911–1968) are explored to set up an overview of the characteristics of dance in North Korea. The account foregrounds Ch’oe Sŭnghŭi’s adaptations of modern dance.
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Shuback, Alan. "La Princesse Aly Khan." In Hollywood at the Races. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178295.003.0011.
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Discovered while performing red-hot Spanish dance numbers with her father at Agua Caliente, Rita Hayworth would become one of Hollywood’s most prominent movie stars and sex symbols. Her roles in Gilda and TheLadyfromShanghai and her dance partnership with Fred Astaire in YouWereNeverLovelier and You’llNeverGetRich showcased her dual talents as actress and dancer. But when Rita met Prince Aly Khan on the Riviera in 1948, she was swept off her feet by his charm and good looks. The son of the Aga Khan, Aly was one of the world’s leading Thoroughbred owner-breeders. When they married, Aly gave Rita several horses, including Double Rose, who finished second in the 1949 Prix de l’Arc de Triomphe. The marriage quickly unraveled, and Rita returned to Hollywood and her adoring fans.
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Testa, Bart. "Dante and Cinema: Film across a Chasm." In Dante, Cinema, and Television, edited by Amilcare Iannucci. University of Toronto Press, 2004. http://dx.doi.org/10.3138/9781442673700-014.
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Kahn, Richard J. "**112** Chap. 8. [marked Chap. 7 in MS.]." In Diseases in the District of Maine 1772 - 1820, edited by Richard J. Kahn. Oxford University Press, 2020. http://dx.doi.org/10.1093/med/9780190053253.003.0013.
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Barker states that he would “hereafter describe these cancerous affections;” the remainder of this chapter is devoted to cases of anasarca, ascites, and dropsy. Cancer is discussed in chapter 9. Barker describes a number of patients who were amassing fluids and the assumed causes, such as the use of “ardent spirits” by a fifty-year-old seaman and, in the case of Mrs. Bangs of Gorham, of being “a violent dancer among the Shakers.” A case of anasarca associated with blindness is detailed. Treatments include tapping, bloodletting, and after writing Hall Jackson in Portsmouth, New Hampshire, the use of the latest treatment, digitalis (foxglove), within a year of William Withering’s publication on foxglove in Birmingham, England 1785.
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Dirksen, Rebecca. "The Konpa President’s Government on Parade." In After the Dance, the Drums Are Heavy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190928056.003.0005.
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Returning focus to the political realm, this chapter demonstrates how Martelly campaigned on a populist platform and used his musical skills to guide his path to office by employing polemics and a politics based on carnivalesque festivities and parties. On becoming Haiti’s president, Martelly reinstituted the Carnaval des Fleurs that had been popular during the Duvalier regime, which offered the public a second chance at celebrating carnival each year. Martelly, like Duvalier, proved himself adept at using carnival, and large public musical displays, as a distraction for the population from politics. During the run-up to his election, Martelly organized mega concerts with big-name celebrities to entice young people to his platform. Throughout his presidency, he maintained his flair for show business, which he would often bring to the political stage—sometimes vacillating between disarming charm and insult within the same appearance. This attribute gained him many admirers and many critics.
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Harker, Brian. "A Miracle of Racy Brilliance." In Sportin' Life. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197514511.003.0012.
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This chapter examines Bubbles’s historic portrayal of Sportin’ Life in George Gershwin’s 1935 Black “folk opera,” Porgy and Bess. The literature on that opera makes clear that Bubbles caused trouble during rehearsals, particularly by arriving late and mangling his part. But on opening night it was Bubbles who won the most enthusiastic plaudits from critics. Judging from their reviews (and from a brief home movie of him in rehearsal), Bubbles triumphed through the richness of his portrayal. As a seductive dope peddler, he combined evil and charm and wit and grace, sexual allure and drop-dead charisma. Crucially, he accomplished all this through a solo performance that consisted of dance moves from beginning to end. His celebrated turn as Sportin’ Life has come to be seen as legendary, as much a classic as the opera itself.
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Sullivan, Ceri. "Afterword." In Shakespeare and the Play Scripts of Private Prayer. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857310.003.0006.
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Prayer on stage might, at points, have been felt to be real. Private prayer was made in the wider context of a domestic performance culture, in which people sang, danced, played, and read aloud to each other. Such prayer was seen as a dialogue, not a charm, so, when it came to staged prayer, the actor and audience were primed to understand that God was listening with them to a character speak to him. Passages of solitary prayer would have got the same rehearsal, under the same conditions, as a real private prayer. A moment of prayer in a play lets actors revive a sense of the options open to their character (blocking out for the moment their knowledge of what subsequently happens), thus aiding the blending of actor into character. Prayer that is worded conventionally, in particular, may encourage audiences to respond as they do to such signals off stage.
Conference papers on the topic "Cham (Dance)"
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Li, Xiujia. "The Interpretation of Bonismo Cham Dance Posture in the Ancient Books." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.79.
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Liu Liu. "The recognition of the value of “Body Charm” teaching in the subject of Chinese classical dance." In 2011 International Conference on Computer Science and Service System (CSSS). IEEE, 2011. http://dx.doi.org/10.1109/csss.2011.5975002.
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