Relevant bibliographies by topics / Cham (Dance)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Cham (Dance)'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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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'c
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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
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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/tuo
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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 it
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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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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.

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Mckeon, Olive. "LABOR AND AESTHETICS IN EUROPEAN CONTEMPORARY DANCE: DANCING PRECARITY by Annelies Van Assche. 2020. Cham, CH: Palgave Macmillian. 293 pp. 7 b/w illustrations, 5 color illustrations. $109.99 e-book. ISBN: 978-3-030-40693-6." Dance Research Journal 53, no. 3 (2021): 90–92. http://dx.doi.org/10.1017/s0149767721000383.

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Dissertations / 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 notr
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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 sub
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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 p
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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
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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 que
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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 soc
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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 Üb
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Books on the topic "Cham (Dance)"

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Alessandra, Consonni, ed. 'Cham yig: Il libro tibetano delle danze. CLUEB, 2008.

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Alessandra, Consonni, ed. 'Cham yig: Il libro tibetano delle danze. CLUEB, 2008.

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France), Musée Guimet (Paris, ed. Au pays du dragon: Arts sacrés du Bhoutan. Réunion des musées nationaux, 2009.

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Tse, Bartholomew Terese, Johnston John 1968-, and Honolulu Academy of Arts, eds. The dragon's gift: The sacred arts of Bhutan. Serindia Publications, 2008.

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Rāẏa, Śāntanu. Tridhārāra chau. Pustaka Bipaṇi, 2007.

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Rosalind, Laker. To dance with kings. Bantam Books, 1990.

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Silva, Eliana Rodrigues. Dança e pós-modernidade. EDUFBA, 2004.

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Orovio, Helio. El danzón, el mambo y el chachachá. Editorial Oriente, 1994.

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Faure, Sylvia. Corps, savoir et pouvoir: Sociologie historique du champ chorégraphique. Presses Universitaires de Lyon, 2001.

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Association pour la promotion de la langue kenga. Kaagen k'to̳nd ge̳n daama se de̳na go̳tn ce̳n̳ge tu: Les instruments pour la danse de pays kenga. Association pour la promotion de la langue kenga, 2006.

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Book 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
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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 Rit
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"The Completion of the Percussion Family in the Orchestra (1926)." In Grainger on Music, edited by Malcolm Gillies, Bruce Clunies Ross, Bronwen Arthur, and David Pear. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166658.003.0021.

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Abstract The percussion family is the least complete in the orchestra. I do not refer here to more or less noisy instruments of fairly indefinite pitch, such as the snare drum, tenor drum, gong, cymbal, triangle, bass drum and so on, but to those instruments of definite pitch which are capable of melody and harmony, such as the xylophone, glockenspiel, large bells, dulcitone, celesta, piano, kettle drum, ‘nabimba’, tubular bells and others. The brilliant experiments of various earlier and recent composers (the celesta in Tchaikovsky’s Nutcracker Suite, the xylophone in Saint-Saens’ Danse Macab
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Siddiqui, Aisha, Ross Shegog, and Zuhair Siddiqui. "Culture of Health – Advancing Together." In Innovations in art and health. University of Houston Libraries, 2025. https://doi.org/10.52713/cxmw8739.

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Culture of Health – Advancing Together (CHAT) is a non-profit organization in the Gulfton community of Houston, Texas. CHAT integrates newly arrived immigrant and refugee youth and families into a new life in America. CHAT uses art as a vehicle to respond to immigrant and refugee needs at individual and community levels. This chapter describes the CHAT story, its history and mission, challenges to immigrant and refugee integration for youth and families, and how CHAT has responded to these challenges with arts and culture-based programs designed to engage, educate, train, and inspire. CHAT pro
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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 u
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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 po
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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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Nastas, Natalia, Valeriu Filipov, Igor Arsene, and Ecaterina Lungu. "The methodology efficiency of intensifying the instructional-educational process in the physical education lessons with the help of functional music in doing homework." In The International Scientific Congress "Sports. Olimpysm. Health". SOH 2023. 8th Edition. The State University of Physical Education and Sport, 2025. https://doi.org/10.52449/soh23.38.

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Actuality. The musical support becomes a beneficial and rational factor for carrying out the motor activity. Positive emotions as a result of using music in the activity carried out contribute to a large extent to avoiding the feeling of overfatigue, conditioning the increase in work capacity. The use of functional music as a psycho-pedagogical factor requires students to possess an artistic sense, but also a special training of the physical education teacher. The teacher must be competent in the selection of exercises, music, sports inventory (gymnastics rope, hoop, various weight objects, st
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