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Journal articles on the topic 'Contemporary dance'
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1
Hawthorn, Ainsley. "Middle Eastern Dance and What We Call It." Dance Research 37, no. 1 (May 2019): 1–17. http://dx.doi.org/10.3366/drs.2019.0250.
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This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly dance’ was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.
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Gailīte, Elīna. "Tautas deju definēšanas problemātika mūsdienās Latvijā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 94–104. http://dx.doi.org/10.37384/aplkp.2021.26-2.094.
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The article “Problems of defining folk dance in Latvia today” examines the aspects that affect the current situation in Latvia, where folk dances are understood as both folk dances that have not been modified by choreographers, dances passed down through generations that can be danced every day, and stage folk dances, which are a type of art performed by folk dance ensembles, created by choreographers and dances adapted to the stage performance. The research aim is to identify and describe the problems that currently exist in the Latvian cultural space, where the definition of folk dances creates tension in the public space and ambiguous opinions among dancers. Nowadays, it is possible to identify such concepts as, for example, folk dance, ethnographic dance, authentic dance, traditional dance, folklore dance, folk dance, folk dance adaptation, field dance, folk ballet, etc. Consistent use of concepts is rarely seen in the documents and research of cultural policymakers and the historical and contemporary works of choreographers and researchers. Often they are only described in general terms. A survey conducted in 2019 shows that dancers consider stage folk dances to be folk dances, and often this separation of dances is not important for them. Another problem is the designation of folk dance ensembles where stage folk dance dancers are dancing. The term misleads; it suggests that folk dances are danced there. However, this designation is linked to its historical time of origin. It is not insignificant that the stage folk dance is more popular, more visible, and massively represented at the Song and Dance Festival. Thus, a part of the society associates it with our folk dances.
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Pype, Katrien. "Dancing for God or the Devil: Pentecostal Discourse on Popular Dance in Kinshasa." Journal of Religion in Africa 36, no. 3-4 (2006): 296–318. http://dx.doi.org/10.1163/157006606778941968.
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AbstractThis article studies the dance poetics and politics of Christians in contemporary Kinshasa. For Kinois (inhabitants of Kinshasa), dance is one of the most important technologies to get in touch with an invisible Other, the divine or the occult. In sermons, and other modes of instruction, spiritual leaders inform their followers about the morality of songs and dances. These discourses reflect pentecostal thought, and trace back the purity of specific body movements to the choreography's source of inspiration. As the specific movements of so-called sacred dances borrow from a wide array of cultural worlds, ranging from traditional ritual dances and popular urban dance to biblical tales, the religious leaders state that not just the body movements, but also the space where people dance and the accompanying songs, define the Christian or pagan identity of the dancer. Therefore, both the reflections upon dance movements and the dance events within these churches will be discussed as moments in the construction of a Christian community.
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Vionnet, Claire. "Auto-Ethnography of Engagement Through Dance." TSANTSA – Journal of the Swiss Anthropological Association 27 (April 5, 2022): 78–93. http://dx.doi.org/10.36950/tsantsa.2022.27.7770.
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This paper proposes a reflection on collaboration through dance. Drawing on ten years of fieldwork within the Swiss contemporary dance scene, the author, an anthropologist, dance scholar, and dancer, discusses her ethnographic practice, method, and writing inspired by collaborative anthropology. The first part of the paper advocates for dance as a practice-based research method, and for auto-ethnography to convey anthropological knowledge in a more accessible way. Research-creation is claimed to particularly suit sensorial topics, tending toward symmetrical relationships between anthropologists and fieldwork interlocutors. Drawing on an applied anthropological project using djembe dances for better social cohesion, the second part of the paper shows one possible engagement with society through dance practice. Generating intimacy and misconceptions, the project Kunda emphasizes how dance can become a laboratory to learn and negotiate intercultural differences.
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Abakporo, Princewill C. "Dance and content issues: implications for contemporary indigenous dance in Nigeria." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 72–82. http://dx.doi.org/10.4314/ejotmas.v7i1-2.5.
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Many traditional dances have witnessed downturn in patronage to occasion academic debates geared towards reviving interest in indigenous performances and live theatres in Nigeria. It is within this context that this article closely look at content issues in Nigerian indigenous dance from a diachronic perspective and observed that the seeming dwindling patronage for certain Nigerian indigenous dances is as a result of the inability of indigenous dance creators and performers to package indigenous dance products to reflect popular tastes in contemporary times. Also, it is observed that content issues in art are indicators that human society is constantly in a state of flux and that as humanity responds to these changing realities; art must do the same to remain relevant to the society within a particular period. Drawing on this, the study concludes that Nigerian indigenous dance space could be enlivened when its contents are at par with dominant societal realities and respond to prevailing societal conditions within the time of its creation while retaining its structures and form as a cultural document for the people. It recommended that the approach, packaging, and performance of indigenous dances from formalist and philosophical aesthetic consciousness will aid in the malleability of traditional dance contents to satisfy changing societal and audience needs.
Keywords: Traditional dance, Indigenous dance art, Nigeria Content issues, Patronage
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Katrak, Ketu H. "Toward Defining Contemporary Indian Dance: A Global Form." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 129–39. http://dx.doi.org/10.1017/s2049125500000613.
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This essay explores innovations in contemporary Indian dance based in classical Indian dance, martial arts and Western dance vocabularies. Who is making change and how does change work? I delineate the parameters of contemporary Indian dance as a genre (since the 1980s) and distinguish it from Bollywood style “free” dance. I analyze the creative choreography of one prominent contemporary Indian dancer, Chennai (India) based Anita Ratnam. Ratnam's signature style, evoking the “feminine transcendental,” is rooted in Indian aesthetic along with a pan-Asian scope. Ratnam's over twenty-year dance career of solo, group, and collaborative work, along with pioneering artist, Astad Deboo, serve as role models for second-generation contemporary Indian dancers such as Los Angeles–based Post-Natyam Collective's movement explorations, among other dancers based in the diaspora.
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Nowak, Tomasz. "The Importance of the Collection of Oskar Kolberg for Contemporary Choreological Studies." Musicology Today 11, no. 1 (December 1, 2014): 13–22. http://dx.doi.org/10.2478/muso-2014-0011.
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Abstract The mainstream fields of Polish dance research were defined in 1818–1847 by Józef Elsner, Kazimierz Brodziński, Łukasz Gołębiowski and Karol Czerniawski, who broadly characterized some elements of the dances considered as national (the polonaise, mazur, krakowiak and kozak). Oskar Kolberg knew very well the works of all these authors and referred to them many times. However, he was unique in his extensive documentation of dance melodies, information about their geographic origin, and local terminology. He also characterized the dances with regard to their sequence in the traditional context and described the dance technique in an instructive manner. Oskar Kolberg’s documentation for quite a long time remained outside the scope of mainstream research and publications about dance in Poland. In the 1930s Polish representatives of the newly defined field of ethnochoreology were the first to include examples from Kolberg in their works on the ritual dances, regional dances and characteristic dance behaviour types and forms. Kolberg’s works increased in popularity after the World War II. Today the materials left by Oskar Kolberg allow us to establish to a large extent the geographic range and perspective on the changes of dance repertoire, both with regard to choreographic technique and dance types, or a more detailed and critical perspective on the problems of folk terminology in dance phenomena. It may also serve as the point of departure for wider retrospective or comparative studies – which may not be very fashionable today, but which have never been adequately conducted in Poland.
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Buchanan Murray, Melonie, and Steven Ross Murray. "The performance of gender in American dance." Journal of Kinesiology & Wellness 6, no. 1 (August 13, 2019): 4–11. http://dx.doi.org/10.56980/jkw.v6i1.15.
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With kinesiology defined as the study of human movement, then dance, as one of the oldest forms of physical activity, should be considered. Dance permeates contemporary American culture—from social dancing, to community dance studios, to popular television shows. Dance scholars and cultural theorists agree that the way a society dances elucidates cultural values. If we accept the notion that a culture’s dances reflect the values of that culture, then a scrutiny of American gendered dance practices is warranted. Contemporary society views gender differently than the societies of the socio-historical context in which common Western dance genres, such as classical ballet, were born and developed. By highlighting ways that most dance training reinforces gendered codes of behavior, this paper contributes to discourses surrounding the evolution of dance in America and evolving notions of gender, while also providing a lens that might be applied to a multitude of physical practices.
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Ramadanova, Zhanna, and Şahin Filiz. "ANTIQUITY'S PHILOSOPHY AS A METHODOLOGY FOR CONTEMPORARY DANCE SCHOLARSHIP." Central Asian Journal of Art Studies 10, no. 3 (October 5, 2023): 115–31. http://dx.doi.org/10.47940/cajas.v10i3.740.
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Abstract. The art of antiquity, including dance, has long captivated human fascination with its timeless perfection, leaving an indelible mark on contemporary art. This influence is evident in the scholarly pursuits of those studying ancient Greek history. Dance held a significant position in ancient Greek life, as attested by surviving artifacts such as sculptures, reliefs, depictions on Greek vessels, and a wealth of written sources. Renowned philosophers, historians, and writers of antiquity, including Socrates, Plato, and Lucian, paid heed to dance as an art form. Even the epic poems of Homer, the "Iliad" and the "Odyssey," mention various forms of dance more than 20 times. Today, more than 300 types of Greek dances can be counted, and according to some sources, "there are more than 10,000 traditional dances that come from all regions of Greece." As research methods, the author uses an analytical review of surviving artifacts and ancient written sources, testifying to the important role of the art of dance in the life of the ancient Greeks. The author also made an analysis of the literature, which testifies to the important role of art, including dance in ancient Greece, which to this day has a huge impact on the development of modern art of choreography. And the “Apollonian” (conscious) logical and “Dionysian” (unconscious) free creative beginnings in art, which are widely discussed today, also originate from ancient Greek art. The author also emphasizes the epistemological significance of dance education and advocates for the revival of the classical tradition of mandatory dance instruction in schools.
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Jacob, Oluwafemi. "Contributions of Maltina Dance Reality Show to Dance Practice in Nigeria." NIU Journal of Humanities 8, no. 4 (December 31, 2023): 277–82. http://dx.doi.org/10.58709/niujhu.v8i4.1863.
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Dance involves the totality and living experience of man from the prehistoric times till date. It was part of all his daily activities such as his work, communication and even in his worship of the gods and ancestors (Nigeria inclusive). To this extent, the Nigeria dance practice has developed greatly even in the face of multi ethnicity as it has given birth to various indigenous dances. These indigenous dances have also been the raw materials to every form of contemporary dances that has emerged over the years. Diverse platforms have also surfaced to help sustain Nigerian dances such as National Arts Festival (NAFEST), Nigeria University Theatre Arts Festival (NUTAF) and the trend of dance reality shows that has been the order of the day within recent times in Nigeria. An undoubted reality television show that has done greatly in the sustainability of Nigerian dances is Maltina Family Dance All Reality Television Show. The functionalist theory of dance is used to unveil the reality show which has been able to adjust to bridge the gap between the prehistoric era and the contemporary or modern era by using technological advances to keep the dance practice in shape. This research will examine Maltina Family Dance All Reality Television Show within the context of dance praxis and the immense contributions to dance practice and sustainability in Nigeria with a view to how it has put Nigeria indigenous dances to practice since the inception till date in the face of globalization and industrialization. It will conclude that the dance reality show has provided dance practitioners both with dance repertoires and engagement with diverse indigenous dances as well as rewards both as individuals and as professionals. Keywords: Dance, Dance Reality Show, Dance Art / Practice, Maltina Dance All Family Reality Television Show.
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Chu, Xinying. "Analysis of Chinese Contemporary Theme Dance from the Perspective of Ecological Aesthetics." International Journal of Social Sciences and Public Administration 2, no. 2 (March 18, 2024): 288–92. http://dx.doi.org/10.62051/ijsspa.v2n2.40.
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Ms. Yang Liping is a famous dancer and a national first-class actress. She is famous for peacock dance and known as "Peacock Princess". Ms. Yang Liping has many outstanding representative works, such as female solo dance "Spirit of the Bird", dance drama "Yunnan Image" and so on. Among them, the dance "Spirit of the Bird" won the gold medal of Chinese classic dance works in the 20th century. This article mainly analyzes the form and content of the dance "Spirit of the Bird" from the perspective of ecological aesthetics.
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Kimani, Gabriel Thuku. "Negotiating contemporary issues through cultural creative dance expressions." Journal of Music and Creative Arts (JMCA) 1, no. 1 (December 9, 2022): 25–34. http://dx.doi.org/10.51317/jmca.v1i1.318.
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This study sought to negotiate contemporary issues through cultural creative dance expressions. The study delves into the techniques of dramatisation in the dances, contextualised in their cultural and creative contexts. The synthesis of these concepts was propped on aesthetic theory, semiotics and discourses on African performance for the description of style, themes and messaging. The study was framed on qualitative design to analyse purposively sampled cultural creative dances on various chosen themes and cultures. Primary data included data observed in the sampled dances as well as unstructured interviews. Secondary data was gathered from books, journals, articles and online publications. The data was analysed using content analysis. The study finds that, indeed, a cultural creative dance performed in the Kenya Schools and Colleges Drama Festival tackle various themes that are derived from various issues the Kenyan society is grappling with. The study findings also note that the artist has a central role in bringing issues to the fore and affirms the cultural creative dance as a powerful and enduring platform for ruminating on societal concerns. In conclusion, the cultural creative dance, as the foregoing discourse elucidates, is a potent, lively and well-grounded mode of communicating and discussing the issues in the hearts of individual citizens and the nation at large.
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Jonīte, Dita. "Laikmetīgā deja: jēdziena definēšanas problēma Latvijā." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums 27 (March 10, 2022): 174–84. http://dx.doi.org/10.37384/aplkp.2022.27.174.
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1996, when dancer and choreographer Olga Žitluhina established her own “Olga Zitluhina Dance Company”, is considered to be the beginning of contemporary dance movement in Latvia. In 1999, upon Olga Žitluhina’s initiative, a Modern Dance Choreography study program was established at the Latvian Academy of Culture (LAC). In 2004, the first full-time dance performance “When the Owl’s Tail Will Blossom...” was staged. Nevertheless, only in 2007, professionals of the dance industry came to a decision that this new genre could be defined as contemporary dance. Development of contemporary dance has been a significant part of wider processes in Latvian contemporary art since the 1990s, as Ieva Astahovska stated, “with languages and strategies, paradigmatically different from the previous ones in the local context, entering it consistently and in a highly principled way” (Astahovska 2010: 14). Since that, contemporary dance has developed from a small group of enthusiasts into a dynamic and diverse professional community. Professionals of the field have studied in LAC, while some of them have also developed their activities within an international context by studying or working abroad, participating in international projects, etc. The common school, of course, helps to define the boundaries of Latvian contemporary dance more clearly. At the same time, contemporary art, and contemporary dance as a part of it, is a synthesis of global and local processes, aesthetics and means of expression of different arts. It is open to different artistic, political, and social processes. Therefore, the concept of contemporary dance is often extended also to amateur art and popular culture. This, in turn, makes professional artists look for alternative concepts and definitions for their research and artistic activities (such as the art of movement, etc.).
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Rowe, Nicholas. "Post-Salvagism: Choreography and Its Discontents in the Occupied Palestinian Territories." Dance Research Journal 41, no. 1 (2009): 45–68. http://dx.doi.org/10.1017/s0149767700000528.
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While researching dance within the Occupied Palestinian Territories, comments made by the choreographers of local performance troupes resonated in my mind because they exemplify how foreign hegemony controls notions of modernity. The first was a lament: “But can't they understand that this is our contemporary dance?” It followed the rejection of the group's application to a European contemporary dance festival, on the basis that their dance production was not contemporary enough and that it would be better suited to a folkloric festival. For those engaged in creative innovation in dance, this rebuke can feel like being sent to a home for the elderly: packed off to a place where everybody dances in circles, reminiscing about the glorious golden past of their own particular civilization. The second comment cropped up in numerous conversations with local dance practitioners and audiences: “I don't like the modern dance.” This comment was generally directed at any foreign or local dance production that did not fit within nostalgically imagined impressions of dance in times gone by.
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Indrayuda, Indrayuda. "TARI TRADISIONAL DALAM RANAH TARI POPULER: KONTRIBUSI, RELEVANSI, DAN KEBERLANJUTAN BUDAYA." Humanus 14, no. 2 (November 30, 2015): 144. http://dx.doi.org/10.24036/jh.v14i2.5680.
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Recent development of dance performance is not only esthetical and artistic; it has improved farther along with social cultural changes and economic development, which is supported by the scientific and technological changes that have encouraged the improvement of the art and knowledge about dances. In choreographic learning in academic environment, the arrangement pattern in choreography is not limited to the conventional that the consequence of movement, but also a media for criticism and expression of the artists. Currently dance does not belong to certain tradition of a community but to individuals. The individual belonging of the dance is widely known as popular dance, both monumental and contemporary dance. In Indonesia, both monumental and contemporary popular dances tend not to be detached from their traditional idiom or spirit in their cultural choreographic background, even all of their arrangement source stems from traditional kinesthetic dance. This phenomenon becomes a new trend in dance creation and dance choreographic learning in Indonesia, many of which are developed by art academicians, art studios and workshops.
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Azaglo, Alex Kwasi, Alice Korkor Ebeheakey, Benjamin Quarshie, and Prosper Kwaku Asiedu. "Conceptualizing the stylistic body movements in contemporary Ghanaian dances as performance art form." Journal of African History, Culture and Arts 2, no. 1 (April 25, 2022): 61–74. http://dx.doi.org/10.57040/jahca.v2i1.104.
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This paper attempts to conceptualize the stylistic body movements in contemporary Ghanaian dances through the aesthetic lenses of performance art. The expressiveness of performance art forms is frequently praised for the emotions we have toward them. These feelings are derived from the symbolic connotations and functionalities of the arts in life. Through an exploratory design of qualitative inquiry, the researchers focus on a contextual dialogue on the aesthetic visual presentations of selected contemporary Ghanaian dances as performance art forms. The critical content analysis of music videos was espoused to examine the stylistic body movements and gestures coded in some contemporary Ghanaian dances such as Azonto, Twerking, Kupe, Pilolo and Shoo as part of an empirical artistic study. Instruments for data collection were observation, document analysis and photography for the contextual visual content analyses grounded in semiotic and aesthetic theoretical discourse. This study again relied heavily on secondary data from recorded communication including music videos, books, transcripts, websites, newspaper articles, journal articles and the like to make objective inferences. The findings indicate that dance is the communication that occurs via the conduit of the dancer's body that ruptures individuals' independent existence and generates a sense of finitude. Whereas some of the dances make aggressively erotic visual statements, others are mere expressive gestural and body movements to simply entertain a targeted audience. The result further shows that, the contemporary Ghanaian dance performances transcend beyond mere entertainment but rather are an embodiment of body language emerging from the indigenous dance symbolisms. Teaching learners to perceive visual aesthetic qualities and symbolic interpretations in dance performances will deepen the appreciation of Ghanaian dance performances not just as entertainment but as another medium for expression to transmit their inherent messages. It is suggested that, these dance forms should be formalized as indigenous knowledge in a quest to blend tradition with modernity in our creative endeavours. This knowledge should be propagated through creative arts education in Ghanaian schools. Other performance art components displayed in contemporary Ghanaian dances including body painting, facial expressions, costumology and fashion accessories present another lacuna for further research by future researchers. Key words: aesthetics, dance, therapy, performance art, body, movement
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Cusack, Carole M. "The Contemporary Context of Gurdjieff’s Movements." Religion and the Arts 21, no. 1-2 (2017): 96–122. http://dx.doi.org/10.1163/15685292-02101004.
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The “sacred dances” or “Movements” were first revealed by George Ivanovitch Gurdjieff (c. 1866–1949) in 1919 in Tiflis (Tblisi), the site of the first foundation of his Institute for the Harmonious Development of Man. The proximate cause of this new teaching technique has been hypothesized to be Jeanne de Salzmann (1889–1990), an instructor of the Eurhythmics method of music education developed by Émile Jaques-Dalcroze (1865–1950). Jeanne and her husband Alexandre met at Jaques-Dalcroze’s Institute at Hellerau in 1913, and became pupils of Gurdjieff in 1919. It was to her Dalcroze class that Gurdjieff first taught Movements. Esoteric systems of dance and musical education proliferated at the time. Gurdjieff was deeply interested in music, theater, and art. When Pyotr Demianovich Ouspensky (1878–1947) met him in 1915 he spoke of dances he had seen in Eastern temples, and was working on a never-performed ballet, The Struggle of the Magicians. This article argues that body-based disciplines introduced by esoteric teachers with Theosophically-inflected systems are a significant phenomenon in the early twentieth century and that Gurdjieff’s Movements, while distinct from other dance systems, emerged in the same esoteric melting-pot and manifest common features and themes with the esoteric dance of Rudolf Steiner, Rudolf von Laban, Peter Deunov, and others.
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Diana V., Schultz. "Modern Dance in the Digital Space: A Screen Dance in the Context of the COVID-19 Pandemic." Humanitarian Vector 16, no. 2 (April 2021): 97–102. http://dx.doi.org/10.21209/1996-7853-2021-16-2-97-102.
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Modern dance is developing in the face of new threats and opportunities. Like any other social phenomenon, it is affected by external conditions that can affect its content, development and forms. The COVID-19 pandemic has become the most global condition in recent times, the impact of which has become tangible for all spheres of society. Like other branches of art, Contemporary Dance was put into new conditions, which led not only to negative consequences but also caused a surge in the use of information technologies to bring the results of creative research to the viewer. It was the pandemic conditions that contributed to the intensive development of new forms of interaction between the professional choreographic community and the new stage of the development of the screen dance as one of the forms of Contemporary Dance. The article is devoted to the impact of the restrictive conditions of the pandemic on the development of contemporary dance and its form such as a screen dance. We analyzed the few available approaches to determining the essence of a screen dancer, as well as the experience of choreographers in creating dance performances in conditions of self-isolation. The research is based on the analysis of the scientific literature covering problems of development of modern dance and screen dance in the conditions of COVID-19 pandemic. We concluded that representatives of the professional community of choreographers were able to use the conditions of self-isolation to implement new creative ideas, and the screen dance became more popular. Keywords: contemporary dance, screen dance, digital space, pandemic
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Njaradi, Dunja. "Rethinking participation through dance: A historical-theoretical intersection." Bulletin de l'Institut etnographique 70, no. 2 (2022): 199–215. http://dx.doi.org/10.2298/gei2202199n.
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The paper deals with the idea of participation or community in dance. The idea of community has become key in contemporary discussions about the globalization of contemporary societies, and dance has a large share in the reflections of these global processes. Dance also has a very long tradition of community thinking. From this long and rich tradition, this paper will point out the ways in which the idea of community is reflected in social and artistic dances, pointing out both concrete dance forms and theoretical concepts, ideas and practices. Of the dance forms, the paper will discuss the tango pair dance, the flash mob dance-gathering form as well as the contact improvisation developed within postmodern dance. Of the theoretical and philosophical settings that underpin discussions of community in dance studies, the paper will discuss the concept of kinesthesia or ?kinesthetic empathy?, ?mirror neurons? in neuroscience as well as philosophical reflections on affect.
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Kwan, SanSan. "When Is Contemporary Dance?" Dance Research Journal 49, no. 3 (December 2017): 38–52. http://dx.doi.org/10.1017/s0149767717000341.
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This article interrogates the multivalent understandings of the term “contemporary dance” in concert, commercial, and world dance contexts. I argue that placing multiple uses of the term “contemporary” alongside one another can provide insight into the ways that “high art” dance, popular dance, and non-Western dance are increasingly wrapped up with each other and, at the same time, the ways that their separations reveal our artistic, cultural, and political prejudices, as well as the forces of the market.
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Aldor, Gaby. "The Borders of Contemporary Israeli Dance: “Invisible Unless in Final Pain”." Dance Research Journal 35, no. 1 (2003): 81–97. http://dx.doi.org/10.1017/s0149767700008780.
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When Vertigo, an Israeli dance company, performed in collaboration with the English Ricochet dancers, there was one dance on the stage—one choreography—but the audience saw two different modes of movement. The English dancers were learned, elegant, arms and feet drawing long lines in space, the feet articulate. The Israelis danced with a powerful thrust, extremities loose, with total commitment and daring, their movements leaving in space traces of explosions too fast to recollect rather than spirals of continuity. How did this mode of movement develop? What is “Israeli” about Israeli dance?In this essay I offer a brief history of concert dance in Israel, then a largely descriptive account of choreographic and motional themes that distinguish contemporary Israeli dance. My descriptions of works by contemporary Israeli choreographers Jasmine Goder, Ronit Ziv, Anat Danielli, Shlomi Bitton, and Noa Dar are drawn mostly from observation of performances held during yearly Curtain Up festivals at the Suzanne Dellal Center for Dance and Theater in Tel Aviv. I also discuss works by Inbal Pinto, Rami Be'er, Nir Ben-Gal and Liât Dror, and finally, Ohad Naharin, artistic director and choreographer of the Batsheva Dance Company.
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Delfour, Jean-Jacques. "De la nudité en danse." Figures de l'Art. Revue d'études esthétiques 4, no. 1 (1999): 559–80. http://dx.doi.org/10.3406/fdart.1999.1223.
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«Nudity in contemporary dance » In French contemporary dance, nudity ha s recently become a meaningful chorégraphie theme. It caused a scandal. In fact, its social status is complex. Analysis shows it is marked by noticeable polysemy from an historical political cultural and a esthetical point of view. It can mean everything but also its opposite. As the arts have their own autonomy, nudity in art takes on only the meaning determined by the work of art and accepted in the given period. Indeed, the experiences of Body Art have opened up contemporary dance to nudity. This development is not simply the effect of the other arts, but also a development of modem dance. The awareness that it is a show changes the perception of nudity into an aesthetical form, like in the other arts. The dance movement «dresses » the nude dancer and changes nudity into a sign, an idea, or an aesthetical feeling.
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Vevar, Rok, and Irena Z. Tomažin. "Dance, voice, speech, sound." Maska 36, no. 203 (September 1, 2021): 71–84. http://dx.doi.org/10.1386/maska_00075_1.
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This text is part of a research collection of examples that we selected for the workshop On Voice and Dance for the European Dancehouse Network at the international contemporary dance festival CoFestival 2020 together with Irena Z. Tomažin, a dancer, experimental musician and choreo-vocalist, who has given the contemporary dance community in Ljubljana some excellent performances in this field, in which the body and the voice posed a series of puzzling problems for us. The text is a selective outline of the topics at hand, it goes into the history of contemporary dance, cites some fundamental reference articles and books, to which many others could certainly be added. It focuses on selected aspects of choreo-vocalistics, the sound of the body and choreographies, and aims to use this material to inform further research with the help of considerably more ambitious thinkers. Last but not least, it is a product of last year’s CoFestival curatorial topic, The Amplifiers of Voices, with which we wanted to give some attention to the silenced voice of contemporary dance in a pandemic situation with empty stages. This article has no illusions that it could capture and address the topic in its immense complexity and comprehensiveness, and we apologize to the dancers we have unintentionally omitted in our treatment.
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Gerdes, Ellen. "The Role of Technique in Dance Education: The Example of Tsoying High School, Taiwan." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 216–27. http://dx.doi.org/10.1017/s2049125500001138.
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Through questionnaire data, the dance students at Tsoying High School in Taiwan offer an important perspective on dance technique. Engaging with Melanie Bales's concept of the “eclectic” body in American contemporary dance practices, I explore both the historical underpinnings and the students' experience of a Taiwanese curriculum that focuses on ballet, modern dance, and Beijing opera movement. Our conceptions of dance technique and their related pedagogies not only affect the dancer but also affect the integration of dance technique with the rest of the dance field and, subsequently, the role of dance in the greater culture.
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York-Pryce, Sonia. "A body of work." Dance, Movement & Spiritualities 6, no. 1-2 (July 1, 2020): 133–53. http://dx.doi.org/10.1386/dmas_00007_1.
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This article examines the paradigm of ageing regarding older professional dancers who prolong their careers, challenging the normative standards set down in western dance culture. With interest gaining momentum in introducing dance to an ever-increasing ageing population, it seems ironic that the older professional dancer continues to be undervalued or often invisible. The established aesthetics that persist within classical ballet, but less so within contemporary dance, supports the rejection of the bodies of these disenfranchised dancers, who embody a palimpsest of lived danced experience. It is undoubtedly an example of corporeal politics, the lack of exposure of seeing older dancers performing, a loss of identity tempered with the dilemma of the acceptance of youth and intolerance of decline. The aim is to acknowledge through film documentation and interviews the artistry these older dancers embody and to commend the positives surrounding ageing.
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Shitandi, Wilson, and Mellitus Nyongesa Wanyama. "The Challenges of Application of African Traditional Dance for Contemporary Educational Relevance." PAN African Journal of Musical Arts Education 1, no. 1 (December 30, 2014): 61–73. http://dx.doi.org/10.58721/pajmae.v1i1.137.
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Students pursuing music degree courses in Kenyan public universities undergo dance instructions as part of their cognitive processes in learning traditional African music. The purpose of the dance courses is to enable students to practice, appreciate, preserve through performance and understand dance as a cultural identity in a modern educational context. Dances hitherto performed in specific cultural contexts are reconceptualised and situated into the classroom for instructional purposes thus raising fundamental questions regarding the effect/affect of reinterpretation processes that are inevitable. Through analytical and comparative procedures, this paper seeks to establish how various aspects, content, methodologies and performance practice of traditional African dances commonly taught at Kenyatta university are unearthed, interpreted, re-evaluated and integrated into new academic thinking yet remaining valuable and important source of cultural identity.
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Carroll, Sam. "Hepfidelity: Digital Technology and Music in Contemporary Australian Swing Dance Culture." Media International Australia 123, no. 1 (May 2007): 138–49. http://dx.doi.org/10.1177/1329878x0712300113.
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Since its revival in the 1980s, Lindy hop along with other swing dances has become increasingly popular with middle class youth throughout the developed world. Social dancing plays a central part in local swing dance communities, and DJing recorded music has become an essential part of social dancing. Marked by class and gender, DJing in swing dance communities is also shaped by digital technology, from the CDs, computers and portable media devices which DJs use to play digital musical files to the discussion boards and websites where they research and discuss DJing and the online music stores where they buy CDs and download music. This brief discussion of the preponderance of digital technology in swing dance DJing is part of a larger project considering the mediation of embodied practice in swing dance culture, and it pays particular attention to the ways in which mediated discourse in swing culture reflects wider social forces, yet is also subordinated by the embodied discourse of the dance floor.
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Varnacova, Eleonora. "The transformation and interpretation of Carmen’s image in contemporary sports choreography." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(44) (February 2024): 54–58. http://dx.doi.org/10.55383/amtap.2023.1.10.
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The novel Carmen by Prosper Mérimée and later the opera by Georges Bizet from the 19th century to this day serve as the basis for many works of various types and genres of art, including choreography. In the modern conditions of development, the sports dance, as a part of art and sport, is associated with current trends in the evolution of choreographic art. The sports dance is acquiring an increasingly bright aesthetic orientation, expanding the artistic possibilities of the choreographic language. Based on classical canons, using improvisation, the development of the personal style and manner of the dancer, the sports dance can open up new opportunities for the choreographic development, including in terms of involving classical plot themes. The relevance is also determined by the insufficient level of research into the problem of the development of the sports dance in the context of the modern development of choreographic art, the need to improve the training system, both for choreographers and sports dance performers.
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Krisnasari, Bening. "Keberagaman Busana Tari Gambyong: Konstruksi Sosial pada Busana Tari Gambyong di Yogyakarta." INVENSI 8, no. 1 (February 23, 2023): 31–41. http://dx.doi.org/10.24821/invensi.v8i1.7100.
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Tari Gambyong awalnya merupakan tari tunggal putri yang termasuk dalam tari tradisi gaya Surakarta. Pada perkembangannya, tari tunggal ini dapat ditarikan secara berkelompok, sehingga bisa menyesuaikan keinginan konsumen atau pun penyelenggara acara mengenai jumlah penari yang akan menarikannya. Tari Gambyong sering dijadikan sebagai pentas paket para seniman karena tari Gambyong sering ditarikan untuk pembukaan sebuah acara seperti gala dinner, penyambutan tamu, dan sebagainya. Maka tari Gambyong dapat digolongkan sebagai pertunjukan komersial karena dapat dipentaskan di acara besar maupun kecil. Karena sering dipentaskan pada berbagai acara, permintaan pada busana tari Gambyong pun bermacam-macam untuk menyesuaikan bentuk acara, sehingga terjadi keberagaman bentuk busana tari Gambyong pada masa kini. Artikel ini secara khusus membahas keberagaman bentuk busana tari Gambyong masa kini yang dipengaruhi oleh realita sosial, baik secara sengaja maupun tidak sengaja. Diversity of Gambyong Dance Dress: Social Construction on Gambyong Dance Dress in Yogyakarta Abstract Gambyong dance was originally a women's singles dance which was included in the Surakarta style traditional dance. In its development, this single dance can be danced in groups, so that it can adjust the wishes of consumers or event organizers regarding how many dancers will dance it. The Gambyong dance is often used as a stage for artists' packages because the Gambyong dance is often danced for the opening of an event such as a gala dinner, welcoming guests, and so on. So, the Gambyong dance can be classified as a commercial performance because it can be performed at both big and small events. Dances are often staged at various events, the demand for the Gambyong Dance dress also varies because it adjusts to the form of the event, so that there is a diversity of forms of the Gambyong dance dress today. This article specifically discusses the diversity of forms of contemporary Gambyong dance dress that are influenced by social reality, both intentionally and unintentionally.
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Chevrier-Bosseau, Adeline. "Dancing Shakespeare in Europe: silent eloquence, the body and the space(s) of play within and beyond language." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (March 30, 2020): 3–17. http://dx.doi.org/10.1177/0184767820914508.
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How does one dance Shakespeare? This question underpins this collection of six articles, which explore how choreographers have invested space and the playtext’s interstices to transpose them into ballet pieces – whether contemporary ballet, classical or neo-classical ballet, or works that fall under the umbrella term of contemporary dance. The authors delineate how the emotions translate into silent danced movement and highlight the physical, somatic element in music – beyond spoken language. Through the triple prism of dance, music and a reflection on silence, this special issue invites us to reconsider questions of embodiment, performance and eloquence in Shakespeare’s plays.
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Van Assche, Annelies. "Brussels and Contemporary Dance: Artistic Labor in a Creative City." Congress on Research in Dance Conference Proceedings 2016 (2016): 408–16. http://dx.doi.org/10.1017/cor.2016.54.
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Within my contribution, I present the research project “Choreographies of Precariousness. A Transdisciplinary Study of the Working and Living Conditions in the Contemporary Dance Scenes of Brussels and Berlin” (supervisors: Katharina Pewny, Rudi Laermans, Christel Stalpaert; UGent and KULeuven; sponsored by FWO). For this conference, I would like to concentrate on the specificity of the contemporary dance profession and to elaborate the landscape of working in Brussels.Working formats in contemporary dance revolve around internationalization, mobility, transnationalism, and collaboration. Contemporary dance therefore requires an appropriate social security system taking into account the specificity of the profession.Brussels attracts many foreign dancers, as it offers prominent training possibilities, and hosts several reputable companies and workspaces. Flanders has established a unique social security system for the performing arts professions; however I will elucidate where the system collapses when it comes to contemporary dance. I will demonstrate how dance artists question the working conditions they are confronted within Flanders by analyzing their performances of precaritiousness. Flemish dancer Benjamin Vandewalle uses his piece Co-Productie (2011) to advert to the socio-economic situation, through abruptly stopping his performance in the middle of the piece, clarifying to the audience that he will not continue since the Minister of Culture decided to downsize project subsidies in the middle of the season. He calls for the investment of 2,500 euros by the audience so he can finish the piece. The latter tactic can be seen as one of many ways dance artists are bound to work collaboratively against their precariousness.
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Desak, Suarti Laksmi. "CEREMONIAL SINGING: KIDUNG AS RELIGIOUS PRAXIS IN CONTEMPORARY BALI." Journal of the Institute of Oriental Studies RAS, no. 3 (21) (2022): 29–42. http://dx.doi.org/10.31696/2618-7302-2022-3-029-042.
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Kidung is Balinese ritual hymn or canticle, typically recited in a homophonic choir by a grop of local singers based on a pre-existing text to accompany religious celebrations. Selected lyric of kidung verse is deliberately recited for a number of ritual reasons. The role of kidung is to complete the ritual and religious celebration as the fifth Gita. The four related ritual gitas or sacred sounds include the sound of symbolic narrative forms (Swara Yantra Abinaya) of wayang puppetry, infused with edification and devine philosophy; the sound of Gamelan music accompanying temple dances (may it be a female Rejang dance, Makerab dance, Sutri, Pendet dance, or male Baris warrior dance, Sandaran dance, etc.); the sound of Kulkul wooden bell, and the sound of Veda / mantra incantation recited by the temple priest, who invariably leads the ritual ceremony. Kidung hymn and gamelan music together create Vadyagita. The dance and the mantra incantation together create Nertya Puja, which creates devine matrix of the on-going ritual ceremony. Almost no Hindu-Balinese religious ceremony (yadnya) is complete without kidung singing with lyrics drawn from Middle Javanese literature. Kidung is used for the panca yadnya (five ceremonies) namely: dewa yadnya (for god), bhuta yadnya (lower spirit), rsi yadnya (for priest), pitra yadnya (for ancestor), and manusa yadnya (for human), with the appropriate kidung text selection. This singing supports the solemnity of spiritual practice of singers and listeners, perfecting the ceremony as an offering of expressive communication.
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Jackson, Paul R. W. "Dorothy Madden (1912–2009), American Revolutionary. A Centenary Tribute." Dance Research 31, no. 2 (November 2013): 191–207. http://dx.doi.org/10.3366/drs.2013.0076.
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Dorothy Madden was an inspirational dancer, teacher, writer and choreographer; she studied with many of the great figures of American modern dance including Holm, Nikolais, Graham, Humphrey and Limón, and in particular Louis Horst, whose protégé she became. In the early 1960s she was invited to the UK by the Ministry of Education to introduce her approach to American modern dance into the British education system. As is noted in Valerie Preston-Dunlop and Luis Espana's film The American Invasion 1962-72, her work was seminal to the development of contemporary dance in the UK. Her students who include choreographers Rosemary Butcher, Sue Maclennan and Janet Smith as well as educationalists June Layson, David Henshaw and Stuart Hopps, helped shape British contemporary dance. This essay is based on interviews made with Madden in the late 1990s, research into her archive held at Trinity Laban, and interviews with her colleagues and students. It provides a historical overview of her work and explores her lasting, though largely forgotten, influence on the development of contemporary dance in the UK.
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Sun, Wenying. "Injuries in Contemporary Dance." Advances in Physical Education 10, no. 03 (2020): 282–92. http://dx.doi.org/10.4236/ape.2020.103023.
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Koo, Bome. "Intermediality of Contemporary Dance." Journal of Dance Society for Documentation & History 62 (September 30, 2021): 3–28. http://dx.doi.org/10.26861/sddh.2021.62.3.
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Kraigher, Amelia. "Movements in contemporary dance?" Maska 28, no. 159 (December 1, 2013): 3–4. http://dx.doi.org/10.1386/maska.28.159-160.3_2.
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Nelson, Matthew. "Polycentrism in contemporary dance." Journal of Dance & Somatic Practices 5, no. 2 (December 1, 2013): 155–68. http://dx.doi.org/10.1386/jdsp.5.2.155_1.
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Antonia, Alethia. "Decolonisation and contemporary dance." Studies in Theatre and Performance 44, no. 1 (January 2, 2024): 146–47. http://dx.doi.org/10.1080/14682761.2024.2342643.
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Ehrenberg, Shantel. "A Kinesthetic Mode of Attention in Contemporary Dance Practice." Dance Research Journal 47, no. 2 (July 27, 2015): 43–61. http://dx.doi.org/10.1017/s0149767715000212.
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In this article, original interview material, existing published accounts, and the author's own experience as a contemporary dancer are put in conversation to explicitly address a particular kinesthetic awareness, sensitivity, and curiosity valued and employed by a group of dancers in the practice of contemporary dance, which is referred to as a kinesthetic mode of attention. The research informing this article uses a phenomenological and sociological approach and discusses, in detail, what this mode of attending “is like,” how it is described in different ways by dancers, and how it might be developed and nurtured in training and working in the style of contemporary dance. An overarching aim of this work is to contribute to greater understanding and valuing of the nuances and particularities of kinesthetic intelligence in dance practices and to address the cognitive aspects of dancing.
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Srinin, Wathanan, Teerathorn Lamnaokrut, and Ikrar Genidal Riadil. "CONTEMPORARY INDONESIA-THAILAND ART DANCE: TEACHING MODEL FEMALE BASIC DANCE MOVEMENTS BY ANDROID-BASED MEDIA." PENSI : Jurnal Ilmiah Pendidikan Seni 2, no. 2 (September 30, 2022): 228–37. http://dx.doi.org/10.59997/pensi.v2i2.1822.
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This article reveals the findings from the analysis of data for developing a teaching approach of basic Thai Classical Dance based on the Bloom's three-sided learning theory for concept of teaching which consists of cognitive, affective, and psychomotor. The study also implements the concept of Skinner's type R to create the framework for study objectives and exercises of Basic Thai Classical Dance for students of the Department of Dance Education, Yogyakarta State University, Indonesia. The teaching approach of Basic Thai Classical Dance through process implementations on Model of Teaching. The Integration of Indonesia-Thailand Cultures in Female Basic Dance Movement through Android-Based Media on four steps: 1) Background knowledge on the Basic Dance for Women and Thai Culture, 2) Training of the Basic Dance for Women in Thailand, 3) Connecting the cognitive, affective, and psychomotor aspects and 4) Dancing with songs. Implementation of the Indonesian-Thai cultural integration learning model in the Thai Princess Basic Dance Movement through android-based media with applications. Students can gain cultural background knowledge and able to dance to songs in pairs with the basic elements of wiraga, wirasa, and wirana dances as well as in the context of Basic Thai Classical Dance for Women with effectiveness.
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OLACAK, MÜGE. "The Contemporary Dance Field in Turkey in the Twenty-First Century." Theatre Research International 44, no. 3 (October 2019): 308–10. http://dx.doi.org/10.1017/s0307883319000373.
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Based on my experiences and observations as a dancer, performer, researcher and culture manager, this article aims to shine a light on the performing-arts field, particularly on contemporary dance, in Turkey in the twenty-first century. Given the current political, social and economic shifts in Turkey, which have doubtless affected artistic practice and structures, it is important to draw attention to and explore the emerging players in the field of dance – dance institutions, producers, artists and audience. In addition, it is necessary to create awareness about the new generation's efforts to develop the field in relation to new organizational and partnership structures, shifting from a vertical hierarchy to autonomous and collective working models.
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LaFrance, Cheryl. "Theorizing Hybridity and Identity: The “Edge-Effect” and “Dynamic Nucleus” in Bharatanatyam-Inspired Contemporary Dances of Two Choreographers." Congress on Research in Dance Conference Proceedings 2012 (2012): 90–96. http://dx.doi.org/10.1017/cor.2012.11.
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Dancer-choreographer Nova Bhattacharya uses the ecological term “edge-effect” to describe her experience within the choreographic process where her bharatanatyam training and her contemporary dance creativity overlap to create a lingua franca. Hari Krishnan, dancer-choreographer and scholar, describes his work as “constantly ruptured” within his “post-post-modern experience.” This paper argues that the creative processes underlying the respective contemporary dance-making practices of Nova Bhattacharya and Hari Krishnan are cultural ecosystems demonstrating the rich dynamic of the edge-effect at the intersection of bharatanatyam and contemporary dance aesthetics and themes. Within the edge-effect, both reception and rupture occur as artistic identities evolve. Furthermore, reception and rupture occur within the performance venue as the performers' and audiences' worlds overlap—another negotiated edge-effect. While the ecological metaphor of the edge-effect helps to conceptualize these interactive spaces, the sociological metaphor of a “dynamic nucleus” (Lloyd Wong) helps us to theorize the nature and energy of the critically reflective exchanges occurring, between contemporary and bharatanatyam sensibilities, in both the studio and concert theater. The edge-effect and dynamic nucleus metaphors build on Homi Bhaha's concept of the “cultural interstices” within which individual and communal identities are initiated and culture is located. Additionally, these metaphors expand on Guillermo Gômez-Peña's theory of “multihybrid identities, in a constant process of metamorphosis” as today's “border-culture” becomes tomorrow's institutional art. This paper provides dance scholars with a way of conceptualizing the energy of dance as a cultural force influencing experiences of hybridity and identity for performers and audiences within intercultural contexts.
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Bayless, Martha. "The Fuller Brooch and Anglo-Saxon depictions of dance." Anglo-Saxon England 45 (December 2016): 183–212. http://dx.doi.org/10.1017/s0263675100080261.
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AbstractThe scattered nature of references to dance and the ambiguity of its vocabulary have obscured Anglo-Saxon dance practices, but evidence suggests that dance was a significant cultural phenomenon. The earlier centuries of the Anglo-Saxon period saw the depiction of weapon dances, and later sources also allow us a glimpse of lively secular dance. Performance traditions may have included dance combined with satirical songs, as well as possible secular ritual dance. Finally, scripture provided examples of both holy dance and lascivious female dance. Contemporary iconography of these dance practices, combined with continued associations between dance and music, allow us to understand the conventions in the depiction of dance, and in turn these suggest that the figure of ‘Hearing’ on the Fuller Brooch, traditionally regarded as running, is in fact dancing.
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Xavier, Renata. "Contemporary Dancers in São Paulo." Congress on Research in Dance Conference Proceedings 2016 (2016): 431–35. http://dx.doi.org/10.1017/cor.2016.57.
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History, memory, and testimony propose to expand the parameters of collaborative research in the field of dance. Part of dance history can be told by dancers’ testimonies. My research conducted during my post-doctoral studies (UNESP) had as a central theme: recording dancers’ narratives, as a source of dance documentation and as a possibility to broaden São Paulo's dance history. For more than two decades (1990–2015), these dancers have been active in São Paulo's and Brazilian's scene.
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Hong, Dou. "A Comparative Study of Dance Characteristics on Han Dynasty Portrait Stones in Nanyang and Shandong." Transactions on Social Science, Education and Humanities Research 5 (April 1, 2024): 566–76. http://dx.doi.org/10.62051/7rpb6t12.
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The Han Dynasty was a prosperous period in Chinese history, during which dance art also made significant advancements. This paper focuses on the study of portrait stones from the Han Dynasty, conducting a classification, comparison, and regional distribution analysis of dance images on Nanyang and Shandong portrait stones. By integrating historical literature, archaeological data, and contemporary dance theory, the paper reveals the characteristics of dance culture in different regions during the Han Dynasty and their geographical differences. The research finds that the dances depicted on Nanyang portrait stones exhibit distinct regional features, showcasing a vivid, natural, and simple folk dance style. In contrast, the dances on Shandong portrait stones are influenced by Confucian culture, displaying a more splendid and standardized character. These differences reflect the diversity of regional cultures and the flourishing of folk dance during the Han Dynasty.
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Obeghare Izu, Benjamin, and Alethea De Villiers. "DANCE AS CULTURAL LEDGER: THE VALUE OF DOCUMENTING INDIGENOUS AFRICAN DANCES." E-Journal of Cultural Studies 16, no. 4 (November 30, 2023): 15. http://dx.doi.org/10.24843/cs.2023.v16.i04.p02.
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This article explores the significance of documenting indigenous African dances, specifically focusing on the Umxhentso dance within the cultural context of Xhosa amagqirha in the Eastern Cape province of South Africa. Historically, Indigenous dances in African societies have served as crucial elements of communal ceremonies, embodying cultural traditions, spiritual beliefs, and social cohesion. However, colonialism and contemporary globalisation have threatened the preservation of these traditional dance forms. This paper employs a qualitative approach, incorporating interviews with participants and observations and extant literature and data analysis using thematic analysis. The findings underscore the multifaceted role of the Umxhentso dance, highlighting its function as a medium for connecting with ancestors, enhancing divination practices, and reinforcing spiritual potency within the community. Moreover, the article emphasises the value of documenting indigenous dances in combating stereotypes and misconceptions, preserving cultural heritage, and promoting intercultural understanding. This study contributes to the ongoing discourse on the importance of safeguarding and revitalising indigenous African dances to preserve cultural diversity and identity.
Keywords: Umxhentso dance; Cultural heritage; documenting indigenous dances; African traditional dances; Xhosa culture; Indigenous dance.
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Jones, Daystar/Rosalie. "Dreaming the Fourth Hill." Dance Research Journal 48, no. 1 (April 2016): 13–18. http://dx.doi.org/10.1017/s0149767716000048.
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Dancer. Teacher. Choreographer. Writer. Passionate Amateur Mime and Mask-Maker. Wannabe Puppeteer. Founder, Director of Daystar: Contemporary Dance-Drama of Indian America. Acknowledged ‘pioneer’ of native modern dance USA. My father's insight: One day you will realize that you were blessed to be a descendant of the original peoples of this land.
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Spalva, Rita. "Dance Notation : a Historical Fact or a Necessity." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (July 24, 2015): 495. http://dx.doi.org/10.17770/sie2014vol2.644.
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For centuries choreographers and dance theorists have been looking for ample signs to create a universal system for dance notation. Dance notation was created based on the need for a repeated staging of dances or for their preservation. However, unlike with music, no universal method of notation has been established allowing to capture dance techniques and compositions from different centuries in a single system. Nowadays, when video recording enables to capture each movement, dance or dance performance, the verbalgraphic style of dance notation can be perceived as dated an ineffective. However Latvia’s experience shows that contemporary dance teachers and choreographers have not yet abandoned the traditional notation system. The author of the article draws attention to dance notation research and analyses the need for it within dance education and in practice.
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Ruban, Viktor. "Contemporary Dance Interacting with Diverse Social Groups: Institutional Aspect and Cultural Impact." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(1) (June 13, 2023): 121–29. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283140.
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Institutionally, contemporary dance in Ukraine is represented only in the curricula of state art educational institutions. As a result, contemporary dance and contemporary choreography are defined and studied according to the formal features and is framed as styles, forms, techniques, and trends. In addition, phenomena and projects of contemporary dance in Ukraine mostly are not considered, perceived, or studied in the context of the development of dance culture and physical culture in general, or the art of dance, choreography, and performing arts in particular. This extremely limits the understanding of the real influence and role of contemporary dance in mentioned contexts. The paper introduces the Little Prince art project of contemporary dance and the related projects of Moving Arts Project company (Netherlands), created in interaction with the social groups of the Transvaal district of the city of Amsterdam, by exploring the cultural impact and institutional aspect of project implementation, including their interrelation. The aim of the paper isto present the practice of contemporary dance in a wider context, to follow their integration into cultural processes, to reveal the interaction of contemporary dance with other institutions, as well as to briefly review the institutional representation of contemporary dance in the Netherlands and its current challenges.
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Biagioli-Ravetto, Mario, and Kriss Ravetto-Biagioli. "Riffing off intellectual property in contemporary dance." International Journal of Cultural Property 29, no. 2 (May 2022): 201–16. http://dx.doi.org/10.1017/s0940739122000091.
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AbstractDance disappears the moment it becomes visible, the complexity of its ontology matching that of its production and of its intellectual property status. Its creative process is both collaborative and hierarchical, involving the transmission of knowledge from one body to another, remembering steps, recognizing moves, mimicking, and improvising gestures as well as coordinating the roles of dancers, choreographers, and studios. Matthias Sperling’s Riff (2007) directly addresses many of these issues, which inform the specific content of the piece as well as its conceptualization, development, and the copyright licenses that underpin it. Sperling’s performance is clearly conceived as a rite of passage, a dance through which a dancer becomes a choreographer, going from “riffing off” other choreographers’ work to developing dance movements and phrases that, while tied to those of his predecessors, he can claim as his own. As such, Riff makes explicit and rearticulates the rearrangement of professional relations and roles, the difference between reperforming and innovating, between learning from bodies or from media, as well as how the property status of the work intersects with community norms and expectations of attribution.