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Journal articles on the topic 'Contemporary dance'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Kansese, Rudolph. "Expressive modes of contemporary dance." International Journal of Current Research in the Humanities 28, no. 1 (2025): 379–89. https://doi.org/10.4314/ijcrh.v28i1.27.

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Many dances, be it traditional, modern, hip-hop, jazz and the like have modes of expression which the audience can identify with and describe. The reason why these dances are accessible to the audience is that the dances have become part and parcel of their existence. Unfortunately, this is not so with contemporary dance as a whole. The expectation here is that audience are expected to give the dance more attention to understand the dance philosophy. The researcher made use of content analysis by examining the modes through which contemporary dance is expressed. The researcher made reference t

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Hawthorn, Ainsley. "Middle Eastern Dance and What We Call It." Dance Research 37, no. 1 (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 d

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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 crea

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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

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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 anthropologist

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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 c

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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 (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 i

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Nowak, Tomasz. "The Importance of the Collection of Oskar Kolberg for Contemporary Choreological Studies." Musicology Today 11, no. 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 c

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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 (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-histo

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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 (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 Ho

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Jacob, Oluwafemi. "Contributions of Maltina Dance Reality Show to Dance Practice in Nigeria." NIU Journal of Humanities 8, no. 4 (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 Natio

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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 (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 (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 unstruc

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Hay, Marie. "Speakingdance: Accessing, interpreting and performing the dancer’s sense of being." Dance, Movement & Spiritualities 10, no. 2 (2023): 209–23. https://doi.org/10.1386/dmas_00051_1.

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This article discusses a new concept-based approach to contemporary dance practice called Speakingdance, in which a dancer performs their sense of being. The practice responds to the need for a more considered use of speech in contemporary dance and the historical perception of the dancer in terms of a body–object. Philosophical thinking about speech and being provides a framework with which to re-think the relationship between speech and contemporary dance to perform a dancer’s sense of being. The practice research approach from which Speakingdance emerges values the agency and experience of

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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 b

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Hutnyk, Iryna. "Ukrainian Round Dance Interpretations in Contemporary Professional Folk and Stage Choreographic Art." Bulletin of KNUKiM. Series in Arts, no. 48 (June 24, 2023): 109–16. https://doi.org/10.31866/2410-1176.48.2023.282470.

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The aim of the article is to identify the features of stage interpretation of Ukrainian round dances, their place, and role in the repertoire of professional ensembles of Ukraine. Results. It is stated that as a syncretic genre of dance art, the round dance is closely related to the song, the content and nature of which determine the ideological and thematic component and compositional construction of the dance and vocal and choreographic composition as a whole. It is found that the creation of each choreographic composition is preceded by folklore expeditions, during which choreogra

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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

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Indrayuda, Indrayuda. "TARI TRADISIONAL DALAM RANAH TARI POPULER: KONTRIBUSI, RELEVANSI, DAN KEBERLANJUTAN BUDAYA." Humanus 14, no. 2 (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 in

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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 (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 video

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Manshylin, Oleksandr. "Formation and Development of Contemporary Dance in Ukraine." Dance Studies 1, no. 1 (2018): 37–47. https://doi.org/10.31866/2616-7646.1.2018.140394.

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The purpose of the research is to reveal the features of the development of modern dance in Ukraine in the period from the late 1990s to the beginning of the 2010s. Methodology: historical-chronological and biographical methods, stylistic analysis, and semantic analysis made it possible to carry out scientifically objective research. Scientific novelty: for the first time a wide range of phenomena in the development of modern dance in Ukraine has been systematized. Conclusions. As well as in other countries of the post-Soviet space, during the 1990s, the phenomena of contemporary dance in Ukra

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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 G

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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 (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

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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 ta

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Kwan, SanSan. "When Is Contemporary Dance?" Dance Research Journal 49, no. 3 (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

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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 simp

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Sirotkina, I.E. "Desire vs Biopower: Dance Revolution of the Twentieth Century." Sociology of Power, no. 2 (June 7, 2017): 97–115. https://doi.org/10.22394/2074-0492-2017-2-97-115.

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The article deals with the dance revolution of the twentieth century - the emergence of "new dance” in which desire is produced, and not simply represented. Contemporary dance places the emphasis on spontaneity, the autonomous functioning of the body, and improvisation. There are at least two basic conceptions of desire in philosophy: the first is mimetic desire of the other (longing for a recognition from the other) and bodily desire (which corresponds to libido in psychoanalysis). The first conception had been proposed by Hegel and developed by A. Kojève and René Girard,

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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 rol

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Carroll, Sam. "Hepfidelity: Digital Technology and Music in Contemporary Australian Swing Dance Culture." Media International Australia 123, no. 1 (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

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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 manne

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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 (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 inev

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York-Pryce, Sonia. "A body of work." Dance, Movement & Spiritualities 6, no. 1-2 (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. I

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Vevar, Rok, and Irena Z. Tomažin. "Dance, voice, speech, sound." Maska 36, no. 203 (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 r

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Krisnasari, Bening. "Keberagaman Busana Tari Gambyong: Konstruksi Sosial pada Busana Tari Gambyong di Yogyakarta." INVENSI 8, no. 1 (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 ke

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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 (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

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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. Cont

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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

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Jackson, Paul R. W. "Dorothy Madden (1912–2009), American Revolutionary. A Centenary Tribute." Dance Research 31, no. 2 (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

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Vladova, Ina, and Yiğit Ünlü. "ON THE IMPORTANCE AND NEED OF FLEXIBILITY AND STRENGTH REFINEMENT AS AN ELEMENT OF DANCERS' TRAINING." Journal of Applied Sports Sciences 1 (July 14, 2017): 31–45. https://doi.org/10.37393/JASS.2017.01.4.

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Contemporary professional dance art is close, to a great extent, to sport of excellence. The requirements to performers are constantly increasing and hence the need of properly organised specialised training, including a system of drills, stretching and dance exercise for developing their motor skills. The aim of this empirical study is to establish the need of including a specialised methodology for the development of the motor skills in the dance practice in the Republic of Turkey – strength and flexibility for the dancers of Turkish folk dances. The tasks are: to study the dance practice in

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Ehrenberg, Shantel. "A Kinesthetic Mode of Attention in Contemporary Dance Practice." Dance Research Journal 47, no. 2 (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

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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 (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. T

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OLACAK, MÜGE. "The Contemporary Dance Field in Turkey in the Twenty-First Century." Theatre Research International 44, no. 3 (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 t

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Shahmuradova, Nigar. "The Evolution of Azerbaijani Dance in the Study of Afag Husseinova: A Practical Guide for a Quick Immersion in the Subject." Saryn 12, no. 4 (2024): 111–22. https://doi.org/10.59850/saryn.4.12.2024.245.

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This article analyses Afag Husseinova’s book “The Evolution of Azerbaijani Dance,” which represents a substantial contribution to the field of study. The research encompasses the origins, historical evolution, and contemporary practices of Azerbaijani dance art. Assessing the impact of this work on the choreology of Azerbaijan necessitated not only a content analysis of the book but also an examination of the context, including a review of scholarly sources on this and related topics accessible to contemporary researchers. An expeditious examination of the historiography of Azerbaijani dance d

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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

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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 (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 (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 (2024): 146–47. http://dx.doi.org/10.1080/14682761.2024.2342643.

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Pancane, Iwayan Dikse, Ni Ketut Riska Dewi Prawita, I. Ketut Mustika, and Davida Johnson. "Dancing to Devotion: The Hindu Aesthetic and Spiritual Significance of Abuang Dance in Tenganan Pegringsingan Bali." Religious: Jurnal Studi Agama-Agama dan Lintas Budaya 7, no. 3 (2024): 223–36. https://doi.org/10.15575/rjsalb.v7i3.20840.

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This research aims to explore the cultural and spiritual significance of the Abuang dance within the Usaba Kasa ceremony in Tenganan Pegringsingan, highlighting its role in maintaining cultural identity and spiritual continuity. The study utilised qualitative methods, including participant observation, in-depth interviews, and video documentation, to gather primary data concerning the Abuang dance. Secondary sources were employed to enrich the contextual understanding of the danceâ€™s historical and cultural relevance. This research found that the Abuang dance is not merely a form of cultural

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