Academic literature on the topic 'Dance costume'
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Journal articles on the topic "Dance costume"
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Aprilianti, Luh Wulan. "An Analysis of Lexicons in Costumes of Baris Gede Dance at Penuktukan Village." International Journal of English Education and Linguistics (IJoEEL) 5, no. 1 (2023): 18–30. http://dx.doi.org/10.33650/ijoeel.v5i1.5415.
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This research aims to find out the lexicons and the cultural meaning in the costumes of the Baris Gede dance. Baris Gede dance is a traditional Balinese dance that tells about warriors fighting on the battlefield. Costumes are an important component in the Baris Gede dance because the costumes used represent the contents of the dance. This research used qualitative research with interviews and observation as the method to obtain the data. The researcher found 14 lexicons in the costumes; head costume (1 lexicon) that is gelungan, neck costume (1 lexicon) which is badong/bapang, hand costume (1 lexicon) which is gelang kana, upper body costume (7 lexicons) which are awiran, oncer, lamak, kwace selem, tali semayut, keris, and urangka and lower body costume (4 lexicons) that are stewel, jaler putih, kancut putih, and sabuk. The cultural meaning relates to the soldiers on the battlefield. Warriors are depicted as dashing and brave figures represented through the Baris Gede dance costume.
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Veronia, Anita Sofia, I. Gede Budasi, and Dewa Putu Ramendra. "The Lexicons Used in Palawakya Dance Costumes." Linguistic, English Education and Art (LEEA) Journal 6, no. 2 (2023): 282–89. http://dx.doi.org/10.31539/leea.v6i2.5468.
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Palawakya dance is a kind of dance which mixes the arts of dance, music, and old Balinese song called Kakawin. Culturally, the dance consists of various lexicons used in common life but it is getting rarely used by people nowadays. This research was designed in the form of descriptive qualitative research by applying an ecolinguistic approach. It was focused on analyzing the lexicons of Palawakya dance costumes in Jagaraga Village, Singaraja. Observation and interview were conducted to obtain the data of this research by involving three informants. The informants were selected by using purposive sampling. The instruments used in gaining the data were observation sheet and interview guide. The results of this study showed that there were 17 lexicons found in the dance costumes. The dance costumes were divided into five parts; 1) head costume consists of five lexicons, 2) neck costume consists of one lexicon, 3) body costume consists of eight lexicons, 4) hands, costume consists of one lexicon, 5) leg costume consists of two lexicons. In addition, another result revealed that there were 16 cultural meanings found in the Palawakya dance costumes.
Keywords : Costume, Cultural Meaning, Ecolinguistics, lexicons, Palawakya
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Kusuma Wardani, Ni Putu Sintia Dewi, I. Gede Budasi, and Putu Eka Dambayana. "Lexicon Analysis in Sampi Gerumbungan Dance Costume." Linguistic, English Education and Art (LEEA) Journal 6, no. 2 (2023): 263–81. http://dx.doi.org/10.31539/leea.v6i2.5330.
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The study aims to find out what are lexicons used in the Sampi Gerumbungan dance in the costumes and its cultural meaning. The method used in this study is a descriptive qualitative design. The method directs researchers in obtaining social information accurately, broadly, and completely by designing problem formulations. The results of this study found that there were sixteen (16) lexicons found in the costumes of the Sampi Gerumbungan dance. All lexicons in the costumes are also classified based on parts of body, namely head costumes (5 lexicons), neck costumes (2 lexicons), hand costume (1 lexicon), body costumes (8 lexicons), and leg costume (1 lexicon). It can be concluded that there are several lexicons used in the Sampi Gerumbungan dance costumes and have cultural meanings.
Keywords: Costume, Ecolinguistics, Lexicon, Sampi Gerumbungan Dance
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Azizah, Rona Cita, Susanna Edelweiss, and Angelika Riyandari. "Representing Multicultural Semarang through Gambang Semarang’s Narrative." Celt: A Journal of Culture, English Language Teaching & Literature 18, no. 2 (2018): 248. http://dx.doi.org/10.24167/celt.v18i2.1300.
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Dance is usually perceived as a structured movement done by a person or more and accompanied by music and in some cases songs. The attention on physical movement often neglects the narrative which may exist behind a dance. Dances often have stories which frame the sequence of movements done by the dancers. The stories in a dance have elements of literature such as theme, plot, characters, and setting. This paper which is part of an on-going research on Semarang traditional dance discusses the story told through the movements and costume of Gambang Semarang dance. Gambang Semarang is traditional performing arts from Semarang which originally consists of music, vocal, dance, and comedy. Gambang Semarang dance was a small part of Gambang Semarang performance, but it is often performed separately from the complete performance now. The dance is commonly accompanied by Gambang Semarang music which combines Javanese music instruments, gamelan, and Chinese music instruments. In some occasions, songs such as Gambang Semarang and Gado-Gado Semarang are presented along with the music. Gambang Semarang dance itself is often considered as Semarang’s identity as the dance tries to embrace the multicultural society of Semarang which are Javanese, Chinese, and Arabs through the dance movements and the costume worn by the dancer. Data were collected through interviews with key informants. The results of the interviews then were analyzed to find out the stories represented by Gambang Semarang. The findings show that dance movements and costumes of Gambang Semarang indeed represent multicultural Semarang.
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Dharma Putra, Pande Agus Putu, I. Gede Budasi, and Dewa Putu Ramendra. "Lexicon of Costumes in The Rangda Dance." JALL (Journal of Applied Linguistics and Literacy) 7, no. 1 (2023): 164. http://dx.doi.org/10.25157/jall.v7i1.9872.
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Balinese culture has many traditions. One of the traditions in Bali is the Balinese dance that exists in Bali. Several dances have a sacred meaning for Balinese people. One of the dances is the Rangda dance. This dance contains many lexicons in the dance's costumes. This study aimed to discover the lexicons that exist in Rangda dance costumes. This study is designed as descriptive qualitative research using the ecolinguistics approach. The data were obtained through observation and interviews with selected informants. The study's result shows that twenty-seven lexicons exist in Rangda dance costumes. The data were categorized into the lexicons in the mask (ten lexicons) and lexicons on the costume (seventeen lexicons). Those lexicons including tapel rangda, terang, kumba, petitis, lidah api, teteh api, jangar api, rambut, jebug, bungan jepun, jaler reringitan, baju reringitan, udeng, badong mute, badong kulit, angkeb baong, tapih, ampok ampok, kuku, basang basang, sabuk, baju pepontangan, jaler pepontangan, semayut, nyonyo. galeng, and kereb.
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Fensham, Rachel. "Repetition as a methodology: Costumes, archives and choreography." Scene 2, no. 1 (2014): 43–60. http://dx.doi.org/10.1386/scene.2.1-2.43_1.
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This article considers how costumes contribute to choreographic aesthetics through their capacity to be repeated. I develop different conceptions of repetition – replication (copying); representation (appearance within a frame that represents an image); and reproduction (as construction or manufacture) of costume objects and ideas over time. Being interested in the material process of making and wearing costumes, it also investigates how repetition leads to the possibility of invention. Using Walter Benjamin’s concept of the dialectical image to discuss costumes as objects within a dance archive and within live choreography, it examines an early modern dance form called Natural Movement (NM) as well as seminal postmodern works from the 1970s. It elaborates on the iconic functions of costume in contemporary choreography in relation to Roland Barthes’ writings on the ‘fashion system’, and considers how the costume becomes a sign of its own history. Part of this project to understand repetition requires recognition that the movement quality of texture in a garment, actualizes the experience of affective work taking place in choreography. The experience of repetition in the costume-object therefore leads to a more critical response towards the role of costume in dance and performance.
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Papantoniou, Ioanna, and Sofia Pantouvaki. "Folk costume as theatrical costume." Studies in Costume & Performance 7, no. 1 (2022): 55–66. http://dx.doi.org/10.1386/scp_00060_1.
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This essay introduces an unpublished talk by Greek stage designer Ioanna Papantoniou (born 1936) entitled ‘Local costume in a theatrical performance’, originally presented at the First Panhellenic Meeting of Ephors (Curators) and Dance Teachers at the Lyceum Club of Greek Women in Athens, in November 1990. Prior to and alongside her professional design career in the field of theatre, Papantoniou was actively engaged as a researcher in ethnography studies on Greek local costumes and folk dances. Driven by her passion for the study of Greek local dress combined with her professional experience as a stage designer, Papantoniou has given several talks on the connections between theatrical performance and folk traditions, as well as on the interrelationship between local dress and theatrical costume on stage and in festivities. In this talk she conflates local costume and folk dance as a form of performance and discusses how these two elements become an artistic creation when it comes to staged performances outside their original setting in a village. Thus, she draws a line between the ‘authentic’ and the staged performance, the latter of which is what she considers contemporary folk dancing in reproduced folk costume to be. The published text is based on a transcript of the talk, translated into English, and further edited by costume designer and scholar Sofia Pantouvaki, who also provides an introduction and numerous annotations to make the talk accessible by an international audience.
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Voytova, I. A. "“More than in a Costume”: “Barefoot” Dancers and Russian Ballet Costume at the Beginning of the 20th Century." Art & Culture Studies, no. 2 (June 2021): 366–85. http://dx.doi.org/10.51678/2226-0072-2021-2-366-385.
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The beginning of reform in Russian ballet of the 1900s is connected by the most part of researchers with the first performances of Isadora Duncan in Russia (1904–1905). Her great influence on Russian ballet choreography and costume is explored well enough and indisputable. Nevertheless, free dance or “modern dance” became popular in the USA and in Europe because of Duncan’s predecessor, another American dancer Loie Fuller. It was a major tendency included creativity of such different performers as Loie Fuller, Isadora Duncan, Ruth St. Denis, Maud Allan, Mata Hari and many others. The author of the presented article uses the complex method to analyze the reforms of dancing costume carried out by so called “barefoot” dancers and their influence on Russian ballet costume at the beginning of the 20th century, revealing general transformations and some direct parallels between costumes of “barefoot” dancers and Russians ballet dancers.
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Helve, Tua. "Political by Design: Costume Design Strategies within the Finnish Contemporary Dance Productions AmazinGRace, Noir? and The Earth Song." Nordic Journal of Dance 9, no. 1 (2018): 14–31. http://dx.doi.org/10.2478/njd-2018-0003.
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Abstract This article examines costume design within three Finnish contemporary dance productions in the 2010s, AmazinGRace, Noir? and The Earth Song, by respective costume designers Soile Savela, Sanna Levo and Karoliina Koiso-Kanttila, to identify the ways in which costume works within performances with political themes through cases that make use of ‘everyday’ garments as costumes. Here, everyday garments as costume refers to identifiable forms, silhouettes and connotations, as opposed to fantasy or ‘abstract’ costumes. Political, as defined by the themes of these performances, means subject to power relations: societal inequality, ethnicity and otherness and climate change. Despite having shared ground in employing everyday, real-life costume components, all three designs operate with a distinct strategy. Hence, this article discusses three strategies for materializing political aesthetics through costume: one that is inclusive in its use of ‘ordinary’ clothes as costume; one that builds itself through ready-made connotation and representation in costume; and one that is associative in its approach towards the capacity of costume. This investigation, from the perspective of a costume researcher and designer, not only argues for the potential of costume to communicate political meaning through its aesthetic choices but also reveals the versatility embedded in this under-researched area of everyday garments as costume within contemporary dance performance.
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Izuta, Ryo, Tsutomu Terada, Yutaka Yanagisawa, Minoru Fujimoto, and Masahiko Tsukamoto. "Design Guidelines on LED Costumes for Dance Performances." Designs 3, no. 4 (2019): 51. http://dx.doi.org/10.3390/designs3040051.
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We present design guidelines on light emitting diode (LED) costumes for dance performances assuming repetitive use during concerts. We used LED costumes more than 120 times for large concerts of well-known artists at venues of approximately 50,000 capacity that were commercially successesful and we updated the LED costume design twice based on our experiences during these concerts. Through analyzing the position of broken LEDs and the types of breakage and the problems that occurred during actual performances, we devised 17 design guidelines on LED costumes for dance performances. Thanks to these design guidelines, the LEDs on the costume are more difficult to break and we can prepare for any contingencies that may occur during a performance. We fabricated an improved LED costume based on our design guidelines and conducted endurance tests involving dancing. Throughout the endurance tests, the LEDs did not break, and other factors that cause LED breakage were found. We participated in two exhibitions to conduct special LED dance performances.
Dissertations / Theses on the topic "Dance costume"
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Ravelhofer, Barbara. "The Stuart masque : dance, costume and remembering." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311066.
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Burrington, David J. "Dancing Around Costuming: A Symbiotic Relationship of Disciplines, Costume Design for Dance 2011: Parallel and Intersect." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334347548.
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Taube, Rhonda Beth. "Dancing in the Altiplano K'iche' Maya culture in motion in contemporary highland Guatemala /." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3378902.
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Thesis (Ph. D.)--University of California, San Diego, 2009.Title from first page of PDF file (viewed November 17, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 238-253).
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Waxstein, Christine Michele. "Digital Illustration: The Costume Designer’s Process For East Tennessee State University’s Spring Dance Concert 2012." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etd/1504.
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This paper's objective is to document the research and developmental processes of creating East Tennessee State University's Spring Dance Concert 2012 costume designs and renderings. This thesis describes design creation from research stage to idea formulation to the conception of costumes using inspirational images, illustrations, and performance photos and videos. The show was a challenging undertaking because it involved the collaboration of many in a compressed timeframe: 1 artistic director, 9 choreographers, 20 dances, 46 performers, 10 lighting designers, 1 costume designer, and 3 weeks to put it all together. Incorporating digital technology into the rendering process saved time, expenses, and helped clarify the designer's choices. This paper reflects the 2-year study of incorporating digital technology into the rendering process, culminating in the costume design for the Spring Dance Concert 2012.
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Viémont, Gaëlle. "Les costumiers, ces orfèvres d'un art dramaturgique sans nom : assises, enjeux et perspectives d'un secteur professionnel méconnu." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC016.
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Cette thèse cherche à comprendre et à analyser les fondements historiques, sociaux, culturels et genrés d’une méconnaissance et d’une sous-valorisation actuelles des costumiers et des costumières, en accordant un primat à leur parole propre. Traitant des origines théoriques de l’art costumier à partir de l’apparition de l’appellation professionnelle consacrée, la première partie retrace le parcours et les luttes multiples de Pierre-Nicolas Sarrazin, en cherchant à identifier les motifs de l’échec de la valorisation professionnelle entreprise par ce dernier au XVIIIe siècle. La deuxième partie présente, à partir de l’analyse d’un recueil d’entretiens de costumiers d’aujourd’hui, les notions de métiers de service et de rapport de commande, de genre et de « souci de l’autre » comme étant les caractéristiques de cette activité professionnelle, et autant de leviers potentiels d’oppression. Enfin, la troisième partie étudie la carrière de Dominique Fabrègue – spécialiste de la coupe en un morceau – en tant que « fabrique » d’une œuvre dont la portée est esthétique et critique, de manière à défendre l’idée que l’art costumier constitue un art à part entière, qui pour être second dans l’élaboration d’un spectacle, n’est pas pour autant secondaireThis work aims at analyzing the historical, social, cultural and gender factors responsible for the current undermining of the costume designers and makers profession. The first part consists in a historical research onthe theoretical origins of the Art of Costume starting with the appearance of the professional vocable - Costumier - invented by Pierre-Nicolas Sarrazin, as well as a study of the means this latter used to promote his field of work during the 18th century and how he came to fail. The second part is an interview-collection (2013 to 2016) - based reflection on the order nature of the work, the gender characterization of the workers and « care » as a creative motivation. It demonstrates how these specifics are potential ways to oppress the costume designers and makers and to deny them the appreciation and salary they deserve. The third part is an a esthetic critique of Costume Designer Dominique Fabrègue’s career, and the « Cut in one piece » Artwork she specialized in. This section argues that the discipline of designing costumes is an Art in full, and as it may come second in the process of putting on a play, is not for all that secondary and shouldn’t be considered assuch
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Denney, Karson B. "Real Men Can Dance, But Not in That Costume: Latter-day Saints' Perception of Gender Roles Portrayed on Dancing with the Stars." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2615.
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This thesis attempts to better understand gender roles portrayed in the media. By using Stuart Hall's theory of audience reception (Hall, 1980) the researcher looks into dance and gender in the media to indicate whether or not LDS participants believe stereotypical gender roles are portrayed on Dancing with the Stars." Through four focus groups containing a total of 30 participants, the researcher analyzed costuming, choreography, and judges' comments through the viewer's eyes. From participant responses, the conclusion was made that audience members do perceive stereotypical gender roles on "Dancing with the Stars." Participants felt that costuming was the biggest indicator of gender roles on the show, and that choreography and judges' comments also contributed to the perception of gender roles.
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Coulon, Anne. "Du maniaque à l'insouciance, la stratégie du costume chez les chorégraphes contemporains." Paris 1, 2000. http://www.theses.fr/2000PA010585.
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En danse contemporaine, le champs du costume recouvre un large domaine, allant du nu à une quasi accessoirisation du corps, en passant par la fripe ou des tenues diversement élaborées. Réelle interface entre le corps du danseur et le regard du spectateur, le costume reste trop souvent du domaine de l'évidence, ne bénéficiant que rarement d'une attention dans les discours relatifs à la danse. C'est la relation entre les costumiers et les chorégraphes que nous nous proposons de regarder ici de plus près, au-delà des relations trop souvent obscures qui lient costume et danse. Après un retour dans l'histoire, (Noverre, le ballet romantique, Loie Füller, Isadora Duncan, les ballets russes, parade, Marie Wigman, le Bauhaus, Martha Graham, Merce Cunningham, Alvin Nikolais, Pina Bausch), nous nous penchons plus précisément sur la définition, l'analyse du costume, avant d'en proposer une typologie en danse contemporaine. Les chorégraphes Daniel Larrieu, Maguy Marin, Karine Saporta, Hervé Robbe, Régine Chopinot, Philippe Découfle, et Jean-Claude Gallotta ont été interrogés. Pour Dominique Bagouet, disparu au moment de l'étude, nous avons écouté ce qu'en disaient ceux qui avaient travaillé avec lui. Pour certains, un costumier « majeur » c'est le cas de Dominique Fabrègue pour Bagouet, de Philippe Guillotel pour Decoufle ou de Jean-Yves Langlais pour Gallotta. Pour d'autres, de fréquents changements. Autant d'orientations esthétiques et de solutions pratiques pour intégrer le costume dans le projet chorégraphique, qui en viennent à nous préciser les instants et instances de création. Le choix du costume est-il finalement le résultat d'une stratégie de la part du chorégraphe, ou bien résulte-t-il d'un ensemble de conjonctions et de faits empiriquement établis ? Cette dernière analyse nous mène, en forme de conclusion, à nous demander si l'on peut réellement parler en termes de stratégie lorsqu'il s'agit des démarches des chorégraphes pour mener à bien leur projet. Nous avons tenté de cerner la possibilité de suivre et d'analyser la venue du costume dans la chorégraphie, avec ce que nous ont livré les uns et les autres, aides de traces, photos, schémas, empreintes, afin de soutenir le propos et d'essayer d'aller à la rencontre de ce dont nous supposons l'existence, à savoir une stratégie de définition visuelle des corps sur scène.
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Ximenes, Maria Alice. "A saia motriz : um percurso nos misterios da vestimenta e da representatividade espanhola." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284669.
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Orientador: Ernesto Giovanni BoccaraTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-13T23:03:03Z (GMT). No. of bitstreams: 1 Ximenes_MariaAlice_D.pdf: 2735860 bytes, checksum: 3d3895755e9f44181b86c5416a3848bc (MD5) Previous issue date: 2009
Resumo: A presente pesquisa tem como objetivo fazer uma homenagem à forma. A forma que forma e deforma, que reforma e transforma, que transcende e que tem vida. Que faz e desfaz, que nasce e morre. A forma que desenha o espaço, o corpo e o movimento. A forma pesquisada é a forma da saia na dança flamenca e seu movimento helicoidal. Movimento semelhante ao das galáxias, ao da cadeia de DNA, semelhante também à anatomia humana, o desenho dos ossos e músculos. Na capacidade de ser efêmera e jamais apreendida é que reside seu encanto. Também há uma forte razão em pesquisar a saia e a Espanha, terra dos meus precedentes, cultura em que cresci, além da paixão pelo vestuário, especialmente os de Andaluzia. O percurso nos mistérios e representatividade da vestimenta espanhola permitiu-me mergulhar nas mais incríveis histórias, desde as reais até as mitificadas no tempo. Conhecer a construção do país e entender como ele se formou permitiram-me desdobramentos de possíveis intersecções no resultado dos trajes. O mosaico de culturas trouxe descobertas incríveis na representação da mulher espanhola principalmente através de registros dos pintores dos séculos XVIII e XIX. Há uma natureza histórica na busca de identificar a formação da composição da roupa feminina espanhola, que, desde publicações vindas da Espanha, bibliografias de história da dança e do traje, até a profunda observação do corpo em movimento esculpindo formas delirantes que parecem um ciclone a desenhar os desenhos da dança. Palavras-chave: Corpo Feminino, História da Arte, História da Moda, Dança, Artes Plásticas, Espanha
Abstract: The present research aims to pay tribute to the shape. The shape that forms and becomes deformed, that reforms and transforms, that transcends and which has life. That does and undoes, that is born and dies. The shape that draws the space, the body and the movement. The shape of the present study is the shape of the skirt in the flamenco dance and its helicoidal movement. This movement is similar of those of the galaxies, the DNA chains, also similar to the human anatomy, the design of bones and muscles. It's in the capacity of being ephemeral and never understood that lies its charm. There's also a strong reason to research the skirt and Spain, home of my ancestors, culture in which I grew up, as well as the passion for the costume, especially from Andaluzia. The route in the mysteries and representativity of the Spanish costume, allowed me to immerse in the most incredible histories, from the real to the mythical ones of time. Knowing the construction of the country and understand how it was formed, enabled me to see the developments of possible intersections in the result of the costumes. The mosaic of cultures brought amazing discoveries in the Spanish woman's representation mainly through the records of the painters in the 18th and 19th centuries. There's a historical nature in the search of identifying the formation of composition of the Spanish woman's clothes, that from publications came from Spain, bibliographies of the history of dance and of the costume, to the profound observation of the body in movement sculpting delirious shapes that look like a cyclone drawing the designs of dance. Key Words - Female body; History of Art ; History of Costume ; Dance ; Fine art ; Spain
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Artes
Doutor em Artes
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Sileet, Hanadi. "L'orientalisme et le costume de scène en France (deuxième moitié du XIX siècle-début du XXe siècle)." Paris 3, 2005. http://www.theses.fr/2005PA030075.
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"Depuis les turqueries du Bourgeois gentilhomme jusqu'aux aventures de Marôuf, le savetier du Caire, la référence à l'Orient s'exerce de manière constante à travers l'art de la scène. L'intérêt de l'Occident, en l'occurrence la France, pour l'Orient durant le XIXe et le début du XXe siècle, s'explique par une série d'événements politiques, littéraires et artistiques. Les voyageurs, peintres et écrivains l'avaient exploré au cours du XIXe siècle, les spectacles exotiques l'avaient révélé au cœur de la capitale française et les Ballets Russes en firent découvrir la magnificence durant les années qui précèdent la guerre de 1914. L'étude que nous proposons, analyse cet attrait pour l'Orient à travers le costume de scène, cet élément décisif à l'époque, mis au service de l'expression scénique, tout en s'appuyant sur une importante recherche iconographique : lithographies, peintures, photographies ou maquettes de costumes. Une recherche qui vise à souligner la puissance iconique du costume oriental, ses éléments et ses caractéristiques. Ces allures orientales vues par des occidentaux sont donc restituées sur scène grâce aux créations de peintres et dessinateurs tels que Paul Lormier, Alfred Albert, Eugène Lacoste, Charles Bianchini, Eugène Lacoste, Léon Bakst ou Paul Poiret. Des créations qui ont permis aux interprètes, hommes et femmes, de se métamorphoser en sultan, caïd ou eunuque; en odalisque, almée ou " Péri "; en Salomé, Cléopâtre ou Salammbô. Une infinité d'images qui se meuvent sur scène est alors créée, emportant ainsi l'interprète aussi bien que le spectateur vers d'autres lieux et d'autres temps. "Since the turqueries of the Bourgeois gentilhomme until the adventures of Marôuf, le savetier du Caire, the reference to the Orient appears consistently throughout the scenic art. The interest of the Occident, that is to say France, to the Orient during the 19th century and the beginning of the 20th century, is explained by a sequence of political, literary and artistic events. The voyagers, painters and writers explored this interest throughout the nineteenth century and the exotic theatres echoed it in the heart of the French capital. In addition, the Russian Ballet revealed the magnificence of the Orient during the years that preceded the war of 1914. The study we are proposing, analyses this attraction to the Orient through the stage costume. This decisive element, disposed to the scenic expression, is based on an important iconographic research: lithography, painting, photography or costume drawings. The research emphasizes the iconic power of oriental costume, its elements and it's characteristics. This oriental attire as perceived by the Occidentals, is reproduced on stage thanks to the works of painters and dress designers like Paul Lormier, Alfred Albert, Eugène Lacoste, Charles Bianchini, Léon Bakst or Paul Poiret. Their creations allow the actors, both men and women, to metamorphose into sultan, caïd or eunuch, odalisque, almée, " Péri ", Salomé, Cleopatra or Salammbô. An infinity of moving images takes place on stage, transporting the performer and the audience into other places and other times
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Albert, Laure. "Recherches sur l'iconographie des fêtes de cour en France (1515-1589)." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3131.
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Évoquer l'iconographie des fêtes à la Renaissance revient à travailler sur les humanistes et les courants de la pensée néoplatonicienne qui influencèrent les artistes de cette époque et aboutirent au syncrétisme des arts dans les divertissements royaux. Dans l'art éphémère de la fête - entrées, mascarades, bals et ballets - les costumes des figures mythologiques, antiques et bibliques remis au goût du jour sur un mode ludique, actualisés par les nouveaux thèmes issus des voyages d'exploration - exotisme américain et tradition du vieux monde - sont transposés dans le contexte du XVIe siècle. Pour accompagner ce langage, tout un decorum est déployé qui fait évoluer la notion de spectacle et de ses lieux de représentation, aidé par l'actualité socio-politique faite tantôt de paix et d'alliances tantôt de guerres (de religions). La fête est un moyen idéalisé d'affirmer le pouvoir royal. En cela, elle devient un vecteur de communication, voire de communion. Somptueuses et novatrices, elles sont les prémisses de la magnificence des fêtes des siècles suivantsDealing with the iconography of fetes in the Renaissance means investigating into humanism and the neo Platonist currents of thought which influenced the artists of the time and led to the syncretism of arts in court celebrations.In the ephemeral art of revels -entries, masquerades, balls and ballets- the costumes of mythical figures from the Bible or the Antiquity were then brought back to the fashion of the sixteenth century with a playful twist and updated through the new themes inspired by the Great Explorations, such as the contrast between the exoticism of the New World and the traditions of the Old World. Along with those codes, the establishment of a new decorum allowed the evolution of the notion of performance and of the places best suited for theatricals. Social and political issues of a time fraught with religious wars, alliances and peace, also contributed in paving the way for such changes.Celebrations thus proved the quintessential instrument of the assertion of royal power, which turned them into vectors of communication, not to say communion. Both sumptuous and innovative, they foreshadowed the magnificent fetes of the following centuries
Books on the topic "Dance costume"
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Dotlačilová, Petra. Dance body costume. Leipziger Universitätsverlag, 2019.
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Lydia, Dina. Arm costume for bellydancers. D. Lydia & B. Johnson, 2001.
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Lydia, Dina. Easy costume for bellydancers. Costume Goddess Publications, 2001.
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Lydia, Dina. Flattering costume for bellydancers. D. Lydia and B. Johnson, 2000.
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Corona, Vicki. Belly dance costume making: Introduction to costume construction for female belly dance students. Earth Dance Intl. Pub., 1989.
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Dingen, Fleur. Let's dance! Waanders & De Kunst, 2019.
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Gilfillan, Marjorie Mary. Classical and fertility dance photos: With dance costume index. Wenzel Press, 1995.
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Mark, Attrill, ed. The folk dance & costume atlas of Poland: History, geography, music, weddings, dances, songs, costumes. H. Matyka, 1991.
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Brown, Dawn Devine. Costuming from the hip. 2nd ed. Ibexa Press, 2000.
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Ambrose, Kay. Classical dances and costumes of India. Allied Pubs., 1985.
Book chapters on the topic "Dance costume"
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Hopgood, Jeromy. "Creating the Costume Design." In Dance Production, 2nd ed. Routledge, 2024. http://dx.doi.org/10.4324/9781003291794-15.
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Adams, Jennifer Flitton. "Teaching Costume Design for Dance." In Teaching Costume Design and Costume Rendering. Routledge, 2023. http://dx.doi.org/10.4324/9781003102502-8.
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Pollatsek, E. Shura, and Mitchell D. Wilson. "Styles and Genres Of Concert Dance Costume." In Costume in Motion. Routledge, 2021. http://dx.doi.org/10.4324/9781351258524-4.
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Pollatsek, E. Shura, and Mitchell D. Wilson. "Role of Design and Costumes in and for Dance." In Costume in Motion. Routledge, 2021. http://dx.doi.org/10.4324/9781351258524-2.
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Hopgood, Jeromy. "Costumes, Hair, and Makeup." In Dance Production, 2nd ed. Routledge, 2024. http://dx.doi.org/10.4324/9781003291794-14.
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"Barn Dance (Costume)." In The Girl Singer. The University Press of Kentucky, 2021. http://dx.doi.org/10.2307/j.ctv1xg5hrg.12.
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Brandstetter, Gabriele. "Dance Costume and Movement Space." In Poetics of Dance. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780199916559.003.0008.
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Crisp, Clement. "Jean II Berain's Costume Designs for the Ballet Les Plaisirs de la Paix (1715)." In Dance Research. Edinburgh University Press, 2007. http://dx.doi.org/10.3366/edinburgh/9780748635849.003.0008.
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Ballard, Linda May. "Instrumentalised identity: form and expression in Irish dance costume." In Les costumes régionaux. Presses universitaires de Rennes, 2009. http://dx.doi.org/10.4000/books.pur.99848.
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Demirbağ, İlknur. "Transformation of Traditional Dances in its Staging Process with A Specific Example of Turkey." In Güzel Sanatlar Üzerine Güncel Konular ve Araştırmalar. Özgür Yayınları, 2023. http://dx.doi.org/10.58830/ozgur.pub291.c1167.
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Turkey embodies a rich historical and geographical background, which is parallel to its cultural richness as well. Turkish Folk Dances, being a part of this traditional culture, are one of the tools that represent this richness by evolving and transforming from past to present.
In addition to the survival of folk dances in the territories where they were originally born, these dances also expand beyond this territory due to the changing world at an increasing rate in recent years. This article sheds light on Turkish Folk Dances’ evolution and transformation experience, apart from their natural dynamism, during this expansion process.
When doing this, the subject has been evaluated without excluding any of the themes of movement, music, and; costume, which have existed in inseparable integrity until today. While focusing on how Turkish Folk Dances exist on the platforms they are on today, each of the themes mentioned above (dance, music, costume) has been discussed by holding on to the identical approach.
The subject has been evaluated largely based on experiences and observations built up in many years at all levels in this field.
Conference papers on the topic "Dance costume"
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Paula, Suélen Carolini de. "BEYOND THE OLD AND THE NEW IN FASHION: THE UPCYCLING BELLY DANCE COSTUME DEVELOPMENT." In ENSUS2023 - XI Encontro de Sustentabilidade em Projeto. Grupo de Pesquisa Virtuhab/UFSC, 2023. http://dx.doi.org/10.29183/2596-237x.ensus2023.v11.n1.p229-239.
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The research is characterized as exploratory and applied and aims to present the use of upcycling for the development of belly dancing costumes. As a theoretical review, it presents sustainability in fashion,Upcycling as an alternative for the reuse of discarded products and Costume Design in Belly Dance. The applied methodology unfolded through a bibliographic review and application of design tools,investing in the verification of techniques and materials suitable for the reuse of discarded party dresses. The main results refer to. development of a collection of belly dance costumes made from discarded party dresses, for a fashion show at the Shimmie Festival in São Paulo.
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Honauer, Michaela. "Designing a Remote-Controlled Interactive Dance Costume." In MOCO '18: 5th International Conference on Movement and Computing. ACM, 2018. http://dx.doi.org/10.1145/3212721.3212879.
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Stergiou, Marina, and Spyros Vosinakis. "Exploring costume-avatar interaction in digital dance experiences." In MOCO '22: 8th International Conference on Movement and Computing. ACM, 2022. http://dx.doi.org/10.1145/3537972.3537980.
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Rifaldi, Egi, and Juju Masunah. "The Company of Dance Costume Rental in Arga Studio Bandung, Indonesia." In 2nd International Conference on Arts and Design Education (ICADE 2019). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200321.049.
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Poluchovich, Iryna, Oksana Zakharkevich, Svetlana Kuleshova, Juliya Koshevko, and Galyna Shvets. "Development of a training costume for reading the dynamics of movements of a classical dance dancer." In WORLD MULTIDISCIPLINARY CIVIL ENGINEERING-ARCHITECTURE-URBAN PLANNING SYMPOSIUM WMCAUS 2022. AIP Publishing, 2023. http://dx.doi.org/10.1063/5.0173480.
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Shulman, Ami, and Jorge Soto-Andrade. "A random walk in stochastic dance." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.71.
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Stochastic music, developed last century by Xenakis, has older avatars, like Mozart, who showed how to compose minuets by tossing dice, in a similar way that contemporary choreographer Cunningham took apart the structural elements of what was considered to be a cohesive choreographic work (including movement, sound, light, set and costume) and reconstructed them in random ways. We intend to explore an enactive and experiential analogue of stochastic music, in the realm of dance, where the poetry of a choreographic spatial/floor pattern is elicited by a mathematical stochastic process, to wit a random walk – a stochastic dance of sorts. Among many possible random walks, we consider two simple examples, embodied in the following scenarios, proposed to the students/dancers: - a frog, jumping randomly on a row of stones, choosing right and left as if tossing a coin, - a person walking randomly on a square grid, starting a given node, and choosing each time randomly, equally likely N, S, E or W, and walking non-stop along the corresponding edge, up to the next node, and so on.When the dancers encounter these situations, quite natural questions arise for the choreographer, like: Where will the walker/dancer be after a while? Several ideas for a choreography emerge, which are more complex than just having one or more dancers perform the random walk, and which surprisingly turn our random process into a deterministic one!For instance, for the first random walk, 16 dancers start at the same node of a discrete line on the stage, and execute, each one, a different path of the 16 possible 4 – jump paths the frog can follow. They would need to agree first on how to carry this out. Interestingly, they may proceed without a Magister Ludi handing out scripts to every dancer. After arriving to their end node/position, they could try to retrace their steps, to come back all to the starting node.Analogously for the grid random walk, where we may have now 16 dancers enacting the 16 possible 2-edge paths of the walker. The dancers could also enter the stage (the grid or some other geometric pattern to walk around), one by one, sequentially, describing different random paths, or deterministic intertwined paths, in the spirit of Beckett’s Quadrat. Also, the dancers could choose their direction ad libitum, after some spinning, each time, on a grid-free stage, but keeping the same step length, as in statistician Pearson’s model for a mosquito random flight.We are interested in various possible spin-offs of these choreographies, which intertwine dance and mathematical cognition: For instance, when the dancers choose each one a different path, they will notice that their final distribution on the nodes is uneven (interesting shapes emerge). In this way, just by moving, choreographer and dancers can find a quantitative answer to the impossible question: where will the walker/dancer be after a while? Indeed, the percentage of dancers ending up at each node gives the probability of the random walker landing there.
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Wisjayanti and Dra Kun Setyaning Astuti. "Hijab in Hornbill Dance Costume: The Impacts of Religious Social Development in the Post-Modern Era." In 4th International Conference on Arts and Arts Education (ICAAE 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210602.032.
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Elias, Larissa, and Maria Luisa Garrido. "The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.
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“The Rei Kawakubo's fashion-sculpture” is an ongoing Master's project, developed at the Postgraduate Program in Visual Design at the Federal University of Rio de Janeiro. The research is centered on the study of the costumes (and its relationship with movements and spatiality) created by the japanese fashion designer Rei Kawakubo for the dance performance “Scenario” (1997), by the american dancer and choreographer Merce Cunningham (1919-2009). The costumes were adapted from the spring-summer Collection “Body meets dress, dress meets body”, designed by Rei and launched by her brand Comme des Garçons in 1997. Rei Kawakubo is appointed as one of the most important conceptualist fashion designers of contemporary. Visionary, avant-garde, timeless, are some of the adjectives attributed to her. Her work is also called anti-fashion. Through a series of visual deconstructions, her creations address – directly or indirectly – themes such as feminism and gender identity. The “Body meets dress, dress meets body” Collection and the costumes of “Scenario” invest in an aesthetic that explores unusual possibilities of relationships between body and dress; an aesthetic which aims to deform the forms. At play, ideas that problematize the conventional contours and movements of the body: disproportionate volumes, silhouette misalignments, inversions of perspective, asymmetries, automatism, blurring of boundaries between body and dress, dress as an object. In this arena the suggestion of the notion of “fashion-sculpture” is born. A notion that is intended to be formulated from the work and for the understanding of the work. The investigation is developed from case study methodologies combined with a process of practical experimentation, which takes place simultaneously in the fields of art and design. In the scope of theoretical reflections it is proposed an approximation with the understanding of sculpture as a compound of sensations according to the Deleuze and Guattari conception in the essay “Percept, affect and concept”. The research seeks to establish a connexion between the sculptural compositions produced by the body-costume ensemble in Cunningham's choreography and the symbolic image of a stone sculpture that is at the origin of the concept of Über-Marionette designed by Gordon Craig. Finally, we try to think about possible relationships between the shapes of the costumes and some characteristic aspects of the grotesque body, such as ambivalences, oppositions, irregularities, described by Mikhail Bakhtin in his concept of grotesque realism. The costumes of the “Scenario” dance performance – in which the highlighted aspects can be observed exemplarily – are a strong expression of the idea of “fashion-sculpture”. In this communication, fragments of the show will be presented. In them, it can be seen that the alignment of the dancers, in pairs or trios, reconfigures in the space the volume composed of body and dress. The clothes created by Kawakubo for the Collection proposed the redesign of the body. This proposal is radicalized in the choreography: with the movement of the body-dress set in space, distortions and ambiguities are intensified. Theatricality is introduced and dramatic sculptural compositions are formed. With the theatrical game, the object function of the garment is also evidenced.
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Zhang, Wei. "Applications Research of Dancing Costumes in National Dance." In 2015 International Conference on Economy, Management and Education Technology. Atlantis Press, 2015. http://dx.doi.org/10.2991/icemet-15.2015.16.
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Lisowski, Daniel. "Motion Capture Body Tracking and Functional Safety in Dynamically Controlled Theatre Automation Systems." In 10th International Conference on Human Interaction and Emerging Technologies (IHIET 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004077.
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Live theatrical performance is an ever-evolving art form in which visionary theater makers are incorporating evolving technologies into performances to connect and engage modern audiences. Recent developments in theatrical motion control systems are enabling vibrant and adaptive control through dynamic automation. Traditional theatrical motion control systems use a set path motion profile to produce predictable movements of scenery and people through space and time. New dynamic control systems utilize an external generated set point parameter to specify the desired motion. This flexibility enables a DJ to control the movement of flown digital chandeliers above a dance floor with their regular beat control or for Alice to control her flown decent as she tumbles down the rabbit hole by changing the position of her arms. Putting the control of the equipment into the hands of the performers is a significant leap in evolution stage automation control.To accomplish the motion tracking of performers on stage, the research team developed a unique set-up of Microsoft Kinect sensors to monitor the stage environment. The skeletal models of up to four performers were captured and transmitted via an ethernet network to the video game engine. The main benefit of this tracking method is that it allowed for both traditionally costumed performers and regularly dressed audience members to be captured by the system. Most motion capture systems in entertainment require the use of custom body suits which can disenchant and distract audiences. Our system maintains the traditional relationship between costume and character while collecting the necessary interactivity data.The natively 3D nature of the video game environment is optimally suited to handle the interaction between performer and the digital environment. Using the skeletal tracking models from the sensor system, the video game engine allowed the performers to dynamically interactive with the stage environment. They could open doors, swat away birds, and flap their wings to fly away. The added benefit of the system was that it allowed members of youth young audiences to be called onto stage to further the narrative with their actions. The resulting system enables a new performance methodology with exciting new options for theatrical storytelling, educational training, and interactive entertainment. This evolution of control adds risks beyond those present in deterministic systems.Dynamic control of entertainment automation systems requires strong conformance to functional safety principles to mitigate the risks to affected personal and environments. Functional Safety is the mitigation of unacceptable injury risks through the implementation of one or more automatic protection functions (often called safety functions). In traditional theatre environments, safety functions have historically been limited to “Emergency Stop” functions which halt all motion when an operator presses “the big red button”. As systems become more complex and utilize dynamic control, theatrical automation control systems need to utilize a functional safety evaluation process to better protect persons and the environment for systematic and random failures in the systems. Industry experts develop best practice procedures to address safety concerns which are written into documents called standards.The presenter conducts research at the intersection of entertainment and engineering, has actively participated in the development of numerous American national standards with the Technical Standards Program of ESTA (Entertainment Services and Technology Association), and is a dual certified functional safety engineer (TÜV Rheinland and Underwriters Laboratories). This presentation will go through the functional safety considerations required to implement dynamic control per national and international standards using examples from realized performance projects led by the presenter.