Academic literature on the topic 'Dance costume'
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Journal articles on the topic "Dance costume"
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 (July 4, 2023): 18–30. http://dx.doi.org/10.33650/ijoeel.v5i1.5415.
Full textVeronia, 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 (June 29, 2023): 282–89. http://dx.doi.org/10.31539/leea.v6i2.5468.
Full textKusuma 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 (June 28, 2023): 263–81. http://dx.doi.org/10.31539/leea.v6i2.5330.
Full textAzizah, 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 (December 29, 2018): 248. http://dx.doi.org/10.24167/celt.v18i2.1300.
Full textDharma 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 (February 15, 2023): 164. http://dx.doi.org/10.25157/jall.v7i1.9872.
Full textFensham, Rachel. "Repetition as a methodology: Costumes, archives and choreography." Scene 2, no. 1 (October 1, 2014): 43–60. http://dx.doi.org/10.1386/scene.2.1-2.43_1.
Full textPapantoniou, Ioanna, and Sofia Pantouvaki. "Folk costume as theatrical costume." Studies in Costume & Performance 7, no. 1 (May 1, 2022): 55–66. http://dx.doi.org/10.1386/scp_00060_1.
Full textVoytova, 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.
Full textHelve, 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 (June 1, 2018): 14–31. http://dx.doi.org/10.2478/njd-2018-0003.
Full textIzuta, Ryo, Tsutomu Terada, Yutaka Yanagisawa, Minoru Fujimoto, and Masahiko Tsukamoto. "Design Guidelines on LED Costumes for Dance Performances." Designs 3, no. 4 (December 2, 2019): 51. http://dx.doi.org/10.3390/designs3040051.
Full textDissertations / Theses on the topic "Dance costume"
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.
Full textBurrington, 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.
Full textTaube, 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.
Full textTitle from first page of PDF file (viewed November 17, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 238-253).
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.
Full textViémont, 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.
Full textThis 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
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.
Full textCoulon, Anne. "Du maniaque à l'insouciance, la stratégie du costume chez les chorégraphes contemporains." Paris 1, 2000. http://www.theses.fr/2000PA010585.
Full textXimenes, 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.
Full textTese (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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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.
Full textSince 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
Albert, Laure. "Recherches sur l'iconographie des fêtes de cour en France (1515-1589)." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3131.
Full textDealing 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"
Dotlačilová, Petra. Dance body costume. Leipzig: Leipziger Universitätsverlag, 2019.
Find full textLydia, Dina. Arm costume for bellydancers. [Seattle, Wash.]: D. Lydia & B. Johnson, 2001.
Find full textLydia, Dina. Easy costume for bellydancers. [Seattle, Wash.]: Costume Goddess Publications, 2001.
Find full textLydia, Dina. Flattering costume for bellydancers. [S.l.]: D. Lydia and B. Johnson, 2000.
Find full textCorona, Vicki. Belly dance costume making: Introduction to costume construction for female belly dance students. [United States]: Earth Dance Intl. Pub., 1989.
Find full textGilfillan, Marjorie Mary. Classical and fertility dance photos: With dance costume index. Long Beach, CA: Wenzel Press, 1995.
Find full textMark, Attrill, ed. The folk dance & costume atlas of Poland: History, geography, music, weddings, dances, songs, costumes. [Rainham, Essex?]: H. Matyka, 1991.
Find full textBrown, Dawn Devine. Costuming from the hip. 2nd ed. Roseville, Calif: Ibexa Press, 2000.
Find full textAmbrose, Kay. Classical dances and costumes of India. New Delhi: Allied Pubs., 1985.
Find full textBook chapters on the topic "Dance costume"
Hopgood, Jeromy. "Creating the Costume Design." In Dance Production, 153–65. 2nd ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003291794-15.
Full textAdams, Jennifer Flitton. "Teaching Costume Design for Dance." In Teaching Costume Design and Costume Rendering, 203–21. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003102502-8.
Full textPollatsek, E. Shura, and Mitchell D. Wilson. "Styles and Genres Of Concert Dance Costume." In Costume in Motion, 46–61. New York, NY: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351258524-4.
Full textPollatsek, E. Shura, and Mitchell D. Wilson. "Role of Design and Costumes in and for Dance." In Costume in Motion, 18–29. New York, NY: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351258524-2.
Full textHopgood, Jeromy. "Costumes, Hair, and Makeup." In Dance Production, 136–52. 2nd ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003291794-14.
Full text"Barn Dance (Costume)." In The Girl Singer, 24. The University Press of Kentucky, 2021. http://dx.doi.org/10.2307/j.ctv1xg5hrg.12.
Full textBrandstetter, Gabriele. "Dance Costume and Movement Space." In Poetics of Dance, 269–97. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780199916559.003.0008.
Full textCrisp, Clement. "Jean II Berain's Costume Designs for the Ballet Les Plaisirs de la Paix (1715)." In Dance Research, 167–85. Edinburgh University Press, 2007. http://dx.doi.org/10.3366/edinburgh/9780748635849.003.0008.
Full textBallard, Linda May. "Instrumentalised identity: form and expression in Irish dance costume." In Les costumes régionaux, 451–66. Presses universitaires de Rennes, 2009. http://dx.doi.org/10.4000/books.pur.99848.
Full textDemirbağ, 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.
Full textConference papers on the topic "Dance costume"
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.
Full textHonauer, Michaela. "Designing a Remote-Controlled Interactive Dance Costume." In MOCO '18: 5th International Conference on Movement and Computing. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3212721.3212879.
Full textStergiou, Marina, and Spyros Vosinakis. "Exploring costume-avatar interaction in digital dance experiences." In MOCO '22: 8th International Conference on Movement and Computing. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3537972.3537980.
Full textRifaldi, 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). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200321.049.
Full textPoluchovich, 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.
Full textShulman, 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.
Full textWisjayanti 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). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210602.032.
Full textElias, 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.
Full textZhang, Wei. "Applications Research of Dancing Costumes in National Dance." In 2015 International Conference on Economy, Management and Education Technology. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icemet-15.2015.16.
Full textLisowski, 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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