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Relevant bibliographies by topics / Dance costume

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Dissertations / Theses
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Academic literature on the topic 'Dance costume'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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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

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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 purposi

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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

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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 traditiona

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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 co

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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 archi

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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 a

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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

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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 subjec

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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 th

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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.<br>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

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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

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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 "

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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

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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 Boccara<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>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<br>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 sai

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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

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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. Po

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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.

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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.

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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

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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

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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 Ga

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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 ena

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