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Relevant bibliographies by topics / Dance culture

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Academic literature on the topic 'Dance culture'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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Journal articles on the topic "Dance culture"

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Putri, Kemala Dwina, Tati Narawati, Tati Narawati, Trianti Nugraheni, and Trianti Nugraheni. "Eksistensi Karya Seniman Minangkabau Syofyani Yusaf." Gondang: Jurnal Seni dan Budaya 5, no. 1 (April 6, 2021): 15. http://dx.doi.org/10.24114/gondang.v5i1.19413.

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This study intend to analyze the creations of Syofyani Yusaf dance. Study methods using the phenomenological method. Data collection techniques using questionnaires and interviews. The study subject is Syofyani Yusaf. Data analysis techniques using evaluative descriptive. Syofyani Yusaf is one of the prominent artist from West Sumatera. At present there are around 20 dances created. These dances have been studied through dance studio, formal school, and study programs in art colleges. The results of an analysis of Syofyani’s dance shows; (1) the dances theme originaly come from the life of the Minang cultures; (2) Preservation of dance creations is carried out through culture exchange programs and culture knowledge. The results of the study can be concluded that dance creations by Sofyani Yusaf are sill performed and studied by the people not only from the Minang tribe but also another tribes. It is recommended that teachers in formal and non-formal schools become agents of culture exchange programs and culture knowledge.

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Setyawati, Livia. "Budaya Tari Lengger dalam Perspektif Hukum Islam di Kabupaten Wonosobo)." Al-Mada: Jurnal Agama, Sosial, dan Budaya 4, no. 1 (January 2, 2021): 64–77. http://dx.doi.org/10.31538/almada.v4i1.735.

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Research on the culture of Lengger dance in the perspective of Islamic law aims to find out how the implementation of the Lengger dance is carried out by Muslims in Wonosobo Regency, to find out what factors cause the many fans of the Lengger dance in Wonosobo Regency, to find out how the view of Islamic law affects the Lengger dance as culture in Wonosobo Regency. This research uses a descriptive method. The data analysis technique used is qualitative analysis techniques. The results of the data from this article indicate that the Lengger dance culture is carried out on certain occasions, such as welcoming the Indonesian Independence Day, weddings, circumcisions, dreadlocks, etc. Lengger dance has developed until now, influenced by several historical, social, and economic factors. Most of the dancers and the people of Wonosobo are Muslim, in the implementation of the Lengger dance over time the meaning of philosophy in the lyrics or the Lengger dance is getting lost because what attracts dances with the beauty and courage of the dancer or just as entertainment. As the younger generation, they must preserve the culture and stick to Islamic law, namely restoring the religious and moral meaning of the Lengger dance and covering their genitals according to religious orders.

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Siljamäki, Mariana, Eeva Anttila, and Arja Sääkslahti. "Pedagogical conceptions of Finnish teachers of transnational dances. Cases: African dance, Oriental dance and Flamenco." Nordic Journal of Dance 2, no. 1 (December 1, 2011): 38–55. http://dx.doi.org/10.2478/njd-2011-0006.

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Abstract Today, multiculturalism is increasing in the Nordic societies. It is also evidently reflected in the arts, including dance. Simultaneously, understanding different dance cultures is becoming more important in the field of dance pedagogy. This article discusses the pedagogical conceptions of Finnish teachers of transnational dances and their experiences in teaching African dance, Oriental dance and flamenco. Through a process of a phenomenographic data analysis, the authors have identified three different ways to understand the nature of transnational dances: 1) Dance is art, 2) Dance is culture open to all people and simultaneously art and physical education, and 3) Dance is a part of well-being. These different views seem to be reflected in the teachers’ pedagogical conceptions that are the main focus of the data analysis. The article includes descriptions of the different pedagogical ways of thinking of the teachers. The present findings can be used to increase the awareness of teachers who focus on teaching the dances of different cultures. They are also relevant for the future development of physical education and dance teacher programs, where cultural consciousness is considered relevant.

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Kang, Manpreet Kaur. "Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts." Review of International American Studies 13, no. 2 (December 31, 2020): 61–86. http://dx.doi.org/10.31261/rias.9884.

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Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.

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Kang, Manpreet Kaur. "Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts." Review of International American Studies 13, no. 2 (December 31, 2020): 61–86. http://dx.doi.org/10.31261/rias.9884.

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Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.

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Nugraheni, Trianti, Tati Narawati, and Agus Budiman. "Jaipong Dance: Representation of Local Culture, Popular Culture and Global Culture." International Journal of Social Sciences and Humanities Invention 8, no. 12 (December 28, 2021): 6716–25. http://dx.doi.org/10.18535/ijsshi/v8i12.02.

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The dynamics of the development of Jaipongan dance in West Java have undergone several metamorphosis processes and the evolution of presentation forms as a manifestation of wise reflection on the openness of external cultural influences on the development of jaipongan dance to date. The jaipongan dance is an important part of the process of cultural inheritance in West Java, which has worldwide existence. The findings show that the form of presenting the jaipongan dance has now undergone many changes from its form and function in society. This change is a manifestation of the wise attitude of the jaipongan dance creators in seeing the potential for socio-cultural change that must be positively addressed in the jaipongan dance works they create. The color of the jaipongan dance presentation has changed, but local values are still strong.

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Hoppu, Petri. "The Polska: Featuring Swedish in Finland." Congress on Research in Dance Conference Proceedings 2014 (2014): 99–105. http://dx.doi.org/10.1017/cor.2014.13.

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The paper examines the Swedish polska as a special case of movementscape in Finnish folk dance. The research is based on ethnographic fieldwork among Finnish folk dancers in 2013. Since the 1970s, the polska has been popular in Swedish folk dance, and this versatile dance form can be seen as emblematic to Swedish folk dance culture. During the last 30 years, Finnish folk dance groups have also eagerly adopted it: not only the dance itself, but a whole new style and embodiment of dancing with improvisation as an important element. Although there have been vernacular polska forms in Finland, as well, and folk dancers have danced them for decades, they have not been able to reach any higher status. Although Finnish folk dancers have adopted dances from other Nordic countries since the early twentieth century, the popularity of Swedish polska exceeds that of any earlier Nordic innovations in Finland.

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Aditia Candra Buana, Ika, Hartono Hartono, and Triyanto Triyanto. "Sada Sabai Dance in Komering Culture of East OKU Regency." Catharsis 9, no. 1 (May 31, 2020): 19–27. http://dx.doi.org/10.15294/catharsis.v9i1.38475.

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Sada Sabai dance as one of South Sumatra's traditional art works, especially in East Ogan Komering Ulu Regency is very closely related to Komering culture. Sada Sabai dance is one of the characteristics of the Komering culture that dwells in the South Sumatra region, created based on the spirit of the Komering community when holding a traditional wedding ceremony. Sada Sabai dance is one form of art that is used by many Komering people who are presented during the traditional wedding ceremony. The problem raised in this study aims to analyze the characteristics of the Sada Sabai dance that developed in the Komering culture. The method used is a qualitative method with a case study research design. Data collection techniques include observation, interview and document study. The results showed that Sada Sabai dance was a symbol of the harmony between the bride and groom family, so that in the past Sada Sabai dance was only danced by married families. This phenomenon was clearly seen when the groom's family and the bride danced on the stage how the two of them looked very close to each other. Then, the movement in Sada Sabai dance emphasized improvisation and exploration as its main approach and the main characteristic lied in the middle fingers of the dancers.

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Dharmalingam, B., M. S. Kanagathara, M. Muthumari, and P. Avanthraj. "Dance form of Karagattam - The Regional Folk Dance in Tamil Nadu." Shanlax International Journal of Arts, Science and Humanities 7, no. 1 (July 1, 2019): 71–75. http://dx.doi.org/10.34293/sijash.v7i1.485.

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India is a land of varied cultures and traditions, diversities in all spheres which make the Indian culture quite unique. Indian folk and tribal dances are the product of different socio-economic set up and traditions evolved over ages.. In India, we have festivals and celebrations virtually every day and dances are performed to express joy and festivity. This has added to the richness of Indian culture. Since every festival is accompanied by celebration of folk and tribal dances and almost all of them have continually evolved and improvised. In India, we have festivals and celebrations virtually every day and dances are performed to express joy and festivity. This has added to the richness of Indian culture. Since every festival is accompanied by celebration of folk and tribal dances and almost all of them have continually evolved and improvised. Folk dances are performed for every possible occasion – to celebrate the arrival of season’s birth of a child, a wedding and festivals which are plenty with minimum of steps or movements. Indian folk dances are full of energy vitality. Some dances are performed separately by men and women while in some performances, men and women dance together.

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Devyatova, Olga L., and Aleksandra A. Pichueva. "Dance Culture in the Digital Age." Observatory of Culture 19, no. 4 (September 5, 2022): 372–80. http://dx.doi.org/10.25281/2072-3156-2022-19-4-372-380.

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The purpose of this article is to analyze the existence of dance culture in the context of its active interaction with media technologies. The modern theatrical repertoire offers a large number of experimental performances, which provides a basis for a cultural understanding of dance culture, based on the works of researchers of culture, theater and dance, as well as on the basis of the results of creative searches of choreographers and dancers (lectures and individual performances). The synthesis under consideration generates new stage techniques (formation of space without the use of decorations, direct “interaction” of the dancer with electronic “props”), technical means for rehearsals (tracking movements in space, remote work of the choreographer and the performer). This makes dance art accessible to the viewer making it a part of media culture through musical films and television projects. The article pays special attention to the wide opportunities of the dancer’s self-presentation in the digital space, which requires not only beautiful dance technique, but also technical skills (filming, editing).It is important that the synthesis of technology and dance is a special case of the relationship between the classical and the modern. This manifests itself in unusual musical works, where genres and musical instruments of different styles are combined, as well as in experimental dance performances in which there is a place for both classical dance and digital technologies as decorations or even participants in the stage action. The article concludes that dance culture continues to develop with the help of media technologies, but it should be borne in mind that further technical transformations will never replace the live movement and expressiveness of the human body with digital effects.

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Dissertations / Theses on the topic "Dance culture"

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Thomas, Helen. "Dance, modernity and culture : explorations in the sociology of dance /." London ; New York : Routledge, 1995. http://catalogue.bnf.fr/ark:/12148/cb37459079h.

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Augrand, Alexandre. "Le Dj, médiateur de transferts culturels dans la Dance Culture : comment des cultures locales sont devenues globales." Thesis, Université Paris-Saclay (ComUE), 2015. http://www.theses.fr/2015SACLE021/document.

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À travers ma thèse intitulée "Le Dj, médiateur de transferts culturels dans la Dance Culture. comment des cultures locales sont devenues globales", je mets en avant l'implication des DJs dans l'émergence des principaux mouvements musicaux formant la Dance Culture dans l'espace Atlantique.Dans le premier chapitre, je retrace l'émergence de la culture musicale jamaïcaine qui se trouve être à la base du DJing au sens créatif du terme.Dans le deuxième chapitre, je montre le développement des quatre mouvements phares qui forment la Dance Culture apparue sur la côte Est des États-Unis.Dans mon troisième chapitre, je parle de l'expansion de la Dance Culture en Europe en m'appuyant principalement sur les cas du développement de la House et de la Techno en Angleterre, en Allemagne et en France
Through my thesis entitled "DJ, cultural transfers mediator in the Dance Culture, how local cultures became global", I put forward the DJs' involvement in the emergence of the main music movements which formed the Dance Culture in the Atlantic area.In the first chapter, I recall the Jamaican music culture's emergence which is on the basis of the DJing in the creative sense.In the second chapter, I show the development of the four main movements which formed the Dance Culture appeared in the East coast of the United States.In my last chapter, I speak about the expansion of the Dance Culture in Europa with the example of the House and Techno development in England, in Germany and in France

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Borthwick, Stuart. "Dance, culture, television : an analysis of the politics of contemporary dance culture and its televisual representations." Thesis, Liverpool John Moores University, 1998. http://researchonline.ljmu.ac.uk/5031/.

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Chao, Yu-ling. "Dance, culture and nationalism : the socio-cultural significance of Cloud Gate Dance Theatre in Taiwanese society." Thesis, City University London, 2000. http://openaccess.city.ac.uk/11875/.

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The socio-cultural significance of Cloud Gate Dance Theatre (est. 1973) in Taiwan is manifested in the interconnection of political nationalism and the representation of a diasporic postcolonialist cultural nationalism in its dance creations. The hybrid nature of Taiwanese society and its struggle between Chinese and Taiwanese nationalism are reflected in the motive behind the creation of the company, the evolution of its repertoire and changes in its nationalist stance. The creation of Cloud Gate, the first Taiwanese contemporary dance company, was stimulated by its founder Lin Hwaimin's enthusiasm for Taiwan Chinese nationalism. The name Cloud Gate Dance Theatre not only relates to Chinese dance history and the formation of Chinese mythological nationalism, but also indicates the hybrid nature of Taiwanese society. In brief, Cloud Gate's multi-cultural dance creation is generated by diasporic Chinese for diasporic Chinese. In the light of intensifying Taiwanese nationalism on the island the evolution of the Cloud Gate repertoire (between 1973-1997), which began by juxtaposing Chinese and Western dance elements before integrating Chinese, Western, Taiwanese, Taiwanese indigenous and various Asian dance elements, reflects the company and Taiwanese society's search for a Taiwanese cultural and political identity. Among the Cloud Gate repertoire, Legacy (1978) and Nine Songs (1993) are considered to exemplify most this distinct socio-cultural phenomenon-the interaction and interconnection between dance, culture and nationalism in the context of the formation of Taiwan as a postcolonial society in opposition to Chinese nationalist hegemony. A research methodology for the socio-cultural analysis of dance is developed, with specific relevance to the Cloud Gate repertoire, which incorporates methods originating in sociology of dance and choreological studies. This is supported by a documentary research method which draws on theories and analytical methods of sociology and dance history. Zelinger's (1979) theory of semiotics of theatre dance is applied to bring together sociological and choreological methods. The examination of Thomas' (1986) sociological analysis of dance, Adshead's (1988) and Sanchez-Colberg's (1992) dance structural analysis leads to the development of a new method of analysis. Geertz's (1973) concept of `Thick description' provides the theoretical ground for the interpretation of data collected through the analysis of extrinsic and intrinsic features of cultural phenomena. Consequently the significance of the dance in question can be addressed in terms of the complex network of interpretations of it within its socio-cultural context.

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Abiona, Oladoyin Olubukola. "What I Do When I Dance: Foregrounding Female Agency in the Dance Culture in Nigeria." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1621977769335732.

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Randall, Tresa M. "Hanya Holm in America, 1931-1936: Dance, Culture and Community." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/14993.

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Dance
Ph.D.
Though she is widely considered one of the "four pioneers" of American modern dance, German-American Hanya Holm (1893-1992) occupies a shadowy presence in dance history literature. She has often been described as someone who fell in love with America, purged her approach of Germanic elements, and emerged with a more universal one. Her "Americanization" has served as evidence of the Americanness of modern dance, thus eclipsing the German influence on modern dance. This dissertation challenges that narrative by casting new light on Holm's worldview and initial intentions in the New World, and by articulating the specifics of the first five years of her American career. In contrast to previous histories, I propose that Holm did not come to the U.S. to forge an independent career as a choreographer; rather, she came as a missionary for Mary Wigman and her Tanz-Gemeinschaft (dance cultural community). To Wigman and Holm, dance was not only an art form; it was a way of life, a revolt against bourgeois sterility and modern alienation, and a utopian communal vision, even a religion. Artistic expression was only one aspect of modern dance's larger purpose. The transformation of social life was equally important, and Holm was a fervent believer in the need for a widespread amateur dance culture. This study uses a historical methodology and accesses traces of the past such as lectures, school reports, promotional material, newspaper articles, personal notebooks, correspondence, photographs, and other material--much of it discussed here for the first time. These sources provide evidence for new descriptions and interpretations of Holm's migration from Germany to the U.S. and from German dance to American dance. I examine cultural contexts that informed Holm's beliefs, such as early twentieth century German life reform and body culture; provide a sustained analysis of the curriculum of the New York Wigman School of the Dance; and consider how the politicization of dance in the 1930s--in both Germany and the U.S.--affected Holm and her work.
Temple University--Theses

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Jamieson, Evelyn. "From dance cultures to dance ecology : a study of developing connections across dance organisations in Edinburgh and North West England, 2000 to 2016." Thesis, University of Chester, 2016. http://hdl.handle.net/10034/620561.

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The first part of this thesis provides an autobiographical reflection and three contextualising histories to illustrate the increasing codification of late twentieth century UK contemporary dance into discrete cultures. These are professional contemporary dance and professional performance, dance participation and communitarian intervention, and dance as subject for study and training. The central section of the thesis examines post-millennial reports and papers by which government, executives and public sector arts organisations in both England and Scotland have sought to construct and steer dance policy toward greater collaborative connections on financial and ideological grounds. This is contrasted with a theoretical consideration of collaboration drawing on a range of academic approaches to consider the realities and ideals of creative and artistic collaboration and organisational collaboration. Finally, the thesis draws together these historical, theoretical and policy driven considerations in a series of six case studies to establish the network of connections. Two professional contemporary artists and companies, two community dance organisations and two education departments (one of each from Edinburgh, Scotland and one of each from the North West of England) are scrutinised to assess the challenges, tensions and opportunities in reconciling policy driven collaboration with artistic integrity.

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Trotter, Cala A. "Tap Dance: The Lost Art Form Regained." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275769569.

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Hall, Joanna Louise. "Heterocorporealities : popular dance and cultural hybridity in UK drum 'n' bass club culture." Thesis, University of Surrey, 2009. http://epubs.surrey.ac.uk/2160/.

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O'Hagan, Ciaran C. C. "London dance culture scenes : formation, drug use and communication." Thesis, London South Bank University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410585.

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Books on the topic "Dance culture"

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Helen, Thomas. Dance, Modernity and Culture. London: Taylor & Francis Group Plc, 2004.

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Thomas, Helen, ed. Dance, Gender and Culture. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22747-1.

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Thomas, Helen, ed. Dance, Gender and Culture. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-23842-2.

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Thomas, Helen. Dance, Modernity and Culture. London: Taylor & Francis Inc, 2004.

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1947-, Thomas Helen, ed. Dance, gender, and culture. New York: St. Martin's Press, 1993.

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Dance as education: Towards a national dance culture. London: Falmer, 1991.

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International CORD Conference (1988 Toronto, Canada). Dance and culture: Conference proceedings. [Brockport, N.Y.?]: The Congress on Research in Dance, 1988.

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Sharing the dance: Contact improvisation and American culture. Madison, Wis: University of Wisconsin Press, 1990.

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Dance, modernity, and culture: Explorations in the sociology of dance. London: Routledge, 1995.

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Lázár, Imre. Dance of the avatar: Embodying gender and culture through dance. Hauppauge, New York: Nova Science Publishers, Inc., 2015.

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Book chapters on the topic "Dance culture"

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Nevile, Jennifer. "Dance." In Early Modern Court Culture, 478–93. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429277986-37.

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Jones, Susan. "Dance." In A Companion to Modernist Literature and Culture, 265–71. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996331.ch29.

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Sagolla, Lisa Jo. "Dance." In The Routledge Handbook to the Culture and Media of the Americas, 75–85. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351064705-7.

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Polhemus, Ted. "Dance, Gender and Culture." In Dance, Gender and Culture, 3–15. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22747-1_1.

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Polhemus, Ted. "Dance, Gender and Culture." In Dance, Gender and Culture, 3–15. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-23842-2_1.

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Burt, Ramsay. "Modernity, ritual and diasporic culture." In Dance, Modernism, and Modernity, 199–213. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429457845-11.

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Brooks, Ann. "Dance, Body and Popular Culture." In Popular Culture: Global Intercultural Perspectives, 75–87. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-42672-7_6.

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Sanchez-Colberg, Ana. "‘You put your left foot in, then you shake it all about …’." In Dance, Gender and Culture, 151–63. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22747-1_10.

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Sayers, Lesley-Anne. "She might pirouette on a daisy and it would not bend." In Dance, Gender and Culture, 164–83. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22747-1_11.

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Oyortey, Zagba. "Still Dancing Downwards and Talking Back." In Dance, Gender and Culture, 184–99. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22747-1_12.

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Conference papers on the topic "Dance culture"

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Zhang, Rui. "Research of Oroqen Dance Culture." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.57.

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Shikanai, Nao, and Kozaburo Hachimura. "Analysis of Interpersonal Effects in Dance Performance." In 2017 International Conference on Culture and Computing (Culture and Computing). IEEE, 2017. http://dx.doi.org/10.1109/culture.and.computing.2017.35.

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Nakamura, Minako. "The Postures and Movements of Balinese Dance." In 2017 International Conference on Culture and Computing (Culture and Computing). IEEE, 2017. http://dx.doi.org/10.1109/culture.and.computing.2017.37.

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Sakata, Mamiko, and Sachika Kurasaka. "Basic Study in Ma Timing in Gagaku: Between the Dancer and the Ryuteki Player in Bugaku Dance "Ryo-Ou"." In 2011 Second International Conference on Culture and Computing (Culture Computing). IEEE, 2011. http://dx.doi.org/10.1109/culture-computing.2011.57.

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Utsugi, Annla, Tsuyuki Masaya, and Hideo Takaoka. "Analysis of Movements of Body Trunk in Japanese Traditional Dance." In 2017 International Conference on Culture and Computing (Culture and Computing). IEEE, 2017. http://dx.doi.org/10.1109/culture.and.computing.2017.45.

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Marolt, Matija, Janez Franc Vratanar, and Gregor Strle. "Ethnomuse: Archiving folk music and dance culture." In IEEE EUROCON 2009 (EUROCON). IEEE, 2009. http://dx.doi.org/10.1109/eurcon.2009.5167650.

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Junior, Mega Swastika, Drajat Tri Kartono, and Ahmad Zuber. "The Form of Culture in Songkro Dance." In Proceedings of the International Conference on Research and Academic Community Services (ICRACOS 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/icracos-19.2020.30.

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Hu, Huaichin, Shunsuke Kudoh, Yoshihiro Sato, and Katsushi Ikeuchi. "The Study of Taiwanese Indigenous Dance with Labanotation and an Application." In 2013 International Conference on Culture and Computing (Culture Computing). IEEE, 2013. http://dx.doi.org/10.1109/culturecomputing.2013.21.

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Sato, Katsumi, Yoko Usui, Erina Yanagida, and Shinichi Watabe. "Evaluating the Use of Motion Capture in Practicing Local Folk Dance." In 2017 International Conference on Culture and Computing (Culture and Computing). IEEE, 2017. http://dx.doi.org/10.1109/culture.and.computing.2017.15.

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Kim, Unmi, and Kyeonga Shin. "Content Concept for VR-based Interactive Korean Traditional Dance ExperienZone (IKTDEZ)." In 2017 International Conference on Culture and Computing (Culture and Computing). IEEE, 2017. http://dx.doi.org/10.1109/culture.and.computing.2017.31.

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Reports on the topic "Dance culture"

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Haynes-Clark, Jennifer. American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.20.

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