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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 FranceThrough 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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DancePh.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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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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Burgin, Erica. "Embodied Culture: An Exploration of Irish Dance through Trauma Theory." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2640.
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This thesis examines traditional Irish dance as a locus of cultural memory, inscribed on the body. The native people of Ireland experienced invasion and oppression for nearly a millennium, beginning with Viking invasions at the end of the 8th century and ending in the 1940s, when the British finally departed Ireland, now an independent country. During the years of English rule, the British imposed harsh laws and sought to eradicate all vestiges of Irish culture in an attempt to diminish Irish identity. Through the ages, the definition of what it means to be Irish has changed widely, frequently resulting in revolt against invaders and internal armed conflicts. Physical alterations of the Irish body also occurred, though in a more representational context than a literal one. Traditional Irish dance grappled with how to present the Irish body, endeavoring to use it in way that overcame the cultural traumas of invasion and suppression. When Ireland began reclaiming its identity in the twentieth century, it soon became clear that dance had been profoundly affected by the traumatic oppression. Interestingly, the emerging dance form that became codified as distinctively Irish dance both reflects the history of suppression and seems to repeat the oppression, as if the living body were caught up in traumatic repetition. Traumatic experiences have shaped the collective and individual Irish bodies, and dance performance highlights a culture that is continually repeating its oppressive past in an attempt to find a cure from that traumatic heritage. By examining the solo dance tradition, Irish dance becomes a fertile field for studying the qualities of an embodied dance form that, in this case, performs a cultural history marked by oppression and traumatic repetition. As developed under the Gaelic League and the Irish Dancing Commission, traditional Irish dance reflected a rather proscribed art form, meant to specifically embody certain qualities of "Irishness." Looking back to pre-invasion Ireland, they intended to display the distinct, pure Irish identity of the past; instead, they continued the pattern of control and suppression. However, Ireland and Irish dance have grown beyond those early structures of traumatic repetition. In 1994, Riverdance grabbed worldwide attention as it presented Irish dance in a new context, with movements that broke from proscribed forms and expressed a non-traumatic Irish identity. Riverdance and the ensuing global craze for Ireland demonstrate a cultural artifact that has successfully stepped from the past into the dynamic present. While still acknowledging and preserving its original roots, the traumas of the past have been healed through embodied representation.
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Marion, Jonathan Saul. "Dance as self, culture, and community the construction of personal and collective meaning and identity in competitive ballroom and salsa dancing /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3213856.
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Thesis (Ph. D.)--University of California, San Diego, 2006.Title from first page of PDF file (viewed June 27, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 853-893).
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Thornton, Sarah. "Record hops to raves : authenticity and subcultural capital in music and media cultures." Thesis, University of Strathclyde, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261836.
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Luckman, Susan Heather. "Party people : mapping contemporary dance music cultures in Australia /." [St. Lucia, Qld.], 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16686.pdf.
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Haynes-Clark, Jennifer Lynn. "American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/20.
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Belly dance classes have become increasingly popular in recent decades in the United States. Many of the predominantly white, middle-class American women who belly dance proclaim that it is a source of feminist identity and empowerment that brings deeper meaning to their lives. American practitioners of this art form commonly explain that it originated from ritual-based dances of ancient Middle Eastern cultures and regard their participation as a link in a continuous lineage of female dancers. In contrast to the stigmatization and marginalization of public dance performers in the Middle East today, the favorable meaning that American dancers attribute to belly dance may indicate an imagined history of this dance. Based on ethnographic fieldwork conducted on the West Coast of the United States and Morocco in 2008-2009, I explore American belly dance utilizing theoretical contributions from feminism, Foucauldian discourse analysis, and postmodernism. I argue that an anthropological investigation of American belly dance reveals that its imagery and concepts draw from a larger discourse of Orientalism, connected to a colonial legacy that defines West against East, a process of othering that continues to inform global politics and perpetuates cultural imperialism. But the creative identity construction that American women explore through belly dance is a multi-layered and complex process. I disrupt the binary assumptions of Orientalist thinking, highlighting the heterogeneity and dynamic quality of this dance community and exploring emergent types of American belly dance. Rather than pretending to be the exotic Other, American belly dancers are inventing a new exotic Self. This cultural anthropological study contributes to a greater understanding of identity and society by demonstrating ways that American belly dancers act as agents, creatively and strategically utilizing discursive motifs to accomplish social and personal goals.
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Bugge, Christian Stewart. "The end of youth subculture? : dance culture and youth marketing 1988-2000." Thesis, Kingston University, 2002. http://eprints.kingston.ac.uk/20694/.
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This thesis focuses on the concept of youth Subculture, used in both academic and popular discourse to describe a distinct form of youth culture. The thesis focuses on Dance Culture, the dominant youth culture in Britain during the period 1988-1990, but also a unique form of youth culture that challenges previous theories of youth culture, and questions whether youth cultures are organically formed or commercially created. The thesis establishes how the marketing industry has become increasingly adept at understanding and responding to the cultural aspect of young peoples' lives since the youth market was first identified in the late 1950s. The commercial importance of rebellious youth cultures was first established in the 1960s. However, it took the market-driven economy of the 1980s, in which a more style-orientated advertising practice developed, to draw on the style-factor that youth cultures evoke. Due, in particular, to increases in the number of youth-oriented media in the 1980s and 1990s marketing has developed its ability to reach youthful consumers. As a result, it has come to focus on individual youth cultures, re-presenting them to consumers who seek the cultural capital they possess. The central focus is 'youth marketing', an industry which thrived in the knowledge-based New Economy of the 1990s. Interviews .with experts in 'youth marketing' show how marketing interacted with the Dance Culture and its consistent subcultures. It shows, where previous studies of youth Subculture have failed, the crucial role that consumerism, and more specifically marketing, plays in the formation and communication of youth cultures. Marketers have increasingly come to recognise the cultural capital of Subcultures, and have become more influential in the way that they are communicated and adopted by young people. As a consequence, the thesis argues that Youth Subculture is now a concept more readily employed for selling lifestyles to consumers, as opposed to a reliable model for understanding young peoples' culture. Rather than expressions of genuine resistance, youth cultures are, now more accurately viewed as reference points in consumer trends. Previous studies of advertising and marketing have been based on abstract research methodologies, such as textual analysis. This research is unique in interviewing the practitioners who attempt to understand and re-present young people's culture. In this way, it presents a more accurate and grounded analysis of marketing's interaction and comprehension of young people, and also its subsequent attempts to have meaning in their cultural lives.
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Thomas, Helen. "Movement, modernism and contemporary culture : issues for a critical sociology of dance." Thesis, Goldsmiths College (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308268.
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Heller, David Francis. "Pass The Flow: The Subcultural Practice of Liquid Dance." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/539612.
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DancePh.D.
This dissertation explores how the subcultural practice of liquid dance emerged from US rave culture and continues to sustain itself and evolve in today’s era of social media and EDM festival culture. I draw upon the concept of flow as a lens to trace the historical, aesthetic, digital, social and subcultural trajectory of liquid dance. I analyze how this subculture continues to evolve through individual practice, as well as how dance is shared through online and live dance exchange. My dissertation consists of seven chapters that provide both academic and practitioner perspectives of liquid dance. My research methods combine a multidisciplinary approach to implementing semi-structured interviews, participant observation, and digital archival research. My fieldwork consists of interviewing fourteen liquid practitioners, as well as conducting ethnographic research at an EDM festival where liquid dancers annually attend and participate. The purpose of this project is twofold. One, to contribute new knowledge to the field of dance studies on the specific dance genre of liquid, which up until now has not been documented in this field. Two, to provide a space for practitioners to openly share their perspectives in a collaborative effort to produce new knowledge. From the beginning, it has been my intention to produce a dissertation that provides the foundation for a continuing series of academic discussions from which to draw upon for further, future research and critical engagement with liquid dance. This document may also be used as a template for scholars across disciplines to deploy as a lens to analyze and critique other subcultural dance practices within the continuum of rave, club and dance music festivals.
Temple University--Theses
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Figueiredo, Valeria Maria Chaves de. "Gente em cena : fragmentos e memorias da dança em Goias." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252489.
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Orientador: Marcia Maria Strazzacappa HernandezTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-08T11:09:09Z (GMT). No. of bitstreams: 1 Figueiredo_ValeriaMariaChavesde_D.pdf: 10654732 bytes, checksum: 6f1e605c162482a779657ba5e7114195 (MD5) Previous issue date: 2007
Resumo: O presente trabalho tem como objetivo apresentar a dança como arte da memória e expressa em corpos que dançam. Reconstruímos danças populares de Goiás quase que 'esquecidas', presentes apenas na memória de antigos moradores da região de Santa Cruz, cidade do Estado de Goiás. Temos como foco a perspectiva da história oral, priorizando a utilização de fontes orais, bem como, o registro de imagens. A inter-relação com a comunidade manifesta-se como condição fundamental para se apreender os modos, as histórias, os movimentos, as dramaturgias que marcam estes cotidianos e sua arte. Estas danças resistem como fragmentos, na memória de antigos moradores e sem registros ofi ciais. Continuam vivas na tradição da oralidade, mais particularmente, na memória do corpo, já que não são mais dançadas. Foram danças aprendidas em festas rurais locais, realizadas nos salões das fazendas da região. Entre os mutirões e pagodes, estas danças e cantos tinham intuito de agregar, coletivizar experiências, ancorando-se nas trocas e nas relações afetivas, sociais e culturais. Ao longo dos anos foram proibidas e/ou desprezadas pela modernidade capitalista. A metodologia desenvolvida envolveu o registro pela escrita, pela imagem e pela experiência vivida, formando uma rede de significações. Nossa intenção foi olhar para o corpo como um texto múltiplo e constituído de história, memória, cultura e arte. São tiranias e poesias inscritas no cotidiano e na dança. É a presença de uma multiplicidade de diálogos e uma dança apresentada como campo de conhecimento polissêmico. Nosso referencial teórico dialoga com diversos autores, entre eles Portelli, Olga Von Simson, Walter Benjamin, entre outros
Abstract: The present work has as an objective to present the dance as art memory, memory held within the bodies that dance, and for this purpose the folk popular dances of Goiás were reconstructed; these popular â?¿forgottenâ?? dances take place only in the memory of the dwellers of Santa Cruz, a small town in the state of Goiás. The focus is the perspective of the oral history, with prior use of oral sources and the images records. The interrelation with the community fl ourishes as a mandatory condition to apprehend the manners, the stories, the movements, the drama that mark their daily routine and its art. These dances linger in the memory of the elders; there are no systematic records, they are kept alive in their oral tradition, more particularly in the bodiesâ?¿ memory, since they havenâ?¿t danced them for ages. Were dances learned in the local parties, carried through in the farms of the region. Between the mutirões and pagodes, these dances and chanting had the intention of creating a collectivizing experiences, anchoring themselves in the exchanges and the affective, social and cultural relations. Throughout the years they had been forbidden and/or rejected by capitalist modernity. Our methodology involves registering the long lived lore experience by the images and the language written, building a network of meaningful information. The intention is to look to the body as a multiple text made of history, lore, memory, culture and art; it is the various dialogs and dances in the fi eld of polissitemic knowledge that matters. They are tyrannies and poetry inscribed in the daily routine and in dance. The theory referential points of this work dialogs with various authors such as Portelli, Olga Von Simson, Walter Benjamin, among others
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutor em Educação
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Spalink, Angenette. "CHOREOGRAPHING DIRT: PERFORMANCES OF/AGAINST THE NATURE/CULTURE DIVIDE." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395155418.
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McIver, Sharon. "WaveShapeConversion : the land as reverent in the dance culture and music of Aotearoa : a thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Cultural Studies in the University of Canterbury /." Thesis, University of Canterbury. Culture, Literature and Society, 2007. http://hdl.handle.net/10092/1635.
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This thesis is the result of more than ten years involvement with outdoor dance events
in Aotearoa, with a specific focus on Te Wai Pounamu (South Island) and Otautahi
(Christchurch). Two symbiotic themes are explored here – that of the significance of the
landscape in inspiring a conversion to tribal-based spirituality at the events, and the role
of the music in ‘painting’ a picture of Aotearoa in sound, with an emphasis on those
musicians heard in the outdoor dance zones. With no major publications or studies
specific to Aotearoa to reference, a framework based on global post-rave culture has been
included in each chapter so that similarities and differences to Aotearoa dance culture
may be established. Using theoretical frameworks that include Hakim Bey’s TAZ
(Temporary Autonomous Zone), the carnivalesque, and tribalism, the overriding theme to
emerge is that of utopia, a concept that in Aotearoa is also central to the Pākehā
mythology that often stands in for a hidden violent colonial history, of which te Tiriti o
Waitangi (the Treaty of Waitangi) has been a source of division since it was signed in
1840. Thus, in the Introduction several well-known local songs have been discussed in
relation to both the Pākehā mythology and the history of te Tiriti in order to contextualise
the discussion of the importance of Māori and Pākehā integration in the dance zones in
the following chapters.
The thesis comprises of two main themes: the events and the music. At the events I
took a participatory-observer approach that included working as rubbish crew, which
provided a wealth of information about the waste created by the organisers and vendors,
and the packaging brought in by the dancers. Thus the utopian visions that were felt on
the dancefloor are balanced with descriptions of the dystopian reality that when the
dancers and volunteers go home, becomes the responsibility of a strong core of
‘afterparty’ crew.
Musically, the development of a local electronic sound that is influenced by the
environmental soundscape, along with the emergence of a live roots reggae scene that
promotes both positivity and political engagement, has aided spiritual conversion in the
dance zones. Whereas electronic acts and DJ’s were the norm at the Gathering a decade
ago, in 2008 the stages at dance events are a mixture of electronic and live acts, along
with DJ’s, and most of the performers are local. Influenced by a strong reggae movement
in Aotearoa, along with Jamaican/UK dance styles such as dub and drum and bass, local
‘roots’ musicians are weaving a new philosophy that is based on ancient tribal practices,
environmentalism and the aroha (love) principles of outdoor dance culture. The sound of
the landscape is in the music, whilst the vocals outline new utopian visions for Aotearoa
that acknowledge the many cultures that make up this land. Thus, in Aotearoa dance
music lies the kernel of hope that Aotearoa dance culture may yet evolve to fulfil its
potential.
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McDonald, Caitlin. "Belly dance and glocalisation : constructing gender in Egypt and on the global stage." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/119585.
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This thesis is an ethnography of the global belly dance community with particular reference to the transmission of dance paradigms from Cairo to the international dance community. Key words describing my topic include dance, gender, performance, group dynamics, social norms and resistance, public vs. private, tourism, and globalisation. I hypothesize that social dancing is used in many parts of the world as a space outside ordinary life in which to demonstrate compliance with or to challenge prevailing social paradigms. The examination of dance as a globalised unit of cultural capital is an emerging field. With this in mind I investigate the way this dance is employed in professional, semi-professional, and non-professional settings in Egypt and in other parts of the world, notably North America and Europe. Techniques included interviewing members of the international dance community who engage in dance tourism, travelling from their homes to Egypt or other destinations in order to take dance classes, get costumes, or in other ways seek to have an 'authentic' dance experience. I also explored connections dancers fostered with other members of the dance community both locally and in geographically distant locations by using online blogs, websites, listservs and social networking sites. I conducted the first part of my fieldwork in Cairo following this with fieldwork in belly dance communities in the United States and Britain.
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Barnes, Duncan Martin. "Selling the modern day tribe: The commodification of rave culture." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2107.
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This thesis examines youth and rave culture from the late 1980s to the present. It considers the history as well as the global and local impact of rave. I provide a visual ethnographic study from 1999-2014, based on my work as a commercial photographer of the Perth, Western Australian scene. While critically reflecting on existing subcultural research this thesis adds another dimension – the effect that global corporations have had in reshaping subcultural practices, specifically the commodification of rave culture in the form of the contemporary electronic dance festival.
The research incorporates both qualitative and quantitative data to interrogate media coverage on rave culture as well as interviews and first hand experience within the rave scene. I analyse mainstream print and electronic media reporting of rave as a deviant youth subcultural practice linked to the use of the drug ecstasy. I consider the effect this had on rave and it’s rebranding to become known in contemporary times as EDM (electronic dance music). As a result I examine how rave has shifted from a youth subcultural activity to being not only mainstream and commercial, but also owned and controlled by global corporations. My discussion of the conventions of festival/music scenes will demonstrate how rave, which once operated outside ‘acceptable’ boundaries, has become a part of the conventional norm.
A unique aspect of this thesis is the inclusion and analysis of my photographs taken over a 15 year period that document the changes that occurred as rave transitioned from a subversive underground scene to corporate run multimillion dollar events. The photographs are also compiled into an accompanying monograph. The monograph allows for an immersive visual experience of non-staged event images and predetermined studio and location photographs. The book offers what words alone cannot fully engage with – a representation of what was and remains a highly visual scene, based on fashion, performance and settings.
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Owen, Craig. "Dancing gender : exploring embodied masculinities." Thesis, University of Bath, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.636536.
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Within popular culture we have recently witnessed a proliferation of male dancers. This has been spear-headed by the success of the BBC television program Strictly Come Dancing. The current cultural fascination with dance provides a stark contrast to traditional discourses in England that position dance as a female activity, with men’s participation frequently associated with homophobic stigma. We therefore have a context in which multiple and contradictory discourses on masculinity are available for men to make sense of themselves. This thesis explores how young men negotiate these discourses when learning to dance. The research is based upon an ethnographic study of capoeira and Latin and ballroom dance classes in South West England. The core methods included 1) four years of embodied fieldwork in the form of the researcher learning to dance, 2) writing field-notes and collecting multi-media artefacts, 3) interviewing dancers, and 4) photographing dancers in action. The researcher also drew upon a diverse range of subsidiary methods that included producing a dance wall of collected images and artefacts, cataloguing relevant dance websites and YouTube videos, and extensive use of Facebook for publishing photographs, sharing resources and negotiating ongoing informed consent. The findings of this PhD identify how learning capoeira and Latin and ballroom dance produces embodied, visual and discursive transitions in male dancers’ performances of masculine identities. The analysis focuses on three sets of practices that work to support or problematise the transitions in masculine identities in dance classes. These practices include 1) dancing with women in ballroom dancing, 2) performing awesome moves in capoeira, and 3) men’s experiences of stiff hips. In examining transitions across these three processes the thesis documents the changing possibilities and constraints on embodied masculinities in dance.
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White, Bob Whitman. "Modernity's spiral : popular culture, mastery, and the politics of dance music in Congo-Kinshasa." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0020/NQ44627.pdf.
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Fogarty, Mary Elizabeth. "Dance to the drummer's beat : competing tastes in international b-boy/b-girl culture." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5889.
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This thesis explores the relationship between musical tastes and dance practices in a popular dance style known as breaking or b-boying/b-girling. It is based on a multi-sited ethnography involving the participation in and observation of the practices of breaking, as well as interviews with individual b-boys and b-girls, who often travelled between cities as part of their practices. Although there were many interesting and contradictory observations and participant responses provided by this multigenerational, multicultural scene, one theme emerged as central. 'Vernacular' or street dancers make consistent claims that "it's all about the music." This is to challenge assumptions in current academic writing on the relationship of music and dance. On one hand, many contemporary dance writers argue that musical tastes have little to do with choreographic practices and the meanings of dance performances. On the other hand, sociological accounts of musical tastes rarely consider dance practice in their analyses. The result is that musical tastes are under-theorised in accounts of dance performance, and vice versa. Hennion's (2007) assertion that taste is an activity provides a foundation for a new argument. I propose that taste is an activity that, when theorised in terms of music and dance practices, suggests new epistemological avenues for studies of popular dance. Put simply, I argue that, in breaking practices, dance is a performance of musical taste. This performance of taste has a variety of avenues - from hip hop theatre performances, to international battles, master class workshops, club nights and local events – and in each new context, the relationship between music and dance transforms. These shifts in selection reveal that the dance is not just “about the music,” but also about how tastes are mediated, negotiated and competed over.
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Hinchliff, Sharron. "Phenomenology and the dance culture : women's perceptions of ecstasy use, clubbing and the body." Thesis, Sheffield Hallam University, 2001. http://shura.shu.ac.uk/20721/.
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In-depth interviews were conducted with women who use ecstasy for recreation, mainly in the context of the dance event. The aim was to discover the meaning of ecstasy use, and its surrounding culture, for women in the late 1990s. A further endeavour involved disclosing how the body was experienced at the dance event and what this meant to the women. Existential phenomenological analysis led to the following key conclusions. The dance event is experienced as a social space that allows women to be themselves and find a strong sense of belonging. There may be apparent dependence upon the experiences surrounding ecstasy. But, the journey of ecstasy use allows alterations in attitude, and transitions in life, to be experienced, which the women view positively. The women use ecstasy for pleasure, believe themselves to be independent in their use, and do not view their actions as deviant. These findings are important to scholarly literature on female drug users because they redress the gender balance by presenting the specific experiences of women. They also have implications for social policy and health service provision, in the sense that this description of a social world enables understanding, enhances communication and, thus, betters education.
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Araújo, Adriana Dias Gomide 1974. "Apropriações de sentidos de um grupo cultural de cantigas de roda." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253953.
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Orientador: Olga Rodrigues de Moraes von SimsonTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A pesquisa reconstrói a história do Grupo Cultural Meninas de Sinhá formado, majoritariamente, por mulheres negras, da terceira idade, moradoras de uma favela da cidade de Belo Horizonte, que conquistaram reconhecimento com a prática de difusão das cantigas de roda. A reconstrução da trajetória de desenvolvimento do grupo teve como principal suporte metodológico a história oral e o diálogo com outras pesquisas. As mudanças ocorridas a partir da vivência de uma prática mais ritualística para uma prática burilada pela produção cultural ampliaram o reconhecimento do grupo. Portanto, a análise da prática é realizada pelos seus elementos constitutivos: o mito fundador, a ciranda, a dança, a música e a produção cultural
Abstract: This research reconstructs the story of the cultural group Meninas de Sinhá, which is mainly formed by middle-aged black women who live in a slum in Belo Horizonte and gained recognition through the performance of circle songs. The reconstruction of the group¿s trajectory had oral history and dialogue with other research reports as its methodological support. The changes which occurred from a more ritualistic approach to a practice guided by cultural production increased the group recognition. Therefore, the analysis of the practice is made from its constituent elements: the foundation myth, the ciranda, dance, music and cultural production
Doutorado
Ciencias Sociais na Educação
Doutora em Educação
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Webb, Brock F. "This side of midnight: Recovering a queer politics of disco club culture." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363615857.
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Kavanaugh, Philip R. "Solidarity and drug use in the electronic dance music scene." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.39 Mb., 70 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435827.
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Wong, Chee Meng [Verfasser], and Marie-Theres [Akademischer Betreuer] Albert. "Intangible cultural heritage of dance as medium for intercultural dialogue : culture assimilator reinterpreted / Chee Meng Wong. Betreuer: Marie-Theres Albert." Cottbus : Universitätsbibliothek der BTU Cottbus, 2013. http://d-nb.info/1045604119/34.
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Ness, Sally Ann. "The Sinulog dancing of Cebu City, Philippines : a semeiotic analysis /." Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/6536.
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Hillion, Toulcanon Marie-Muriel. "Maloya dance and music: Réunionese Créole togetherness." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2532.
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La Réunion is a former French colony where the coffee, vanilla — and later the sugarcane industry — brought together the mostly enslaved and indentured people from Madagascar, Africa, India, China and France. A quintessential part of this hybrid culture has been the development of maloya, an improvised music-and-dance form that so alienated French colonial authorities and landowners that it was unofficially banned until 1981. While maloya music has been taught since 1987 at Conservatoire de La Réunion and has reached international stages, maloya dance itself has rarely been explored academically, often relegated to the rank of superficial entertainment. The aim of the present research is to interrogate maloya: what it means to me as a practitioner of maloya and what it means as a culturally embodied art form.
Using the principles of practice-led research methodology and the research methods of a/r/tography (including qualitative interview methods, as well as studio practice, performance creation, teaching activities and narrative writing familiar with autoethnography), the research interrogates my subjective experience as a maloya artist, researcher and teacher in Australia. As an art form, the research identifies the improvised technique of maloya dance. The research argues that maloya is comprised of elements of La Réunion’s history: dislocation, slavery, ‘third space’, hybridization and freedom. Thus, analysing the teaching of maloya in Australia is the teaching of Réunionese identity. The different spaces, the different audiences and the different intentions of the dancer all play into how the dancer moves. When performed at an International Arts Festival, maloya is different to its presence at a backyard neighbourhood party or in a sacred ritual honouring the ancestors.
The research is neither definitive nor interested in providing a generalisable formula for a transnational theory on adapting dance for different audiences or for different purposes (such as for performance or for teaching), rather the motivation behind the research is to fully interrogate an underexplored dance form and to better understand the origins and composition of a dance form that I carry in every step of my feet. Maloya is the conceptualisation and representation of who I am and how key Réunionese artists see themselves through maloya. The research argues that maloya contributes to identity formation, maintenance and evolution and that the history of surviving dispossession and oppression informs a certain type of cultural, linguistic and artistic identity, similar to the powerful idea of batarsité.
As a teacher of maloya in Australia, it became clear that the dance as an artistic representation informs the negotiation of intersecting identities and that this perspective — in conjunction with the participant observation, field trips and interviews with maloya artists and experts — sits comfortably alongside my subjective experience of teaching and performing maloya. The research is an important critical yet subjective interrogation of a dance form that is embraced by its people as not only a powerful symbol of freedom from oppression, but also emblematic of everyday life on a post-colonial island.
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Duarte, Carlise Scalamato. "Tradutibilidades do digital para a cultura da dança : espetáculos contemporâneos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/135536.
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A dança é uma expressão corporal, artística, política e social que tem o corpo como mídia de si mesmo. No momento em que o mundo digital está tão presente nos estudos da comunicação, na cultura, no cotidiano dos sujeitos, a dança também é atravessada por esse fenômeno. Por meio dos aparelhos digitais multimídias, a dança adquire outras concepções de corpo, movimento e espaço que retornam à arte através de representações tecnológicas. Esta tese de doutorado tem como tema o estudo da cultura da dança e suas tradutibilidades sobre a linguagem digital, pela perspectiva teórica da semiótica da cultura. Foram investigadas as qualidades dos processos de tradução que ocorrem na inter-relação dos sistemas e configuram as características da cultura digital na dança contemporânea. O objetivo geral da pesquisa foi compreender os modos pelos quais a dança contemporânea realiza processos de tradução da linguagem digital, na inter-relação entre sistemas, linguagens e textos. Nessa perspectiva, o problema de pesquisa está assim proposto: Como espetáculos de dança na contemporaneidade operam tradutibilidades da linguagem digital, considerando especialmente a inter-relação de sistemas, a criação de textos (espetáculos) e a atualização da própria dança? A introdução apresenta o tema, os objetivos, a problematização e a justificativa; após, seguem três capítulos constituidores do referencial teórico, sendo um sobre a semiótica da cultura, na perspectiva de Lotman (1979), que irá perpassar toda a tese, outro a respeito da semiosfera da dança destacando os fundamentos de Laban (RENGEL, 2003) e o quarto capítulo acerca da cultura digital, à luz dos conceitos de Manovich (2001); o quinto capítulo trata dos procedimentos metodológicos, os critérios de seleção do corpus e as análises dos espetáculos. A trajetória metodológica descreve a construção de uma análise semiótica de espetáculos de dança selecionados em vídeos na plataforma www.youtube.com. Analisamos as apresentações: a- Skinnerbox (AHMED, 2005); b- Pixel (MERZOUKI, 2014); c- Slave to the Rhythm (BILLBOARD MUSIC AMERICAN AWARDS, 2014). No decorrer da pesquisa constatou-se que os sentidos gerados a partir da cultura digital na dança produzem uma naturalização do corpo eletrônico, das práticas de interação com imagens, aparelhos, próteses e o uso de softwares como recursos cenográficos para a criação de espetáculos de dança. Concluiu-se que as maneiras de nos relacionarmos com o mundo através da arte da dança contemporânea são atravessadas pelas lógicas da cultura digital; esse cruzamento de informações reconfigura o sistema da cultura da dança alterando os modos de produções, os fazeres, os saberes e o pensar dança. Logo, a semiose entre os sistemas ocorre por contaminação e as fronteiras da dança tornam-se porosas à transdisciplinaridade, abrangendo uma gama de novas técnicas, tecnologias do corpo, do movimento e estimulando uma nova compreensão da complexa realidade das dimensões que integram o mundo.The dance is a bodily expression, artistic, political and social that has the body as media itself. By the time that the digital world is so present in communication studies, in culture, in everyday subjects, dance is also crossed by this phenomenon. Through multimedia digital devices, dance acquires other conceptions of body, movement and space returning to art through technological representations. This doctoral thesis has as its theme the study of dance culture and translations on the digital language, the theoretical perspective of cultural semiotics. The qualities of translation processes were investigated that occur in the interrelationship of systems and configure the features of digital culture in contemporary dance. The overall objective of the research was to understand the ways in which contemporary dance performs translation processes the digital language, the interrelation between systems, languages and texts. In this perspective, the research problem is thus proposed: How dance performances in the contemporary operating translations digital language, especially considering the interrelationship of systems, the creation of texts (shows) and updating the dance itself? The introduction presents the theme, the objectives, the questioning and justification; after, following three constituent chapters of the theoretical framework, one of the semiotics of culture, from the perspective of Lotman (1979), which will pervade the whole thesis, another about the dance semiosphere highlighting the fundamentals of Laban (RENGEL, 2003) and the fourth chapter on digital culture, to the concepts of Manovich (2001); the fifth chapter deals with the methodological procedures, the corpus selection criteria and analysis of performances. The methodology describes the construction of a semiotic analysis of selected dance performances in videos on www.youtube.com platform. We have analyzed the presentations: a- Skinnerbox (Ahmed, 2005); b- Pixel (Merzouki, 2014); c- Slave to the Rhythm (BILLBOARD MUSIC AWARDS AMERICAN, 2014). During the research it was found that the senses generated from the digital culture in dance produce a naturalization electronic body, the interaction practices with images, appliances, prosthetics and the use of software as scenographic resources for creating dance performances. It was concluded that the ways we relate to the world through the art of contemporary dance are crossed by the logic of digital culture; this intersection information reconfigures the dance culture of the system by changing modes of production, the doings, knowledge and thinking dance. So semiosis between systems is contamination and dance borders become porous to transdisciplinarity, covering a range of new techniques, body technologies, movement and stimulating a new understanding of the complex reality of the dimensions that make up the world.
La danza es una expresión corporal, artística, política y social que tiene el cuerpo como medios de comunicación en sí. En el momento en que el mundo digital está tan presente en los estudios de comunicación, en la cultura, en temas cotidianos, la danza está también atravesado por este fenómeno. A través de los dispositivos digitales multimedia, danza adquiere otras concepciones del cuerpo, el movimiento y el espacio que regresan al arte a través de representaciones tecnológicas. Esta tesis doctoral tiene como tema el estudio de la cultura de la danza y tradutibilidades en el lenguaje digital, la perspectiva teórica de la semiótica cultural. las cualidades de los procesos de traducción se investigaron que se producen en la interrelación de los sistemas y configurar las características de la cultura digital en la danza contemporánea. El objetivo general de la investigación era comprender las formas en que realiza danza contemporánea traducción procesa el lenguaje digital, la interrelación entre los sistemas, lenguajes y textos. En esta perspectiva, el problema de investigación se propone, por lo tanto: ¿Cómo espectáculos de danza en el lenguaje digital tradutibilidades operativos contemporáneos, especialmente teniendo en cuenta la interrelación de los sistemas, la creación de textos (espectáculos) y la actualización de la danza en sí misma? La introducción presenta el tema, los objetivos, el interrogatorio y la justificación; luego, después de tres capítulos que constituyen el marco teórico, una de la semiótica de la cultura, desde la perspectiva de Lotman (1979), que impregnará toda la tesis, otro sobre el semiosphere danza destacando los fundamentos de Laban (Rengel, 2003) y el cuarto capítulo de la cultura digital, a los conceptos de Manovich (2001); el quinto capítulo se ocupa de los procedimientos metodológicos, los criterios de selección y análisis de corpus actuaciones. La metodología se describe la construcción de un análisis semiótico de los espectáculos de danza seleccionados en los videos en la plataforma www.youtube.com. Hemos analizado las presentaciones: a- Skinnerbox (AHMED, 2005); b- Pixel (MERZOUKI, 2014); c- Slave to the Rythm (BILLBOARD AMERICAN MUSIC AWARDS, 2014). Durante la investigación se descubrió que los sentidos generados a partir de la cultura digital en la danza producen un cuerpo electrónico de naturalización, las prácticas de interacción con imágenes, aparatos, prótesis y el uso de software como recursos escenográficos para la creación de espectáculos de danza. Se concluyó que las formas en que se relacionan con el mundo a través del arte de la danza contemporánea son atravesadas por la lógica de la cultura digital; esta información intersección reconfigura la cultura de la danza del sistema modificando los modos de producción, las obras, el conocimiento y el pensamiento de baile. Así semiosis entre los distintos sistemas fronteras de contaminación y de danza se vuelven porosos a la transdisciplinariedad, que abarca una gama de nuevas técnicas, tecnologías cuerpo, el movimiento y la estimulación de una nueva comprensión de la compleja realidad de las dimensiones que componen el mundo.
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Odhiambo, Seonagh. "A Conversation With Dance History: Movement and Meaning in the Cultural Body." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/25258.
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DancePh.D.
This study regards the problem of a binary in dance discursive practices, seen in how "world dance" is separated from European concert dance. A close look at 1930s Kenya Luo women's dance in the context of "dance history" raises questions about which dances matter, who counts as a dancer, and how dance is defined. When discursive practices are considered in light of multicultural demographic trends and globalisation the problem points toward a crisis of reason in western discourse about how historical origins and "the body" have been theorised. Within a western philosophical tradition the body and experience are negated as a basis for theorising. Historical models and theories about race and gender often relate binary thinking whereby the body is theorised as text. An alternative theoretical model is established wherein dancers' processes of embodying historical meaning provide one of five bases through which to theorise. The central research questions this study poses and attempts to answer are: how can I illuminate a view of dance that is transhistorical and transnational? How can I write about 1930s Luo women in a way that does not create a case study to exist outside of dance history? Research methods challenge historical materialist frameworks for discussions of the body and suggest insight can be gained into how historical narratives operate with coercive power--both in past and present--by examining how meaning is conceptualised and experienced. The problem is situated inside a hermeneutic circle that connects past and present discourses, so tensions are explored between a binary model of past/present and new ways of thinking about dance and history through embodiment. Archives, elder interviews, and oral histories are a means to approach 1930s Luo Kenya. A choreography model is another method of inquiry where meanings about history and dance that subvert categories and binary assumptions are understood and experienced by dancers through somatic processes. A reflective narrative provides the means to untangle influences of disciplines like dance and history on the phenomenon of personal understanding.
Temple University--Theses
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Lau, Gar-lum, and 劉嘉琳. "The social construction of rave culture in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31228288.
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Banks, Ojeya. "Decolonizing the Body: An International Perspective of Dance Pedagogy from Uganda to the United States." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/193853.
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This dissertation examined how identity was negotiated through dance and how African dance pedagogies challenged colonial legacy and decolonized the body from cultural and political oppression. To explore this topic, I examine two distinct dance contexts, one in Kampala, Uganda (East Africa) and the other in Tucson, Arizona (United States). The Kampala Study focused on the dance practices of a young man named Mugisha Johnson. Johnson was a member and dance teacher for Umbanno, a Rwandese cultural organization that formed as a consequence of the 1990s genocide; they taught Rwandese youth their cultural dances, songs, music, and language in Uganda. The Tucson Study took place in Tucson, Arizona and highlighted the work of the Dambe Project, a nonprofit organization that specialized in African performing arts education. More specifically, it examined the dance program at a local high school and focused on the experiences of the dance students.Four common threads ran through each of the research studies. First, both studies dance pedagogies derived from community-based organizations doing dance education. Second, both organizations served youth populations. Third, the organization both promoted dance expressions that had been historically oppressed. Lastly, my research positionality as a dance student in the Kampala Study and as a dance teacher in the Tucson Study provided a holistic ethnographic picture of an overarching autobiographical narrative about African dance of the diaspora.This research adds to the professional literature an examination of a bodily discourse as emphasized by Desmond (1994); it considers the way dance helps people shed the negative cultural and psychological effects of colonialism.The methodology used was dance ethnography, which looks at the body experiences and "treats dance as a kind of cultural knowledge and body movement as a link to the mental and emotional world of human beings" (Thomas, 2003, p.83). Data was collected through participant- observation, interviews, personal dance study and performance, video recordings, and photography. The research found in two separate ethnographies, dance pedagogies stimulating identity work that challenged colonial power by affirming an indigenous body practice and knowledge.
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Manos, Ioannis. "Visualising culture - demonstrating identity dance performance and identity politics in a border region in Northern Greece /." [S.l. : s.n.], 2002. http://deposit.ddb.de/cgi-bin/dokserv?idn=965755215.
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Romero, José da Silva. "Videodança: o movimento no corpo plural." Universidade Presbiteriana Mackenzie, 2008. http://tede.mackenzie.br/jspui/handle/tede/2717.
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Previous issue date: 2008-12-02Fundo Mackenzie de Pesquisa
This thesis intends to investigate the videodance as an artistic activity that presents its own assumptions of communication and language, promoting the intersection of elements of dance, video art, performance and digital technology. The thoughts developed in this work depart from the view that the video dance is an expression of interdisciplinary character, mediated by an aside from technological record, which spells out and gives new meanings for the body revealed in the images captured, articulated, resized and processed with info graphic resources, and promoting in the contemporaneity, questions and reflections on the body, aesthetics, artistic creation and digital culture.
Esta dissertação tem a intenção de investigar a videodança como uma ação artística que apresenta pressupostos próprios de comunicação e linguagem, promovendo o cruzamento de elementos da dança, videoarte, performance e tecnologia digital. As reflexões desenvolvidas nesse trabalho partem da perspectiva de que a videodança é uma manifestação de caráter interdisciplinar, mediada por um aparato tecnológico de registro, que concretiza e apresenta novas significações para o corpo que se revela nas imagens capturadas, articuladas, redimensionadas e processadas com os recursos infográficos, promovendo assim, dentro da contemporaneidade, questões e reflexões sobre o corpo, estética, criação artística e cultura digital.
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Barenghi, Anna. "Älvsjö Dansskola." Thesis, KTH, Arkitektur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-168601.
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Dance is the art of moving the body, typically to music, using steps and gestures. It is a social sport that brings people together. Above all, dance is entertaining! Most cultural schools in Stockholm are art or music specific. I believe dance needs more priority in today’s culture, for this reason I decided to design a dance school. I did various program studies in order to create a good flow of people throughout the building. I wanted students, parents and staff to mix. In the entrance there are stairs that are to be used as seating. Here one can socialise before and after class. The area in front of the stairs is not only an entrance hall but can also be used as a stage or studio. I want the entrance to be the heart of the building, filled with activity. Älvsjö Dance School is situated between Älvsjö Station and Stockholmsmässan. I want by-passers to feel the energy of the school and therefore decided to create a glass façade facing the station. In doing so, train passengers can see students dancing and in a sense be a part of the dance.Dans är en uttrycksform som skapar en helhet genom att koordinera rörelser och individer. Dans är underhållande. Dans är en konst och ett sällskapsnöje. Dans är ett utmärkt sätt att motionera då det ger kroppskännedom, styrka och rörlighet. I början av projektet undersökte jag olika kulturskolor och det visade sig att det finns fler skolor som inriktar sig på konst och musik än dans. Jag tror att dans behöver mer fokus i dagens kultur. Jag vill skapa en lekfull byggnad med rörelse i fokus. Jag undersökte hur det föreskrivna programmet kunde grupperas i byggnaden. Jag ville blanda olika funktioner på olika våningsplan för att skapa ett bra flöde genom byggnaden. Jag ville fördela studios mellan våningsplanen för att underlätta interaktion mellan människor i byggnaden. I entrén finns det stora trappor som ändvänds som sittplatser. Tanken är att det skapar en plats att umgås för föräldrar som väntar på sina barn och elever innan eller efter lektionerna. Platsen framför trappan är inte bara en entréhall utan kan ändvändas som studio eller scen. Här kan man repetera, stretcha och uppträda. Dansskolan ska öppna upp sig till platsen. Därför har jag placerat byggnaden parallellt med järnvägen så att pendeltågs passagerare kan ser elever dansa medan de väntar på tåget. Fasaden mot spåren är gjort av färgglad structural glazing. Jag valde en färgskala som skapa en fin kontrast till färgerna på Älvsjö station. Fasaden är gjord så att den kan lysa upp när en uppvisning är på gång för att attrahera folk som gå förbi. När solen skiner kommer färgglada fasaden lysa in i studios och skapa en vacker dansmiljö.
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Colombo, Ambrose. "From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/83.
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Electronic dance music is a genre that has been long in the making. Starting with disco in the 1970s, dance culture genres evolved into house, acid house, techno, garage, 2-step, hardcore, gabba, san frandisco, electro, and many others. This paper studies the transformation of electronic sound, and the contributing/impeding factors involved. Drug use is heavily related to the creation and enjoyment of music, and features prominently in the history of dance culture. Starting with the use of acid in the 1960s and progressing to the use of acid, Quaaludes, poppers, speed in the 1970s, with MDA featured in clubs toward the end of the decade. The 1980s began the recreational use of MDMA, but not until the late 80s in UK acid parties did it become known as the party drug that it is known as today. MDMA use then spread rampantly throughout the US as the UK culture was exported and emulated. UK acid parties were the precursor to raves, which were illegal, and the backlash from the law was incredible and organized. Slowly licensing laws became more relaxed, and permits became easier to obtain, making future raves more legal, but according to ravers, less fun, ending at 2am instead of 8am, and forcing the drugs scene underground, rather than having them openly solicited. Organized crime in the UK got much worse as gangs realized the potential profits of selling drugs, and the scene forever changed because of this in the early 90s. The raves of the early 90s in New York, the Midwest, and San Francisco, were paradise in comparison. San Francisco enjoyed the most freedom, and beach raves became common. The electronic dance culture found a home in large festivals, and perhaps because of this the future of electronic music remains uncertain, especially with the casualties that have recently happened relating to ecstasy use, and complications in organizing such massive events.
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NASCIMENTO, Leilane Pinto do. "Crianças brincantes: sentido de continuidade das quadrilhas juninas (Região Metropolitana do Recife)." Universidade Federal de Pernambuc, 2013. https://repositorio.ufpe.br/handle/123456789/18540.
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Capes
Esta pesquisa discorre sobre as experiências de crianças nas quadrilhas juninas da Região Metropolitana do Recife e tem por objetivo compreender a conformação e os sentidos de continuidade expressos pelo grupo a partir da atuação das crianças brincantes. Baseia-se em trabalho de campo, especialmente na interlocução com crianças e, como um desdobramento, em entrevistas com adultos que começaram a dançar quadrilha na infância. A abordagem parte da caracterização dos festejos juninos e do movimento quadrilheiro da RMR, contexto em que as crianças quadrilheiras estão inseridas; apresenta as especificidades das quadrilhas infantis, evidenciando as relações de sociabilidade e autoridade; e, por fim, analisa trajetórias e relações de pertencimento de quadrilheiros/as crescidos/as em suas várias formas de continuar. Os resultados indicam, por um lado, que a experiência do dançar quadrilha na infância fortalece os sentidos de continuidade da brincadeira e, por outro, sinaliza para perspectivas de futuro mais amplas, distintas daqueles/as que não se inseriram ou continuaram no movimento.
This research is about the experiences of children during June Country Dance Festivals in the Metropolitan Area of Recife (MAR) and aims to comprehend the acceptance and Senses of continuity expressed by this group from the role of the merrymaking children. It's based on field work, especially interlocutions with children, complemented by interviews with adults who started playing country dances in their childhood. Its approach is focused on the characterization of the June festivals and the country dancer movement of the MAR, context in which country dancing children are involved; it presents peculiarities of children's country dance groups highlighting the relationship between sociability and authority; and, finally, it analyzes courses and relations of belonging of grown country dancers in their various means to remain. Results have shown, on one hand, that the experience in playing country dance strengthens the senses of continuity of the play and, on the other hand, broaden the expectancies of future of the dancers, in opposition to those who did not get involved or remained in the movement.
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Oehlers, Adrienne M. "Spectacular Women: The Radio City Rockettes from 1925 to 1971." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1503321546482266.
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Gortz, Ann-Christin. "Linguistic markers as evidence for cultural awareness : a critical examination of international critiques of a South African dance company." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6840.
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Thesis (MPhil (General Linguistics))--University of Stellenbosch, 2011.Bibliography
ENGLISH ABSTRACT: Viewing cross-cultural dance performances on international tours or as part of international dance festivals has become common practice all over the world. For critique writers, choreographers/ dancers and the audience the accessibility of such a diverse variety of dance has both advantages and disadvantages. Cross-cultural differences in these performances challenge strategies of viewing and perception which may lead to aesthetic enrichment but these performances also risk being misunderstood. In dance critique writing, such a misunderstanding may result in a negative critique projecting, in a worst scenario, negative prejudices on the respective cultures. This thesis investigates how attitudes towards, and perceptions of, cultural differences are reflected in cross-cultural dance critiques, through the use of particular linguistic and stylistic devices. Analysis strategies deriving from Critical Discourse Analysis and Text Analysis are used to uncover the critique’s strategies to communicate their evaluation including ways of persuasion and power. I analyse six critiques from three countries on the performance Beautiful Me performed on international tours by the Vuyani Dance Theatre from South Africa. My initial hypothesis is that cultural differences may lead to negative critiques due to intercultural misunderstanding. Since viewing Performance Art is not only influenced by the critique writer’s cultural background but also by their perception attitude towards the performance, the analysis takes perception modes such as a theatre semiotic approach and a phenomenological approach into consideration. Interestingly, different perception modes seem to have a greater impact on the outcome of a critique than cross-cultural differences. This means that most negative evaluations must have their origin in the applied strategy of viewing and perceiving dance. The critic seems to interpret and embed the perceived features of the dance performance into specific cultural or socio-political contexts forming an individual, often complex evaluation.
AFRIKAANSE OPSOMMING: Om te kyk na kruiskulturele dansuitvoerings deur dansgeselskappe op internasionale toere of as deel van internasionale dansfeeste, het wêreldwyd algemene praktyk geword. Vir kritici, choreograwe/dansers en die gehoor hou die toeganklikheid van so ’n diverse verskeidenheid dans sowel voordele as nadele in. Kruiskulturele verskille in hierdie vertonings daag kyk- en waarneem-strategieë uit, wat tot estetiese verryking mag lei. Daar is egter ook ’n moontlikheid dat hierdie vertonings verkeerd geïnterpreteer mag word. Só ’n waninterpretasie in dansresensies mag lei tot negatiewe kritiek wat, in uiterste gevalle, negatiewe vooroordele oor die betrokke kulture projekteer. Hierdie tesis doen ondersoek na die wyse waarop houdings teenoor en persepsies van kultuurverskille in kruiskulturele dansresensies deur middel van spesifieke talige en stilistiese middele gereflekteer word. Analitiese strategieë uit die velde Kritiese Diskoersanalise en Teksanalise word gebruik om kritici se strategieë wat ’n oordeel kommunikeer, bloot te lê. Ek analiseer ses resensies uit drie lande wat handel oor die vertoning Beautiful Me wat deur die Suid-Afrikaanse dansgeselskap Vuyani Dance Theatre tydens internasionale toere opgevoer is. My aanvanklike hipotese is dat kultuurverskille aanleiding mag gee tot negatiewe kritiek vanweë interkulturele misverstande. Aangesien die beoordeling van Uitvoerende Kunste nie slegs deur die kritikus se kulturele agtergrond beïnvloed word nie, maar ook deur hul waarnemingshouding teenoor die vertoning, neem die analise waarnemingsmodusse soos ’n teater-semiotiek-benadering en ’n fenomenologiese benadering in ag. Interessant genoeg, lyk dit asof verskillende waarnemingsmodusse ’n groter impak het op die uitkoms van kritiek as kruiskulturele verskille. Dít beteken dat die meeste negatiewe oordele hul oorsprong moet hê in die toegepaste strategie van dans kyk en waarneem. Dit blyk dat die kritikus die waargenome eienskappe van die dansuitvoering interpreteer en inbed in spesifieke kulturele of sosio-politiese kontekste wat aanleiding gee tot die verskillende, dikwels komplekse maniere van beoordeling.
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Badu, Zelma C. M. "Ewe culture as expressed in Ghana West Africa through Adzogbo dance ceremony : a foundation for the development of interactive multimedia educational materials." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82826.
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This dissertation project is a preparation for development of a method for teaching traditional Ewe culture to people of Western or non-Ewe background, using dance ethnology as an approach to conducting research, and digital video recording as a means for documentation. The study focuses on one of the Ewe's oldest and most powerful religious dance and music ceremonies, Adzogbo, as it is performed by the Mawuli Kpli Mi Adzogbo Group from the village of Aflao in Ghana, West Africa.Adzogbo, originally from Dahomey (now Benin), was brought to Ghana in the late 19th Century, and was formally performed for the Dahomeyan war gods to transmit pertinent information to warriors preparing for battle. It is still considered one of the most complex dance and music systems, having intricate polyrhythmic texture and specific relationship between the master drummer and the vigorous and articulated movements of the dancers, which are emphasized by their elaborate costume.
Presently, the dance functions as a recreational ceremony and is performed during specific special occasions. It is used to display mental, physical and spiritual power and still carries some of its original war dance characteristics.
This project consists of a written thesis document and one hour digital video documentary of the Adzogbo Dance Ceremony, outlining its background and importance, form and structure, and a comparative analyses of the organization and structure of both the dance and music. The text provides information on Ewe culture, including their historical, social, and geographical background, their dance, music and related activities and an exploration of Interactive multimedia technologies to in future develop electronic educational material.
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Silva, Ana Cristina Ribeiro 1980. "Dança de Rua : do ser competitivo ao artista da cena." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285220.
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Orientador: úlia Ziviane VitielloDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho visou apresentar reflexões sobre as Danças Urbanas e suas possibilidades de atuação no campo educacional, competitivo e artístico. Além disso, verificou-se que a preparação corporal e artística destes dançarinos urbanos necessita contemplar procedimentos que favoreçam diferentes espaços como o palco italiano, espaços alternativos e ou locais onde ocorrem as batalhas, portanto, questiona-se a possibilidade de haver uma efetiva contribuição da técnica somática Ideokinesis. Como existe uma estreita relação entre a Cultura Hip Hop e as danças urbanas, observada em diferentes fatores como a maneira de se comportar na sociedade e a visão de mundo destes dançarinos, não poderia se falar de dança urbana, sem falar dos diferentes elementos que compõem esta cultura híbrida. Para este trabalho a pesquisa de campo foi realizada com a "Cia Eclipse Cultura e Arte" e Associação "Família Eclipse", na cidade de Campinas, São Paulo, onde foi importante observar desde a metodologia utilizada na preparação corporal do elenco até os espetáculos criados para diferentes espaços. Durante esta etapa da pesquisa houve também a oportunidade de investigar outros grupos nacionais e internacionais de dança urbana, o que contribuiu para o desenvolvimento de um olhar diferenciado para a dança urbana a partir dos conceitos da educação somática
Abstract: This research aimed to present reflections about urban dances and their possibilities of action in the educational, artistic and competitive field. Furthermore, it was verified that the body and artistic urban dancers preparation, needs to include procedures that promote different and alternative spaces like Italian stage, areas where battles happens, therefore, its question the possibility of an effective contribution of somatic Ideokinesis technique. As there is a close relationship between Hip Hop Culture and urban dances, it was observed different factors such as how to behave in society and the world view from all of these dancers, there is no way to speak of urban dance, and not to mention the different elements that make this hybrid culture. For this work the field research was held by "Cia Eclipse Culture and Art" and "Eclipse Family" Association in Campinas city, São Paulo, where it was important to observe the methodology used in the cast body preparation to the shows for different spaces. During this stage of the research there was also the opportunity to investigate other national and international groups of urban dance, which cont
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena
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Warren, Laura Michelle. "Central Illinois Powwow Community: A Unique Path of Creation, Cultivation, and Connection to American Indian Culture, Identities, and Community." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/774.
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Hester, Zoe. "Storytelling through Movement: An Analysis of the Connections between Dance & Literature." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/470.
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Movement and storytelling are the links between past and present; both dance and literature have the same artistic and primal origins. We began to dance to express and communicate, to worship and feel. We tell stories for the same reasons: to learn from the past and to be able to communicate in the present.
This work explores the many connections between literature and dance through examinations of six dance forms: Native American, Bharatanatyam, West African, Ballet, Modern, and Post-Modern dance.
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Laranjeira, Carolina Dias. "Corpo, Cavalo Marinho e dramaturgia a partir da investigação do Grupo Pelejo." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284703.
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Acompanha DVDOrientador: Renato Ferracini
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Nesta pesquisa teórica e prática, trato de alguns temas emergentes do processo de treinamento e criação do Grupo Peleja, do qual faço parte como dançarina e pesquisadora, tendo como campo de investigação a corporeidade do Cavalo Marinho - manifestação popular brasileira - associada ao trabalho de ator do Lume (Núcleo Interdisciplinar de Pesquisas Teatrais da Unicamp). O Cavalo Marinho, foco principal desta pesquisa, é uma brincadeira original da Zona da Mata Norte de Pernambuco realizada principalmente por trabalhadores da cana. A partir de experiências práticas, uma narrativa reflexiva é construída tendo como base o conceito de corpo-subjétil, um corpo-em-arte e as idéias sobre níveis de dramaturgia gerados a partir de um trabalho corporal específico. Estes conceitos vão sendo apresentados entremeados aos encontros no campo de pesquisa do Cavalo Marinho, do treinamento com o Grupo Peleja e ao processo de criação do espetáculo "Gaiola de Moscas", resultado prático desta investigação.
Abstract: In this practical-theoretical research, I deal with a number of themes emerging from the training and creative process of the Group Peleja, within I am a dancer and researcher, which include investigations into corporality of popular Brazilian folk manifestation in association with the actor's work within Lume (Interdisciplinary Center for Theatrical Research- UNICAMP). The focus of my research are the corporal process experienced during the investigation based on the dance of Cavalo Marinho, the play - as it is called by its participants- that originated in the Mata North Zone of the state of Pernambuco, practiced principally by sugar-cane workers. Starting from this practiced experience, a reflective narrative is constructed using as base the concept of "subjectilebody", a "body-in-art" that comprises the notion of levels of dramaturgy generated by specific physical work. The reflections stern from meetings, during the field research into Cavalo Marinho, Group Peleja' training and the creative process of the performance "Gaiola de Moscas", the practical result of this investigation.
Mestrado
Mestre em Artes