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Journal articles on the topic 'Dance culture'
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1
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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Iversen, Anette Sture. "Dance as a Cultural Meeting Point." Nordic Journal of Dance 5, no. 1 (June 1, 2014): 4–11. http://dx.doi.org/10.2478/njd-2014-0002.
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Abstract Dance as a cultural meeting point is a project that Dance in Schools, Norway, executed in three schools in Oslo during the spring of 2013, with funds from The Norwegian Directorate for Education and Training. The funding was to be given to projects that would, amongst other things, help schools reach curriculum objectives, increase the use of varied working methods, increase the pupils’ understanding of different cultural expressions and experience art. The project included a one-day workshop, a survey and reports from two observers. One class in three different schools got an introduction to Norwegian folk dance, hip hop, Bollywood and creative dance, and created and performed dances to each other in small groups. Dance in Schools’ aim was to gather information about the pupils’ knowledge of and experience with dance, contribute to increasing the pupils’ and teachers’ understanding of dance and how dance can stimulate learning, and social competence. The cultural meeting intended to be the meeting of dance forms and pupils from different cultures. The most important cultural meeting, however, turned out to be between the pedagogues’ dance culture and the pupils’ school culture.
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Agustono, Budi, Heristina Dewi, and Mhd Pujiono. "STRENGTHENING THE TRADITIONAL DANCE GROUP & PLACE (SANGGAR TARI) TO STRENGTHEN THE LOCAL CULTURE OF MEDAN IN MEDAN AMPLAS SUBDISTRICT." Abdi Dosen : Jurnal Pengabdian Pada Masyarakat 5, no. 2 (June 2, 2021): 306. http://dx.doi.org/10.32832/abdidos.v5i2.873.
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The majority of the younger generation ignore national culture, such as traditional dances, and prefer modern dances. This makes the importance of strengthening traditional dance groups & place (sanggar tari) as a forum for developing creativity in traditional culture in Medan. Therefore, in this community service, efforts to strengthen the sanggar tari to strengthen Medan's local culture were carried out. This activity consisted of a Focus Group Discussion (FGD) and dance training for 30 young men and women members of the Medan Amplas sub-district sanggar tari held for two months. Besides providing training, the community service team facilitates supporting equipment in traditional dance performance activities for members, such as clothing, accessories, and other training media. The lecture, Q&A, demonstration, and drill methods are used in its implementation. This community service has resulted in the form of services to raise public awareness of the local dance culture of North Sumatera, especially in Medan, with training assistance to increase creativity, innovation, and the ability of the sanggar members in the field of traditional dance and culture.
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Buchanan Murray, Melonie, and Steven Ross Murray. "The performance of gender in American dance." Journal of Kinesiology & Wellness 6, no. 1 (August 13, 2019): 4–11. http://dx.doi.org/10.56980/jkw.v6i1.15.
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With kinesiology defined as the study of human movement, then dance, as one of the oldest forms of physical activity, should be considered. Dance permeates contemporary American culture—from social dancing, to community dance studios, to popular television shows. Dance scholars and cultural theorists agree that the way a society dances elucidates cultural values. If we accept the notion that a culture’s dances reflect the values of that culture, then a scrutiny of American gendered dance practices is warranted. Contemporary society views gender differently than the societies of the socio-historical context in which common Western dance genres, such as classical ballet, were born and developed. By highlighting ways that most dance training reinforces gendered codes of behavior, this paper contributes to discourses surrounding the evolution of dance in America and evolving notions of gender, while also providing a lens that might be applied to a multitude of physical practices.
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Bahtiar, Arief Rais, and Muhamad Azrino Gustalika. "Penerapan Metode System Usability Scale dalam Pengujian Rancangan Mobile Apps Gamification Tari Rakyat di Indonesia." JURNAL MEDIA INFORMATIKA BUDIDARMA 6, no. 1 (January 25, 2022): 491. http://dx.doi.org/10.30865/mib.v6i1.3510.
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Indonesia has many dances in each region. Traditional dance and folk dance are dances that existed in Indonesia before the development of contemporary dance. As one of the local cultures in each area, dance art is included in local content at the elementary to high school level. The changing curriculum has disrupted local cultural education in the world of education some time ago. In addition to these factors, the lack of interactive learning media at least affects. The purpose of this study is to develop a learning pattern for folk dance as a local culture in Indonesia through an interactive mobile application. In addition, this research is used to help preserve and introduce the folk dance arts of each region to students in Indonesia. Gamification can be an alternative for developing folk dance learning. What usually happens is the lack of innovation in conventional learning media to attract students' interest in studying local culture, especially folk dance as a local content subject. This activity is a folk dance education about history, regional origins and dance movements. The result of this application is a folk dance game in Indonesia. There are several levels that must be passed to be able to complete this game. Each season will be taken 3 people who get the reward. The rewards that we design are based on the prizes preferred by elementary, junior high and high school students. Based on the results of the System Usability Scale evaluation, the prototype designed got a score of 86.25% and was considered to have met the usability element.
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Aterianus-Owanga, Alice. "Dancing an Open Africanity: Playing with “Tradition” and Identity in the Spreading of Sabar in Europe." Open Cultural Studies 3, no. 1 (January 1, 2019): 347–61. http://dx.doi.org/10.1515/culture-2019-0030.
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Abstract This paper describes one of the constructions of African identity that occur through the spreading of sabar in European cities. Basing on a multi-sited fieldwork between Dakar, France and Switzerland, this paper traces the local roots and transnational routes of this Senegalese dance and music performance and presents the “transnational social field” (Levitt and Glick-Schiller) that sabar musicians and dancers have created in Europe. It analyses the representations of Africanity, Senegality and Blackness that are shared in Sabar dances classes, and describes how diasporic artists contribute to (re)invent “traditions” in migration. In this transnational dance world, “blackness” and Africanity are not homogenous and convertible categories of identification, on the contrary, they are made of many tensions and arrangements, which allow individuals to include or exclude otherness, depending on situations and contexts.
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Schupp, Karen. "Dance Competition Culture and Commercial Dance." Journal of Dance Education 19, no. 2 (December 18, 2018): 58–67. http://dx.doi.org/10.1080/15290824.2018.1437622.
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Wood, Karen, Rosemary E. Cisneros, and Sarah Whatley. "Motion Capturing Emotions." Open Cultural Studies 1, no. 1 (December 20, 2017): 504–13. http://dx.doi.org/10.1515/culture-2017-0047.
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Abstract The paper explores the activities conducted as part of WhoLoDancE: Whole Body Interaction Learning for Dance Education which is an EU-funded Horizon 2020 project. In particular, we discuss the motion capture sessions that took place at Motek, Amsterdam as well as the dancers’ experience of being captured and watching themselves or others as varying visual representations through the HoloLens. HoloLens is Microsoft’s first holographic computer that you wear as you would a pair of glasses. The study embraced four dance genres: Ballet, Contemporary, Flamenco and Greek Folk dance. We are specifically interested in the kinesthetic and emotional engagement with the moving body and what new corporeal awareness may be experienced. Positioning the moving, dancing body as fundamental to technological advancements, we discuss the importance of considering the dancer’s experience in the real and virtual space. Some of the artists involved in the project have offered their experiences, which are included, and they form the basis of the discussion. In addition, we discuss the affect of immersive environments, how these environments expand reality and what effect (emotionally and otherwise) that has on the body. The research reveals insights into relationships between emotion, movement and technology and what new sensorial knowledge this evokes for the dancer.
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Byczkowska-Owczarek, Dominika. "Dance as a Sign: Discovering the Relation Between Dance Movement and Culture." Kultura i Społeczeństwo 63, no. 3 (September 27, 2019): 63–74. http://dx.doi.org/10.35757/kis.2019.63.3.4.
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This article presents examples of the relationship between culture, dance, and the body in the fields of communication (with oneself, the community, God/deity), the social hierarchy, social values, relations between the individual and the group, and relations between genders, from the perspective of the sociology of the dance. The sociological perspective also indicates the various historical, ritual, control, and regulatory roles that traditional and modern dances play in the communities in which they arise and are performed. The second part of the text contains a case study of the Japanese ankoku butoh dance. The author presents the philosophical roots of the dance (e.g., Japanese mythology, Zen Buddhist philosophy) and the creator’s personal experiences (childhood trauma and post-war social situation) as factors that influenced the dance’s development. The example of ankoku butoh illustrates the interrelation between cultural meanings and dance movements.
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Darmawan, Dominikus Reynard, Erdhi Widyarto Nugroho, and Ridwan Sanjaya. "Learning Traditional Denok Dance With Kinect Game." Journal of Business and Technology 1, no. 2 (August 9, 2021): 43. http://dx.doi.org/10.24167/jbt.v1i2.3511.
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Nowadays, culture exchange is so much easier, with the foreign culture walk in to Indonesia, our traditional culture start to be forgotten, one of them is our traditional dance. And also, studying our native culture is considered something outdated. That why its needed a new media to make our traditional culture more modern so not become forgotten. One of the media which can be used is a game and a technology called kinect, with both of it, can be made a simulation game of our traditional dance, so it can be a media for introducing our traditional dance or help to train the dancer.
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Đorđevic, Nenad, and Slavoljub Uzunović. "Niševljanka as a small town originated urban folk dance." Fizicko vaspitanje i sport kroz vekove 9, no. 1 (2022): 117–34. http://dx.doi.org/10.5937/spes2201120d.
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The subject of this paper are city (small town) folk dances in a broader sense and Niševljanka folk dance as a town game in a narrower sense. The aim of the paper was to describe Niševljanka as a town folk dance. The basic task is to write down the music, rhythm and technique of the dance. In the available literature dealing with the systematization and division of folk dances, city folk dances are nowhere to be found as a special type of dance. Maybe rightly so, since they can be traced back to the traditional, original dances. However, given the conditions and time of the origin of these dances, with the migration of the peasantry to the towns and cities, the city dances in some way distanced themselves from the traditional ones. This was influenced by new living conditions, more cramped space, mixtures of the European and Oriental culture, as well as the Europeanization of culture and way of life in general. It can be stated that city folk dances are in fact traditional - original dances that have taken on other aspects of dancing and dancing behavior. If any folk dance has marked our city, and the state in general, from the end of the 19th and the beginning of the 20th century, it is undoubtedly Niševljanka folk dance. Numerous manuscripts, books, travelogues, newspaper articles from that time testify to this fact. This paper is an attempt to point this out and to find in one place the musical, rhythmic and playful record of this, undoubtedly original city folk dance.
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Buchanan Murray, Melonie, and Steven Ross Murray. "The physical practice of dance and sport as cultural expression." Journal of Kinesiology & Wellness 6, no. 1 (November 1, 2017): 12–16. http://dx.doi.org/10.56980/jkw.v6i1.16.
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Dance and sport are both considered prehistoric forms of human physical activity. Cultural scholars agree that values and belief systems may be reflected through physical practice and the way individuals within a culture move. Given the current situation of globalization, in which various cultures mix with historically unprecedented regularity, the study of cultural dances and sport activities might inform us about those cultures. Perhaps, much in the same vein as de Coubertin attempted to use sport as a means to bridge cultural differences through the Olympic movement, the sharing of cultural dance and sport might encourage harmony among those with vastly differing cultural backgrounds. This manuscript explores ways in which connections between physical cultural practices of dance and sport have historically reflected cultural values, thereby providing an additional perspective for the importance of human physical activity as a means of studying and understanding human culture.
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Schupp, Karen. "Dance Competition Culture and Capitalism." Congress on Research in Dance Conference Proceedings 2016 (2016): 361–68. http://dx.doi.org/10.1017/cor.2016.48.
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Long before SoYou Think You Can DanceandDance Moms, dance competitions focused on tap, jazz, contemporary, and ballet were alive and well throughout the U.S. Since the 1970s, dance competitions have served as venues for dance students to display their skills as both a team and as individuals, and as a means of profit for the individuals and corporations who run them. Dance competition culture operates on a “pay to dance” framework and belief system. By some estimates, for competitors who are deeply involved in dance competitions, the costs can easily top $1,000 per month.In many ways, more Americans are involved directly and indirectly in dance competitions than ever before, yet there has been little to no discussion of dance competition culture in relation to capitalism. The choice to participate in dance competitions affects the for-profit business models used in dance studios and is reflected in dance studios' tuition structures, required fees, and studio policies. Analyzing the economics of dance competition culture, which includes the organizations that offer dance competitions and dance conventions, the dance studios who train dancers for these events, and dance competition participants and their families, can provide valuable information about who has access to dance, and how that access reflects and shapes ideas about dance, gender, race, and class in the larger U.S. culture. As governmental support for dance continues to dwindle, it is timely to assess the financial, societal, and artistic impacts of increasing popularity of dance competition culture.
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Hebert, Carolyn. "Mini & Macho, Small & Sexy: The Perpetuation of Heteronormativity, Hegemonic Masculinity, and Femininity Within the Culture of Competitive (Jazz and Hip-Hop) Dance." Congress on Research in Dance Conference Proceedings 2016 (2016): 208–16. http://dx.doi.org/10.1017/cor.2016.28.
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This paper critically assesses the expectations of competitive jazz dance adjudicators and the effects of these expectations on the presentation of gendered and sexualized dance choreographies by private dance studios. Expectations for competitive dance students with regard to technical ability, execution of choreography, and age/gender (in)appropriateness are unclearly articulated by competitions and adjudicators throughout Canada and the United States. Nevertheless, parents and students enter into private dance studios with pre-conceived notions of what it takes to “win” at competition and demand that their training and choreography reflect this. The onus is on dance teachers and choreographers, then, to adhere to this rapidly evolving culture of dance competition, or otherwise risk losing customers and funds.This paper critically examines current trends in competitive jazz and hip-hop dance through interviews and conversations with three professional competition dance adjudicators. As a competitive dance studio choreographer and researcher, I question the role that competitive dance culture plays in the gendering and sexualization of amateur dancing bodies. Ultimately, what are the implications of the perpetuation of heteronormativity, hegemonic masculinity, and femininity through the dances created for competition on adolescent dancing bodies? What other options are available for private competitive dance studios wishing to simultaneously participate in and disrupt this culture without losing their businesses?
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Jae, Hwan Jung. "The Cultural Body and the Politics of Difference: How Korean Dance Is Commodified in the Politics of Tourism." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 119–23. http://dx.doi.org/10.1017/s2049125500000595.
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In tourism, dance is popularly used as a medium that attracts outsiders'attention and curiosity because dance effectively advertises the characteristics of a culture. One of the most prevalent images in Korean tourist broachers and films is a female dancer in a colorful costume, welcoming foreigner tourists with big smile. In this paper, through the examination of the stereotypes and gender differences in dance depicted in Korean tourism commercials, I focus on how Korean dance has been commodified in the politics of tourism. I also explore how tourism constitutes a “fantasy” of a culture in correspondence with Korea's globalization and localization process.
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Shan Chou, Eva, and Lee G. K. Singh. "Archives of the Dance (27), The Establishment of Beijing Dance School in the First-Hand Report of Soviet Specialist O. A. Il'ina: Introduction, Translation, Notes." Dance Research 40, no. 1 (May 2022): 11–40. http://dx.doi.org/10.3366/drs.2022.0356.
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The Beijing Dance School was founded in 1954 by China's Ministry of Culture to develop the dance arts through professional training in Chinese classical dance, the folk dances of the ethnic minorities and Han Chinese, and ballet and character dance. Ol'ga Aleksandrovna Il'ina's report, filed with the USSR Ministry of Culture, is the only known Soviet account, covering both the intense preparations for the school and the complexities of its first year of operation. Aspects of her report provide insights into 1) the Soviet model of dance propagation and the nuts and bolts of how it produced the ballet-inflected Chinese dance genres, 2) the convergence of the military dance performance system with the professionalization of civilian dance training, and 3) China's role in the dance history of the Cold War, specifically the tours of Moiseyev Dance Company and Stanislavsky and Nemirovich-Danchenko Musical Theatre. This article translates Il'ina's report and provides an introduction and notes.
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York-Pryce, Sonia. "A body of work." Dance, Movement & Spiritualities 6, no. 1-2 (July 1, 2020): 133–53. http://dx.doi.org/10.1386/dmas_00007_1.
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This article examines the paradigm of ageing regarding older professional dancers who prolong their careers, challenging the normative standards set down in western dance culture. With interest gaining momentum in introducing dance to an ever-increasing ageing population, it seems ironic that the older professional dancer continues to be undervalued or often invisible. The established aesthetics that persist within classical ballet, but less so within contemporary dance, supports the rejection of the bodies of these disenfranchised dancers, who embody a palimpsest of lived danced experience. It is undoubtedly an example of corporeal politics, the lack of exposure of seeing older dancers performing, a loss of identity tempered with the dilemma of the acceptance of youth and intolerance of decline. The aim is to acknowledge through film documentation and interviews the artistry these older dancers embody and to commend the positives surrounding ageing.
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Carroll, Sam. "Hepfidelity: Digital Technology and Music in Contemporary Australian Swing Dance Culture." Media International Australia 123, no. 1 (May 2007): 138–49. http://dx.doi.org/10.1177/1329878x0712300113.
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Since its revival in the 1980s, Lindy hop along with other swing dances has become increasingly popular with middle class youth throughout the developed world. Social dancing plays a central part in local swing dance communities, and DJing recorded music has become an essential part of social dancing. Marked by class and gender, DJing in swing dance communities is also shaped by digital technology, from the CDs, computers and portable media devices which DJs use to play digital musical files to the discussion boards and websites where they research and discuss DJing and the online music stores where they buy CDs and download music. This brief discussion of the preponderance of digital technology in swing dance DJing is part of a larger project considering the mediation of embodied practice in swing dance culture, and it pays particular attention to the ways in which mediated discourse in swing culture reflects wider social forces, yet is also subordinated by the embodied discourse of the dance floor.
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Odefunso, Adebunmi E., Esteban Garcia Bravo, and Yingjie V. Chen. "Traditional African Dances Preservation Using Deep Learning Techniques." Proceedings of the ACM on Computer Graphics and Interactive Techniques 5, no. 4 (September 6, 2022): 1–11. http://dx.doi.org/10.1145/3533608.
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Human action recognition continues to evolve and improve through deep learning techniques. There have been studies with some success in the field of action recognition, but only a few of them have focused on traditional dance. This is because dance actions, especially in traditional African dance, are long and involve fast movements. This research proposes a novel framework that applies data science algorithms to the field of cultural preservation by applying various deep learning techniques to identify, classify, and model traditional African dances from videos. Traditional dances are an important part of African culture and heritage. Digital preservation of these dances in their multitude and form is a challenging problem. The dance dataset was constituted from freely available YouTube videos. Four traditional African dances were used for the dance classification process: Adowa, Swange, Bata, and Sinte dance. Five Convolutional Neural Network (CNN) models were used for the classification and achieved an accuracy between 93% and 98%. Additionally, human pose estimation algorithms were applied to Sinte dance. A model of Sinte dance that can be exported to other environments was obtained.
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Gerdes, Ellen. "The Role of Technique in Dance Education: The Example of Tsoying High School, Taiwan." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 216–27. http://dx.doi.org/10.1017/s2049125500001138.
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Through questionnaire data, the dance students at Tsoying High School in Taiwan offer an important perspective on dance technique. Engaging with Melanie Bales's concept of the “eclectic” body in American contemporary dance practices, I explore both the historical underpinnings and the students' experience of a Taiwanese curriculum that focuses on ballet, modern dance, and Beijing opera movement. Our conceptions of dance technique and their related pedagogies not only affect the dancer but also affect the integration of dance technique with the rest of the dance field and, subsequently, the role of dance in the greater culture.
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Dordzhieva, G. A. "Crane tunes and dances in Kalmyk traditional culture." Languages and Folklore of Indigenous Peoples of Siberia, no. 38 (2019): 33–44. http://dx.doi.org/10.25205/2312-6337-2019-2-33-44.
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The article is devoted to the documentation of music-related phenomena of the Togrun Bi (Crane dance of Kalmyks). The traditional music of Kalmyks is deeply rooted in the culture of Oirad. The new geographical and ethnic environment changed and transformed it. The most obvious shift took place in the dances and musical instruments (their organology, performing style, and tunes). At the same time, on this outskirt of the Mongolian world, some unique forms and genres have been preserved. The sources of the present research are field materials collected by author in late 1990 th in Kalmykia: non-fiarytale prose, two-string dombra tunes with singing, onomatopoeia, and round dances. The participants of Сrane praising ritual were women and children. Similar components are revealed in the ritual Togrugan biilulkhm (Force Crane to dance) and Ova täkh (a sacrifice to a host-spirit of the place). In personal stories and memoires, the mythologic idea of the curse cast by cranes made a connection to arrests, exile and other tragic events in the history of the Kalmyks in the XX century. Characteristics of Crane dances is presented in the musical notations (made by author) and their description. There are the similarities between the Kalmyk round dance with imitations of Crane movements and calls (video recording from the settlement of Yashkul) and circular dances of Evenki, Yakuts, and some other Turkic-languages peoples of Siberia. These rare elements of Kalmyk tradition trail to the regions of South Siberia and Central Asia, from where some Oirad groups brought it to Volga region.
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Wu, Chunyang, Muhammad Fauzan Abu Bakar, and Boo Ho Voon. "Aesthetics of Hui Folk Dance as Audience Service to Leverage Audience Satisfaction." International Journal of Service Management and Sustainability 7, no. 1 (March 24, 2022): 125. http://dx.doi.org/10.24191/ijsms.v7i1.17783.
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Hui folk dance has its unique charm as an indispensable part of Chinese folk dance. It reflects the customs and cultural characteristics of the Hui nationality. This article explores the historical formation of Hui folk dance, analyses its formation process in different periods of history, analyses the culture, the body vocabulary of the folk dance, the music, the rhythm of the dance, the influence on the folk dance, and the expression of aesthetic consciousness. Folk dances of the Hui nationality originate from the folk, and they also show their unique living habits, combining dance with the details of life to outline their unique dance posture. Hui folk dance expresses the value of aesthetic emotions, aesthetic knowledge, and aesthetic ideals of dance through historical portraits, national spirits, and traditional canons. The formation, aesthetic consciousness, and aesthetic characteristics of Hui folk dance were analysed to better understand the history and culture of Hui folk dance, learn it, inherit it, promote it, and enrich it for sustainability. Dance aesthetics as part of audience service. The audience will be aesthetically satisfied and this will affect their behavioural intentions.
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Georgios, Lykesas. "The Transformation of Traditional Dance from Its First to Its Second Existence: The Effectiveness of Music - Movement Education and Creative Dance in the Preservation of Our Cultural Heritage." Journal of Education and Training Studies 6, no. 1 (December 22, 2017): 104. http://dx.doi.org/10.11114/jets.v6i1.2879.
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Being an indispensable part of our folk tradition, the traditional dance bears elements of our cultural tradition and heritage and passes them down from generation to generation. Therefore, it contributes substantially to the reinforcement of our cultural identity and plays a crucial role in the "cultural development" of our society.Our culture is going through a constant process of mutation. Some traditional elements get lost, while others resist and survive or get transformed and readjust to new emerging circumstances.The aim of the present study is to investigate the learning process of Music/ Movement Education and Creative Dance within the context of the “second existence” of dance, and the way in which this learning process can effectively save and preserve the characteristic cultural traits of the "first existence" of the traditional dance.The experiential way of learning and transmitting dance from one generation to the other, is characterized as “the first existence” of dance. Changes in modern social, political and economic conditions have influenced the Greek traditional dance, which has acquired a more entertaining and tourist-commercial character, while its educational character has transformed going through teacher-centered educational processes. Having undergone this change, the traditional dance is now defined as “the second existence” of folk dance. The conversion of the traditional dance from its "first existence" into its "second existence" is supported and interpreted by the three components of the dancing process, the so-called “communication triangle”: the dancer, the dance and the viewer. The adoption of the particular approach of Music - Movement Education and Creative Dance in teaching Greek traditional dances can preserve and convey a large part of our cultural heritage to the new generation.Only by learning their country’s history and culture will the young generations be able to learn their own identity and make the best of the past in order to live more happily today and create a better future.
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Hidajat, Robby, Suyono Suyono, Joko Sayono, Muhammad 'Afaf Hasyimy, Desy Ratna Syahputri, Syed Ahmad Iskandar, Iziq Eafifi Bin Ismail, and Norliza Bt Mohd Isa. "Tafsir Tari Zapin Arab dan Melayu dalam Masyarakat Melayu." Journal of Education, Humaniora and Social Sciences (JEHSS) 4, no. 2 (October 27, 2021): 1266–73. http://dx.doi.org/10.34007/jehss.v4i2.935.
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This article aims to describe and interpret the Zapin Arab and Zapin Malay dances. Zapin dance comes from Arabic and developed within the scope of the Malay community. At first the Zapin dance culture was brought by merchants from Gujarat to various regions in the archipelago in the XV century. Zapin dance has a heroic background, because the movement was originally a sense of uplifting the spirit of the companions of the prophet for war. The development of Zapin Arabic and Malay dances are both expressed in the form of performing arts. The problem in this research is focused on the structure of the Malay zapin dance. In order to approach this problem, the structuralism theory reference from Levi Strauss' model is used. Structural theory is applied to describe Malay society. The data were collected through statements and experiences of sources, observation, and document review, then analyzed descriptively qualitatively. Data analysis uses textual and contestual interpretations, namely interpreting denotative and connotative structures. This study concludes that, (1) the Arabic Zapin dance has Arabic cultural content, and (2) the Malay Zapin dance is an Islamic expression of Malay culture.
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Franko, Mark. "French Interwar Dance Theory." Dance Research Journal 48, no. 2 (August 2016): 104–10. http://dx.doi.org/10.1017/s0149767716000188.
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Interwar French dance and the critical discourses responding to it have until recently been an underdeveloped research area in Anglo-American dance studies. Despite common patterns during the first half of the twentieth century that may be observed between the dance capitals of Berlin, Paris, and New York, some noteworthy differences set the French dance world apart from that of Germany or North America. Whereas in Germany and the United States modern dance asserted itself incontrovertibly in the persons of two key figures—Mary Wigman and Martha Graham, respectively—no such iconic nativist modernist dancer or choreographer emerged in France. Ilyana Karthas's When Ballet Became French indicates the predominance of ballet in France, and this would seem an inevitable consequence of the failure of modern dance to take hold there through at least one dominant figure. Franz-Anton Cramer's In aller Freiheit adopts a more multidimensional view of interwar French dance culture by examining discourse that moves outside the confines of ballet. A variety of dance forms were encouraged in the milieu of the Archives Internationales de la Danse—an archive, publishing venture, and presenting organization—that Rolf de Maré founded in Paris in 1931. This far-reaching and open-minded initiative was unfortunately cut short by the German occupation (1940–1944). As Cramer points out: “The history of modern dance in Europe is imprinted with the caesura of totalitarianism” (13). Although we are somewhat familiar with the story of modern dance in Germany, we know very little about it in France.
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Tulk, Janice Esther. "Children’s Dances at First Nation Powwows in Atlantic Canada." Ethnologies 37, no. 2 (October 18, 2017): 29–52. http://dx.doi.org/10.7202/1041487ar.
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In this article, based on ethnographic research conducted at Mi’kmaw powwows throughout Atlantic Canada between 2004 and 2010, I will begin to address the lacuna in literature on First Nation children’s dances. I will describe the various children’s dances observed at powwows in Eastern Canada, as well as songs that are specifically used for children’s dances, contextualizing them within the traditional powwow event and in relation to emcee stage talk. I will also illuminate the socio-cultural functions of children’s dance at powwows and the relationship between dance and play. Finally, by focussing specifically on the living dance tradition of Mi’kmaq at cultural events in the Atlantic provinces, I will elucidate some of the forces that act upon informal culture, shaping and re-shaping it through time. This approach will highlight the relationship between popular culture and tradition in this context, revealing the emergent nature of lived traditions.
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Burns, Judy, and Helen Thomas. "Dance, Gender and Culture." Dance Research Journal 26, no. 2 (1994): 39. http://dx.doi.org/10.2307/1477919.
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Buckland, Theresa, Helen Thomas, and Marianne Goldberg. "Dance, Gender and Culture." Dance Research: The Journal of the Society for Dance Research 12, no. 1 (1994): 60. http://dx.doi.org/10.2307/1290711.
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Garafola, Lynn, and Helen Thomas. "Dance, Gender and Culture." Contemporary Sociology 25, no. 3 (May 1996): 406. http://dx.doi.org/10.2307/2077499.
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Noland, Carrie. "Duchamp Culture/Cunningham Dance." Modernism/modernity 27, no. 2 (2020): 361–86. http://dx.doi.org/10.1353/mod.2020.0027.
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Ayobade, Dotun. "Invented Dances, Or, How Nigerian Musicians Sculpt the Body Politic." Dance Research Journal 53, no. 1 (April 2021): 5–22. http://dx.doi.org/10.1017/s0149767721000048.
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AbstractPopular dances encapsulate the aliveness of Africa's young. Radiating an Africanist aesthetic of the cool, these moves enflesh popular music, saturating mass media platforms and everyday spaces with imageries of joyful transcendence. This essay understands scriptive dance fads as textual and choreographic calls for public embodiment. I explore how three Nigerian musicians, and their dances, have wielded scriptive prompts to elicit specific moved responses from dispersed, heterogenous, and transnational publics. Dance fads of this kind productively complicate musicological approaches that insist on divorcing contemporary African music cultures from the dancing bodies that they often conjure. Taken together, these movements enlist popular culture as a domain marked by telling contestations over musical ownership and embodied citizenship.
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Camp, Julie Van, and Peter Brinson. "Dance as Education: Towards a National Dance Culture." Journal of Aesthetic Education 27, no. 2 (1993): 115. http://dx.doi.org/10.2307/3333418.
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Otero, Daniel. "History of the belly dance: is it to entice men or a female’s rite of passage?" Arts & Humanities Open Access Journal 4, no. 5 (October 16, 2020): 203–12. http://dx.doi.org/10.15406/ahoaj.2020.04.00171.
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One of the most beautiful-classical forms of dance which has persisted since 220 B.C.E. (Before the Common Era) came from the Egyptian culture with its traditional ‘bedlah’ (suit) or suit. But it grew from the off-spring of the Arab Empire (Islamic expansions, 632-1492) and then spread towards India.1 It has been said or noted that from this dance style evolved the traditional patterns used by the Indian women with their saris, to the Romani (Gypsy) women while dancing flamenco in the medieval period, and the later burlesque techniques which flourished in the Nineteenth and Twentieth Centuries. Belly dance didn’t only influence these latter cultures, but it further influenced in the ways of dress and fashion for females. A dance taken from humble origins and converted into something for the international spectrum to glorify the body of women who wished to be in contact with Mother Earth/Nature. This dance wasn’t only for a female’s rite of passage. It was modified through different times in history to be danced in the courts of the Imperial Palaces across the Middle East. Through time, even used by the infamous Mata Hari to spy on men and used to get information during World War I. Belly dance grew, and with time became part of the line-up of classical dances. Because it is one of the oldest and most enjoyed worldwide. With this paper, I intend to demonstrate that belly dancing isn’t only to entice. It is more than that, it can be adapted to a woman’s anatomy and give her way into womanhood.
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Spalva, Rita. "Dance in Ancient Greek Culture." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 9, 2015): 451. http://dx.doi.org/10.17770/sie2012vol2.523.
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The greatness and harmony of ancient Greece has had an impact upon the development of the Western European culture to this day. The ancient Greek culture has influenced contemporary literature genres and systems of philosophy, principles of architecture, sculpture and drama and has formed basis for such sciences as astronomy and mathematics. The art of ancient Greece with its penchant for beauty and clarity has been the example of the humanity’s search for an aesthetic ideal. Despite only being preserved in its fragments, the dance of ancient Greece has become an example worthy of imitation in the development of classical dance as well as the 20th century modern dance, inspired by the notions of antique dance by Isadora Duncan. Research in antique dance helps sunderstand the historical relationships in dance ontology, axiology and anthropology.
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Nowak, Tomasz. "National Dances in the Canon of Polish Culture." Musicology Today 13, no. 1 (December 1, 2016): 71–87. http://dx.doi.org/10.1515/muso-2016-0004.
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Abstract The following dances are most commonly considered nowadays as national dances (or emblems of Polish national culture): the polonaise, the mazur, the krakowiak, the oberek and the kujawiak. These dances form the cultural canon as defined by Andrzej Szpociński (i.e. a constantly revised part of tradition which carries significance outside the domain of dance and is obligatory for all the community members). In Polish musicological studies it has been emphasised that the phenomenon of stereotypisation of native folklore has played a major role in the formation and emergence of emblematic national phenomena. However, some of the phenomena and processes that have taken place during the formation and revision of the national canon cannot be reduced to the idea of creating a stereotype. The author of this paper draws on Maria Janion’s treatment of the categories of myth and phantasm, which can be much more useful for the interpretation especially of borderline or clearly alien phenomena that have frequently found their way into the Polish national dance canon and played a very important role in that canon. The author also discusses the changing functions of dances from the canon, which resulted from external circumstances determined by political events and social processes.
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Olga Borisovna, Bursikova, Kuznetsova Natalia Stanislavovna, Amelina Maria Nikolaevna, Tatarintsev Andrey Yurievich, and Trofimov Roman Viktorovich. "ROUND DANCE TRADITION OF BELGORIE: THE SEMANTIC AND CULTURAL ASPECT." Revista de Investigaciones Universidad del Quindío 34, S2 (June 14, 2022): 57–63. http://dx.doi.org/10.33975/riuq.vol34ns2.879.
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The accumulated rich archival material on the musical folklore of the Belgorod region actualizes the problem of the semantic analysis of round dance songs as the dominant genre of the region’s traditional culture. In this work, based on expeditionary materials and researchers’ publications, the choreographic forms of round dances (circular karagods, tanks, figured tanks) of the Belgorod region are identified and described. The general scientific research methods within the framework of comparative, logical and statistical analysis are utilized. The systematic approach to research used in the process of modeling dance culture contributed to the reconstruction of the three-part picture of the world, captured in the dance in many versions.
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Hanif, Muhammad Hanif, and I. Gusti Agung Gede Arya Kadyanan. "Building TariPedia App as A Typical Balinese Performance Encyclopedia on Mobile Device Platform." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 8, no. 2 (January 8, 2020): 163. http://dx.doi.org/10.24843/jlk.2019.v08.i02.p08.
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Indonesia is a country with a variety of cultures and arts. Traditional art dance is one of Indonesia's arts which is one of the important aspects in supporting Indonesian culture and even tourism. Traditional dance has a special attraction to be enjoyed while staying in the midst of rapid development. Therefore, the writer makes a market application that connects the studios, dance groups, and dancers with traditional dancer tenants. TariPedia makes it easy for studio owners, service providers, and event organizers to market their services so that they can be more easily reached by the public and can increase sales of their services with the payment feature through the application. Therefore by developing TariPedia with Prototyping Method and Java Language in its development, TariPedia will continue facilitates the community, especially in the fields of traditional dance and at the same time modernizing regional arts.
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Anami, Basavaraj S., and Venkatesh Arjunasa Bhandage. "A Comparative Study of Certain Classifiers for Bharatanatyam Mudra Images' Classification using Hu-Moments." International Journal of Art, Culture and Design Technologies 8, no. 2 (July 2019): 58–71. http://dx.doi.org/10.4018/ijacdt.2019070104.
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India is rich in culture and heritage where various traditional dances are practiced. Bharatanatyam is an Indian classical dance, which is composed of various body postures and hand gestures. This ancient art of dance has to be studied under guidance of dance teachers. In present days there is a scarcity of Bharatanatyam dance teachers. There is a need to adopt technology to popularize this dance form. This article presents a 3-stage methodology for the classification of Bharatanatyam mudras. In the first stage, acquired images of Bharatanatyam mudras are preprocessed to obtain contours of mudras using canny edge detector. In the second stage, Hu-moments are extracted as features. In the third stage, rule-based classifiers, artificial neural networks, and k-nearest neighbor classifiers are used for the classification of unknown mudras. The comparative study of classification accuracies of classifiers is provided at the end. The work finds application in e-learning of ‘Bharatanatyam' dance in particular and dances in general and automation of commentary during concerts.
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Yanuartuti, Setyo. "Building Creative Art Product in Jombang Regency by Conserving Mask Puppet." Harmonia: Journal of Arts Research and Education 16, no. 1 (December 26, 2016): 30. http://dx.doi.org/10.15294/harmonia.v16i1.6148.
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<p>Building creative industry is one the effort chose to keep up with the ongoing of era development. Traditional art is one of the resource to produce creative art products. Gate Duwur Mask Puppet is a mask performance in Jombang Regency East Java that contains local wisdom. The local wisdom was one of the creativity sources to develop creative art products in Jombang Regency because maintaining Jati Duwur Mask Puppet performance was hard in the middle of the fast society development. The transformation of the source culture (mask puppet) to become the current target culture is one of the efforts made to build creative art. The research on mask dance conservation on mask puppet performance in Jombang was needed. The research method used was an art development through conservation. There were three products of mask dance created as a result of this research. The dances were Gladhen dancers – a couple dance, Mbanmban mask dance – a theatrical group dance, Maduretno-citralanggenan dance – a dance fragment. These mask dance products were a creative realization of a mask performance originated from mask puppet. The community and mask, puppet performer agreed to the development of mask dance to become a more creative art product that could be enjoyed by the young generation.</p>
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Torres Lepecki, André. "Critical Gestures: Writings on Dance and Culture. By Ann Daly. Middletown, CT: Wesleyan University Press, 2002; pp. 320. $19.95 paper." Theatre Survey 45, no. 1 (May 2004): 137–39. http://dx.doi.org/10.1017/s0040557404310082.
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Western theatrical dance emerges in the late Renaissance as an increasingly autonomous art form. However, as theatrical dance strove toward the ideal of its own aesthetic self-sufficiency, toward an autonomy that would eventually confer it its place as a truly modern art form, dance developed a paradoxically intimate, intricate, and convoluted relationship with its other—writing. The historical persistence of a continuous dialoguing between dancing and writing indicates how dance's aspirations for aesthetic autonomy were precisely that: an impossible (modern) wishing. Historically, the role and function of writing in regards to dance has been one of partnering. This partnering has oscillated among three foundational modes of writings on dance: the archival (writing as the guarantor of dance's historical survival, as seen already in the late 1500s, in Arbeau's Orcheseography), the choreographic (writing as mode of composing dances directly on paper, as seen in the exams for the Académie Royale in late seventeenth-century France), and the writing of criticism. Of these three modes, criticism—understood as writing aimed at explaining or translating to an audience the opacity of dance's appearing—won't emerge in its incipient form until the late eighteenth century. This mode is today the most prominent role writing takes in relation to dance, in which the function of the critic is simultaneously to preserve and explain the dances she witnesses.
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Andriani, Lia, and Arif Muchyidin. "POLA FRIEZE GROUP PADA GERAKAN TARI BUYUNG KUNINGAN." Jurnal Edukasi dan Sains Matematika (JES-MAT) 6, no. 2 (September 30, 2020): 81. http://dx.doi.org/10.25134/jes-mat.v6i2.2997.
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Buyung dance is rarely displayed and has begun to be unknown to the public. Also, children, today prefer foreign culture and dance. As a result, the existence of Buyung dance is only limited to recognition, without the benefits that can be felt. The absence of written guidelines in each of the Buyung dance movements is very interesting for researchers to analyze the relationship of the Buyung dance movements with mathematics. This type of research used in this study is qualitative research. In qualitative research, the instrument is the researcher himself and cannot be replaced by others. Data collection techniques used in this study through the method of observation, interviews, and documentation. Every hand movement of the dancers and movements between dancers to one another makes the movements of the dances neat and attractive following the Frieze Group, with four frieze patterns found in the dances of the pitchers.