Academic literature on the topic 'Dance (discipline)'
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Journal articles on the topic "Dance (discipline)"
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Bonbright, Jane M. "Dance: The Discipline." Arts Education Policy Review 102, no. 2 (November 2000): 31–32. http://dx.doi.org/10.1080/10632910009599987.
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Spivey, Kathy C. "The Dance withThe Discipline." Journal of Health Care Chaplaincy 11, no. 1 (September 2001): 117–21. http://dx.doi.org/10.1300/j080v11n01_04.
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Vukadinovic, Maja. "Psychological research in dance." Zbornik Matice srpske za drustvene nauke, no. 181 (2022): 47–61. http://dx.doi.org/10.2298/zmsdn2281047v.
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This paper examines dance as a significant ethnological, historical, geographical, sociological, artistic, musical, aesthetic, psychological, biological, and psychotherapeutic phenomenon. The main focus is on its psychological aspects and the interconnectedness of psychological and physical components, which enables a unique experience not only for the person who dances but also for the observers. In the first part, the complex phenomenon of dance is elaborated, differences between spontaneous dance and dance as an artistic discipline are highlighted and a new comprehensive definition of dance is offered. Secondly, different aspects of dance are looked at through the prism of questions that intrigue researchers in various psychological disciplines such as developmental psychology, social, cognitive, health and clinical psychology, physiological, evolutionary, and finally the psychology of creativity. The last chapter provides the basic determinants of artistic dance from the perspective of the psychology of creativity. Specific issues related to artistic dance are discussed, including the characteristics of a creative person - choreographer or performer, creative process, work of art - dance, audience and creative environment. The paper concludes with a brief overview of the importance of psychology for the field of dance, and vice versa, emphasizing the continuous interchange between the two.
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Gallardo, Jorge Sérgio Pérez. "A disciplina de dança na formação profissional do professor de educação física: Um relato de experiencia." Latin American Journal of Development 3, no. 5 (October 25, 2021): 3397–404. http://dx.doi.org/10.46814/lajdv3n5-051.
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Os problemas da preparação profissional do professor de Educação Física para ministrar a disciplina de Dança nos cursos de graduação são: tratar a disciplina apenas como atividade; estar ausente do objetivo de Universidade, que é formar professores investigadores e o maior de todos é o machismo imperante nos homens que entram a estudar a carreira para ser desportistas ou treinadores da modalidade de que eles praticam. Para mitigar este problema focalizamos a disciplina como fonte de investigação das manifestações da cultura corporal Dança, formando grupos de pesquisa e utilizando um analises histórico-crítico superador para as análises, discussão e vivencia de cada uma das danças investigadas, conseguindo reverter os problemas supra citados.
The problems in the professional preparation of the Physical Education teacher to teach the Dance discipline in undergraduate courses are: treating the discipline only as an activity; to be absent from the University's objective, which is to train research professors and the greatest of all is the machismo prevailing in men who enter to study their careers to be sportsmen or coaches in the sport they practice. To mitigate this problem, we focus on the discipline as a source of investigation of the manifestations of dance body culture, forming research groups and using a critical historical analysis that overcomes the analysis, discussion and experience of each of the dances investigated, managing to reverse the aforementioned problems.
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Rakočević, Selena. "Tracing the discipline: Eighty years of ethnochoreology in Serbia." New Sound, no. 42 (2013): 58–86. http://dx.doi.org/10.5937/newso1341058r.
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The interest for traditional dance research in Serbia is noted since the second part of the 19th century in various ethnographical sources. However, organized and scientifically grounded study was begun by the sisters Danica and Ljubica Janković marked by publishing of the first of totally eight volumes of the "Folk Dances" [Narodne igre] in 1934. All eight books of this edition published periodically until 1964 were highly acknowledged by the broader scientific communities in Europe and the USA. Dance research was continued by the following generation of researchers: Milica Ilijin, Olivera Mladenović, Slobodan Zečević, and Olivera Vasić. The next significant step toward developing dance research began in 1990 when the subject of ethnochoreology was added to the program of basic ethnomusicological studies at the Faculty of Music in Belgrade and shortly afterward in 1996 in the Academy of Arts in Novi Sad. Academic ethnochoreological education in both institutions was established by Olivera Vasić. The epistemological background of all traditional dance research in Serbia was anchored mostly in ethnography focused on the description of rural traditions and partly in traditional dance history. Its broader folkloristic framework has, more or less, strong national orientation. However, it could be said that, thanks to the lifelong professional commitment of the researchers, and a relatively unified methodology of their research, ethnochoreology maintained continuity as a scientific discipline since its early beginnings. The next significant milestone in the development of the discipline happened when traditional dance research was included in the PhD doctoral research projects within ethnomusicological studies at the Faculty of Music in Belgrade. Those projects, some of which are still in the ongoing process, are interdisciplinary and interlink ethnochoreology with ethnomusicology and related disciplines. This paper reexamines and reevaluates the eighty years long tradition of dance research in Serbia and positions its ontological, epistemological and methodological trajectories in the broader context of its relation to other social sciences/humanities in the contemporary era of interdisciplinarity and postdiciplinarity.
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Lepecki, André. "Dance Discourses: Keywords In Dance Research." Dance Research Journal 44, no. 1 (2012): 95–99. http://dx.doi.org/10.1017/s0149767712000010.
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The formation of what Randy Martin has called “critical dance studies” (1998) has gained increased momentum over the past decade. Martin's notion of critical dance studies clarified how dance scholarship was being reshaped by the explicit inclusion of critical theory in its methodologies and epistemologies. One of the major consequences for dance studies in embracing critical theory was the identification of dancing and choreographic practices as being also theory. Understanding dance as theory is not equivalent to seeing dance as the sole provider of the theoretical tools it needs for its own analysis (this would be intolerably solipsistic). Rather, it means that dance becomes a privileged practice ready to provide analytical tools for theorizing other areas of social performances: politics, culture, formations of disciplines and their bodies (docile or resistant). Dance is a mode of theorization that theory itself would need in order to address the social and political problematic brought by issues close to dance such as mobilization, embodiment, subjectivities, participation, representation, desire, discipline, control, etc.
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López Arnaiz, Irene. "Living Archive. Nyota Inyoka’s Archive: Traces of the Ephemeral and Ancient Dances Reenactment." Anales de Historia del Arte 32 (July 14, 2022): 327–50. http://dx.doi.org/10.5209/anha.83074.
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The French National Library keeps since 1983 the personal archive of the dancer and choreographer Nyota Inyoka (Fonds Nyota Inyoka). This archive comprises twenty-eight boxes of documents, besides costumes belonging to the dancer, which are constitutive as material of enormous value for the necessary recovery of this figure that has fallen into oblivion in the history of dance. This article aims at providing a first approach to the Nyota Inyoka Archive by ramifying the study in two directions. On the one hand, it allows us to articulate some keys to her choreographic proposal and her theoretical conception of dance. On the other hand, it enables us to broaden the reflection towards the relationship between the archive and the dancing body. Nyota Inyoka's repertoire revolves around ancient cultures that refer mainly to traditions from ancient Egypt and South and Southeast Asia. Thus, the archive takes on an important presence linked to the discipline of dance in a double sense. Firstly, the ephemeral nature of this art favors the archive to become an essential element for dance research. Whilst if we take into consideration the choreographic process of the dancer based on visual sources from Egyptian and Asian art, her body is constituted as a living archive. In this sense, I will offer a reading of Nyota Inyoka’s work as a kind of avant la lettre reenactment of ancient dances.
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Leluni, Eriska, Sakman, and Offeny. "TARIAN DADAS DALAM PEMBENTUKAN KARAKTER DISIPLIN ANAK PADA SANGGAR IGAL JUE PALANGKA RAYA." Jurnal Paris Langkis 1, no. 1 (August 17, 2020): 43–50. http://dx.doi.org/10.37304/paris.v1i1.1670.
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Problems discussed by Dadas Dance in Forming Disciplinary Character of Children in Jgal Palangka Raya Studio Igal. This study aims to determine the Dadas Dance in the Formation of Disciplinary Characters of Children in Jgal Palangka Raya Studio Igal. The method used is a qualitative method. The research instruments are included: observation sheets, interview, literature study, documentation.The results of the research that the meaning of dadas dance in shaping the character of discipline that performs dadas dance there, of course, if it is not disciplined in doing dance exercises it cannot be done, must have a high concentration in dancing to adjust the rhythm and motion so that inevitably the studio children indirectly train the studio disciplined character in conducting exercises. The values ??contained in dadas dance are magical values, cultural art values, historical message values, character values ??and aesthetic values ??of beauty and uniqueness in dance and music. So that the dancer dances must have good attitude and character, physically and mentally healthy, if not then, another impression can come in because it has megis values. Factors supporting the formation of discipline character are schedules that are made and mutually agreed upon because each team member must be disciplined in time and also committed. Then the inhibiting factor when there are members who are undisciplined and difficult to memorize the character that he holds and the movement and suitability between motion and music
Penelitian ini bertujuan untuk melihat makna tarian dadas dalam membentuk karakter disiplin anak pada sanggar Igal Jue Kota Palangka Raya. Metode penelitian menggunakan Pendekatan penelitian yang digunakan dalam penelitian adalah kualitatif deskriptif karena dalam penelitian ini menghasilkan kesimpulan berupa data yang menggambarkan secara rinci, bukan data yang berupa angka-angka. Penelitian kualitatif adalah suatu pendekatan ilmiah yang mengungkap situasi sosial tertentu dengan mendeskripsikan kenyataan secara benar, dibentuk oleh kata-kata berdasarkan teknik pengumpulan analisis data yang relevan yang diperoleh dari situasi yang alamiah. Hasil penelitian menunjukan bahwa makna tarian dadas dalam membentuk karakter disiplin yang melakuklan tarian dadas disitu sudah tentu jika tidak disiplin dalam melakukan latihan tarian itu tidak bisa dilakukan harus mempunyai konsentari yang tinggi dalam menari untuk menyesuaikan irama dan gerak sehingga mau tidak mau anak sanggar secara tidak langsung melatih karakter disiplin dalam melakukan latihan. Nilai–nilai yang terkandung dalam tarian dadas adalah nilai magis, nilai seni budaya, nilai pesan sejarah, nilai karakter dan nilai estetika keindahan dan keunikan dalam tarian dan musik. Sehingga penari tarian dadas haru mempunyai sikap dan karakter yang baik sehat jasmani dan rohani jika tidak maka, kesan lain bisa masuk karena mempunyai nilai – nilai megis. Faktor pendukung pemebentukan karakter disiplin adalah jadwal yang di buat dan disepakati bersama sebab setiap anggota tim, harus disiplin waktu dan juga mempunyai komitmen. Kemudian faktor penghambat ketika ada anggota yang tidak disiplin dan sulit menghapal karakter yang ia pegang serta gerakan dan kesesuaian anatara gerak dan musik
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Longley, Alys, and Barbara Kensington-Miller. "“Under the radar”: exploring “invisible” graduate attributes in tertiary dance education." Journal of Applied Research in Higher Education 11, no. 1 (February 4, 2019): 66–75. http://dx.doi.org/10.1108/jarhe-12-2017-0157.
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Purpose Many graduate attributes (such as adaptability, resilience, cultural awareness and professionalism) are often considered aspirational or invisible and conventionally go “under the radar” of standard university dance education. The purpose of this paper is to add to existing theories of dance as an academic discipline and contributes to studies identifying and mapping graduate attributes across the academy. Design/methodology/approach The research project Making the Invisible Visible contextualises this paper. It has involved a two-year, cyclical data-gathering process, involving interviews with leading dance employers and academics, and surveys of students from diverse disciplines entering and completing full-time dance degrees. Findings Due to the centrality of embodiment in studio learning, dance is an unusual discipline within research on graduate attributes and holds a unique place in academia. The creative, embodied, collaborative activities typical to dance learning offer fresh insight to the literature on graduate attributes – both visible and invisible – all graduates from a given institution are expected to hold. Originality/value A narrative methodology is employed to present a series of amalgam characters manifesting specific ways in which invisible graduate attributes inform pedagogies, student–teacher relationships and student understandings of their professional skills.
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BRUCHER, KATHERINE. "Assembly Lines and Contra Dance Lines: The Ford Motor Company Music Department and Leisure Reform." Journal of the Society for American Music 10, no. 4 (October 27, 2016): 470–95. http://dx.doi.org/10.1017/s1752196316000365.
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AbstractThe automaker Henry Ford founded the Ford Motor Company Music Department in 1924 with the goal of reviving what he called “old-fashioned dancing and early American music.” Ford's interest in the Anglo-American social dances of his youth quickly grew from dances hosted by the Fords for company executives to a nationwide dance education program. This article traces the history of the Music Department's dance education program and examines the parallels between it and the company's earlier efforts in social engineering—namely the Ford Profit Sharing Plan (better known as the “Five Dollar Day”) and the Ford English School. The Music Department's activities offer an opportunity to explore how industry sought to shape music and dance through Americanization efforts and leisure reform as Detroit rapidly urbanized during the first decades of the twentieth century. Supporters of Ford's revival viewed the restrained musical accompaniment and dance movements as an antidote to jazz music and dances, but more importantly, music and dance served as an object lesson in the physical discipline necessary for assembly line labor. Ford's dance education campaign reveals the degree to which industry was once entwined with leisure reform in southeast Michigan.
Dissertations / Theses on the topic "Dance (discipline)"
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Rowe, Andrew D. "Exploring the dance of team learning." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327121.
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Dallman, Paula Ann 1949. "PRELIMINARY ASSESSMENT OF CONDITIONING PRACTICES IN SUPPORT OF MULTIPLE DISCIPLINE DANCE TRAINING (FLEXIBILITY)." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/276391.
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Curci, Paola <1996>. "Practicing wellbeing through dance. Creative communities, empathetic relationships and healing processes." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21177.
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Good health and wellbeing are among the objectives of the 2030 Agenda for Sustainable Development Goals. However, the last two years have seen a reduction in the wellbeing of numerous individuals and communities. Deepening terms such as wellbeing, social capital and cultural welfare, this thesis thus aims at examining the crucial role of the performing arts (and especially of dance) in stimulating physical, cognitive and creative processes to promote individuals and groups wellbeing. Three case studies are analyzed. The first concerns the city of Bassano del Grappa, considered a "system" where the constant dialogue between artists, institutions and local citizens fosters social capital and promotes a diffused wellbeing. The second case is about the research project "Practicing Empathy" by the Israeli choreographer Yasmeen Godder who questions empathy to understand and communicate the other's moods, emotions, and feelings. The third case concerns the therapeutic project by the dance/movement therapist Maralia Reca with people who survived torture during the military dictatorship in Argentina between 1976 and 1983. In this case, dance/movement therapy has been used as a healing ritual to promote the recovery of people exposed to traumatic experiences.
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Williams, Tamara Lynn. "Dance/movement therapy and architecture : an investigation of modern dance as an informative discipline and theories of the body in architectural design." Thesis, Georgia Institute of Technology, 2000. http://hdl.handle.net/1853/21612.
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Abels, Kimberly Town. "Reconsidering writing across the curriculum : language as a contested site in the discipline of dance." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1287417137.
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Jacobs-Percer, Jonnie Lynn. "Does the Discipline of Ballet Give Its Serious Students Transferability Into High Academic Achievement?" University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337007363.
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Lawler, Dwayne P. "De-Domesticating the Actor: Applying Ankoku Butoh's Training Process of De-domestication to Develop Presence in Western Actor Training through Experiences of Awareness, Discipline and Energy." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/404471.
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The primary aim of this research is to contribute to existing Western actor training methods that explore the experience of ‘presence’ in actor training environments, through the construction of a suite of exercises, formulated from the Japanese psychophysical performance practice of ankoku butoh (‘dance of darkness’). The research differentiates between the states of ‘being present’ and of ‘having presence’, with ‘being present’ equivalent to being in the moment, and ‘having presence’ representing an actor’s authentic presence as perceived by others. Subsequently, exercises derived from this research are specifically designed to develop each state individually, and specifically in the order of ‘being present’ and ‘having presence’. The process of ‘de-domestication’, as discussed in this research, and in its application in ankoku butoh training, refers to the elements of awareness, discipline and energy, experiences that this research posits are central to the development of presence as a performance technique. Utilising a mixed methodology of action research and reflective practice within the research framework, the study incorporated two action cycles of practical workshops whereby actor-participants experienced ankoku butoh-derived exercises to examine the possibilities of enhancing presence in actors. Cyclic principles of development, action, practice and reflection were utilised to determine if/how the exercises generated or encouraged the development of the states of ‘being present and of ‘having presence’ in the participants. The outcome of the research was the creation of a suite of exercises formulated from ankoku butoh’s process of de-domestication that may be used for enhancing presence in actors. Further applications of the exercises formulated from this study may contribute to the development of presence in other non-acting physical training disciplines such as martial arts.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
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MORTILLARO, MARIA CATERINA. "Il Bharatanatyam cristiano: Una forma d'inculturazione del cristianesimo attraverso la danza-teatro indiana." Doctoral thesis, Università degli Studi di Milano-Bicocca, 2016. http://hdl.handle.net/10281/102550.
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Il Bharatanatyam è uno degli otto stili di danza classica indiana ufficialmente riconosciuti dalle istituzioni indiane. Anche se proviene dalla regione del Tamil Nadu, dopo la riforma negli anni Trenta e Quaranta, si è diffuso in tutto il subcontinente ed è praticato anche in Sri Lanka, nelle Mauritius e ovunque ci sia una comunità indiana. E’ ritenuto un simbolo dell’identità indiana. Nel Natyashastra, uno degli antichi testi teorici su questo argomento, è scritto che il dio Brahma avrebbe originariamente insegnato la scienza della gestualità e della danza in modo che la conoscenza dei Veda potesse essere accessibile a tutte le caste. Attraverso la raffigurazione di tutte le passioni umane, anche quelle negative, e la rappresentazione dei miti, aveva il potere di educare e di rendere gli uomini migliori tanto quanto la preghiera, il digiuno e i rituali. Anche se, nel corso dei secoli, ha perso parte della sua ispirazione spirituale e l’opinione comune ritiene che si sia corrotto, tanto che nel 1947 la Corte Suprema di Madras ha approvato una legge che proibiva l'esecuzione di rituali danzati nei templi, portando la danza sui palcoscenici, il Bharatanatyam ha mantenuto il suo significato religioso. I soggetti di danze sono tratti da poemi epici indù, come il Mahabharata e il Ramayana. Ogni spettacolo deve cominciare con una preghiera a Ganesh, e ci deve essere una danza dedicata a Shiva Nataraja, Signore della Danza Cosmica. Tradurre il linguaggio specifico del Bharatanatyam in un'altra religione è una questione di grande interesse. Quest’arte, infatti, non utilizza solo le espressioni del volto e i movimenti del corpo, ma anche le mudra o hasta, posizioni delle mani che sono simili al linguaggio dei segni dei sordi. Abbiamo circa cinquantadue hasta, ma è possibile aggiungerne, prendendole in prestito dal campo della medicina e dello yoga. Per ogni hasta ci sono molteplici significati, determinati dalla loro posizione nello spazio, dal movimento, dall’orientamento e dal contesto. Solo coloro che hanno studiato a lungo questa lingua complessa e articolata possono comprenderla, il che rende arduo l’atto comunicativo. Una trentina di anni fa, quando p Francis Barboza ha deciso di adattare sistematicamente il Bharatanatyam al cristianesimo, prima di tutto ha creato nuove deva-hasta, ovvero gesti che sono dedicati inequivocabilmente a un dio o a un concetto religioso. Il suo metodo si basa sulla combinazione di gesti tradizionali con profondi concetti teologici. Oggi, molti danzatori cristiani utilizzano le sue "creazioni", ma ho trovato che in India altri raffigurano gli stessi concetti con movimenti e gesti o deva-hasta diversi da quelli creati da Barboza o li utilizzano senza conoscerne il significato esatto. Questo tentativo di inculturazione pone molti problemi anche a livello teologico e culturale. Anche se non esistono divieti formali da parte del Vaticano sull'introduzione del Bharatanatyam nella liturgia, teologi e danzatori, alcuni dei quali fanno parte del clero, stanno portando avanti la sperimentazione e al giorno d'oggi la danza indiana cristiana è praticata sia in India che in Occidente, soprattutto in situazioni paraliturgiche. Da un lato, questi innovatori prendono ispirazione dal Concilio Vaticano II, che promuove l'inculturazione del messaggio evangelico; d'altra parte, sostengono una rivendicazione politica ed evidenziano dinamiche di potere, che esistono tra il centro (rappresentato dalla Chiesa romana) o centri (vale a dire gli istituti dove le sperimentazioni hanno luogo), e la periferia o le periferie. Il Bharatanatyam ha anche una grande importanza per il problema delle caste. Dal momento che è considerato una forma d’arte dei Bramini, è ritenuta un mezzo efficace per promuovere l’ascesa sociale degli Intoccabili, ma di fatto ciò che si ottiene è una braminizzazione del cristianesimo.Indian dance Bharatanatyam is only one of the eight styles of Indian classical dance officially recognized by the government. Even if it comes from the region of Tamil Nadu, after its reformation in the Thirties, it spread all over the subcontinent and is practiced also in Sri Lanka, in the Mauritius and wherever there is an Indian community. In fact it is a symbol of Indian identity. In the Natyashastra, one the most important and ancient theoretical texts on this topic, it is written that god Brahma originally imparted the science of gesticulation and dance so that knowledge of Vedas could be accessible to all the castes. Depicting all the human passions, even the negative ones, and representing myths, it has the power to educate and to make men better as much as prayer, fasting and rituals. Although, in the course of centuries, it has lost part of its spiritual inspiration and has been corrupted in the eyes of Indian people – in 1947 the Supreme Court of Madras approved a law that prohibited the execution of danced rituals in the temples, relegating them to the theatres- it has maintained its religious meaning. In fact, subjects of dances are taken from the Hindu epics, such as Mahabharata and Ramayana. Every show has to begin with a prayer to Ganesh, and there has to be a dance dedicated to Shiva Nataraja, Lord of Dance. The problem related to the specific language of Bharatanatyam and its translation into another religion is an issue of great interest. It is necessary to learn an ancient and complex code and to adapt it to a new spirituality. Bharatanatyam, in fact, does not use only the expressions of the face and the movements of the body, but utilizes positions of the hands called mudras or hastas, which are similar to language of signs of the dumb. We have about fifty-two hastas, but it is possible to add other mudras from other styles of dance and some that are borrowed from medical or religious fields. The problem is that for every hasta there is a list of meanings, determined by their position in the space, movement, orientation, context. Only those who are trained can understand this complex language and this makes it hard the communication with the audience. About thirty years ago when Fr. Francis Barboza decided to systematically adapt Bharatanatyam to Christianity, first of all he created new deva hastas, particular gestures that are unequivocally dedicated to a specific god or religious concept. His method is based on the combination of traditional gestures with profound theological concepts. Today, many Christian dancers utilize his “creations”, but I found that in India other dancers depict the same concepts with different movements and gestures or use deva hastas created by Barboza without knowing their exact meaning. This attempt of inculturation poses many problems also at the theological and cultural level. Even if there are not explicit approvals or formal prohibitions by the Vatican on the introduction of Bharatanatyam into the liturgy, theologians and dancers – some are part of the clergy – continue the experimentation making effective transformations, and nowadays Christian Indian dance is practiced both in India and in the West, mainly in paraliturgical situations. On one hand, these innovators take inspiration from the Vatican II, which promotes inculturation of the evangelic message; on the other hand, the innovators support a political claim and highlight dynamics of power, which exist between the centre represented by the Roman Catholic Church or the centres, that is to say the institutes where the experimentations take place, and the periphery or the peripheries. Baharatanatyam has also a great importance for the problem of castes. Since it is considered a Brahmin’s form of art, it is considered as a potent mean to socially promote the Untouchables, but it ends to a sort of “brahminization” of Christianity.
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AIMO, LAURA. "Mimesi della natura e ballet d'action: per un'estetica della danza teatrale (1751 - 1785)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1067.
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Una ricerca che si prefigga di studiare la danza teatrale nel Settecento s’imbatte inevitabilmente in un nodo problematico: l’oggetto della ricerca non è (più). Di esso sono rimaste soltanto alcune tracce, ovvero una serie di materiali eterogenei che si presentano come effetti capaci di mostrare la causalità della causa – l’oggetto vacante – ma non la sua forma. A partire dalle opere riformatrici di G. Angiolini e J.G. Noverre nonché dai testi di diversi filosofi coevi interessati allo statuto del gesto, la tesi interroga la congerie di effetti sopravvissuta al ballet d’action per approfondire la danza come forma artistica e forma del sapere all’interno del più ampio sistema della rappresentazione. Nello specifico la tesi si propone di mostrare come il segno negativo che contraddistingue variamente la disciplina tersicorea e il dibattito critico su di essa nel XVIII secolo sia da ricondurre più propriamente all’essenziale matrice espressiva del gesto stesso e abbia contribuito a un progressivo slittamento del paradigma classico della mimesi della natura da un’accezione “imitativo-riproduttiva” a una “espressivo-creativa”.A research that aims at examining the theatrical dance in the XVIII century is bound to face a problematic crux: the research object is not anymore. Some traces have remained, namely, a series of various materials able to show the causality of the cause – the vacant object – but not its form. The survey starts from the revolutionary works by G. Angiolini and J.G. Noverre and goes through different philosophicals texts of authors who were interested in the status of the gesture; it questions the bunch of effects which overcame the ballet d’action in order to look into the dance as a form of art and knowledge within the wider system of representation. Particularly, the research wants to show as the negative sign which marks this discipline and the XVIII critical debate on it has to be referred to the essential expressive nature of the gesture which led to a progressive shifting of the classic paradigm of the mimesis of nature from being “imitative-reproductive” to become “expressive-creative”
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AIMO, LAURA. "Mimesi della natura e ballet d'action: per un'estetica della danza teatrale (1751 - 1785)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1067.
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Una ricerca che si prefigga di studiare la danza teatrale nel Settecento s’imbatte inevitabilmente in un nodo problematico: l’oggetto della ricerca non è (più). Di esso sono rimaste soltanto alcune tracce, ovvero una serie di materiali eterogenei che si presentano come effetti capaci di mostrare la causalità della causa – l’oggetto vacante – ma non la sua forma. A partire dalle opere riformatrici di G. Angiolini e J.G. Noverre nonché dai testi di diversi filosofi coevi interessati allo statuto del gesto, la tesi interroga la congerie di effetti sopravvissuta al ballet d’action per approfondire la danza come forma artistica e forma del sapere all’interno del più ampio sistema della rappresentazione. Nello specifico la tesi si propone di mostrare come il segno negativo che contraddistingue variamente la disciplina tersicorea e il dibattito critico su di essa nel XVIII secolo sia da ricondurre più propriamente all’essenziale matrice espressiva del gesto stesso e abbia contribuito a un progressivo slittamento del paradigma classico della mimesi della natura da un’accezione “imitativo-riproduttiva” a una “espressivo-creativa”.A research that aims at examining the theatrical dance in the XVIII century is bound to face a problematic crux: the research object is not anymore. Some traces have remained, namely, a series of various materials able to show the causality of the cause – the vacant object – but not its form. The survey starts from the revolutionary works by G. Angiolini and J.G. Noverre and goes through different philosophicals texts of authors who were interested in the status of the gesture; it questions the bunch of effects which overcame the ballet d’action in order to look into the dance as a form of art and knowledge within the wider system of representation. Particularly, the research wants to show as the negative sign which marks this discipline and the XVIII critical debate on it has to be referred to the essential expressive nature of the gesture which led to a progressive shifting of the classic paradigm of the mimesis of nature from being “imitative-reproductive” to become “expressive-creative”
Books on the topic "Dance (discipline)"
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Jordan, Stephanie. Dancing back: Current debates and the discipline. London: Roehampton Institute, 1995.
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Grau, Andrée, and Georgiana Wierre-Gore. Anthropologie de la danse: Genèse et construction d'une discipline. Pantin: Centre national de la danse, 2005.
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Kenzie, Robert J. Mac. Setting limits in the classroom: How to move beyond the classroom dance of discipline. Rocklin, CA: Prima Pub., 1996.
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Setting limits in the classroom: How to move beyond the dance of discipline in today's classrooms. 2nd ed. Roseville, Calif: Prima Pub., 2003.
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Adamson, Rosalind Cara. A study into methods by advisers and primary co-ordinators in order to acquire and disseminate skills and knowledge in music and dance as a combined arts discipline. [Guildford]: [University of Surrey], 1995.
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Cecilia, Nocilli, and Pontremoli Alessandro, eds. La disciplina coreologica in Europa: Problemi e prospettive. Roma: Aracne, 2010.
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Schultz, Huxman Susan, ed. The rhetorical act: Thinking, speaking, and writing critically. 3rd ed. Belmont, CA, USA: Thomson/Wadsworth, 2003.
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Lombardi, Elena. The syntax of desire: Language and love in Augustine, the Modistae, Dante. Toronto: University of Toronto Press, 2007.
Find full textBook chapters on the topic "Dance (discipline)"
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Carter, Alexandra. "Destabilising the discipline." In Rethinking Dance History, 114–22. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2017. | Revised edition of: Rethinking dance history : a reader / edited by Alexandra Carter. 2004.: Routledge, 2017. http://dx.doi.org/10.4324/9781315544854-11.
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Wong, Yutian. "Discipline and Asian American Dance." In Choreography and Corporeality, 225–45. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-54653-1_14.
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Candelario, Rosemary, and Matthew Henley. "Introduction to Dance Research beyond Disciplines." In Dance Research Methodologies, 365–67. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003145615-30.
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Houliston, Victor. "Releasing the Prisoners of Hope: Dante’s Purgatorio Breaks the Chains of the Born Frees." In Studi e saggi, 117–29. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-458-8.07.
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Beginning with a tribute to the late Chris 'Zithulele' Mann, a poet and activist who was deeply immersed in Dante, this chapter comments on some of the patterns that emerge from the creative contributions of the Dantessa students. Two authors affirm and explore ideas of black womanhood by appealing to Beatrice and Francesca, potentially combining the two figures. Several authors are acutely aware of the purgatorial condition of post-apartheid South Africa, suggesting a long and arduous march to freedom. The image of flight recurs: thrice, madly, into the inferno and once, temporarily, in limbo. These lively responses to La Commedia prompt the question: what kind of literary studies is proper to purgatory, and elicit a tentative reply, urging a re-invention of the discipline of letters.
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Dickason, Kathryn. "Discipline and Redemption." In Ringleaders of Redemption, 105–40. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197527276.003.0005.
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This chapter examines dance from the perspective of medieval penitence. In a study of sermons, exempla, penitentials, treatises on vice and virtue, and moralizing literature, this chapter demonstrates how lay culture and clerical mentality informed one another. Together, they produced new discourses on dance that pivoted around intention and contrition, thereby opening a window on the medieval moral conscience. The first section examines pastoral sources that forged equations between dance and sin. While these pastoral sources always deemed dance as sinful, this section explains the variety of sins—including lust, pride, gluttony, and anti-sacramentality—that supposedly motivated dancers. The second section shifts to penitential and philosophical sources that reflect a growing sophistication concerning sin and agency. The third section considers how dance could represent or enact penitence. By analyzing Dante’s Purgatorio, it shows how the poet’s imaginative rendering of ritualized movement in purgatory inverted the pastoral paradigm.
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Ravelhofer, Barbara. "Discipline or Pleasure?" In The Early Stuart Masque, 97–122. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199286591.003.0005.
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Abstract What was early dance like before choreographers started writing about it? Many dance historians hold that it afforded innocent pleasure whose origins are now lost in the mists of time. Round dancing belonged to the catalogue of egalitarian, ‘participatory’, and ‘improvisational’ medieval pastimes, untainted by taxonomy. Later, however, Renaissance and Baroque choreographers deprived the dancing individual of jouissance . No longer ‘mimesis’ in which action and spirit were one, courtly performance turned into mere ‘mimicry’. The gestures of the elite, we learn, were ‘suppressed’ as dancing ‘moved out of the oral tradition and, progressively codified... and transcribed, into literate culture’.
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Ruprecht, Lucia. "Towards Discursive Discipline: Dance beyond Metaphor in Critical Writing." In In(ter)discipline, 199–210. Routledge, 2017. http://dx.doi.org/10.4324/9781351195195-19.
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Ayu Trisnawati, Ida. "The Light Penetrates Silence: Kolok Dance Study in Bengkala Village, Buleleng, Bali." In Creativity - A Force to Innovation [Working Title]. IntechOpen, 2020. http://dx.doi.org/10.5772/intechopen.94397.
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Art is an expression of the pure soul of humans that is not limited by physical. Therefore, everyone can express their art in various forms of art acts such as dancing, singing, painting, and others. This occurs to the Kolok (mute) community in Bengkala village where they express their artistic spirit by dancing. The Kolok community in this village dances Janger Kolok Dance, Baris Bebek Bingar Bengkala (Bebila) Dance or Baris Bebila Dance, and Jalak Anguci Starling Dance. This dance illustrates the joy and excitement of the mute people in Bengkala village who are able to surpass their limitations into an opportunity to fill themselves up. The creation of this dance is motivated by esthetic, economic and religious reasons. Structurally, all Kolok dances in Bengkala follow the same pattern of general dance but there are adjustments to the conditions of the dancers. This dance has the meaning of struggle, discipline, hard work, cooperation, entertainment based on excitement through the limitations of those who are deaf Kolok.
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Roebert, Donovan. "Classical Indian Dance as a Discipline of Thought." In Essays on Classical Indian Dance, 37–41. Jenny Stanford Publishing, 2021. http://dx.doi.org/10.1201/9781003121138-7.
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Booth, Eric. "Teaching Artists in the Arts Learning Ecosystem." In The Music Teaching Artist’s Bible, 18–25. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195368390.003.0002.
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Abstract The arts appeared on day two in human history, beating the wheel by an aeon or more. In all those millennia, the original four disciplines— music, dance, visual arts, and theater—have each evolved in their own ways, and the only new kid on the artistic block since then is the literary arts. I sometimes refer to teaching artistry as the sixth artistic discipline, or as the in-between artistic discipline that closes the gaps.
Conference papers on the topic "Dance (discipline)"
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Савостьянов, Александр Иванович, and Татьяна Николаевна Мацаренко. "METHODOLOGY OF TEACHING THE DISCIPLINE "DANCE" AT THE ACTOR'S DEPARTMENTS OF THEATER UNIVERSITIES." In Science. Research. Practice (Наука. Исследования. Практика): сборник статей международной научной конференции (Санкт-Петербург, Октябрь 2022). Crossref, 2022. http://dx.doi.org/10.37539/221026.2022.69.42.002.
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В статье рассматривается дисциплина «Танец», как профессионально важный курс в системе воспитания и обучения современного актера. The article considered the discipline "Dance" as a professionally important course in the system of education and training of a modern actor.
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Gantchevа, Giurka. "DYNAMICS IN THE DIFFICULTY IN RHYTHMIC GYMNASTICS COMPETITIVE ROUTINES." In INTERNATIONAL SCIENTIFIC CONGRESS “APPLIED SPORTS SCIENCES”. Scientific Publishing House NSA Press, 2022. http://dx.doi.org/10.37393/icass2022/72.
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ABSTRACT Rhythmic gymnastics, like other sports disciplines called “artistic”, is continuously developing in a sports-technical sense. Gymnastics varieties, such as “dance gymnastics”, “rhythmical gymnastics”, “expressive gymnastics”, and “plastic and stage expression gymnastics” have lost their individuality but different elements of their means of expression find their place in the requirements for composition. The efforts of the specialists in this sport are aimed at preserving the identity of this sports discipline, namely, using various musical accompaniments and a wide range of dance movements combined with complex exercises. The aim of the research was to trace the development of the difficulty in routines and a retrospect of the main indicators for making competitive routines for the period 1963-2021 was made with the use of a theoretical and synthesis method. The evaluation of dance elements and complex exercises in competitive programs of gymnasts was in the very first Code of Rules known. There are three different components – difficulty of the exercises, general impression, and accuracy of execution. The general changes in the difficulty of the exercises can be clearly seen if we divide the Codes of Rules into the following periods: 1) 1963-1971, 2) 1976-1984, 3) 1997-2005, and 4) 2009-2021. The changes are due to two major factors: - objective – perfection of the training process, emergence of new exercises, gymnasts’ exclusive motor abilities; choreographs, musicians, dancer’ participation in gymnasts’ preparation; - subjective – creation and modification of the rules by members of rhythmic gymnastics technical committee who are representatives of different schools and cultures, with different concepts about the development of the future image of this sport. The retrospect of the requirements in the competitive rules shows that the greatest transformation of rhythmic gymnastics is in its turning into a complex sport.
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BELLEAU, Sylvie. "The Otherness through Le rêve d’Urmila (Urmila’s Dream), an Interdisciplinary and Intercultural Research Creation Doctoral Project through Natyashastra." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0016.
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This communication will present how research creation based doctoral project can be an opportunity to explore the Otherness and other disciplines, to open to new realms of research as well as to question the artist’s posture in his journey between the culture of origin and the culture of the discipline in which he trains. As an apprentice, I studied kathakali in South India in my early twenties and it influenced all my theatre practice. The dance-theatre of Kerala has been part of my creative tools since the beginning of my creative life as a professional stage artist. My doctoral research was a way to question the footprint of the kathakali training in a creation project, to deepen my knowledge of Indian theatre and to explore the connections between kathakali, Natyasastra, the classical Indian treaty of dramaturgy, and my doctoral creation, Le rêve d’Urmila, which has been presented in September 2018 at Université Laval, in Quebec City. As part of my doctoral research on cultural hybridity, I had to train a group of western artists to dance and play with the codes of Indian dance to reach the level of cultural and disciplinary competence needed to produce the doctoral creation. I will thus present the specificities of the training process and expose the ways in which we explored various elements of the kathakali performance: the four abhinaya, rhythmic and musical elements, etc.
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TALPĂ, Svetlana. "The importance of noting dance on paper as a particular method of teaching-learning-evaluation of dance disciplines." In Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v2.25-03-2022.p155-159.
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This article discusses practitioners who have contributed to the development of the process of capturing dance or dance movements on paper, through: notation, photography and film. The reflections of these personalities, such as Ann Hutchinson, Rudolf Von Laban, Eadweard Muybridge, Lois Greenfield, Ted Shawn, Norman McLaren and Sue Healey, included the definition of direct research on how these three documentary media interact to describe a dancing in various choreographic genres. The aim of this research is to highlight the importance of noting and capturing the body in motion, to see if it is possible to make an evolution in the process of teaching-learning-assessment of dance disciplines, by analyzing and "reading" a document, being able to communicate dance to the dancer / student when a living body is absent.
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Hale, Mary E. "Tactics for Collaboration Across and Within Disciplines." In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.44.
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While the architectural design process may be led by a figurehead architect, contemporary buildings are the result of vast teams of designers, engineers, and builders. They are furthermore influenced by social issues, local policy, and clients. Yet typical American architectural design pedagogy centers around design studios where students work individually on creative projects. This pedagogical style reinforces a fallacy of the genius architect, the heroic designer who designs and creates in a vacuum. This paper and presentation showcases a seminar designed specifically to subvert this paradigm and provide targeted collaboration skills and support to students as they work on inter- and intra-disciplinary teams on a creative project. Taught collaboratively between Northeastern University’s School of Architecture and New York University’s Tisch School of Dance, this course takes inspiration from historical collaborations between prominent experimental dancers and designers like Anna and Lawrence Halprin; Merce Cunningham, John Cage and a variety of designers; and others. During the first six weeks of the semester, architects and dancers prepare within their own disciplinary cohorts for collaboration. Architects learn from case studies in contemporary dance and set design; they learn hand drawing and sketching skills for quick ways of expressing their ideas; and finally they read, complete exercises from and discuss Collaborative Intelligence: Thinking with People Who Think Differently, by Dawna Markova and Angie McArthur. Dancers also read this book. Following this preparatory period, architecture students are paired based on skill areas, interests and working styles discovered through the workshop. Then, architect pairs and dancers exchange portfolios of work before meeting remotely for a “speed-dating” style zoom session after which they rank their preferred collaborators. Teams are thus formed and the long distance collaboration between architect pairs and dancers begins. Together, architect-dancer teams envision and prototype a public performance through remote collaboration. Students draw from the methods in Collaborative Intelligence to address conflicts. Through this process, architecture students experience at a small but real scale the architectural design and delivery process from conceptual development to project completion with a focus on building collaboration tactics.
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Aryanto, Kadek Yota Ernanda, I. Nengah Suandi, I. Wayan Mudana, Ni Luh Partami, and I. Made Bandem. "The Development of Android-Based Balinese Dance Dictionary." In Proceedings of the 3rd International Conference on Innovative Research Across Disciplines (ICIRAD 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200115.031.
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Mihaiu, Costinel, and Monica Gulap. "STUDY ON THE EFFICIENCY OF USING A WEB APPLICATION IN LEARNING THE DANCE TECHNIQUE, BY THE STUDENTS OF THE UNIVERSITY OF BUCHAREST." In eLSE 2016. Carol I National Defence University Publishing House, 2016. http://dx.doi.org/10.12753/2066-026x-16-226.
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Dance Sport is part of the educational offer of Physical Education and Sports Department of the University of Bucharest, being one of the most popular sport disciplines among the students of this institution. The number of physical education lessons provided in the curricula of the non profile faculties is 1/a week for the first two years of study, as optional subjects. The approach of sports dance in physical education lessons involves the establishment of the themes which exclusively aim the initiation into this sport, with the compliance of all the teaching principles and the methodological requirements. The dance lesson with students lasts 100 minutes, from which 25 minutes represent the first part of "general warming" with "harmonious physical development", which included the study of classical dance, while the themes from sports dance are allocated 60 minutes. Regarding the training methods used to acquire the specific content of dance in physical education class, we mention that the verbal methods are doubled by the intuitive and practical methods, the teacher manifesting the autonomy in choosing and combining them. Our practical experience of over 15 years in the field has demonstrated that acquiring the technical content specific to dance, in terms of exercising within a lesson per week, is done quite slow, reality that has led us to implement in our educational approach the benefits of the development of modern technology. In this regard, we propose in the present work to emphasize the efficiency of using of a web application in the faster acquiring of the technical dancing figures by the students from the University of Bucharest, participating in physical education lessons (dance). We mention that the students from the experimental group had access (by supplying a password) to the application dansuri.site88.net which offer them, in the form of animations and some descriptive tables, the information about the technique learned at the practical lesson. Also we specify that the above mentioned application was presented in another study which highlighted its importance in developing the dance technique, revealed by the interventions and the favorable opinions of the specialists in the sphere: coaches and athletes.
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Siswantari, Heni, and Mira Setia Wati. "Dance Learning for Children with Moderate Mental Retardation at the Pembina State Special Education School of Yogyakarta." In Proceedings of the 3rd International Conference on Innovative Research Across Disciplines (ICIRAD 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200115.063.
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Devadoss, Satyan, and Shannon Starkey. "Flexing on Topology, or, Contrapposto Architecture." In 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.48.
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In 1977, mathematician Robert Connelly discovered a unique eighteen-sided closed, hinged polyhedron that, remarkably, wiggled, overturning centuries of mathematical discourse linking polyhedra with rigidity. This new category of polyhedra is the source of an ongoing interdisciplinary collaboration between architecture and discrete geometry. The flexible polyhedron serves as a generative design tool to develop a new approach to structure and a new relationship of the body in space, as well as an analytical lens through which to understand and challenge the history of architecture’s close association with upright rigidity. In the late 1960s, the Architecture Principe Group (Paul Virilio and Claude Parent), argued against propriety and restraint with a theory of the body that challenged upright posture. The oblique function replaced a system of rigid proportions of a universal body at rest in Euclidean space with the figure of the dancer put in motion by the forces of gravity on the oblique. However, Virilio laments their non-orthogonal system of continuous folded planes became “all blobs, blobs, blobs.” Taking topological thinking filtered through Deleuze, Greg Lynn and others harnessed emerging computer technology to produce infinite variations of doubly-curved, amorphous spheres. The seamless smoothness of “animate form”, how¬ever, ensured mathematical rigidity, a result of which Lynn is undoubtedly aware as he employs new robotic technologies to re-animate his forms. In this context, flexible polyhedra are both incredibly simple geometric forms in a world of complex-curved topological spheres; and much more complex, capable of flexibility without abandoning geometry or rigidity and without cutting-edge technologies. To borrow a phrase, the flexible polyhedron is both square and groovy. This ongoing interdisciplinary project reveals the false distinction between geometry and topology as interpreted by the architectural discipline, and explores the architectural ramifications of this new world of flexible polyhedra while using material/spatial practice to further understand and represent topology.