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Relevant bibliographies by topics / Dance History

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Academic literature on the topic 'Dance History'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Dance History"

1

Pype, Katrien. "Dancing for God or the Devil: Pentecostal Discourse on Popular Dance in Kinshasa." Journal of Religion in Africa 36, no. 3-4 (2006): 296–318. http://dx.doi.org/10.1163/157006606778941968.

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AbstractThis article studies the dance poetics and politics of Christians in contemporary Kinshasa. For Kinois (inhabitants of Kinshasa), dance is one of the most important technologies to get in touch with an invisible Other, the divine or the occult. In sermons, and other modes of instruction, spiritual leaders inform their followers about the morality of songs and dances. These discourses reflect pentecostal thought, and trace back the purity of specific body movements to the choreography's source of inspiration. As the specific movements of so-called sacred dances borrow from a wide array of cultural worlds, ranging from traditional ritual dances and popular urban dance to biblical tales, the religious leaders state that not just the body movements, but also the space where people dance and the accompanying songs, define the Christian or pagan identity of the dancer. Therefore, both the reflections upon dance movements and the dance events within these churches will be discussed as moments in the construction of a Christian community.

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Wang, Ziqiao. "Analysis of the Importance of Demeanor Training to the Study of Chinese Folk Dance—Taking Uighur Dance as an Example." Journal of Educational Theory and Management 2, no. 3 (October 8, 2018): 84. http://dx.doi.org/10.26549/jetm.v2i3.992.

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Chinese folk dance has a long history and is quite abundant. It is an indispensable source of Chinese classical dance, court dance and professional dance creation. Chinese folk dances are characterized by unpretentiousness, diverse forms, rich content, and vivid images. But these require professional dancers to express through professional training. Even amateur dances need to be completed through well-trained and emotionally full actors.[1] In the process of training, in addition to the necessary basic skills and other physical training, we also need to train the demeanor. We often say that the eyes are the windows of the soul, and the folk dance is more about expressing a feeling to the audience. If the dancer don’t have a good performance and face expression, he or she can’t express the dance work at all. Therefore, this article takes the training of national folk dance as the starting point, combining technical training, stage performance, professional dancers and amateur dancers, taking the Uygur as an example.

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Berdnik, M. "The Impact of Historical Choreographic Origins on Forming Emotional Content in Latin American Ballroom Dance." Culture of Ukraine, no. 80 (June 30, 2023): 76–81. http://dx.doi.org/10.31516/2410-5325.080.09.

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Modern ballroom dance is actively developed as a sport whereas the art of dancing, which is characterized by emotions, is disappearing now. The causes are dealt with the low level of performing Latin American ballroom dance as an art and the necessity to develop the origins of this dance. It is also important to perform a particular Ballroom dance emotionally considering its historical roots. It is fact that now the great number of competitive dance couples give a lot of attention to the physical training of choreographic compositions with a large number of acrobatic tricks and little respect to the aesthetic aspects of dance. Otherwise, they simply do not know how to express the depth of the emotional content of the dance. Dance couples are lack of understanding how to perform a particular ballroom dance. The issue of this study is relevant in Latin American ballroom dance studies as well as should be solved by experienced instructors and their desire to show dancers the importance of aesthetically emotional aspects of dance. The purpose of this study is to explore the historical origins and stylistic features of Latin American ballroom dance which became the basis of modern Latin American ballroom dance. The methodology. The author provides an analysis of specific features of the Latin American ballroom dance. The results. It is shown that according to the history of the origin and standardization of ballroom dance each dance has its own unique style and characteristics as well as its individual emotional features. Cha-cha-cha is characterized by easy flirtation and pleasure. Samba is a dance of celebration, ardour and expression. Rumba is full of passion, impressing and love. Pasodoble is emotional and dramatic-theatrical dance. Jive is light, cheerful and carefree. And these are general features of the emotional and aesthetic component of dance that are very desirable to see in dance and experience them together with the performers. The scientific novelty. An attempt is made in this paper to show the presence of historical stylistic and emotional features of the Latin American ballroom dances, which are danced as a competition all over the world, are not sufficiently developed in the performance skills of the dancer. Ballroom dances have diverse origins, rhythms, tempos and aesthetics, but have one thing in common: they are all danced emotionally. A recommendation for further research is the perspective of improving the methodology of teaching the emotional component of Latin American ballroom dance by suggesting the development of aspects such as: active ways of spreading information about the importance of the creative, emotional component of dance (e.g. seminars, master classes), teaching acting skills, developing training exercises for performing the emotional part of the dance, and conducting research in sports psychology. The practical significance. The material of this article can be used in the practical activities of choreographers, ballroom dance performers and Latin American ballroom dance competition dancers.

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Boye, Seika. "Ola Skanks: Delayed Recognition of a Dance Artist Ahead of Her Time." Canadian Journal of History 56, no. 3 (December 1, 2021): 216–28. http://dx.doi.org/10.3138/cjh.56-3-2021-0111.

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This essay chronicles my research relationship with choreographer, teacher, educator, and activist Ola Skanks. Canadian-born and of West Indian (St. Lucia and Barbados) descent, Skanks was a groundbreaking dance and fashion design artist who combined modern, Western art forms with traditional dances of the Africa diaspora. I share excerpts from my work to date, including my archival exhibition, It’s About Time: Dancing Black in Canada 1900–1970, to provide context for the circumstances that Black people danced in, socially and/or as performers. This is followed by a selection of photos from Skanks’s archival collection that illustrate the scope of her creative and community contributions. In conclusion, I offer a transcription of a speech I gave when Skanks was inducted into the Dance Collection Danse’s 2018 Encore! Dance Hall of Fame, alongside some of Canada’s most well-known dance artists and community builders. I detail some of the highlights of my meetings with her and also the profundity of the delayed recognition of a woman so far ahead of her time.

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Nasiba, Abraykulova. "History of Uzbek National Dance." International Journal of Psychosocial Rehabilitation 24, no. 5 (May 25, 2020): 5944–49. http://dx.doi.org/10.37200/ijpr/v24i5/pr2020568.

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Mantillake, Sudesh. "Panibharata and the Invention of Sinhala Folk Dance Repertoires in Post-Colonial Sri Lanka." Sri Lanka Journal of the Humanities 43, no. 2 (August 17, 2023): 40–57. http://dx.doi.org/10.4038/sljh.v43i2.7270.

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This article focuses on the history of the Sinhala folk dance genre and its connection to Sinhala cultural nationalism in Sri Lanka. This paper aims to examine the formation of Sinhala folk dance as a tradition in the context of the rise of Sinhala nationalism during the 1940s and 1950s. Although performing arts were commonly practiced by villagers, the genre named Sinhala Folk Dance (Sinhala gemi näțuma) did not emerge until the 1930s in Sri Lanka. Around 1956, in the midst of the rise of Sinhala cultural nationalism, it is believed that the stylistic choices that preceded the modern creative work of the new nation were drawn from “folk” sources. A classic example of this genre is E.R. Sarachchandra’s play Maname, which became the marker of modern Sinhala theatre, and which was based on the folk theatre tradition, the nadagama. Here, the assumption is that folk art already existed in the villages, and that the Sinhala literati merely borrowed from it to create new performing art forms that represented the nation. However, this assumption is an oversight in folk dance in Sri Lanka, as demonstrated in this article which presents an alternative interpretation of the history of performing arts in Sri Lanka, a history which has not been highlighted in the 1956 cultural revolution discourse. As I demonstrate in this article, Sinhala choreographer Panibharata invented certain dances which are considered Sinhala folk dance today. Sinhala nationalists groomed Panis, a village drummer and dancer, considered to be a low-caste, underprivileged individual into Panibharata, a cosmopolitan artist. Fulfilling these nationalists’ desires, Panibharata created repertoires of “folk dance” that portrayed village life in an exotic and romantic guise, which is aptly exemplified in his goyam näțuma (rice-harvesting dance). Panibharata’s model of folk choreography continues to be interpreted as the genuine and only Sri Lankan folk dance tradition, a narrative that was institutionalized and disseminated through the system of public education. In contrast to that canonical narrative of the Sinhala folk dance tradition, I argue that the staged model of Sinhala folk dance is a fairly recent invention. I analyze archival records, dance curricula, and secondary sources and interpret them according to my personal experiences as a dancer. To contextualize the purely Sinhala folk dance tradition, I compare the Russian folk dance and the Morris dance of England, that developed as separate national folk dance traditions.

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Fiskvik, Anne Margrete. "Tracing the Achievements of Augusta Johannesén, 1880–1895." Nordic Journal of Dance 5, no. 2 (December 1, 2014): 4–21. http://dx.doi.org/10.2478/njd-2014-0007.

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Abstract Dancer, choreographer and teacher Augusta Johannesén was an important figure in several capacities for Nordic theatrical dance. She danced, taught and choreographed in Sweden, Finland as well as in Russia. Between 1860-1878 she was a member of the so-called Johannensénske Balletselskab, which toured extensively in the Nordic countries. The Johannesénske family settled in the Norwegian capital Kristiania in 1880, and Augusta Johannesén slowly established herself as a professional dance artist at the most important theatres in Kristiania. Over the years she became a dancer, choreographer and teacher of great significance, and her contribution to the development of Norwegian theatre dance cannot be overestimated. She was active as dancer well into the 1910’s and “arranger of dance” up until she died in 1926. As a ballet teacher, she trained hundreds of dancers, including several of those who later went on to play a role in the Norwegian dance- and theatre scene. In many ways, Augusta Johannesén is representative of a versatile dancer that can be found on many European stages, the versatile ballet dancer that was also typical of the Nordic dance scene around the “fin de siècle”. She typically also struggled with stereotypical notion of the “ballerina”. This article focuses on only a part of her career, her first fifteen years in Norway. Between 1880 and 1895 she established herself in Kristiania, dancing at the Christiania Theater and later at the Eldorado. The article also forefront an especially important event in Norwegian Nordic dance history instigated by Johannesén: The establishment of a “Ny Norsk Ballet” (“New Norwegian Ballet”) at the Eldorado theatre in Kristiania in 1892. This is probably the very first attempt at creating a professional ballet company in Norway, and Augusta Johannesén’s contribution is only one of many ways she made a difference to professional theatre dance in Norway.

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Lelunu, Sapta, Kesia Rosalina Putri, Daniel, Nia Olivia, and Nova Lady Simanjuntak. "Art and Philosophy: Harmony of Giring-Giring Dance, Manganjan Dance, Tambun Bungai Dance of Kalimantan Tengah." Harmonia : Journal of Music and Arts 1, no. 1 (November 1, 2023): 1–25. http://dx.doi.org/10.61978/harmonia.v1i1.71.

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The possibility of tradition collaborating with dance, music and performance art is an amazing art. However, it becomes problematic if the space to perform one of the parts of tradition, namely dance as an art or work in certain regions or localities, is still minimal. Either from the history of dances from certain regions, for example Central Kalimantan, especially the Ma'anyan Dayak community, or the method of usage or meaningful values in the form of ribut rukun, togetherness, care and exploration space. This research method uses a literature review that examines the results of previous studies as secondary sources, online media, and accompanying photos of dances originating from Central Kalimantan. The findings show that the Dayak Giring-Giring dance, Manganjan Dance and Tambun Bungai Dance have a variety of cultural richness, the meaning of friendship, as well as a rich history that must get space from generation to generation to the global community as a cultured, dignified, valuable and communal dance.

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Nott, James. "Dance Halls: Towards an Architectural and Spatial History,c. 1918–65." Architectural History 61 (2018): 205–33. http://dx.doi.org/10.1017/arh.2018.8.

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AbstractThe dance hall was a symbol of social, cultural and political change. From the mid-1920s until the mid-1960s, the dance hall occupied a pivotal place in the culture of working- and lower-middle-class communities in Britain. Its emergence and popularity following the First World War reflected improvements in the social and economic well-being of the working and lower middle classes. The architecture of dance halls reflected these modernising trends, as well as a democratisation of pleasure. The very name adopted by the modern dance hall, ‘palais de danse’, emphasises this ambition. Affordable luxury was a key part of their attraction. This article examines how the architecture of dance halls represented moments of optimism, escapism and ‘modernity’ in British history in the period 1918–65. It provides the first overview of dance halls from an architectural and spatial history perspective.

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Hoppu, Petri. "Rewriting Skolt Sámi Dance History." Congress on Research in Dance Conference Proceedings 2015 (2015): 77–82. http://dx.doi.org/10.1017/cor.2015.14.

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The paper examines the role of traditional couple and group dances of the Skolt Sámi in negotiating their history and identity. The research is based on archival and literal material from Finnish folklore archives as well as ethnographic fieldwork among the Skolts in 2014. It is addressed that the Skolts, despite their dramatic history, have been able to revive and preserve their dance traditions in many ways, and today they are reflecting their dance history from new perspectives, rewriting it and integrating it to their contemporary hybrid identities. Having lived between many different cultures for centuries, their identities are characterized by many points in their social and personal histories, and dancing is a part of the routes they have traveled within these experiences. Today, dancing provides them a strategy to negotiate both with their history and identity in contemporary society.

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Dissertations / Theses on the topic "Dance History"

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Green, Amy Catherine. ""Dance, Dance Revolution": The Function of Dance in American Politics, 1763-1800." W&M ScholarWorks, 2009. https://scholarworks.wm.edu/etd/1539626597.

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Adair, Christy. "Dance, gender and ethnicity : a cultural history of Phoenix Dance Company, 1981-2001." Thesis, University of Leeds, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416838.

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

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Denton, Margaret Abbie. "Joanna Priest : her place in Adelaide's dance history /." Title page, abstract and contents only, 1992. http://web4.library.adelaide.edu.au/theses/09ARM/09armd415.pdf.

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Lee, Tsung-Hsin. "Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594914032775976.

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Sintès, Guillaume. "Préfiguration, structuration et enjeux esthétiques du métier de chorégraphe (France, 1957-1984) : une histoire administrative, réglementaire et politique de la danse." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080069.

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De l'inscription dans la loi française de la reconnaissance de son statut d'auteur (le 11 mars 1957) à la publication de la définition légale de sa fonction au Journal Officiel (le 1er janvier 1984), une génération de chorégraphes a construit les contours, les modalités et les conditions d'un métier. Ce combat s’est traduit par un engagement syndical de longue haleine pendant les années 1960 et 1970. Réuni au sein du Syndicat national des auteurs et compositeurs (SNAC), un groupe de chorégraphes a travaillé à l’élaboration de rapports, d’enquêtes et d’études qui ont abouti à l’organisation professionnelle du champ chorégraphique, permettant ainsi à la « nouvelle danse française » qui lui succèdera dans les années 1980, d'obtenir une considérable visibilité esthétique et de marquer de son empreinte l'histoire culturelle et artistique. Rendre compte des progrès sociaux, comme des configurations et reconfigurations du métier de chorégraphe, c’est aussi rendre compte de la structuration du champ chorégraphique dans son ensemble. Cette thèse interroge l’historiographie juridique du droit d’auteur des chorégraphes pour clarifier la notion de statut d’auteur en danse. Elle propose une généalogie de la politique culturelle en danse pour démythifier l’idée d’un désert administratif et chorégraphique, constitutif de l’ère pré-Lang. Enfin, l’étude des différents projets de réglementation de l’enseignement de la danse permet de révéler les enjeux politiques et esthétiques qui ont contribué, pendant près de vingt-cinq années de négociation, à exacerber les oppositions au sein du champ chorégraphique. Ainsi, s’élabore une histoire administrative, réglementaire et politique de la danse en France qui éclaire une période de l’histoire contemporaine de la danse encore trop peu étudiée
From the registration of an author status' recognition within the French law (March 11th, 1957), to the publication of its function's legal definition in the January 1st, 1984 Journal Officiel (official gazette of the French Republic), a whole generation of choreographers created the outlines, modalities and conditions of a profession. This struggle was the result of a long term trade union commitment between the years 1960 and 1970. Brought together under the National Syndicate of Authors and Composers (SNAC), a group of choreographers worked on drafting reports, surveys and studies which resulted in the professional organization of a choreographic field, thus allowing what was to become “the new 80s French dance” (nouvelle danse française) to obtain a substantial aesthetic visibility and to leave its mark within the cultural and artistic history. To give a full account of the social progress, such as configurations and reconfigurations of the profession of choreographer, is to also give a full account of the structuring of the choreographic field as a whole. This thesis questions the legal historiography regarding choreographers' copyright law in France (droits d'auteur) so that the notion of author's status in dance can be clarified. It suggests a genealogy of cultural politics in dance in order to demystify the idea of an administrative and choreographic deserted landscape, constitutive of the pre-Lang era (Jack Lang, French minister of culture). Finally, the study of the different projects on the regulation of dance education makes it possible to reveal political and aesthetic issues which, during a negotiation period of almost twenty five years, has contributed to the exacerbation of opposition within the choreographic field. Thus, an administrative, regulatory and political history of dance in France is able to develop, which reveals an era of contemporary history of dance still insufficiently researched

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Wood, Lisa Lyn-Dell. "Elizabeth Streb: A Study of her Choreographic History Including Descriptions of Selected Works." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391769677.

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Hooper, Colleen. "Public Movement: Dancers and the Comprehensive Employment Training Act (CETA) 1974-1982." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/372703.

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Dance
Ph.D.
For eight years, dancers in the United States performed and taught as employees of the federal government. They were eligible for the Comprehensive Employment and Training Act (CETA), a Department of Labor program that assisted the unemployed during the recession of the late 1970s. Dance primarily occurred in artistic or leisure contexts, and employing dancers as federal government workers shifted dance to a labor context. CETA dancers performed “public service” in senior centers, hospitals, prisons, public parks, and community centers. Through a combination of archival research, qualitative interviews, and philosophical framing, I address how CETA disrupted public spaces and forced dancers and audiences to reconsider how representation functions in performance. I argue that CETA supported dance as public service while local programs had latitude regarding how they defined dance as public service. Part 1 is entitled Intersections: Dance, Labor, and Public Art and it provides the historical and political context necessary to understand how CETA arts programs came to fruition in the 1970s. It details how CETA arts programs relate to the history of U.S. federal arts funding and labor programs. I highlight how John Kreidler initiated the first CETA arts program in San Francisco, California, and detail the national scope of arts programming. In Part 2 of this dissertation, CETA in the Field: Dancers and Administrators, I focus on case studies from the Philadelphia, Pennsylvania and New York, New York CETA arts programs to illustrate the range of how dance was conceived and performed as public service. CETA dancers were called upon to produce “public dance” which entailed federal funding, free performances in public spaces, and imagining a public that would comprise their audiences. By acknowledging artists and performers as workers who could perform public service, CETA was instrumental in shifting artists’ identities from rebellious outsiders to service economy laborers who wanted to be part of society. CETA arts programs reenacted Works Progress Administration (WPA) arts programs from the 1930s and adapted these ideas of artists as public servants into the Post-Fordist, service economy of the 1970s United States. CETA dancers became bureaucrats responsible for negotiating their work environments and this entailed a number of administrative duties. While this made it challenging for dancers to manage their basic schedules and material needs, it also allowed for a degree of flexibility, schedule gaps, and opportunities to create new performance and teaching situations. By funding dance as public service, CETA arts programs staged a macroeconomic intervention into the dance field that redefined dance as public service.
Temple University--Theses

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Brough, Edward Luna. "Jogo de mandinga - game of sorcery - : a preliminary investigation of history, tradition, and bodily practice in capoeira angola /." Connect to resource, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1195592448.

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Mayer, Lisa, and Lisa Mayer. "History and Performance of the Siciliana Dance Style for the Bassoon." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625088.

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The siciliana is a dance style that has been used in a wide variety of musical contexts, from simple woodwind duets to classical symphonies. Its origins and history are somewhat vague and complex, but can be traced through the works of composers from the 1600s to modern times. Considering the history of these works provides valuable insight for the performer and musical scholar, giving context to the pieces being prepared and aiding in accurate representation of the composers’ true intentions. The ancient ancestors of the siciliana, folk music of southern Italy, gave rise to a style used to evoke images of the simple pastoral throughout the baroque, classical, romantic, and modern eras. Though it had humble origins, the siciliana rose to great significance and popularity during the baroque era. Classical composers took this tradition and modified it for their own purposes, straying slightly from the baroque traditions of sound, instrumentation, and use. The romantic era produced siciliana that were even further from their roots, adding new harmonies and significance in new types of works.

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Books on the topic "Dance History"

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Mary, Clarke. Dancer: Men in dance. London: British Broadcasting Corp., 1986.

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Morris, Geraldine, and Larraine Nicholas, eds. Rethinking Dance History. 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.

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Sasportes, José. History of dance. [Lisbon]: Imprensa Nacional-Casa da Moeda, 1991.

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Janet, Adshead-Lansdale, and Layson June, eds. Dance history: An introduction. 2nd ed. London: Routledge, 1994.

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Tai Soon Burgess, Dana. Milestones in Dance History. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003185918.

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Barbara, Palfy, ed. Studies in dance history. Pennington, NJ: Society of Dance Music Scholars at Princeton Periodicals, 1989.

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Robertson, Allen. The dance handbook. Boston, Mass: G.K. Hall, 1990.

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Scrivener, Diana. A time to dance - dances in time: The study of dance history & related subjects. East Stour: D. Scrivener, 1998.

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Scrivener, Diana. A time to dance - dances in time: The study of dance history & related subjects. East Stour: D.Scrivener, 1999.

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Zandt, Eleanor Van. Dance. Austin, Tex: Steck-Vaughn Library, 1990.

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Book chapters on the topic "Dance History"

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Abiola, Ofosuwa M. "Mandinka dance." In History Dances, 75–86. New York, NY : Routledge, 2019. | Series: Routledge advances in theatre and performance studies: Routledge, 2018. http://dx.doi.org/10.4324/9780429428722-7.

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Purkayastha, Prarthana. "Decolonising dance history." In Rethinking Dance History, 123–35. 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/10.4324/9781315544854-12.

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Abiola, Ofosuwa M. "Deciphering Mandinka dance systems." In History Dances, 63–74. New York, NY : Routledge, 2019. | Series: Routledge advances in theatre and performance studies: Routledge, 2018. http://dx.doi.org/10.4324/9780429428722-6.

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Press, Carol M., and Vickie J. Scott. "History Lights Our Way." In Contemporary Dance Lighting, 10–26. New York: Focal Press, 2022. http://dx.doi.org/10.4324/9781003227397-3.

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Park, MiRi. "Cyphering with Oral History." In Dance Research Methodologies, 147–63. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003145615-14.

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Boland, Kathryn. "Dance on Film." In Milestones in Dance History, 180–205. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003185918-8.

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Ruzany, Giselle. "Dance as Healing." In Milestones in Dance History, 159–79. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003185918-7.

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Layson, June. "Dance history source materials." In The Routledge Dance Studies Reader, 19–28. New third edition, Expanded and updated edition. | New York : Routledge, 2019. | “Second edition published by Routledge 2010”–T.p. verso.: Routledge, 2018. http://dx.doi.org/10.4324/9781315109695-2.

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Morris, Geraldine, and Larraine Nicholas. "Introduction to Part 1." In Rethinking Dance History, 3–7. 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/10.4324/9781315544854-1.

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Morris, Geraldine, and Larraine Nicholas. "Introduction to Part 2." In Rethinking Dance History, 109–13. 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/10.4324/9781315544854-10.

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Conference papers on the topic "Dance History"

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Martinsone-Škapare, Katrīne. "Character Dance Genre in the Creative Work of Ballet Master M. Petipa and Ballet Art Education." In 81th International Scientific Conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/htqe.2023.48.

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This research delves into the historical development of the character dance genre in ballet education. By analyzing ballet literature from Latvia and Europe published over the past decade, the study aims to create a theoretical outline of character dance history. This will provide a wider understanding of the genre and serve as a professional teaching tool for academic dance performers and pedagogues. The research focuses on French ballet master M. Petipa’s contribution to the development of ballet art, particularly his character dance “writing” as a means of enriching the choreographical language of classical ballet. The study also examines the interpretation of foreign dance elements and movement composition in classical dance. The enduring value of M. Petipa’s classical ballet works, including Pharaoh’s Daughter, Don Quixote, Bayadere, The Sleeping Beauty, Nutcracker, Swans’ Lake, and Raymonda, are reviewed in the study. The research identifies essential pedagogical principles for the development of ballet education, including the consideration of character dance genre. Ultimately, this study will provide a methodical learning material of a historical period for the professional growth of character dance ballet performers and to preserve M. Petipa’s legacy in classical ballet culture.

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Postolache, Inga. "Premises of the appearance of the Romanian musical: pages of history." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.13.

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The musical is a genre of the musical theater of non-academic orientation, which syncretically combines literature, theater, music, dance, scenography, light design, thus creating a show for audiences of all ages. The purpose of the article is to analyze the premises of the appearance of the musical on the Romanian stage, as well as to reveal the first attempts to create the national musical.

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Shalem-Zafari, Yifat. "Dance Movement Therapy, Past and Present: How History Can Inform Current Supervision." In ERD 2016 - Education, Reflection, Development, Fourth Edition. Cognitive-crcs, 2016. http://dx.doi.org/10.15405/epsbs.2016.12.81.

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Southall, Helen Vera, Lee Beever, and Peter W. S. Butcher. "Traversing Social Networks in the Virtual Dance Hall: Visualizing History in VR." In 2017 International Conference on Cyberworlds (CW). IEEE, 2017. http://dx.doi.org/10.1109/cw.2017.48.

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Zhang, Can. "Prospect on the Inheritance History and Development Trend of Fish Drum Dance, a Folk Dance in Hong-ze Lake, Jiangsu." In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.162.

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Blidar, Crina-Rozalia. "Traditions and customs in the country of Codru, Maramureş." In Conferinţă ştiinţifică naţională "Salvgardarea şi conservarea digitală a patrimoniului etnografic din Republica Moldova". Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841856.04.

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The current county of Maramureş is made up of four ethnographic areas, geographically, historically and ethnographically distinct, being an ancient Romanian hearth with history chiseled in wood and stone, in soul and in verb. These are called countries of Maramureş, and namely: Maramureşului Country, or Historical Marmaureşul or Voivodal, Lapuşului Country, Chioarului Country and last but not least, Codrului Country. One of the most controversial countries of Maramureş, Ţara Codrului, covers a rather narrow area compared to other ethno-folkloric areas, the ethno-cultural space of this area currently falls administratively in the counties of Maramureş, Satu Mare and Sălaj, although in in the past they belonged to Sălaj county, most of the localities being integrated into the Cehu Silvaniei network. The identification of ancient customs and traditions preserved to this day or the reconstitution of some long-forgotten customs or traditional occupations from the folklore area of Maramures Ţara Codrului would lead to the valorization of the way of transmitting local values, customs, occupations, beliefs and symbols shared by the community, so that, subsequently, they are implemented in the daily life of the new generations. Being one of the most important traditional dances of our country, the Caluşari dance dates back to the pre-Christian period, being related to the ancient cult of the Sun. Considered by some specialists as the decayed descendant of an ancient ritual, coming from the mists of time, this particularly spectacular Romanian folk dance is included in the heritage of humanity. The ritual dance of the Caluşaris, of high artistic value of Romanian folklore, is our symbol for the scenes of the world; it is the emblem that connects equally to history and myth, without ignoring its semantic and value universality. This living symbol of our culture represents the uniqueness of the Romanian people, both through the movements of the footmen and through their clothing. It must be emphasized that the people regarded the game of the Gags as an unusual fact, because the energy and frenzy that the Gags displayed during the game did not seem natural to them, perpetuating the idea that they are led by a supernatural force that gives them powers. In fact, it’s about the enthusiasm, passion and joy with which everyone interprets the role they have in this show, because in the end, the dance of the Horsemen is a majestic show, performed in the purest and most authentic style. In 1907 George Pop from Băseşti, driven by the desire to have an authentic Romanian dance, brought a master, Dr. Iustin C. Iuga from Alba Iulia, who stayed in Băseşti for three months and trained the troupe group that had its first official representation on the day of the great TRIBUN . Later, the Caluşari bands participated in all Astra events or other important events of the time because leading a national dance band was an occasion of pride and national affirmation, the dance of the Caluşaris from Transylvania becoming a national emblem for the artistic expression of the leading Romanian villages. It was believed, in that day that through this dance one contributes to the formation and strengthening of the spiritual unity of the national consciousness, because those who dance the Căluşarul can only be Romanians in origin. Băseşti commune is an area where the authenticity and values of Romanian folklore are preserved. Included in the community known generically under the term Şara Codrului, an area strongly impregnated with local traditions and customs, Băseşti remains a land of preservation of traditions and customs that have long since passed. For more than 100 years, in Băseşti, the bands of gaggles have appeared on the country’s stages, expressing the desire of Romanians everywhere to be united under a single, unique and unbroken banner, thus perpetuating the dream of the great tribune, George Pop of Băseşti. The stage appearances of the two caluşari formations, the big team and the small team, from Cluj and Baia Mare in the 80s, represented crucial moments for this dance, which has now become a constant habit in the lives of the people of Basăşti. The simultaneous dance of the two generations of gaggles symbolizes its antiquity and continuity in our traditional culture. Thus, the constancy and antiquity of the dance of the Caluşari from Băseşti gives it the right to be called a custom specific to Băseşti, with all the rights that derive from it. The dream of a human intertwined with the beauty of this beautiful dance of the Caluşaris, against the background of passion and dedication of the members of the formations established over time, make history in Băseşti, representing a reason for national and, above all, local pride. If the glorious past is the basic piece in maintaining our national consciousness, the present is the link between it and the young saplings, the future generations that can be formed in the spirit of love for nation and country, with the due place given to the elements of national identity, and of course with love for the perpetuation of traditions and customs, especially arousing and developing the passion to play the dance of the Caluşar from Băseşti, this should be a reason for pride and joy for them, like their ancestors. Any spectator who has the opportunity to watch the dance of the Caluşari from Băseşti can claim that it was shown to him in all its archaic splendor, reinforcing his feeling that Romanians have.

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Brown, Keren, and David Wei. "A Mobile Application for Creating Dance Choreography according to Musicality of Inputted Audio using Machine Learning." In 11th International Conference on Signal Image Processing and Multimedia. Academy and Industry Research Collaboration Center (AIRCC), 2023. http://dx.doi.org/10.5121/csit.2023.130901.

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Even the best writers in history were not blessed enough to have a constant surge of inspiration, a never-endingflowof ink on paper, or fingers flying across keyboards. These blocks in creativity are commonly known as writer's block, and many people experience this, since communication is important in every subject. Less commonly knownisdancer's block, which is when a choreographer experiences a stop in inspiration while choreographing [1]. Theseblocks can continue for days or even weeks, before an idea strikes the dancer, setting back the ef iciency of choreographing. When due dates come into play, such as choreographing for a production, show, or assignment, adancer cannot put forth their best choreography, and will be left feeling unsatisfied with the quality of their work. When a choreographer faces a challenge towards creating original choreography, how can one gain inspirationtoovercome this block [2]? How can we ensure that the inspiration given is appropriate for the song and style whichthe choreographer is designing the dance to? This paper develops an application to choreograph visuals inacreative manner, while assessing the musicality of the audio in order to reflect the same emotion in the movement. We applied our application to a jazz piece to be performed as part of a local high school dance show and conducteda qualitative evaluation of the approach. The results show that with the software application, dancers will be abletofind inspiration to continue choreographing, pushing them past a barrier of creativity, and allowing themto finishtheir dance with a quality of choreography that they can be proud to present [3].

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Kutuzov, M. Yu. "WALTZ: HISTORY, VARIETIES AND EVOLUTION OF THE DANCE FROM CLASSICAL TO MODERN TIMES." In АКТУАЛЬНІ ПРОБЛЕМИ РОЗВИТКУ УКРАЇНСЬКОГО ТА ЗАРУБІЖНОГО МИСТЕЦТВ: КУЛЬТУРОЛОГІЧНИЙ, МИСТЕЦТВОЗНАВЧИЙ, ПЕДАГОГІЧНИЙ АСПЕКТИ. Liha-Pres, 2023. http://dx.doi.org/10.36059/978-966-397-317-3-132.

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Lai, Qiongqiong. "Exploration and Reflection on the Research Method of Oral History of Tibetan Dance." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.031.

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Zhang, Haibin, and Aiqing Yin. "An Interpretation of the History and Culture of the Chinese Kazak Folk Dance “Black Horse”." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.43.

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Reports on the topic "Dance History"

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Dodd, Hope, David Bowles, John Cribbs, Jeffrey Williams, Cameron Cheri, and Tani Hubbard. Aquatic community monitoring at Herbert Hoover National Historic Site, 2008?2017. National Park Service, 2024. http://dx.doi.org/10.36967/2303263.

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Land use changes that degrade water quality and stream habitat can negatively impact aquatic communities. Monitoring trends in aquatic community composition and habitat conditions is a robust way to assess stream integrity and health. Herbert Hoover National Historic Site (NHS) is in eastern Iowa where dominant land use consists of row-crop and grassland agriculture. A portion of an unnamed tributary of the West Branch of Wapsinonoc Creek, known as Hoover Creek, flows through the park. In 2008, the Heartland Inventory and Monitoring Network (Heartland Network) of the National Park Service (NPS) began monitoring aquatic communities (fish and invertebrates), physical habitat, and water quality at Hoover Creek within the park. This report summarizes four years of data to assess the baseline conditions of Hoover Creek within Herbert Hoover NHS. Aquatic invertebrate taxa richness ranged from 21 to 32 among all years monitored. Three of these taxa are sensitive to poor water quality and habitat conditions. The invertebrate community was dominated by true flies in the Chironomidae family, Oligochaete worms, and mayflies in the Baetidae family. These taxa are all tolerant of poor water quality and habitat conditions. However, in 2011, the sensitive caddisfly Ceratopsyche was also abundant. Mean Hilsenhoff Biotic Index values indicated the invertebrate community fluctuated over time, ranging from fairly poor in 2017 to good condition in 2011. Ten fish species were collected at Hoover Creek across the four years sampled with seven of those species found in all years. All fish species collected were either moderately tolerant or tolerant to poor habitat and water quality conditions; the community was dominated by johnny darter (Etheostoma nigrum), creek chub (Semotilus atromaculatus), and blacknose dace (Rhinichthys atratulus). Based on the Index of Biotic Integrity developed for Iowa streams, the fish community ranged from fair condition in 2008, 2014, and 2017 to good condition in 2011. Hoover Creek was found to have predominately fine to medium gravel substrate with high embeddedness, and banks were steep and tall and consisted of fine silt substrate. With the exception of turbidity after a rain event in 2008, water quality parameters were within state standards. The four years of stream biota data coupled with habitat data should form a good baseline for assessing changes or trends in the aquatic community and overall stream health of Hoover Creek.

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La respuesta del Banco de la República a la pandemia del COVID-19. Banco de la República de Colombia, June 2021. http://dx.doi.org/10.32468/blog15062021.

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La pandemia del Covid-19 generó una contracción económica y un incremento de la tasa de desempleo sin precedentes en la historia del país. Al momento de su mayor impacto, en abril de 2020, el DANE estimó mediante el índice de seguimiento económico (ISE) que la actividad económica se contrajo a una tasa anual del 20,1%. Igualmente informó que la tasa de desempleo alcanzó un 19,8% a nivel nacional y un 23,5% en las trece principales ciudades.

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