Relevant bibliographies by topics / Dance interpretation

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Dance interpretation'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Dance interpretation"

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Coorevits, Esther, and Dirk Moelants. "Tempo in Baroque Music and Dance." Music Perception 33, no. 5 (June 1, 2016): 523–45. http://dx.doi.org/10.1525/mp.2016.33.5.523.

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Growing interest in studies on the relationship between music and movement has given rise to many paradigms and theories, including embodied approaches that provide interesting methodologies in studies on music and dance. Insight into the relation between dance and music is particularly important for the Baroque period, as a direct connection between music and dance was omnipresent, even if music was not used to dance to. Many types of Baroque dances existed, each of them with particular dance steps and a specific character, requiring a specific tempo. However, in music performance practice today, the link with the original dance movement is often lost and the tempo variation can be very large. The aim of this study is to compare the interpretations of dancers and musicians regarding Baroque music and dance in an experimental setting. First, we investigate the influence of dance movement on the musical interpretation of a series of Baroque dances. The pieces were recorded both with and without dance accompaniment and the tempo and timing in the different versions were compared. In the second part, dancers performed a particular choreography to music that varied in tempo. Video analysis and questionnaire data were used to evaluate the different performances. The results were compared with the tempi of music recordings of the same dance types, showing a clear difference between music and dance performance. Musicians adapt their interpretation when performing together with the dancers, and the optimal tempo range found for certain Baroque dances coincides only partly with the tempi commonly found in music recordings. The direct link between music and movement and its mutual influence illustrates the importance of an embodied approach in music performance, where in this case dance movement gives concrete information for a “historically informed” performance.
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Vītola, Sandra. "Determining Components of Dance Interpretation for Encouraging Dance Teacher Interpretation Skills." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 30, 2015): 528. http://dx.doi.org/10.17770/sie2013vol1.589.

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The article explores development possibilities of future dance teachers’ interpretation skills based on the findings on interpretation and its underlying components in the dance by philosophy and theory scientists. Dance is a combination of movement and art - a specific form, a system of codes with certain elements. Dance as a work of art – a cultural product – is characterized exactly by its interpretation eventuality – performer’s artistic activity. Interpretation possibility in dance is determined by knowledge, skills and skills in dance language, as well as the use of this language within a certain dance genre and style in expressing one’s individual style and message. Aim of the Article is to analyze key components of Dance Interpretation and to substantiate their importance for encouraging Dance Teacher Interpretation Skills. The Article use both theoretical research method and scientific knowledge and observations during practical work at Riga Teacher Training and Educational Management Academy (RTTEMA).
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Salosaari, Paula. "Perception and Movement Imagery as Tools in Performative Acts Combining Live Music and Dance." Nordic Journal of Dance 4, no. 1 (June 1, 2013): 16–27. http://dx.doi.org/10.2478/njd-2013-0003.

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Abstract In this article I discuss movement imagery and perceptual strategies as tools in enhancing performative acts of playing music and composing performance material combining music and dance. In my earlier research I have introduced the concept of multiple embodiment in classical ballet and developed co-authored choreography with dancers. The concept of multiple embodiment in ballet suggests treating the fixed vocabulary as qualitatively open and therefore a basis for interpretation, improvisation and composition of new dance material. Directing the dancer’s experience in an open-ended way with movement imagery and perceptual strategies gave the performer new, sometimes surprising information about performance possibilities and thereby enhanced interpretation of dance material. (Salosaari 2001) Movement imagery has helped creating open-ended tasks in dance and thus enabled co-authoring in dance making projects. (Salosaari 2007; Salosaari 2009). Not only dance, but other art forms as well, are embodied. In playing a musical instrument, the sound is made using body movements. In workshops with a musician and a dancer, reported in this article, I ask whether the tools created for dance creation would work also in music making. I ask whether movement imagery and perceptual strategies can initiate music interpretation and improvisation?
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Seko, Yukari, and Trish Van Katwyk. "Embodied interpretation: Assessing the knowledge produced through a dance-based inquiry." Aotearoa New Zealand Social Work 28, no. 4 (December 23, 2016): 54–66. http://dx.doi.org/10.11157/anzswj-vol28iss4id299.

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INTRODUCTION: Although the field of social work has experienced an exponential increase in the use of arts-based methodology, the way in which knowledge shared through artful presentations is understood by audience members remains understudied. As arts-based inquiry often involves active co-construction of meanings between researchers, participants and audiences, it is crucial for social work researchers to scrutinise the process of meaning making by audience members. In this article, we explore how audience members make sense of research findings presented through improvisational dance and how the provision of information about the dance may influence viewer responses.METHODS: A personal experience with self-injury documented in a creative poem was represented through the performance of improvisational dance pieces and assessed by two groups of viewers, with and without knowledge of the topic of the dances. The viewers were prompted to interpret the dances by reflecting on the feelings, thoughts and perceptions they had while watching the performance. A thematic analysis was conducted to compare and contrast the responses of the two groupsFINDINGS: By comparing the interpretations of informed and uninformed viewers, we suggest that interpretation can be influenced by normative, socially constructed assumptions that hinder empathic and action-inspiring engagement.CONCLUSION: We conclude the article with a discussion of potential implications for social work research, practice and education.
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Laggis, A., N. Doulamis, E. Protopapadakis, and A. Georgopoulos. "A LOW-COST MARKERLESS TRACKING SYSTEM FOR TRAJECTORY INTERPRETATION." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W3 (February 23, 2017): 413–18. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w3-413-2017.

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The tracking abilities of 1<sup>st</sup> generation Kinect sensors have been tested over common trajectories of folk dances. Trajectories related errors, including offset, curve shape, noisy points are investigated and mitigated using well-known signal processing filters. Low cost depth trackers can contribute towards the remote tutoring of folk dances, by providing adequate data to instructors and explicit details to the trainees which segments of their dance trajectories need more work.
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Widayanti, Sri. "BEKSAN GOLEK AYUN-AYUN GAYA YOGYAKARTA DALAM PERSPEKTIF AKSIOLOGI." Jurnal Filsafat 25, no. 2 (August 16, 2016): 197. http://dx.doi.org/10.22146/jf.12677.

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The Golek Ayun-ayun dance of Yogyakarta's style is a sacred Golek dance style in Javanese tradition that has come down through generations as a national heritage. This dance is a classical Javanese dance comes from the court of Yogyakarta. It depicts a young woman's desire to always look her best.The Golek Ayun-ayun dance celebrates feminine beauty and appeal, including the coquettish dance because this dance portrays a woman who was dressed up. Many varieties of these dances that depict women being dressed up, like for example stole (sondher/sampur) games movement, or pairs of the ring (ali-ali), there is also look in the mirror (ngilo) and so forth. For Golek Ayun-ayun dance which the source comes from Ngayogyakarta court has standard rules or provisions, so it will not change the principle meaning.The principles of classical Javanese dance/Joged Mataram are Sawiji (concentration of mind), Greged (enthusiasm, consciousness), Sengguh (self-confidence), Ora Mingkuh (no surrender). Library research is done by collecting data and completed by interview. The material object of the research is Golek Ayun-ayun dance, and the formal object is axiology. Data analysis by descriptive, Verstehen, interpretation, hermeneutics, comparison, and heuristics method. The result showed that the elements used to organize the dancer makeup and fashion, also the beautiful movement of Golek Ayun-ayun dance is the content /meaning of makeup, fashion, and beautiful movement of Golek Ayun-ayun dance style, while the whole is external form. It contains the aesthetic value as an element of art or the art of dance. The art values in the movement, rhythm, makeup and fashion of Klana Raja dance are sensuous value, formal value, cognitive value, and life value.
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Mathis-Masury, E. Hollister. "Aesthetic Education and Reform: The German Approach to Dance Education." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 266–68. http://dx.doi.org/10.1017/s2049125500001199.

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Dance education in Germany is traditionally based upon the concept of “aesthetic education.” This presentation delineates Rousseau's original terminology, contrasting it with the German interpretation, which reduces the originally reflexive idea to a simple antithesis of rationalism. This dualistic development is key to understanding the systematic exclusion of dance from formal education: at the moment in which dance is relegated to be the “other” of rationalism, it is guaranteed a position outside of rationally based educational concepts. The study of other art forms is included therein; why not dancei Is dance Germany's last bastion of irrationality?
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S. Javina , MAED, Freddie. "STUDENTS AWARENESS AND PERFORMANCE INPHILIPPINE FOLK DANCES." International Journal of Advanced Research 9, no. 01 (January 31, 2021): 730–42. http://dx.doi.org/10.21474/ijar01/12350.

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This research aimed to determine the students level of awareness and performance in folk dance that served as basis of developing program for promotion of folk dancing skills in Bitin National High School for the school year 2017 to 2018.The descriptive research was used in the study using the Grade 9 students of Bitin National High School as the respondents. A self-made questionnaire and rubrics for dance performance were used to describe the level of awareness and dance performance skills of the respondents. Mean and standard deviation and Pearson r correlation using an alpha level of .05 were used as the statistical tools.The study revealed the following findings. Majority were 15 years old (90), followed by 14 years old (65), 16 years old (53), 17 years old (23) and the least 18 years old (10) with total number of 241.The over-all mean of 3.30 shows that the students are Moderately Interested about Philippine folk dances. For the Level of awareness of the students to folk dance related variables. In terms of the following variables: objectives, has an over-all mean (OM) of 3.30, strategies (OM=3.71), skills in folk dancing (OM=3.77), availability of dance materials (OM=2.88), and training (OM=3.12) were all interpreted as Moderately Aware. While exposure to Philippine folk dances (OM=3.43) shows that the students are somewhat awareto Philippine folk dances. Only the competence of the dance instructor was rated highly aware.With regard to the performance of the Grade 9 students in folk dancing fundamental skills, for the three categories given: poise and grace, timing and rhythm, interpretation of literature, most of the respondents were rated as Moderately Aware.The Correlation of folk-dance awareness variables as to poise and grace shows No Significant Correlation to folk dancing fundamental skills. The second category for folk dancing fundamental skills, timing and rhythm shows Negligible Correlation to folk dance awareness variables. The third category which is the interpretation of literature also shows Negligible Correlation to folk dance awareness related variables.
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Lewis-Williams, J. David, and David G. Pearce. "The southern San and the trance dance: a pivotal debate in the interpretation of San rock paintings." Antiquity 86, no. 333 (September 2012): 696–706. http://dx.doi.org/10.1017/s0003598x00047852.

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Cave paintings and first-hand ethnographic accounts from living peoples have led to the notion that southern African spiritual experts routinely mediated with the other world through energetic dances leading to the trance state. The evidence for this idea has been challenged in recent years, and the importance of the trance dance diminished accordingly. The authors confront these criticisms and place the shamanistic dance back on centre stage—with important consequences not only for the study of San peoples, but for wider prehistoric interpretations.
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Zicari, Ida. "A writing that dictates the choreography: Dante sonata by Frederick Ashton." Studia Musicologica 54, no. 4 (December 1, 2013): 417–30. http://dx.doi.org/10.1556/smus.54.2013.4.7.

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If Liszt’s early work Don Sanche ou le Château d’Amour, that includes danced parts, is not taken into account, he never composed music for dance. In the twentieth century, however, the composer’s music became an interesting material for choreographers and dancers. My paper is focused on a choreographic interpretation of Liszt’s Dante Sonata, made by Frederick Ashton. This choreography was realized by Ashton in 1940 in London, in collaboration with Constant Lambert. Ashton’s Dante Sonata is an abstract and symbolic ballet. He created the association between dance and music on a relationship of correspondence point to point of the two languages and on a cultural and emotive communion with Liszt. My study wants to show what the Ashtonian choreography highlights: Liszt renews the traditional sonata form from its inside; he gives it a new lymph by making it go through a symbolic content; the symbolized literary content is the Dantesque medieval allegory of the Christian ascensional course transformed by Hugo in metaphor of the restless walk of the romantic man. So, Liszt invests the medieval epic literary model of the great themes of the Romantic generation and renews, under its influence, the sonata form.
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Dissertations / Theses on the topic "Dance interpretation"

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Perkins, Miriam Yvonne. "The silent move a reading and interpretation of Mark 5:21-43 /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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Pakes, Anna. "Dance interpretation and the cultural institution : exploring the condition(s) of British and French contemporary dance in the 1990s." Thesis, City University London, 2001. http://openaccess.city.ac.uk/11878/.

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This study examines what is intended and understood as the meaning of contemporary dance in its sociocultural context, in which the role of the state is a significant factor. It investigates the extent to which the structures and practices of public arts funding influence the production and reception of contemporary dance, focusing on British and French dance in the 1990s. By focusing on specific works in critically reflexive terms, it seeks to offer a basis for future ethnographic study of dance practices and dance audiences. The thesis employs a critical hermeneutic method, offering a philosophical reflection on dance as well as exploring the mutual implication of artistic practice, aesthetic response and their socio-political and economic contexts. The philosophical grounding of the investigation is explored in detail, in order to support a reflexive engagement of methodological issues of broader relevance to the discipline of dance studies. The relation between verbal language and dance is critically examined: drawing from Saussure and Wittgenstein, the argument is made for the contextual determination of meaning in both these "forms of life". A discussion of aesthetic and anthropological theories which recognise the mutual implication of artwork and context is followed by a reflection on the methods of dance analysis that most effectively explore the extent and character of that implication. Phenomenological and hermeneutic approaches are discussed, including methods derived and adapted from the study of literature which focus analytic attention on the reception rather than production of texts. An emphasis on spectatorship and dance interpretation seeks to redress what is argued as an imbalance in dance studies, namely the privileging of the perspectives of choreographing and performing subjects in dance analysis. The empirical investigation explores the structure and development, since 1945, of what is termed the "cultural institution", namely the set of conventions and practices which both enable and constrain the production and reception of contemporary dance art. It is argued that the state, through intervention via policy formulation and subsidy distribution, has played a key role in setting parameters within the "danceworld", a subsidiary of the broader cultural institution and the environment which contexts contemporary dance performance. An overview of the politico-economic conditions of dance in the 1990s is presented, and four case studies then extend this discussion by exploring how those conditions are actualised on individual sites of dance productionand reception. Four works are examined in detail (Kim Brandstrup's Crime Fictions, Russell Maliphant's Unspoken, Daniel Larrieu's Mobile and Herve Robbe's ld. ), in terms of their institutional context and the viewing experiences to which they give rise, arguing for a connection between the types of aesthetic response articulated and the institutional conditions in which the works are performed and received. The thesis argues against a determinist relation between the politico-economic context and the aesthetics of dance, proposing instead that these two dimensions of contemporary dance practice need to be examined conjointly. It seeks to demonstrate that this is crucial, if the current condition of contemporary dance in Britain and France is to be both understood and critically appraised.
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Stanich, Veronica Dittman. "Poetics and Perception: Making Sense of Postmodern Dance." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1402089308.

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Pagel, Amber Noelle. ""How Can We Know the Dancer from the Dance?": Cognitive Poetics and the Poetry of William Butler Yeats's." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984126/.

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Cognitive poetics, the recently developed field of literary theory which utilizes principles from cognitive science and cognitive linguistics to examine literature, is applied in this study to an exploration of the poetry of William Butler Yeats. The theoretical foundation for this approach is embodiment theory, the concept from cognitive linguistics that language is an embodied phenomenon and that meaning and meaning construction are bodily processes grounded in our sensorimotor experiences. A systematic analysis including conceptual metaphors, image schemas, cognitive mappings, mental spaces, and cognitive grammar is applied here to selected poems of Yeats to discover how these models can inform our readings of these poems. Special attention is devoted to Yeats's interest in the mind's eye, his crafting of syntax in stanzaic development, his atemporalization through grammar, and the antinomies which converge in selected symbols from his poems.
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Garner, Sandra L. "What Sort of Indian Will Show the Way? Colonization, Mediation, and Interpretation in the Sun Dance Contact Zone." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281961865.

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Coates, Maran. "Moderat's Rusty nails and Loie Fuller's Serpentine dance : analysis cloth, the body and movement as symbolic interpretation of meaning in film." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1015733.

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The main objective of the study is to explore how cloth, the body and movement are able to communicate possible symbolic meaning in Loïe Fuller’s Serpentine Dance film and Moderat’s Rusty Nails music video. The study further attempts to establish the characteristics of fashion film to include cloth, the body and movement and provide a methodology that locates fashion film as a sign system using a visual semiotic analysis framework. The films were then compared and contrasted to determine similarities and differences in their use of cloth, the body and movement. The findings from the film analysis suggest that cloth, the body and movement communicate symbolic meaning in the films based on their associated meanings that are generated both inside and outside the film context. By focussing on cloth, the body and movement as primary communicators (rather than secondary or supporting communicators) in film, new meanings can be interpreted from their interrelationship. The results inform new ways for fashion designers and fashion filmmakers to engage with cloth, the body and movement in fashion film.
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COREY, FREDERICK CHARLES. "PRINCIPLES FOR THE USE OF STYLIZED MOVEMENT DURING THE INTERPRETATION AND PERFORMANCE OF LITERATURE BASED ON MARTHA GRAHAM'S USE OF CLASSICAL TRAGEDY IN MODERN DANCE." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184153.

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The interpretation and performance of literature is a theatre art in which literary texts are transformed into staged productions. Novelists, poets, playwrights, and essayists use the symbols of written language to create an imagined world for their readers; interpretative performers present their audiences with this world through symbols of both speech and movement. Hence the interpretation and performance of literature incorporates a wide range of literary and performance theory. Unfortunately, little is known about how literary texts can be communicated through symbolic movement. The purpose of this study, then, is to propose principles of stylized movement which would be useful to the interpretative performer of literature. To develop these principles, Martha Graham's choreographic use of classical tragedy was investigated. Using a decriptive methodology based on Aristotle's elements of tragedy, four of Graham's ballets were analyzed in view of their literary sources: Cave of the Heart from Euripides' Medea, Night Journey from Sophocles' Oedipus the King, Clytemnestra from Aeschylus' The Oresteia, and Cortege of Eagles from Euripides' Hecuba and The Trojan Woman. As a result of this investigation, five principles emerged. Stated as descriptions of Graham's work, the principles are: (1) rhetoric shapes the form, (2) movement vocabularies are created, (3) synecdochical movement is expanded over time, (4) stage properties assume multiple meanings through movement, and (5) costumes expose movement and indicate character. By using these principles as guidelines, the interpretative performer may understand, create, and utilize stylized movement that communicates the ideas, images, and actions inherent in the text being staged.
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Freire, Priscila Gambary. "Dança brasileira e dança negra para piano solo de Camargo Guarnieri : uma abordagem interpretativa." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285143.

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Orientador: Eduardo Antonio Conde Garcia Junior
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-11T21:42:35Z (GMT). No. of bitstreams: 1 Freire_PriscilaGambary_M.pdf: 13475735 bytes, checksum: 3a2b1b8d995a20e74b7b711f07a84c46 (MD5) Previous issue date: 2007
Resumo: Camargo Guarnieri (01/02/1907 - 13/01/1993) é considerado um dos maiores compositores brasileiros. Ele escreveu muitas obras para orquestra, música de câmara, canto coletivo e instrumentos solistas. Para piano, instrumento que dominou com muita desenvoltura e habilidade, dedicou quase duzentas peças. Além da obra vocal, coral, orquestral e instrumental geral, a produção pianística de Camargo Guarnieri tem sido pesquisada com freqüência por estudiosos musicais no Brasil e no exterior. Contudo, pouco se tem produzido cientificamente acerca das Danças para piano solo concebidas pelo compositor entre 1928 e 1946. Por outro lado, tem-se a consciência de que trabalhos científicos direcionados à performance pianística são de grande importância e necessidade para o meio acadêmico e profissional musical. A intenção desta pesquisa está centrada na realização de uma abordagem interpretativa da Dança Brasileira e da Dança Negra, compostas por Camargo Guarnieri no período supracitado.
Abstract: Camargo Guarnieri (01/02/1907 - 13/01/1993) is one of the most important Brazilian composers. His large output includes music for orchestra, chamber music, solo voice, choir and solo instruments. Guarnieri was an accomplished pianist and wrote several pieces for piano. A significant amount of research has been conducted on Camargo Guarnieri's music both in Brazil and abroad. However, little has been written about the Danças, composed between 1928 and 1946. This paper aims to provide suggestions for interpretation based on the analysis of the compositional and musical resources used by the composer in Dança Brasileira and Dança Negra.
Mestrado
Praticas Interpretativas
Mestre em Música
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Bojner, Horwitz Eva. "Dance/Movement Therapy in Fibromyalgia Patients : Aspects and Consequences of Verbal, Visual and Hormonal Analyses." Doctoral thesis, Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4639.

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Martínez, Rosalía. "Music, movements and colors in Andean fiesta. Bolivian examples." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/79171.

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En la fiesta andina, la música suele tanto oírse como verse. Esta dimensión multisensorial de la situación musical no es únicamente el resultado de una yuxtaposición de elementos sonoros y visuales. el análisis de las articulaciones que los campesinos indígenas de la zona de sucre (Bolivia) construyen entre sonidos, movimientos y colores revela la presencia de organizaciones singulares de la experiencia sensible que se caracterizan tanto por su espesor sensorial como por la manera en la cual se encuentran conectadas con otros campos del conocimiento. Estas formas de intersección culturalmente elaboradas implican el cuerpo mismo de los músicos, generando nuevas configuraciones perceptivas.
In the Andean fiesta music is as much intended to be seen as it is to be heard. The multisensorial aspect of musical performance is not just a matter of the juxtaposition of sounds and sights. The analysis of the articulations that indigenous peasants of sucre (Bolivia) construct among sounds, movements and colors reveals an original organization of sensitive experience that is as much characterized by its sensory depth as it is by the ways it is linked to other domains of knowledge. The forms of culturally elaborated intersections that occur in the body of the musician lead to new perceptive configurations.
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Books on the topic "Dance interpretation"

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Banda, Víctor Hugo Rascón. Sazón de mujer: Table dance. Zona Río, Tijuana, B.C. [Mexico]: CAEN Editores, 2001.

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DeVonyar, Jill. Degas and the dance. New York: Harry N. Abrams in asociation with the American Federation of Arts, 2002.

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National Gallery of Art (U.S.), ed. Matisse: The Dance. Washington [D.C.]: National Gallery of Art, 1993.

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Grazia Deledda's dance of modernity. Toronto: University of Toronto Press, 2008.

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Gould, John A. Dance class: [American high school students encounter Anthony Powell's Dance to the music of time]. Bloomington, IN: iUniverse, 2009.

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1946-, Gray Michael, ed. Song & dance man III: The art of Bob Dylan. London: Continuum, 2002.

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The dance of person and place: One interpretation of American Indian philosophy. Albany, NY: State University of New York Press, 2010.

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1954-, Leonard Mark, Lancret Nicolas 1690-1743, and J. Paul Getty Museum, eds. Nicolas Lancret: Dance before a fountain. Los Angeles: J. Paul Getty Museum, 2006.

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Margulies, Ivone. Nothing happens: Chantal Akerman's hyperrealist everyday. Durham: Duke University Press, 1996.

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1834-1917, Degas Edgar, Kendall Richard, Detroit Institute of Arts, and Philadelphia Museum of Art, eds. Degas and the dance. New York: Harry N. Abrams, in association with the American Federation of Arts, 2002.

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Book chapters on the topic "Dance interpretation"

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Bruni, Francesco. "Dante, Remigio de’ Girolami, il sistema angioino: teologia e politica." In The Dominicans and the Making of Florentine Cultural Identity (13th-14th centuries) / I domenicani e la costruzione dell'identità culturale fiorentina (XIII-XIV secolo), 263–304. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-046-7.16.

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This article draws a comparison between Dante’s vision and the cultural, political, and propagandistic conception promoted by the Angevins, from the divergences in the interpretation of Aquinas’ doctrine of Justice to the ones regarding the notion of nobility. Dante expressely chooses his meeting with the Angevin Charles Martel (Pd. VIII) to set human free will in opposition to the Angevin vision of virtue as a good inherited from generation to generation: Charles is a virtuous man not because of, but despite being born into a family which denies the authority of Empire, which is to say the only guarantor of the bonum commune.
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Lefort, Claude. "Dante’s Modernity." In Dante’s Modernity, 1–85. Berlin: ICI Berlin Press, 2020. http://dx.doi.org/10.37050/ci-16_03.

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Claude Lefort’s ‘Dante’s Modernity’ presents a detailed and highly original interpretation of Dante’s Monarchia. Lefort casts Dante as the first political thinker with a concept of humanity defined as the whole of the human race, the first to imagine a universal society in political terms, and the first to reveal the formative role of force, of wars and division in the advent of such a political unity. Tracing the career of Dante’s innovations in the political thought and praxis of the succeeding centuries, Lefort then shows how what is ‘new’ in Dante cannot be separated from its later avatars — from the varied realizations, distortions, and misapplications it would inspire at later historical junctures. Any contemporary realization of the potential inherent in Dante’s innovative idea of sovereignty would require the project of ‘disentangling’ the links between universalism, imperialism, and nationalism that have been instituted in its name.
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Bresnahan, Aili. "Interpretation in Dance Performing." In The Bloomsbury Handbook of Dance and Philosophy. Bloomsbury Academic, 2021. http://dx.doi.org/10.5040/9781350103504.ch-002.2.

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Dickason, Kathryn. "Dance Typologies." In Ringleaders of Redemption, 13–48. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197527276.003.0002.

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The opening chapter explores the relationship between medieval biblical interpretation and dance. The Vulgate was the urtext by which medieval authorities developed and justified their ideas concerning dance and its place in Christianity. Biblical glosses, as well as visual representations of the Bible, constructed the archetypes of sinful and holy dancers, thereby creating influential paradigms of Christian dancing bodies. Moreover, these exegetical strategies reveal particular political underpinnings of late medieval theology, including anti-Judaism, sacred kingship, and crusader ideology. The first section examines interpretations of Miriam and her dance of praise. The second section focuses on interpretations of the dancers around the golden calf and their idolatry. The third section explores interpretations of the dance of David, including its foreshadowing of the Passion of Christ and bolstering of the Crusades. The last section scrutinizes interpretations of the dance of Salome through the perspectives of sacrilege and misogyny.
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"Andrés’s ‘New For U’: New for Us. On Analysing Electronic Dance Music." In Song Interpretation in 21st-Century Pop Music, 155–78. Routledge, 2016. http://dx.doi.org/10.4324/9781315609881-15.

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Franko, Mark. "The Dancer as Statue and the Geopolitics of Neoclassicism." In The Fascist Turn in the Dance of Serge Lifar, 109–28. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197503324.003.0004.

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An examination of the influences of German thought on French dance theory, an area of scholarship that has been neglected, but is beginning to emerge in the interest in Nietzsche’s influence on Valéry. Lifar epitomized the idea of the dancer as animated marble figure sculpture, an idea traced back to Winkelmann and Hegel’s Lectures on the Fine Arts. Lifar operates in a triangle of cultural influences including France, Germany, and Russia. This chapter thus reveals the influence of eighteenth-century German aesthetics on the Russo-French theory of ballet neoclassicism. Particular attention is paid to Lifar’s interpretation of Apollo in George Balanchine’s Apollon Musagète in its first years.
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"Emotorics: A Psychomotor Model for the Analysis and Interpretation of Emotive Motor Behavior." In The Art and Science of Dance/Movement Therapy, 317–48. Routledge, 2015. http://dx.doi.org/10.4324/9781315693477-30.

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Decker, Gregory J. "Dance Music and Signification in Handel’s Opera Seria." In Singing in Signs, 131–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190620622.003.0006.

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This chapter makes a case for the interpretive significance of Baroque topics by examining historical thought and modern analytical precedent, detailing the types of significations these topics might convey, and presenting case studies that demonstrate the efficacy of musical topics in the analysis of opera seria. These case studies are drawn from the Italian-language operas of G. F. Handel and focus on his uses of the minuet and the gigue. The strategic use of dance topics in the late Baroque was likely meaningful to Handel’s audiences and can still be useful for interpretation today.
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"How to Make a Global Dance Hit: Balancing the Exotic with the Familiar in ‘Danza Kuduro’ by Lucenzo featuring Don Omar." In Song Interpretation in 21st-Century Pop Music, 253–74. Routledge, 2016. http://dx.doi.org/10.4324/9781315609881-21.

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Protopapadakis, Eftychios, Ioannis Rallis, Nikolaos Bakalos, and Maria Kaselimi. "Digitizing the Intangible." In Recent Advances in 3D Imaging, Modeling, and Reconstruction, 79–107. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-5225-5294-9.ch004.

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Modelling and digitizing performing arts through motion capturing interfaces is an important aspect for the analysis, processing, and documentation of intangible cultural heritage assets. This chapter provides a holistic description regarding the dance preservation topic by describing the capture approaches, efficient preprocessing techniques, and specific approaches for knowledge generation. Presented methodologies take under consideration the existing modelling and interpretation approaches, which may involve huge amounts of information, making them difficult to process, store, and analyze.
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Conference papers on the topic "Dance interpretation"

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"Folk Psychological Interpretation of Guozhuang Dance." In 2020 International Conference on Social Sciences and Social Phenomena. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0001088.

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Wang, Xiaojie, and Chi Zhang. "Connotation Interpretation on Modern Value of National Dance." In Proceedings of the 2018 5th International Conference on Education, Management, Arts, Economics and Social Science (ICEMAESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icemaess-18.2018.229.

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Li, Xiujia. "The Interpretation of Bonismo Cham Dance Posture in the Ancient Books." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.79.

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Liang, Jihong, Tianran Duan, Huiling Feng, and Xiaoshuang Jia. "Digital Arts Applied in the Interpretation of the Row Dance in Confucius Memorial Ceremony." In 2018 3rd Digital Heritage International Congress (Digital Heritage) held jointly with 2018 24th International Conference on Virtual Systems & Multimedia (VSMM 2018). IEEE, 2018. http://dx.doi.org/10.1109/digitalheritage.2018.8810129.

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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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Medellín Gómez, Ana Cristina. "DANCE INTERPRETATIVE SIGNS." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-132.

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Galli, Claudio, and Alessandro Tosarelli. "Rapporto di ricerca storica sulle superfici architettoniche esterne della fortezza di San Leo." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11532.

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Historical research report on the external architectural surfaces of the fortress of San LeoThe hinterland of Rimini is characterized by the presence of many castles, but the fortress of San Leo is certainly the most representative because of its position and the different constructive contributions that over time have updated its appearance and military functions. Cited by Dante and Machiavelli for the impervious nature on which it stands, its origin dates back to the early Middle Ages. It was rehashed following the imprint of Francesco di Giorgio Martini in the fifteenth century, restored by Giuseppe Valadier at the end of the eighteenth century and converted to a prison in 1631. A peculiarity that makes the studies on the fortress of San Leo absolutely interesting is the treatment of the external architectural surfaces of which there is ample documentation in the historical archives and of which there are multiple uses in the various areas of the factory; the research aims to offer useful knowledge for the subsequent conservation and restoration project. The theme, completely original, arises from indirect investigations of a documentary and iconographic nature, conducted at the State Archives of Pesaro, Florence, Rome, the Central State Archive and the Vatican Secret Archive, which repeatedly refer in the accounting of works, starting from the seventeenth century, the execution of plasters executed outside the monument. The interpretative tension of the archival documents and the drawings continued by looking for a direct comparison between historical information and materiality of the fortress, in order to identify a correspondence between historical data and constructive reality. It emerges clearly that the external surfaces of many parts of the fortress were treated and finished with plaster since its origins, probably due to the exposure to atmospheric agents; therefore a rethinking of what is reported in the literature is necessary both in terms of interpretative profile of the fortress, and about how its image was perceived over the centuries.
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