To see the other types of publications on this topic, follow the link: Dance interpretation.
Journal articles on the topic 'Dance interpretation'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Dance interpretation.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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).
3
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.
Full textAbstract:
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?
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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?
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Suhesti, Merry, and Desfiarni Desfiarni. "MAARAK BUNGO LAMANG." Jurnal Sendratasik 9, no. 1 (May 1, 2020): 1. http://dx.doi.org/10.24036/jsu.v8i3.108132.
Full textAbstract:
AbstractMaarak Bungo Lamang Dance is a result of the creation of dance creations based on the life phenomenon of the Durian River of the South Solok district in order to celebrate the day of the Prophet Maulid. In this regard, the tradition of society that has a sense of gratitude for the day of the Prophet Maulid in a festive way is not separated from the Islamic faith. The dance work "Maarak Bungo Lamang" is an interpretation of the community tradition of the river Durian in welcoming the Prophet's Maulid by means of a journey around the village along with Shalawat-Shalawat. It is as an expression of gratitude for the Prophet's Maulid day. The dance works were performed by 7 dancers, 3 male dancers and 4 female dancers as well as 13 Pendukkung dancers for the early dances, expected to be a new form of dance creations. Program artwork is aimed at adding a wealth of dance artwork, as well as an educational platform for new artists.Keywords: Maarak Bungo Lamang
12
Zimmermann, Julia. "Ambivalenzen der Darstellung und Zirkelschlüsse der Interpretation. Die Tanzdarstellung Hiltbolts von Schwangau im ‚Codex Manesse‘ und der Reigen höfischer Tugenden im ‚Roman de la Rose‘." Das Mittelalter 23, no. 2 (November 6, 2018): 427–46. http://dx.doi.org/10.1515/mial-2018-0022.
Full textAbstract:
AbstractNumerous studies covering courtly dancing and its portrayal in medieval European religious art and literature seem to have, to a large extent, exhausted this subject. Nevertheless, works on courtly dances remain, for the most part, more speculative in nature than apparent at first glance. This is amazing when we consider the importance of courtly dance in literature and art dating from the Middle Ages, as there are only few Middle High German poems in which collective dance is not mentioned. Contrasting with this great number and wide range of references to dance is its small footprint in works dealing with the history of dance. Only a small number of works touch up this issue, and these have only collected and analysed fragments of the source material available. Hence, any conclusions cannot but lack critical depth with regard to the varying degrees of stylisation present, and their importance when attempting to draw comparisons between reports bound by tradition and stereotyped in nature, and those that exhibit greater literariness. This paper aims to discuss these problems and serves as a contribution to the field of the history of dance as reflected in medieval literature.
13
Whatley, Sarah. "Dance Identity, Authenticity and Issues of Interpretation with Specific Reference to the Choreography of Siobhan Davies." Dance Research 23, no. 2 (October 2005): 87–105. http://dx.doi.org/10.3366/drs.2005.23.2.87.
Full textAbstract:
Choreographers regularly make revisions to their work. Revisions that are made are sometimes significant and can radically alter the dance whilst other changes may be almost invisible to the viewer. In the case of Siobhan Davies, revising dances has become a regular feature of her work. This paper represents a case study, which is designed to shed some further light on this process.
14
Akas, Nicholas C. "Symbols in traditional dance: A study of Nkwanwite dance." Journal of Gender and Power 13, no. 1 (June 1, 2020): 115–33. http://dx.doi.org/10.2478/jgp-2020-0007.
Full textAbstract:
AbstractThe use of iconic symbols during traditional performances (dance) has remained an indispensable tool. The major problem facing the use of signifying symbols during performances is because they are seen as mere performative enhancer. These assumptions might be generally accepted, but in core dance scholarship it can be argued for or against, but this paper stands against its wrong perceived nature as mere performative enhancer. The aim of this paper is to interpret some of the signifying symbols used in dance in order to understanding their socio-cultural essence. This paper would analyze the signifying symbols used in Nkwanwite traditional dance for the following reasons: (a) To acknowledge the use of cultural symbols as part of people’s mythology belief. (b) To interpret, analyze and document the signifying symbols as a socio-communicative tool. (c) To give each of the signifying symbols relevance and interpretation in dance. In order to achieve this Sense Making Theory would be used as theoretical frame work to interrogate the essence of the signifying symbols. Findings show that, due to lack of interpretation and documentation on the use of signifying symbols in dance. It is gradually going into extinction as mere props. The paper concludes that non dance scholars should cherish and appreciate the use of symbols in dance as communicative tool.
15
Kasianova, Olena. "Evolutionary modifications of dance scenes in the context of the genesis of the ukrainian opera." Ukrainian musicology 46 (October 27, 2020): 58–74. http://dx.doi.org/10.31318/0130-5298.2020.46.234595.
Full textAbstract:
The relevance of the research lies in the search for a solution to the problem of the plasticchoreographic image of the work, the peculiarities of the interpretation of dance in the process of the formation of the Ukrainian national opera school, taking into account the author's intention, its rethinking in the realities of our time. Scientific novelty lies in the definition of conceptual approaches to the genre-style interpretation of dance scenes in Ukrainian opera in accordance with the theatrical aesthetics of a particular time. The purpose of the publication is to determine the evolutionary modifications of the solution of plastic-choreographic scenes of musical and theatrical works in accordance with the aesthe-tic concepts of different stages of the formation of the Ukrainian national opera school. Research methods. In the context of an integrated intersectoral approach at the junction of philosophy, sociology, psychology, cultural studies, musicology and theatre studies, comparative and art history research methods are chosen as determinants. Their use makes it possible to determine the similarity and difference between genre-style interpretations of dance scenes in accordance with the theatrical aesthetics of a particular time. The main results and conclusions of the study. The article examines the process of formation of dance scenes in the historical context of the development of the Ukrainian opera school. The features of the use of dance at different stages of the formation of the national repertoire in various configurations of the Ukrainian musical theatre from its origins to the present day are outlined. The fundamental principles of the interpretation of dance in Ukrainian opera, laid down in the predecessors of the national musical theatre – old games, a puppet nativity scene, baroque school drama, palace theatres of Ukrainian, Polish, Russian magnates of the era of classicism, are character-rized. The evolutionary modifications of the plastic-choreographic solution of opera performances against the background of the genesis of the Ukrainian musical theatre are analyzed. The well-established key approaches to the interpretation of dance scenes in the Ukrainian opera are determined, mainly the positive role of choreography in solving the musical drama of the performance. The author highlights the differences between Ukrainian opera content and Western European and Russian traditions, where vocals as the personification of a person's soul or the image of a friend, and dance as the embodiment of temptations or the image of an enemy are quite often in opposition to each other. The specificity of the interpretation of dance in the Ukrainian opera through the prism of its historical formation is clarified: from the use of divertissement samples of the times of classicism through illustrative and pictorial eras of romanticism, efficiently expressive epochs of realism and Soviet reality to conventionally symbolic, conventionally abstract in the culture of modernity and postmodernism. Different approaches to the solution of dance in opera performances in evacuation and in the occupied territories with distinction in the East and West of Ukraine have been established. The conceptual approaches of the genre-style interpretation of dance scenes in the Ukrainian opera are revealed in accordance with the theatrical aesthetics of a particular time. Attention is focused on the prospects for the emergence of new genre-stylistic forms with the gravitation of their plastic-choreographic solution to neosyncretism.
16
Kasyanova, Olena. ""Dance щf The Seven Veils" Based щn Oscar Wilde's Drama "Salome" In The Director's Interpretation щf The Modern Era." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 117–32. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233140.
Full textAbstract:
The urgency to address to the theme of Salome in conditions of postmodern culture is considered. Some attempts are made to read anew and rethink it in the era of current information technology. Attention is paid to the peculiarities of the interpretation of the image of Salome and the "Dance of the Seven Veils" in the iconographic sources of the 12th – early 21st centuries through the prism of the aesthetics of certain era aimed to find artistic means of expression. An overview of the reflection of the event at the feast of Tetrarch Herod in the Gospel of Matthew and Mark. The content of the young princess's fateful dance, which led to irreparable tragic consequences — the beheading of John the Baptist. The necessity of using the concept of different branches of knowledge in order to establish a holistic picture of the development of events in this scene is proved. The sources that inspired O. Wilde to create the drama "Salome" are identified. The peculiarities of artistic interpretations of the image of the princess by the writer S. Mallarme and the artist G. Moreau are reflected in the article, in addition, the author showed the difference in the interpretation in the author's concept by O. Wilde. The stage version of "Salome" of 1902, directed by M. Reinhardt, is analyzed, the master's innovative approaches to the embodiment of dance are singled out against the background of the original scenography solution of M. Krause and L. Corinth, which became an aesthetic discovery in theatrical art of the modern era. Peculiarities of interpretation of Salome's dance based on O. Wilde's drama to O. Glazunov's music, with L. Bakst's decoration, M. Fokin's choreography, which continued modern experiments on the stage embodiment of the said work, are revealed. Priorities are set by dance director M. Fokin to work with iconographic sources, artistic design of the issue over the analysis of his musical drama. The results of the choreographer's search for new, relevant to the modern era, means of stage expression, their non-standard, bold combination to create an original version of the artistic and holistic spectacle are outlined. The influence of innovative discoveries of M. Reinhardt, V. Meyerhold and M. Fokin on further dance interpretations in R. Strauss's opera "Salome"
17
Dimopoulos, Konstantinos, Vasiliki Tyrovola, and Maria Koutsouba. "Social Structures, Gender Dimensions and Semantic Implications in Dance: The Sergiani Custom in the Village of Megala Kalivia (Trikala)." Mediterranean Journal of Social Sciences 8, no. 4 (July 27, 2017): 63–76. http://dx.doi.org/10.1515/mjss-2017-0006.
Full textAbstract:
AbstractThroughout the world there are rites and customs that take place in the context of a specific time and place. The dance act is a reflection of the local society, as it represents a way of validating or questioning the local structures, interpersonal and gender relations, as well as the community policies. Such custom would be the custom of sergiani in the community of Megala Kalyvia (Trikala). The aim of this paper is to examine the custom of sergiani and the role of the dance in that community. The collection and processing of data is based on the principles of ethnographic study. In order to examine the form of the dance, the structural-morphological model is used, while the dances were notated using the Labanotation system. The interpretation of the dance is based on the methodological optics as established by Hanna (1988), according to whom, in order to reach conclusions regarding the society and gender relations, dance must be taken into account. By controlling the patriarchal sovereignty in that community, the female gender would always find mechanisms to show resistance and renegotiate women’s role, position and relation not only against the opposite sex, but also within women. Those mechanisms are triggered through customary and dance practices, such as the sergiani custom.
18
Milovanović, Dara. "Popular Dance as Archive: Re-imagining Keeps the Fosse Aesthetic Preserved." Dance Research 38, no. 2 (November 2020): 255–70. http://dx.doi.org/10.3366/drs.2020.0312.
Full textAbstract:
Bob Fosse's instantly recognisable iconographic style and visual aesthetic has often been quoted in music videos, TV shows, and films featuring dance, such as videos by Paula Abdul, Michael Jackson, and Beyoncé. Using Fosse's screendance as a focal point for analysis, this essay seeks to illustrate the dynamics with which subsequent cultural capital of examples of screendance creates a multivocal archive that blends choreographic and screen histories. The idea that popular dance on screen creates an alternative form of archival records challenges the traditional notion of archive as a collection of artefacts by concentrating on works by various artists that quote, borrow and recycle previously available works of popular dance on screen. Quoting and referencing previous dance works, although problematic in terms of copyright and authorship, creates an active process for historical archiving that brings choreographic style and aesthetic to contemporary audiences adjusted to the current socio-political needs of the audience and technological possibilities. Artists reclaim and reformulate the existing repertory to their own political and economic needs therefore creating a regenerative ideology of the way popular dance re-interprets the dances for the given time, space, and context. The examples of dance videos discussed in this essay act as an interpretation of numerous references found in popular culture and therefore challenge the rigid tropes of dance creators as sole producers of dance material and the meanings communicated. Directing attention on to the dance and the corporealities of dancers further questions ideas of authorship as it recognises the bodily history as a fundamental part of web of meanings presented in dance.
19
Nurbaidhah, Adeliana Galih, Nurhadi Nurhadi, and Sigit Pranawa. "Differrences in The Meaning Dolalak Dance in PurworejoDistrick, Central Java Province." Jurnal Ilmu Sosial Mamangan 9, no. 1 (June 29, 2020): 39–47. http://dx.doi.org/10.22202/mamangan.v9i1.3347.
Full textAbstract:
Dolalak dance is a folk dance whose movements and costumes adopted the Dutch soldiers war training and dancing movements and costumes. The exsistention of the traditional art become degradation in a year. Dolalak dance is also influenced by the cultural change from modernity, and then the meaning of Dolalak will be gone.This enable people interprete the ideal value of Dolalak dance in daily life that different from Dolalak dance in the past that was full of life regulation values.This qualitative research uses a case study method to answer the different interprete the meaning of Dolalak dance.It uses interview, observation and documentation techniques to collect data. Theory in thisresearch using interpretative culture from Clifford Geertz.This research reveals that Dolalak experienced a cultural creativity by combining with other arts, i.e dangdut and Campursari.It also experienced changes in players, movements, makeup, costumes, and time performanes. As a folk dance play a role in unity and guide the social life. Dolalak dance is interpreted as a religious symbols, varlour, faith and social conditions. Nowdays, it has a new interpretation as a equality, effectivity, efficiency and specialization lead to individualization in the group.
20
Hatfield, DJ W. "Good Dances Make Good Guests: Dance, Animation and Sovereign Assertion in ‘Amis Country, Taiwan." Anthropologica 62, no. 2 (December 14, 2020): 337–52. http://dx.doi.org/10.3138/anth-2019-0030.
Full textAbstract:
Within the context of official multiculturalism and the promotion of tourism to improve the economic prospects of Taiwanese Indigenous people, ritual dances of ‘Amis/Pangcah people, known as malikoda, have become sites of conflict concerning ritual propriety and performance. Although as participatory practices, malikoda can never be performed for an audience, they have served to mediate outside power, including but not limited to ancestral spirits and political figures. However, whether and how those outside ‘Amis communities can malikoda remains subject to debate. Malikoda animates a model of Indigenous sovereignty, which can flexibly incorporate external forces that impinge on ‘Amis communities. Yet, the felicity conditions for malikoda are unstable. To resolve this, ‘Amis people have relied upon a combination of heritage and local discourses that define the dance as an act of hospitality. Both types require the alignment of various actors, media and interpretations at multiple scales, often obviating interpretation. Thus, attention to malikoda highlights how Indigenous people engage with indigeneity as a cultural resource under multiculturalism and raises broader questions about the role of animation in sovereign assertion.
21
Dumnic, Marija, and Danka Lajic-Mihajlovic. "Institutionalization of ethnochoreology in Serbia: The legacy of Ljubica Jankovic at the Institute of musicology SASA." Muzikologija, no. 17 (2014): 259–72. http://dx.doi.org/10.2298/muz1417259d.
Full textAbstract:
Since 1964, the Institute of Musicology of the Serbian Academy of Sciences and Arts has been cherishing the official archive of the academician Ljubica Jankovic, ethnochoreologist, which originates from her service at the Ethnographic Museum in Belgrade (1939-1951). The legacy contains documentation about the activity of the Folk Dance Section of the Ethnographic Museum in Belgrade, and extensive data on folk dances in Yugoslavia from the first half of the twentieth century. This paper presents part of the archival documentation relating to the establishment and activity of the Folk Dance Section. It was the first state institution to collect primary and secondary research sources relating to folk dance structure and to the social context of a rural dance practice. Apart from that, it was the institution for education on folk dance preservation and staging. The focus of the paper is on the fundamental documents of ethnochoreological cultural and research policy in Serbia, manuscripts The Draft for Work at the Folk Dance Section of the Ethnographic Museum in Belgrade [Nacrt za rad u Otseku narodnih igara pri Etnografskom muzeju u Beogradu] (1939) and The Program for Work at the Department for Intangible Culture with the Sections: 1) Folk Dances and Folk Music; 2) Folk Literature; 3) Folk Art and Ornamentation; 4) Folk Customs and Religion; 5) Folk Medicine [Program rada u Odeljenju za duhovnu kulturu sa Otsecima: 1) za narodne igre i narodnu muziku; 2) za narodnu knjizevnost; 3) za narodnu likovnu umetnost i ornamentiku; 4) za narodne obicaje i veru; 5) za narodnu medicinu] (1946). The aim of this study is to contribute to the history of ethnochoreology in Serbia by introducing the ideas of Ljubica Jankovic concerning folk dance research and preservation strategies because of their importance for the interpretation of numerous ethnochoreological and ethnomusicological theoretical and analytical results, mostly achieved in cooperation with her sister, Danica Jankovic. In addition, we indicate the applicability of the first official ethnochoreological ideas for current folk dance research in Serbia.
22
Арестова, Вероника Юрьевна, and Татьяна Павловна Андреева. "CRITERIA FOR TRAINING OF FUTURE LEADERS OF AMATEUR CHOREOGRAPHIC GROUPS FOR STAGE INTERPRETATION OF THE CHUVASH FOLK DANCE." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 3(108) (October 20, 2020): 151–58. http://dx.doi.org/10.37972/chgpu.2020.108.3.017.
Full textAbstract:
Современная практика подготовки специалистов сферы культуры и искусства характеризуется определенными требованиями к студентам, к их профессиональным компетенциям, одна из которых - способность сохранять и популяризировать культурные ценности, в том числе фольклор и народное художественное творчество. Целью статьи является обоснование основных критериев, определяющих эффективную подготовку будущих руководителей хореографических любительских коллективов к сценической интерпретации чувашского народного танца. Термин «критерии» используется в данной статье для описания признаков, на основании которых можно судить о наличии или отсутствии у студентов знаний, умений и личностных качеств, необходимых для сценической интерпретации чувашского народного танца. Для определения критериев проанализирован чувашский народный танец с позиции его сценичности. Подробно рассматриваются следующие специфические черты: массовая форма исполнения, обусловившая бытование определенной хореографии, ее организационных и композиционных решений; зрелищность, исходящая из коммуникативной природы народного танца; условность языка танца, проявляющаяся в исторически сформированных характерных элементах его лексики; образность, отражающая самобытный характер чувашского народа. Перечисляются знания, умения и навыки, необходимые будущим руководителям хореографических любительских коллективов для сценической интерпретации чувашского народного танца. The current training practice of cultural and an art sphere specialist is characterized by specific requirements for students and their professional competences. The ability to preserve and popularize cultural values, including folklore and folk art, is one of these requirements. The purpose of this article is to substantiate the main criteria of effective training of future amateur choreographic group leaders for stage interpretation of the Chuvash folk dance. In this article, the term «criteria» describes the features by which one can evaluate students’ knowledge, skills and personality traits needed for the stage interpretation of the Chuvash folk dance. These criteria are determined by the analysis of theatrical effectiveness of the Chuvash folk dances. In the course of analysis, the following specific features of theatrical effectiveness are considered in detail: participation of large numbers of people in performance, determining the existence of a certain choreography, organizational and compositional decisions; the visual appeal, emanating from the communicative nature of folk dance; the symbolism of dance manifested in historically formed characteristic elements of its language; the image reflecting distinctive character of the Chuvash people. The article lists the knowledge and skills needed by future leaders of amateur choreographic groups for stage interpretation of the Chuvash folk dance.
23
Vermeyden, Anne. "The Reda Folkloric Dance Troupe and Egyptian State Support During the Nasser Period." Dance Research Journal 49, no. 3 (December 2017): 24–37. http://dx.doi.org/10.1017/s014976771700033x.
Full textAbstract:
In 1958, Mahmoud Reda founded the Reda Troupe and put his interpretation of Egyptian folkloric dance on stage. This article analyzes the historical factors that allowed for the Reda Troupe's success and popularity during the Nasser period (1954–1970). Although colonial influences and problematic representational politics are evident in Reda's choreographies, his dances also showcase agency, hybridity, and artistic collaboration. The agency of both Mahmoud Reda and his troupe during the Nasser period was central to the group's artistic success and longevity.
24
Filippidou, Eleni, Maria Koutsouba, Vassiliki Lalioti, and Vassilis Lantzos. "Cybernetic Approach of the “Κ’na” Dance: The Construction of Ethnic and National Identity in Nea Vyssa, Thrace , Greece." Mediterranean Journal of Social Sciences 9, no. 2 (March 1, 2018): 17–29. http://dx.doi.org/10.2478/mjss-2018-0022.
Full textAbstract:
AbstractThe research field of this project is the area if Greek Thrace, which is a great geopolitical-cultural unity that was divided - due to political process - in three subareas that were distributed to three different countries: Bulgaria, Turkey and Greece. A dance happening that took place before the lining of the boundaries to date in the Greek and Turkish Thrace is that of “K’na”. “K’na” is a female dance happening which is danced to date by the people of both areas in spite of their religious beliefs, social - economic and cultural development. The purpose of this project is to study the different expressions of this dance in Nea Vyssa and examine if these are related to matters of search and conformation of ethnic and national identity of this group under the terms of the social cybernetics. Data was gathered through the ethnographic method as this is applied to the study of dance and the interpretation of the data was based on the theoretical visuals of the social-cybernetic according to the inspection model of identity that Burke proposed. From the data analysis, we established that the dance of “K’na” in Nea Vyssa constructs and reconstructs not only the ethnic but the national identity of the groups who use them in order to react to the messages they receive via the communication with “the important others”.
25
Filippidou, Eleni, Maria Koutsouba, Vassiliki Lalioti, and Vassilis Lantzos. "The Construction of National Identity through Cybernetic Process: The Example of “K’na” Dance Event in Greek and Turkish Thrace." European Review Of Applied Sociology 12, no. 18 (June 1, 2019): 13–31. http://dx.doi.org/10.1515/eras-2019-0002.
Full textAbstract:
AbstractThe research field of this paper is the area of Thrace, a large geopolitical-cultural unit that was divided – due to political reasons – in three subareas distributed among three different countries: Bulgaria, Turkey and Greece. A dance event that used to take place before the border demarcation but is still performed in the Greek and Turkish Thrace is that of “K’na”, a wedding dance event danced by the people of both border areas, despite of the changes in their magical-religious beliefs and the changes brought by socio-economic and cultural development. In particular, the aim of this paper is the study of the “construction” of the national identity of inhabitants both of Greek and Turkish Thrace, as this is manifested through the dance practice within the wedding event of “K’na”, through the lens of sociocybernetics. Data was gathered through ethnographic method as this is applied to the study of dance, while its interpretation was based on sociocybernetics according to Burke’s identity control theory. From the data analysis, it is showed that the “K’na” dance in Greek and Turkish Thrace constructs and reconstructs the national identity of the people who use them as a response to the messages they receive via the communication with “the national others”. In conclusion, the “construction” of the identity results from a continuous procedure of self-regulation and self-control through a cybernetic sequence of steps.
26
Putra, Luthfi Guntur Eka. "SIWO MEGOU: KOREOGRAFI SIGER PEPADUN LAMPUNG." Joged 16, no. 2 (December 3, 2020): 131–40. http://dx.doi.org/10.24821/joged.v16i2.4677.
Full textAbstract:
Siwo Megou merupakan karya tari yang berpijak pada gerak dasar tari Cangget Lampung. Karya ini terinspirasi dari kehidupan masyarakat Lampung. Siwo Megou diambil dari bahasa Lampung yang artinya Sembilan Marga. Kesembilan marga tersebut diikat oleh aliran sungai yang mengikat daerah tersebut. Kesembilan marga disatukan oleh ‘alat’ pemersatu yaitu siger pepadun. Kesembilan marga direpresentasikan ke dalam bentuk sebuah siger pepadun sebagai simbol persatuan. Musik yang digunakan berangkat dari tabuhan tradisi Lampung yang dikomposisi sesuai kebutuhan dan interpretasi penata. Karya ini ditarikan oleh sepuluh penari, sembilan lakilaki dan satu perempuan. Menggunakan rangsang kinestetik dan rangsang ideasional. Desain dramatik dibagi menjadi tiga segmen. ABSTRACT Siwo Megou is a dance work based on the basic movements of Cangget Lampung dance. This work is inspired by the life of the people of Lampung. Siwo Megou is taken from the Lampung language, which means the Nine Clans. The nine clans are bound by a river that binds the area. The nine clans are united by a unifying tool, the Siger Pepadun. The nine clans are represented in the form of a siger pepadun as a symbol of unity. The music used departed from the wasp of the Lampung tradition which was composed according to the needs and interpretation of the stylist. The theme used is unity. Dance works are danced by ten dancers, nine men and one woman. Using kinesthetic stimuli and professional stimuli. The dramatic design is divided into three segments according to the needs of this work.The discovery of motion in this work is the discovery of new motion according to the work requirements of this work. Motion motives obtained are then processed according to the creativity and interpretation of the stylist. The work of Siwo Megou's choreography arranged and danced in groups is a creation that is divided into three segments staged in the prosecenium stage on May 21, 2019.
27
Bibik, Janice M. "Pedagogical Considerations Regarding Perceptions of Dance Competence." Journal of Teaching in Physical Education 12, no. 3 (April 1993): 266–85. http://dx.doi.org/10.1123/jtpe.12.3.266.
Full textAbstract:
This study examined how college-age students in a beginning jazz and modem dance class construct their self-perceptions of dance competence. Each class was videotaped one class per week for 12 weeks. During the 12th week a perceived competence in dance scale was administered to the students (N=26) and the teacher. Results indicated that 57.7% of the students’ perceptions of their competence were congruent with the teacher’s; 42.3% were incongruent (15.3% higher, 27% lower). Based on interviews, these groups displayed distinct characteristics regarding attribution for success, interpretation of feedback, and focus on classroom activities. Videotape analysis using the Dyadic Adaptation of CAFIAS indicated there was no differential treatment of the students by the teacher. It was concluded that, rather than the teacher expectation effect, the students’ interpretation of themselves in the instructional context accounted for their self-perceptions of their competence.
28
Nowak, Tomasz. "National Dances in the Canon of Polish Culture." Musicology Today 13, no. 1 (December 1, 2016): 71–87. http://dx.doi.org/10.1515/muso-2016-0004.
Full textAbstract:
Abstract The following dances are most commonly considered nowadays as national dances (or emblems of Polish national culture): the polonaise, the mazur, the krakowiak, the oberek and the kujawiak. These dances form the cultural canon as defined by Andrzej Szpociński (i.e. a constantly revised part of tradition which carries significance outside the domain of dance and is obligatory for all the community members). In Polish musicological studies it has been emphasised that the phenomenon of stereotypisation of native folklore has played a major role in the formation and emergence of emblematic national phenomena. However, some of the phenomena and processes that have taken place during the formation and revision of the national canon cannot be reduced to the idea of creating a stereotype. The author of this paper draws on Maria Janion’s treatment of the categories of myth and phantasm, which can be much more useful for the interpretation especially of borderline or clearly alien phenomena that have frequently found their way into the Polish national dance canon and played a very important role in that canon. The author also discusses the changing functions of dances from the canon, which resulted from external circumstances determined by political events and social processes.
29
., Lasmiyati. "RASINAH: MAESTRO TARI TOPENG INDRAMAYU." Patanjala : Jurnal Penelitian Sejarah dan Budaya 5, no. 3 (September 3, 2013): 475. http://dx.doi.org/10.30959/patanjala.v5i3.110.
Full textAbstract:
AbstrakRasinah adalah maestro yang peduli pada kesenian tradisional Topeng Indramayu. Ia lahir dari keluarga seniman, ayahnya seorang dalang wayang kulit dan ibunya seniman ronggeng. Ia penari topeng yang handal. Kiprahnya di dunia topeng dikenal ke mancanegara. Penelitian ini dilakukan untuk mengetahui siapakah Rasinah dan bagaimana kiprahnya sebagai penari topeng di Indramayu. Metode yang digunakan adalah metode sejarah yang meliputi heuristik, kritik, interpretasi, dan historiografi. Dari hasil penelitian yang dilakukan, diperoleh informasi bahwa Rasinah lahir di Pamayahan Lohbener Indramayu tanggal 5 Januari 1929. Ia dalang topeng turunan dari neneknya. Ayahnya merupakan dalang wayang kulit dan dalang topeng, ibunya seniman ronggeng. Ia belajar menari topeng sejak usia tiga tahun. Tahun 1960-an Rasinah mengalami masa kejayaan, namun tahun 1970-an, ia mengalami masa surut seiring penggemar tari topeng beralih ke jenis kesenian organ tunggal dan tarling. Tahun 1994 ia bertemu Endo Suanda, kiprahnya sebagai penari topeng kembali bangkit. Ia dipromosikan tampil di beberapa negara. Sabtu 15 Maret 2008 Rasinah mewariskan Topengnya kepada cucunya, Aerli Rasinah. Tanggal 7 Agustus 2010 Rasinah meninggal dunia. Ia mendapat penghargaan sebagai penari dan pelestari Topeng Indramayu, di antaranya Lifetime Achievement dalam Festival Topeng Nusantara 2010. AbstractRasinah was a maestro who has great concern about Indramayu traditional arts of Tari Topeng or the Mask Dance. She was born into an artist family. Her father was a puppets shadow play master and her mother was a Ronggeng dancer. She is a brilliant Topeng dancer. Her role in Tari Topeng known in foreign countries. This research was conducted to find out who Rasinah is, and what her role in the development of Topeng dance of Indramayu. This research used historical method, which consist of four phases: heuristics, critics, interpretation, and historiography. Rasinah was born in Pamayahan Lohbener Indramayu, January 5, 1929. Her mastery of Topeng dance she inherited from her grandmother. Rasinah has learned dance since 3 years old. The 1960s witnessed the heyday of her performance. However, one decade later her reception declined. People more interested in Tarling and organ tunggal instead of Topeng dance. After Rasinah met Endo Suanda in 1994, her role in Topeng dance started again. She promoted by Endo Suanda to perform in the couple of countries. Rasinah officially bequeath her role in Topeng dance to her granddaughter, Aerli Rasinah on March 15, 2008. On August 7, 2008, Rasinah passed away. She received an award as a dancer and conservationist of Topeng Indramayu in Topeng Festival Nusantara 2010.
30
Portnova, Tatiana. "Dance in Sculpture of the Early 20th Century." Sculpture Review 68, no. 4 (December 2019): 22–34. http://dx.doi.org/10.1177/0747528420901915.
Full textAbstract:
This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The study of multi-level interactions between sculpture and dance in the context of antiquity calls for a comprehensive approach, including historical-cultural, theoretical-analytical and comparative-typological methods. Relating to ancient Greek images, ballet images of S. Konenkov, M. Ryndzyunskaya, N. Andreev, V. Vatagin, V. Beklimishev and S. Erzya provide a purely individual, unique and peculiar vision of dance corresponding to the ancient era. The categories and expressive means of dance were simultaneously analyzed close to the sculptural style of the masters because they are difficult to be divided methodologically and exist as an established artistic system. The concepts of “plastic expressiveness” in relation to the dancers imprinted in sculptures were interpreted. Analyzing the museum materials and sculptures depicting the dancing process, it was concluded that the ancient influence of plastic images on structural and genre determinants may vary.
31
Lestari, Ayu, Darmawati Darmawati, and Desfiarni Desfiarni. "TINJAUAN KOREOGRAFI TARI NGAYUN NUCI DI SEMURUP KECAMATAN AIR HANGAT KABUPATEN KERINCI PROVINSI JAMBI." Jurnal Sendratasik 8, no. 3 (March 1, 2019): 88. http://dx.doi.org/10.24036/jsu.v7i3.103460.
Full textAbstract:
AbstractThis article aims to describe and explain about the reviews of Dance Choreography Ngayun Nuci in Semurup Sub Regency of Kerinci Hagat Water Jambi province. This type of research is a qualitative descriptive methods. The object of research is the dance Nuci Ngayun. Instrument in this study is the researchers themselves and assisted by mobile phone camera, voice recorder, and stationery. Types of data using primary data and secondary data. Engineering data collection done by the study of librarianship, observation, interviews, and documentation. Technique of data analysis by collecting data, selecting data that is considered important, compiling data that has already been selected, analyzed data with interpretation techniques. The results of this research show that dance Ngayun Nuci is a dance creation which is the development of a tradition of Nuci Ngayun dance serves as the entertainment and aims to preserve traditional arts in Semurup. Dance Dance-shaped Nuci Ngayun group that developed the science of dance composition by koreografernya. Nuci Ngayun dance Creations rendered with planning the choreography for pementasannya. And also this dance movement is fixed at typical dance tradition.Keywords: review of the choreography. Ngayun Nuci Dance
32
Lestari, Ayu, Darmawati Darmawati, and Desfiarni Desfiarni. "TINJAUAN KOREOGRAFI TARI NGAYUN NUCI DI SEMURUP KECAMATAN AIR HANGAT KABUPATEN KERINCI PROVINSI JAMBI." Jurnal Sendratasik 8, no. 3 (March 1, 2019): 69. http://dx.doi.org/10.24036/jsu.v7i3.103409.
Full textAbstract:
AbstractThis article aims to describe and explain about the reviews of Dance Choreography Ngayun Nuci in Semurup Sub Regency of Kerinci Hagat Water Jambi province. This type of research is a qualitative descriptive methods. The object of research is the dance Nuci Ngayun. Instrument in this study is the researchers themselves and assisted by mobile phone camera, voice recorder, and stationery. Types of data using primary data and secondary data. Engineering data collection done by the study of librarianship, observation, interviews, and documentation. Technique of data analysis by collecting data, selecting data that is considered important, compiling data that has already been selected, analyzed data with interpretation techniques. The results of this research show that dance Ngayun Nuci is a dance creation which is the development of a tradition of Nuci Ngayun dance serves as the entertainment and aims to preserve traditional arts in Semurup. Dance Dance-shaped Nuci Ngayun group that developed the science of dance composition by koreografernya. Nuci Ngayun dance Creations rendered with planning the choreography for pementasannya. And also this dance movement is fixed at typical dance tradition.Keywords: review of the choreography. Ngayun Nuci Dance
33
Porter, John. "The Public Dance Halls Act, 1935: a re-examination." Irish Historical Studies 42, no. 162 (November 2018): 317–35. http://dx.doi.org/10.1017/ihs.2018.35.
Full textAbstract:
AbstractHistorical scholarship has interpreted the Public Dance Halls Act, 1935 in a relatively uniform manner. Most works on the subject have emphasised the expanding influence of Catholic church authorities over dancing following the enactment of the legislation, as well as the increasing restrictions placed on the freedom of dancers. The act has been viewed as one element in a sequence of pieces of legislation passed by successive Free State governments that aimed to limit and control citizens, including the Censorship of Films Act, 1923, and the Censorship of Publications Act, 1929. Using previously unexamined Department of Justice records, this article questions the dominant interpretation of the Public Dance Halls Act. It analyses whether dances moved predominantly into parochial halls, as has been the common understanding, and also considers whether the supposedly harsh restrictions imposed on dancers were actually enforced or observed. The article also proposes that two largely unexamined facets of the legislation and its subsequent implementation be given more consideration. Safety concerns played a sizeable part in shaping dancing regulations, as did the interests and worries of local communities. The article concludes by suggesting that lacunae in the historiography of dance halls in the 1930s are emblematic of wider gaps in Irish social and cultural history and recommends avenues for future research.
34
Ji-Hye, Jung, 이주욱, and 어희정. "The Educational Interpretation of a Middle School Creative Dance Class." CNU Journal of Educational Studies 35, no. 1 (February 2014): 55–77. http://dx.doi.org/10.18612/cnujes.2014.35.1.55.
Full text
35
ZHU, YI. "Time and Space Interpretation of Wu Xiaobang’s Dance Education Practice." Convergence of Humanities, Social Science an Art’s Academy 2, no. 2 (August 17, 2018): 307–22. http://dx.doi.org/10.37846/soch.2.2.307.
Full text
36
Lee, Sang-bum. "The Text-Immanent Interpretation on F. Nietzsche’s Philosophical Metaphor “Dance”." Journal of Korean Philosophical Society 154 (May 31, 2020): 151–77. http://dx.doi.org/10.20293/jokps.2020.154.151.
Full text
37
Yaari, Nurit. "Myth into dance: Martha Graham’s interpretation of the classical tradition." International Journal of the Classical Tradition 10, no. 2 (September 2003): 221–42. http://dx.doi.org/10.1007/s12138-003-0009-x.
Full text
38
Rallis, Ioannis, Eftychios Protopapadakis, Athanasios Voulodimos, Nikolaos Doulamis, Anastasios Doulamis, and Georgios Bardis. "Choreographic Pattern Analysis from Heterogeneous Motion Capture Systems Using Dynamic Time Warping." Technologies 7, no. 3 (August 16, 2019): 56. http://dx.doi.org/10.3390/technologies7030056.
Full textAbstract:
The convention for the safeguarding of Intangible Cultural Heritage (ICH) by UNESCO highlights the equal importance of intangible elements of cultural heritage to tangible ones. One of the most important domains of ICH is folkloric dances. A dance choreography is a time-varying 3D process (4D modelling), which includes dynamic co-interactions among different actors, emotional and style attributes, and supplementary elements, such as music tempo and costumes. Presently, research focuses on the use of depth acquisition sensors, to handle kinesiology issues. The extraction of skeleton data, in real time, contains a significant amount of information (data and metadata), allowing for various choreography-based analytics. In this paper, a trajectory interpretation method for Greek folkloric dances is presented. We focus on matching trajectories’ patterns, existing in a choreographic database, to new ones originating from different sensor types such as VICON and Kinect II. Then, a Dynamic Time Warping (DTW) algorithm is proposed to find out similarities/dissimilarities among the choreographic trajectories. The goal is to evaluate the performance of the low-cost Kinect II sensor for dance choreography compared to the accurate but of high-cost VICON-based choreographies. Experimental results on real-life dances are carried out to show the effectiveness of the proposed DTW methodology and the ability of Kinect II to localize dances in 3D space.
39
Jang, Seon Hee, and Frank E. Pollick. "Experience Influences Brain Mechanisms of Watching Dance." Dance Research 29, supplement (November 2011): 352–77. http://dx.doi.org/10.3366/drs.2011.0024.
Full textAbstract:
The study of dance has been helpful to advance our understanding of how human brain networks of action observation are influenced by experience. However previous studies have not examined the effect of extensive visual experience alone: for example, an art critic or dance fan who has a rich experience of watching dance but negligible experience performing dance. To explore the effect of pure visual experience we performed a single experiment using functional Magnetic Resonance Imaging (fMRI) to compare the neural processing of dance actions in 3 groups: a) 14 ballet dancers, b) 10 experienced viewers, c) 12 novices without any extensive dance or viewing experience. Each of the 36 participants viewed short 2-second displays of ballet derived from motion capture of a professional ballerina. These displays represented the ballerina as only points of light at the major joints. We wished to study the action observation network broadly and thus included two different types of display and two different tasks for participants to perform. The two different displays were: a) brief movies of a ballet action and b) frames from the ballet movies with the points of lights connected by lines to show a ballet posture. The two different tasks were: a) passively observe the display and b) imagine performing the action depicted in the display. The two levels of display and task were combined factorially to produce four experimental conditions (observe movie, observe posture, motor imagery of movie, motor imagery of posture). The set of stimuli used in the experiment are available for download after this paper. A random effects ANOVA was performed on brain activity and an effect of experience was obtained in seven different brain areas including: right Temporoparietal Junction (TPJ), left Retrosplenial Cortex (RSC), right Primary Somatosensory Cortex (S1), bilateral Primary Motor Cortex (M1), right Orbitofrontal Cortex (OFC), right Temporal Pole (TP). The patterns of activation were plotted in each of these areas (TPJ, RSC, S1, M1, OFC, TP) to investigate more closely how the effect of experience changed across these areas. For this analysis, novices were treated as baseline and the relative effect of experience examined in the dancer and experienced viewer groups. Interpretation of these results suggests that both visual and motor experience appear equivalent in producing more extensive early processing of dance actions in early stages of representation (TPJ and RSC) and we hypothesise that this could be due to the involvement of autobiographical memory processes. The pattern of results found for dancers in S1 and M1 suggest that their perception of dance actions are enhanced by embodied processes. For example, the S1 results are consistent with claims that this brain area shows mirror properties. The pattern of results found for the experienced viewers in OFC and TP suggests that their perception of dance actions are enhanced by cognitive processes. For example, involving aspects of social cognition and hedonic processing – the experienced viewers find the motor imagery task more pleasant and have richer connections of dance to social memory. While aspects of our interpretation are speculative the core results clearly show common and distinct aspects of how viewing experience and physical experience shape brain responses to watching dance.
40
Lepage, Robert. "Collaboration, Translation, Interpretation." New Theatre Quarterly 9, no. 33 (February 1993): 31–36. http://dx.doi.org/10.1017/s0266464x00007442.
Full textAbstract:
Robert Lepage, the innovative French-Canadian director whose production of A Midsummer Night's Dream last year joined the repertoire of the National Theatre, developed his working methods out of the resource-based technique of improvisation and creation devised by Anna and Lawrence Halprin at the San Francisco Dance Workshop. His devised shows, widely acclaimed for their arresting visual imagery, include The Dragons' Trilogy, Vinci, Tectonic Plates, and Opium and Needles. Here he discusses in interview his ideas on interculturalism and how these influence his approach to Shakespeare. He was interviewed at the National Theatre in London by Christie Carson, a doctoral student at the University of Glasgow, who is working on a dissertation which compares the approach taken to intercultural projects by the theatre communities of Scotland and Canada. A graduate of Queen's University, Kingston, and the University of Toronto, Christie Carson has also recently been a contributor to a commemorative publication analyzing the work performed as part of the C. P. Taylor retrospective at the 1992 Edinburgh Festival.
41
Reich, Björn. "Tanzen gegen die Sünde? Zum Tanzkapitel in Meister Ingolds ‚Guldin Spil‘." Das Mittelalter 23, no. 2 (November 6, 2018): 409–26. http://dx.doi.org/10.1515/mial-2018-0021.
Full textAbstract:
AbstractIn the 15th century, play and dance were expressively criticised. This makes it all the more remarkable for the Dominican Meister Ingold to identify, in his ‘Guldin Spil’, not only chess, cards and dice as some of the seven games useful to overcome the seven deadly sins, but also dance. Ingold, however, does not praise the outward dance. Rather, he intends to turn the reader towards what may be called inner contemplation or Betrachtung, with the various stages of Jesus’ life are transformed into dance steps. The result is an odd conflict: external dance may have negative connotations, yet lays the mental groundwork for the inner Betrachtung. This article aims to explore this area of conflict by examining the various traditions of interpretation which may have influenced Ingold.
42
Marabayeva, A., and G. Saitova. "CONNECTION BETWEEN DANCE PLASTICS AND RELIGION." ASJ 1, no. 47 (April 15, 2021): 4–8. http://dx.doi.org/10.31618/asj.2707-9864.2021.1.47.82.
Full textAbstract:
The article examines the connection between dance plastics and religion, their influence and manifestation in people's lives. The authors of the article investigate the synthesis of interpretation of folk dance and religious trends, in the context of dance as a way of manifesting and expressing feelings through plastic, as well as its use in physiotherapy and psychotherapy.
Plastic therapy, as a new form of healing, originating from the time of the existence of mankind, has gained great popularity today.
Revealing the inner potential of a person, working out at a deep spiritual and psycho-emotional level of various blocks of diseases and traumas accumulated during life, in our opinion, is healed through dance plastics. It is generally known that healing with fire, air, water, earth originates from ancient beliefs such as paganism, Tengrism, Zoroastrianism, Buddhism, Vedas and others.
Despite the fact that the interweaving of dance plastics and breathing exercises allows for therapy, integrates new possibilities and techniques in medical practice, the authors of the article consider its application only in the field of non-traditional use techniques, which has gained great popularity in our time.
Dance therapy, being one of the topics of the evoked discourse among professionals and representatives of alternative medicine, mental therapy determined the relevance of this study. Expanding the concept of "plastic therapy", the authors turn to the analysis of each term, reflecting the method of deductive research. The definition of "plastic therapy" means the presence of a plastic and semantic expression of feelings. In this case, the body is an instrument and acts as a conductor of feelings, and movements and plastic play the role of a "meditative" means through which spiritual and physical healing is achieved. Dance, as a form of sacred art, continues to develop, and finds application in new forms and manifestations.
The results of the study provide an opportunity to apply the concept of "plastic therapy" in the theory of choreographic art, as a form of creating an interpretation of dance synthesis and psychotherapy.
43
Putri, Denny Rostyana, and Karyono Karyono. "KREATIVITAS DIDIK BAMBANG WAHYUDI DALAM KARYA TARI ANOMAN CAKIL." Greget: Jurnal Pengetahuan dan Penciptaan Tari 19, no. 1 (July 23, 2020): 15–30. http://dx.doi.org/10.33153/grt.v19i1.3182.
Full textAbstract:
This thesis is titled by the Creativity of Didik Bambang Wahyudi in Anoman Cakil dance to uncover the creativity of Didik Bambang Wahyudi by describing and explaining: (1) The form of Anoman Cakil dance and (2) Didik Bambang Wahyudi’s creativity in the works of Anoman Cakil dance. Both issues were examined using the concept of the show form by Maryono which reveals verbal and non-verbal components. To uncover the creativity of Didik Bambang Wahyudi in the work of Anoman Cakil dance is using the theory of Rhodes cited by Utami Munandar that creativity there are four elements in it, namely person, press, proscess and product. Anoman Cakil dance composed by Didik Bambang Wahyudi told about the battle between two characters that have different character of Anoman and Cakil. Anoman Cakil dance is a dance work born from the interpretation of Didik Bambang Wahyudi. Harmony between the person and the creative process, as well as the ability to implement a story where Anoman essentially never met Cakil, but it is not impossible for Anoman to meet Cakil on a journey.Keywords: creativity, form, Anoman Cakil dance.
44
Lyle, Monique. "The Sober Bacchae: Dance as Phenomenal Limitation in Nietzsche." Dance Research 37, no. 1 (May 2019): 59–76. http://dx.doi.org/10.3366/drs.2019.0253.
Full textAbstract:
This essay seeks to dispel entrenched critical opinion regarding dance across Nietzsche's writings as representative of Dionysian intoxication alone. Taking as its prompt the riposte of Alain Badiou, ‘Nietzsche is miles away from any doctrine of dance as a primitive ecstasy’ and ‘dance is in no way the liberated bodily impulse, the wild energy of the body’, the essay uncovers the ties between dance and Apollo in the Nietzschean theory of art while qualifying dance's relation to Dionysus. Primarily through an analysis of The Dionysiac World View and The Birth of Tragedy, the essay seeks to illuminate enigmatic statements about dance in Nietzsche (‘in dance the greatest strength is only potential, although it is betrayed by the suppleness of movement’ and ‘dance is the preservation of orderly measure’). It does this through an elucidation of the specific function of dance in Nietzsche's interpretation of classical Greece; via an assessment of the difficulties associated with the Nietzschean understanding of the bacchanal; and lastly through an analysis of Nietzsche's characterization of dance as a symbol. The essay culminates in a discussion of dance's ties to Nietzschean life affirmation; here the themes of physico-phenomenal existence, joy and illusion in Nietzsche are surveyed.
45
Oh, sea-Bock. "An Educational Interpretation on the Appreciation of Dance in Elementary Education." Korean Journal of the Elementary Physical Education 26, no. 4 (December 31, 2020): 85–92. http://dx.doi.org/10.26844/ksepe.2021.26.4.85.
Full text
46
Filippidou, Eleni, and Maria Koutsouba. "Dance and Socio-Cybernetics: The Dance event of “K’na” As A Shaping Component of The Cultural Identity Amongst the Arvanites of Neo Cheimonio Evros, Greece." Journal of Ethnic and Cultural Studies 7, no. 2 (June 23, 2020): 30. http://dx.doi.org/10.29333/ejecs/342.
Full textAbstract:
The research field of this paper is the wedding dance event of “K’na”, as this takes place by the Arvanites of Greek Thrace, an ethnic group moved to the area from Turkish Thrace in 1923. The aim of this paper is to investigate whether the three components of dance, music and song of Greek traditional dance, as these reflected in the “K’na” dance event amongst the Arvanites ethnic group of Neo Cheimonio (Evros), are related to issues of ethno-cultural identity under the lens of socio-cybernetics. Data was gathered through ethnographic method as this is applied to the study of dance, while its interpretation was based on socio-cybernetics according to Burke’s identity control theory. From the data analysis, it is showed that through the “K’na” dance event the Thracian Arvanites of Neo Cheimonio shape and reshape their ethno-cultural identity as a reaction to the input they receive from their environment. Therefore, the “construction” of their identity, as a constant process of self-regulation and internal control, is subjected to the conditions of a cybernetic process.
47
Rahmanda, Feby Try, Darmawati Darmawati, and Indrayuda Indrayuda. "PERKEMBANGAN TARI TANDUAK TRADISI KE TARI TANDUAK KREASI PADA SANGGAR PUTI JUNJUNG KENAGARIAN SIJUNJUNG KECAMATAN SIJUNJUNG KABUPATEN SIJUNJUNG." Jurnal Sendratasik 8, no. 3 (March 1, 2019): 81. http://dx.doi.org/10.24036/jsu.v7i3.103458.
Full textAbstract:
AbstractThe research aimed to express, describe and analyze the development of The Development of Tanduak Traditional Dance to Tanduak Creation Dance at Puti Junjung Studio, Sijunjung District, Sijunjung Regency. The type of this research was qualitative research with descriptive analysis method. The object of this research was Tanduak Dance from Latang Village, Lubuak Tarok District, Sijunjung Regency. The types of data in this study were primary and secondary data. The main instrument was the researcher herself. Data collection techniques were carried out by means of literature review, observation, interviews, and documentation. The data collected were analyzed by interpretation techniques so that the truth could be obtained. The results showed that tanduak traditional dance had developed into tanduak dance that had been created. This could be seen through the processing of motion, clothing, music, configuration, time and place of performances and aspects of dancers packed in a new form in Sijunjung. Then, a guidance and training were delivered by Puti Junjung Studio. In addition, it could be a place for young people in order to maintain the cultual heritage and the identity of the village.Keywords: Development, Tanduak Traditional Dance, Tanduak Dance
48
Supriyanti, Supriyanti, and D. Suharto. "Penciptaan Tari Manggala Kridha sebagai Media Pembentukan Karakter bagi Anak." Journal of Urban Society's Arts 2, no. 1 (April 1, 2015): 18–24. http://dx.doi.org/10.24821/jousa.v2i1.1266.
Full textAbstract:
enciptaan tari anak ini didasarkan dari rasa keprihatinan ketika melihat prosespembelajaran tari anak dengan materi ajar kurang sesuai dengan dunia bermain anakanak.Berbagaikasus privattari anak atau lomba tari tingkat prasekolah dasar seringdijumpaipenggunaan materi tari orang remaja.Keberadaanekspresiseni pentingbagipembentukan karakter sejak dini, sehingga anak mampu mengembangkan idekreatifdan inovatifyang bersifat kritis dan produktif.Esensi pendidikan menarimenyangkutaspek kognitif,afektif,dan psikomotorik. Formatkoreografianaktentuharusmempertimbangkantingkat usia, terutamatingkat kematangan emosidanketerampilannya agar tari itu mampu membentuk kualitas kepribadiananak.Prosespenciptaan TariManggalaKridha dengan tema memfokuskan pada figurprajuritsebagai orang yang memiliki keberanian dan kepatuhan dalam menjalankantugasnegara sehingga ketika mati dalam pertempurania menjadi seorang pahlawan.Idegarapan TariManggalaKridha diilhami dari sosok keberanian dan kepatuhanseorangprajurit pembela bangsa dan negara.Secarasimbolis, gerak-gerak yangdisusunsebenarnya merupakandialog gerak sepertisikap dan gerak langkah tegap, menyerang,gerak menangkis, gerak menghindar.Musiktari dalam komposisi tariini bersumber pada karawitan tradisi gaya Yogyakartayang dikembangkan menurut kebutuhangarapan tari dengan berbagai macam interpretasigarap permainan.Tarian inidapat ditarikan oleh pria maupun wanita. Penariberjumlah ganjil 11 - 15 orangataukelompok terdiridari anak-anak usia 4-6 tahun, yaitu usia anak yang hidupdalamdunia bermain.The Dance Creation of Manggala Kridha as the Revealing Media of the Character Building for Children. The research on the creation of children dance is based on a big concern while seeing the learning process of children dances with inappropriate teaching materials in accordance to the realm of children’s play. A variety cases of found in children dance private course or dance competitions in the pre-elementary school level is commonly found for which the purpose of dance materials is addressed to teenagers. Therefore, the presence of the art expression is necessary for building the character since childhood, so children can develop their creative and innovative idea critically and productively. The essence of dance education involves the aspects of cognitive, affective, and psychomotorics. The format of children choreography should obviously consider the age level of participants, particularly the level of emotional and skill maturity so that the dance itself can build the quality of children’s personality. The creation process of Manggala Kridha dance with its theme mainly focuses on the soldier figure as person which has bravery and compliance in doing the nation task, so as he died in the battle he becomes a hero. The creation idea of Manggala Kridha dance is mainly inspired by a braving and compliance figure. Symbolically, the created movements are basically as movement dialogues like the firm attitude and sturdy steps, attaching, parrying, and eschewing. The source of dance music for the children dance composition of “Manggala Kridha” is the traditional gamelan of Yogyakarta which is developed based on the needs of dance composition with sort of its interpretation. This dance can be performed either by man or woman. Particularly, the dancers might be odd numbers, more or less around 11-15 dancers or groups consisting of a 4 to 6-year old children, who are still in the realm of children’s play.
49
Rafika Sari, Tri, and Herlinda Mansyur. "KOREOGRAFI TARI PIRING HOYAK BADARAI DI SANGGAR SARAI SARUMPUN DI KOTA PADANG." Jurnal Sendratasik 9, no. 2 (September 25, 2020): 10. http://dx.doi.org/10.24036/jsu.v9i1.109503.
Full textAbstract:
This study aims to describe and explain the choreography of Piring Hoyak Badarai dance at Sarai Sarumpun Studio in Padang city. This is a qualitative research using descriptive method. The object of research was the Piring Hoyak Badarai dance. The instrument in this study was the researcher it self and was assisted by a voice recorder and several videos, a cell phone camera, and writing instruments. The data used were primary and secondary data. The data were got through collecting data, selecting important data, compiling data selected, and analyzing data using interpretation technique with careful consideration. The results of this study indicate that Piring Hoyak Badarai dance is a creative dance originating from a traditional pattern movement which is developed into a creative dance shown as entertainment. In addition, this dance emerges from choreographed ideas, but it considers the norms and rules existing in the society. For instance, female dancers do not dance male dance movements because there are ethics in moving as well as ethics in dressing. The Piring Hoyak Badarai dance functions as an entertainment and develops the artistic potential of choreographers. The Piring Hoyak Badarai dance with a theme manifested from traditional materials whose atmosphere is joyful has 33 kinds of movements and 5 dancers. The body lines contained in the Piring Hoyak Badarai dance are dominant to straight lines, the level is medium, the time is medium and fast, the upper design is angular,the floor pattern is straight and curved lines, andit is in the form of group dance developed by using dance composition knowledge by its choreographers.Keywords: Choreography, Piring Hoyak Badarai Dance, Sarai Sarumpun Studio
50
Asmara, Rangga, and Widya Ratna Kusumaningrum. "An Early Childhood Sex Education Model: Deconstructing Symbolic Meanings of Sintren Dance based on Gender Perspectives." SALASIKA: Indonesian Journal of Gender, Women, Child, and Social Inclusion's Studies 2, no. 1 (January 31, 2019): 39–60. http://dx.doi.org/10.36625/sj.v2i1.36.
Full textAbstract:
This study aims to: (1) describe symbols of Sintren dance based on gender perspectives and (2) develop an early childhood sex education model by deconstructing the symbolic meanings of Sintren dance texts based on gender perspectives. This research used two research-designs i.e. semiotic analysis and design based research. Semiotics analysis used is the Derrida’s deconstruction model. The analysed data were from the text of Sintren dance performance of Paguyuban Sintren Sekar Arum Glandang Village, Bantarbolang Sub district, Pemalang Regency. The methods used for gathering the data were observation techniques, documentation studies, and in-depth interviews. The method for analysing the data referred to the Derrida’s deconstruction analysis model, including (1) the interpretation of presence-absence and its difference by unboxing the existing interpretation, (2) the interpretation of trace which refers to the sense of the origin of reality, and (3) reproduction or recreation. Meanwhile, the design-based research procedure was adapted from the Reeves’ model, covered: identifying needs and its potencies from deconstruction process, developing a prototype model, validating the model in the form of expert validation, testing the model, and reflection. The model was constructed to emphasize on the kids’ awareness of their conditions, care, and protection from any sexual harassment. The materials were validated and scored “good” to be used, predominantly it concerns about cognitive, affective, and psychomotor aspects.