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Journal articles on the topic 'Dance music culture'

Author: Grafiati

Published: 10 December 2022

Last updated: 31 July 2025

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1

Carroll, Sam. "Hepfidelity: Digital Technology and Music in Contemporary Australian Swing Dance Culture." Media International Australia 123, no. 1 (2007): 138–49. http://dx.doi.org/10.1177/1329878x0712300113.

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Since its revival in the 1980s, Lindy hop along with other swing dances has become increasingly popular with middle class youth throughout the developed world. Social dancing plays a central part in local swing dance communities, and DJing recorded music has become an essential part of social dancing. Marked by class and gender, DJing in swing dance communities is also shaped by digital technology, from the CDs, computers and portable media devices which DJs use to play digital musical files to the discussion boards and websites where they research and discuss DJing and the online music stores

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Shahnaz Akhtar and Nuzhat Farooq. "Folk Dance and Music of Rajasthan: A Study of their Role in Fairs and Festivals." Social Science Journal for Advanced Research 3, no. 4 (2023): 59–64. http://dx.doi.org/10.54741/ssjar.3.4.9.

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Rajasthan, a state with a thriving cultural scene in India, is home to a diverse range of traditional folk dance performances and folk music that have greatly influenced the growth of the local culture. Through thoroughly examining various folk dance and music, their historical roots, and their contemporary relevance, this study sheds light on how these folk dances and music contribute to preserving Rajasthan's legacy and their significance in fairs and festivals. The main goal of this study is to examine the mutually beneficial interaction between Rajasthan's traditional performances—such as

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Liu, Chang. "Contemporary Inheritance and Interpretation of Silk Road Music and Dance Culture in the Tang Dynasty." Scientific Journal Of Humanities and Social Sciences 6, no. 11 (2024): 73–80. http://dx.doi.org/10.54691/15z5g409.

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The Tang Dynasty was a glorious period in the development of ancient Chinese music and dance, and also the most developed stage of the Silk Road. The strength of the country and the stability of the political situation provided a relatively peaceful space for the development of music and dance art in the Tang Dynasty, and also created conditions for the exchange of music and dance between the Central Plains and the Western Regions. Tang Dynasty Silk Road music and dance exchanges have great significance and value in history, and have profound reference significance in today's context of freque

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Smilkova, Smilena. "DANCE – THE WORLD’S FAVORITE METAPHOR." Education and Technologies Journal 15, no. 1 (2024): 152–55. http://dx.doi.org/10.26883/2010.241.5953.

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Dance is an art whose artistic expression is related to the movements and positions of the human body. Communication in dance (both between partners and between them and the audience) is non-verbal. In order for the message of the dance and its performers to be convincing, emotional and sensual, the art of dance is inextricably linked to music. Musical literature is extremely rich in examples of ancient and modern dances. It could be successfully used in kindergarten music situations and in elementary school music classes. The perception of instrumental dance works from the musical treasury ha

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Martynova, D. O. "Reception of the Ragtime and the Grizzly Bear Dance in the Art of the Early 20th Century." Art & Culture Studies, no. 4 (December 2023): 366–89. http://dx.doi.org/10.51678/2226-0072-2023-4-366-389.

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In this article, the author analyses the reception of the grizzly bear dance in the visual culture of the early 20th century. Such a study is relevant in the Russian discourse, since in recent years, there have been separate works on the reception of dance and music cultures in visual culture. In the grizzly bear dance, several characteristic trends of the early 20th century of the USA and Europe merged: fascination with the primitive, a desire to control moral behaviour, and the interpenetration of various cultural strategies of different countries. In this regard, it is important to analyse

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Yonglin, He. "The carrier and connotation of dance culture of Southwest China’s minority nationalities." OOO "Zhurnal "Voprosy Istorii" 2023, no. 6-1 (2023): 228–35. http://dx.doi.org/10.31166/voprosyistorii202306statyi12.

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The Southwest region of China is the habitat for many ethnic minorities, and the music and dance in various ethnic dances are also very rich. This article mainly analyzes the dance culture of Southwest ethnic minorities, and studies the artistic characteristics and unique historical and cultural connotations contained therein.

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Ayobade, Dotun. "Invented Dances, Or, How Nigerian Musicians Sculpt the Body Politic." Dance Research Journal 53, no. 1 (2021): 5–22. http://dx.doi.org/10.1017/s0149767721000048.

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AbstractPopular dances encapsulate the aliveness of Africa's young. Radiating an Africanist aesthetic of the cool, these moves enflesh popular music, saturating mass media platforms and everyday spaces with imageries of joyful transcendence. This essay understands scriptive dance fads as textual and choreographic calls for public embodiment. I explore how three Nigerian musicians, and their dances, have wielded scriptive prompts to elicit specific moved responses from dispersed, heterogenous, and transnational publics. Dance fads of this kind productively complicate musicological approaches th

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HÎRȚESCU, Diana Petronela, and Nicolae SILISTRARU. "Formation of children’s ethnoartistic culture in the perspective of popular music and dance." Univers Pedagogic 86, no. 2 (2025): 75–80. https://doi.org/10.52387/1811-5470.2025.2.10.

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The text analyzes the formation of children’s ethno-artistic culture from the perspective of folk music and dance, highlighting their fundamental role in preserving cultural identity and transmitting traditional values. The study explores the diversity of Romanian folk dances, the geographical and historical influences on choreographic styles and the impact of music on the dynamics and expressiveness of movements. The rhythmic structure, tempo and instrumental accompaniment are also analyzed, as well as the importance of shouts as essential elements of the folk performance. These perspectives

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Yanng, Jiseon. "A Study on Gyobang Dance and Music in Honam Area of the Joseon Dynasty." Korean Society of Culture and Convergence 44, no. 7 (2022): 373–86. http://dx.doi.org/10.33645/cnc.2022.7.44.7.373.

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The purpose of this study is to study Gyobang dance and music in Honam region during the Joseon Dynasty. Except for Jeju Island, there were six Gyobangs in the Honam region: Namwon, Jeonju, Gwangju, Sunchang, Muju, and Suncheon. The dances that had been passed down to Gyobang in the Honam region are 11 events such as Jengmu, Pogorak, Seonyurak, Geommu, Heonbando, Cheoyongmu, Seungmu, Geommu, Hakdance, Abakmu, and Mudong. Kyobang’s music was handed down 19 songs. The characteristics of Gyobang dance in Honam region are, first, Gyobang dance contains human joy and anger and contains an unr

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Bondarenko, Andrii. "Electronic Dance Music in Ukrainian Musical Culture." Bulletin of KNUKiM. Series in Arts, no. 43 (December 22, 2020): 60–66. https://doi.org/10.31866/2410-1176.43.2020.220071.

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The purpose of the work is to analyse the features of electronic dance music (EDM) in the cultural space of Ukraine in the late 2000s and early 2010s based on the study of online publications on electronic dance music, review the most important events in EDM culture and provide an interpretation of the most relevant musical trends over the past two decades. The research methodology includes descriptive and interpretive approaches, statistical analysis, synthesis and generalization of the collected information to complete the scientific understanding of the electronic dance music existence in U

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Aterianus-Owanga, Alice. "Dancing an Open Africanity: Playing with “Tradition” and Identity in the Spreading of Sabar in Europe." Open Cultural Studies 3, no. 1 (2019): 347–61. http://dx.doi.org/10.1515/culture-2019-0030.

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Abstract This paper describes one of the constructions of African identity that occur through the spreading of sabar in European cities. Basing on a multi-sited fieldwork between Dakar, France and Switzerland, this paper traces the local roots and transnational routes of this Senegalese dance and music performance and presents the “transnational social field” (Levitt and Glick-Schiller) that sabar musicians and dancers have created in Europe. It analyses the representations of Africanity, Senegality and Blackness that are shared in Sabar dances classes, and describes how diasporic artists cont

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Izim, T. O. "THE ROLE OF KUI WORKS IN THE DEVELOPMENT OF KAZAKH DANCE CULTURE." ARTS ACADEMY 1, no. 9 (2024): 40–50. https://doi.org/10.56032/2523-4684.2024.1.9.40.

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The article examines the nature of Kazakh folk dance, its artistic and aesthetic appearance in continuity with the art of instrumental music. It is emphasized that today, in the implementation of scenic Kazakh dance, a special place is occupied by kuis of folk composers, who play a significant role in the development of dance art. The scenic example of Kazakh dance, which began with the first professional dancers, has gained its place in the work of several generations of choreographers. Dances of national color, which began in the 50s of the twentieth century, are now included in the "golden

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Zhou, Yiqiong. "Tradition and Modernization of Thai Music and Dance Art." Education Reform and Development 6, no. 4 (2024): 1–5. http://dx.doi.org/10.26689/erd.v6i4.6904.

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Thailand, as one of the important representatives of Southeast Asian culture, has a long history of music and dance art. It integrates various cultural elements such as Thai, Chinese, and Indian, forming a unique and diverse artistic style. With the development of society and the exchange of culture, Thai music and dance constantly evolve between tradition and modernity, showing rich artistic charm. This paper aims to explore the significance of Thai music and dance in cultural inheritance, artistic innovation, and international exchange through the study of Thai music and dance.

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Diyora, Bharat Tulashibhai. "Music and Dance Culture in the City of Vadodara in the Nineteenth and Twentieth Centuries." Scholars Journal of Arts, Humanities and Social Sciences 9, no. 7 (2021): 310–14. http://dx.doi.org/10.36347/sjahss.2021.v09i07.002.

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The arts of dance and music are of great importance to the culture of India. Classical Indian dances and music are among the most graceful and beautiful in the world. The Maharaja Sayajirao Gaekwad as a head of state led to making Baroda a city representative of art, which is at once indigenous and modern. Expert artists from across the Indian Subcontinent were invited to perform as well as to extend the knowledge of music to the people of Vadodara. Artists were often encouraged with awards and rewards for their performances on various occasions. Maharaja Sayajirao wanted to disseminate the tr

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Dordzhieva, G. A. "Crane tunes and dances in Kalmyk traditional culture." Languages and Folklore of Indigenous Peoples of Siberia, no. 38 (2019): 33–44. http://dx.doi.org/10.25205/2312-6337-2019-2-33-44.

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The article is devoted to the documentation of music-related phenomena of the Togrun Bi (Crane dance of Kalmyks). The traditional music of Kalmyks is deeply rooted in the culture of Oirad. The new geographical and ethnic environment changed and transformed it. The most obvious shift took place in the dances and musical instruments (their organology, performing style, and tunes). At the same time, on this outskirt of the Mongolian world, some unique forms and genres have been preserved. The sources of the present research are field materials collected by author in late 1990 th in Kalmykia: non-

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Aymamí Reñé, Eva. "Kissing the Cactus: Dancing Gender and Politics in Spain." Congress on Research in Dance Conference Proceedings 2012 (2012): 124–31. http://dx.doi.org/10.1017/cor.2012.16.

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In Bésame el Cactus (2004), Sol Picó, modern dancer and choreographer, simultaneously performs flamenco music and dance. Using her body, her shoes, castanets, and hands, she is integrating flamenco—as a cultural symbol of Spain—into a contemporary performance. In a Spain impacted by Franco's dictatorship (1939–1975), the peculiar ambiguous choice of using flamenco in a modern performance raises questions about the construction of national and gender identity, both during the dictatorship and now. Franco's regime promoted a centralized nationalism, and imposed it on the other cultures that were

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Nwamara, Alvan-Ikoku O., and Hope Nkechi Okpala. "The Socio-Cultural Implications of Odezuruigbo Cultural Dance Music in Awka, Awka South Local Government Area of Anambra State." AFRREV IJAH: An International Journal of Arts and Humanities 9, no. 1 (2020): 44–57. http://dx.doi.org/10.4314/ijah.v9i1.5.

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Music is an integral part of everyday life in Awka traditional community. It is a very important aspect of their culture. Music accompanies every socio-cultural activity of the people. Consequently, there are varieties of musical types practiced by various categories of people in Awka. This paper is concerned with activities of Odezuruigbo Cultural Dance Music, an outstanding women music group in Awka. It discussed amongst other things the organization and the socio-cultural implications of odezuruigbo cultural dance music. Data for this study were drawn from fieldwork, oral interview and revi

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Poppy Elisano Arfanda, Ians Aprilo, Arimbi Arimbi, Nurliani Nurliani, and Wahyana Mujari Wahid. "SOCIALIZATION OF AEROBIC EXERCISE BASED ON CULTURE IN SOUTH SULAWESI." J-ABDI: Jurnal Pengabdian kepada Masyarakat 3, no. 6 (2023): 1311–16. http://dx.doi.org/10.53625/jabdi.v3i6.6827.

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The socialization of aerobic dance based on South Sulawesi culture was raised because of the increasing dependence of humans on technology so that physical activity is reduced. This community service activity focuses on encouraging physical activity, especially sports, in this case aerobic dance based on South Sulawesi culture. This service activity aims to provide sports references to teenagers aged 17-25 years. The form of South Sulawesi culture that is carried out in aerobic dance is in the form of several movements and music adopted from dances in South Sulawesi. Before and after implement

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Valasi, Loukia. "THE GREEK KAI BALKAN TRADITION FOCUSING ON THE DUPLE RHYTHMIC FORMATIONS OF “HORA” AND “MAKELARIKO” (KNOWN AS “HASAPOSERVIKO”)." KNOWLEDGE - International Journal 55, no. 5 (2022): 917–22. http://dx.doi.org/10.35120/kij5505917l.

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One of the benefits of the folklore revival is the enrichment of information about the folk instruments andthe and dances of the Greek tradition and their evolution both morphologically and musically. Many times, thedefinition of the Greek tradition divided intellectual people who tried to detect the basic characteristics thatdifferentiate the Neo-Greek culture from the cultures of other peoples. Moreover, traditional dances are part of thespirit of observance, as one of its main means of expression..In this particular study, the aim is to demonstrate thecharacteristics of the Greek tradition

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Kong, Xin. "Regional Musical Cultural Characteristics of Chinese Piano Music Writing ---- Taking "Spring Dance" for Example." Journal of Education, Humanities and Social Sciences 42 (December 12, 2024): 615–20. https://doi.org/10.54097/nnj6yh19.

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With the continuous improvement of piano music writing techniques and the intersection and integration of regional cultures, more and more piano works with regional ethnic characteristics have emerged. Studying the regional cultural characteristics behind these works has become an important research direction. At present, most of the research directions in the study of Chinese piano music works, such as "Spring Dance", focus on music creation style and performance techniques, and there are few literatures focusing on regional culture. Therefore, this article mainly focuses on the regional musi

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Tang, Jing, and Phiphat Sornyai. "The Cultural Treasures of Baima Tibetan Folk Songs in Gansu Province, China, as a Resource for Literacy Education in Chinese Music History." International Journal of Education and Literacy Studies 11, no. 3 (2023): 234–43. http://dx.doi.org/10.7575/aiac.ijels.v.11n.3p.234.

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Baima Tibetan folk songs are an integral part of the Baima Tibetan music culture. They are performed in diverse styles, including solo, duet, lead singing, round singing, and chorus. The objective of the study was to explore the significance of Baima Tibetan folk songs as a resource for literacy education in Chinese music history. By engaging with key informants divided into three groups - scholar informants, casual informants, and general informants. The result of this study reveals that ritual music holds deep roots in religious beliefs and is performed during sacrificial ceremonies, marriag

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Georgios, Lykesas. "The Transformation of Traditional Dance from Its First to Its Second Existence: The Effectiveness of Music - Movement Education and Creative Dance in the Preservation of Our Cultural Heritage." Journal of Education and Training Studies 6, no. 1 (2017): 104. http://dx.doi.org/10.11114/jets.v6i1.2879.

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Being an indispensable part of our folk tradition, the traditional dance bears elements of our cultural tradition and heritage and passes them down from generation to generation. Therefore, it contributes substantially to the reinforcement of our cultural identity and plays a crucial role in the "cultural development" of our society.Our culture is going through a constant process of mutation. Some traditional elements get lost, while others resist and survive or get transformed and readjust to new emerging circumstances.The aim of the present study is to investigate the learning process of Mus

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Perdana, Parrisca Indra, Nova Estu Harsiwi, and Evi Pebri Ila Rachma. "WORKSHOP TARI KHAS PAMEKASAN SEBAGAI PENGUATAN SUMBER BELAJAR LOCAL WISDOM DI SEKOLAH DASAR." Jurnal Interaktif: Warta Pengabdian Pendidikan 3, no. 2 (2023): 149–54. http://dx.doi.org/10.29303/interaktif.v3i2.113.

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The low level of knowledge and skills of teachers regarding Pamekasan music and dance arts can have an impact on the lack of implementation of local culture in learning at school. In fact, the use of local Madurese culture in art learning can reconstruct a unique Madurese identity. Therefore, there is a need for training and assistance in traditional arts culture for teachers to have knowledge and skills of local Madurese culture in the traditional arts of music and dance. This training and mentoring activity is carried out in 3 steps, namely ToT (Training of Trainer) activities, Workshop Acti

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Wickström, David-Emil. "“Drive-Ethno-Dance” and “Hutzul Punk“: Ukrainian-Associated Popular Music and (GEO)Politics in a Post-Soviet Context." Yearbook for Traditional Music 40 (2008): 60–88. http://dx.doi.org/10.1017/s0740155800012108.

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The style [of Ruslana's song “Wild Dances“] can be called “drive-ethno-dance,” a combination of ethnic sounds of the mountain people of the Hutsuls with modern rock, pop and dance elements. (Ruslana n.d.a)Ruslana's winning performance of “Dyki Tantsi” (Wild Dances) at the Eurovision Song Contest 2004 opened with trembity (plural; sing. trembita), alpine horns linked to, inter alia, the Hutsuls (a Ukrainian ethnic minority). However, trembity are not only used by Ruslana, but also incorporated into songs by other Ukrainian groups like Mad Heads XL's “Smereka” (2005) and Haydamaky's “Tini zabuty

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Muda, Iskandar, Uyuni Widiastuti, and Suharyanto. "Assification of Interactive Multimedia-Based Teaching Materials in Class VIII Culture Arts." Britain International of Linguistics Arts and Education (BIoLAE) Journal 4, no. 2 (2022): 123–37. http://dx.doi.org/10.33258/biolae.v4i2.708.

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The title of the research is Asification of Interactive Multimedia-Based Teaching Materials in Class VIII Arts and Culture Subjects. The background of this research is that there is no material available for Class VIII Cultural Arts subjects (especially music and dance materials) that use interactive multimedia. The objectives of the research were: to compile teaching materials for the art of music and dance based on interactive multimedia in the Class VIII Cultural Arts learning in the form of a Book Creator. The target achieved in this research is to produce interactive multimedia teaching m

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Ni, GangQiu. "ON THE RELATIONSHIP BETWEEN DUNHUANG MURALS AND STAGE SCENERY IN MUSIC ART." Scientific heritage, no. 123 (October 23, 2023): 8–11. https://doi.org/10.5281/zenodo.10032904.

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The dance, music, and painting forms of different periods in Dunhuang murals are subtly related to the Xinjiang region. The author mainly takes the perspective of music culture as the entry point, and explores the pipa instruments and Hu Xuan dance that often appear in Dunhuang murals as bridges between Xinjiang and Dunhuang murals, in order to better promote China's traditional culture, The widespread dissemination of the unique ethnic music culture in Xinjiang is also the result we hope to see.

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Salsabila Muntaz, Rafidola Mareta Riesa, and Sepri Neswardi. "Investigation of ambek-ambek nagari koto gadang koto anau dance art to improve cultural tourism attraction." Entrepreneurship and Small Business Research 1, no. 2 (2022): 67–78. http://dx.doi.org/10.55980/esber.v1i2.40.

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Minangkabau Tribe in West Sumatra hasone cultural problem, namely the traditional art of Ambek-Ambek Dance. This study aims to find out whether the art of Ambek-Ambek Nagari Koto Gadang - Koto Anau Dance can be used as a cultural tourism attraction in Solok Regency. The research method used is descriptive qualitative using the theory of tourist attraction. Data collection is carried out by observation, interview, and documentation methods. The results of this study show that Ambek-Ambek Dance meets the criteria of good tourist attraction; 1) uniqueness, ambek-ambek dance has a distinctive uniq

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Fatrina, Novina Yeni, and Yan Stevenson. "Perubahan Dan Keberlanjutan Tari Balanse Madam Di Lingkungan Masyarakat Nias Padang." Mudra Jurnal Seni Budaya 33, no. 1 (2018): 93. http://dx.doi.org/10.31091/mudra.v33i1.318.

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Tulisan berjudul “Perubahan dan Keberlanjutan Tari Balanse Madam di Lingkungan Masyarakat Nias Padang“ bertujuan untuk mengungkapkan perubahan tari Balanse Madam serta menganalisis keberlanjutannya. Tari Balanse Madam merupakan tarian kelompok yang terdiri dari pasangan penari laki-laki dan perempuan yang sudah menikah. Penampilannya diiringi secara live dengan alat musik barat seperti biola, gitar, tamburin, akordeon, dan set drum. Namun setelah banyak para pelaku seninya yang meninggal dunia, sehingga tari Balanse Madam mengalami perubahan. Perubahan terjadi pada penarinya, tidak harus orang

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Chakravarty, Devpriya. "Popular Musics of India: An Ethnomusicological Review." Journal of Ethnic and Cultural Studies 6, no. 3 (2019): 111. http://dx.doi.org/10.29333/ejecs/267.

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This article brings into discussion the presence of a contemporary popular music culture amongst globalised, urban, Indian youth which is perpetuated by Electronic Dance Music (EDM) festivals. This paper begins with the argument as to how there is no one monolithic popular music scene in India by presenting a historical analysis of a timeline for popular musics of India, a scene that has received scanty scholarly attention.

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Wu, Chunyang, Muhammad Fauzan Abu Bakar, and Boo Ho Voon. "Aesthetics of Hui Folk Dance as Audience Service to Leverage Audience Satisfaction." International Journal of Service Management and Sustainability 7, no. 1 (2022): 125. http://dx.doi.org/10.24191/ijsms.v7i1.17783.

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Hui folk dance has its unique charm as an indispensable part of Chinese folk dance. It reflects the customs and cultural characteristics of the Hui nationality. This article explores the historical formation of Hui folk dance, analyses its formation process in different periods of history, analyses the culture, the body vocabulary of the folk dance, the music, the rhythm of the dance, the influence on the folk dance, and the expression of aesthetic consciousness. Folk dances of the Hui nationality originate from the folk, and they also show their unique living habits, combining dance with the

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Kertesz, Elizabeth. "John Whiteoak. 'Take me to Spain': Australian Imaginings of Spain Through Music and Dance." Context, no. 47 (January 31, 2022): 79–83. http://dx.doi.org/10.46580/cx82573.

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Writing in the late 1920s, J.B. Trend proclaimed that ‘Spain, as we know it today, seems to be pre-eminently a country of the dance, and no interpreter of Spanish music can make us feel its full beauty or vitality unless he feel those vital dance-rhythms within himself.’ This connection between Spain, dance, and the rhythms of its music has long characterised perceptions of Spanish culture, fostering the enduring popularity of Spanish-styled entertainments. In ‘Take me to Spain’: Australian Imaginings of Spain through Music and Dance, John Whiteoak traces this phenomenon through Australian his

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EKPO, Omotolani Ebenezer. "The Eurhythmics of Swange Dance of the Tiv People of Central Nigeria." Journal of Advance Research in Social Science and Humanities (ISSN: 2208-2387) 7, no. 12 (2021): 01–09. http://dx.doi.org/10.53555/nnssh.v7i12.1127.

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Eurhythmics in Dalcroze study is defined as the engagement of human body in rhythmic movement and active listening. Jaques-Dalcroze’s involvement of Eurhythmics in music pedagogy is aimed at securing steady position for the body and mind as well as a calculated and unconstrained expression of rhythm. African indigenous music and dance is predominantly functional with intensive assignation of the body and soul of the participants to satisfy the rhythmic drum patterns provided by the musicians. The teaching of music in traditional African settings may be generally informal, yet deliberate. The t

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Đorđevic, Nenad, and Slavoljub Uzunović. "Niševljanka as a small town originated urban folk dance." Fizicko vaspitanje i sport kroz vekove 9, no. 1 (2022): 117–34. http://dx.doi.org/10.5937/spes2201120d.

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The subject of this paper are city (small town) folk dances in a broader sense and Niševljanka folk dance as a town game in a narrower sense. The aim of the paper was to describe Niševljanka as a town folk dance. The basic task is to write down the music, rhythm and technique of the dance. In the available literature dealing with the systematization and division of folk dances, city folk dances are nowhere to be found as a special type of dance. Maybe rightly so, since they can be traced back to the traditional, original dances. However, given the conditions and time of the origin of these dan

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Loji, A. C. "Let’s dance: Diversified depictions of queerness in ensemble dance music videos." Queer Studies in Media & Popular Culture 6, no. 1 (2021): 35–54. http://dx.doi.org/10.1386/qsmpc_00043_1.

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As delineations of queer and LGBT culture continue to be complicated in academic and community settings, queer musicians are pushing the boundaries of their own gestural expression within their music videos and utilizing the medium of dance to further broaden their self-definitions. Using choreographed group dance, a common convention in mainstream music videos, Sam Smith, Janelle Monáe and Christine and the Queens (and their production teams) make particular creative choices that allow them to expand expressions of identity and solidarity within both the queer community and society at large.

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Ramesh, S. "Management Moves to a Different Beat: Bridging Commerce with Music and Dance." Journal of Humanities,Music and Dance, no. 22 (March 2, 2022): 19–22. http://dx.doi.org/10.55529/jhmd.22.19.22.

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Management Moves to a Different Beat: Bridging Commerce with Music and Dance" explores the transformative potential of integrating music and dance into traditional management practices. The article delves into the vibrant worlds of music and dance, showcasing how businesses can unlock creativity, inspire leadership, and reshape corporate culture. Through real-world examples and case studies, it highlights the strategic use of music and dance as tools for innovation, team building, and the development of a harmonious organizational environment. This exploration goes beyond conventional manageme

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Na, Risu, and La Gan Chai. "The influence of the history of folk music development on Russian and Chinese folk dances." PHILHARMONICA. International Music Journal, no. 4 (April 2021): 34–53. http://dx.doi.org/10.7256/2453-613x.2021.4.36351.

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The authors consider and analyze the peculiarities of means of dance and plastic expression: pantomime, gestures, choreographic lexics, choreographic pattern, rhythmics, remarks and exclamations. The idea of a combination of a choreographic image and music of Russian and Chinese dances, declared by the authors, is a multi aspect complicated issue which is of a significant scientific interest. The purpose of the research is to reveal the contents of a folk dance stage adaptation which is conveyed with the help of improved means of expression and is an effective tool for the expression of nation

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Budiman, Kurniawan Agus Fiqih. "Popular Culture And Local Wisdom: A Semiotic Analysis of “Lathi” and “Wonderland Indonesia” Songs." Interference: Journal of Language, Literature, and Linguistics 5, no. 2 (2024): 146. https://doi.org/10.26858/interference.v5i2.63879.

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Abstract. Music, as the name suggests, is a cultural product that intersects with human creativity in the realm of entertainment industry. As popular culture and local wisdom collide, music can better portray a particular indigenous society’s characteristics due to the amalgamation of current trends and sacred local values. This study aims to examine the songs of “Lathi” and “Wonderland Indonesia,” interpreting the implicit meanings of any semiotic symbols they contain. The data were obtained from the songs’ music videos published on their official YouTube channels and credible journal article

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Wawire, Carol Rael. "Authentic Benefits of Packaging Traditional Dances as a Tourism Attraction in Tanzania." International Journal of Social and Development Concerns 18, Post COVID-19 Recovery and Sustainable Development (2023): 138–46. https://doi.org/10.5281/zenodo.10263867.

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<i>In the modern society tourism has gained popularity as a tool for socio economic development of the local community. Local community members have become innovative in packaging their cultural elements such as folk dances. The gaze for dancing creates great opportunities for tourism performers. Dance tourism is discussed as travel for the purpose of learning an important national role as well as enjoying great opportunity among the local community. Dance involves anatomical movements as well as partner interactions and their association to each other and music is art. It explores the communi

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Thomson, Raymond A. "Dance bands and dance halls in Greenock, 1945–55." Popular Music 8, no. 2 (1989): 143–55. http://dx.doi.org/10.1017/s0261143000003330.

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The Americanisation of British popular culture has been the subject of intensive study and debate. Most of this, however, has had a national focus. It is the purpose of this article to examine aspects of a popular culture at a local level in order to discover the extent to which people were, or felt themselves to be, dominated by America. The history of popular culture is the history of the little people, how they passed their time and recreated themselves. Discoveries made here should cast illumination on the more global claims made by social historians.

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Barakayeva, Gavkhar. "Healing processes in Uzbek national traditions." Общество и инновации 3, no. 9/S (2022): 189–92. http://dx.doi.org/10.47689/2181-1415-vol3-iss9/s-pp189-192.

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Uzbekistan is a country with an ancient and distinctive culture. It absorbed all peculiarities of cultures of different regions along the Great Silk Road here. These echoes can be seen in painting, dance, literature and music of this land. The peoples inhabiting Uzbekistan have always cherished the great heritage of their ancestors, trying to pass it on to their descendants, in its turn enriching it. The music of Uzbek people is original and diverse. «Tanavor» is the unique aspect of the Uzbek culture. In the national perception, «Tanavor» has more or less philosophical effect to regional hist

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DEMERS, JOANNA. "Dancing machines: ‘Dance Dance Revolution’, cybernetic dance, and musical taste." Popular Music 25, no. 3 (2006): 401–14. http://dx.doi.org/10.1017/s0261143006001012.

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In ‘Dance Dance Revolution’ (DDR), an arcade and home video game distributed by the Japanese entertainment corporation Konami, players move their feet in specific patterns set to electronic dance music. Only by achieving a high accuracy rate can a player advance from one level to the next. DDR enjoys worldwide popularity among teenagers and young adults, partially due to the marketing of the game's ‘soundtracks’ as separate, purchasable collections of underground techno, house, and drum ‘n’ bass. This article considers the Internet communities of DDR fans and their debates concerning ‘mainstre

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Frankenbach, Chantal. "Dancing to Beethoven in Wilhelmine Germany." Journal of Musicology 34, no. 1 (2017): 71–114. http://dx.doi.org/10.1525/jm.2017.34.01.71.

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Early in 1904 the American modern dancer Isadora Duncan, already notorious for her barefoot “Greek dancing” to concert music not intended for the stage, created a scandal in Germany by presenting a program of dances to Beethoven’s Seventh Symphony. Critics and composers responded in music journals and the daily press with a vigorous denunciation of Duncan’s trespass into the inner circle of German musical culture. What most disturbed Duncan’s critics, however, was the success of her Beethoven program with the public. Concern over Duncan’s hold on German audiences reveals the anxieties of profe

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Yefanova, Svitlana, and Liudmyla Bakalo. "Influence of Western European Choreographic Culture on the Formation of Ballroom Dances in Ukraine (the 19th – Early 20th Century)." Bulletin of KNUKiM. Series in Arts, no. 38 (August 16, 2018): 126–42. https://doi.org/10.31866/2410-1176.38.2018.141757.

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The purpose of the article is to study and analyze the development of ballroom dances in Ukraine from the 19th to early 20th century in the context of the influence of Western European choreographic culture; to consider the preconditions for the emergence and development of ballroom culture in the territory of Ukraine and the performance of dances in accordance with regional features. The research methodology consisted in the principles of objectivity, historicism, multifactorness, systematicity, complexity and pluralism; to fulfill the research purpose, the following methods we

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Sinha, Tanusri. "REFLECTION OF MUSIC & DANCE IN ANCIENT INDIAN INSCRIPTION." International Journal of Research -GRANTHAALAYAH 9, no. 4 (2021): 375–78. http://dx.doi.org/10.29121/granthaalayah.v9.i4.2021.3875.

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The word ‘inscription’ is derived from the Latin word ‘Inscripto’ which means something that is inscribed or engraved. It was engraved on clay (terracotta), stone pillars, copper plates, walls of temples, caves, and on the surface of much other metal and also even palm leaves. Very often we’ve seen it on coins and seals. It consists of important texts or symbols that reveal crucial information and evidence of ancient kings and their empires. Music is the soul of Indian culture. Indian music has an affluent tradition with its root in Vedic time. It is said that Indian music owes its origin to t

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Kalu, Ogbu U. "Holy Praiseco: Negotiating Sacred and Popular Music and Dance in African Pentecostalism." Pneuma 32, no. 1 (2010): 16–40. http://dx.doi.org/10.1163/027209610x12628362887550.

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AbstractIn post-colonial Africa, Pentecostal-Charismatic Christianity has slowly emerged as an influential shaper of culture and identity through its use of music, media, and dance. This article gives an overview of the transitions that have occurred in African politics, identity awareness, and culture, especially as it relates to the indigenous village public and it’s interface with the external Western public, and how the emergent cultural public has become the most influential player in shaping the African moral universe. Pentecostal-Charismatic Christianity has navigated the shift from a m

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Dorf, Samuel N. "Atossa’s Dream Yoking Music and Dance, Antiquity and Modernity in Maurice Emmanuel’s Salamine (1929)." Les Cahiers de la Société québécoise de recherche en musique 13, no. 1-2 (2012): 27–34. http://dx.doi.org/10.7202/1012347ar.

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This essay explores the conflicting trends of tradition and modernism, unity and independence in Parisian musical and dance culture in the late 1920s through an analysis of Maurice Emmanuel’s (1863-1938) aesthetics of contemporary and ancient Greek music and dance. It begins by outlining and critiquing Emmanuel’s relevant scholarly contributions to ancient Greek dance history and music history before demonstrating how these tensions manifested in the 1929 production of Emmanuel’s opera Salamine based on Aeschylus’s The Persians. Exploring Emmanuel’s aesthetics of music and dance (ancient and m

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Elyadi, Marfi Netri, and Sriyadi. "Regional Identity through Dance: Ethnic Symbolism in Piring and Bedhaya Dance Traditions." Asian Research Journal of Arts & Social Sciences 23, no. 7 (2025): 1–11. https://doi.org/10.9734/arjass/2025/v23i7721.

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Aims: This study aims to explore ethnic dance as a cultural product that collectively represents the identity of its originating ethnic community. The study is considered crucial because ethnic dance holds strong relevance in the formation of identity politics. Study Design: This study employs a qualitative method with an ethnochoreological approach, focusing on Piring and Bedhaya dances as collective representations of each ethnic community’s cultural identity. Place and Duration of Study: This study is non-field research that relies on literature study and the researcher’s lived experience a

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Lebaka, Morakeng Edward Kenneth. "Informal Learning of Indigenous Music and Dance Through Observation and Imitation: The Case of Bapedi Children’s Musical Arts." European Journal of Language and Literature 8, no. 1 (2022): 56. http://dx.doi.org/10.26417/658qju31.

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In Greater Sekhukhune District Municipality, Limpopo Province in South Africa, learning indigenous music and dance through observation and imitation seems to be a dominant and prominent practice of situational learning. Bapedi people tend to have their own distinctive music genres and purposes for their social events. Bapedi children’s musical arts reveal much about Bapedi people and their way of life. This paper sets out to discuss the transmission process of indigenous music and dance through observation and imitation; and musico-artistic skills acquired by children with at least a partial d

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Surtihadi, R. M. "Music Acculturation in Rhythm of kapang-kapang Bedhaya and Srimpi Dance in the Keraton of Yogyakarta (A Case Study)." International Journal of Creative and Arts Studies 3, no. 2 (2017): 47. http://dx.doi.org/10.24821/ijcas.v3i2.1844.

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The research’s aim is to notice the music acculturation in the rhythm of female dance of Bedhaya and Srimpi dances in the Kingdom of Yogyakarta on the line-movement on-to the stage or leaving it (kapang-kapang). Besides, the research is going to discuss a West music instrument acculturation phenomenon with Javanese Traditional Gamelan Orchestra on the rhythm of female dance of Bedhaya and Srimpi dances that are still exist nowadays. The case study is focus on the usage of some West music instrument such as drum (percussion section), woodwind (woodwind section), brass-wind (brass-wind section),

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Nemes, Robert. "The Politics of the Dance Floor: Culture and Civil Society in Nineteenth-Century Hungary." Slavic Review 60, no. 4 (2001): 802–23. http://dx.doi.org/10.2307/2697496.

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The nineteenth-century Hungarian dance floor provides an invaluable tool for mapping the contours of both an emerging civil society and the political practices of Hungarian nationalism. During the 1840s, consciously “national” costumes, music, dances, and language became de rigueur in all areas of social life, and especially on die dance floor. Because associations and newspapers linked such cultural practices to opposition politics, these balls allowed a large number of men and women usually excluded from public life to display their patriotism and political allegiances. In this way, the diff

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