Relevant bibliographies by topics / Dance - Popular

Contents

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

Academic literature on the topic 'Dance - Popular'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Dance - Popular"

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

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AbstractThis article studies the dance poetics and politics of Christians in contemporary Kinshasa. For Kinois (inhabitants of Kinshasa), dance is one of the most important technologies to get in touch with an invisible Other, the divine or the occult. In sermons, and other modes of instruction, spiritual leaders inform their followers about the morality of songs and dances. These discourses reflect pentecostal thought, and trace back the purity of specific body movements to the choreography's source of inspiration. As the specific movements of so-called sacred dances borrow from a wide array of cultural worlds, ranging from traditional ritual dances and popular urban dance to biblical tales, the religious leaders state that not just the body movements, but also the space where people dance and the accompanying songs, define the Christian or pagan identity of the dancer. Therefore, both the reflections upon dance movements and the dance events within these churches will be discussed as moments in the construction of a Christian community.
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Hawthorn, Ainsley. "Middle Eastern Dance and What We Call It." Dance Research 37, no. 1 (May 2019): 1–17. http://dx.doi.org/10.3366/drs.2019.0250.

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This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly dance’ was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.
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Gailīte, Elīna. "Tautas deju definēšanas problemātika mūsdienās Latvijā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 94–104. http://dx.doi.org/10.37384/aplkp.2021.26-2.094.

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The article “Problems of defining folk dance in Latvia today” examines the aspects that affect the current situation in Latvia, where folk dances are understood as both folk dances that have not been modified by choreographers, dances passed down through generations that can be danced every day, and stage folk dances, which are a type of art performed by folk dance ensembles, created by choreographers and dances adapted to the stage performance. The research aim is to identify and describe the problems that currently exist in the Latvian cultural space, where the definition of folk dances creates tension in the public space and ambiguous opinions among dancers. Nowadays, it is possible to identify such concepts as, for example, folk dance, ethnographic dance, authentic dance, traditional dance, folklore dance, folk dance, folk dance adaptation, field dance, folk ballet, etc. Consistent use of concepts is rarely seen in the documents and research of cultural policymakers and the historical and contemporary works of choreographers and researchers. Often they are only described in general terms. A survey conducted in 2019 shows that dancers consider stage folk dances to be folk dances, and often this separation of dances is not important for them. Another problem is the designation of folk dance ensembles where stage folk dance dancers are dancing. The term misleads; it suggests that folk dances are danced there. However, this designation is linked to its historical time of origin. It is not insignificant that the stage folk dance is more popular, more visible, and massively represented at the Song and Dance Festival. Thus, a part of the society associates it with our folk dances.
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Hoppu, Petri. "The Polska: Featuring Swedish in Finland." Congress on Research in Dance Conference Proceedings 2014 (2014): 99–105. http://dx.doi.org/10.1017/cor.2014.13.

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The paper examines the Swedish polska as a special case of movementscape in Finnish folk dance. The research is based on ethnographic fieldwork among Finnish folk dancers in 2013. Since the 1970s, the polska has been popular in Swedish folk dance, and this versatile dance form can be seen as emblematic to Swedish folk dance culture. During the last 30 years, Finnish folk dance groups have also eagerly adopted it: not only the dance itself, but a whole new style and embodiment of dancing with improvisation as an important element. Although there have been vernacular polska forms in Finland, as well, and folk dancers have danced them for decades, they have not been able to reach any higher status. Although Finnish folk dancers have adopted dances from other Nordic countries since the early twentieth century, the popularity of Swedish polska exceeds that of any earlier Nordic innovations in Finland.
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Indrayuda, Indrayuda. "TARI TRADISIONAL DALAM RANAH TARI POPULER: KONTRIBUSI, RELEVANSI, DAN KEBERLANJUTAN BUDAYA." Humanus 14, no. 2 (November 30, 2015): 144. http://dx.doi.org/10.24036/jh.v14i2.5680.

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Recent development of dance performance is not only esthetical and artistic; it has improved farther along with social cultural changes and economic development, which is supported by the scientific and technological changes that have encouraged the improvement of the art and knowledge about dances. In choreographic learning in academic environment, the arrangement pattern in choreography is not limited to the conventional that the consequence of movement, but also a media for criticism and expression of the artists. Currently dance does not belong to certain tradition of a community but to individuals. The individual belonging of the dance is widely known as popular dance, both monumental and contemporary dance. In Indonesia, both monumental and contemporary popular dances tend not to be detached from their traditional idiom or spirit in their cultural choreographic background, even all of their arrangement source stems from traditional kinesthetic dance. This phenomenon becomes a new trend in dance creation and dance choreographic learning in Indonesia, many of which are developed by art academicians, art studios and workshops.
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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.

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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.
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Breyley, Gay. "Hope, Fear and Dance Dance Dance: Popular Music in 1960s Iran." Musicology Australia 32, no. 2 (December 2010): 203–26. http://dx.doi.org/10.1080/08145857.2010.518354.

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Vaidyanathan, Rama, and Kaladharan Viswanath. "In conversation." Indian Theatre Journal 4, no. 1 (August 1, 2020): 107–13. http://dx.doi.org/10.1386/itj_00009_7.

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Rama Vaidyanathan is a leading exponent of Bharatanatyam, a popular classical dance form of South India. Trained under the renowned Guru Saroja Vaidyanathan and the legendary dancer Yamini Krishnamurthy, Rama Vaidyanathan is undoubtedly one of the most profound performers of her generation in the world of dance in India. Kaladharan Viswanath is a leading writer and dance critic and their conversation reveals some deeper insights into the philosophy and practice of Rama Vaidyanathan’s dance and its intersection with music.
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Buchanan Murray, Melonie, and Steven Ross Murray. "The performance of gender in American dance." Journal of Kinesiology & Wellness 6, no. 1 (August 13, 2019): 4–11. http://dx.doi.org/10.56980/jkw.v6i1.15.

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With kinesiology defined as the study of human movement, then dance, as one of the oldest forms of physical activity, should be considered. Dance permeates contemporary American culture—from social dancing, to community dance studios, to popular television shows. Dance scholars and cultural theorists agree that the way a society dances elucidates cultural values. If we accept the notion that a culture’s dances reflect the values of that culture, then a scrutiny of American gendered dance practices is warranted. Contemporary society views gender differently than the societies of the socio-historical context in which common Western dance genres, such as classical ballet, were born and developed. By highlighting ways that most dance training reinforces gendered codes of behavior, this paper contributes to discourses surrounding the evolution of dance in America and evolving notions of gender, while also providing a lens that might be applied to a multitude of physical practices.
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Crease, Robert P. "The Pleasure of Popular Dance." Journal of the Philosophy of Sport 29, no. 2 (October 2002): 106–20. http://dx.doi.org/10.1080/00948705.2002.9714628.

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Dissertations / Theses on the topic "Dance - Popular"

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Taube, Rhonda Beth. "Dancing in the Altiplano K'iche' Maya culture in motion in contemporary highland Guatemala /." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3378902.

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Thesis (Ph. D.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed November 17, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 238-253).
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Shaddick, Lillian Jean. "Samba Showgirls: Cross-cultural practice in Australian popular dance entertainment." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/19747.

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The popularisation of Latin American dance genres in societies outside of Latin America has long contributed to evolving and appropriated styles. This research looks at such a case: the ‘Samba Showgirl’, the cross-cultural dance practice of Brazilian ‘samba no pé’ in an Australian environment. This hybrid is the result of bringing, what is at its origin, an Afro-Brazilian dance practice into the bodies of jazz and ballet trained commercial dancers. Beyond the hybridisation of samba in Australia, the way in which practitioners engage with this imported dance form is examined. Here we see how ideas of authenticity are caught up in notions of exoticism, how commercialising the form contributes to the way it is presented, and how aesthetic values of dance differ between Australia and Brazil. This research contains both ethnographic and biographic data, collected through my engagement in the Australian samba scene as both a working dancer and performance studies researcher. Performance observations, attendance at workshops and classes, qualitative interviews, as well as online analysis, have contributed to the research findings. This thesis explores the embodiment of a dance tradition in a culture and context far from its origin. I aim to explore how these performances and their participants engage with and affect broader discussions around performing in cross-cultural settings.
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Holland, Michelle Linsey Charlton Thomas L. ""Where East Texas dances" the Cooper Club of Henderson, Rusk County, and popular dance bands, 1932-1942 /." Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5065.

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Luckman, Susan Heather. "Party people : mapping contemporary dance music cultures in Australia /." [St. Lucia, Qld.], 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16686.pdf.

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Haynes-Clark, Jennifer Lynn. "American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/20.

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Belly dance classes have become increasingly popular in recent decades in the United States. Many of the predominantly white, middle-class American women who belly dance proclaim that it is a source of feminist identity and empowerment that brings deeper meaning to their lives. American practitioners of this art form commonly explain that it originated from ritual-based dances of ancient Middle Eastern cultures and regard their participation as a link in a continuous lineage of female dancers. In contrast to the stigmatization and marginalization of public dance performers in the Middle East today, the favorable meaning that American dancers attribute to belly dance may indicate an imagined history of this dance. Based on ethnographic fieldwork conducted on the West Coast of the United States and Morocco in 2008-2009, I explore American belly dance utilizing theoretical contributions from feminism, Foucauldian discourse analysis, and postmodernism. I argue that an anthropological investigation of American belly dance reveals that its imagery and concepts draw from a larger discourse of Orientalism, connected to a colonial legacy that defines West against East, a process of othering that continues to inform global politics and perpetuates cultural imperialism. But the creative identity construction that American women explore through belly dance is a multi-layered and complex process. I disrupt the binary assumptions of Orientalist thinking, highlighting the heterogeneity and dynamic quality of this dance community and exploring emergent types of American belly dance. Rather than pretending to be the exotic Other, American belly dancers are inventing a new exotic Self. This cultural anthropological study contributes to a greater understanding of identity and society by demonstrating ways that American belly dancers act as agents, creatively and strategically utilizing discursive motifs to accomplish social and personal goals.
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Perna, Vincenzo. "Timba the sound of the Cuban crisis : Black dance music in Havana during the Período Especial /." Online version, 2001. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.270932.

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Abiona, Oladoyin Olubukola. "What I Do When I Dance: Foregrounding Female Agency in the Dance Culture in Nigeria." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1621977769335732.

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Cooper, Siouxsie. "Walk like an Egyptian : Belly Dance past and present practice in England." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3361.

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How Belly Dance practitioners in England construct a sense of self-identity, social-identity and identity-in-practice in a border-crossing Belly Dance ethnoscape is of interest for this research project. What kinds of identities-in-practice do Belly Dancers in England construct in order to authenticate their performance? By applying social theories of education and identity formation, in particular Holland et al’s “figured worlds” (2001), it is possible to critically frame the development of a practitioner’s Belly Dance identity over a period of time. The research presents the case that Belly Dance in England has an identifiable past and present practice, one that continually wrestles with ownership of what is apparently a Middle Eastern cultural export. Drawing from a literature based case study of two pioneering artists in the early 1980s, Hilal and Buonaventura, the research describes a distinctive English Belly Dance tradition and identities. There is an explanation of how the English Belly Dance form has since competed on the global stage. The research also describes how current inheritors of that tradition −Anne White, Caroline Afifi and Siouxsie Cooper are taken as case studies− appropriate and signal Egyptian Belly Dance as the dominant reference point from which to authenticate their dancing practice; whilst at the same time subverting the Orientalist paradigm underpinning the Belly Dance trope. Identifying “narratives of authenticity” enable the current generations of English Belly Dancers to form distinctive Belly Dancing identities-in-practice. Drawing from both social theories of education and identity formation and reflexive ethnographic modes of inquiry, Walk like an Egyptian examines Belly Dance in England as a translocated dance form, and the mechanisms which allow its authenticity are analysed. In answer to the research question it is possible for an English practitioner of Belly Dance to produce an authentic Belly Dance performance through the production of various narratives of authenticity, narratives which both borrow from and resist pre-existing narratives of authenticity.
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Hesmondhalgh, David. "Independent record companies and democratisation in the popular music industry." Thesis, Online version, 1996. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.243541.

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Hall, Joanna Louise. "Heterocorporealities : popular dance and cultural hybridity in UK drum 'n' bass club culture." Thesis, University of Surrey, 2009. http://epubs.surrey.ac.uk/2160/.

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Books on the topic "Dance - Popular"

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Parfitt, Clare, ed. Cultural Memory and Popular Dance. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71083-5.

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Popular classical dances of India. Mylapore, India: Skanda Publications, 2005.

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Bonilla, Lia. Danza popular costarricense. San José, Costa Rica: Ediciones Guayacan, S.A., 1989.

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Kennedy, Judith. Popular dances of the Renaissance: A dance lesson with written & vocal instructions. [S.l.]: J. Kennedy, 1985.

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Julie, Malnig, ed. Ballroom, boogie, shimmy sham, shake: A social and popular dance reader. Urbana and Chicago: University of Illinois Press, 2009.

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Dance for two: Selected essays. New York: Pantheon Books, 1996.

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Dance for two: Selected essays. London: Bloomsbury, 1996.

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Popular dance: From ballroom to hip-hop. New York: Chelsea House Publishers, 2010.

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Bill, Willard, ed. Let's dance: Popular music in the 1930s. New York: Oxford University Press, 1998.

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Smith, Karen Lynn. Popular dance: From ballroom to hip-hop. New York: Chelsea House Publishers, 2010.

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Book chapters on the topic "Dance - Popular"

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Dodds, Sherril. "Writing Popular Dance." In Dancing on the Canon, 66–83. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305656_5.

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Dodds, Sherril. "What Is Popular Dance?" In Dancing on the Canon, 45–65. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305656_4.

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Parfitt, Clare. "Some Dance to Remember, Some Dance to Forget." In Cultural Memory and Popular Dance, 291–96. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71083-5_17.

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Brooks, Ann. "Dance, Body and Popular Culture." In Popular Culture: Global Intercultural Perspectives, 75–87. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-42672-7_6.

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Dodds, Sherril. "Conclusion: The Value of Popular Dance." In Dancing on the Canon, 200–205. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305656_10.

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Sadlier, Aoife. "Between Creolisation and Kinaesthetic Transnationalism: Zumba Fitness as Mimetic Parody and Ritual Re-enactment." In Cultural Memory and Popular Dance, 61–80. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71083-5_4.

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Benthaus, Elena. "The Transmission of Nostalgia and (Be)Longing in Popular Screendance, or Recollecting Damien Chazelle’s La La Land." In Cultural Memory and Popular Dance, 275–88. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71083-5_16.

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Steil, Laura. "Filmed, Felt, and False Rhythms: Dance Videos and an Embodying “Home” in Post-migration." In Cultural Memory and Popular Dance, 259–73. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71083-5_15.

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Robinson, Danielle. "Feeling with, Moving Toward: Empathetic Attunement as Dance Reconstruction Methodology." In Cultural Memory and Popular Dance, 229–42. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71083-5_13.

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Ofosu, Terry Bright Kweku. "Youthful Bodies as Mnemonic Artifacts: Traversing the Cultural Terrain from Traditional to Popular Dances in Post-independent Ghana." In Cultural Memory and Popular Dance, 137–53. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71083-5_8.

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Conference papers on the topic "Dance - Popular"

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Vitos, Botond. "Experiencing electronic dance floors." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.36.

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Rietveld, Hillegonda C. "(Dis)placing musical memory: Trailing the acid in electronic dance music." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.45.

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Fogarty, Mary. "Sharing hip hop dance: Rethinking taste in cross-cultural exchanges of music." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.17.

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Tragtenberg, João, Filipe Calegario, Giordano Cabral, and Geber Ramalho. "TumTá and Pisada: Two Foot-controlled Digital Dance and Music Instruments Inspired by Popular Brazillian Traditions." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10426.

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This paper presents the development process of “TumTá”, a wearable Digital Dance and Music Instrument that triggers sound samples from foot stomps and “Pisada,” a dance-enabled MIDI pedalboard. It was developed between 2012 and 2017 for the use of Helder Vasconcelos, a dancer and musician formed by the traditions of Cavalo Marinho and Maracatu Rural from Pernambuco. The design of this instrument was inspired by traditional instruments like the Zabumba and by the gestural vocabulary from Cavalo Marinho, to make music and dance at the same time. The development process of this instrument is described in the three prototyping phases conducted by three approaches: building blocks, artisanal, and digital fabrication. The process of designing digital technology inspired by Brazilian traditions is analyzed, lessons learned, and future works are presented.
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Mihaiu, Costinel, and Monica Gulap. "STUDY ON THE EFFICIENCY OF USING A WEB APPLICATION IN LEARNING THE DANCE TECHNIQUE, BY THE STUDENTS OF THE UNIVERSITY OF BUCHAREST." In eLSE 2016. Carol I National Defence University Publishing House, 2016. http://dx.doi.org/10.12753/2066-026x-16-226.

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Dance Sport is part of the educational offer of Physical Education and Sports Department of the University of Bucharest, being one of the most popular sport disciplines among the students of this institution. The number of physical education lessons provided in the curricula of the non profile faculties is 1/a week for the first two years of study, as optional subjects. The approach of sports dance in physical education lessons involves the establishment of the themes which exclusively aim the initiation into this sport, with the compliance of all the teaching principles and the methodological requirements. The dance lesson with students lasts 100 minutes, from which 25 minutes represent the first part of "general warming" with "harmonious physical development", which included the study of classical dance, while the themes from sports dance are allocated 60 minutes. Regarding the training methods used to acquire the specific content of dance in physical education class, we mention that the verbal methods are doubled by the intuitive and practical methods, the teacher manifesting the autonomy in choosing and combining them. Our practical experience of over 15 years in the field has demonstrated that acquiring the technical content specific to dance, in terms of exercising within a lesson per week, is done quite slow, reality that has led us to implement in our educational approach the benefits of the development of modern technology. In this regard, we propose in the present work to emphasize the efficiency of using of a web application in the faster acquiring of the technical dancing figures by the students from the University of Bucharest, participating in physical education lessons (dance). We mention that the students from the experimental group had access (by supplying a password) to the application dansuri.site88.net which offer them, in the form of animations and some descriptive tables, the information about the technique learned at the practical lesson. Also we specify that the above mentioned application was presented in another study which highlighted its importance in developing the dance technique, revealed by the interventions and the favorable opinions of the specialists in the sphere: coaches and athletes.
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Chandnasaro, Dharakorn. "The Series of Archaeological Dance: A Historical Study and Dance Move Recording with Labanotation | ระบำ􀄕ชุดโบร􀄕ณคดี: ก􀄕รศึกษ􀄕เชิงประวัติศ􀄕สตร์ และก􀄕รบันทึกท่􀄕ร 􀄕ด้วยล􀄕บ􀄕นโนเทชัน." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-26.

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The Series of Archaeological Dances is a creative work of Thai dance inspired by information and evidence of ancient antiquities and sites discovered in Thailand to make the archaeological evidence found to be alive again in the form of Thai theatre and dance. The name of the historical period of art identified by the scholars are used to define the names of five performance of the Archaeological Dances, namely, Dvāravatī Dance, Srīvijaya Dance, Lopburi Dance, Chiang Saen Dance, and Sukhothai Dance. Each performance has its own unique style with no related content to each other. This series of dances were premiered on 25 May 1967, in front of King Rama IX and Queen Sirikit. Regarding to the movement of the body, there is unique identity that reflects the ethnicity of the area and the civilization from the land where the archaeological evidence of each era was discovered. They were created according to the imagination of the choreographers of the dance posture. In addition, The Series of Archaeological Dances are popularly performed on various occasions continuously until present day. ระบ􀄬ำชุดโบรำณคดี เป็นผลงำนสร้ำงสรรค์ด้ำนนำฏศิลป์ของประเทศไทยที่ได้รับแรงบันดำลใจจำกข้อมูลและหลัก ฐำนด้ำนศิลปะโบรำณวัตถุสถำนที่ถูกค้นพบได้ในพื้นที่ประเทศไทย เพื่อต้องกำรให้หลักฐำนโบรำณคดีที่ค้นพบได้ กลับมำมีชีวิตชีวำอีกครั้งในรูปแบบของนำฏศิลป์ โดยใช้ชื่อยุคสมัยทำงศิลปะที่นักวิชำกำรประวัติศำสตร์ระบุไว้ มำ ก􀄬ำหนดเป็นชื่อของกำรแสดงจ􀄬ำนวน 5 ชุด คือ ระบ􀄬ำทวำรวดี ระบ􀄬ำศรีวิชัย ระบ􀄬ำลพบุรี ระบ􀄬ำเชียงแสน และระบ􀄬ำ สุโขทัย กำรแสดงแต่ละชุดเป็นลักษณะแบบเอกเทศ ไม่มีเนื้อหำเกี่ยวข้องกัน จัดแสดงรอบปฐมทัศน์เมื่อวันที่ 25 พฤษภำคม พ.ศ. 2510 ต่อหน้ำพระที่นั่งของในหลวงรัชกำลที่ 9 และพระรำชินีในรัชกำลที่ 9 ในด้ำนกำรเคลื่อนไหว ร่ำงกำยมีเอกลักษณ์ที่สะท้อนควำมเป็นชำติพันธุ์ของพื้นที่และอำรยธรรมดินแดนที่ค้นพบหลักฐำนโบรำณคดีแต่ละ ยุคสมัย ซึ่งใช้รูปแบบกำรสร้ำงสรรค์ของนำฏศิลป์ไทยตำมจินตนำกำรของผู้ประดิษฐ์ท่ำร􀄬ำ นอกจำกนี้ระบ􀄬ำชุด โบรำณคดีได้รับควำมนิยมในกำรจัดแสดงอย่ำงต่อเนื่องในวำระต่ำง ๆ มำจนถึงปัจจุบัน
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7

Wilson, Jani. "Rōpū Whānau: A whakawhiti kōrero research methodology." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.181.

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Kapahaka is not simply the song and dance of Aotearoa’s Indigenous people. Deeply steeped in mātauranga Māori, kapahaka is a way of simultaneously exemplifying Māori histories, the present, and the future; meanwhile it is a community-focused cultural practice, methodology, and pedagogy. Contemporary kapahaka – both competitive and for entertainment – fosters, develops, validates, and celebrates the Māori world, the language, and our ‘ways’: arguably the fundamental building blocks of Māori ‘popular culture’. The research project Kia Rite! Kapahaka for Screens, from which this presentation is a tiny proportion, will focus on the influence and impact of screen production on the art’s ebbs and flows, and the conflicts between maintaining ‘traditions’ and exploring innovation in and towards the future. Over the last century, the kapahaka art-form has evolved exponentially, and as the wider project will explore, in large part as a response to the advancement of screen technologies. An important strand in Kia Rite! will investigate the kapahaka audience. It employs a refined iteration of Rōpū Whānau, a focus group methodology where closely linked relations will be asked to respond to archival through to contemporary kapahaka footage as a generational screen audience study. Exploring responses to screened kapahaka in this way revisits a whakawhiti kōrero-based audience study method designed to reflect and embody the fundamental whakataukī ‘he aha te kai o ngā rangatira? He kōrero’ (what is the food of chiefs? It is talk.) Rōpū Whānau was developed to move beyond the ‘safety in numbers’ focus group methodology to more of a ‘safety within the whānau’ format. By inviting participants from the same family, a duty to protect the under 18s and inherently control researcher behaviours provides an extra layer of a kind of ‘Māori ethics’. This critical presentation brings forward the fundamental elements of Rōpū Whānau and unpacks how it has been used in various research projects in the past. This is to plot the way forward for Indigenous community-led research methodologies, and encourages the consideration of Indigenous research approaches.
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Reports on the topic "Dance - Popular"

1

Haynes-Clark, Jennifer. American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.20.

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