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1
Pype, Katrien. "Dancing for God or the Devil: Pentecostal Discourse on Popular Dance in Kinshasa." Journal of Religion in Africa 36, no. 3-4 (2006): 296–318. http://dx.doi.org/10.1163/157006606778941968.
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AbstractThis article studies the dance poetics and politics of Christians in contemporary Kinshasa. For Kinois (inhabitants of Kinshasa), dance is one of the most important technologies to get in touch with an invisible Other, the divine or the occult. In sermons, and other modes of instruction, spiritual leaders inform their followers about the morality of songs and dances. These discourses reflect pentecostal thought, and trace back the purity of specific body movements to the choreography's source of inspiration. As the specific movements of so-called sacred dances borrow from a wide array of cultural worlds, ranging from traditional ritual dances and popular urban dance to biblical tales, the religious leaders state that not just the body movements, but also the space where people dance and the accompanying songs, define the Christian or pagan identity of the dancer. Therefore, both the reflections upon dance movements and the dance events within these churches will be discussed as moments in the construction of a Christian community.
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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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Boyd, Jade. "Dance, culture, and popular film." Feminist Media Studies 4, no. 1 (March 2004): 67–83. http://dx.doi.org/10.1080/14680770410001674653.
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Marini, Sarwindah, Yurindra, Kiswanto, and Anthonia Julia Cancera. "Website Administrasi Dance Sanggar Senam Dengan Model FAST." JURNAL FASILKOM 12, no. 1 (May 1, 2022): 8–13. http://dx.doi.org/10.37859/jf.v12i1.3527.
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Modern dance or dance today, is developing very quickly along with the times. Modern Dance originated in Europe, in 1930. The United States became the center of Modern Dance for experimentation. Modern Dance has several types of movements such as: Break Dance, Hip - Hop Dance, Popping Dance, Locking Dance, Ballroom Dance, and Shuffle Dance. These types of dances are different but after being performed, they are almost the same. Although the movements created have no explanation when expressed, many people like the movement. Dance Dances which are trending among young people are much liked by the public. At the sportsman level, there is a big influence in Indonesia. One of the popular enthusiasts in the community such as Modern Dance. The problems that often occur in Modern Dance are many people, namely information about how the lack of promotion so that many people do not know information about Dance. So we need a website to create a Dance information system. The goal is to facilitate the promotion of dance information. In developing this Dance information system website, it is necessary to analyze and design a website using the UML concept, Database Design with MySql. The result to be achieved is to implement a Dance Information System Website
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Goody, Alex. "“And do a Grizzly”: Djuna Barnes and Dancing Animals in the New York Press." Journal of Modern Periodical Studies 13, no. 2 (December 2022): 247–75. http://dx.doi.org/10.5325/jmodeperistud.13.2.0247.
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ABSTRACT The “Grizzly Bear” animal dance sparked the social dance craze that swept the United States in the 1910s, causing a moral panic about the unseemly movements and erotic energies of this new popular leisure form. Djuna Barnes’s New York journalism on dance serves to connect these animal dances to the “eruption of animality in artistic and cultural texts” that Carrie Rohman has traced in modernism. Exploring social dance, Irene Castle’s career, and Barnes’s journalism, this article examines assemblages of bears and other dancing (human and nonhuman) animals to foreground the intersection of modernist animal ontologies with elusive histories of social dance.
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Hodgson, Amanda. "Beyond the Opera House: Some Victorian Ballet Burlesques." Dance Research 38, no. 1 (May 2020): 7–24. http://dx.doi.org/10.3366/drs.2020.0288.
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Histories of ballet have tended to pay little attention to Victorian theatre dance that was not performed in the opera house or the music hall. A great deal of dance was embedded in such popular theatrical genres as melodrama, extravaganza and burlesque, and is therefore best understood in the context of the wider theatrical culture of the period. This essay examines two ballet burlesques performed at the Adelphi Theatre in the 1840s: The Phantom Dancers (a version of Giselle) and Taming a Tartar (based on Le Diable à quatre). When located in relation to the generic qualities of other theatrical burlesques of the period, their particular combination of parody and serious attention to classical dance is clarified. In both plays classical dance is set against more demotic dance styles. This serves as a way of mocking the excesses of the original ballets, but also as a way of interrogating the nature and significance of the danse d’école when presented to a popular theatre audience.
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Nevile, Jennifer. "Learning the Bassadanza from a Wolf: Andrea Calmo and Dance." Dance Research 30, no. 1 (May 2012): 80–97. http://dx.doi.org/10.3366/drs.2012.0035.
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For Roberto Pettini Important information about dancing and social values is sometimes found in unexpected places, such as the letters of Andrea Calmo, a sixteenth-century Venetian actor and playwright. These letters not only provide corroboration of information and attitudes to dance contained in the sixteenth-century Italian dance treatises, but also highlight how dance was regarded by a member of the middle-classes in Venice. As well as having a general appreciation of dance, which he saw as an enjoyable and moral activity, Calmo was knowledgeable about dance specifics and accurate in his use of dance terminology. In fact, Calmo's knowledge of dance practices was extensive enough to enable him to use specific dance references as a tool in creating the humour in his letters. His references to dances and dance steps also look back to the fifteenth-century Italian practice, and these references provide further information on the unresolved question as to the length of time quattrocento dances continued to be popular in the succeeding century.
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Ayobade, Dotun. "Invented Dances, Or, How Nigerian Musicians Sculpt the Body Politic." Dance Research Journal 53, no. 1 (April 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 that insist on divorcing contemporary African music cultures from the dancing bodies that they often conjure. Taken together, these movements enlist popular culture as a domain marked by telling contestations over musical ownership and embodied citizenship.
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Gurung, Raj Kumar. "A Comparative Study of Ghā̃tu Performance and Balan Dance." JODEM: Journal of Language and Literature 13, no. 1 (August 25, 2022): 120–31. http://dx.doi.org/10.3126/jodem.v13i1.47468.
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The study employs the performance theory to analyze Ghā̃tu performance and Balan dance. They are popular cultural activities because of the beauty of artistic presentations with historical values. This bond symbolizes the harmonious relations of human beings. The network of dance masters, dancers, and audiences plays a vital role in performance. They are bound in such a way that they cannot get separated. Because of such cultural activities, man-to-man relations become strong in village life compared to urban life. After the dance masters begin to sing, the dancers begin dancing in full accordance with the words and tunes. As a result, audiences also perform the same indirectly. The performance audience is much more worth having than the performance of the two. In the performance, all the audiences get connected unknowingly. Physically, only the dance master and dancer perform but mentally, the audiences also perform at the same rate. Performance theory calls this kinesthetic impact, and kinesthetic impact is such an impact that moves the audience. It is not only the singer singing the song and the dancer dancing, it is the audiences who are singing and dancing simultaneously. Thus, this paper focuses on Ghā̃tu and Balan in the context of human identities, although a few researchers have worked on this site. The dancing art of Ghā̃tu and Balan is very peculiar and incomparable to hundreds of other dance performances. So, the performativity of both dances surprises the audience.
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Thomson, Raymond A. "Dance bands and dance halls in Greenock, 1945–55." Popular Music 8, no. 2 (May 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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Abakporo, Princewill C. "Dance and content issues: implications for contemporary indigenous dance in Nigeria." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 72–82. http://dx.doi.org/10.4314/ejotmas.v7i1-2.5.
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Many traditional dances have witnessed downturn in patronage to occasion academic debates geared towards reviving interest in indigenous performances and live theatres in Nigeria. It is within this context that this article closely look at content issues in Nigerian indigenous dance from a diachronic perspective and observed that the seeming dwindling patronage for certain Nigerian indigenous dances is as a result of the inability of indigenous dance creators and performers to package indigenous dance products to reflect popular tastes in contemporary times. Also, it is observed that content issues in art are indicators that human society is constantly in a state of flux and that as humanity responds to these changing realities; art must do the same to remain relevant to the society within a particular period. Drawing on this, the study concludes that Nigerian indigenous dance space could be enlivened when its contents are at par with dominant societal realities and respond to prevailing societal conditions within the time of its creation while retaining its structures and form as a cultural document for the people. It recommended that the approach, packaging, and performance of indigenous dances from formalist and philosophical aesthetic consciousness will aid in the malleability of traditional dance contents to satisfy changing societal and audience needs.
Keywords: Traditional dance, Indigenous dance art, Nigeria Content issues, Patronage
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David, Ann R., and Nilima Devi. "“Even the dinner ladies are teaching dance!” Pedagogic Explorations of South Asian Dance in Britain." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 181–87. http://dx.doi.org/10.1017/s2049125500001072.
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This lecture-demonstration examines some of the tensions and contradictions found in the teaching of South Asian dance in Britain through using a demonstration by Leicester Kathak dancer Nilima Devi and evidence gleaned from Ann David's ethnographic research amongst dance students and teachers in Hindu communities in Leicester. It considers how issues of tradition and change within an arena seen as “cultural heritage” are incorporated into pedagogic practice. It questions different perceptions of dance by teenage students and their teachers, as well as articulating some of the problematic areas in the teaching of classical and popular dance forms, such as Kathak, Bharatanatyam, and Bollywood.
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Fogarty, Mary. "Musical Tastes in Popular Dance Practices." Congress on Research in Dance Conference Proceedings 2012 (2012): 70–75. http://dx.doi.org/10.1017/cor.2012.7.
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This paper explores the relationship between musical tastes and dance practices in popular dance practices. It is based on ideas that emerged from a multisited ethnography involving the participation in and observation of the practices of breaking, as well as interviews with individual b-boys and b-girls, who often traveled between cities as part of their practices. Although there were many interesting and contradictory observations and participant responses provided by this multigenerational, multicultural scene, one theme emerged as central.
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Grochowski, Thomas. "Rock’n’Film: Cinema’s Dance with Popular Music." Popular Music and Society 40, no. 1 (August 16, 2016): 111–12. http://dx.doi.org/10.1080/03007766.2016.1220126.
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Buckland, Theresa Jill. "Dance and Cultural Memory: Interpreting Fin de Siècle Performances of ‘Olde England’." Dance Research 31, no. 1 (May 2013): 29–66. http://dx.doi.org/10.3366/drs.2013.0058.
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In late Victorian and Edwardian England, there existed in performance and in popular historical imagination, a cultural memory of the nation's ancient dances. This national repertoire had largely been constructed through nineteenth-century romantic imagery of ‘olde’ and ‘merrie’ England and appeared across a wide variety of genres and contexts. Alongside the morris, country and maypole dances were courtly dances such as the minuet and gavotte which were fashionable at costume balls, salons and on the stage. These dances were also taught to children of the middle and lower classes as a means of embodying what were regarded as earlier more civilised ways of moving and social interaction, as well as celebrating and engendering a vision of England as happy and communal. This article explores this fascination with England's so-called ancient dances, in particular, the Victorian rococo minuet, as a historically and socially situated manifestation of cultural memory. It raises issues of dance and nationalism, the transmission of fashionable dances across country and class, the recycling of dance imagery and practice, and the trend towards authentication in the revival of dances for popular consumption.
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Nugraheni, Trianti, Tati Narawati, and Agus Budiman. "Jaipong Dance: Representation of Local Culture, Popular Culture and Global Culture." International Journal of Social Sciences and Humanities Invention 8, no. 12 (December 28, 2021): 6716–25. http://dx.doi.org/10.18535/ijsshi/v8i12.02.
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The dynamics of the development of Jaipongan dance in West Java have undergone several metamorphosis processes and the evolution of presentation forms as a manifestation of wise reflection on the openness of external cultural influences on the development of jaipongan dance to date. The jaipongan dance is an important part of the process of cultural inheritance in West Java, which has worldwide existence. The findings show that the form of presenting the jaipongan dance has now undergone many changes from its form and function in society. This change is a manifestation of the wise attitude of the jaipongan dance creators in seeing the potential for socio-cultural change that must be positively addressed in the jaipongan dance works they create. The color of the jaipongan dance presentation has changed, but local values are still strong.
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TALPĂ, Svetlana. "Methodical aspects of the (H)ostropat dance as an indispensible part in the repertoire of dance groups from the Republic of Moldova." Arta 31, no. 2 (January 2023): 87–91. http://dx.doi.org/10.52603/arta.2022.31-2.13.
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Th e study addresses a wide range of interpretations of (H)ostropat dance from the repertoire of dance groups in the Republic of Moldova in the XXI century. (H)ostropat — represents a ceremonial dance that accompanies various ritual acts in the traditional wedding, being an expression of a specific language of communication that determined the very aesthetics of the dance, its forms of expression, stylistic norms of the repertoire, etc. The (H)ostropat dance, being part of the value system of popular culture, with some aspects of ritual and entertainment, highlights the importance of professional choreographic practice and the role of dance groups in cultural institutions of traditional amateur artistic activity. Th e author focuses her attention on the configuration of the methodological apparatus of researching the repertoire of dance groups as a paradigm of a new stylistic direction and cultural identity in the realm of contemporary choreographic art. It is found that the tendencies of simplifying the ritual structure of the wedding and of compressing the temporal and spatial framework, the modernization of the ceremonial conception and the flow of new dances, created by professional artists or adapted from the repertoire of folk, neo-traditional and national dances in the region, have essentially marked the structure of the repertoire of the traditional dance groups.
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Tulk, Janice Esther. "Children’s Dances at First Nation Powwows in Atlantic Canada." Ethnologies 37, no. 2 (October 18, 2017): 29–52. http://dx.doi.org/10.7202/1041487ar.
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In this article, based on ethnographic research conducted at Mi’kmaw powwows throughout Atlantic Canada between 2004 and 2010, I will begin to address the lacuna in literature on First Nation children’s dances. I will describe the various children’s dances observed at powwows in Eastern Canada, as well as songs that are specifically used for children’s dances, contextualizing them within the traditional powwow event and in relation to emcee stage talk. I will also illuminate the socio-cultural functions of children’s dance at powwows and the relationship between dance and play. Finally, by focussing specifically on the living dance tradition of Mi’kmaq at cultural events in the Atlantic provinces, I will elucidate some of the forces that act upon informal culture, shaping and re-shaping it through time. This approach will highlight the relationship between popular culture and tradition in this context, revealing the emergent nature of lived traditions.
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Kumar, K. V. V., and P. V. V. Kishore. "Indian Classical Dance Mudra Classification Using HOG Features and SVM Classifier." International Journal of Electrical and Computer Engineering (IJECE) 7, no. 5 (October 1, 2017): 2537. http://dx.doi.org/10.11591/ijece.v7i5.pp2537-2546.
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Digital understanding of Indian classical dance is least studied work, though it has been a part of Indian Culture from around 200BC. This work explores the possibilities of recognizing classical dance mudras in various dance forms in India. The images of hand mudras of various classical dances are collected form the internet and a database is created for this job. Histogram of oriented (HOG) features of hand mudras input the classifier. Support vector machine (SVM) classifies the HOG features into mudras as text messages. The mudra recognition frequency (MRF) is calculated for each mudra using graphical user interface (GUI) developed from the model. Popular feature vectors such as SIFT, SURF, LBP and HAAR are tested against HOG for precision and swiftness. This work helps new learners and dance enthusiastic people to learn and understand dance forms and related information on their mobile devices.
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Chang, Yu-Chi. "Localised Exoticism: Developments and Features of Belly Dance in Taiwan." Physical Culture and Sport. Studies and Research 54, no. 1 (June 1, 2012): 13–25. http://dx.doi.org/10.2478/v10141-012-0003-6.
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Localised Exoticism: Developments and Features of Belly Dance in TaiwanBelly dance has become one of the most popular dances in Taiwan today, with women of various ages participating in this imported dance. With respect to this speedy expansion, the purpose of this study is to investigate current developments, and to distinguish features of Taiwanese belly dance. The method adopted is literature analysis: a large number of Internet news items were collected to capture the trend of belly dancing in Taiwan. This study concludes that belly dance in Taiwan is primarily presented as: an exercise that is beneficial for health; widely accessible and partially embedded in local life; an exercise for all age groups and genders; a blend of multiple cultural elements; outstanding dancers acclaimed as the pride of Taiwan. The representation showed that the development of belly dance was influenced by the Taiwanese social background. Within the Taiwanese cultural landscape of meanings, belly dance moves between the exotic and the local. This study argues that belly dance is better described as "localised-exoticism" in Taiwan.
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Ni, Shasha, and Dawei Yao. "Sports Dance Action Recognition System Oriented to Human Motion Monitoring and Sensing." Wireless Communications and Mobile Computing 2021 (June 12, 2021): 1–10. http://dx.doi.org/10.1155/2021/5515352.
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Because of its high research value, action recognition has become a very popular research direction in recent years. However, the research on the combination of motion recognition technology and dance movements is still in its infancy. At the same time, due to the high complexity of dance movements and the problems of human body self-occlusion when performing dances, research on dance video action recognition has been caused. Progress is relatively slow. This article mainly introduces the research of sports dance action recognition system oriented to human motion monitoring and sensing, fully considers the abovementioned problems, and makes in-depth research and analysis on the current excellent action recognition research content in this field. This paper proposes a research method of sports dance movement recognition for human movement monitoring and sensing, including sports dance movement classification algorithm and sports dance movement preprocessing algorithm, which is used to conduct research experiments on sports dance movement recognition for human movement monitoring and sensing. The experimental results of this article show that the average recognition accuracy of the sports dance action recognition system for human motion monitoring and sensing is 92%, which can be used in daily sports dance training and competition.
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Asriati, Afifah, Ahmad Kosasih, and Desfiarni Desfiarni. "Silat as the Source and Identity of the Minangkabau Ethnic Dance." Harmonia: Journal of Arts Research and Education 19, no. 1 (June 24, 2019): 71–83. http://dx.doi.org/10.15294/harmonia.v19i1.16106.
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This article is intended to get the concept of Minangkabau dance movement in the context of ethnic philosophical values. Today, ninik-mamak, cadiak pandai, and alim ulama in West Sumatra develop ideas about Minangkabau philosophy in all aspects of life. How this idea is reflected in dance movements? To answer this question, a qualitative method is used by taking six samples of popular Minangkabau traditional dance. The data were collected using Focus Group Discussion, observation, and interviews to confirm previous findings. Through the triangulation technique, it is expected to obtain credible data and be analyzed using the models of Miles and Haberman. The results of this study indicate that the basic movements of Minangkabau dance are silat movements. The martial arts movement is the basis of movement used by many traditional dances in Minangkabau. Every district has its unique cultural values and identities and these values are manifested in dance created by dance activists.
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Manchester, Ralph A. "The Popular and the “Proper” Performing Arts." Medical Problems of Performing Artists 28, no. 4 (December 1, 2013): 179–80. http://dx.doi.org/10.21091/mppa.2013.4036.
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The two articles on the health of marching band musicians and the one on Irish traditional musicians in this issue of the journal are the most recent examples of research on the health of performing artists who participate in non-classical art forms. While it may not be easy for everyone to agree on the definitions of classical (or, more broadly, “art”) versus popular music (or dance), that hasn’t stopped scholars from trying. The point of this editorial is not to debate the relative merits of art music or dance with popular music or dance—each art form has its passionate practitioners and supporters, some of whom do all the debating that is needed. What I will try to do is to review how much attention we have paid to the more popular art forms as the field of performing arts medicine has evolved over the last three decades.
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Sari, Anggi Wulan, and Sri Rochana Widyastituningrum. "THE RECONSTRUCTION OF “JEPIN TALI” SINTANG DANCE." ARTISTIC : International Journal of Creation and Innovation 3, no. 1 (September 21, 2022): 25–45. http://dx.doi.org/10.33153/artistic.v3i1.4421.
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Jepin Tali dance is one of the traditional Malay dances from Sintang Regency, West Kalimantan Province. This Jepin Tali dance was very popular then, especially among the Malay tribe community, because the community participated in dancing or bejepen at every performance. This is a group dance performed by both male and female dancers. However, this dance has been hibernating. Accordingly, this research aims to reconstruct the Jepin Tali dance so it can be revived in the community. This study is a practice-led research. Data were collected through interviews, observation, and literature study. Burra Charter's theory was used in the dance reconstruction. The results of this study indicate that the reconstruction increased the range of motion from 3 to 16 varieties, musical instruments, make-up and clothing, and floor patterns. The dance structure was developed into three parts: the beginning, the core, and the closing, by using the property of eight ropes braided in red, green, blue, and yellow colors and accompanied by music featuring Siti Zubaidah's poetry.
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Harmalkar, Suchitra. "THE ART OF DANCE COMBINATION - CHOREOGRAPHY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3506.
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Choreography literally means Dance writing It is derived from the Greek word xopeia. The common meaning of choreography is - group structure, and the person, dancer or performer who performs this work is called a choreographer. We do not get any scriptural consensus or information about choreography but today this word is very popular in the context of dance. is .
कोरियोग्राफी का शाब्दिक अर्थ है Dance writing यह ग्रीक भाषा के शब्द xopeia से लिया गया है । कोरियोग्राफी का सामान्य अर्थ है- समूह संरचना, और जो व्यक्ति, नर्तक या कलाकार इस कार्य को करता है , उसे कोरियोग्राफर कहा जाता है कोरियोग्राफी के विषय मे कोई शास्त्र सम्मत विधान या जानकारी हमें प्राप्त नहीं होती किन्तु आज नृत्य के संदर्भ में यह शब्द बहुप्रचलित है ।
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Pappas, Rebecca. "The Show Must Go On: A Participatory Rewriting of Euro-American Folk Dance." Congress on Research in Dance Conference Proceedings 2015 (2015): 146–52. http://dx.doi.org/10.1017/cor.2015.23.
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My participatory paper considers Jérôme Bel's seminal work The Show Must Go On as a rewriting of folk dance tradition, drawing from and reinventing popular tropes of the Euro-American relationship to pop music and the popular body. I look at both the piece, and also Bel's methods of restaging it worldwide, as a means of regularizing, reinventing, and reperforming popular dance. I compare his practice to that of national folkdance ensembles that choreograph indigenous traditions for theatrical performance. I am fascinated with this process of fixing “cultural dance” for recognition and consumption by an audience. Bel's work depends on the audience's ability to recognize themselves within its music, imagery, and performing ensemble. Does this make it folk dance? My paper mines the category of “folk dance,” asking whether there is, in fact, a distinction between folk, social, and popular dance and arguing that in the recognizability and participatory nature of his work, he has inadvertently created a contemporary Euro-American folk dance. In addition, I will develop the presentation choreographically, directing the bodies of the listeners in ways meant to evoke Bel's participatory community.
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Chakrabarti, Pritha. "The disavowal of dance as labour in popular Hindi cinema." Studies in South Asian Film & Media 11, no. 2 (December 1, 2020): 209–23. http://dx.doi.org/10.1386/safm_00029_1.
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In this article, I analyse screendance texts from Hindi cinema to introduce a theoretical framework called the ideology of amateurism which, I argue, made space within the narrative of the Hindi film for the ‘ideal’ Indian woman to dance publicly while simultaneously disavowing modernity. Through an analysis of selected film dance texts, I show how this turned the dancing heroine into the restorer of the moral order of the narrative. I argue that this ideology of amateurism amounted to a denial of dance labour, which was a necessary precondition for the cultural legitimation of the viewers’ desire for the screendancer in particular and a disavowal of the desire for modernity in general. Following this, I show how with the liberalization of the Indian economy and the rise of neoliberalism, and interestingly, also the replacement of the erstwhile ‘union-dancers’ on-screen Bollywood film dance texts today not only acknowledge the labour of screendance but promotional materials lay out the ‘labouring process’. This, I suggest, is symptomatic of the emergence of a new work order and the entry of a new class into this sphere. I read this in conjunction with the rise of dance as an established profession, as seen through the mushrooming of Bollywood dance schools, in order to show how the ideology of amateurism is challenged through a reconfiguration of work practices in neoliberal economies.
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Kvas, Olena, and Magdalyna Marushka. "Teaching Ukrainian folk dances to children and youth in Galicia (1919–1939)." Visnyk of Lviv University. Series Pedagogics, no. 35 (2021): 102–9. http://dx.doi.org/10.30970/vpe.2021.35.11310.
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The article is devoted to the peculiarities of teaching Ukrainian folk dances to children and youth in Galicia (1919-1939), when it was important to preserve national identity, and the study of folk choreography was one of the means of national-patriotic education and cultural development. The authors argue that the interest in folk dance was revived under the influence of a choreographer Vasyl Avramenko’s performing skills and pedagogical activity. Vasyl Avramenko ystematized the theory and practice of folk dances teaching and opened the first school of Ukrainian national dances. The school functioned in various cities of Galicia. It is emphasized the role of cultural, educational and sports societies and organizations in popularizing the art of folk dance among children and youth. Thus, folk dances were taught at various courses, clubs and societies such as «Prosvita», «Ukrainska Zakhoronka», “Ridna shkola”, gymnastics societies «Sokil», «Luh» etc. It is discovered that at concerts on various holidays children and youth performed Ukrainian folk dances and music performances based on folk motifs interpreted by Vasyl Avramenko, Oksana Sukhoverska, Volodymyr Terletskyi, Yaroslav Bulka, Petro Lazoryshchak and other choreographers. The most popular folk dances were: «Kolomyika», «Arkan», «Kateryna», «Chumak», «Kozachok», «Hopak», «Zhuravel». Dancers performed them solo, in pairs or in groups. Although the methodolody of dance teaching was not systematized and well-developed, students developed a sense of rhythm and harmony, grace, plasticity, artistry. This was confirmed by numerous positive reviews on the performances of young Ukrainian dancers in the press of the time. Keywords: folk dance, folk dance courses, cultural and educational organizations, youth societies.
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Carroll, Sam. "Hepfidelity: Digital Technology and Music in Contemporary Australian Swing Dance Culture." Media International Australia 123, no. 1 (May 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 where they buy CDs and download music. This brief discussion of the preponderance of digital technology in swing dance DJing is part of a larger project considering the mediation of embodied practice in swing dance culture, and it pays particular attention to the ways in which mediated discourse in swing culture reflects wider social forces, yet is also subordinated by the embodied discourse of the dance floor.
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Wang, Jiahao, Yunhong Wang, Nina Weng, Tianrui Chai, Annan Li, Faxi Zhang, and Sansi Yu. "Will You Ever Become Popular? Learning to Predict Virality of Dance Clips." ACM Transactions on Multimedia Computing, Communications, and Applications 18, no. 2 (May 31, 2022): 1–24. http://dx.doi.org/10.1145/3477533.
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Dance challenges are going viral in video communities like TikTok nowadays. Once a challenge becomes popular, thousands of short-form videos will be uploaded within a couple of days. Therefore, virality prediction from dance challenges is of great commercial value and has a wide range of applications, such as smart recommendation and popularity promotion. In this article, a novel multi-modal framework that integrates skeletal, holistic appearance, facial and scenic cues is proposed for comprehensive dance virality prediction. To model body movements, we propose a pyramidal skeleton graph convolutional network (PSGCN) that hierarchically refines spatio-temporal skeleton graphs. Meanwhile, we introduce a relational temporal convolutional network (RTCN) to exploit appearance dynamics with non-local temporal relations. An attentive fusion approach is finally proposed to adaptively aggregate predictions from different modalities. To validate our method, we introduce a large-scale viral dance video (VDV) dataset, which contains over 4,000 dance clips of eight viral dance challenges. Extensive experiments on the VDV dataset well demonstrate the effectiveness of our approach. Furthermore, we show that short video applications such as multi-dimensional recommendation and action feedback can be derived from our model.
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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 zabutykh predkiv” (2002). The use of local instruments and melodies in the music which Ruslana in the opening quote labels “drive-ethno-dance” is a way in which some groups from Ukraine anchor themselves. According to Armin Siebert, one of the directors of the Berlin Label Eastblok Music, which specializes in music from Eastern Europe, it is also an exciting element of Russian and Ukrainian popular music: A lot of Russian and—even stronger in Ukraine—Ukrainian groups try to use the profoundness of their culture [e.g., folklore] in their modem rock music … And yeah, that's of course something which we especially think is very exciting, because we think that the Slavic culture, roughly speaking, is very profound and that one should not negate that, because it is really something special, which does not exist in the West. (interview, 19 July 2006; my translation)
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SABĂU, Anca Maria, Simona OROS, Dumitra Mădălina PANTEA, Andrada Maria BULZ, and Dana Ioana CRISTEA. "Aspects of the practice of folk dance in Bihor Region - Tradition and perspectives." GeoSport for Society 16, no. 1 (June 30, 2022): 23–37. http://dx.doi.org/10.30892/gss.1603-081.
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Romanian folk dances are a wealth of generations that we owe to preserve, protect and leave our inheritance to our descendants as a proof of our identity and history. By practicing dance, the customs and traditions of the people are learned; young people develop harmoniously due to the various movements in which the dances are composed. Romania has a wide range of games, dances and costumes inherited from tradition, perpetuated through repertoire and ethnography, which convinced us to address and highlight the important role of the traditions, folk dances in Bihor County, the beneficial effect that they have in the personal development of the dancers. The proposed research methodology for the study addresses methods such as the survey method by applying a questionnaire and the statistical-mathematical method. The results highlight the importance of folk dances first present in the family and the fact that passion is the main motivation of dancers that drives them to practice folk dance. It is necessary to give children the opportunity to make direct contact with the sources of popular creation such as dance, music, customs and folk costume, to create optimal conditions for learning our folk dances, the priceless treasure of our people.
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Balbuena Gutiérrez, Bárbara. "Transculturación y sincretismo: una visión holística desde la proyección músico-danzaria en diferentes contextos socioculturales cubanos." Comparative Cultural Studies - European and Latin American Perspectives 7, no. 14 (March 15, 2022): 45–59. http://dx.doi.org/10.36253/ccselap-13463.
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This essay addresses the concept of “transculturation” (Ortiz,1983: 90), which responded to an effort by the fruitful Cuban researcher to decolonize the social sciences in the face of the biased Eurocentrist and colonialist theories then spread throughout America. It analyses why the term syncretism was not the essential and defining factor, in the “configuration of Cuban religious cultural complexes” (Menéndez, 2017: 87) of African descent. The notion of transculturation is then applied to the study of the processes of formation of traditional Cuban popular culture, specifically in its current musician-dance projection, from a holistic view and from the different Cuban sociocultural contexts where they manifest themselves: religious, secular and popular. The instrumental ensembles and dance expressions of the main Cuban religious cultural complexes are classified and characterized: the Rule of Ocha-Ifá, the Arará Rule, the Palo Monte Rule, the Abakuá and Vodú societies. Likewise, the rumba complex, traditional congas and comparsas, and social or popular dances, as manifestations of a lay character where the presence of the cultural memory of the nation is perceived in full symbiosis.
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Campos, Flávio, and Graziela Rodrigues. "Dance, Originality, and Otherness: The BPI Method and the Brazilian Cultural Manifestations." Congress on Research in Dance Conference Proceedings 2016 (2016): 41–45. http://dx.doi.org/10.1017/cor.2016.7.
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The purpose of this article is to investigate dancer-researcher-performer (BPI), the Brazilian method of dance composition that was created by professor Graziela Rodrigues in the 1980s. The article aims at showing how such practices are developed from the experience of a performer in relation to some popular manifestation such as a festivity or another cultural event. It also enables one to work directly with popular knowledge that is passed from “generation to generation.” The investigation offers a brief view of my doctoral studies in which I aim at analyzing the aesthetic specificities of this method.
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Town, Sarah. "Cuba dances: Popular dance, documentary film and the construction of the revolutionary state." Studies in Spanish & Latin-American Cinemas 14, no. 2 (June 1, 2017): 171–91. http://dx.doi.org/10.1386/slac.14.2.171_1.
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Parr, Sean M. "Dance and the Female Singer in Second Empire Opera." 19th-Century Music 36, no. 2 (2012): 101–21. http://dx.doi.org/10.1525/ncm.2012.36.2.101.
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Abstract A vogue for coloratura dance arias began in the 1850s. This emerging genre combined melismatic singing with two hugely popular social dance genres: the bolero and the waltz. Scholars have observed an association between these social dances and a certain euphoric feminine sensuality, but the connection between this youthful ebullience in dance and virtuosic female vocality has been largely ignored. Dancing was notorious in the nineteenth century because of its dangerously arousing and vertiginous effects. As dances increased in speed and difficulty, so too did the singing of sopranos in midcentury Paris. In exploring relationships between dance, femininity, and singing, this article situates coloratura dance arias in the Paris of Napoléon III's Second Empire, a city sometimes condemned for its decadent materialism or dismissed because of its political impotence, in spite of its cultural, architectural, and technological importance. I argue for a connection between coloratura and the female body in precisely the era when the venerable singing style became the almost exclusive domain of the female singer and, simultaneously, reached its apogee in a Paris devoted to all the joy and glamour it could afford. Specific performers such as Marie Cabel and Caroline Carvalho were key to the success and even creation of these dance arias. These sopranos were certainly objectified in a problematic manner, but they were also “envoiced” (Carolyn Abbate's term) as wielders of a compelling musical power: coloratura. In providing virtuosic and luxurious expressions of femininity, these coloratura dance arias established a new sense of female vocality in the aural imagination of the Second Empire.
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Gustavo Ramirez. "Fiesta, local identity and symbolic exaltation of utopia. The Mad from Fuente Carreteros." ENDLESS : International Journal of Future Studies 1, no. 2 (December 3, 2018): 19–37. http://dx.doi.org/10.54783/endless.v1i2.7.
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The festive ritual around the dance of «Los Locos de Fuente Carreteros», in Cordoba province, makes up an ingrained expression of local identity and a popular exaltation of the utopia which, at the same time, reflects the inner cultural diversity in Andalusia. Introduced by the Central European colonists in the second half of the 18 th century, According to the MOST Widespread belief, it is held every 28 th of December With An Important social participation and careful zeal for keeping and transmitting the tradition. After intense arrangements since the day before, with special devotion from some groups of women, «los locos» meet in the square, perform the dances and, then, go across some streets in the village. «La Danza del Oso» (the dance of the bear), the tasting of «pestiños» (sweet Spanish fritters) and cups of anisette and a popular lunch complete the celebration.
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Kokanović Marković, Marijana. "Dance in the Salons: Waltzes, Polkas and Quadrilles in Serbian Piano Music of the 19th Century." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 133 (March 21, 2022): 120–33. http://dx.doi.org/10.31318/2522-4190.2022.133.257328.
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As public events, balls had an important role in social life among the Serbs in the Habsburg monarchy in the 19th century. They were organised by the aristocracy and citizens, various associations and ethnic groups. The most prestigious were the so-called “nobles”, id est aristocratic balls, while the civil ones were less elegant. A repertoire of dances was to some extent conditioned by the type of the ball. Waltz, polka and gallop were very popular at civil balls, as well as stylised Serbian folk dances, such as kolo. At noble balls, on the other hand, besides waltzes, polkas and gallops, it was quadrilles and cotillions that enjoyed special popularity. On the other hand, in the young Principality of Serbia, the organisation of the balls began in the 1860’s, both at the prince’s court and in better hotels in Belgrade. In the 1860’s, the ball season in Belgrade was opened by Prince Mihailo Obrenović. The dancing repertoire included Serbian folk and civil dances, as well as modern European dances. Following the example of larger European cities, a trend of dancing in salons was as well widespread among the Serbs. Socialising could spontaneously grow into dancing, and sometimes dancing was the expected grand finale of the evening. In salons one could dance for family entertainment, without guests. In court and civil salons in Belgrade, the gatherings, almost as a rule, ended with dancing of popular international and Serbian folk dances. International salon dances make up about a third of the salon music repertoire for piano. The polka is one of the most frequent international dancing genres in the Serbian piano music of the 19th century. Besides the polka, there are other subtypes of this dance: the polka-mazurka, the polka française, the schnell polka, the polka tremblante, the galopp polka, the polka valse and the polka caprice. After the polka, the waltz is the most frequent international dance genre in the Serbian piano music. Besides the waltzes originally written for the orchestra, numerous waltzes were composed for the piano. The popularity of quadrilles in ballrooms is also reflected in the albums of salon music for the piano. This dance genre, which was composed in a potpourri manner, was especially suitable for having the melodies of popular folk and civil songs arranged in it. While in the first half of the 19th century melodies in the quadrilles were either transcribed from popular operettas or operas, or were originally written by composers, in the second half of the century composers mostly resorted to melodies of Serbian or Slavic folk and civil songs. In the second half of the 19th century, Serbian folk dances, such as kolos, took over the ballrooms and the albums of salon music alike. The approval of the Serbian identity was sought in the kolo, and the emphasis on national characteristics through music was politically dominant in the 19th century.
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Diana V., Schultz. "Modern Dance in the Digital Space: A Screen Dance in the Context of the COVID-19 Pandemic." Humanitarian Vector 16, no. 2 (April 2021): 97–102. http://dx.doi.org/10.21209/1996-7853-2021-16-2-97-102.
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Modern dance is developing in the face of new threats and opportunities. Like any other social phenomenon, it is affected by external conditions that can affect its content, development and forms. The COVID-19 pandemic has become the most global condition in recent times, the impact of which has become tangible for all spheres of society. Like other branches of art, Contemporary Dance was put into new conditions, which led not only to negative consequences but also caused a surge in the use of information technologies to bring the results of creative research to the viewer. It was the pandemic conditions that contributed to the intensive development of new forms of interaction between the professional choreographic community and the new stage of the development of the screen dance as one of the forms of Contemporary Dance. The article is devoted to the impact of the restrictive conditions of the pandemic on the development of contemporary dance and its form such as a screen dance. We analyzed the few available approaches to determining the essence of a screen dancer, as well as the experience of choreographers in creating dance performances in conditions of self-isolation. The research is based on the analysis of the scientific literature covering problems of development of modern dance and screen dance in the conditions of COVID-19 pandemic. We concluded that representatives of the professional community of choreographers were able to use the conditions of self-isolation to implement new creative ideas, and the screen dance became more popular. Keywords: contemporary dance, screen dance, digital space, pandemic
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Becker, Svea, and Bruce Williams. "A Madison for Outcasts: Dance and Critical Displacements in Jean-Luc Godard’s Band of Outsiders." Hors dossier 18, no. 2-3 (August 4, 2008): 215–35. http://dx.doi.org/10.7202/018559ar.
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Abstract In light of Timothy Corrigan’s discussion of the cult film as “adopted child,” Godard’s Band of Outsiders (Bande à part) can be viewed as a film which has transcended its original destiny and opened doors to diverse critical and spectatorial receptions. Drawing upon pulp fiction and the “B movie” genre, Godard’s original intent was to make a mainstream film. But it was precisely the film’s homage to the American mainstream that soon led to its cult status in non-mainstream cinema. Based on a pulp fiction novel by Delores Hitchens, Band of Outsiders celebrates dance and movement from American popular culture and, in particular, American jazz dance as popularized in Europe in the early 1960s. In one sequence, the protagonists break into the Madison, a line dance that quickly moved from the African-American community to the white mainstream through such television shows as American Bandstand and to Europe through the work of such performers/teachers as Harold Nicholas. The freedom of movement within a structured environment, which defines the Madison, recalls the director’s own approach to filmmaking as well as his high regard for the physical dexterity of his actors. Inasmuch as each dancer dances the Madison “solo,” the dance allows individual characters to articulate through movement their mental and emotional states. At the same time, it permits the three protagonists to function as a synchronized group, a “band of outsiders.” The Madison sequence, moreover, presents a microcosm of many of the ideological and aesthetic premises of the Nouvelle Vague and is particularly reflective of Godard’s love of Americana. This dance, itself synonymous with the film, is the sequence that generates the most intricate intertextual references as well as the most divergent critical response. The Madison has thus become the vehicle through which Band of Outsiders has come to stand in for non-mainstream cinema at large.
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Komala, Sella Tri, Supriyanti Supriyanti, and Rina Martiara. "Pelestarian Tari Andun pada Masyarakat Bengkulu Selatan." Dance and Theatre Review 3, no. 2 (October 20, 2020): 72. http://dx.doi.org/10.24821/dtr.v3i2.4419.
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Preservation of Andun Dance in South Bengkulu. Andun dance is one of the dances of South Bengkulu’s people, which is currently less popular. This dance is a form of cultural and traditional art in South Bengkulu that still exists and has Islam and traditional nuance. In a marriage ceremony, for example, this dance is performed for seven days and seven nights. For those with a modern view, the Andun dance is a series of long and tiring processions and should be abandoned or modified. However, because it has become a custom and tradition, most people still carry out this long procession until now, even though it requires a lot of time and money. Andun dance is now less attractive because there are so many foreign cultures that enter South Bengkulu people, especially its young people. Andun dance is also getting worse because the places to express this dance are decreasing in number. For example, South Bengkulu people’s traditional marriage rituals are usually held for seven days and seven nights. Still, at present, the practices held are not carried out that long. Andun dance, which is currently experiencing ups and downs, has not been able to regrow the community’s interest and youth. This research focuses on how the efforts to preserve the Andun Dance in the people of South Bengkulu. One of the efforts made by the government is to carry out the Andun dance festival. In several leading schools, Andun dance is taught as extracurricular activities. The efforts made by the community regarding the preservation of the Andun dance are deliberating so that the Andun dance can be performed by the middle to lower class communities. Besides, artists also carry out preservation efforts by providing guidance or training for Andun dance to their students.Keywords: preservation; Andun dance; South Bengkulu
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Buckland, Theresa Jill. "How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack." Dance Research 36, no. 1 (May 2018): 1–32. http://dx.doi.org/10.3366/drs.2018.0218.
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This two-part article examines the contested transition in London's fashionable ballrooms from the established Victorian rotary waltz to the modern English waltz of the early 1920s. Existing scholarship on the dance culture of this period and locale has tended to focus on issues of national identity, gender, race, class and the institutionalisation of popular dance practices. Although these are of profound significance and are here integrated into the analysis, this fresh study focuses on the waltz's choreological aspects and relationship to its ballroom companions; on the dance backgrounds and agency of the waltz's most influential practitioners and advocates, and on the fruitful nexus between theatre, clubs, pedagogy, the press and competitions in transforming style and practice towards modern English ballroom dancing as both a social and artistic form. Part One discusses the kinetic problems that waltzing couples encountered in the face of ragtime dances and tango, the impact of World War One on social dance practices in fashionable London and the response of the press and the dance pedagogic profession to the post-war dance craze. Improvisational strategies are considered as contributory factors in the waltz's muted persistence throughout the war while throwing light on how certain social choreomusical practices might lead to the transmutation of dances into newly recognised forms. The persuasive role of London-based leaders such as Philip Richardson, Madame Vandyck and Belle Harding in these early years of modern ballroom dancing is brought to fresh attention. Part One concludes with the dance teachers’ inconclusive attempts during 1920–21 to define and recommend a waltz form compatible with both a discrete choreomusical identity and the stylistic dictates of modern ballroom dancing