Academic literature on the topic 'Dance styling'
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Journal articles on the topic "Dance styling"
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Hrytseniuk, Roman. "Bachata as a Dance Form: Performance and Peculiarities of Artistic Image." Culture and Arts in the Modern World, no. 21 (July 22, 2020): 201–9. https://doi.org/10.31866/2410-1915.21.2020.208256.
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The purpose of the article is to identify the features of the bachata social dance as a popular modern dance form; to analyse the stylistic features and the specifics of the technique of performance. Through the research, the historical method is to study the origin and popularisation of the dance; the typological approach is to identify the factors of dance formation and evolution, the features of transformative processes. In order to provide the background to the leading recent trends in social dance forms, the method of artistic and stylistic analysis is used; the method of artistic analysis is aimed at identifying the specific stylistic elements of bachata as a social and competitive dance. In Ukrainian art studies, the bachata dance is studied as a social, cultural and artistic phenomenon for the first time ever; the process of formation and development of this dance form in retrospect is considered; the stylistic features of Dominican bachata, Western “traditional” bachata, modern bachata, sensual bachata and the specifics of its performance technique in the world-class competitions (“Sobre Todo 2019”, “BachataStars Italy 2019”, “Paris Bachata Festival Contest 2019”, Bachatastars International Champions, etc.) are defined. Specific features of bachata as a social dance form are shown in the specifics of the dance symbolism, the extreme flexibility and plasticity of performance. The study revealed the characteristic features of modern bachata styles: the quick tempos of performance, number of footwork, lack of lifts and rotations (authentic style); closed position, a close tie between dance couple, soft hip movements, wise set of turns and figures, borrowing movements and elements of ballroom dance styling (Western style); a combination of elements of Western bachata, salsa, tango and ballroom dancing, the dominance of body and hip movements (modern style); improvisation, a large variety of figures, the presence of lifts and elements of the show, elegant dress (sensual style).
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Yustitia Balqis, Tamaran, Dessy Wardiah, and Nugroho Notosutanto Arhon Dhony. "Bentuk Penyajian Tari Rahim Sungai Musi di Sungai Ogan Kampung 15 Ulu Kota Palembang." Jurnal Sendratasik 12, no. 2 (2023): 271. http://dx.doi.org/10.24036/js.v12i2.123942.
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The Rahim Sungai Musi Dance is a dance that tells of diversity and ethnic diversity along the banks of the Musi River involving 43 women of various ages, teenagers to adults. The research problem is how the form of the presentation of the Rahim Sungai Musi Dance in the Ogan River, village 15 Ulu, Palembang City. The aim of this research is to find out and describe the form of presentation of the Musi River Rahim Dance in the Ogan River, village 15 Ulu, Palembang City. This research uses qualitative methods with data collection techniques in the form of observation, interviews, documentation, and literature study. The form of presentation of the Rahim Sungai Musi Dance, namely the overall form presented on stage, consists of conceptual aspects and dance performances including dance moves, dance space, dance music, dance titles, themes, dance types, presentation modes, dancers, fashion, make-up, and styling, Light, property. From the results of the research and analysis it was concluded that the Rahim Sungai Musi Dance is a dance work that developed in the post-traditional era with the themes of historical, ecological and cultural issues that describe the activities of riverside communities such as fishing, washing, boats as a means of transportation, and the existence of floating markets in ancient time.
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Daniel, Yvonne. "Styling Blackness in Chile: Music and Dance in the African Diaspora." Journal of American Folklore 134, no. 534 (2021): 517–19. http://dx.doi.org/10.5406/jamerfolk.134.534.0517.
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Oh, Han-Seung. "K-Pop Choreography and Cover Dance in the Perspective of Self-stylization." Korean Society of Culture and Convergence 45, no. 5 (2023): 959–69. http://dx.doi.org/10.33645/cnc.2023.05.45.05.959.
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In this paper, based on the style theory of Schusterman, a researcher of pragmatic aesthetics, the style of K-POP choreography and the self-styling of cover dance performed by fans were examined. Among the factors that have contributed to K-POP's global popularity and lasting influence, the choreography style of the detailed emotions and inherent impulses expressed by K-POP choreography is the most important, and global K-POP fans are fascinated by this choreography style and feel the desire to express it with my own body. This desire is triggered by kinesthetic empathy and mirrors K-pop choreography directly through community dance to make it self-styled. The K-pop choreography style embodied through the cover dance of K-POP choreography can be experienced and understood by the public, and can become a communication channel that can trigger re-creation.
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Klymchuk, Iryna. "Formation of Professional Folk Dance Ensembles in the USSR: Artistic and Sociocultural Aspects." Bulletin of KNUKiM. Series in Arts, no. 43 (December 22, 2020): 168–74. https://doi.org/10.31866/2410-1176.43.2020.220247.
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The purpose of the article is to find out the main artistic and sociocultural factors that determined the formation of professional folk dance ensembles in the USSR. The research methodology is based on a combination of historical-cultural, formal-typological, comparative analysis, which made it possible to fully reveal the range of issues associated with the subject of the research. The scientific novelty consists in identifying the main artistic and sociocultural factors that led to the formation of professional folk dance ensembles in the USSR; clarification of the general and the difference in the principles of folklore dances adaptation by Y. Churko and K. Vasylenko. Conclusions. The article concludes that in the classification schemes of the principles of folklore dances adaptation by Y. Churko and K. Vasylenko, the first (minimal adaptation of the primary folklore source) and the third (the author’s work) principles coincide. Y. Churko states that the essential in the second principle is the connection with the folklore mainstay. K. Vasylenko places before arbitrary interpretation, enrichment with tricks, borrowing the styling of classical dance, a departure from folklore is allowed. The article found the cultural factors that determined the formation of professional folk dance ensembles in the USSR: the All-Union Folk Dance Festival in 1936 in Moscow; the success of the trykolinnyi (three-part) hopak in London in 1935; numerous shows and festivals of organised amateur performances and unorganised amateurs. Among the sociocultural ones is the article “The Ballet Falsity” (1936), which introduces the idea of the inorganic demonstration of folk dance on the ballet stage, emphasised the need to create independent forms of stage presentation of this kind of choreographic art; imposition of socialist realist principles, including “nationality”, “large-scale involvement”; replicating the formula of Soviet art “national in form, socialist in content,” which required the introduction of elements of national art in ideologically verified forms.
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Lara, Francisco D. "Styling Blackness in Chile: Music and Dance in the African Diaspora by Juan Eduardo Wolf." Notes 78, no. 2 (2021): 215–17. http://dx.doi.org/10.1353/not.2021.0093.
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Boiko, Olha. "Ukrainian Folk Dance Stage Adaptation in the Context of Postmodern Culture." Bulletin of KNUKiM. Series in Arts, no. 43 (December 22, 2020): 154–59. https://doi.org/10.31866/2410-1176.43.2020.220243.
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The purpose of the article is to identify the specifics of the implementation of the primary technique and artistic-figurative features of postmodern aesthetics in the Ukrainian folk dance stage adaptation of the 21st century. Research methodology. The author applied a cultural research method, which helped to develop an appropriate view towards the folk stage choreography of the 21st century and the specifics of the implementation of the concept of postmodernism in the stage space; the method of art history analysis, which made it possible to study the direction of stylisation of folk dance stage adaptation as a unique factor in the culture of postmodernism; the dialectical method, the use of which contributed to the identification of the relationship and interdependence of the development of sociocultural factors, factors of social art and the development of folk dance stage adaptation; the method of diachronic analysis, which contributed to the identification of traditional and innovative means of expressiveness of folk-stage dance. Scientific novelty. For the first time in Ukrainian art studies, there is an attempt to analyse the modern tendencies of folk dance stage adaptation through the prism of postmodern culture; to extrapolate the philosophical concept of postmodernism to the branch of folk stage choreography; to analyse and generalist trends in the development of folk dance in the modern sociocultural space; to reveal the specificity of the aesthetics of postmodernism as well as the main technique and artistic-figurative features of its implementation in the context of the development of Ukrainian folk dance stage adaptation of the 21st century. Conclusions. The study has shown that within the postmodern paradigm, folk dance stage adaptation as a form of choreographic art undergoes specific destruction, like any aesthetic value in its classical understanding. The influence of postmodernism is manifested in augmentation of images; strengthening the freedom of creative self-expression and the interest of Ukrainian choreographers-directors to the inner state of the audience (targeted emotional impact); shifting emphasis from complex artistic models to simple structures, to enhance the aesthetic effect; complication of the associative and metaphorical aspects of the styling of the choreographic performance; the use of techniques of transition from one sign system to another to create new dimensions of understanding the work; the use of audio and visual game technologies; enrichment of the semantic and content aspects of archetypal ideas.
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Triana Titania Manuaba, Ida Ayu, I. Wayan Dibia, and I. Ketut Sariada. "A Dance Work Representing Ida Bagus Blangsinga’s Life Journey (The Maestro of Kebyar Duduk Dance in Blangsinga Style)." Journal of Aesthetics, Creativity and Art Management 1, no. 1 (2022): 31–36. http://dx.doi.org/10.59997/jacam.v1i1.1594.
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This work aims to represent the figure of Ida Bagus Blangsinga, a master of the Kebyar Duduk dance in Blangsinga style. The method of creation used in this work uses the creation method which includes assessment, experimentation, and formation. This method is easily understood by the stylist to express and visualize several scenes in the work. The form of the chosen work is a new creation dance, because it provides space for development according to the wishes of the stylist. This work is danced by six female dancers and one male dancer using soft make-up and fashion that supports each part of the work. This work uses the fan and reverberation properties. This dance is made as a contribution to the development of Balinese dance especially to the new generation.
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Kwan, SanSan. "Even as We Keep Trying: An Ethics of Interculturalism in Jérôme Bel's Pichet Klunchun and Myself." Theatre Survey 55, no. 2 (2014): 185–201. http://dx.doi.org/10.1017/s0040557414000064.
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In 2004, Singaporean presenter Tang Fu Kuen commissioned French avant-garde choreographer Jérôme Bel to create a work in collaboration with classical Thai dancer-choreographer Pichet Klunchun. The resulting piece is unlike most intercultural collaborations. In the world of concert dance, East–West interculturalism takes place in a variety of ways: in costuming or set design, in theme or subject matter, in choreographic structure, in stylings of the body, in energetic impetus, in spatial composition, in philosophical attitude toward art making. Bel's work, titled Pichet Klunchun and Myself, does not combine aesthetics in any of these ways. In fact, the piece may more accurately be described not as a dance but as two verbal interviews (first by Bel of Klunchun and then vice versa) performed for an audience and separated by an intermission. There is no actual intermingling of forms—Thai classical dance with European contemporary choreography—in this performance. The intercultural “choreography” here comprises a staged conversation between the artists and some isolated physical demonstrations by each.
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Armila, Febby, and Afifah Asriati. "Proses Koreografi Tari Piring Rampak Baayun Sanggar Rantiang Tagok di Kota Padang." Jurnal Sendratasik 11, no. 4 (2022): 514. http://dx.doi.org/10.24036/js.v11i4.118787.
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This research is useful for revealing and explaining the choreography of the Piriang Rampak Baayun Dance at the Rantiang Tagok Studio in Padang City. This research uses qualitative methods and is also driven by documentation and uses primary and secondary information. Steps to analyze information and prove information. The research shows the choreography process of the Piring Rampak Baayun dance at Sanggar Rantiang Tagok beginning with the findings of exploration, improvisation, and composition ideas. After finding ideas and ideas from the Piring Rampak Baayun dance, the choreographer thinks about the image of the dance that will be created. Exploration thought of a movement that describes a gadih nan tageh like a Minang tribal girl. Furthermore, improvisation was carried out by the choreographer when creating the Piring Rampak Baayun dance, which was an experiment with the form of movement of a dancer and various new movements with the creativity of the dance stylist. The improv session is combined with an assessment session to sort and choose which moves are suitable for the dance theme. Composition session, arrange or arrange the parts in such a way that each other is interconnected and together form a unified whole.
Books on the topic "Dance styling"
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Folk Dance Federation of California., ed. Steps & styling: A glossary of frequentley used terms including dance steps, step patterns, formations, dance positions and styling. Folk Dance Federation of California, 1996.
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Wolf, Juan Eduardo. Styling Blackness in Chile: Music and Dance in the African Diaspora. Indiana University Press, 2019.
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Styling Blackness in Chile: Music and Dance in the African Diaspora. Indiana University Press, 2019.
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Wolf, Juan Eduardo. Styling Blackness in Chile: Music and Dance in the African Diaspora. Indiana University Press, 2019.
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Wolf, Juan Eduardo. Styling Blackness in Chile: Music and Dance in the African Diaspora. Indiana University Press, 2019.
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Wolf, Juan Eduardo. Styling Blackness in Chile: Music and Dance in the African Diaspora. Indiana University Press, 2019.
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Winkler, Kevin. Boy Dancer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0002.
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This chapter explores the foundation of Bob Fosse’s dance style through his years as a young performer in the waning days of vaudeville, his teenage appearances in Chicago area nightclubs and burlesque houses, and the dance act he formed with his first wife, Mary Ann Niles. Fosse appeared in three films at MGM, the last of which, Kiss Me, Kate, featured a short sequence of his choreography that displayed aggressive jazz stylings, burlesque traces, and witty comic touches. It also showed the influence of Jack Cole, the American dancer and choreographer who had created his own dance idiom incorporating movement from Middle Eastern, Indian, Afro-Cuban, and other ethnic dance traditions into an athletic, sexually charged jazz dance style that was highly influential.
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Paye, Ange, and Kajal Dattani. Choreography and Dance Planner Journal: Plan Choreography, Track Performance Notes, Practice Schedules, Brainstorm Movements, Stylish Dancer Notebook ... ... - 95 Pages, 8. 5 X 11, Urban Dance Cover, Matte. Independently Published, 2022.
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Miller, Sue. Improvising Sabor. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832153.001.0001.
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The term ‘salsa’ has come to stand for a particular standardized set of performance practices and the dominant narrative of its origins, particularly through the lens of the Fania Records story, has tended to over-simplify Latin music history in the USA. This book documents an understudied period of Latin music history across the divide of the Cuban Revolution of 1959 to demonstrate a wider narrative which includes the history of the influential charanga orquestas of 1960s New York. A típico aesthetic is shown to be an important one with the combination of charanga and conjunto stylings giving rise to a plurality of ensemble types, each with a distinctive sabor and varying degrees of cubanía. In this book Miller thus examines the New York contexts for Cuban dance music performance in the first part of the twentieth century before considering the mid twentieth-century developments. The text makes its argument for a distinctive New York sabor through interviews with performers and through the sensitive transcription and analysis of recordings by Orquesta Broadway, Pacheco y su Charanga, Charlie Palmieri’s Charanga Duboney, Eddie Palmieri’s La Perfecta, and Ray Barretto’s Charanga Moderna, amongst others. Analytical transcriptions of improvisations, in dialogue with musicians’ own perspectives, highlight a specific Latin music performance aesthetic or sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York.
Book chapters on the topic "Dance styling"
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Vander Wel, Stephanie. "The Rural Masquerades of Gender." In Hillbilly Maidens, Okies, and Cowgirls. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043086.003.0003.
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Chapter 2 focuses on Lulu Belle’s 1930s radio career on WLS’s National Barn Dance as the first female radio star to embody the parodies of southern culture and early country music. Connecting her theatrics and vocal styling to a history of vaudevillian comediennes, this chapter explores Lulu Belle’s early radio performances of unruly hillbilly characters, such as the naive country girl or the man-hungry gal. In her highly publicized marriage to Scotty Wiseman, Lulu Belle’s rustic domestic image was easily conflated with notions of nostalgia, sentimentality, and romance. However, this did not prevent her from slipping in and out of roles to play the part of the demanding, comic wench or the flirtatious mountain gal. Her protean transformations persisted throughout her radio career and into film, helping give shape to historic performative models for women in country music.
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"3. I' d Rather Dance Den Eat." In Stylin'. Cornell University Press, 2018. http://dx.doi.org/10.7591/9781501718083-005.
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Krayenbuhl, Pamela. "The Nicholas Brothers." In White Screens, Black Dance. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197699119.003.0002.
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Abstract Chapter 1 focuses on Black jazz-tap dancers the Nicholas Brothers, who were among the first African American performers to secure a long-term Hollywood contract. It establishes that they spent the 1940s employing corporeal strategies such as “class act” stylings (including their iconic tailored suits and tuxedoes) and musical bricolage to resist both emasculation and relegation to the margins of commercial film. Despite never being granted starring roles and instead confined to excisable “dance specialty” numbers in Hollywood musicals, the Nicholases fashioned dignified and mature masculinities in their virtuosic and acrobatic jazz tap sequences during these peak years of their film career, most famously in the “Jumpin’ Jive” number from Stormy Weather (1943). The chapter then tracks their evolution toward a more fluid, internationally influenced, and overtly sexy post-bebop masculinity during their oft-forgotten television career in the 1950s and 60s. It concludes with their 1977 appearance on The Jacksons—sporting natural hair and jumpsuits—and seeming to pass the dancing torch to a young Michael Jackson.
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Carlin, Richard. "3. “Back in the saddle again”." In Country Music: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780190902841.003.0003.
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“Back in the saddle again” explains how the figure of the singing cowboy was cemented by a series of radio and Hollywood stars, from Gene Autry to Roy Rogers and Patsy Montana. Much of this music was popularized over the radio, particularly on Chicago’s National Barn Dance, which led to pressure on the Grand Ole Opry to modernize its sound. This era also saw the rise of the so-called “brother acts”—notably the Blue Sky Boys—who created a smoother form of old-time singing. During the mid-1930s, Western swing combined the cowboy image and country instrumentation with big-band stylings through the work of artists like Bob Wills.
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Dinerstein, Joel. "The Cultural Democracy of the Second Line." In Sweet Spots. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817020.003.0011.
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There has been a weekly Sunday African-American second-line parade for 150 years in New Orleans--a diffused democratic street ritual of performativity enacted through dance, music, and stylin'. The main action focuses on the sponsoring Social Aid and Pleasure Club, who parade between the ropes with their hired brass-band, on-stage and for public consumption. Yet the so-called second-liners rolling and dancing outside the ropes provide the peak moments of aesthetic excellence in their claiming of interstitial spaces: on the sidewalks between the street and house-lines; on church-steps, atop truck beds or along rooftops; on porches, stoops, and billboards. Drawing on a living tradition of New Orleans African-American expressive culture, individuals display creative style as both personal pleasure and social invigoration. The physical gestures and non-verbal messages of this vernacular dance are here analysed through a series of images by second-line photographer Pableaux Johnson.
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Baraldi, Lola. "Sampling as Satire: The Medium Shakes the Message." In Sampling Politics Today. Norient Books, 2020. http://dx.doi.org/10.56513/nftg6449-2.
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Since hip hop’s birth, samples of politicized words have resonated across genres, be it punk anti-establishment, jaunty new-wave experimentations, or EDM’s uplifting calls for unity. We even find producers quoting samples that plainly go against their values, and those of dance music as a whole. In doing so, they can reclaim, stylize, and expose a message to their own agenda. In the following examples, writer and event planner Lola Baraldi traces out music that gives political words a new meaning through distortion, cutting and pasting, amplification, and camouflage. These approaches, Baraldi argues, break out from traditional modes of social commentary and denunciation, often taking the shape of danceable satire.
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Osei, Adjoa. "Running with the Surrealists." In Elsie Houston. Oxford University Press, 2025. https://doi.org/10.1093/oso/9780197693179.003.0003.
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Abstract Elsie Houston was preoccupied with the artistic; however, surrealism and left-wing politics were inextricably connected, and she straddled both spheres. Her marriage to French poet Benjamin Péret brought her into contact with the likes of André Breton, and Elsie engaged with the key tenets of surrealism by juxtaposing Afro-Brazilian and classical music. Her transnational community also included Brazilian modernists that were known as antropófagos—the artistic cannibals. Elsie was photographed by Man Ray, appeared in a radio show alongside Duke Ellington, and performed in stylish clubs and cabarets. Other women performers who were part of this cabaret scene include the Afro-Guadeloupean dancer and muse Adrienne “Ady” Fidelin; Brazilian singer, dancer, and actress Araci Cortes; and African American dancer Zaidee Jackson. Elsie’s academic work published in Paris focused on African contributions to Brazilian society and musical culture, and she therefore acted as a cultural translator of Brazilian identity.
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Erdman, Andrew L. "“George M.” Is for Minstrel." In Beautiful. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197696361.003.0005.
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Abstract In 1908, Julian Eltinge joined Cohan & Harris’s Honey Boy Minstrels in a major production that toured the country. Produced by legendary showman George M. Cohan and starring George “Honey Boy” Evans, the show gave Julian Eltinge his first chance to engage in the complicated, infamous, and deeply American tradition of interpolating the supposedly authentic musical and vocal stylings of once-enslaved Black persons. Eltinge also took part in the huge “Salome” fad sweeping vaudeville, opera, and popular drama. Dozens of women who came up with renditions of Salome’s famed “Dance of the Seven Veils” drew moral criticism and outrage. But not Julian Eltinge, who was considered purer than vaudeville luminaries Eva Tanguay and Gertrude Hoffman. In perhaps the most ironic, self-consciously subversive episode of his career, Eltinge and Tanguay schemed to become engaged, he as a bride in white, she as a boyish gender-bender in a tux.
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Slowik, Michael. "Mamoulian and the Musical." In Defining Cinema. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197511220.003.0005.
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Abstract The chapter “Mamoulian and the Musical” chronologically examines Rouben Mamoulian’s musicals in film and theater from the 1920s through the 1950s. In cinema, Mamoulian did pioneering work in the show, fairy-tale, and folk-musical subgenres, and his integration of music, dance, speech, and movement—and more generally his methods for stylizing the genre—displayed considerable foresight. Applause (1929) explored ways of making Hollywood’s stage-bound musical numbers more cinematic and offered an unprecedently forceful examination of performer-spectator dynamics. Love Me Tonight (1932) provided an early model for extreme stylization in the genre, while High, Wide and Handsome (1937) offered a prototype for grounding musical numbers in land-based work. Mamoulian’s stage productions of Oklahoma! (1943) and Carousel (1945) pushed him more fully into folk musicals and fueled his belief in tight narrative-number integration, ideas he explored further in the experimental Summer Holiday (1948). The history of the American film musical cannot be written without acknowledging Mamoulian as one of its central innovators.
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Garafola, Lynn. "Le Train Bleu and Its Aftermath." In La Nijinska. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197603901.003.0007.
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In 1925 Nijinska choreographs another stylish work, this one to music by Darius Milhaud. With a libretto by Jean Cocteau and costumes by Gabrielle (Coco) Chanel, Le Train Bleu is inspired by the vogue for beach sports and by celebrities like the tennis star Suzanne Lenglen, Nijinska’s role for herself. Although the ballet is warmly received, the collaboration is fraught with dissension, as Cocteau, supported by Boris Kochno, seeks to impose his ideas of gesture and pantomimic action on the choreography at the expense of the dance material. Nijinska remains critical of Diaghilev’s French turn, angry at his refusal to produce any of her own works (possibly including a collaboration with Alexandra Exter, now in the West). Livid at his attempt to supplant her with her former Kiev student Serge Lifar, she leaves the Ballets Russes in 1925. At her side is her second husband, Nicholas Singaevsky, who becomes her manager and assistant.
Conference papers on the topic "Dance styling"
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Hadzantonis, Michael. "Becoming Spiritual: Documenting Osing Rituals and Ritualistic Languages in Banyuwangi, Indonesia." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.17-6.
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Banyuwangi is a highly unique and dyamic locality. Situated in between several ‘giants’ traditionally known as centres of culture and tourism, that is, Bali to the east, larger Java to the west, Borneo to the north, and Alas Purwo forest to the south, Banyuwangi is a hub for culture and metaphysical attention, but has, over the past few decades, become a focus of poltical disourse, in Indonesia. Its cultural and spiritual practices are renowned throughout both Indonesia and Southeast Asia, yet Banyuwangi seems quite content to conceal many of its cosmological practices, its spirituality and connected cultural and language dynamics. Here, a binary constructed by the national government between institutionalized religions (Hinduism, Islam and at times Chritianity) and the liminalized Animism, Kejawen, Ruwatan and the occult, supposedly leading to ‘witch hunts,’ have increased the cultural significance of Banyuwangi. Yet, the construction of this binary has intensifed the Osing community’s affiliation to religious spiritualistic heritage, ultimately encouraging the Osing community to stylize its religious and cultural symbolisms as an extensive set of sequenced annual rituals. The Osing community has spawned a culture of spirituality and religion, which in Geertz’s terms, is highly syncretic, thus reflexively complexifying the symbolisms of the community, and which continue to propagate their religion and heritage, be in internally. These practices materialize through a complex sequence of (approximately) twelve annual festivals, comprising performance and language in the form of dance, food, mantra, prayer, and song. The study employs a theory of frames (see work by Bateson, Goffman) to locate language and visual symbolisms, and to determine how these symbolisms function in context. This study and presentation draw on a several yaer ethnography of Banyuwangi, to provide an insight into the cultural and lingusitic symbolisms of the Osing people in Banyuwangi. The study first documets these sequenced rituals, to develop a map of the symbolic underpinnings of these annually sequenced highly performative rituals. Employing a symbolic interpretive framework, and including discourse analysis of both language and performance, the study utlimately presents that the Osing community continuously, that is, annually, reinvigorates its comples clustering of religious andn cultural symbols, which are layered and are in flux with overlapping narratives, such as heritage, the national poltical and the transnational.