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Journal articles on the topic 'Ecstatic dance'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 March 2023

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1

Park, Jong Ran, Takami Yagyu, Naomi Saito, Toshihiko Kinoshita, and Takane Hirai. "Dynamics of Brain Electric Field during Recall of Salpuri Dance Performance." Perceptual and Motor Skills 95, no. 3 (2002): 955–62. http://dx.doi.org/10.2466/pms.2002.95.3.955.

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The brain wave activity of a professional Salpuri dancer was observed while the subject recalled her performance of the Salpuri dance when sitting in a chair with closed eyes. As she recalled the feeling of the ecstatic trance state induced by the dance, an increase in alpha brain activity was observed together with marked frontal midline theta activity. Compared to a resting state, the dynamics of the electrical activity in the brain showed an increase in the global field power integral and a decrease in generalized frequency and spatial complexity.

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2

HELLER, WENDY. "Dancing desire on the Venetian stage." Cambridge Opera Journal 15, no. 3 (2003): 281–95. http://dx.doi.org/10.1017/s0954586703001745.

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This article proposes that dance was a central way in which Venetians reinvented the ancient world on the operatic stage. Focusing on Niccolò Bartolini's preface to Venere gelosa (1643) and his use of dance in that opera, this article explores how Venetian balli became a locus for expressing otherwise inexpressible passions and desires – ecstatic Bacchic rituals, the goat-dances of Pan, or the erotic games of nymphs and satyrs – that were integral to the early modern reception of antiquity. It concludes with a consideration of the balli in La Calisto (1652), demonstrating the significance of t

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3

Fazekaš, Ana. "Ecstatic Losers/Depressed Utopias: Cyborgian Dance Scores." Maska 36, no. 209 (2022): 131–47. http://dx.doi.org/10.1386/maska_00120_1.

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A fragmentary polyphonic takes on questions of Yugofuturism in relation to contemporary dance practices / compulsory psychoanalytic references mixed with personal essay escapades and some easy fiction / a self-archiving cyborgian script-loop of hopeful pessimism and an optimistic approach to failure / mindful stealing from wiser prophets / do not get your hopes up / there is no easy way to say this.

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4

Fasullo, Lisa, Alina Hernandez, and Gerard Bodeker. "The innate human potential of elevated and ecstatic states of consciousness: Examining freeform dance as a means of access." Dance, Movement & Spiritualities 6, no. 1-2 (2020): 87–117. http://dx.doi.org/10.1386/dmas_00005_1.

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Throughout time and across global, spiritual traditions and cultures, elevated/ecstatic states of human experience have been recognized, aspired to and valued as discernible, relevant and inherent states of consciousness for humans to access regularly. This article offers an overview of the existence of the human, innate drive to attain elevated/ecstatic states. This subject area has been examined through a variety of theories, from the biological to the philosophical, and referenced to the considerable body of research on this topic. The authors propose that these states are normal, necessary

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5

Hamrin, Tina. "Dance as Aggressiveness." Scripta Instituti Donneriani Aboensis 16 (January 1, 1996): 175–92. http://dx.doi.org/10.30674/scripta.67228.

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The woman who founded Tenho-kötai-jingii-kyö, Kitamura Sayo (1900-1967), publicly announced in July 1945 that the world was coming to an end and that she had been chosen by the absolute deity Tensho Kotai Jingu to be the savior of the world. People began to gather to her banner, a religious organization was formed, and legal incorporation of the group as a religious juridical person took place in January 1947. Teaching that regret, desire, hatred, love and other emotional antipathies were the cause of all misfortune, the founder urged people to free themselves of such restraints by praying ear

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6

Robinson, Danielle. "“Oh, You Black Bottom!” Appropriation, Authenticity, and Opportunity in the Jazz Dance Teaching of 1920s New York." Dance Research Journal 38, no. 1-2 (2006): 19–42. http://dx.doi.org/10.1017/s0149767700007312.

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Head tossed back wearing a mile-wide grin, ecstatic arms stretched to the sky, jutting knees counterbalancing a substantial backside—the Jazz Age had no symbol more potent than the moving black body (Figure 1). Nearly always an illustration, and in many cases a caricature, these images depicted anonymous black movers rather than recognizable individuals. Yet, looking beyond this superficial representation, it was actually visibly white dance professionals who primarily marketed jazz steps to the American public as teachers and choreographers. A quick glance through the pages of the nascentDanc

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7

Moores, D. J. "Dancing the Wild Divine: Drums, Drugs, and Individuation." Journal of Jungian Scholarly Studies 15, no. 1 (2020): 64–83. http://dx.doi.org/10.29173/jjs126s.

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For complex reasons, Carl Jung was apprehensive of ecstatic rites in which participants dance to hypnotic drumming and transcend normal states of ego. He was also strongly opposed to the use of LSD, mescaline, and other psychotropic agents often used in such rites, cautioning that psychedelics facilitate access to unconscious energies one is ill-equipped to absorb. This paper represents a challenge to Jung's thinking on both issues. Drawing upon recent research in shamanic studies and the once-again blossoming field of psychedelic research, D. J. Moores demonstrates the limitations of Jung's c

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8

Deagon, Andrea. "The “Effeminate Dancer” in Greco-Roman Egypt: The Intimate Performance of Ambiguity." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 69–77. http://dx.doi.org/10.1017/s2049125500000522.

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In the cosmopolitan Greco-Roman world of the second and third centuries CE, the termsmagodos, malakos, andkinaidos/cinaedusidentified a category of performer usually described (inadequately) as the “effeminate dancer.” This paper investigates the nature of the “effeminate dancer's” performance and his function in the various societies in which such entertainment is attested, focusing on Roman Egypt. In a world where men typically played women's roles in mainstream drama and dance, the “effeminate dancer's” performance eluded these accepted conventions of theatrical illusion. Raising the specte

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9

Akcay, Zeynep. "Dance, Long Exposure and Drawing: An Absurd Manifesto about the Female Body." International Journal of Film and Media Arts 6, no. 3 (2021): 67–84. http://dx.doi.org/10.24140/ijfma.v6.n3.05.

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This paper summarises the evolution and production process of Kam, a long-exposure pixilation/ 2D animation film with a unique aesthetic approach that took three years to formulate and complete due to an iterative/fragmented production schedule. Kam, which means “shaman” in old Turkish, was conceived as a response to the rise of conservative and misogynist official discourse in Turkey, and it features a woman’s fierce dance. For this film, Turkish dancer Sevinc Baltali’s improvised performance was captured by the author using the technique of long-exposure photography. Condensing the motion of

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10

Gore, Georgiana, Andrée Grau, and Maria Koutsouba. "Advocacy, Austerity, and Internationalization in the Anthropology of Dance (Work in Progress)." Congress on Research in Dance Conference Proceedings 2016 (2016): 180–90. http://dx.doi.org/10.1017/cor.2016.25.

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This paper is concerned with resonances of the tragic in twentieth-century central-European dance theatet, to be discussed with particular reference to Pina Bausch's 1975 Orpheus and Eurydice. In my study Resonances of the Tragic: Between Event and Affect (2015), I have argued that in terms of a history of the “longue durée,” the evocation of the tragic occurs in a field of tension between technique, the mise-en-scène, and conceptions, as well as procedures and moments of interruption, of suspension, of disruption and of the indeterminable resulting from ecstatic corporeality. Its structure an

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11

Haitzinger, Nicole. "Staging and Embodiment of the Tragic in Pina Bausch's Orpheus and Eurydice (1975)." Congress on Research in Dance Conference Proceedings 2016 (2016): 191–97. http://dx.doi.org/10.1017/cor.2016.26.

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This paper is concerned with resonances of the tragic in twentieth-century central-European dance theatet, to be discussed with particular reference to Pina Bausch's 1975 Orpheus and Eurydice. In my study Resonances of the Tragic: Between Event and Affect (2015), I have argued that in terms of a history of the “longue durée,” the evocation of the tragic occurs in a field of tension between technique, the mise-en-scène, and conceptions, as well as procedures and moments of interruption, of suspension, of disruption and of the indeterminable resulting from ecstatic corporeality. Its structure an

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12

Blankenship, Janelle. "“Film-Symphonie vom Leben und Sterben der Blumen”: Plant Rhythm and Time-Lapse Vision in Das Blumenwunder." rythmer, no. 16 (April 11, 2011): 83–103. http://dx.doi.org/10.7202/1001957ar.

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This essay analyzes the use of time-lapse cinematography in the early 20th century to unlock worlds hitherto “closed to man” (Balázs). I demonstrate how the new “image worlds” of time-lapse influenced biologists such as Jakob von Uexküll and 1920s avant-garde theorists alike. Using the 1926 hybrid German “cultural film” Das Blumenwunder (The Miracle of Flowers) as my primary case study, I examine how the film aims to present the “inner rhythm” of plants as an alternative temporality, which challenges an anthropocentric world view and at the same time dialogues with the ecstatic rhythms of mode

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13

Crovetto, Helen. "Embodied Knowledge and Divinity: The Hohm Community as Western-style Bāāuls." Nova Religio 10, no. 1 (2006): 69–95. http://dx.doi.org/10.1525/nr.2006.10.1.69.

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ABSTRACT: Hohm Sahaj Mandir (Hohm Innate Divinity Temple) is a new religious movement that has achieved international status under the name "Western Bauls." The Western Bauls have a number of similarities to the Bauls of Bengal, wandering minstrels with an ecstatic inclination whose lives are consumed by their search for the divine. Like many Tantric groups, the Western Bauls believe the body is a microcosm of the universe in which divinity is present. Their spiritual praxes are bodybased. In the advanced stages they include an esoteric yoga called kaya sadhana as well as other practices of ar

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14

Markoff, Irene. "Introduction to Sufi Music and Ritual in Turkey." Middle East Studies Association Bulletin 29, no. 2 (1995): 157–60. http://dx.doi.org/10.1017/s0026318400031552.

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It is difficult to appreciate and understand Sufism fully without an informed exposure to the expressive cultural forms that help define and enhance it. It is this dimension of Islamic mysticism that transports the seeker on the path of spiritual attainment into higher states of consciousness that promise spiritual intoxication (Wajd) and a unique and intimate union, even annihilation (fanā), in the supreme being. This emotional expression of faith is intensified and externalized in elaborate forms of meditation and esoteric techniques that are part of ritual ceremonies.Through ritual, many Su

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15

Bridgewater, Michael. "Industrial Techno and SID Sound Design in the Commodore 64 Game Slipstream." Journal of Sound and Music in Games 4, no. 1 (2023): 9–25. http://dx.doi.org/10.1525/jsmg.2023.4.1.9.

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Slipstream is a rail shooter developed by the group Bauknecht. The soundtrack, composed by Ronny Engmann, accentuates the game’s futuristic space setting and emphasis on speed by invoking the electronic dance music style of industrial techno, which combines the taut grooves of minimal techno with the abrasive sonics of early industrial music to make for an intensification of the sound that made the club scenes of Detroit and Berlin famous. Despite the Commodore 64 being a supposedly obsolete 8-bit platform that had its manufacture stopped decades ago, contemporary composers like Engmann are co

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16

Motorna, Tetiana. "O. Messian's piano cycle "20 views on the infant Jesus" in the aspect of connection with the legacy of О. Scriabin". National Academy of Managerial Staff of Culture and Arts Herald, № 2 (17 вересня 2021): 287–91. http://dx.doi.org/10.32461/2226-3209.2.2021.240096.

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Purpose of the article. To investigate the significant stylistic influences of О. Scriabin's creative method on О. Messian's compositional approach. Determine the means by which the liturgical and mysterious orientation of the work of both composers is realized. Methodology. The methodological foundations of the work include analytical, comparative-historical and genre-nominative musicological approaches determined by aesthetic, cultural and philosophical positions. This methodological approach allows us to reveal and analyze individual plays of the cycle "20 views on the infant Jesus" in orde

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17

Sadlier, Aoife. "Dionysus meets neoliberalism: Zumba® Fitness and the call to Zorbitality." Sexualities 23, no. 5-6 (2019): 810–33. http://dx.doi.org/10.1177/1363460719861805.

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In the 21st century, asexuality has become synonymous with sexual orientation, being described as a ‘lack’ of sexual attraction. This definition is problematic, as it assumes that everybody is sexual and that sexuality is immutable. With the rise of a postfeminist culture, the lived experiences of asexual-identified women are in danger of being lost within static narratives of frigidity and singledom. In response, this article proposes an emergent concept for reconfiguring female (a)sexualities through collective ecstatic motion – Zorbitality – drawing on the global Latin dance fitness phenome

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18

Kubiak, Anthony. "Virtual Faith." Theatre Survey 47, no. 2 (2006): 271–76. http://dx.doi.org/10.1017/s0040557406000251.

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The recent rubs and resistances within the various flows of religious thought and practice in American culture and politics have become near clichés. The impact of right-wing religions on government and cultural policies has been well noted, as have the concomitant attempts to keep religion of all kinds out of politics entirely. Meanwhile, the problematic status of Islam both locally and globally has become a continuous topic of debate, as have the debates over creationism and so-called intelligent design in American schools. These high-profile debates have in turn eclipsed the suspicions of a

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19

Meconi, David Vincent. "Traveling without Moving: Love as Ecstatic Union in Plotinus, Augustine, and Dante." Mediterranean Studies 18, no. 1 (2009): 1–23. http://dx.doi.org/10.2307/41163960.

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20

Meconi, David Vincent. "Traveling without Moving: Love as Ecstatic Union in Plotinus, Augustine, and Dante." Mediterranean Studies 18, no. 1 (2009): 1–23. http://dx.doi.org/10.2307/mediterraneanstu.18.2009.0001.

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21

Austin, Linda M. "The Lament and the Rhetoric of the Sublime." Nineteenth-Century Literature 53, no. 3 (1998): 279–306. http://dx.doi.org/10.2307/2903041.

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The appearance of melodramatic language and gesture in nineteenth-century lyric poetry was underwritten by two theories of ecstasis, the sense of losing oneself or going beyond the limits of comprehension. The first kind of ecstasis belonged to the sublime reaction, as Kant and Burke had imagined it. The second sort belonged to the picture of the disordered mind in the medical literature. A rhetoric of shock and loss in the melodramatic lyric bears the remains of the inchoate language and wild gestures in ancient lamentation but also refers to more recent performances of overpowering emotion o

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22

Grosso, Michael. "Divine Mania: Alteration of Consciousness in Ancient Greece by Yulia Ustinova." Journal of Scientific Exploration 35, no. 3 (2021): 682–86. http://dx.doi.org/10.31275/20212127.

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What role did altered states of consciousness play in the life of ancient Greek society? With consummate skill and scholarship, Yulia Ustinova answers this question in her book, Divine Mania: Alteration of Consciousness in Ancient Greece. It appears that the secret of the extraordinary creativity of the ancient Greeks was their receptivity to, and approval of, a particular altered state of consciousness they cultivated. Mania is the name for this but it must be qualified as “god-given.” Mania is a word that touches on a cluster of concepts: madness, ecstasy, and enthusiasm, engoddedness, to us

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23

Velasquez, Juan. "Sisyphean Unproductivity in Narrative Film." Film-Philosophy 25, no. 3 (2021): 296–320. http://dx.doi.org/10.3366/film.2021.0177.

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This article examines the relationship between labour, productivity and film. The purpose of this intervention is to suggest that narrative film can show us the unproductive tendencies that humans carry within them but that cannot always make themselves known. These leisurely desires erupt as musicality, ecstasy, and the undoing of the self when we carry out the repetitive gestures of work. This article compares Camus's freedom and Georges Bataille's sovereignty as they share an interest in anti-futurity and anti-productivity and it uses these concepts to propose worker's ecstatic escapes from

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24

Tavakkol, Ekhsan. "Extra-musical content and ways of its embodiment in the Concerto for Persian Ney and Orchestra “Toward That Endless Plain” by Reza Vali." Aspects of Historical Musicology 18, no. 18 (2019): 264–80. http://dx.doi.org/10.34064/khnum2-18.15.

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Background. This article discusses the features of the program, the origins and symbolism of extra-musical images of the Concerto for Persian Ney and Orchestra “Toward That Endless Plain” by the Iranian-American composer of the XX–XXI centuries Reza Vali. There are also some features of the Concerto’s musical material analyzed: the form, instrumentation, and thematic, as well as the influence of Iranian musical traditions. There are no published scientific musicological materials devoted to the consideration of this Concerto from the point of view the comprehensive analysis. In periodical non-

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25

Misler, Nicoletta. "The Electric Body." 28 | 2019, no. 1 (December 11, 2019). http://dx.doi.org/10.30687/va/2385-2720/2019/01/005.

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The relationship between the discovery and application of electricity and the human body in the 19th and 20th centuries is complex and multifaceted. Used to stimulate nervous and muscular reactions in the fields of medicine and biology or to record the more intimate movements of the body (cf. the electrocardiogram), electricity established the basis of what today we might call the modern electric – or digital – body. Another aspect, hitherto little explored, is that of the relationship between the electric body and the aesthetics of movement in dance. Visionary choreographers – those who antic

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26

Szperling, Silvina. "Ritual in Transfigured Time: Narcisa Hirsch, Sufi Poetry, Ecstatic Dances, and the Female Gaze." International Journal of Screendance 3 (May 5, 2017). http://dx.doi.org/10.18061/ijsd.v3i0.5710.

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No abstract availableThis article was originally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as part of The International Journal of Screendance, Volume 3 (2013), Parallel Press, http://journals.library.wisc.edu/index.php/screendance/issue/view/55. It is made available here with the kind permission of Parallel Press.

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27

Fuller, Glen. "Punch-Drunk Love." M/C Journal 10, no. 3 (2007). http://dx.doi.org/10.5204/mcj.2660.

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   For once I want to be the car crash, Not always just the traffic jam. Hit me hard enough to wake me, And lead me wild to your dark roads. (Snow Patrol: “Headlights on Dark Roads”, Eyes Open, 2006) I didn’t know about the online dating site rsvp.com.au until a woman who I was dating at the time showed me her online profile. Apparently ‘everyone does rsvp’. Well, ‘everyone’ except me. (Before things ended I never did ask her why she listed herself as ‘single’ on her profile…) Forming relationships in our era of post-institutional modes of sociality is problematic. Some proba

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28

Marshall, P. David. "Playing Backwards." M/C Journal 1, no. 2 (1998). http://dx.doi.org/10.5204/mcj.1705.

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“As the old technologies become automatic and invisible, we find ourselves more concerned with fighting or embracing what’s new”—Dennis Baron, From Pencils to Pixels: The Stage of Literacy Technologies When I first relocated to Australia, there was a clear three month delay for cultural products coming from North America to arrive. It was the era of Jurassic Park and for those three months I had a high level of what Bourdieu originally called "cultural capital" amongst a certain age group who were anticipating the breakthrough computer-generated images of the flocking dinosaurs and the menacin

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29

Jones, Timothy. "The Black Mass as Play: Dennis Wheatley's The Devil Rides Out." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.849.

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Literature—at least serious literature—is something that we work at. This is especially true within the academy. Literature departments are places where workers labour over texts carefully extracting and sharing meanings, for which they receive monetary reward. Specialised languages are developed to describe professional concerns. Over the last thirty years, the productions of mass culture, once regarded as too slight to warrant laborious explication, have been admitted to the academic workroom. Gothic studies—the specialist area that treats fearful and horrifying texts —has embraced the growi

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