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Journal articles on the topic 'Folk dance music'
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1
MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION." IEDSR Association 6, no. 12 (March 29, 2021): 218–26. http://dx.doi.org/10.46872/pj.258.
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Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.
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Basirova, Karina B. "THE FOLK MUSIC AND DANCE'S AS A MEANS OF AESTHETIC EDUCATION OF THE DAGESTAN CHILDREN." History, Archeology and Ethnography of the Caucasus 16, no. 3 (November 1, 2020): 797–810. http://dx.doi.org/10.32653/ch163797-810.
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This article discusses the theoretical, educational, and educational aspects of aesthetic education of children by means of folk music and dance. The analysis of theoretical and methodological, psychological and pedagogical problems of aesthetic education of children is carried out, and effective means of using the spiritual and cultural value of folk music and dance of the Dagestan peoples are identified. Recommendations for the successful upbringing of children through folk music (song, dance) are defined. It is shown that each of the Dagestan peoples created their own original musical genres, their own instruments, their own original rituals, melodies, and dances.
Song and dance, the playing of the shepherd's pipe and the beating of the drum have always accompanied the life of the highlanders. The dance of the mountaineers "Lezginka" can be called national, folk, as no holiday passes without this fervent dance. Dagestan people join the dance from the cradle and children-dancers cause the greatest delight.
Through music and dance, we can develop children's aesthetic, moral, and physical qualities. A child who receives artistic, aesthetic and moral ideas at an early age, even if he later does not become a dancer or a musician, acquires openness to the world of beauty, kindness, flexibility of thinking, and sensitivity to moral and artistic values for the rest of his life.
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Shahnaz Akhtar and Nuzhat Farooq. "Folk Dance and Music of Rajasthan: A Study of their Role in Fairs and Festivals." Social Science Journal for Advanced Research 3, no. 4 (July 31, 2023): 59–64. http://dx.doi.org/10.54741/ssjar.3.4.9.
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Rajasthan, a state with a thriving cultural scene in India, is home to a diverse range of traditional folk dance performances and folk music that have greatly influenced the growth of the local culture. Through thoroughly examining various folk dance and music, their historical roots, and their contemporary relevance, this study sheds light on how these folk dances and music contribute to preserving Rajasthan's legacy and their significance in fairs and festivals. The main goal of this study is to examine the mutually beneficial interaction between Rajasthan's traditional performances—such as folk dances and music, and the fairs and festivals that shape the state's calendar. The paper is exploratory, providing an overview of the folk dance and music of Rajasthan and their relevance to the state-wide fairs and festivals.
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Hoppu, Petri. "Nordic Folk Dances as Imaginary Geographies." Congress on Research in Dance Conference Proceedings 2012 (2012): 76–80. http://dx.doi.org/10.1017/cor.2012.8.
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Geography is a feature that typically belongs to the realm of folk dance. Folk dances are often defined as belonging to a certain region, and it is seldom they are considered a result of artistic creativity. In the Nordic countries, folk dancers have co-operated intensively since the early twentieth century, sharing dances with each other. In this presentation, I am arguing that this co-operation has created imaginative geographies of the Nordic region, filled not with landscapes, terrains, or water systems, but with movements, holds, and music. As an example, I will present two Nordic folk dance books from the 1960s. In these books, dances are attached to certain geographical areas, which is not merely contextual information but also entails stylistic features of a specific dance. Most dances are connected to a certain parish, and in some cases the province is mentioned, as well. In practice, for most folk dancers, the names of the areas do not have much significance as material domain, but they are elements of a map of a danced region, and as such the dances are a part of imaginative geographies, performed spaces. Following the British geographer Derek Gregory, I see folk dances as a continuation of performances that necessarily creates novelty, which allows one to experience spaces differently. The books are danced atlases presenting the Nordic region as a series of performed spaces. They address how the Nordic region has been represented in a danced form, emphasizing affiliation and unity, as well as distinction and disjointedness.
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Loutzaki, Irene. "Greek Folk Dance Music." Yearbook for Traditional Music 26 (1994): 168. http://dx.doi.org/10.2307/768264.
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Na, Risu, and La Gan Chai. "The influence of the history of folk music development on Russian and Chinese folk dances." PHILHARMONICA. International Music Journal, no. 4 (April 2021): 34–53. http://dx.doi.org/10.7256/2453-613x.2021.4.36351.
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The authors consider and analyze the peculiarities of means of dance and plastic expression: pantomime, gestures, choreographic lexics, choreographic pattern, rhythmics, remarks and exclamations. The idea of a combination of a choreographic image and music of Russian and Chinese dances, declared by the authors, is a multi aspect complicated issue which is of a significant scientific interest. The purpose of the research is to reveal the contents of a folk dance stage adaptation which is conveyed with the help of improved means of expression and is an effective tool for the expression of national peculiarities of Russian and Chinese choreography. The authors study the folk dance stage adaptation as a key means of expression of folk music in Russia and China. The scientific novelty of the research consists in a comprehensive analysis and substantiation of the need for preservation of folk dance traditions in modern China as an important component of a traditional training of a future choreography teacher. The authors prove the presence of definitive features of local invariants of Russian folk dances and dance canon and its differences from the canon of folk dances of other regions. The research actualizes the problem of music training of future choreography teachers in the pedagogical theory and artistic education practice. The consideration of this topic is determined by the solution of an urgent problem of preservation of a unique cultural phenomenon of a nation in the aspect of continuous assimilation of culture both among regions and in interstate realms (border areas of countries with unique cultural codes).
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Yang, Chenghai. "Tibetan Folk Songs and Dances in Diebu – The Musical Characteristics of Gerba (Gar Pa)." Journal of Contemporary Educational Research 5, no. 8 (August 30, 2021): 41–46. http://dx.doi.org/10.26689/jcer.v5i8.2412.
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Folk songs and dances originated from people’s sacrificial activities in the struggle against nature in the primitive society. Their origins are related to the ideology and living environment of the people at that period of time. These activities were expressed in the form of primitive songs and dances, and gradually evolved into folk songs and dances. The gar pa song and dance from Diebu, in Gannan region, is a unique song and dance of a Tibetan region on the eastern edge of Qinghai-Tibet Plateau. Its content and form are unique. It still retains the original trinity feature which includes poem, music, and dance. The production of songs and dances contains rich cultural connotations and unique local characteristics. This article elaborates the characteristics of Diebu’s gar pa song and dance in terms of its music and performance form.
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Bajic-Stojiljkovic, Vesna. "The process of shaping stage folk music through the prism of the development of folk dance choreography." Muzikologija, no. 33 (2022): 209–29. http://dx.doi.org/10.2298/muz2233209b.
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Understanding the historical processes in the shaping of stage folk music raises an important question about the application of traditional music in stage choreographic works. Since the 1930s in Serbia, the history of music and dance was cre?ated by prominent individuals, musicians and composers, initiated by the work of choreographers such as Maga Magazinovic, Russian artists, and later by many domestic performing artists gathered around cultural and artistic societies and the National ensemble ?Kolo?. In this article, all available data relevant for the consideration of stage folk music as a specific genre will be presented along with the stage folk dance, precisely through the form of folk dance choreography (FDC), whose developmental path was hinted at since the end of the 19th century. Defining and understanding dance music, that is, music for FDC, opens new horizons in re-examining the process of forming stage folk music in our region.
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Đorđevic, Nenad, and Slavoljub Uzunović. "Niševljanka as a small town originated urban folk dance." Fizicko vaspitanje i sport kroz vekove 9, no. 1 (2022): 117–34. http://dx.doi.org/10.5937/spes2201120d.
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The subject of this paper are city (small town) folk dances in a broader sense and Niševljanka folk dance as a town game in a narrower sense. The aim of the paper was to describe Niševljanka as a town folk dance. The basic task is to write down the music, rhythm and technique of the dance. In the available literature dealing with the systematization and division of folk dances, city folk dances are nowhere to be found as a special type of dance. Maybe rightly so, since they can be traced back to the traditional, original dances. However, given the conditions and time of the origin of these dances, with the migration of the peasantry to the towns and cities, the city dances in some way distanced themselves from the traditional ones. This was influenced by new living conditions, more cramped space, mixtures of the European and Oriental culture, as well as the Europeanization of culture and way of life in general. It can be stated that city folk dances are in fact traditional - original dances that have taken on other aspects of dancing and dancing behavior. If any folk dance has marked our city, and the state in general, from the end of the 19th and the beginning of the 20th century, it is undoubtedly Niševljanka folk dance. Numerous manuscripts, books, travelogues, newspaper articles from that time testify to this fact. This paper is an attempt to point this out and to find in one place the musical, rhythmic and playful record of this, undoubtedly original city folk dance.
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Rambing, Rosalina Rolany. "STRENGTHENING OF ORAL TRADITION: LITERATURE AND PERFORMING ARTS IN THE LOCAL LANGUAGE OF TONSEA IN NORTH MINAHASA." International Journal of Social Science and Economic Research 07, no. 12 (2022): 4139–52. http://dx.doi.org/10.46609/ijsser.2022.v07i12.020.
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Research on Oral Traditions: Literature and Performing Arts in the Tonsea Language. in Minahasa Utara aims to (1) identify and classify the oral traditions: literature and performing arts in the form of folk songs and dances, folk music in Tonsea regional language in North Minahasa; (2) Identifying and classifying oral traditions: results of oral literature and performing arts in the form of folk songs and dances, folk music, and which are still strictly performed by community groups using the Tonsea regional language in North Minahasa; and (3) Explaining the cultural meaning contained in oral traditions, literature and performing arts in the form of folk songs and dances, folk music, and folk music, in the regional language of Tonsea in North Minahasa. The method used in this research is descriptive qualitative method. Data collection techniques and tools: observation, interviews, focus discussions, document studies. There are two stages used in data analysis in this study, namely: (1) Anthropological Linguistic Analysis which aims to study and investigate scientifically about the relationship between language and aspects sociocultural based on ethnicity. (2) Data analysis according to Sudikan (2001) can be grouped into the stages of qualitative data analysis, namely: (1) the open coding stage is the researcher trying to vary what is related to the research object. Furthermore, the researcher carried out the process of detailing the data (breaking down), (conceptualizing) and categorizing (categorizing) primary and secondary data; (3) the axial coding stage is re- organizing data based on categories as a continuation of the previous stage. Then analyze the relationship between data / categories or data classification; and (4) the selective coding stage is the classification process of examining data on data categories, comparing, connecting and checking the intended data then draws final conclusions to make a general design. The results showed that in Tonsea region of North Minahasa there are 3 types of dance that are still strictly implemented, namely: Maengket Dance, Kabasaran Dance, and Tumatenden Dance. Furthermore, folk songs that are still strictly implemented are Maengket songs whose lyrics are usually sung together with the Maengket dance. Likewise, folk music that is still strictly performed by the people in the Tonsea region is only Kolintang music.
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Hernández, Angela María Vela. "ULASAN SINGKAT MENGENAI “CHAMARREO”—TARIAN RAKYAT DARI MEXICO." Imaji 17, no. 1 (June 27, 2019): 74–81. http://dx.doi.org/10.21831/imaji.v17i1.25727.
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Makalah ini membahas tentang tarian rakyat tradisional dari Meksiko yang bernama "Chamarreo". Untuk memahami dari mana tarian Chamarreo berasal, karya ini menjelaskan latar belakang sejarah tarian Meksiko. Terdapat juga ulasan singkat tentang beberapa tarian tradisional rakyat dari utara, tengah dan selatan Meksiko. Ini adalah ringkasan untuk memahami beberapa karakteristik tarian Chamarreo seperti: koreografi, kostum, objek, musik, bentuk dan ketika pertunjukan tariannya berlangsung. Kata Kunci: abstrak, bold, italic, maksimal lima kata/frase, tata tulis A SHORT REVIEW OF “CHAMARREO” FOLK DANCE FROM MEXICO Abstract This paper talks about the traditional-folk dance from Mexico which name is “Chamarreo”. In order to understand where the Chamarreo dance comes from, this work explained the historical background of Mexican dances. Also is a short review of some folk-traditional dances from north, central and southern Mexico. It is a summary to understand some of the characteristics of the Chamarreo dance such as: choreography, costume, object, music, form and when its dance performances take place. Keywords: abstract, bold, italic, maximum five words/phrases, template
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Wu, Chunyang, Muhammad Fauzan Abu Bakar, and Boo Ho Voon. "Aesthetics of Hui Folk Dance as Audience Service to Leverage Audience Satisfaction." International Journal of Service Management and Sustainability 7, no. 1 (March 24, 2022): 125. http://dx.doi.org/10.24191/ijsms.v7i1.17783.
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Hui folk dance has its unique charm as an indispensable part of Chinese folk dance. It reflects the customs and cultural characteristics of the Hui nationality. This article explores the historical formation of Hui folk dance, analyses its formation process in different periods of history, analyses the culture, the body vocabulary of the folk dance, the music, the rhythm of the dance, the influence on the folk dance, and the expression of aesthetic consciousness. Folk dances of the Hui nationality originate from the folk, and they also show their unique living habits, combining dance with the details of life to outline their unique dance posture. Hui folk dance expresses the value of aesthetic emotions, aesthetic knowledge, and aesthetic ideals of dance through historical portraits, national spirits, and traditional canons. The formation, aesthetic consciousness, and aesthetic characteristics of Hui folk dance were analysed to better understand the history and culture of Hui folk dance, learn it, inherit it, promote it, and enrich it for sustainability. Dance aesthetics as part of audience service. The audience will be aesthetically satisfied and this will affect their behavioural intentions.
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Dhankar, Rita. "Turkish folk dances." RESEARCH REVIEW International Journal of Multidisciplinary 6, no. 12 (December 15, 2021): 86–89. http://dx.doi.org/10.31305/rrijm.2021.v06.i12.012.
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Folk-music is a very simple and intuitive science of music. It expresses the customs, way of life, food and sentiments of a particular country. Turkish folk music says the same thing. Tarkan finds a lot of mention in Turkish folk dances. In fact, Tarkan started taking special interest in folk-dances from the year 1928. The year 1941 was important in terms of changing the direction of Turkish folk dance. After the establishment of Praja Bhavan in the year 1950, the performance of folk dances had taken the form of a rich culture. Even more so, with folk-dance audiences now present in Ankara and Istanbul, folk dances were considered a new form of urban entertainment in the 1970s. In Zebeki's time there was a need to identify the national origin of every dance, but that need is no longer there. Dances were now seen as a national art form. The experience of Turkish folk dances reveals a new meaning of the word 'national'. This is different from the old prevailing servant definition of the word national. The folk dances elected in the 1970s and 1980s were national because they were amalgamated with Turkish territories. In other words, the folk dances that spread throughout urban Turkey in the 1970s were national in nature, while Tarkan-Zebeki envisioned them to be national.
Abstract in Hindi
लोक-संगीत, संगीत की बहुत सरल व सहज विद्या होती है। यह देश-विशेष के रीति-रिवाज, रहन-सहन, खान-पान और भावनाओं की अभिव्यक्ति करती है। तुर्की का लोक-संगीत भी यही कहता है। तुर्की के लोक नृत्यों में तरकन का काफी उल्लेख मिलता है। वास्तव में तरकन सन् 1928 से ही लोक-नृत्यों में विशेष रूचि रखने लगे थे। 1941 का वर्ष तुर्की के लोक-नृत्य की दिशा बदलने की दृष्टि से महत्वपूर्ण रहा। सन् 1950 में प्रजा-भवन होने के बाद लोक-नृत्यों का प्रदर्शन एक समृद्ध संस्कृति का रूप ले चुका था। इससे भी बड़ी बात यह थी कि अब अंकारा और इस्तांबुल में लोक-नृत्य के दर्शक मौजूद थे, 1970 के दशक में लोक-नृत्यों को नए तरह का शहरी मनोरंजन माना गया। जेबेकी के समय में हर नृत्य का राष्ट्रीय मूल पहचानने की जरूरत होती थी, किन्तु वैसी जरूरत अब नहीं रही। नृत्यों को अब राष्ट्रीय कला के रूप में देखा जाने लगा। तुर्की के लोक-नृत्यों का अनुभव बतलाता है कि ‘राष्ट्रीय’ शब्द का नया मतलब क्या है। यह राष्ट्रीय शब्द की पुरानी प्रचलित सेवक परिभाषा से भिन्न है। सन् 1970 और 1980 में चुने गए लोक-नृत्य राष्ट्रीय इसलिए थे, क्योंकि वे तुर्की के प्रदेशों से मिल-जुलकर बने थे। दूसरे शब्दों में जो लोक-नृत्य सन् 1970 में पूरे शहरी तुर्की में फेले, वे स्वाभाव से ही राष्ट्रीय थे, जबकि तरकन-जेबेकी ने उनके राष्ट्रीय होने की कल्पना ही की थी।
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Torp, Lisbet, and Anca Giurchescu. "Folk Dance Collections and Folk Dance Research in Denmark and the Faeroe Islands." Yearbook for Traditional Music 25 (1993): 126. http://dx.doi.org/10.2307/768689.
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Ren Keyi and Chong Yew Yoong. "Performing Piano Works Inspired by Folk Dances: “Wu Kui” and “My Spirit Is Dancing”." Environment-Behaviour Proceedings Journal 8, no. 26 (October 29, 2023): 293–98. http://dx.doi.org/10.21834/e-bpj.v8i26.5207.
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The piano work "Wu Kui" (1983) was composed by Chinese composer Zhou Long, inspired by the Manchu folk dance "Da Wu Kui," and "My Spirit is Dancing for Solo Piano" (2010) was composed by Malaysian composer Yii Kah Hoe, inspired by the Balinese baris dance. Both piano works are based on folk dances and use Western compositional techniques to innovate the language of folk music. The author takes these two piano works inspired by folk dances and analyses the performance difficulties of these two to enable the performer to better interpret the piano works and make the performance more convincing.
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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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Tang, Jing, and Phiphat Sornyai. "The Cultural Treasures of Baima Tibetan Folk Songs in Gansu Province, China, as a Resource for Literacy Education in Chinese Music History." International Journal of Education and Literacy Studies 11, no. 3 (July 31, 2023): 234–43. http://dx.doi.org/10.7575/aiac.ijels.v.11n.3p.234.
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Baima Tibetan folk songs are an integral part of the Baima Tibetan music culture. They are performed in diverse styles, including solo, duet, lead singing, round singing, and chorus. The objective of the study was to explore the significance of Baima Tibetan folk songs as a resource for literacy education in Chinese music history. By engaging with key informants divided into three groups - scholar informants, casual informants, and general informants. The result of this study reveals that ritual music holds deep roots in religious beliefs and is performed during sacrificial ceremonies, marriage ceremonies, and funeral ceremonies. Dance music culture reflects the collective nature and community cohesion of the Baima people, with dances like the fire circle dance serving as prominent expressions. Folk songs encompass a wide range of themes, including labor, wine, wedding, and love, showcasing the diverse musical expressions within Baima Tibetan society. The unique rituals, dances, and songs of the Baima people contribute significantly to the preservation and celebration of their rich cultural heritage. This study highlights the educational potential of Baima Tibetan folk songs as valuable resources for promoting literacy and understanding in the context of Chinese music history.
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Loutzaki, Irene. "Folk Dance in Political Rhythms." Yearbook for Traditional Music 33 (2001): 127. http://dx.doi.org/10.2307/1519637.
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Irklienko, Viktorija. "MUSIC ART AT FOLK HOLIDAYS: ETHOGRAPHIC AND EDUCATIONAL DEMENSION." Aesthetics and Ethics of Pedagogical Action, no. 14 (September 9, 2016): 99–106. http://dx.doi.org/10.33989/2226-4051.2016.14.171593.
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The article investigates ethnographic and educational dimension of functioning of music at folk holiday. The author considers national holiday as an integrated concept that, firstly, integrates a variety of types of art (music, fine arts, performing arts, dance, literature), secondly, is a combination of two cultures – the pagan and Christian. It is noted that folk holiday is a model of highly aestheticized everyday life of Ukrainian people. The author states that music art at folk holiday is represented in the form of choral music, dance songs, music for dancing, marching music, song and instrumental music for listening in the form of ensemble.It has been proved that functioning of professional, amateur choirs or just group singing is common for music content of folk holidays; Ukrainian folk song has always been the basis of that functioning.It has been emphasized that the music art at folk holidays is represented by national folk-songs in the form of dance songs. They consisted of three components: words, music and dance movements.Special attention has been given to the marching music, represented by greeting marches, procession marches, performed in appropriate situations of meetings, farewell, congratulations, and glorification.The article states that the folk holidays that are prevalent in Ukraine have an important pedagogical potential, since they give a child a coherent picture of the artistic view of the world, establish connection between art and life.The recognition of the leading role of folk music in the process of musical and aesthetic education of children is considered by the author as a key to the formation of a highly spiritual personality.The requirements for the organization and conducting of folk holiday have been presented in the article; the teacher’s basic tasks have been defined.
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Bae, Ihngyo. "The National Folk Art Center and the North Korean National Music." National Gugak Center 47 (April 30, 2023): 275–97. http://dx.doi.org/10.29028/jngc.2023.47.275.
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This article aims to enhance understanding of the National Folk Art Center (hereafter, the Center) through dividing its 75-year history and activities into three periods, and to review the trend of changes in North Korean national music, From 1947 to 1965, the Center had been reorganized as the Joseon Classical Music Research Institute, the Classical Orchestra directly under the Ministry of Culture and Propaganda, the Hyeopryuldan within the National Arts Theater, the Classical Orchestra under the direct control of the National Arts Theater, the National Classical Arts Theater, and then National Folk Arts Theater. During this period, traditional music capabilities such as changgeuk (Korean opera derived from pansori) and instrumental performances of Korean traditional musician who crossed the border to North Korea had a great impact on the North Korean music scene.
From 1965 to 1992, the Center had been renamed as the National Folk Opera Theater, the Pyongyang Art Organization, the Moranbong Art Organization, and then the Pyongyang Art Organization; the content of activities had changed. At this time, the pibada ('Sea of Blood') style of national opera was established, and the comprehensive music and dance performances were vitalized while many folk dance and national dance works were created.
Since 1992, when the Center worked as a National Folk Art Center, it has created and performed works such as national operas, folk dance suites, and national songs and dances. Since the 2000s, the Center focused on creating large-scale art performances together collaborating with various music organizations, rather than solo performances. After the Kim Jong Un era, the Center has been pursuing activities as an independent organization.
Through the activities from the Joseon Classical Music Research Institute to the National Folk Art Center, we can get a glimpse of the way in which the modern transformations of national music were realized in North Korea, and confirm that the activities of those who crossed the border to North Korea were at the base. The activities and roles they played in North Korea serve as a point of contact for South and North Korea to confirm their traditional musical culture and national identity.
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Malcheva, Todorka. "ART, MEANING AND CLASSIFICATION OF BULGARIAN FOLK DANCE." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (June 5, 2019): 1791–95. http://dx.doi.org/10.35120/kij31061791m.
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Playing Bulgarian folk dances- horoes, is a fascinating, emblematic and centuries’ years old tradition. The folk dance is an important part both from different holidays and from the everyday life of Bulgarians. This is one of the most significant and fascinating folklore activities, making Bulgaria famous all over the world. We can define Bulgarian national dance as an exceptionally beautiful art. This is a skill that makes people happy and energetic. Folk dances reveal the temper of our nation. At the same time, in the rhythm of the dance lives the collective spirit, which attributes to feeling joy, delight and rest when dancing with other people.That is why Bulgarian folk dance is not only a way to feel happy. It gathers, gives strength, teaches, expresses and above all- gathers the people of Bulgaria. It is also a way to be closer to nature. That is why Bulgarian folk dance is strength for the spirit. It is a magic for the soul- chases away tiredness and bad mood by generating positive energy and releasing the discomfort and stress. The following text presents classification of the Bulgarian folk dances- horoes according to different and various criteria. They are divided into groups according to: the performers, the type of dancing chain, metrorhythm, customs, folklore regions, tempo and others. The following resume confirms the variety and wealth of Bulgarian folk dance. The text also defines the dance as a magic that preserved our spirit and our nation throughout our history. It is not only a magic that is still alive, but a magic that is actively represented by different dancing formations nowadays. Bright costumes, thrilling music and energetic horoes – they always provoke emotions and loud applause among native and foreign public. The charming nature of Bulgarian dances is the reason why they are still alive and have been passed from one generation to the other. In this way, this centuries’ years old tradition will be preserved for the future generations and the Bulgarian shall never be forgotten.
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Hayakawa, Yohko, Kayoko Takada, Hiromi Miki, and Kiyoji Tanaka. "Effects of Music on Mood during Bench Stepping Exercise." Perceptual and Motor Skills 90, no. 1 (February 2000): 307–14. http://dx.doi.org/10.2466/pms.2000.90.1.307.
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This study evaluated the effect of music on the mood of women during exercise. 16 middle-aged women, aged 49.9±7.53 yr., performed 60-min. bench stepping exercise while listening to Japanese traditional folk song, aerobic dance music, or nonmusic. The subjects reported significantly Jess fatigue with aerobic dance music and Japanese traditional folk song than with nonmusic. Aerobic dance music was associated with significantly more vigor and less confusion than nonmusic.
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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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Okdan, Bora, Gulbin Rudarli Nalcakan, Ece Onur, Arzu Oran, and Mesut Nalcakan. "Effect of Folk Dance Training on Blood Oxidative Stress Level, Lipids, and Lipoproteins." Polish Journal of Sport and Tourism 23, no. 3 (September 1, 2016): 133–39. http://dx.doi.org/10.1515/pjst-2016-0017.
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Abstract Introduction. Folk dance is a form of physical activity which helps develop the ability to use the whole body in a coordinated way with music, and folk dancers’ characteristics vary according to the particular type of dance practised in a given geographic region. The aims of the study were to evaluate the effects of 12-week folk dance training on blood oxidative stress level, lipids, lipoproteins, as well as muscle damage markers and to define some physical and physiological properties of folk dancers. Material and methods. Thirty-eight healthy male folk dancers aged 21-28 years having an average of 11 years of dance training experience voluntarily participated in the study. All of the physical and physiological measurements and the blood analysis were performed twice, before and after the training period which focused on different regional dances (Caucasus, Bar, Zeybek, Spoon Dance, Thracian dances, and Horon). The training was done 2 hours per day (a total of 10 hours a week), during a 12-week-long period. Results. All the blood parameters were found to be within the specified reference ranges. The training programme had no significant effect on the blood lipid profile, whereas it was found to have positive effects on body fat (p ≤ 0.012), peak oxygen consumption (VO2peak; p = 0.000), muscle damage markers (creatine kinase, Δ% = −19.6), and total antioxidant capacity (p ≤ 0.002). Conclusions. Regular folk dance training was found to have positive effects on body fat, VO2peak, blood total antioxidant capacity, and muscle damage markers. Based on these results, the community should be encouraged to perform folk dance as a recreational physical activity, and public awareness should be raised about the health benefits of practising folk dances.
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Racy, Ali Jihad. "Music and Dance in Lebanese Folk Proverbs." Asian Music 17, no. 1 (1985): 83. http://dx.doi.org/10.2307/833742.
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Yanng, Jiseon. "A Study on Gyobang Dance and Music in Honam Area of the Joseon Dynasty." Korean Society of Culture and Convergence 44, no. 7 (July 31, 2022): 373–86. http://dx.doi.org/10.33645/cnc.2022.7.44.7.373.
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The purpose of this study is to study Gyobang dance and music in Honam region during the Joseon Dynasty. Except for Jeju Island, there were six Gyobangs in the Honam region: Namwon, Jeonju, Gwangju, Sunchang, Muju, and Suncheon. The dances that had been passed down to Gyobang in the Honam region are 11 events such as Jengmu, Pogorak, Seonyurak, Geommu, Heonbando, Cheoyongmu, Seungmu, Geommu, Hakdance, Abakmu, and Mudong. Kyobang’s music was handed down 19 songs.
The characteristics of Gyobang dance in Honam region are, first, Gyobang dance contains human joy and anger and contains an unrefined freedom. Second, Gyobang's music contains both calm and folk style. Third, the Gyobang dance of Honam influenced the culture of the Pungryu that harmonized with the nature of Honam.
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Dumnic, Marija, and Danka Lajic-Mihajlovic. "Institutionalization of ethnochoreology in Serbia: The legacy of Ljubica Jankovic at the Institute of musicology SASA." Muzikologija, no. 17 (2014): 259–72. http://dx.doi.org/10.2298/muz1417259d.
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Since 1964, the Institute of Musicology of the Serbian Academy of Sciences and Arts has been cherishing the official archive of the academician Ljubica Jankovic, ethnochoreologist, which originates from her service at the Ethnographic Museum in Belgrade (1939-1951). The legacy contains documentation about the activity of the Folk Dance Section of the Ethnographic Museum in Belgrade, and extensive data on folk dances in Yugoslavia from the first half of the twentieth century. This paper presents part of the archival documentation relating to the establishment and activity of the Folk Dance Section. It was the first state institution to collect primary and secondary research sources relating to folk dance structure and to the social context of a rural dance practice. Apart from that, it was the institution for education on folk dance preservation and staging. The focus of the paper is on the fundamental documents of ethnochoreological cultural and research policy in Serbia, manuscripts The Draft for Work at the Folk Dance Section of the Ethnographic Museum in Belgrade [Nacrt za rad u Otseku narodnih igara pri Etnografskom muzeju u Beogradu] (1939) and The Program for Work at the Department for Intangible Culture with the Sections: 1) Folk Dances and Folk Music; 2) Folk Literature; 3) Folk Art and Ornamentation; 4) Folk Customs and Religion; 5) Folk Medicine [Program rada u Odeljenju za duhovnu kulturu sa Otsecima: 1) za narodne igre i narodnu muziku; 2) za narodnu knjizevnost; 3) za narodnu likovnu umetnost i ornamentiku; 4) za narodne obicaje i veru; 5) za narodnu medicinu] (1946). The aim of this study is to contribute to the history of ethnochoreology in Serbia by introducing the ideas of Ljubica Jankovic concerning folk dance research and preservation strategies because of their importance for the interpretation of numerous ethnochoreological and ethnomusicological theoretical and analytical results, mostly achieved in cooperation with her sister, Danica Jankovic. In addition, we indicate the applicability of the first official ethnochoreological ideas for current folk dance research in Serbia.
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SZALAY, Zoltan. "Istvan Pavai: Hungarian Folk Dance Music of Transylvania – Review." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 193–208. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.19.
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Among the territories of the Carpathian Basin inhabited by Hungarians, Transylvania proved to be the most suitable field for the interethnic research of the music related to choreographic folklore. Most professional musicians in the rural areas, who receive regular or intermittent payment in money or other forms of remuneration, are of Romani ethnicity. The existence of musical instruments in the accompaniment of dances is richly documented since the 15th and 16th centuries. Hungarian ethnochoreology defines three types of musical accompaniments for the dances: rhythmic accompaniment (without melody), merely melodic accompaniment, and complex accompaniment created by the combination the first two types. A number of accompaniment types, considered ideal by local communities, had been established. These include the duos flute–gardon, fiddle–gardon (the gardon/gordunǎ being a stringed percussion instrument), fiddle or flute with koboz/cobzǎ, the trios made up of violin–cimbalom/ţambal–bass, or fiddle–kontra–double bass, the most common band consisting of a fiddle, a three-stringed kontra with flat bridge, and a bass (without cimbalom/ţambal). The rhythmic formulae provided by these instrumental ensembles specialized in accompaniment-playing constitute the musical support of the dances, at the same time they play an important role in defining the dance types. The three main types of rhythmic accompaniment are: slow dűvő/duva (in quarters), fast dűvő/duva (in eighths) and the estam (produced by eighth notes, alternately played by different instruments). The musical folklore of Transylvania inherited several principles of harmonization, such as the drone/ison principle, various forms of heterophony, polyphony focused on pivotal melodic notes, the accompaniment with mixtures of major triads, and the tonal-functional harmonization.
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Krasin-Matic, Maja. "(Re)examining the relationship between music and dance from the perspective of learning and memorizing folk dance choreography." Muzikologija, no. 33 (2022): 231–52. http://dx.doi.org/10.2298/muz2233231k.
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This article contributes to the study of the relationship between music and dance through the elaboration of questions such as: how music and dance coexist in the perception of the performer; whether dance is always inseparable from music or it becomes independent from it in formal learning conditions; whether music influences learning and memorising the choreography of the folk dance. Incorporating aspects of cognitive research into the study fields of ethnomusicology and ethnochoreology creates fertile ground for (re)examining previous opinions about the relationship between music and dance, as well as the need for future interdisciplinary research of the process of learning and remembering choreography as an art form.
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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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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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Bowei, Wang, and Olga V. Lukyanovich. "Music and Ritual Dance Art of the Zhou Era." Университетский научный журнал, no. 77 (November 25, 2023): 70–76. http://dx.doi.org/10.25807/22225064_2023_77_70.
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Chinese music and dance art of the Zhou era is a strictly structured, regulated action performed during state ceremonies. Under the infl uence of the emerging ethical teaching – Confucianism, dances were divided into offi cial (cult and court) and common folk dances. One can trace the transformation of archaic traditions of previous eras in these dances – magnifi cent, bright forms of vestments and the exact ceremonial of performing rites. The main ritual was a sacrifi ce based on the veneration of ancestors.
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GİRGİN, Gonca. "On the Marginal Requisites: Overview of Popular Urban Dances in Türkiye." Musicologist 7, no. 1 (June 30, 2023): 93–123. http://dx.doi.org/10.33906/musicologist.1097843.
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In the sources of dance history in Türkiye, there is no classification that evaluates urban dances, which are mostly mentioned in entertainment contexts, in terms of function, contents and social acceptance and made with this focus. Dance in the history of the Republic has been mostly examined within the framework of identity, representation and ideological patterns, and historical analyses have been considered with this relationship focus. In addition, these subjects are embodied in the national repertory, which is generally accepted as official and thus reflects a dominant traditionalism. In this study, my aim is both to present a historical literature summary of popular urban dances and to embody similar subjects through alternative repertories in the context of the “other” determined by the relationship with the official one. Urban folk music was not included in the national repertoire, at least until the 1950s, and urban dances were not included in the category of Turkish Folk Dances in the compilations of the early Republican period. In this way, popular urban dances were left out of the national repertoire and were positioned as “the other” of dance cultures in Türkiye. This study, on the other hand, focuses on the general history of the repertoire, the definition of which is proposed as "dances that are excluded from the official discourse but exist in the cultural practices of the city, whose social acceptance has been realized and have become widespread by any agents (migration, mass media, etc.)". The draft of the urban dance repertoire, which has this quality, was determined through metadata from newspapers, magazines and new media content, and the data obtained is re-interpreted together with the previous literature sources. The case for research was determined as Istanbul, both because it changed a great deal during the 20th century, and because it converted little. Istanbul allows us to trace the sustainable clues of cultural practices, because dance practices are in a central position in the product and market relationship in this historical process.
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Zhang, Aimin. "Optimization Simulation of Match between Technical Actions and Music of National Dance Based on Deep Learning." Mobile Information Systems 2023 (May 18, 2023): 1–10. http://dx.doi.org/10.1155/2023/1784848.
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In the match between technical movements and music of folk dance, the most important thing is to extract features effectively. DL algorithm is one of the most efficient methods to extract video features at present. In this study, the DL method is applied to the matching optimization of technical movements and music in folk dance. Using DL to train the corresponding relationship between the technical movements and music of national dance, the given dance movements and corresponding movements are adapted to the musical beat points. To better reflect the degree of correlation between music and movement changes, the change rate of feature value is used instead of feature value itself in correlation calculation. The matching degree between this method and genetic theory method and spatial skeleton timing diagram method is compared. The experiment shows that the matching method of technical movements and music of national dance optimized by DL can achieve 95.78% accuracy, and the matching synchronization of technical movements and music of national dance can reach 96.17%. Therefore, the method proposed in this study can fully reflect the synchronization of music and movement changes, and the optimized movement matching method matches the national dance technical movements—music matching quality is better. This study expands a new perspective for the research of dance and music matching technology. It has certain practical and theoretical significance.
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Kunej, Drago, and Rebeka Kunej. "Dancing For Ethnic Roots:." Musicological Annual 55, no. 2 (December 13, 2019): 111–31. http://dx.doi.org/10.4312/mz.55.2.111-131.
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Folk dance ensembles within minority ethnic communities (Albanian, Bosniak, Montenegrin, Croatian, Macedonian and Serbian) in Slovenia were formed in the 1990s, after the breakup of Yugoslavia. The authors present the key reasons for the folklore activities that contributed to the emergence of the so-called minority folk dance ensembles, describe their beginnings and how they eventually became organized, institutionalized, and integrated into the amateur culture system in Slovenia. The goal of minority folk dance ensembles is to dance for ethnic roots, but at the same time, the desire to enrich the cultural space in their new county and to integrate into society in which they live.
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Talpa, Svetlana. "Folk Dance in the Educational Process." Arta 32, no. 2(AAV) (December 2023): 72–76. http://dx.doi.org/10.52603/arta.2023.32-2.11.
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Current research highlights the importance of art and its benefits in the holistic development of the individual in the educational process. The literature focuses mainly on the visual arts and music, while studies on dance, namely folk dance, and its contribution to the overall health of the individual are just beginning. The aim of the present study was to analyze the contribution of folk dance and its identity dimension in examining the holistic approach of the individual in the educational process. In particular, the contribution of folk dance during the school age represents the foundation of the development of the individual and his holistic approach. Folk dance is a practice of forming the cultural identity of individuals that allows them to self-identify, on the one hand, and redefine themselves on the other. Certain characteristics of mental resilience studied in relation to folk dance appear to contribute positively to children’s holistic psycho-emotional development, providing multiple benefits. Research has shown that folk dance works beneficially and holistically across all ages, genders, socio-cultural and socio-economic backgrounds. Thus, this article reports the conclusions of a study in the field of artistic-choreographic education highlights the identity dimension, the ends and goals of folk dance in the educational process.
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Kovalcsik, Katalin. "Popular dance music elements in the folk music of Gypsies in Hungary." Popular Music 6, no. 1 (January 1987): 45–65. http://dx.doi.org/10.1017/s0261143000006607.
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Gypsy folk music is of a distinctive character compared with that of the other East European ethnic communities. The pecularities differentiating it from these other forms of folk music – improvisation and a readiness to adopt new influences – have continued to be of significance. While in several cases the folk music of peoples who have established themselves in national states is kept alive by artificial means (e.g. by promoting folk singing groups, by teaching folksongs in schools and by various revival movements), the vast majority of Gypsies have preserved their traditional music as an almost exclusive musical language.
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Chaturvedi, Saraswati. "Culture of Rajasthan and its inherent folk music." International Journal of Research -GRANTHAALAYAH 6, no. 2 (February 28, 2018): 197–201. http://dx.doi.org/10.29121/granthaalayah.v6.i2.2018.1562.
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The state of Rajasthan, as the name suggests, is a state filled with many colors, the food, dress and dress of this state are very much embedded in the folk culture, folklore, folklore, folk dance and folklore.Word meaningThe word 'Lok' is a very ancient word, the meaning of the word 'Lok' can be derived from the mass society which is deeply spread on the earth. The word 'Lok' refers to an important mass community.Folk songs used in Rajasthan's folk cultureIn these folk songs we have the philosophy of folk culture of Rajasthan, they can be categorized as follows -Ritual folk songs: Wadhwa, Chalk, India, Zartzga, turmeric, horse etc. are the main folk songs related to the rites.Folklore related to dance: Different types of folk songs are sung by different castes in dances performed on festivals.Folklore of commercial castes: In Rajasthan, many castes sing these folk songs to make a living.Folklore of Bhil caste: The life of Bhil caste people is full of dance, songs and humor humor.The following institutions are contributing immensely in promoting the folk culture of Rajasthan. Their names are Jawahar Arts Center Jaipur, Western Zone Cultural Center Udaipur etc. In this way we can say in the context of folk music of Rajasthan that their future will be bright.
राजस्थान राज्य जैसा कि नाम से ही प्रतीत होता है कि यह राज्य कई रंगों से भरा हुआ राज्य हैं, इस प्रदेश का खान-पान, पहनावा यहाँ की लोकसंस्कृति, लोकवाद्य, लोकगीत, लोकनृत्य तथा लोकनाट्य जनसमुदाय में अत्यन्त रूप से समाहित दिखाई देते है। लोक शब्द से तात्पर्य’लोक’ शब्द एक बहुत प्राचीन शब्द है ’लोक’ शब्द का अर्थ उस जन समाज से लगाया जा सकता है जो गहराई से पृथ्वी पर फैला रहता है। ’लोक’ शब्द एक महत्वपूर्ण जन समुदाय की ओर संकेत करता है।राजस्थान की लोकसंस्कृति में प्रयुक्त लोकगीतइन लोकगीतों में हमें राजस्थान की लोक संस्कृति के दर्शन होते हैं उनका निम्नलिखित प्रकार से वर्गीकरण किया जा सकता है -संस्कार सम्बन्धी लोकगीतः- वाधावा, चाक, भारत, जरतजगा, हल्दी, घोड़ी आदि संस्कार सम्बन्धी प्रमुख लोकगीत होते हैं।नृत्य सम्बन्धी लोकगीतः- त्यौहार-पर्वों पर किये जाने वाले नृत्यों में विभिन्न जातियों द्वारा विभिन्न प्रकार के लोकगीत गाये जाते हैं। व्यवसायिक जातियों का लोकगीतः- राजस्थान में अनेक जातियाँ अपनी जीविका चलाने के लिये इन लोकगीतों को गाती है। भील जाति के लोकगीतः- भील जाति के लोगों का जीवन नृत्य, गीतों एवं हास्य विनोद से परिपूर्ण होता हैं। राजस्थान की लोक संस्कृति को प्रोत्साहन देने में निम्नलिखित संस्थाऐं अत्यधिक योगदान दे रही हैं। उनके नाम है, जवाहर कला केन्द्र जयपुर, पश्चिम क्षेत्र सांस्कृतिक केन्द्र उदयपुर आदि। इस प्रकार से हम राजस्थान के लोक संगीत के सन्दर्भ में कह सकते हंै कि इनका भविष्य उज्जवल रहेगा।
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Georgios, Lykesas. "The Transformation of Traditional Dance from Its First to Its Second Existence: The Effectiveness of Music - Movement Education and Creative Dance in the Preservation of Our Cultural Heritage." Journal of Education and Training Studies 6, no. 1 (December 22, 2017): 104. http://dx.doi.org/10.11114/jets.v6i1.2879.
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Being an indispensable part of our folk tradition, the traditional dance bears elements of our cultural tradition and heritage and passes them down from generation to generation. Therefore, it contributes substantially to the reinforcement of our cultural identity and plays a crucial role in the "cultural development" of our society.Our culture is going through a constant process of mutation. Some traditional elements get lost, while others resist and survive or get transformed and readjust to new emerging circumstances.The aim of the present study is to investigate the learning process of Music/ Movement Education and Creative Dance within the context of the “second existence” of dance, and the way in which this learning process can effectively save and preserve the characteristic cultural traits of the "first existence" of the traditional dance.The experiential way of learning and transmitting dance from one generation to the other, is characterized as “the first existence” of dance. Changes in modern social, political and economic conditions have influenced the Greek traditional dance, which has acquired a more entertaining and tourist-commercial character, while its educational character has transformed going through teacher-centered educational processes. Having undergone this change, the traditional dance is now defined as “the second existence” of folk dance. The conversion of the traditional dance from its "first existence" into its "second existence" is supported and interpreted by the three components of the dancing process, the so-called “communication triangle”: the dancer, the dance and the viewer. The adoption of the particular approach of Music - Movement Education and Creative Dance in teaching Greek traditional dances can preserve and convey a large part of our cultural heritage to the new generation.Only by learning their country’s history and culture will the young generations be able to learn their own identity and make the best of the past in order to live more happily today and create a better future.
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Deng, Qian, and Loo Fung Chiat. "Revealing The Exotic Rhythm and Tonality in Bright Sheng’s Dance Capriccio." Harmonia: Journal of Arts Research and Education 23, no. 2 (December 31, 2023): 264–78. http://dx.doi.org/10.15294/harmonia.v23i2.47152.
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For the different embodiments of exotic styles in musical compositions, composers have provided a number of examples of patterns and new directions, broadly summarizing it as the musical characteristics of a different region, whether apparent or not, that are reflected in a musical work. Bright Sheng is one of the leading Chinese-American whose significant works exhibits a strong exotic style using Western compositional technique. This article analyses Sheng’s Dance Capriccio composed in 2011, featuring Sherpa folk music. The analysis focuses on how Sherpa folk song and dance are reflected in Dance Capriccio, emphasizing how the tonal and rhythmic construction reflects the traditional folk song. It is also gathered that the gestural movement of Sherpa dances are reflected in this work. This paper will provide an insight into the infinite possibilities of modernist works through the integration and narration with exotic characteristics.
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CHEN, XUAN. "The piano accompanies music in Chinese folk dance." Convergence of Humanities, Social Science an Art’s Academy 3, no. 2 (August 16, 2019): 203–18. http://dx.doi.org/10.37846/soch.3.2.203.
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Şuşu, Petre. "2. On the Educational Potential of Folk Dance." Review of Artistic Education 15, no. 1 (March 1, 2018): 127–50. http://dx.doi.org/10.2478/rae-2018-0013.
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Abstract Folk dance, described in Folkloristics through notions like traditional dance, or, more often, folk choreography, refers to a specific domain of traditional spirituality, and is the third major component of folklore, alongside traditional literature/literary folklore and traditional music/musical folklore.The relation between folk dance and the Romanian education system is a long-lasting one, having taken various forms and degrees of intensity, as this folklore category offers resources and contents that have been used, and still are, in the education of children, youth, and adults. This article refers to the basic components of folk dance distinguished in Ethnochoreology which can offer useful contents to the process of didactic transposition at different levels of education in the Romanian school.
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Ronstrom, Owe. "Folklor: Staged Folk Music and Folk Dance Performances of Yugoslavs in Stockholm." Yearbook for Traditional Music 23 (1991): 69. http://dx.doi.org/10.2307/768397.
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Lei, Xiaowei. "The Application of Ethnic Folk Dance Elements in Choreographic Techniques from a Contemporary Perspective - Exploring the Fusion of Dai Ethnic Folk Dance and Modernity." Pacific International Journal 7, no. 2 (April 20, 2024): 93–97. http://dx.doi.org/10.55014/pij.v7i2.578.
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Chinese dance, rooted in a diverse cultural heritage, encompasses various styles reflecting the traditions of different ethnic groups in China. Among these, Dai Ethnic Folk Dance, originating from the Dai people of southwestern China, is notable for its intricate movements, vibrant costumes, and rhythmic music. As a means of preserving cultural identity and fostering community cohesion, Dai Ethnic Folk Dance plays a significant role in Dai cultural expression, particularly during festive occasions and traditional ceremonies. With China's modernization and globalization, there is a growing interest in blending traditional dance forms with contemporary artistic expressions, presenting an opportunity to revitalize ethnic dance traditions while stimulating creativity in Chinese dance. This research investigates the integration of Dai Ethnic Folk Dance into contemporary choreography, focusing on practitioners' perceptions and approaches to this fusion. Through qualitative interviews with students and teachers from Chinese dance programs at prominent universities, this study explores the implications of incorporating Dai Ethnic Folk Dance into modern dance practices. Findings reveal a shared belief in the potential for blending traditional Dai dance elements with modern choreographic techniques, enriching the Chinese dance landscape and promoting intercultural dialogue. Recommendations include incorporating Dai Ethnic Folk Dance into dance curriculum, fostering interdisciplinary collaborations, and promoting awareness of Dai culture and dance traditions.
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Xinlei, Shi. "Folk dance and music art of the new generation: China’s experience." OOO "Zhurnal "Voprosy Istorii" 2023, no. 3-1 (March 1, 2023): 170–77. http://dx.doi.org/10.31166/voprosyistorii202303statyi31.
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China is one of those countries that are famous for their developed national culture, the desire to learn and inherit folk dance traditions. This article is devoted to the study of historical trends in the formation of folk-dance art in China, as well as the proposal of some measures for its comprehensive development and effective inheritance.
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Hosses, Burak. "Art Literacy of Conservatory Students A Look at Their Conditions." European Journal of Education and Pedagogy 4, no. 2 (April 14, 2023): 227–30. http://dx.doi.org/10.24018/ejedu.2023.4.2.617.
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The aim of this study is to determine the art literacy levels of the students studying in the music and folk-dance departments of the State Conservatory, to provide information about literacy practices, to enable them to use their knowledge of art theory and to determine whether the curriculum in which the conservatory students are taught contributes to their development of art literacy skills. The research group consists of 41 students studying at Giresun University, Department of Music, and Folk Dances. This research is a descriptive field study, and literature review and quantitative research techniques were used. In order to analyze the quantitative data, an independent sample t-test was used to find the differences between the literacy levels of both groups. In addition, the independent sample one-way test of variance was applied for the significance levels of the differences between the literacy levels of both groups. When we look at the results of the t test to see the difference between the two groups, it is seen that the significance value is 0.001. The relationship between the two groups was found to be statistically significant at the p<0.05 level. It has been concluded that music students are more successful in their art literacy levels than the students of the Folk Dance Department. In the one-way analysis of variance, which was conducted to determine the differences in art literacy of the students of the Music and Folk Dances department according to the classes, no significant difference was reached.
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Gang, Yi, and Bi Zhang. "Research on Folk Ecology Status of Northeast Yangko in Heilongjiang Province." Journal of Research in Social Science and Humanities 1, no. 1 (November 2022): 48–53. http://dx.doi.org/10.56397/jrssh.2022.11.07.
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Julian Steward believes that environment and culture cannot be separated. Traditional folk dance is the reproduction of life, the expression of thoughts and emotions of ethnic groups, and has the attribute of national identity. In the process of urbanization evolution of Northeast Yangko Dance, it contains ethnic migration and cultural belonging. The participation and emphasis of Northeast Yangko Dance in folk affects the development of sub-ecological folk dance and stage art folk dance. This study uses the research methods of survey and interview, combined with the theory of dance ecology, to study the folk ecological status quo of Northeast Yangko Dance in Heilongjiang Province, and analyzes the status quo of urban square dance, middle-aged and elderly dance troupes, university dance clubs and activities. Through research, the main reasons that restrict the development of the Northeast Yangko Dance include: the traditional Northeast Yangko Dance costumes are rustic, the music is not fashionable, the dance movements are difficult to learn, there are few plays that can be learned, the lack of director, the lack of watching ways, the outdated style, and the lack of attention from schools and students. The study shows that the dance ecology of Northeast Yangko is not optimistic.
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Jain, Nisha. "RAJASTHANI FOLK MUSIC IMPACT ON SOCIETY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3464.
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Rajasthan has always been a subject of curiosity for tourists, musicians, craftspeople etc. due to the originality of its civilization and culture in the states of India. The culture of Rajasthan is unique at all times for food, clothing, dance, music and folk songs. The treasury of regional living, food and folk songs is hidden in the cultural culture flourishing in Rajasthan. The rituals here are the center of attraction for women living in the way of living, dress, bright colors, Teej festivals, fairs, festivals, and the men and sarongs that are tied on the head. Rajasthani folk music is sung and played on all special occasions. The dance dramas in Rajasthani songs in the same colorful costumes captivate the minds of the audience.
भारत के प्रदेषों में राजस्थान अपनी सभ्यता एवं संस्कृति की मौलिकता के कारण सर्वदा से पर्यटक, संगीतकार, षिल्पकार आदि के लिए कौतूहल का विषय रहा है। राजस्थान की संस्कृति खान-पान, वेषभूषा, नृत्य, संगीत एवं लोक गीतों के लिए प्रत्येक समय में विषिष्ट बनी हुई है। राजस्थान में पल्लवित लोक संस्कृति में क्षेत्रीय रहन-सहन, खान-पान व लोकगीतों का खजाना छिपा हुआ है। यहाँ के रीति-रिवाज रहन-सहन, वेषभूषा, चटकीले रंग, तीज त्यौहार, मेले, पर्व में पहनावा तथा सिर पर साफे बंधे हुए पुरूष एवं घेरदार लहँगे में महिला षहरवासियों के आकर्षण का केन्द्र होती है। राजस्थानी लोक संगीत सभी विषिष्ट अवसरों पर गाए एवं बजाये जाते हैं। राजस्थानी गीतों पर वहीं की रंगीन वेषभूषा में नृत्य नाटिकाएँ दर्षकों का मन मोह लेती हैं।
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Čyplytė, Raminta. "The Interaction Among Lithuanian Folk Dance Ensembles in the Context of Cultural Education: Directors’ Attitude." Pedagogika 114, no. 2 (June 10, 2014): 200–208. http://dx.doi.org/10.15823/p.2014.017.
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The article aims to reveal features and expression of the interaction between the state song and dance ensemble “Lietuva” and folk dance ensembles of higher education institutions in the process of youth cultural education. Since this aspect has not been analyzed in detail, the research was held among directors of folk dance ensembles of higher education institutions and the state song and dance ensemble „Lietuva“ and attempted to reveal two perspectives.The questioning of the directors showed that the interaction between ensemble “Lietuva” and folk dance ensembles of high schools in the context of youth cultural education exists and appears through folk dance ensembles connecting factors such as: genre of folk dance, common cultural activities and repertoire as well as common content of education which includes teaching methods, dance technique and its evaluation, other problems and relevant topics which forces to attract attention to the peculiarity of folk dance and its promotion in the contemporary cultural context.Directors of the ensemble “Lietuva” and high school ensembles stated that the ensemble “Lietuva” is still relevant today and actively participate in the cultural education of young people through folk dance, song and music hereby preserving national traditions and customs.
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Skořepová, Zita. "Czechoslovak Folk Music and Dance Ensembles and the World Youth Festival in the 1950s: An Ethnomusicology and Oral History Perspective." Interdisciplinary Studies in Musicology 22 (December 29, 2022): 47–61. http://dx.doi.org/10.14746/ism.2022.22.4.
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One of the most significant mass manifestations of the state-subsidised cultural expres- sions of the Socialist Bloc in the second half of the 20th century was “Red Woodstock”, the World Festival of Youth and Students. The first edition took place in the summer of 1947 in Prague. Incidentally, this festival featured Czechoslovak amateur and professional folk music and dance en- sembles in a preliminary line-up, which later became the most important established ensembles in the country. Some of these ensembles then appeared regularly at Youth Festivals. Such festival performances were considered very influential performance opportunity for ensembles of folk music and dance in Czechoslovakia in the 1950s. The present article, based on data gathered through interviews grounded in oral history and archival research, explores the role of the World Youth Festivals in the process of foundation of Czechoslovak ensembles of folk music and dance and their repertoire negotiation of the traditional music and dance within the vague framework of socialist realism on the one hand, and an everyday-life perspective and ordinary desire to perform pronounced by the ensembles’ members on the other.