Relevant bibliographies by topics / Folk dancing, european

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Academic literature on the topic 'Folk dancing, european'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Folk dancing, european"

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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
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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 dan
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Kovács, Nóra. "The Paradox of Authenticity." Tánc és Nevelés 2, no. 1 (2021): 153–57. http://dx.doi.org/10.46819/tn.2.1.153-157.

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The book on the Slovakian authentic folklore movement by the American scholar Joseph Grim Feinberg working in the Czech Republic is a special treat for those interested in dance anthropology. It is always inspiring to look at social and cultural phenomena about the East-Central European region through the eyes of a researcher who is an outlander; this applies to the realm of music and dance, too. The title suggests two fundamental issues that may be interesting and important for Hungarian readers acquainted with the world of folk dancing. One of them is the authenticity of folk-dance related p
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Neycheva, L. "Болгарская национальная идея в фортепианной музыки Б. Бартока и Д. Лигети". Proceedings. College Dobrich VIII (25 грудня 2015): 5–16. https://doi.org/10.5281/zenodo.10033051.

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The article is dedicated to explanation of the Bulgarian phenomenon in the 20th century music based on Thracian ancient roots of Bulgarian dancing culture. The «new barbaric» feature of irregular rhythms of Bulgarian folk music in fast tempos of western European music of the 20th century including a number of piano works by B. Bartok and D. Ligeti became a renovating feature that was revealed through actualization of historic memory about Eastern European sources of the musical culture of the west. B. Bartok was the first to discover super national importance of the Bulgarian folklore feature
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Narskiy, I. V. "FICTION IN "AUTHENTICITY" SUBSTANTIATION: HOW THE SOVIET CHOREOGRAPHERS SUBSTANTIATED FOLK CHARACTER OF THEIR WORKS." UKRAINIAN CULTURAL STUDIES, no. 1 (4) (2019): 61–67. http://dx.doi.org/10.17721/ucs.2019.1(4).12.

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Over the decades, starting from the late 1930’s, soviet journalistic reportage about professional and mainly amateur folk dance groups from central European regions of the USSR and Siberia, Ukraine, Transcaucasia and other parts of the Soviet Union were full of reports about choreog- raphers’ "ethnographic expeditions" down the country and their desire to "learn from the people" dance technique. Why did "field collection" of the choreographic material hold a prominent place and deserve special mention in the stories about amateur folk dance arts? Weren’t numerous stories about folk trips the i
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Marcelli, Andrea Mattia, Francisco Sousa, Josélia Fonseca, Leonor Sampaio da Silva, Marxiano Melotti, and Susana Goulart Costa. "The Unknown Carnival of Terceira Island (Azores, Portugal): Community, Heritage, and Identity on Stage." Sustainability 14, no. 20 (2022): 13250. http://dx.doi.org/10.3390/su142013250.

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Terceira Island hosts a Carnival that enjoys unique features in the landscape of European folklore. It involves a major share of the resident population, it takes place on stages scattered all over the island, and it involves a blend of dancing, music, and acting. This paper presents the preliminary results of a collaborative project between native and foreign scholars, with the activist goal of providing Terceira’s Carnival with visibility in order to ensure its preservation. Documentary evidence and fieldwork activities undertaken in 2020 provide grounds to interpret Terceira’s Carnival as a
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MARTYNENKO, O., R. PAVLENKO, and D. ILIN. "UPDATING OF THE CONTENT OF TEACHING FOLK-STAGE DANCE AT HIGH EDUCATIONAL INSTITUTIONS OF UKRAINE." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 2 (2022): 252–62. http://dx.doi.org/10.31494/2412-9208-2022-1-2-252-262.

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The article reveals the relevant aspects of the professional training of applicant of the first level of training within the higher education in specialty 024 «Choreography» which have been caused by the beginning of the military actionі in Ukraine. The publication actualizes the updating of the educational components which are oriented on the formation of readiness of the future choreographers for the teaching Folk-Stage dance within educational institutions of various types. The authors underlined the importance of the determination and highlighting of Ukrainian folk-dancing culture in the c
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Sokolova, Alla. "The Origins of the Genre of the English Masque." Culturology Ideas, no. 17 (1'2020) (2020): 89–98. http://dx.doi.org/10.37627/2311-9489-17-2020-1.89-98.

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This paper aims to analyze the scientific works of leading British researchers to identify the origins of the stages of the formation of the English Masques genre, the influence of continental culture on the Masques genre, understanding the specific features of the first prototypes of the Masques, as well as the “early” Tudor Masques, including the Masques of the times of Henry VIII and Elizabeth І. Research methodology. Twenty-one publications by leading English scholars on this subject are considered, including archival data and historical choirs. The materials of the scientific literature a
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Kasyanova, Olena. "Polyfunctionality of Dance Scenes in Opera Performance." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(58) (March 28, 2023): 112–28. http://dx.doi.org/10.31318/2414-052x.1(58).2023.284761.

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Peculiarities of the interpretation of dance scenes in today's opera performances are considered depending on their functional purpose. The specific characteristics of dance varieties are clearly marked: folk, characteristic, ballroom, classical, modern; methods of their application in accordance with the performance of dramatic tasks in the opera. Differences in the interpretation of ballet acts/paintings/scenes and dance numbers in musical and theatrical performances are outlined. The evolutionary changes of entertainment dance are considered depending on the design paradigm: from the creati
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Filatova, Tetiana. "Guitar music by Heitor Villa-Lobos: genre traditions of Brazilian choro." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 141 (November 28, 2024): 96–116. https://doi.org/10.31318/2522-4190.2024.141.319210.

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The relevance of the article is to consider Brazilian guitar music as an important component of the modern South American repertoire. On the example of choros of famous composer Heitor Villa-Lobos connections with the folklore traditions of the country, Afro-Brazilian, AfroCuban primary and derivative patterns of the genre have been revealed. The main objective of the study is to discover in H. Villa-Lobos's guitar music metrorhythmic and intonation-melodic archetypes of the Brazilian choro genre as an essential component of the southeastern regions of the country. The novelty of the article c
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Books on the topic "Folk dancing, european"

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Urbeltz, Juan Antonio. Los bailes de espada y sus símbolos: Ciénagas, insectos y moros. Pamiela Argitaletxea, 2000.

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Trochimczyk, Maja. Polish dance in Southern California. East European Monographs, 2007.

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Stålnert, Birgitta. Jakten på den försvunna samiska dansen: Det här är berättelsen om hur koreografen Ola Stinnerbom till slut fann bevisen på att det verkligen har funnits en samisk danstradition. Centrum för Samisk forskning, 2011.

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Urbeltz, Juan Antonio. Los bailes de espada y sus símbolos: Ciénagas, insectos y moros. Pamiela Argitaletxea, 2000.

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Dalmau, Antoni. Jocs, cançons i costums que no hem de prerdre. Columna edicions, 2008.

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Guilcher, Jean-Michel. Tradition Populaire De Danse En Basse-Bretagne. De Gruyter, Inc., 2018.

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Elizabeth A. Hanley (Editor, Introduction), ed. European Dance (World of Dance). Tandem Library, 2004.

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European dance: Ireland, Poland, Spain, and Greece. 2nd ed. Chelsea House, 2010.

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European dance: Ireland, Poland, Spain, and Greece. 2nd ed. Chelsea House, 2010.

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European Dance: Ireland, Poland & Spain (World of Dance). Chelsea House Publications, 2004.

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Book chapters on the topic "Folk dancing, european"

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Georgiev, Plamen K. "Chalga,Turbo Folk and Manele: Dancing “Unleashed” Liberties." In Self-Orientalization in South East Europe. VS Verlag für Sozialwissenschaften, 2012. http://dx.doi.org/10.1007/978-3-531-93271-2_3.

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Kinder, Karyna. "THE ART OF DANCING OF VOLYN: THE DYNAMICS OF TRADITIONS AND INNOVATIONS." In Science, technology, and innovation: the experience of European countries and prospects for Ukraine. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-190-9-13.

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In the complex and contradictory process of social and ethnonational progress of Ukraine, the study of the original creative potentials of the nation becomes especially important not only in the historical and theoretical, but also in the regional aspect. In the domestic research area, we can see the appearance of studies aiming to form a special field of research – the regionics, which is designed to reveal the uniqueness and originality of the cultural environment within a particular local unit. The diverse palette of movements, gestures and poses has a strong ethnic color, reflecting nation
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Kapper, Sille. "11. Continuity and Reinvention." In Waltzing Through Europe. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.11.

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Kapper (Estonia) focuses mainly on the twentieth century, basing her discussion on information from folk dance collectors and researchers connected to the folk-dance movement. She surveys round dance forms described or referred to as part of this information, and discusses the relationship between round dances and other dances in a local community, particularly if that community was known as a stronghold of traditional dance. She also refers in brief to the folk-dance movement. In this way, she includes two of the groups mentioned above: the ‘dancing crowds’ and the folk dancers, and discusses
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Nilsson, Mats. "13. Dance and ‘Folk Devils’." In Waltzing Through Europe. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.13.

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Nilsson (Sweden) addresses the moral outcries against dance as a phenomenon, which are levelled against most kinds of new dancing. He discusses the concepts of moral panic and ‘folk devils’, referring to a number of international research publications in the process. Nilsson concludes with a question about how adaptable these concepts are in contemporary studies. When dealing with the older source material, it can be difficult to distinguish between individual outcries and a moral panic, which is defined as including larger groups. Such panics can disappear without leaving many traces.
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Zebec, Tvrtko. "15. A Twenty-First Century Resurrection." In Waltzing Through Europe. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.15.

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Zebek (Croatia) surveys and contextualises the place of round dances, and particularly the Polka, in the twentieth-century Croatia. He shows how the folk-dance movement largely ignored or even rejected the round dances as new and foreign. He then portrays the revival of a ‘shaking’ kind of Polka that has a history in the region, but only rose in popularity as late as the twenty-first century. The peculiar aspect of the revival is that it seems to have arisen independently of the folk-dance movement, among the ‘dancing crowds’.
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Bakka, Egil. "12. The Ban on Round Dances 1917–1957." In Waltzing Through Europe. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.12.

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Bakka (Norway), discusses, and contextualises, the banning of round dances by one of Norway’s largest youth movements for about forty years from 1917. He shows how the three popular movements that built assembly houses had conflicting attitudes towards social dancing, and dealt with it in different ways. The Liberal Youth Movement, which imposed the ban, gave a variety of reasons, first among them being that it destroyed interest in popular enlightenment, which was the main aim of the movement. The movement also did not consider round dances to be folk dances, and therefore held them to be of
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