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1
Fiskvik, Anne Margrete. "Tracing the Achievements of Augusta Johannesén, 1880–1895." Nordic Journal of Dance 5, no. 2 (2014): 4–21. http://dx.doi.org/10.2478/njd-2014-0007.
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Abstract Dancer, choreographer and teacher Augusta Johannesén was an important figure in several capacities for Nordic theatrical dance. She danced, taught and choreographed in Sweden, Finland as well as in Russia. Between 1860-1878 she was a member of the so-called Johannensénske Balletselskab, which toured extensively in the Nordic countries. The Johannesénske family settled in the Norwegian capital Kristiania in 1880, and Augusta Johannesén slowly established herself as a professional dance artist at the most important theatres in Kristiania. Over the years she became a dancer, choreographer and teacher of great significance, and her contribution to the development of Norwegian theatre dance cannot be overestimated. She was active as dancer well into the 1910’s and “arranger of dance” up until she died in 1926. As a ballet teacher, she trained hundreds of dancers, including several of those who later went on to play a role in the Norwegian dance- and theatre scene. In many ways, Augusta Johannesén is representative of a versatile dancer that can be found on many European stages, the versatile ballet dancer that was also typical of the Nordic dance scene around the “fin de siècle”. She typically also struggled with stereotypical notion of the “ballerina”. This article focuses on only a part of her career, her first fifteen years in Norway. Between 1880 and 1895 she established herself in Kristiania, dancing at the Christiania Theater and later at the Eldorado. The article also forefront an especially important event in Norwegian Nordic dance history instigated by Johannesén: The establishment of a “Ny Norsk Ballet” (“New Norwegian Ballet”) at the Eldorado theatre in Kristiania in 1892. This is probably the very first attempt at creating a professional ballet company in Norway, and Augusta Johannesén’s contribution is only one of many ways she made a difference to professional theatre dance in Norway.
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Gorshunova, Olena. "Masters of Men's Dance on Ukrainian Ballet Scene in Domestic Academic Achievements." Dance Studies 2, no. 1 (2019): 39–48. https://doi.org/10.31866/2616-7646.2.1.2019.172183.
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The purpose of the article is to identify problematic situations in the works of Ukrainian scientists regarding the creation of a choreographic image by male performers on the Ukrainian ballet scene. Methodology. The main research methods are comparative (to analyze various interpretative strategies for the development of male dance in domestic ballet), historical (to create typological characteristics of this phenomenon in different historical periods), art criticism (dancological) to identify the causes of the evolution of specific performance techniques. Scientific novelty. For the first time, studies by Ukrainian researchers in relation to the performance principles of male dance have been analyzed, their own approach to this problem in the historical and artistic and practical aspects has been proposed. Conclusions. Ukrainian ballet scholars studies of the past decades usually boil down to metaphorical descriptiveness, reloading with general characteristics without taking into account the specific features of the performance of the same academic pas by various artists. Therefore, it is almost impossible to distinguish any performing techniques from ballet dancers of different schools and generations. The efforts of scientists in the study of male dance were focused on such issues as purely acting means of expressiveness, the interaction of the choreographer and performer as an interpreter of his design, as well as matching the style of performing the traditions of a particular school (mainly Vaganov and its Kyiv branch). At the same time, the features of the interpretation of male roles in different historical periods (from the beginning of the choreodrama to post-neoclassicism) remained almost undisclosed.
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Meglin, Joellen A. "Victory Garden: Ruth Page's Danced Poems in the Time of World War II." Dance Research 30, no. 1 (2012): 22–56. http://dx.doi.org/10.3366/drs.2012.0033.
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During the years 1943–1946, the Chicago choreographer and ballet director Ruth Page created a compact, innovative vehicle for touring, a concert she called Dances with Words and Music. The programme consisted of solo dances accompanied by the poems of Dorothy Parker, Ogden Nash, e. e. cummings, Federico García Lorca, Langston Hughes, Hilaire Belloc, Edna St. Vincent Millay, and others. Page performed her danced poems, speaking the words herself and dialoguing with them in dance, in New York and Chicago, and at Jacob's Pillow. She also toured extensively to smaller cities scattered throughout the Midwest and South, sponsored by colleges and universities, as well as civic associations, independent producers, women's clubs, and USOs. I argue that Page's marriage of poetry and dance was not just a stopgap measure designed to keep her choreographic footing during the lean years when male dancers were enlisted. It was a deliberate strategy to position herself as a front-runner on the American scene – an architect of the American ballet with a sensitive ‘vernacular ear,’ a worldview, and, crucially, a perspective sympathetic to the psyches of young women and children.
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Vargas-Cetina, Gabriela. "India and the Translocal Modern Dance Scene, 1890s–1950s." Review of International American Studies 13, no. 2 (2020): 39–59. http://dx.doi.org/10.31261/rias.9805.
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At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.
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Vargas-Cetina, Gabriela. "India and the Translocal Modern Dance Scene, 1890s–1950s." Review of International American Studies 13, no. 2 (2020): 39–59. http://dx.doi.org/10.31261/rias.9805.
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At the end of the nineteenth century and during the first half of the twentieth, lead dancers from different countries became famous and toured internationally. These dancers—and the companies they created—transformed various dance forms into performances fit for the larger world of art music, ballet, and opera circuits. They adapted ballet to the variety-show formats and its audiences. Drawing on shared philosophical ideas—such as those manifest in the works of the Transcendentalists or in the writings of Nietzsche and Wagner—and from movement techniques, such as ballet codes, the Delsarte method, and, later on, Eurythmics (in fashion at the time), these lead dancers created new dance formats, choreographies, and styles, from which many of today’s classical, folk, and ballet schools emerged. In this essay, I look at how Rabindranath Tagore, Isadora Duncan, Anna Pavlova, Ruth St. Denis and Ted Shawn, Uday Shankar, Leila Roy Sokhey and Rumini Devi Arundale contributed to this translocal dance scene. Indian dance and spirituality, as well as famous Indian dancers, were an integral part of what at the time was known as the international modern dance scene. This transnational scene eventually coalesced into several separate schools, including what today is known as classical and modern Indian dance styles.
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Erken, Emily Alane. "Narrative Ballet as Multimedial Art: John Neumeier's The Seagull." 19th-Century Music 36, no. 2 (2012): 159–71. http://dx.doi.org/10.1525/ncm.2012.36.2.159.
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Abstract This article approaches narrative ballet as a theatrical art created through the intersection of dance, music, and literature. Following the nineteenth century's tendency to separate ‘the Arts,’ scholars, journalists, and often the dancers themselves portray ballet as an art of choreography and virtuoso bodies, while relegating the music, story, and visual designs to supportive if not negligible roles. My article counteracts this trend by approaching ballet as a multimedial art, in which meaning is made at the points where the specific arts intersect. Audience members perceive the ballet as a composite work, in which all three elements are equally present and important. Using this model, musicologists and literary critics can and should engage contemporary narrative ballets as complex and relevant art of our time. John Neumeier's The Seagull (2002) demands this type of analysis, because it is clear that as the author of the choreography, costumes, lighting, and set design, Neumeier considers all media involved—visual, aural, and literary—as equally generative elements of a ballet. His role is more of a multimedia artist than a choreographer. He is also responsible for the adaptation from Chekhov's eponymous play and for application of musical selections borrowed from Tchaikovsky, Scriabin, Shostakovich, and Evelyn Glennie. Indeed, his choice to present a Chekhov play known for its subtle weaving of verbal dialogue to convey character, mood, and themes seems to force the audience member and critic to reconsider her traditional understanding of what ballet can and cannot do. As an example of a multimodal approach to ballet, this article presents five literary and musical devices expanded to describe the varied interplay of the visual, aural, and literary components in The Seagull. Bakhtin's idea of heteroglossia appears on the ballet stage in the assignment of distinct dance styles to each of the four protagonists, a technique that develops each character by imbuing them with the historical and social connotations of their movement style. Neumeier manipulates the irrefutable connection between music and dance through audiovisual irony in two scenes, where the dance conveys one message, but the music belies it, revealing the underlying ironic truth of the characters' situations. All three modalities are employed to shift time into and out of a reflective space, where the sincerest characters are shown to explore their emotional and artistic dilemmas. Like Chekhov, Neumeier employs echo characters—secondary figures who mirror the conflicts of the main protagonists, allow the author(s) to further develop the play's themes. In this ballet, Masha “echoes” Nina's unrequited love, her movements, music, color palette, and her choices by negation. Through overt application of seagull imagery, Neumeier draws dance and music history—namely, Swan Lake and the pathos of the dying swan—into his ballet, The Seagull.
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Churpita, Tetiana. ""The Great Waltz" Ballet in the Production of Mykola Trehubov." Dance Studies 2, no. 2 (2019): 168–76. https://doi.org/10.31866/2616-7646.2.2.2019.188817.
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The purpose of the article is to analyze the scenic path of the romantic ballet "The Great Waltz" directed by Mykola Trehubov. Methodology. The historical, historiographic and analytical approaches are applied. Scientific novelty. The article, for the first time, made a detailed analysis of the sсеnic life of "The Great Waltz" performance staged by M. Trehubov in various ballet theatres of the USSR. Conclusions. In 1957, the famous choreographer M. Trehubov, together with the conductor of Lviv Opera, S. Arbit, staged The Great Waltz ballet to the music of J. Strauss, which plot was based on real moments in the biography of the Viennese composer. M. Trehubov originally unveiled the topic: all the dances, staging scenes were organically connected with the theme of the performance and better characterized the characters. Observers praised the diverse choreographic language of the ballet, consisting of duets, trios, individual variations, and mass dances. Critics noted the subtlety of M. Trehubov’s taste, his excellent ability to build choreographic dialogues and convey complex human feelings in the language of dance. The performance was distinguished by a strict logical relationship between the characters, which were embodied on the stage by the leading dancers of the ballet theatres. High-quality musical and artistic design aroused the warm approval of the audience and contributed to maintaining the pace of development of the action. Observers attributed mass dances to the shortcomings of the performance. The choreographer was also advised to modify the third act of the performance. The significant popularity of the work is evidenced by its repeated productions on various stages of the USSR (Odessa, Donetsk, Dushanbe, etc.). Creatively active Ukrainian groups continue to experiment with Strauss music today. Despite the materials found, the productions of "The Great Waltz" ballet outside Ukraine and its updating in the repertoire of the Lviv Opera House (1981) are of scientific interest.
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Latifić, Amra. "The Legend of Ohrid: Reception of balletization of the dance tradition." New Sound, no. 58-2 (2021): 173–89. http://dx.doi.org/10.5937/newso2158173l.
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The paper discusses the interpretations of the choreographic aspects of different versions of the performance of the ballet The Ohrid Legend by Stevan Hristić. In the choreographies of this ballet, ballet vocabulary is combined with folklore motifs, using the principle of balletization of folklore. This choreographic approach has produced a pluralism of opinions on the ballet critical scene-from the modernization of folklore elements to views that the work still belongs to the traditional ballet choreographic structure. Pluralism of opinion provides an opportunity to open new approaches in the interpretation of the choreography itself. In this paper, an anthropological approach is treated, based on the intersection of different styles of play.
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Đurinović, Maja. "Who is singing out there." Kultura, no. 182-183 (2024): 157–63. https://doi.org/10.5937/kultura2483157d.
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This work begins with the fantastic success (twenty years of duration and over 200 performances) of the Serbian National Theatre ballet Who is Singing Out There (2004), which was based on Dušan Kovačević's script for Slobodan Šijan's film of the same title, with music by Vojislav Voki Kostić and choreography and direction by Staša Zurovac. Its intention is to point out the specific language and style of Staša Zurovac's displaced dance grotesque, which he discovered and shaped with a group of fellow enthusiasts, his colleagues from the Zagreb Ballet, and his wife, a ballet soloist Olja Jovanović, during a relatively short but above all strong author's momentum on the Croatian dance theatre scene. Zurovac began developing his own personal style in dance theatre in 2002 with a miniature The Gods Are Angry and then with his first full-length work called Cirkus Primit if Ballet, continuing to work in Split, Rijeka and Ljubljana, and peaking in Belgrade with a bold dance staging of the cult film Who is Singing Out There.
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Pritchard, Jane. "Archives of the Dance (24): The Alhambra Moul Collection at the Victoria and Albert Museum." Dance Research 32, no. 2 (2014): 233–57. http://dx.doi.org/10.3366/drs.2014.0108.
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This article in the ‘Archives of the Dance’ series looks at one specific collection held in the Theatre & Performance Collections of the Victoria and Albert Museum, London. At first glance, the Alfred Moul Collection (THM/75) appears a small collection filling only half a dozen archive boxes plus some photographs and press cuttings books. Nevertheless its content is very revealing about the management of the Alhambra Palace of Variety, Leicester Square, during the years 1901–1914, and the ballets created there. It is not exclusively a dance archive but places the work of the theatre's ballet company in the context of variety theatre and the full range of turns presented there. The collection focuses on the final decade of the fifty years from 1864 in which the Alhambra dominated the ballet-scene in London. This final period was a time of decline and competition for the ballet company. The collection reveals the management's awareness of competition and the consequent need to embrace a wide range of genres; the word ballet was used to cover all forms of theatre dance and, as the collection reveals, the wide search for new dance stars for productions; it enhances our knowledge of dance and dancers from France, Russia, America and Denmark as well as our knowledge of dance in Britain immediately before the full impact of the Russian ballet was felt.
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Karandieieva, Olena. "Male Ballet Performance of the 1930s–1940s in Ukraine." Bulletin of KNUKiM. Series in Arts, no. 43 (December 22, 2020): 160–67. https://doi.org/10.31866/2410-1176.43.2020.220245.
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The purpose of the article is to identify the special features of Ukrainian male ballet performance in the 1930s – 1940s based on the analysis of the works by O. Sehal, B. Stepanenko, and O. Stalinskyi. The research methodology is based on the application of the historical and biographical approaches to comprehend the work of ballet dancers in chronological order, the cultural approach and art studies analysis to identify the artistic characteristics of male performance and consider its formation in the context of general trends in the development of ballet theatre. Scientific novelty. The features of male ballet performance of the 1930s – 1940s through the prism of general trends in the development of ballet dance and creative biographies of the leading artists were revealed for the first time. Conclusions. The article has demonstrated that Ukrainian male ballet performance as an independent phenomenon began its formation in the 1930s – 1940s, in the context of the reconstruction of ballets of classical heritage (Swan Lake, Sleeping Beauty, Raymonda, Giselle, etc.), the formation and development of a choreodrama (Red Poppy, The Fountain of Bakhchisaray, Laurencia, etc.), including Ukrainian national ballets (Lileia, Forest Song, etc.). It has been stated that the leading ballet dancers of this period (O. Sehal, B. Stepanenko, O. Stalinskyi, etc.) were professionally trained. The article has revealed the main features of male performance – pronounced acting skills, a high level of pantomime proficiency as the main expressive means of a drama ballet, a limited number of dance steps in male parts. The positive dynamics of the growth of male dance performance was interrupted by the Second World War, during which ballet dancers performed at the fronts and in evacuation. In the post-war period, the repertoire of ballet theatres was restored and enriched, but the dominance of director’s principles over choreographic ones led to the crisis of the emasculation of the dance component from the male parts.
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Daub, Adrian. "The Ob-Scene of the Total Work of Art: Frank Wedekind, Richard Strauss, and the Spectacle of Dance." 19th-Century Music 39, no. 3 (2016): 272–89. http://dx.doi.org/10.1525/ncm.2016.39.3.272.
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This article examines the musical, literary, and theatrical practice of a group of early German modernists — above all Richard Strauss and Frank Wedekind. All of them turn to dance, its unmediated physicality, and its erotic charge to articulate a response to Richard Wagner's theatrical project, specifically the concept of the total work of art. Although Wagner had included a few ballet numbers in his mature operas, he treated the form (and the number as such) as a threat to a specifically operatic plenitude of sensuous meaning—dance, he feared, threatened to dance music and drama right off the stage. I argue that this allowed certain post-Wagnerians to interrogate Wagner's aesthetic through the category of obscenity — the dancer who, by dint of her brute physicality, could disturb and misalign theatrical spectacle became an important figure in their art. After a planned collaboration on a number of ballets came to naught, Strauss and Wedekind each turned to their native media to stage and interrogate balletic forms: Strauss through the medium-scrambling Dance of the Seven Veils in Salomé, Wedekind by inserting his ballet drafts into a strange novella, Minehaha, Or on the Bodily Education of Young Girls. Strauss's collaboration with Hugo von Hofmannsthal, which was to prove far more consequential and productive than the one with Wedekind, likewise began with an abortive ballet draft, and again came to reflect on dance's role in other media (opera and theater, in this case). Their reflections on the role of dance in operatic and theatrical spectacle find their expression in Elektra's final dance, which turns on its head the mysterious persuasiveness that Wagner had feared in dance and that Wedekind and Strauss had used to such effect in Salomé: a dance so expressive no one is moved by it.
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Drajewski, Stefan. "Polskie kompozytorki baletów. Rekonesans." Polski Rocznik Muzykologiczny 20, no. 1 (2022): 205–22. http://dx.doi.org/10.2478/prm/2022-0002.
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ABSTRACT Female ballet composers. A Reconnaissance While Polish theoretical and musicological reflection seems to treat ballet music as a poor relation, ballet works composed by women appear as a complete tabula rasa. The present author decided to contribute to filling it by analysing works of Polish female composers of the 20th and 21st centuries. Statistical calculations based on three databases including Polish Music Information Centre (POLMIC), polishstage. pl (e-teatr) and taniecpolska.pl portals as well as own research have revealed 35 Polish female composers of the 20thand 21st centuries have written at least one or more works whose subtitles contain the words “ballet” or “ballet music” or have been composed particularly for a dance theatre, pantomime or dance performance. Out of 122 compositions, twenty ballets have not been staged. The works composed for other types of “dance shows” were written in collaboration with specific choreographers, therefore they have all been staged, except for three compositions. The first Polish female composer to write ballet music was Anna Maria Klechniowska. Her two earliest ballets, Bilitis and Juria were composed in the interwar period, and the third one titled Fantasma in 1964. The most successful female composer was Jadwiga Szajna-Lewandowska who composed ballets for children. Her most popular work was ballet Pinokio [Pinocchio]. Another question refers to stage productions of ballets composed by women. Eighteen of the ballets staged were choreographed by men, and fourteen by women. In the case of music composed strictly for “dance shows” (dance theatre, pantomime or dance performance) female choreographers prevail (47): only twelve male choreographers decided to collaborate with a female composer. Two performances were the result of collaborative work. The findings to date constitute a point of departure for further research into music composed “for dance” (ballet, pantomime, dance theatre and dance performances).
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Drajewski, Stefan. "Polskie kompozytorki baletów. Rekonesans." Polski Rocznik Muzykologiczny 20, no. 1 (2022): 205–22. http://dx.doi.org/10.2478/prm-2022-0002.
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ABSTRACT Female ballet composers. A Reconnaissance While Polish theoretical and musicological reflection seems to treat ballet music as a poor relation, ballet works composed by women appear as a complete tabula rasa. The present author decided to contribute to filling it by analysing works of Polish female composers of the 20th and 21st centuries. Statistical calculations based on three databases including Polish Music Information Centre (POLMIC), polishstage. pl (e-teatr) and taniecpolska.pl portals as well as own research have revealed 35 Polish female composers of the 20thand 21st centuries have written at least one or more works whose subtitles contain the words “ballet” or “ballet music” or have been composed particularly for a dance theatre, pantomime or dance performance. Out of 122 compositions, twenty ballets have not been staged. The works composed for other types of “dance shows” were written in collaboration with specific choreographers, therefore they have all been staged, except for three compositions. The first Polish female composer to write ballet music was Anna Maria Klechniowska. Her two earliest ballets, Bilitis and Juria were composed in the interwar period, and the third one titled Fantasma in 1964. The most successful female composer was Jadwiga Szajna-Lewandowska who composed ballets for children. Her most popular work was ballet Pinokio [Pinocchio]. Another question refers to stage productions of ballets composed by women. Eighteen of the ballets staged were choreographed by men, and fourteen by women. In the case of music composed strictly for “dance shows” (dance theatre, pantomime or dance performance) female choreographers prevail (47): only twelve male choreographers decided to collaborate with a female composer. Two performances were the result of collaborative work. The findings to date constitute a point of departure for further research into music composed “for dance” (ballet, pantomime, dance theatre and dance performances).
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Tomic-Vajagic, Tamara. "The dancer at work: The aesthetic and politics of practice clothes and leotard costumes in ballet performance." Scene 2, no. 1 (2014): 89–105. http://dx.doi.org/10.1386/scene.2.1-2.89_1.
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This article focuses on the aesthetic implications innate to the introduction of tight-fitting rehearsal-style costume, a leotard, to the dance studio and stage. In ballet, the pared-down and subtle design of such costumes is found in many dance works from the twentieth century until today, including the ‘black and white ballets’ by George Balanchine, or ‘ballet-ballets’ by William Forsythe. These works are also considered plotless and seem to deter the viewer from the theatrical conventions of plot lines, characters and narratives. This article is concerned with that which is highlighted in such works: the dancer’s moving body and the leotard as a costume that particularly refers to the performer at work and in own cultural setting. The look into the relationship between the dancers and leotard as a costume type communicates important information about the performer’s work and their development of roles in such repertoire. The closer consideration of this relationship in reference to the aesthetic of practice-clothes ballet also discloses plenty about the artistic potentials in such choreography and performance, revealing how the use of leotard as a stage costume has both furthered and challenged some of ballet’s traditions and cultural conventions.
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Chua, Joey, and Hannele Niiranen. "’Ballet Energy for Boys’ in Finland: A Description of the Workshop Content." Nordic Journal of Dance 4, no. 2 (2013): 4–11. http://dx.doi.org/10.2478/njd-2013-0007.
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Abstract How can we improve Finnish boys’ conceptions of ballet? How can we increase male involvement in ballet? We tried to answer these central questions by reflecting on and reviewing the goals, content and teaching methods utilized to teach methods of a tuition-free ballet workshop titled Ballet Energy for Boys. Produced by the Finnish National Opera, this workshop was introduced to about 2500 seven to eight year-old boys in elementary schools in the capital region in Finland. Written primarily for dance educators, this article aims to contribute to the literature about our recent efforts in inspiring boys to learn ballet and to learn how to appreciate ballet.
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Kellermann, Jonas. "A breach of silence: affective soundscapes in Sasha Waltz’s Roméo et Juliette." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (2020): 38–53. http://dx.doi.org/10.1177/0184767820914847.
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This article analyses Roméo’s silent solo dance in German choreographer Sasha Waltz’s staging of Hector Berlioz’s dramatic symphony Roméo et Juliette for the Paris Opera Ballet. The musicless scene, which imagines Roméo’s reaction to the news of Juliette’s ‘death’, exposes the dancer’s physicality through various acoustic means, creating a soundscape that makes the character’s despair accessible to the audience as affective intensities. The solo thus not only brings together competing stances towards emotionalism from classical and non-classical theatre dance, but also builds upon the philosophical interrogation of artistic expression both in Shakespeare’s play and in its musical adaptation by Berlioz.
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Ortiz, Mary Trishia Pasa Irish1* Arondain Angela2 Zanoria Jiah Maloma3 Charmae Nepangue Jorjie4. "Understanding the Gender Dynamics and Representation in Dancing: The Case of Male Ballet Dancers in Cebu." ISRG Journal of Humanities and Cultural Studies (ISRGJHCS) II, no. I (2025): 25–37. https://doi.org/10.5281/zenodo.14607843.
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<strong>Abstract</strong> <em>The male population that lives in this “female-dominated world” is one of the main contributors to this diversity in each respective locality specifically within Ballet Center Cebu. This research assessed and addressed the stereotypes, cultural challenges, and stigmas that they faced. Semi-structured interviews were conducted with four participants who were at least 18 years old and had at least two years of experience in ballet, which was then analyzed through a cross-case analysis. Results revealed that masculinity in ballet is highly valued and expected. Therefore, male performers must execute lifts, demonstrate a masculine front, maintain fitness and confidence, and support their female counterparts. However, stereotypes, discrimination, and prejudices toward the male dancers have led to a lack of appreciation for the male dancers, which impacts their emotional and professional well-being negatively. In response, the community provides a facilitative environment which is supportive through mentorship programs and scholarships to encourage participation which allows aspiring male ballet dancers to pursue the activity without discouragement. The researchers concluded that although stereotypes are unfounded gender roles are still heavily anticipated. Male ballet dancers are perceived traditionally as a masculine feature in the ballet industry. One's identity should not restrain one's participation in ballet instead it should set on the physicality and artistry of the dance itself.</em> <strong><em>Keywords: ballet, male ballet dancers, gender dynamics, standards, stereotypes</em></strong>
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Reglińska-Jemioł, Anna. "O warstwie treściowej spektakli baletowych – wokół problemu recepcji i transformacji kulturowych tematów libretta [On the literary canon of the ballet scene: the issue of reception, interaction and cultural transformations of the libretto]." Napis XXVI (2020) (December 27, 2020): 314–27. https://doi.org/10.18318/napis.2020.1.16.
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The connection between dance and the written word (literature) in classical ballet performances seems particularly close. The starting point for the production of such events could be a literary idea. This is because it is the written libretto which constitutes the dramatic foundation of ballet. The development of the art of ballet saw the emergence of a dominating tendency to shorten and simplify action, so that it captures the attention of the viewer and keeps tension up until the end, thus maintaining a continual interest in the meaning of the dance. Over time, the libretto itself would turn out to be a certain form of inspiration for free choreographic interpretations. The complexity and evolution of ballet themes become apparent in the context of cultural shifts, social attitudes and the aesthetics of a given era. In theatre criticism, it is notable that the status of libretto is inadequately specified, as its reviews seem to be based on ambiguous criteria. This is why, from a scholarly perspective, it is interesting to explore loose adaptations and distant reminiscences of these topics. Such an exploration provokes questions relating to possible ‘fortunate errors’, and the effects thereof, in the context of interpretation.
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Osipova, M. "THE ROLE OF JUMPING MOVEMENTS IN THE CLASSICAL BALLET REPERTOIRE." ASJ 1, no. 50 (2021): 21–22. http://dx.doi.org/10.31618/asj.2707-9864.2021.1.50.108.
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In classical dance, jumping movements play a very special role. Allegro is the summit of male dance and an integral part of female dance. A successful mastery of jumping movements in class is essential for their effortless execution on stage, which helps to create a memorable and multi-faceted artistic portrayal. The specific nature of modern art in the new millennium lies in the broadening of choreographic language and transformations in the aesthetics of executing jumping movements.
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Kasyanova, Olena, and Anatoly Kocherga. "Stage Concept of the Golden Calf Dance in Myroslav Skoryk Opera "Moses"." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3(60) (September 27, 2023): 112–23. http://dx.doi.org/10.31318/2414-052x.3(60).2023.296803.
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The authors of the article considered the peculiarities of the stage interpretation of the vocalchoreographic component in Myroslav Skoryk's opera "Moses", namely the scene of worship before the Golden Calf. Two productions of this opera, which took place in Kyiv and Lviv, were analyzed. The relevance of this plot is due to the appeal to works of a parable direction in the fateful period for mankind, times when one has to choose one's own path on the basis of the spiritual treasury of Christianity - the Bible. The essence of the dance before the Golden Calf is a kind of echo of ancient Egyptian honors performed before the sacred Apis bull and Assyro-Babylonian religious rites dedicated to the god Baal. The characteristic signs of the pagan ritual of worshiping the Golden Idol, their manifestation in an orgiastic, passionately seductive dance with the excitement of the winefueled imagination of the crowd, driving it to frenzy and immoral acts, are proven. In order to create an artistic and holistic performance, it is necessary to synthesize oratorical features (the leading function of the choir, symbolic-generalized interpretations of events with their static-slow-motion unfolding) with operatic specifics (dynamic directing, bright scenography, expressive musical dramaturgy). The article notes the logic of the dance mise-en-scene with the ballet appearance from the choristers who are opponents of Moses, the ballet dancers gradually shed their clothes, and the audience watches the transformation of a religious ceremony into an orgy in the Lviv opera version. The Lviv version differs from the Kyiv version in that the latter has an interpretation of the idolatry scene with a weakly expressed conflict between the two ideological camps due to a simplified miseen-scène of introducing the ballet into the dance action without delineating its affiliation with Moses' opponents. The conformity of the stage solution of the dance of the Golden Calf in the Lviv and Kyiv versions of the opera to the creatively reinterpreted ancient pagan cult of fetishization of wealth and power is proven. Attention is focused on the logic of mise-en-scène in the Lviv version of the play, and on the psychologization and personification of the characters' images in the Kyiv version. The need for complex integrated studies of the use of ancient cult rituals in opera performances with the synthesis of historical, cultural, theological, ethical-aesthetic, socio-psychological, art-based foundations of the existence of a certain ethnic group in the conditions of the development of civilizational processes is predicted.
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Andrade Martínez, Kathya Berenice. "Stories through the body: from the narrative discourse to the dance and musical discourse in Romeo and Juliet." HArtes 5, no. 9 (2024): 53–68. http://dx.doi.org/10.61820/ha.v5i9.1254.
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Literature is an art that has found expression in other disciplines such as dance, particularly ballet, and music. But, how is it that even without relying on a language based on verbal communication, they managed to "speak" to their audience and convey the same story depicted on paper? In this research, from the renowned "Balcony Scene" of the Shakespearean tragedy Romeo and Juliet, we examine the process of transformation from narrative discourse to dance and musical discourse. Said transition is carried out through a shift of signs and an established network of interconnected sensations in the exploration of the world that opens from the stage.
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Roi, Yevhenii, and Viacheslav Roi. "Historical and Cultural Retrospective of Founding the State Dance Ensemble of Ukraine as a Bearer of National Culture." Bulletin of KNUKiM. Series in Arts, no. 49 (December 15, 2023): 121–29. https://doi.org/10.31866/2410-1176.49.2023.293297.
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<strong>The aim of the article</strong> is to study the historical and cultural dynamics of founding and developing the state professional dance group, while identifying the prerequisites for the emergence of the ensemble form of representing the Ukrainian dance culture on the example of the State Dance Ensemble of Ukraine; to find out the concept of its functioning and the main stages of its formation, as well as the principles of forming a multi-genre repertoire. <strong>Results.</strong> An analysis of the historical development and creative heritage of the State Dance Ensemble of Ukraine highlights that with the arrival of Pavlo Virskyi, for a long time, this ensemble was noticeably distinguished from other ones by its unique color. Primarily, this was manifested not only in original vocabulary, structural and compositional construction or plastic intonations, but also in unique manner of performing choreographic works, their figurative and characteristic content. In the creative work of this ensemble, the presence of a single dominant tendency in the dance folklore transformation is traced. It has always been an important component of the vast majority of folk choreographic performances. <strong>Scientific novelty.</strong> For the first time, an attempt is made in order to carry out a retrospective analysis of the creative path of the world-famous artistic collective through the prism of its historical past, as well as the evolution of the ensemble’s choreographic art genres at various stages of its development are studied. <strong>Conclusions.</strong> While researching the creative path of the dance group under the leadership of Pavlo Virskyi and its concert repertoire, it is stated that at various stages of its formation and development, evolutionary changes took place both in the performance work, and in the concert repertoire. In particular, the dynamics of the process of the group’s creative growth can be clearly traced. In its performances, there are not only house dances, but also theatrical figurative scenes, compositions, suites, dance miniatures, ballet performances, etc. Their analysis gives reasons to mention that the collective of the dance ensemble, whose work was a synthetic genre of artistic activity, combined the richness and coloring of musical, theatrical and folk choreographic culture.
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Polianska, Ir M. "The image of Solveig in the ballet “Peer Gynt” on H. Ibsen’s dramatic poem (staged by the Kharkiv National Academic Opera and Ballet Theatre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 197–211. http://dx.doi.org/10.34064/khnum1-57.12.
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Introduction. The given article is devoted to study of the Ukrainian ballet continuing to produce new ways of implementation of the ideas and artistic images in the beginning of the XXI century. The production of the ballet “Peer Gynt” on the music by E. Grieg, done by People’s artist of Ukraine V. Pisarev for the troupe of Donetsk ‘A. Solovianenko’ Academic State Theatre of Opera and Ballet is a remarkable example of this process. The production’s premiere was on, 1997, May 17, in the framework of the international theatre project “Ukraine – Norway”. Twenty years later, in 2017, the new variant of the ballet has been created for Kharkiv National Opera and Ballet Theatre named after M. V. Lysenko. This “Kharkiv variant” was staged regarding specifics of Kharkiv theatre’s troupe, while retaining the choreographic text of the original; it is marked by scenography and decorations being more spectacular and modern. The work by H. Ibsen received harsh critique from literary scholars who gave plenty of negative reviews of it, and it was E.Grieg’s music that led this poetic drama to wide recognition and popularity it has today. H. Ibsen’s piece became a base for more than the ten of films, directed from 1915 until 2006. As well as E Grieg’s music, which mostly accompanies the theatrical and cinematic interpretations of the drama poem, there are homonymous opera by Werner Egk (1938) and the ballet by John Neumeier, created in a collaboration with A. Schnittke (1987). As a ballet, the “Peer Gynt” is being staged since 1922 up to present day. The object of this research is musically-plastique image of Solveig. The aim of the study is to reveal specifics of musically-plastique, choreographic means, which are used to portray Solveig’s image in V. Pisarev’s production of ballet “Peer Gynt” regarding literary source. The article uses such methods as: 1) historical, allowing to place selected work into the perspective of development of ballet theatre in XXI century; 2) genre approach conditioned by specifics of means of expression used in choreographic art; 3) stylistic, used to regard given ballet in the context of choreographic art. The research results. H. Ibsen elevated the story to the level of philosophical parable about man’s freedom to choose his own path and about the price this freedom comes with. A psychological portrait of the protagonist, wanderer Peer Gynt, combines traits of both humanist and insane. The playwright creates opposition between him and Solveig, majestic in her spiritual martyrdom. According to H. Ibsen’s conception, it is Solveig, being an incarnation of the very best feminine traits, such as chastity, fidelity and kindness, who saves the prodigal soul of the protagonist. In the end of his earthly path, Peer Gynt finally finds what he has been looking for his entire life – self-sacrificial Love, saving him from the eternal suffering near his death. The libretto is written by Yu. Stanishevsky, historian of ballet. The author significantly abridges the text of the dramatic poem, reducing the number of acts from five to two. The First act consists of 4 tableaus, the Second has only two; Yu. Stanishevsky omits several situations in order to make the spectacle more dynamic. The libretto features the image of Solveig only six times: thrice in the First act and thrice in the Second. But despite sporadicity and brevity of Solveig’s presence on the stage, this image plays a leading role in the dramaturgy of the ballet, no less significant than Peer Gynt. Today the poem “Peer Gynt” by H. Ibsen is hardly imaginable without E. Grieg’s music. Its score (op. 23) consisted of 28 numbers , and it included dance intermedia and introduction to every Act; dance fragments, genre scenes, portraits, fantastic episodes and landscape sceneries. Later, the composer compiled the most interesting and self-sufficient numbers into two Suites. Conspicuous Romantic style of the score might be compared to the image of blonde-haired maiden Solveig, who betokens pure femininity. The ballet of V. Pisarev consists of 8 tableaus and 3 numbers. In order to create this ballet spectacle, its author used several types of choreographic art to reveal its idea more profoundly. V. Pisarev embodied the plot of H. Ibsen’s poem using a fusion of classical and neo-classical dance as well as a reconstruction of the folklore-scenic Norwegian dance. Ballet master draws attention to the inner world of a protagonist, who is facing a dilemma: either to remain for fix the situation, or to run away once again. Significance of Solveig’s image is emphasized by the choreographic text of the ballet, as her role becomes a plastique leit-motiv of the whole work. Choreographic lexicon of Solveig is founded upon traditional Classical dance and occasional movements of contemporary dance. Conclusions. The image of Solveig is a demanding one, both technically and psychologically as the ballerina must demonstrate advanced technique and high artistry. Solveig’s dance is plastique, sculpture-like, filled with profound psychologism and elaborated expressiveness. Solveig is one of the most powerful and iconic examples of femininity and self-sacrificial love in romantic art keeping its actuality until today.
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Pidlypska, Alina. "USSR Ballet on the Way to the Choreodrama in the Optics of Art Criticism." Dance Studies 3, no. 1 (2020): 24–35. https://doi.org/10.31866/2616-7646.3.1.2020.203920.
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The purpose of the article is to analyze the critical discourse of the avant-garde searches of the choreographers of academic theatres of the 20s years of 20th century in the USSR through the prism of the formation of choreodrama. Methodology. The article analyzes critical approaches to assessing choreographer’s searches, compares them; chronological and typological methods are also applied. Scientific novelty. For the first time, the approaches of critics to the examination of experiments on the academic ballet scene of the 20s years of 20th century in the USSR in the aspect of the features of choreodrama formation were traced; the main causes and consequences of the transition to choreodrama were identified. Conclusions. Polyphonism of the critical discourse of the 1920s of 20th century in the USSR manifested itself in various approaches to assessing the search for the form of a new performance by choreographers who proposed a dance symphony (“The Greatness of the Universe”, F. Lopukhov), a modern revolutionary theme in a propaganda and poster form (“Red Whirlwind” F. Lopukhov; “Tornado” K. Goleizovsky), the development of the inner dance potential of the ballet performance (“Pulcinella” F. Lopukhov), the creation of large forms with the enrichment of the choreographic vocabulary by acrobatic movements (“The Ice Maiden” F. Lopukhov), the formative searches from the choreographic plasticity (“Joseph the Beautiful” K. Goleizovsky), an eccentric interpretation of classical heritage ballets (“The Nutcracker” F. Lopukhov). However, none of these artistic decisions was recognized by promising critics, the methods of creating performances were not supported as strategic directions for the development of modern ballet art in the USSR. Among the leading critics of ballet there was no unity in the key issue – the attitude to choreography as the main expressive means of ballet theater. I. Sollertinsky was an apologist for the struggle with classical dance as a relic of the past, sought to dramatize ballet; A. Piotrovsky advocated a synthetic spectacle (a combination of ballet, opera, drama); A. Gvozdev’s views from the definition of dance as a source of innovation evolved to the recognition of the substantiveness leading role, rejection of abstractness. Potentially choreodrama, which is based on a literary work, met the basic requirements of socialist realism (realism, nationality, concreteness). In the conditions of the dramatic content dominance over the form, the development of which is facilitated by music, there was a withdrawal of music in ballet to the background.
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Rossiou, D., S. Papadopoulou, I. Pagkalos, A. Kokkinopoulou, D. Petridis, and M. Hassapidou. "Energy expenditure and nutrition status of ballet, jazz and contemporary dance students." Progress in Health Sciences 7, no. 1 (2017): 31–38. http://dx.doi.org/10.5604/01.3001.0010.1771.
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Purpose: To evaluate of the energy expenditure in 3 types of dance classes (ballet, Jazz, and contemporary), as well as of the daily energy balance depending on dance type. Materials and methods: 40 females attending dance classes with a median age of 21.0 (19.0-25.0) and 10 males with a median age of 27.0 (20.0-28.0) participated in this study. The energy cost of each dance class was measured using the BodyMedia SenseWear Sensor and total daily energy expenditure was evaluated using a 3-day recording of physical activity. The dietary intake was evaluated with a 3-day food diary recording. Statistical analysis was performed using the SPSS software. Results: Median energy expenditure varied from 306 (277-328) Kcals/class for contemporary dance to 327 (290-355) Kcals/class for ballet and 369 (333-394) Kcals/class for jazz for females with significant differences between contemporary and jazz classes. For males, energy expenditure was 508 (447-589) Kcals/class and 564 (538-593) Kcals/class for ballet and jazz classes, respectively. Females had lower values for all anthropometric measurements, energy intake, macronutrient intakes, and energy expenditure, compared with males. The anthropometric characteristics did not differ between dance types. Both female and male dance students were in a negative energy balance. Conclusions: The use of sensors such as BodyMedia SenseWear together with keeping daily diaries make measurement of physical activity in dancing reliable and accurate. Exercise expenditure differs across types of dance in females but not in males. Both sexes had inadequate energy and carbohydrate intakes.
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Polasek, Katherine M., and Emily A. Roper. "Negotiating the gay male stereotype in ballet and modern dance." Research in Dance Education 12, no. 2 (2011): 173–93. http://dx.doi.org/10.1080/14647893.2011.603047.
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SMITH, MARIAN. "The disappearing danseur." Cambridge Opera Journal 19, no. 1 (2007): 33–57. http://dx.doi.org/10.1017/s095458670700225x.
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ABSTRACTThe notion of studying the nineteenth-century danseur is problematic because of an anti-male strain in dance historiography that has led some to suggest that he virtually disappeared from the stage. André Levinson is largely responsible for the danseur’s poor reputation: he minimised the narrative aspect of nineteenth-century ballet and declared in 1929 that the ballerina Marie Taglioni had ‘evicted’ men from the stage. Levinson also canonised La Sylphide (1832), a ballet that he, like his nineteenth-century predecessors Théophile Gautier and Jules Janin, gendered as feminine. He promulgated the term ‘ballet blanc’, a feminising but misleading term now in common use and rarely interrogated. And yet men danced on the stage throughout the nineteenth century. In the case of the Paris Opéra, men contributed to ballet as principal dancers, soloists and in the corps de ballet. A brief study of La Jolie Fille de Gand, a ballet contemporaneous with La Sylphide, shows a rich set of male roles calling on men’s skill as mimes and dancers in various styles. Further studies of the long-maligned nineteenth-century danseur are needed.
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Karandieieva, Olena. "Ivan Putrоv's International Projects in the Innovative Renovation of the World Ballet Theatre". Bulletin of KNUKiM. Series in Arts, № 42 (14 липня 2020): 191–97. https://doi.org/10.31866/2410-1176.42.2020.207652.
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The purpose of the article is to define the peculiarities of the creative activity of the Ukrainian-born ballet dancer I. Putrov in the status of the leading soloist of the Royal Ballet (London); to study the art structure and dancer’s creative principles in producing his own international ballet projects “Men in Motion”, “Against the Stream” “A Piece of the Sky” and others. The research methodology is based on the following set of methods: analysis and synthesis – to study the way in which the topic is addressed; cultural and genetic, art studies methods – to reconstruct the creative way of I. Putrov; problem and thematic, comparative – to reveal the art structure and the artist’s creative principles of producing international ballet projects; axiological – to consider the value content of I. Putrov’s creative work. Research novelty of the article is that it fills the gap in the scientific literature on study of the foreign experience of the Ukrainian-born outstanding ballet dancers and the analysis of their achievements in historical, creative and practical aspects; the evolution of cultural guidelines in the characteristics of male modern dance and its transformation in the stage performing practice have been examined. Conclusions. I. Putrov’s creative way was analysed considering his active propaganda of the male dance as a factor of renewal of the theme and stylistics of the global choreographic art, restoring of the historic memory as to the avant-garde achievements of S. Diaghilev’s company in the innovation and art studies aspects. The study has revealed the direct connection of the Ukrainian dancer with the traditions of another Ukrainian – S. Lifar. The performance principles of I. Putrov in the sphere of choreographic classics which emerged at the intersection of the Kyiv dance school (founded at A. Vaganova’s school) and English ballet drama, as well as plastic experiments of leading Western choreographers of the end of the 20th – the beginning of the 21st centuries are considered.
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GILMAN, LISA, and JOHN FENN. "Dance, gender, and popular music in Malawi: the case of rap and ragga." Popular Music 25, no. 3 (2006): 369–81. http://dx.doi.org/10.1017/s026114300600095x.
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Rap and ragga musics have found a place on the musical landscape of Malawi over the last decade, exemplified in a nation-wide scene characterised by competitions. Recordings and associated materials of rap and ragga that inform Malawian youth interpretations tend to emphasise male participation and masculine symbols. Competitions are male-dominated in their organisational structure and participatory roles. Though the articulated focus of these events is the musical component, movement practices are at the core of the scene, comprising part of contestants' performances and the more informal activities of spectators. Female involvement as dancers is much greater than as music-makers, making attention to dance crucial for understanding gender dynamics. Our exploration of intersections between dance, music, gender and class provides insight into the reasons for and implications of male dominance in this popular music/dance scene.
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Gutsche-Miller, Sarah. "Parisian Music-Hall Ballet through the Eyes of its Critics." Dance Research 36, no. 1 (2018): 67–90. http://dx.doi.org/10.3366/drs.2018.0221.
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In the 1890s, Paris's three pre-eminent music halls – the Folies-Bergère, the Olympia, and the Casino de Paris – staged ballets on a nightly basis alongside circus acts and song-and-dance routines. As music-hall ballet librettos and scores show, these productions were closely related to ballets staged by the Paris Opéra, with similar large-scale structures, scene and dance types, and dramatic, choreographic, and musical conventions. What music-hall ballets looked like, however, is less clear: they have left few visual traces, and virtually no prose descriptions of choreography or staging. The one plentiful source of information is press reviews, but relying on reviews poses many problems for the historian. Critics’ various culturally situated viewpoints and interpretations may be used to create a composite picture of what might have been happening on stage, but they can also leave us with a hazy understanding of the genre. This paper examines the multiple and sometimes contradictory critical responses to 1890s music-hall ballets both to highlight what effect such contradictions might have on our perception of music-hall ballet (in particular as art or salacious spectacle) and to call attention to the problems inherent in using the press as a documentary source.
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Predock-Linnell, Jennifer. "Comparison of Barron-Welsh Art Scores of Artists and Nonartists and between Dancers of Two Training Styles." Perceptual and Motor Skills 65, no. 3 (1987): 729–30. http://dx.doi.org/10.2466/pms.1987.65.3.729.
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The Barron-Welsh Revised Art Scale was administered to 144 female and 68 male university undergraduates in art, music, dance, and general studies to test whether experience and training in the arts would be associated with choices consistent with openness to perceptual experience. It was hypothesized that training in modern and jazz dance, which is stylistically less classical and formal, would be associated with greater sensitivity to experience than would training in ballet and flamenco, more formalized dance styles. No differences between art students and nonart students or among dancers with various training experiences were observed.
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Clegg, Helen, Helen Owton, and Jacquelyn Allen-Collinson. "The cool stuff!: Gender, dance and masculinity." Psychology of Women Section Review 18, no. 2 (2016): 6–16. http://dx.doi.org/10.53841/bpspow.2016.18.2.6.
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Within the dance world, gender (as a binary concept) appears to be central to lived experience. Whilst dance is known as a feminine activity, males tend to be even more in the minority in more ‘feminised’ genres, such as ballet. However, in other genres, such as street dance, which allows them to conform to a more traditionally masculine identity, they are in the majority. Regardless of genre, however, males are more often found in positions of power within the dance-performer’s world compared to their female counterparts. Dance teachers clearly have an important role to play in dance students’ perceptions of gendered (inequalities within the dance world, where the majority of dance teachers are female. To date, however, their perceptions have been under-researched. To address this research gap, 10 female professional dance teachers, ranging in age from 24 to 71 years, were interviewed. Data were analysed using thematic analysis through the theoretical lens of symbolic interactionism. Two salient themes were identified: coolness and masculinity, and male privilege. Participants perceived that gender inequalities did exist within dance genres and in the opportunities afforded to male and female dancers. These inequalities appeared to lead to a greater valorisation of male dancers in terms of physical and psychological characteristics. The perceptions of female dance teachers in general are important in relation to the socialisation of future dance professionals.
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Kadel, Nancy J., and Emily A. Donaldson-Fletcher. "Lisfranc Fracture-Dislocation in a Male Ballet Dancer during Take-Off of a Jump a Case Report." Journal of Dance Medicine & Science 8, no. 2 (2004): 56–58. http://dx.doi.org/10.1177/1089313x0400800205.
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While initiating a jump, a male professional ballet dancer (28 years old) sustained an acute injury to his midfoot. Radiographs revealed a fracture-dislocation of the first and second tarsometatarsal joints, with dorsal dislocation of the proximal second metatarsal. Surgical treatment included open reduction and internal fixation of the first and second tarsometatarsal joints and the intercuneiform joints. This injury caused the dancer to retire prematurely from professional ballet dancing, despite restoration of anatomical alignment and reacquisition of full mobility in the foot and ankle. Follow-up radiographs at three years post-injury indicated maintenance of the reduction and signs of mild arthritis in the midfoot. The dancer resumed ballet dancing at a non-professional level. It is important for dancers to realize that acute Lisfranc injuries can end dance careers despite immediate treatment. Proper footwear and floor-surface maintenance are important for prevention of this injury.
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Gera Roy, Anjali. "Gendering Dance." Religions 11, no. 4 (2020): 202. http://dx.doi.org/10.3390/rel11040202.
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Originating as a Punjabi male dance, bhangra, reinvented as a genre of music in the 1980s, reiterated religious, gender, and caste hierarchies at the discursive as well as the performative level. Although the strong feminine presence of trailblazing female DJs like Rani Kaur alias Radical Sista in bhangra parties in the 1990s challenged the gender division in Punjabi cultural production, it was the appearance of Taran Kaur Dhillon alias Hard Kaur on the bhangra rap scene nearly a decade and a half later that constituted the first serious questioning of male monopolist control over the production of Punjabi music. Although a number of talented female Punjabi musicians have made a mark on the bhangra and popular music sphere in the last decade or so, Punjabi sonic production continues to be dominated by male, Jat, Sikh singers and music producers. This paper will examine female bhangra producers’ invasion of the hegemonic male, Sikh, Jat space of bhangra music to argue that these female musicians interrogate bhangra’s generic sexism as well as the gendered segregation of Punjabi dance to appropriate dance as a means of female empowerment by focusing on the music videos of bhangra rapper Hard Kaur.
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Bilash, Olha. "Dancers of Japanese Descent in the Ukrainian Ballet of the Late 20th – Early 21st Centuries." Dance Studies 5, no. 2 (2022): 111–18. https://doi.org/10.31866/2616-7646.5.2.2022.269334.
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The purpose of the article is to analyze the stage work of dancers of Japanese origin who received professional training in Ukraine and played an important role in the development of the national ballet art. Methodology. The following methods were used in the research process: typology, dialectical, systemic, general-historical, historical-chronological, comparative-historical, systemic-structural, etc. Scientific novelty. The scientific novelty of the article lies in the fact that it analyzes for the first time the performing, pedagogical and organizational activities of dancers of Japanese origin in Ukraine, and reveals the role of their creative work in the development of Ukrainian ballet art of the late 20th and early 21st centuries. Conclusions. At the turn of the 20th-21st centuries, Japanese artists appeared on the Ukrainian ballet scene, gaining creative experience among Ukrainian dancers. They received professional education at the Kyiv State Choreographic School and later joined Ukrainian ballet companies (A. Kawasaki, Ch. Otsubo, K. Sasida, Sh. Takita, N. Terada, H. Sugano, etc.). Due to the high level of performance skills, they were organically integrated into the national ballet repertoire. It was established that for significant creative achievements and popularization of Ukrainian ballet in the world, many artists were awarded state awards: honorary titles of Honored (Sh. Takita, A. Kawasaki, etc.) and People's Artist of Ukraine (N. Terada). It was emphasized that the active pedagogical and organizational activities of one of the leaders of the Kyiv State Choreographic College, its artistic director (2012–2022) N. Terada contributed to the creative and financial support of the educational institution, the popularization of Ukrainian ballet art in the world, and the strengthening of friendly relations between Ukraine and Japan. At the beginning of December 2022, N. Terada assumed the position of artistic director of the ballet troupe of the National Opera of Ukraine.
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Surgenor, Brenton, and Matthew Wyon. "Measuring Training Load in Dance: The Construct Validity of Session-RPE." Medical Problems of Performing Artists 34, no. 1 (2019): 1–5. http://dx.doi.org/10.21091/mppa.2019.1002.
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OBJECTIVE: The session rating of perceived exertion (session-RPE) is a practical and non-invasive method that allows a quantification of internal training load (ITL) in individual and team sports. As yet, no study has investigated its construct validity in dance. This study examines the convergent validity between the session-RPE method and an objective heart rate (HR)-based method of quantifying the similar ITL in vocational dance students during professional dance training. METHODS: Ten dance students (4 male, 20±1.16 yrs; 6 female, 20±0.52 yrs) participated in this study. During a normal week of training, session-RPE and HR data were recorded in 96 individual sessions. HR data were analysed using Edwards-TL method. Correlation analysis was used to evaluate the convergent validity between the session-RPE and Edwards-TL methods for assessing ITL in a variety of training modes (contemporary, ballet, and rehearsal). RESULTS: The overall correlation between individual session-RPE and Edwards-TL was r=0.72, p<0.0001, suggesting there was a statistically significantly strong positive relationship between session-RPE and Edwards-TL. This trend was observed across all the training modes: rehearsal sessions (r=0.74, p=0.001), contemporary (r=0.60, p=0.001), and ballet (r=0.46, p=0.018) sessions. CONCLUSIONS: This study shows that session-RPE can be considered as a valid method to assess ITL for vocational dance students, and that notably there is some variation between session-RPE and HR-based TL in different dance activities.
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Newman, Shawn. "It's All in the Hips: Sexual and Artistic Minority in Canadian Concert Jazz Dance." Congress on Research in Dance Conference Proceedings 2012 (2012): 118–23. http://dx.doi.org/10.1017/cor.2012.15.
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Contemporary sexual norms in Canada continue to dictate how sexuality should be presented on the stage in many styles of theatrical dance. Jazz dance is not excluded from this practice; in fact, since the early days of social dancing, jazz dance has often been considered synonymous with gratuitously deviant sex and sexuality. In contemporary artistic circles, concert jazz dance often finds itself subject to an additional classification as low-art because of this perceived relationship between sex and the dancing. This artistically marginalized position of concert jazz implies a conservative heteronormativity in Canada that is contrary to our apparent inclusion of subjugated sexual minorities as “normal.” “It's All in the Hips” explores sexuality in contemporary Canadian concert jazz dance to illustrate the potential for representations of marginalized sexualities on stage, and the perceived threat to artistic hegemony. While there is growing research into sexuality on the American stage in ballet and modern dance through scholars such as Jane C. Desmond, Jennifer Fisher, Susan Leigh Foster, and others, and also into jazz's roots in social dancing by Susan Manning, Anthea Kraut, Julie Malnig, and a growing host of scholars, very little work has been done on the Canadian concert jazz scene, save for the work of Iro Tembeck, Mark Miller, Meilan Lam, and a handful of dancers. This paper examines the intersection between sexual and artistic minority in Canadian concert jazz dance and problems that arise for positioning the form to dance audiences as high art.
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Gélinas, Aline. "Edouard Lock and Bliss: About Dance, Mime, Theatre." Canadian Theatre Review 65 (December 1990): 24–29. http://dx.doi.org/10.3138/ctr.65.005.
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The last label Edouard Lock would like to have applied to his choreographic work is “dance theatre.” The artistic director of La La La Human Steps takes a firm stand against this new trend in the dance scene, stating again and again that it tends to impoverish the vocabulary of movements and impose limitations on the creativity of the choreographer. I would like to analyze some basic notions about these three related fields from my own point of view, which is that of a dance writer, theatre critic and corporeal artist trained in mime. Then, I want to ask: why are some people from the theatre tempted to see Edouard Lock’s dances as being part of dance theatre? First, we need to go back to the history of dance to understand why it has taken so long for it to be recognized as ma jor art form. In fact, this recognition only happened in the course of the 20th century, soon after Serge Diaghilev brought the Russian Ballet to Paris. But even then, dance in Europe was still part of an ambitious, total spectacle which included music from great composers, backdrops by talented young painters and narrative by people with literary inclinations. The public would not come to see dance per se, but to enjoy an evening of very high quality entertainment. This sense of dance was not at all remote from the dreams Richard Wagner had had just a few years before.
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Gorwa, Joanna, Jacek Zieliński, Wojciech Wolański, et al. "Decreased Bone Mineral Density in Forearm vs Loaded Skeletal Sites in Professional Ballet Dancers." Medical Problems of Performing Artists 34, no. 1 (2019): 25–32. http://dx.doi.org/10.21091/mppa.2019.1006.
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AIMS: To compare the differences in bone mineral density (BMD) at loaded and non-loaded skeletal sites in professional ballet dancers. We hypothesized that in both male and female elite ballet dancers, a significant difference in BMD will be observed between impact and non-impact sites. METHODS: 44 elite ballet dancers, 22 men (age 26.4±5.9 yrs) and 22 women (age 24.9±5.3 yrs), were examined. BMD measurements were performed using dual-energy x-ray absorptiometry at three skeletal sites—forearm (FA), lumbar spine (LS), and femoral neck (FN)—and analyzed using t-tests, ANOVA, and linear regression models. Information about career duration, training volume, health habits, and menstrual disorders (women) was collected. RESULTS: Z-scores for LS and FN were significantly higher in men than in women. However, Z-scores for FA were similar in men and women and fell below the expected range for age (<–2.0), and they were significantly lower than those for LS and FN. With longer career duration, a trend was observed towards lower Z-scores for FN in men and towards higher Z-scores for FA in women. CONCLUSION: In ballet dancers, FA mineralization is extremely low compared to loaded skeletal sites. Male dancers may have lowered forearm BMD despite the absence of risk factors present in female dancers (menstrual disorders). Professional ballet dancers may be at risk of local osteopenia due to the “local non-impact” characteristics of ballet dance, and use of the 33% distal radius region for the accurate assessment of bone mineral status should be investigated further in this population.
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Kish, Robin L., Janice Gudde Plastino, and Bethany Martyn-Stevens. "A Young Dancer Survey." Medical Problems of Performing Artists 18, no. 4 (2003): 161–65. http://dx.doi.org/10.21091/mppa.2003.4029.
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The purpose of this study was to determine, through self-reporting techniques, the training and injury rates among students studying dance in the private sector. The private studio provides the major venue for students to study dance. This is especially true for young students (ages 8–18) who study ballet, jazz, and tap and who participate in dance competitions. A private dance studio is defined as a studio open to the community with no audition requirements for entry that teaches various technique styles. Private studio dancers are not training specifically to be professional dancers in major ballet companies. Few data exist regarding the training or injury rates of these students in part because of difficulties with access and compliance. To date, 3,700 surveys have been distributed (January 2001-present) to students training in private studios throughout California. Information was requested concerning current and past injuries, dance training history, and competition schedules. This ongoing investigation currently has examined 173 (male = 6 and female = 167) completed surveys. The mean age of dancers who responded to the survey was 15.2 years. Of the dancers surveyed, 93% study at private dance studios, and 67% have studied in high school dance programs. The number of injuries reported (n = 226) included fractures, strains, sprains, and tendinitis. The ankle, knee, and back were found to be the most frequent injury sites. Correlations between the number of different techniques studied and the total hours danced, the number of different techniques studied and number of injuries for each individual, and the number of injuries for each individual and total hours danced all were significant at 0.01. Initial results support that dancers in the private dance studio are susceptible to injuries similar to those experienced by dancers in elite training centers.
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Rabasco Aguilar, José Gabriel. "Un fandango de plata: de las relaciones artísticas y nuevas aportaciones en torno a La Argentina y el ballet El fandango del candil." ACCADERE. Revista de Historia del Arte 6 (2023): 43–62. http://dx.doi.org/10.25145/j.histarte.2023.06.03.
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"The objective of this paper is to present a vision of the masterpieces of several artists who were involved in the existence of Les Ballets Espagnols de La Argentina and changed the perception of the Spanish dance scene through the analysis of one of their ballets called El fandango del Candil. Thus, the aim of this paper is to clarify the original compositional structure, maintenance and transformations that occurred this ballet by studying and analyzing the original sheet music provided by La Residencia de Estudiantes de Madrid. Furthermore, it seeks to highlight the creative components that, together with the dancer, created one of the first ballets with a plot that under the plastic, musical and dramatic arts under choreographic guidance in an ultimate art performance."
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Schultz, Marianne. "‘Sons of the Empire’: Dance and the New Zealand Male." Dance Research 29, no. 1 (2011): 19–42. http://dx.doi.org/10.3366/drs.2011.0003.
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This article traces the journeys of dancing men from the stages of New Zealand to the stages of London during the twentieth century. The oft-repeated history of ‘the hard man’ of New Zealand who belonged to the ‘culture of imperial manliness’ is challenged by the stories of these men who, beginning in the 1920s with Jan Caryll, became professional dancers. I argue that within early twentieth-century New Zealand culture the opportunity existed for men and male bodies to be on display. The Maori haka, which featured men dancing in public exhibitions and ceremonies, had been seen by non-Maori (Pakeha) since first contact, while the emergence of body-building, beginning with the visit in 1902 of Eugen Sandow and a culture of sport, allowed men to be on show. Not least of all, tours to the antipodes of European dancers inspired young men to study ballet and contemporary dance. As a consequence, throughout the twentieth century New Zealand male dancers continued to arrive in London and contributed to both New Zealand and British dance histories.
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Twitchett, Emily, Manuela Angioi, Giorgos S. Metsios, Yiannis Koutedakis, and Matthew Wyon. "Body Composition and Ballet Injuries: A Preliminary Study." Medical Problems of Performing Artists 23, no. 3 (2008): 93–98. http://dx.doi.org/10.21091/mppa.2008.3020.
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To date, the effects of body composition on injury occurrence and healing times in dancers have received limited scientific attention. The aim of the current study was to determine possible associations between somatotype, percent body fat, and self-reported injury characteristics in dance students. Forty-two full-time ballet students (11 male, 31 female) from two vocational dance schools volunteered for the study. The Heath-Carter protocol and Siri equation were adopted to calculate somatotype and percent body fat (%BF), respectively. Injury types, together with the time taken to recover from injury, were assessed using a recall injury questionnaire. Results revealed that the sample was classified as balanced-mesomorph somatotype (endomorphy – mesomorphy – ectomorphy = 3.4±0.9 – 3.9±1.4 – 3.2±1.2). Ectomorphy was a strong predictor of the number of acute injuries sustained (F1,36 = 5.4, p = 0.026); these parameters also revealed a significant negative correlation (r = –0.37, p = 0.016). Significant negative correlations were observed between the dancers’ total time off due to injury and %BF (r = –0.31, p = 0.048) and between the total time off resulting from acute injury and both %BF (r = –0.32, p = 0.04) and ectomorphy (r = –0.42, p = 0.005). The number of overuse injuries sustained and time off due to overuse injury also were correlated with mesomorphy (r = –0.38, p = 0.015 and r = –0.33, p = 0.032, respectively). It was concluded that high ectomorphy ratings, low %BF values, and low mesomorphy ratings are linked to injury. More relevant research is required on dancers from different genres.
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Mattiussi, Adam, Joseph W. Shaw, Derrick D. Brown, et al. "Jumping in Ballet: A Systematic Review of Kinetic and Kinematic Parameters." Medical Problems of Performing Artists 36, no. 2 (2021): 108–28. http://dx.doi.org/10.21091/mppa.2021.2011.
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AIMS: Understanding the biomechanics of jumping in ballet dancers provides an opportunity to optimize performance and mitigate injury risk. This systematic review aimed to summarize research investigating kinetics and kinematics of jumping in ballet dancers. METHODS: PubMed (MEDLINE), SPORTDiscus, and Web of Science were systematically searched for studies published before December 2020. Studies were required to investigate dancers specializing in ballet, assess kinetics or kinematics during take-off or landing, and be published in English. RESULTS: A total of 3,781 articles were identified, of which 29 met the inclusion criteria. Seven studies investigated take-off (kinetics: n = 6; kinematics: n = 4) and 23 studies investigated landing (kinetics: n = 19; kinematics: n = 12). Included articles were categorized into six themes: Activity Type (n = 10), Environment and Equipment (n = 10), Demographics (n = 8), Physical Characteristics (n = 3), Injury Status (n = 2), and Skill Acquisition and Motor Control (n = 1). Peak landing vertical ground reaction force (1.4 x 9.6 times body weight) was most commonly reported. Limited evidence suggests greater ankle involvement during the take-off of ballet jumps compared to countermovement jumps. There is also limited evidence indicating greater sagittal plane joint excursions upon landing in ballet dancers compared to non-dancers, primarily through a more extended lower extremity at initial contact. Only 4 articles investigated male ballet dancers, which is a notable gap in the literature. CONCLUSIONS: The findings of this review can be used by dance science and medicine practitioners to improve their understanding of jumping in ballet dancers.
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Riitmuru, Tarmo, and Jelena Sokk. "Injuries in Estonian professional ballet dancers in the 2019/2020 season." Acta Kinesiologiae Universitatis Tartuensis 26 (December 31, 2020): 40–48. http://dx.doi.org/10.12697/akut.2020.26.04.
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The aim of the study was to find the occurrence of musculoskeletal injuries in Estonia professional ballet dancers in the 2019/2020 season. A total of 62 dancers participated in the study, 25 were male and 37 female dancers. This study was a questionnaire-based, which was compiled on similar studies to collect the data among ballet dancers working in Estonia. The study showed that 58% of dancers were injured in the last 12 months. The most common type of dance injury during this period was muscle or tendon strain (33%), followed chronic inflammation (21%) and ankle sprain (20%). The most common injured body site was foot (20%), ankle (18%) and knee joint (10%). The highest number of injuries occurred during rehearsals (44%), classical class (27%), and during performances (16%). More than half of Estonian ballet dancers sustained at least one injury during the last twelve months. The most common types of injury were muscle or tendon strain, chronic inflammation and ankle sprain. The highest number of injuries occurred in the foot, whereas the highest number of injuries occurred during rehearsals.
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Christensen, Julia F., Anna Lambrechts, and Manos Tsakiris. "The Warburg Dance Movement Library—The WADAMO Library: A Validation Study." Perception 48, no. 1 (2018): 26–57. http://dx.doi.org/10.1177/0301006618816631.
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The Warburg Dance Movement Library is a validated set of 234 video clips of dance movements for empirical research in the fields of cognitive science and neuroscience of action perception, affect perception and neuroaesthetics. The library contains two categories of video clips of dance movement sequences. Of each pair, one version of the movement sequence is emotionally expressive (Clip a), while the other version of the same sequence (Clip b) is not expressive but as technically correct as the expressive version (Clip a). We sought to complement previous dance video stimuli libraries. Facial information, colour and music have been removed, and each clip has been faded in and out. We equalised stimulus length (6 seconds, 8 counts in dance theory), the dancers’ clothing and video background and included both male and female dancers, and we controlled for technical correctness of movement execution. The Warburg Dance Movement Library contains both contemporary and ballet movements. Two online surveys ( N = 160) confirmed the classification into the two categories of expressivity. Four additional online surveys ( N = 80) provided beauty and liking ratings for each clip. A correlation matrix illustrates all variables of this norming study (technical correctness, expressivity, beauty, liking, luminance, motion energy).
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Đurov, Milica. "The valet's Broom: Visual concepts." Kultura, no. 182-183 (2024): 27–47. https://doi.org/10.5937/kultura2483027d.
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The Valet's Broom", by composer Miloje Milojević and librettist Marko Ristić, is considered to be the first surrealist ballet created in Serbia, and it testifies of an early avant-garde achievements of the Serbian art scene. The premiere of this "ballet-grotesque in one act" took place on February 16, 1923, as part of the ball The Tho usand and Second Night at the Kasina Hotel in Belgrade - choreographed by Klavdija Isachenko and Jelena Polyakova, in set and costume designs by Alexander Deroko. Although this production did not leave behind enough material traces of visual aspects of the play, it allows the examination of possible links with the world's avantgarde movements, as guidelines of Deroko's artistic expression. The television version of "The Valet's Broom" from 1983, choreographed by Vladimir Logunov, in set design and costumes of Jasna Dragović, directed by Milica Dragić, erases the ephemerality of the theatrical act. This performanse of the postmodernist artistic wave, relies on the art of surrealism in the development of the stage design, and forms a specific visual and conceptual structure of the ballet. The third version of "The Valet's Broom", choreographed by Aleksandar Ilić and visual concept of Snežana Arnautović Stjepanović, brings new aesthetics and poetics to the performance. It was premiered as part of the music-stage project of the Musicological Society of Serbia in cooperation with the Opera and Theatre Madlenianum, as part of the 9th Belgrade Dance Festival in 2012. This was also the first performance in the space of the theater house, on the Small Stage of the Madlenianum. The goal of this research is comparative analysis of the peculiarities of the visual attitudes of the three musical-stage performances of the ballet "The Valet's Broom", in the context of the artistic trends of the time in which they were created.
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Vyshotravka, Liudmyla. "Enrichment of Male Performance's Traditions in the Ballet Work of Mykola Priadchenko." Dance Studies 2, no. 2 (2019): 177–84. https://doi.org/10.31866/2616-7646.2.2.2019.188818.
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The aim of the article is to identify the features of the leading soloist of the National Opera and Ballet Theater named after T. Shevchenko Nikolay Priadchenko in the 1970–1990s. Methodology. To carry out scientifically objective research, we used analytical (analysis of literature and sources, events), comparative-historical means (conducting research in chronological sequence, comparing various stages of creativity, taking into account the historical context) and biographical methods (analysis of the reflection of his personal life events in the creative work). Scientific novelty. The scientific novelty lies in the fact that for the first time the features of M. Priadchenko’s artistic style were analyzed, which contributed to the traditions’ enrichment of the domestic choreographic school of male performance. Conclusions. An analysis of the problem’s historiography showed considerable attention on the part of ballet critics and scientists to the work of M. Priadchenko, however, a comprehensive study of the characteristics of the performing style and the role in enriching the school of domestic male ballet performance were not found. Features of the performing manner of M. Priadchenko in the roles of academic heritage consisted in the fact that he introduced a personal understanding of the images of his heroes into the traditional classical parties, a subtle sense of romantic academic choreographic style. In ballets on Ukrainian themes, M. Priadchenko convincingly reproduced the necessary artistic images, often endowed with a mythological nature. A universal dancer, M. Priadchenko was equally convincing in the ballets created by his contemporaries (A. Shekero, H. Maiorov, B. Eifman, etc.). In them, for each character, he found unexpected acting details that emphasized the individuality and significance of their characters. The stage achievements of famous Ukrainian dancers require further research attention, because an analysis of stage heritage will help to identify and understand the basic artistic principles of the male ballet school in Ukraine.
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Almasi, Tobias, Elisabeth Exner-Grave, Daniela Ohlendorf, and Eileen M. Wanke. "Musculoskeletal and Sociodemographic Gender Differences between Vocational Ballet Students." Applied Sciences 13, no. 1 (2022): 108. http://dx.doi.org/10.3390/app13010108.
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Introduction: Studies of vocational ballet students are sparce. In particular, there is a lack of gender comparisons. The aim of the present study, therefore, was to give a musculoskeletal and sociodemographic description of the typical vocational ballet student in gender comparison. Methods: In this study, n = 414 female and n = 192 male students of the John Cranko School (JCS), aged between 5 and 22 years (Mean ± SD: 13.9 ± 3.5), were examined by an experienced orthopedist and dance physician. Results: Males started ballet (5.8/8.2 years, p < 0.001) and training at later age than females (13.5/14.6 years, p < 0.05). There was a high prevalence of low body weight among both sexes; however, particularly among female participants (58.4/16.2%, p < 0.001). Both sexes showed a large external rotation of the hip (f/m: 59/62°, p < 0.001), a large turnout (f/m: 82/86°, p < 0.01), high values for plantarflexion of the ankle joint (f/m: 72/68°, p < 0.001) and dorsiflexion of the metatarsophalangeal joint of the big toe (f/m: 90/87°, p < 0.001). Discussion: Differences in ballet-specific characteristics between genders (f/m) are converging and are smaller than described in the past. The particularly high prevalence of low body weight among students in the vocational training sector, particularly among females, highlights the need for deeper diagnostic investigation.