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Journal articles on the topic 'Polish Folk dance music'
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1
Nowak, Tomasz. "The Myth of Polishness in Polish Dances. How Ideologies Interpret Phenomena Related to Music and Movement." Musicology Today 15, no. 1 (December 1, 2018): 62–76. http://dx.doi.org/10.2478/muso-2018-0007.
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Abstract The article discusses the myth of Polishness in the context of dances which gained the social status of ‘national’ ones, i.e. those incorporated into the canon of national culture. I shall start by establishing the terminology and chronology related to the phenomenon of ‘national dance’, and sum up Mieczysław Tomaszewski’s comments on the ways of expressing nationality in music, including dance, and the various aspects of this phenomenon. Methodologically speaking, the present paper is based on the concept of myth as presented by Joseph Campbell, Leszek Kołakowski and Maria Janion, as well as on the findings of Jan Berting, Christiane Villain-Gandossi, Maria Janion and Jan Stęszewski concerning the phenomenon of stereotypes, which are crucial to defining a myth. The main body of my text has been dedicated to the conditions in which the myth of Polish dance was born, its form and relation to the ideology of Sarmatism then current among the Polish nobility, and to its subsequent transformations. Further transformations took place mainly under the influence of a specifically conceived Romanticism, in which the nation’s struggle for liberation took pride of place, accompanied by the cult of the family as a bastion of national culture, in which women played a prominent role as model wives and mothers, as well as by an interest in folk culture, which attracted the upper social strata to folk dances and led to the emergence of the claim (unsupported by existing sources) that the nobility’s dances had folk origins (this myth was particularly popular among the adherents of chłopomania, i.e. the intelligentsia’s fascination with, and interest in, the peasantry). In the final section I point to the durability of the myths concerning Polish national dances, which – thanks to educational efforts and to broadly conceived artistic work – are universally present in the social consciousness also today.
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Dumnic, Marija, and Danka Lajic-Mihajlovic. "Institutionalization of ethnochoreology in Serbia: The legacy of Ljubica Jankovic at the Institute of musicology SASA." Muzikologija, no. 17 (2014): 259–72. http://dx.doi.org/10.2298/muz1417259d.
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Since 1964, the Institute of Musicology of the Serbian Academy of Sciences and Arts has been cherishing the official archive of the academician Ljubica Jankovic, ethnochoreologist, which originates from her service at the Ethnographic Museum in Belgrade (1939-1951). The legacy contains documentation about the activity of the Folk Dance Section of the Ethnographic Museum in Belgrade, and extensive data on folk dances in Yugoslavia from the first half of the twentieth century. This paper presents part of the archival documentation relating to the establishment and activity of the Folk Dance Section. It was the first state institution to collect primary and secondary research sources relating to folk dance structure and to the social context of a rural dance practice. Apart from that, it was the institution for education on folk dance preservation and staging. The focus of the paper is on the fundamental documents of ethnochoreological cultural and research policy in Serbia, manuscripts The Draft for Work at the Folk Dance Section of the Ethnographic Museum in Belgrade [Nacrt za rad u Otseku narodnih igara pri Etnografskom muzeju u Beogradu] (1939) and The Program for Work at the Department for Intangible Culture with the Sections: 1) Folk Dances and Folk Music; 2) Folk Literature; 3) Folk Art and Ornamentation; 4) Folk Customs and Religion; 5) Folk Medicine [Program rada u Odeljenju za duhovnu kulturu sa Otsecima: 1) za narodne igre i narodnu muziku; 2) za narodnu knjizevnost; 3) za narodnu likovnu umetnost i ornamentiku; 4) za narodne obicaje i veru; 5) za narodnu medicinu] (1946). The aim of this study is to contribute to the history of ethnochoreology in Serbia by introducing the ideas of Ljubica Jankovic concerning folk dance research and preservation strategies because of their importance for the interpretation of numerous ethnochoreological and ethnomusicological theoretical and analytical results, mostly achieved in cooperation with her sister, Danica Jankovic. In addition, we indicate the applicability of the first official ethnochoreological ideas for current folk dance research in Serbia.
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Varga, Sándor. "Two Traditional Central Transylvanian Dances and Their Economic and Cultural/Political Background." Acta Ethnographica Hungarica 65, no. 1 (November 11, 2020): 39–64. http://dx.doi.org/10.1556/022.2020.00004.
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This study focuses on a theme that until now has only been addressed to a lesser degree in dance folkloristics, namely the relationship between dance and politics. I examine two types of Central Transylvanian folk dance, the local variations of the dance group called eszközös pásztortánc (Herdsmen’s Dance with implement) and the local variations of the dance group called lassú legényes (slow male dance), attempting to study their transformation in terms of form and function during the 20th century in a traditional and revival context.1 Using two case studies, I also reflect on the unique system of relations between folklorism and folklorisation in an attempt to illustrate Hungarian and Romanian socio-economic factors and cultural policy underlying the transformation of these dances.
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Goldberg, Halina. "Nationalizing the Kujawiak and Constructions of Nostalgia in Chopin's Mazurkas." 19th-Century Music 39, no. 3 (2016): 223–47. http://dx.doi.org/10.1525/ncm.2016.39.3.223.
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The traditional musicological perspective on Chopin's slow, minor-key mazurkas and mazurka sections—that he modeled these episodes on the kujawiak, a Polish folk dance from Kujawy region — is plagued by contradictory statements. Re-evaluation of source material reveals that the kujawiak, as it is understood in relation to Chopin's mazurkas, is largely a creation of Polish nationalism after Chopin's time. In Chopin's own time, the term kujawiak is used only sporadically and appears to be interchangeable with mazur; by the end of the nineteenth century, however, the kujawiak becomes an important marker of Polishness for which authors offer specific but widely diverging musical characterizations. It is around this time that writers also begin to emphasize the kujawiak's impact on Chopin's mazurkas, forging a persistent link between this imagined “national dance” and his compositions. In place of these vague and conflicting constructs, it is proposed that Chopin used the slow mazurka—the kind widely but anachronistically called the kujawiak—to summon nostalgia for the spatially and temporally distant (and mythical) Poland, through musical styles and gestures that include reminiscence and allusion; auditory distancing; disruptions of form and genre; and surface distortions. Nostalgia as a cultural and medical concept also provides a prism through which his contemporaries perceived Chopin's illness, his experience in exile, and his music.
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Cseh, Fruzsina. "Folk Artisans and Dissidence in the Nomadic Generation of the 1970s and 1980s." Acta Ethnographica Hungarica 65, no. 1 (November 11, 2020): 227–54. http://dx.doi.org/10.1556/022.2020.00009.
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The dance house and folk artisans movements have developed into such a youth subculture in the cultural scope of the socialist Hungary, which the Kádárian cultural policy could support only partially, it was rather placed at the borderland between the ‘tolerated’ and ‘banned’ categories. The so-called Nomadic Generation was attached to the developing domestic dissident opposition just as well as to the cross border Hungarian intelligentsia through many threads, which seemed to be undesirable for those in power. This study outlines a general picture on the characteristics of the folklorist-movement of the 1970s and 1980s, thought to be dissident in nature, then it will show through examples of different life courses and case studies how the search for new paths materialized in folk handicrafts, and what impact this era exerted on the folk artisanship in the period after the political transition.
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Nwauzor, Uzoma Hyacinth. "Agbacha Ekuru Nwa Dance: A Study of Performance Ethics for Music Students in Colleges of Education." Journal of Education and Practice 5, no. 1 (June 2, 2021): 36–48. http://dx.doi.org/10.47941/jep.581.
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performances and providing the theoretical framework for the study of general music education by students in colleges of education. To promote the baseline from which dance performance is produced to enhance cultural heritage and the structure with which all aspects of social events are finally understood. The need for increased awareness and participation in dance is apparent. In tertiary institutions, the study of dance as an academic course virtually does not exist. Dance should be given the attention it deserves in the curriculum for the promotion of sustainable development in creating jobs for the youths.
Methodology: Participant observation-adopting this survey is very necessary due to the nature of the research, it is a practical performance that involved dance groups. There are varieties of approaches to research in any field of investigation. Using the descriptive method is aimed at obtaining information concerning the current status of Agbacha ekuru nwa dance as it is expressed in the traditional setting. This is important in understanding the dance similarities among the groups selected from each of the 3 local government areas in Mbaise. The data collected for this project are obtained through oral interviews, observation, personal contact, and participation. Observation and participation in dance rehearsal are very necessary for future performance with the students. Uzoigwe (1998) explained that the descriptive method allows for better acceptance and understanding of all music elements discovered during research.
Results: Traditional dance is a part of life evolution, memory, and history, it is integral with the communities of the peoples' culture. And because communities re-shape and re-model folk music in line with changing tradition, ideals, and social interaction, it should be used to educate the people on the ills and goodwill of the society. Given the multiplicity of social performances in Nigeria, it will be possible to agree that the people's total culture is subsumed with music and dance and that it has become very important in promoting and developing our cultural heritage.
Unique contribution to theory, practice and policy: There is the need for us to revive our cultural heritage by ensuring that those subjects which teach and safeguards morals, norms and value system are given attention in school curriculum to revamp the fallen standard of education, cultural ideologies, and judgment regarding the way we see ourselves. This will lead to a drastic change in our attitude and behaviour. To better attract the interest of learners, the curriculum has a part to play; this is by designing a solid structure for the dance program in all levels of education in Nigerian schools. The nature of dance, as well as students' interest, will be captured and aimed at revitalizing general music education in our schools providing a balance between intellectual tasks and social interaction. This will be a way of expanding knowledge and skills for future use as a form of integrating cultural heritage into our educational system. Using Agbacha ekuru nwa dance as a case study will be beneficial to students because if all organizational principles are applied to teaching and learning it will provide structured performance ethics towards achieving collective objectives. Dance is teamwork and should be organized as such. One of the benefits is creativity in performance; talent development could be formed where students, lovers of music, and the larger society can function very well in creating dance. This will be one of the most valuable courses to enhance human personality.
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Wang, Ying-Fen. "IFMC, Masu Genjiro, Kurosawa Takatomo, and Their Recordings of Taiwanese Music." Yearbook for Traditional Music 50 (2018): 71–90. http://dx.doi.org/10.5921/yeartradmusi.50.2018.0071.
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Masu Genjiro (1904-1995) and Kurosawa Takatomo (1895-1987) were two Japanese musicologists who were commissioned by the Government-General of Taiwan to form the Formosan Folk Music Investigation Team with Yamagata Takayasu, then recording engineer of Victor Company of Japan (hereafter Nippon Victor), to carry out a comprehensive survey and make recordings of Taiwanese music and musical life in the spring of 1943. The purpose of the survey was to establish a music cultural policy that adapted to the wartime needs of the people on the island, which became Japan's first colony in 1895, and could also be applied to Japan's newly acquired colonies in Southeast Asia and the Pacific after the outbreak of the Pacific War in December 1941. The team received full support from Taiwan's Government-General and was assisted by local experts, police officers in Aboriginal villages, and filming crews from both Japan and Taiwan. During its three-month stay in Taiwan, the team first conducted fieldwork around the island and then recorded and filmed Han Chinese and Aboriginal music and dance as well as rituals and ceremonies. They also collected data about Aboriginal musical instruments through questionnaires filled out by police officers in 155 Aboriginal villages.
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Davitadze, A. H. "The principles of re-intonation of multinational folklore in the work of Ludwig van Beethoven (on the example of the collection of arrangements “Songs of Different Nations”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 75–91. http://dx.doi.org/10.34064/khnum1-53.05.
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Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct or indirect appealing to folklore sources. Studying the classical legacy in the genre of folk song arrangement, theoretical musicology significantly deepens the understanding of this area of the professional composer creativity, revealing the genesis of the phenomena mentioned above. Such a range of issues is considered by A. Gnatyshin (2014), G. Golovinsky (1981), A. Derevianchenko (2005), B. Zabuta (2018), I. Zemtsovsky (1978), I. Konovalova (2007), A. Protopopova and others. Beethoven’s creativity in the context of the chosen theoretical concept is highlighted in the works of L. Kirillina, Ya. Soroker (2012) and others. The purpose of the article is to identify and characterize the principles of re-intonation of multinational folklore in the genre of arrangement a folk song in Beethoven’s creativity (on the example of the collection “Songs of Different Nations”). There are represented the structural-functional, genre, style, intonation types of analysis among the used methods of studying. Results. The main tool of dialogue between the author and the folk music is the method of re-intonation, which in L. van Beethoven’s creativity is implemented in samples of ethnically different folk song (sometimes dance) sources arrangements. The certain logics is observed in the principle of the collection assembly. So, by ethnicity, the composer alternates songs of different peoples, following the logic of contrast and unity. Within the loop, you can also find the manifestations of several more cyclization layers by different traits and the nature of the combination – mini-cycles where the national style is the principle of the choice. Songs of the same nation that are naturally related in intonation, in particular, in melodic-harmonic content, in figurative and genre traits, alternate with one another or dispersed in the collection, forming monocycles and arches (Nos. 1–3, 5–6, 8, 14, 15–16, 24, 17–18). The binary method of connection by the above criteria differs from the first type of cyclization, although it also represented by songs of same nation, but by genre and figurative characteristics these songs contrast sharply with one another, forming “unity of opposites” (Nos. 4, 22; 5, 7, 6–7; 9–10, 11–12). Such a “mini-cyclization” does not exceed more than three ethnically homogeneous songs in a row. The largest part of the collection is the five Tyrolean songs (Nos. 4, 15, 16, 22, 24), and their distribution throughout the collection is like to the principle of “a refrain”. The Songs nos. 15–16 go in succession and united by common features – the type of melody that is similar to the shepherd songs in the yodel genre, by the piano and string accompaniment texture, by the triple meter, the F major tonal basis and by the general content and character of music. The Song № 24 also adjoins by the listed characteristics to the songs nos. 15–16. The mini-cyclization one can also traces in the combination of songs of different ethnicity. Single samples of songs of different ethnicities – Nos. 13 (Swiss), 19 (Ukrainian), 20 (Danish), 21 (Swedish), 23 (Hungarian) correlate dialogically, creating affinity or contrast with their surroundings and with each other at the macro-level of the cycle. The lyrically dramatic Ukrainian song is preceded by a dance Polish song, followed by a knightly Danish song with the chorus, the next is a Swedish lullaby, and the pastoral Hungarian song is framed by two Tyrolean songs. Thus, the tendency to cyclization, based on the principles of contrast and unity, operates in the collection of both micro- and macro-level, which is responsible for the composition of the whole. Interesting for the researcher is the genre content of the collection. Some of the songs are mono-genre - these are those that have the characteristics of the song genre (name, content, melody, harmony, rhythm, texture): nos. 2, 7, 8, 9, 10, 12, 13, 14, 16, 19, 20, 21, 22. The poly genres are those that combine the features of song and dance (conventionally - dance song or song dance): nos.1, 3, 4, 5, 6, 11, 15, 17, 18, 23, 24. The composer’s creative dialogue with the folklore tradition takes place at other levels of the musical text. Beethoven adds instrumental accompaniment to the song tune in the composition of piano, violin and cello (piano trio). The function of “cementing” the form belongs to the piano, which is a constant participant of the ensemble throughout the song, as well as in the additional parts of the form created by the composer – introductory and closing ritornellоs. In addition, the piano performs the function of harmonious accompaniment, development of thematic material, is responsible for the dynamics of development on a whole scale. Indicative for the Beethoven method of folklore processing is the circle of tonalities to which the composer refers. These are the most convenient for the artist sound systems (do not exceed 1–3 key signatures) designed for a wide «consumer» and ease of performance (both vocal and instrumental). The most active dialogue of the composer with the folklore source takes place in the intonational and harmonic spheres. Obviously, Beethoven tried to be adjusting to the unknown and unusual for him musical-theoretical systems. Analyzing samples of the author’s harmonization of folk melodies, we can conclude that the German classic «spoke» with a broad international circle of songs in same language. The key decisions of the German master show a subtle understanding of the folk songs harmony: harmonizing various folk sources, the composer does not burden them with complicated harmonic sequences, in agreement with that, which is supposed in folk melody. In addition, the choice of tonality was very responsible, emphasizing the clarity and simplicity of these songs, their democratic orientation, both in relation to the performer and the listener. Conclusions. Beethoven’s principles of thinking are manifested at all levels of organization of the musical whole. The re-intonation of folklore material occurs both at the level of the form of each individual song (micro level), and at the composition level of the entire collection (macro level), which translates into a tendency toward cyclization, the formation of mini- and macrocycles, and a tendency to build holistic dramaturgy. At the genre level in “Songs of Different Nations”, re-intonation occurs due to the combination of “pure” (song) and synthetic genres (synthesis of song and dance genres in one sample). The instrumental trio accompaniment performs certain functions in the structure of the musical text (thematic development, dubbing of the vocal part, timbre saturation, harmonious component, the introduction of classical performing traditions) and is an active stylistic, genre, and dramatic factor in the сomposition. The composer, as a whole, subdues folk music material to the classical type of musical thinking.
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Khai, Mykhailo. "Musical and instrumental culture of Ukrainians as a component of the formation of national outlook." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 94–119. http://dx.doi.org/10.34064/khnum2-19.06.
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Background. One of the integrating, determining and identifying forces of the social progress of the entire human community is the custom and folklore tradition of the smallest sub-ethnic units / constituents individual nations and peoples, their verbal and ethno-cultural (including ethno-musical) sources, that, like rivers and brooks, fill the ocean of culture promoting for life and further development. The structure of the traditional Ukrainian musical culture, along with the well-known the old practices of group singing, itinerant kobzars and lira players, also consists of a powerful musical-instrumental component (herdsman’s folklore, calendarian-ritual chanting and dance). The aim and methods of the research. This article examines the phenomenon of traditional instrumentalism from the point of view of its fundamental influences on the worldviews regarding the formation and functioning of the ethnic sound of Ukrainians based on the longtime field-type, theoretical, pedagogical and practical (scientific and reconstructive musical performing) the experience of the author. The research results. Especially effective and such that, in recent years, was involved in the processes of salvation and “strengthening” (the term by S. Hrytsa) of traditional musical aesthetics, is the method of scientific and executive reconstruction of old folk music genres and forms. Systematic scientific-theoretical and structural-typological analytical work aimed at reproducing prototypes and structural details of reconstructed objects, forms, genres and actions of traditional Ukrainian musical culture, including instrumental, was reflected primarily in the research of S. Hrytsa (2000; 2002; 2015), A. Ivanytskyi (2007), I. Matsiievskyi (2012), B. Kindratiuk (2012), V. Yarmola (2014) and the author of these lines (Khai, M., 2011a; 2011b; 2013 and others). The author of the article thoroughly considers special issues of indexing musical instruments according to the system of E. Hornbostl – K. Sachs with the principle of division into classes, subclasses, categories, subdivisions; for the first time in Ukrainian ethnoorganology he carrys out a complete and consistent grouping of Ukrainian folk musical instruments. It is stated that the most important criteria of all classifications are: form, construction, structure, way of playing, repertoire, manner of performance. The criteria of traditionalism and functioning of folk instruments are determined separately (see: Khai, M., 2011a: 145–261). Based on this, Ukrainian folk musical instruments are considered in the following groups: 1) folk idiophones (self-sounding), 2) folk membranophones; 3) folk chordophones (strings); 4) folk aerophones (wind). Analyzing the existing classifications of national instrumental music, the author puts forward the thesis: areas of distribution and “density of ingrowth” of non-ethnic and authorial elements in the traditional centers of Ukrainian national instrumental music are mostly related to factors of geographical proximity, of natural extinction and administrative-repressive planting of alluvial and so-called “parallel” culture. Experiments on the instrumental traditions of Ukrainians, along with the autochthonous traditional instrumental repertoire, testify to the active functioning at the level of reception / ingrowth of works of other national origin. The interethnic and inter-genre transformation of the folk-instrumental style is connected with the spread of the Moscow, Polish, Romanian and Jewish intonation elements on the territory of the country. Touching the extremely complex and topical problems of archetypal traditional culture, interethnic relations of nations in the modern kaleidoscope of globalization processes, the article focuses on the negative (forced, administrative-aggressive absorption and destruction) and the positive (diversity, enrichment) interactions of the mentioned cultural elements. Characterizing from the positions mentioned here the main features of the ethnic sound ideal in the instrumental tradition of Ukrainians, the author defends its “European model” (tendency to cantilena sound of violin and flute ) as opposed to the type, which dominates the ethnosonic aesthetics of East – tremolo on one string. For the first time in these studies, the thesis is asserted that sounds that imitate the human voice or complement it predominate in Ukraine: flute cantilena, bandura-kobza and partly cymbal arpeggio, which differ significantly and fundamentally from the “Asian” coloristics of one-string tremolo. Conclusions. The final outcome of the study, about the cathartic function of traditional instrumentalism and musical culture in modern social-sublimation processes of human development and, conversely – about neglecting it as a manner to the complete destruction of human civilization as such, steers away from pessimism, inspiring hope for survival in the cataclysms of nature and society as a whole.
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Loutzaki, Irene. "Greek Folk Dance Music." Yearbook for Traditional Music 26 (1994): 168. http://dx.doi.org/10.2307/768264.
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Torp, Lisbet, and Anca Giurchescu. "Folk Dance Collections and Folk Dance Research in Denmark and the Faeroe Islands." Yearbook for Traditional Music 25 (1993): 126. http://dx.doi.org/10.2307/768689.
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Loutzaki, Irene. "Folk Dance in Political Rhythms." Yearbook for Traditional Music 33 (2001): 127. http://dx.doi.org/10.2307/1519637.
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Noll, William, and Anna Czekanowska. "Polish Folk Music: Slavonic Heritage, Polish Tradition, Contemporary Trends." Ethnomusicology 38, no. 2 (1994): 367. http://dx.doi.org/10.2307/851753.
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Krader, Barbara, and Anna Czekanowska. "Polish Folk Music: Slavonic Heritage, Polish Tradition, Contemporary Trends." Notes 49, no. 3 (March 1993): 1060. http://dx.doi.org/10.2307/898977.
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Racy, Ali Jihad. "Music and Dance in Lebanese Folk Proverbs." Asian Music 17, no. 1 (1985): 83. http://dx.doi.org/10.2307/833742.
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Kovalcsik, Katalin. "Popular dance music elements in the folk music of Gypsies in Hungary." Popular Music 6, no. 1 (January 1987): 45–65. http://dx.doi.org/10.1017/s0261143000006607.
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Gypsy folk music is of a distinctive character compared with that of the other East European ethnic communities. The pecularities differentiating it from these other forms of folk music – improvisation and a readiness to adopt new influences – have continued to be of significance. While in several cases the folk music of peoples who have established themselves in national states is kept alive by artificial means (e.g. by promoting folk singing groups, by teaching folksongs in schools and by various revival movements), the vast majority of Gypsies have preserved their traditional music as an almost exclusive musical language.
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Kunej, Drago, and Rebeka Kunej. "Dancing For Ethnic Roots:." Musicological Annual 55, no. 2 (December 13, 2019): 111–31. http://dx.doi.org/10.4312/mz.55.2.111-131.
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Folk dance ensembles within minority ethnic communities (Albanian, Bosniak, Montenegrin, Croatian, Macedonian and Serbian) in Slovenia were formed in the 1990s, after the breakup of Yugoslavia. The authors present the key reasons for the folklore activities that contributed to the emergence of the so-called minority folk dance ensembles, describe their beginnings and how they eventually became organized, institutionalized, and integrated into the amateur culture system in Slovenia. The goal of minority folk dance ensembles is to dance for ethnic roots, but at the same time, the desire to enrich the cultural space in their new county and to integrate into society in which they live.
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Andrzejak, Izabela. "Folk dance as a tool of socialist propaganda based on Paweł Pawlikowski’s Cold War." Dziennikarstwo i Media 15 (June 29, 2021): 37–50. http://dx.doi.org/10.19195/2082-8322.15.4.
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The article addressed the issue of using folk dance as a tool of propaganda by the communist party. It is not uncommon to associate the activity of folk groups with the period of socialist realism and the years that followed in. Folk song and dance ensembles have always been a colorful showcase of the country outside of its borders and have often added splendor to distinguished national events with their performances. Nevertheless, their artistic activity was not motivated solely by the beauty of Polish folklore, for folk ensembles formed after World War II were often created to aid the goals of the communist party. Reaching for folk repertoire and transferring regional songs and dances to the stage was seen as opposition to the elite culture. Cultural reform made performances accessible to the working class, and folk song and dance expressed admiration for the work of people in the countryside. In addition to traditional songs from various regions of Poland, the repertoire of these ensembles also included many songs in honor of Stalin and about the Polish-Soviet friendship. Paweł Pawlikowski’s award-winning film, Cold War, which partially follows a song and dance ensemble (aptly named Mazurek), shows many of the dilemmas and controversies that the artists of this period had to face.
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Ronstrom, Owe. "Folklor: Staged Folk Music and Folk Dance Performances of Yugoslavs in Stockholm." Yearbook for Traditional Music 23 (1991): 69. http://dx.doi.org/10.2307/768397.
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Irklienko, Viktorija. "MUSIC ART AT FOLK HOLIDAYS: ETHOGRAPHIC AND EDUCATIONAL DEMENSION." Aesthetics and Ethics of Pedagogical Action, no. 14 (September 9, 2016): 99–106. http://dx.doi.org/10.33989/2226-4051.2016.14.171593.
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The article investigates ethnographic and educational dimension of functioning of music at folk holiday. The author considers national holiday as an integrated concept that, firstly, integrates a variety of types of art (music, fine arts, performing arts, dance, literature), secondly, is a combination of two cultures – the pagan and Christian. It is noted that folk holiday is a model of highly aestheticized everyday life of Ukrainian people. The author states that music art at folk holiday is represented in the form of choral music, dance songs, music for dancing, marching music, song and instrumental music for listening in the form of ensemble.It has been proved that functioning of professional, amateur choirs or just group singing is common for music content of folk holidays; Ukrainian folk song has always been the basis of that functioning.It has been emphasized that the music art at folk holidays is represented by national folk-songs in the form of dance songs. They consisted of three components: words, music and dance movements.Special attention has been given to the marching music, represented by greeting marches, procession marches, performed in appropriate situations of meetings, farewell, congratulations, and glorification.The article states that the folk holidays that are prevalent in Ukraine have an important pedagogical potential, since they give a child a coherent picture of the artistic view of the world, establish connection between art and life.The recognition of the leading role of folk music in the process of musical and aesthetic education of children is considered by the author as a key to the formation of a highly spiritual personality.The requirements for the organization and conducting of folk holiday have been presented in the article; the teacher’s basic tasks have been defined.
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Hayakawa, Yohko, Kayoko Takada, Hiromi Miki, and Kiyoji Tanaka. "Effects of Music on Mood during Bench Stepping Exercise." Perceptual and Motor Skills 90, no. 1 (February 2000): 307–14. http://dx.doi.org/10.2466/pms.2000.90.1.307.
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This study evaluated the effect of music on the mood of women during exercise. 16 middle-aged women, aged 49.9±7.53 yr., performed 60-min. bench stepping exercise while listening to Japanese traditional folk song, aerobic dance music, or nonmusic. The subjects reported significantly Jess fatigue with aerobic dance music and Japanese traditional folk song than with nonmusic. Aerobic dance music was associated with significantly more vigor and less confusion than nonmusic.
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CHEN, XUAN. "The piano accompanies music in Chinese folk dance." Convergence of Humanities, Social Science an Art’s Academy 3, no. 2 (August 16, 2019): 203–18. http://dx.doi.org/10.37846/soch.3.2.203.
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Basirova, Karina B. "THE FOLK MUSIC AND DANCE'S AS A MEANS OF AESTHETIC EDUCATION OF THE DAGESTAN CHILDREN." History, Archeology and Ethnography of the Caucasus 16, no. 3 (November 1, 2020): 797–810. http://dx.doi.org/10.32653/ch163797-810.
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This article discusses the theoretical, educational, and educational aspects of aesthetic education of children by means of folk music and dance. The analysis of theoretical and methodological, psychological and pedagogical problems of aesthetic education of children is carried out, and effective means of using the spiritual and cultural value of folk music and dance of the Dagestan peoples are identified. Recommendations for the successful upbringing of children through folk music (song, dance) are defined. It is shown that each of the Dagestan peoples created their own original musical genres, their own instruments, their own original rituals, melodies, and dances.
Song and dance, the playing of the shepherd's pipe and the beating of the drum have always accompanied the life of the highlanders. The dance of the mountaineers "Lezginka" can be called national, folk, as no holiday passes without this fervent dance. Dagestan people join the dance from the cradle and children-dancers cause the greatest delight.
Through music and dance, we can develop children's aesthetic, moral, and physical qualities. A child who receives artistic, aesthetic and moral ideas at an early age, even if he later does not become a dancer or a musician, acquires openness to the world of beauty, kindness, flexibility of thinking, and sensitivity to moral and artistic values for the rest of his life.
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Pappas, Rebecca. "The Show Must Go On: A Participatory Rewriting of Euro-American Folk Dance." Congress on Research in Dance Conference Proceedings 2015 (2015): 146–52. http://dx.doi.org/10.1017/cor.2015.23.
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My participatory paper considers Jérôme Bel's seminal work The Show Must Go On as a rewriting of folk dance tradition, drawing from and reinventing popular tropes of the Euro-American relationship to pop music and the popular body. I look at both the piece, and also Bel's methods of restaging it worldwide, as a means of regularizing, reinventing, and reperforming popular dance. I compare his practice to that of national folkdance ensembles that choreograph indigenous traditions for theatrical performance. I am fascinated with this process of fixing “cultural dance” for recognition and consumption by an audience. Bel's work depends on the audience's ability to recognize themselves within its music, imagery, and performing ensemble. Does this make it folk dance? My paper mines the category of “folk dance,” asking whether there is, in fact, a distinction between folk, social, and popular dance and arguing that in the recognizability and participatory nature of his work, he has inadvertently created a contemporary Euro-American folk dance. In addition, I will develop the presentation choreographically, directing the bodies of the listeners in ways meant to evoke Bel's participatory community.
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Ilieva, Anna. "Bulgarian Folk Dance during the Socialist Era, 1944-1989." Yearbook for Traditional Music 33 (2001): 123. http://dx.doi.org/10.2307/1519636.
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Čyplytė, Raminta. "The Interaction Among Lithuanian Folk Dance Ensembles in the Context of Cultural Education: Directors’ Attitude." Pedagogika 114, no. 2 (June 10, 2014): 200–208. http://dx.doi.org/10.15823/p.2014.017.
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The article aims to reveal features and expression of the interaction between the state song and dance ensemble “Lietuva” and folk dance ensembles of higher education institutions in the process of youth cultural education. Since this aspect has not been analyzed in detail, the research was held among directors of folk dance ensembles of higher education institutions and the state song and dance ensemble „Lietuva“ and attempted to reveal two perspectives.The questioning of the directors showed that the interaction between ensemble “Lietuva” and folk dance ensembles of high schools in the context of youth cultural education exists and appears through folk dance ensembles connecting factors such as: genre of folk dance, common cultural activities and repertoire as well as common content of education which includes teaching methods, dance technique and its evaluation, other problems and relevant topics which forces to attract attention to the peculiarity of folk dance and its promotion in the contemporary cultural context.Directors of the ensemble “Lietuva” and high school ensembles stated that the ensemble “Lietuva” is still relevant today and actively participate in the cultural education of young people through folk dance, song and music hereby preserving national traditions and customs.
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Jain, Nisha. "RAJASTHANI FOLK MUSIC IMPACT ON SOCIETY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3464.
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Rajasthan has always been a subject of curiosity for tourists, musicians, craftspeople etc. due to the originality of its civilization and culture in the states of India. The culture of Rajasthan is unique at all times for food, clothing, dance, music and folk songs. The treasury of regional living, food and folk songs is hidden in the cultural culture flourishing in Rajasthan. The rituals here are the center of attraction for women living in the way of living, dress, bright colors, Teej festivals, fairs, festivals, and the men and sarongs that are tied on the head. Rajasthani folk music is sung and played on all special occasions. The dance dramas in Rajasthani songs in the same colorful costumes captivate the minds of the audience.
भारत के प्रदेषों में राजस्थान अपनी सभ्यता एवं संस्कृति की मौलिकता के कारण सर्वदा से पर्यटक, संगीतकार, षिल्पकार आदि के लिए कौतूहल का विषय रहा है। राजस्थान की संस्कृति खान-पान, वेषभूषा, नृत्य, संगीत एवं लोक गीतों के लिए प्रत्येक समय में विषिष्ट बनी हुई है। राजस्थान में पल्लवित लोक संस्कृति में क्षेत्रीय रहन-सहन, खान-पान व लोकगीतों का खजाना छिपा हुआ है। यहाँ के रीति-रिवाज रहन-सहन, वेषभूषा, चटकीले रंग, तीज त्यौहार, मेले, पर्व में पहनावा तथा सिर पर साफे बंधे हुए पुरूष एवं घेरदार लहँगे में महिला षहरवासियों के आकर्षण का केन्द्र होती है। राजस्थानी लोक संगीत सभी विषिष्ट अवसरों पर गाए एवं बजाये जाते हैं। राजस्थानी गीतों पर वहीं की रंगीन वेषभूषा में नृत्य नाटिकाएँ दर्षकों का मन मोह लेती हैं।
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Cohen, Selma Jeanne. "4th World Conference on Folk Dance: Dance-Music in Folk Culture (International Organization of Folk Art, Larissa, Greece, 16–20 May 1990)." Dance Research Journal 22, no. 2 (1990): 47–48. http://dx.doi.org/10.1017/s0149767700002643.
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Hoppu. "Folk Dancers Cross-Dressed: Performing Gender in the Early Nordic Folk Dance Movement." Journal of Folklore Research 51, no. 3 (2014): 311. http://dx.doi.org/10.2979/jfolkrese.51.3.311.
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Nahachewsky, Andriy. "Once Again: On the Concept of "Second Existence Folk Dance"." Yearbook for Traditional Music 33 (2001): 17. http://dx.doi.org/10.2307/1519627.
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Kovács, Nóra. "The Paradox of Authenticity." Tánc és Nevelés 2, no. 1 (February 28, 2021): 153–57. http://dx.doi.org/10.46819/tn.2.1.153-157.
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The book on the Slovakian authentic folklore movement by the American scholar Joseph Grim Feinberg working in the Czech Republic is a special treat for those interested in dance anthropology. It is always inspiring to look at social and cultural phenomena about the East-Central European region through the eyes of a researcher who is an outlander; this applies to the realm of music and dance, too. The title suggests two fundamental issues that may be interesting and important for Hungarian readers acquainted with the world of folk dancing. One of them is the authenticity of folk-dance related practices; the other is folk dance politics, a topic addressed extensively in the international world of dance anthropology.
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Şuşu, Petre. "2. On the Educational Potential of Folk Dance." Review of Artistic Education 15, no. 1 (March 1, 2018): 127–50. http://dx.doi.org/10.2478/rae-2018-0013.
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Abstract Folk dance, described in Folkloristics through notions like traditional dance, or, more often, folk choreography, refers to a specific domain of traditional spirituality, and is the third major component of folklore, alongside traditional literature/literary folklore and traditional music/musical folklore.The relation between folk dance and the Romanian education system is a long-lasting one, having taken various forms and degrees of intensity, as this folklore category offers resources and contents that have been used, and still are, in the education of children, youth, and adults. This article refers to the basic components of folk dance distinguished in Ethnochoreology which can offer useful contents to the process of didactic transposition at different levels of education in the Romanian school.
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Kardhares, Dhionysios, and Elias S. Demas. "Dance, Music, and Song in Heptanese Folk Theatre: The ZakynthianHomilia." Dance Chronicle 26, no. 3 (January 10, 2003): 311–31. http://dx.doi.org/10.1081/dnc-120025268.
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Chou, Eva Shan. "Folk Dance in China: The Dance Pioneer Dai Ailian, 1916–2006." Congress on Research in Dance Conference Proceedings 2016 (2016): 62–71. http://dx.doi.org/10.1017/cor.2016.11.
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The founding of anthropological studies to China in the 1920s introduced the cultures of the countryside and its villages to the urban elite and helped to create a more complex definition of Chinese culture. The ability to study, collect, and reproduce dance specifically, as opposed to religious ceremonies or music, truly began only with the arrival of a dedicated pioneer who had an unusual range of skills and training to bring to the task. This was the remarkable Dai Ailian (1916–2006). She was born of Chinese ancestry in Trinidad and received dance training in England from 1931–1937 when both ballet and modern were just being explored in that country. Both chance and purpose brought about her first important work in folk dance when she arrived in China in 1940, during the anti-Japanese War. The unoccupied parts of southwest China were rich with the dance of minority peoples, and she set to work learning and propagating with great energy. This paper examines Dai's work in folk dance at this time and sets it against the trajectory of folk as it developed in the next seventy years.
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Paksa, Katalin. "Stage and folk tradition in the cultural history of the Kállai kettős (Couple Dance of Kálló)." Studia Musicologica 55, no. 3-4 (September 2014): 295–320. http://dx.doi.org/10.1556/6.2014.55.3-4.3.
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Zoltán Kodály’s Kállai kettős [Couple Dance of Kálló] was premiered by the Hungarian State Folk Ensemble in Budapest in 1951. However, it was not in Kodály’s work that the folk songs arranged in it were first presented to the cultured public. In the interchange of folk tradition and high culture they have already cropped up in the past three hundred years, among others in stage productions. This paper examines the folkloristic sources of Kodály’s work from a dual angle: how they were connected to the stage before Kodály’s arrangement and how their variants were embedded in the folk tradition. Today Kállai kettős is living also a “double life”: Kodály’s work is part of the national canon, but it is also present in the traditional productions of the revivalists of Nagykálló.
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Rhone, Jeffrey. "The Challenge and Benefit of Evaluating Folk Dancing Quality." General Music Today 31, no. 1 (June 16, 2017): 10–15. http://dx.doi.org/10.1177/1048371317713068.
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The physical, social, and music attributes inherent to folk dancing make it an ideal component of music education curricula. The communal experience of folk dancing is unprecedented for many adults and children. These experiences are unique because folk dancing can foster individual and group learning through music, and noncompetitive play. There is, however, currently a lack of assessment tools available to music educators for evaluating student folk dancing quality. In this discussion, the author examines the genre through the eyes of dance and physical educators, and the extant recreational folk dancing community. This exploration leads to the identification of observable skills and aesthetic features of good-quality folk dancing. This information culminates in the Folk Dancing Proficiency Rubric, created by the author, for use in educational settings.
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Jekiel, Mateusz. "Comparing rhythm in speech and music: The case of English and Polish." Yearbook of the Poznan Linguistic Meeting 1, no. 1 (December 1, 2014): 55–71. http://dx.doi.org/10.1515/yplm-2015-0003.
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Abstract The point of departure for the following study is Patel and Daniele (2003), who suggested that the rhythm of a culture’s language is reflected in its instrumental music. The former study used the normalised pairwise variability index (henceforth nPVI), a measure of temporal patterning in speech, to compare the variability of vocalic duration in recorded speech samples with the variability of note duration in music notation on the example of English and French speech and classical music. The aim of this experiment is to test whether the linguistic rhythm conventionalised in the language of a community affects the rhythm in the musical practice of that community, by focusing on English and Polish speech and classical, as well as folk music. The nPVI values were obtained from a set of English and Polish recorded news-like sentences, and from musical notation of English and Polish classical and folk musical themes. The results suggest that reflections of Polish speech rhythm may be more apparent in folk music than in classical music, though more data are needed to test this idea. This initial study suggests that the method used might bring more fruitful results when comparing speech rhythm with less formalized and more traditional musical themes.
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Chaturvedi, Saraswati. "Culture of Rajasthan and its inherent folk music." International Journal of Research -GRANTHAALAYAH 6, no. 2 (February 28, 2018): 197–201. http://dx.doi.org/10.29121/granthaalayah.v6.i2.2018.1562.
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The state of Rajasthan, as the name suggests, is a state filled with many colors, the food, dress and dress of this state are very much embedded in the folk culture, folklore, folklore, folk dance and folklore.Word meaningThe word 'Lok' is a very ancient word, the meaning of the word 'Lok' can be derived from the mass society which is deeply spread on the earth. The word 'Lok' refers to an important mass community.Folk songs used in Rajasthan's folk cultureIn these folk songs we have the philosophy of folk culture of Rajasthan, they can be categorized as follows -Ritual folk songs: Wadhwa, Chalk, India, Zartzga, turmeric, horse etc. are the main folk songs related to the rites.Folklore related to dance: Different types of folk songs are sung by different castes in dances performed on festivals.Folklore of commercial castes: In Rajasthan, many castes sing these folk songs to make a living.Folklore of Bhil caste: The life of Bhil caste people is full of dance, songs and humor humor.The following institutions are contributing immensely in promoting the folk culture of Rajasthan. Their names are Jawahar Arts Center Jaipur, Western Zone Cultural Center Udaipur etc. In this way we can say in the context of folk music of Rajasthan that their future will be bright.
राजस्थान राज्य जैसा कि नाम से ही प्रतीत होता है कि यह राज्य कई रंगों से भरा हुआ राज्य हैं, इस प्रदेश का खान-पान, पहनावा यहाँ की लोकसंस्कृति, लोकवाद्य, लोकगीत, लोकनृत्य तथा लोकनाट्य जनसमुदाय में अत्यन्त रूप से समाहित दिखाई देते है। लोक शब्द से तात्पर्य’लोक’ शब्द एक बहुत प्राचीन शब्द है ’लोक’ शब्द का अर्थ उस जन समाज से लगाया जा सकता है जो गहराई से पृथ्वी पर फैला रहता है। ’लोक’ शब्द एक महत्वपूर्ण जन समुदाय की ओर संकेत करता है।राजस्थान की लोकसंस्कृति में प्रयुक्त लोकगीतइन लोकगीतों में हमें राजस्थान की लोक संस्कृति के दर्शन होते हैं उनका निम्नलिखित प्रकार से वर्गीकरण किया जा सकता है -संस्कार सम्बन्धी लोकगीतः- वाधावा, चाक, भारत, जरतजगा, हल्दी, घोड़ी आदि संस्कार सम्बन्धी प्रमुख लोकगीत होते हैं।नृत्य सम्बन्धी लोकगीतः- त्यौहार-पर्वों पर किये जाने वाले नृत्यों में विभिन्न जातियों द्वारा विभिन्न प्रकार के लोकगीत गाये जाते हैं। व्यवसायिक जातियों का लोकगीतः- राजस्थान में अनेक जातियाँ अपनी जीविका चलाने के लिये इन लोकगीतों को गाती है। भील जाति के लोकगीतः- भील जाति के लोगों का जीवन नृत्य, गीतों एवं हास्य विनोद से परिपूर्ण होता हैं। राजस्थान की लोक संस्कृति को प्रोत्साहन देने में निम्नलिखित संस्थाऐं अत्यधिक योगदान दे रही हैं। उनके नाम है, जवाहर कला केन्द्र जयपुर, पश्चिम क्षेत्र सांस्कृतिक केन्द्र उदयपुर आदि। इस प्रकार से हम राजस्थान के लोक संगीत के सन्दर्भ में कह सकते हंै कि इनका भविष्य उज्जवल रहेगा।
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Howard, Karen. "A Singing Dance From Bulgaria." General Music Today 32, no. 3 (March 12, 2019): 31–36. http://dx.doi.org/10.1177/1048371319834082.
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Folkloric music and dance in Bulgaria are performed as has been for generations, but also present are innovative hybrids in text, form, and instrumentation. Historically, traditional musical activities were divided by gender with singing a priority for women and playing instruments for men. This has been rapidly changing as in so many countries, and gender is no longer a hard and fast rule regarding specific means of music participation. This article will offer a brief description of particular musical traits from the different regions of the country, and it will then feature the score and teaching suggestions for a popular folk song and dance “Trâgnala Rumjana” that can be implemented in elementary and secondary general music classes.
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Yang, Chenghai. "Tibetan Folk Songs and Dances in Diebu – The Musical Characteristics of Gerba (Gar Pa)." Journal of Contemporary Educational Research 5, no. 8 (August 30, 2021): 41–46. http://dx.doi.org/10.26689/jcer.v5i8.2412.
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Folk songs and dances originated from people’s sacrificial activities in the struggle against nature in the primitive society. Their origins are related to the ideology and living environment of the people at that period of time. These activities were expressed in the form of primitive songs and dances, and gradually evolved into folk songs and dances. The gar pa song and dance from Diebu, in Gannan region, is a unique song and dance of a Tibetan region on the eastern edge of Qinghai-Tibet Plateau. Its content and form are unique. It still retains the original trinity feature which includes poem, music, and dance. The production of songs and dances contains rich cultural connotations and unique local characteristics. This article elaborates the characteristics of Diebu’s gar pa song and dance in terms of its music and performance form.
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Kratochvíl, Matěj. "“Our song!” Nationalism in folk music research and revival in socialist Czechoslovakia." Studia Musicologica 56, no. 4 (December 2015): 397–405. http://dx.doi.org/10.1556/6.2015.56.4.7.
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In the Czechoslovakia of the 1950s, traditional folk music was officially presented as the most important resource of national musical identity. Folk- or folk-inspired music was ubiquitous. Although this intensity had subsided in the following decades, the role of folk music as a symbol of national identity remained strong until the end of the communist rule in 1989. While the ideology of nationalism used folk music as its tool, it also influenced the way this music was collected, researched, and presented. The article presents examples from two closely related areas to document this phenomenon: folk music research and folk music revival. A closer look reveals how the idea of state-promoted nationalism influenced the ways researchers presented their findings, how they filtered out material that was deemed unsuitable for publication, and how traditional music was revived on stage or in media by folk music and dance ensembles. Critical analysis of research materials and audiovisual documents from the 1950s and 1960s will show how censorship accompanied a folk song from its collection in the field, through publication, to a stylized production on stage or in film.
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Vikárius, László. "Bartók: ‘Bear Dance’." Studia Musicologica 49, no. 3-4 (September 1, 2008): 341–67. http://dx.doi.org/10.1556/smus.49.2008.3-4.7.
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‘Bear Dance’ (German ‘Bärentanz’) appears to have been a lesser-known nineteenth-century character piece exemplified by Schumann’s two related compositions in A minor, Twelve Pieces for Four Hands , op. 85, no. 2 and its early version, for piano solo, composed for the Album for the Young but left unpublished, as well as Mendelssohn’s F-major occasional piece. These pieces are all characterized by a very low ostinato-like tone-repetition in the base (recalling the clumsy movements of the bear in Schumann’s pieces while imitating the leader’s drumming in Mendelssohn’s) and a melody in high register in imitation of the leader’s pipe tune. Bartók must have had this particular genre in mind when composing his closing piece for the Ten Easy Piano Pieces (1908), herald of later fast ‘ostinato’ movements, in which the amusing topic, a market place event, is turned into something wild and eerie. The composition and publication history of the piece is reinvestigated on the basis of documents, letters and compositional manuscripts, partly unpublished so far. ‘Bear Dance’ is closely related to the compositions, such as Bagatelles nos. 13 and 14, resulting from the composer’s personal crisis in 1908, due to his unrequited love to the violinist Stefi Geyer, and it also uses a version of the leitmotiv generally named after Geyer by theorists. The employment of characteristics derived from folk music ( kanásztánc [herdsman’s dance] or kolomeika rhythm, strophic structure, etc.) is analyzed as well as the composer’s modernist preference for harmonies integrating minor second/major seventh clash and large-scale tritonal tensions. Bartók’s encounter with a special (but distinctly different) musical type accompanying ritual peasant dances in Romanian villages of Transylvania is also briefly discussed as one of his arrangements of a violin piece, the second movement of the Sonatina for piano (1915) was also entitled as ‘Bear Dance’.
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Okdan, Bora, Gulbin Rudarli Nalcakan, Ece Onur, Arzu Oran, and Mesut Nalcakan. "Effect of Folk Dance Training on Blood Oxidative Stress Level, Lipids, and Lipoproteins." Polish Journal of Sport and Tourism 23, no. 3 (September 1, 2016): 133–39. http://dx.doi.org/10.1515/pjst-2016-0017.
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Abstract Introduction. Folk dance is a form of physical activity which helps develop the ability to use the whole body in a coordinated way with music, and folk dancers’ characteristics vary according to the particular type of dance practised in a given geographic region. The aims of the study were to evaluate the effects of 12-week folk dance training on blood oxidative stress level, lipids, lipoproteins, as well as muscle damage markers and to define some physical and physiological properties of folk dancers. Material and methods. Thirty-eight healthy male folk dancers aged 21-28 years having an average of 11 years of dance training experience voluntarily participated in the study. All of the physical and physiological measurements and the blood analysis were performed twice, before and after the training period which focused on different regional dances (Caucasus, Bar, Zeybek, Spoon Dance, Thracian dances, and Horon). The training was done 2 hours per day (a total of 10 hours a week), during a 12-week-long period. Results. All the blood parameters were found to be within the specified reference ranges. The training programme had no significant effect on the blood lipid profile, whereas it was found to have positive effects on body fat (p ≤ 0.012), peak oxygen consumption (VO2peak; p = 0.000), muscle damage markers (creatine kinase, Δ% = −19.6), and total antioxidant capacity (p ≤ 0.002). Conclusions. Regular folk dance training was found to have positive effects on body fat, VO2peak, blood total antioxidant capacity, and muscle damage markers. Based on these results, the community should be encouraged to perform folk dance as a recreational physical activity, and public awareness should be raised about the health benefits of practising folk dances.
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MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION." IEDSR Association 6, no. 12 (March 29, 2021): 218–26. http://dx.doi.org/10.46872/pj.258.
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Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.
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Hernández, Angela María Vela. "ULASAN SINGKAT MENGENAI “CHAMARREO”—TARIAN RAKYAT DARI MEXICO." Imaji 17, no. 1 (June 27, 2019): 74–81. http://dx.doi.org/10.21831/imaji.v17i1.25727.
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Makalah ini membahas tentang tarian rakyat tradisional dari Meksiko yang bernama "Chamarreo". Untuk memahami dari mana tarian Chamarreo berasal, karya ini menjelaskan latar belakang sejarah tarian Meksiko. Terdapat juga ulasan singkat tentang beberapa tarian tradisional rakyat dari utara, tengah dan selatan Meksiko. Ini adalah ringkasan untuk memahami beberapa karakteristik tarian Chamarreo seperti: koreografi, kostum, objek, musik, bentuk dan ketika pertunjukan tariannya berlangsung. Kata Kunci: abstrak, bold, italic, maksimal lima kata/frase, tata tulis A SHORT REVIEW OF “CHAMARREO” FOLK DANCE FROM MEXICO Abstract This paper talks about the traditional-folk dance from Mexico which name is “Chamarreo”. In order to understand where the Chamarreo dance comes from, this work explained the historical background of Mexican dances. Also is a short review of some folk-traditional dances from north, central and southern Mexico. It is a summary to understand some of the characteristics of the Chamarreo dance such as: choreography, costume, object, music, form and when its dance performances take place. Keywords: abstract, bold, italic, maximum five words/phrases, template
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ÇINAR, Sevilay. "WOMEN IN TURKISH FOLK DANCE AND MUSIC: A CASE OF MUSICAL GATHERINGS." Journal of International Social Research 12, no. 63 (April 30, 2019): 448–53. http://dx.doi.org/10.17719/jisr.2019.3202.
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TEKİN, Erhan. "Dabke Folk Dance With Lyrics And Music in Hatay Arab Alawite Culture." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 96 (December 20, 2020): 573–94. http://dx.doi.org/10.34189/hbv.96.026.
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HOOKER, LYNN. "Controlling the Liminal Power of Performance: Hungarian Scholars and Romani Musicians in the Hungarian Folk Revival." Twentieth-Century Music 3, no. 1 (March 2007): 51–72. http://dx.doi.org/10.1017/s1478572207000321.
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AbstractIn the Hungarian folk revival, Hungarian Roma (Gypsies) serve as both privileged informants and exotic Others. The musicians of the revival known as the táncház (dance-house) movement rely heavily on rural Rom musicians, especially those from Transylvania, as authentic sources of traditional Hungarian repertoire and style. Táncház rhetoric centres on the trope of localized authenticity; but the authority wielded by rural Rom musicians, who carry music both between villages and around the world, complicates the fixed boundaries that various powerful stakeholders would place on the tradition. Drawing on media sources and on fieldwork in Hungary and Romania, I examine how authenticity and ‘Gypsiness’ are presented and controlled by the scholars, musicians, and administrators who lead the táncház movement, in particular in the context of camps and workshops dedicated to Hungarian folk music and dance. Organizers often erect clear boundaries of status, genre, and gender roles through such events, which, among other things, address the anxiety raised by Rom musicians’ power in liminal spaces. In addition, I look at how Rom musicians both negotiate with the táncház’s aesthetic of authenticity and challenge it musically. Finally, I discuss how musicians and the crowds that gather to hear and dance to their music together create a carnival atmosphere, breaking down some of the boundaries that organizers work so hard to create. Throughout, I demonstrate that liminality is an extraordinarily pertinent lens through which to view Roma participation in the Hungarian folk music scene.
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Malcheva, Todorka. "ART, MEANING AND CLASSIFICATION OF BULGARIAN FOLK DANCE." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (June 5, 2019): 1791–95. http://dx.doi.org/10.35120/kij31061791m.
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Playing Bulgarian folk dances- horoes, is a fascinating, emblematic and centuries’ years old tradition. The folk dance is an important part both from different holidays and from the everyday life of Bulgarians. This is one of the most significant and fascinating folklore activities, making Bulgaria famous all over the world. We can define Bulgarian national dance as an exceptionally beautiful art. This is a skill that makes people happy and energetic. Folk dances reveal the temper of our nation. At the same time, in the rhythm of the dance lives the collective spirit, which attributes to feeling joy, delight and rest when dancing with other people.That is why Bulgarian folk dance is not only a way to feel happy. It gathers, gives strength, teaches, expresses and above all- gathers the people of Bulgaria. It is also a way to be closer to nature. That is why Bulgarian folk dance is strength for the spirit. It is a magic for the soul- chases away tiredness and bad mood by generating positive energy and releasing the discomfort and stress. The following text presents classification of the Bulgarian folk dances- horoes according to different and various criteria. They are divided into groups according to: the performers, the type of dancing chain, metrorhythm, customs, folklore regions, tempo and others. The following resume confirms the variety and wealth of Bulgarian folk dance. The text also defines the dance as a magic that preserved our spirit and our nation throughout our history. It is not only a magic that is still alive, but a magic that is actively represented by different dancing formations nowadays. Bright costumes, thrilling music and energetic horoes – they always provoke emotions and loud applause among native and foreign public. The charming nature of Bulgarian dances is the reason why they are still alive and have been passed from one generation to the other. In this way, this centuries’ years old tradition will be preserved for the future generations and the Bulgarian shall never be forgotten.
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Richter, Pál. "Dance house under the socialist regime in Hungary." Studia Musicologica 56, no. 4 (December 2015): 407–15. http://dx.doi.org/10.1556/6.2015.56.4.8.
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At the beginning of the 1970s there was a drastic turn in the history of Hungarian folklorism brought by the ‘dance house’ [táncház] movement. This movement, based on civil initiative, aimed to evoke and revive the patterns of peasant dance and music culture of local communities, preserving its aesthetic values. Within its confines, many young people followed the example of the initiators, Ferenc Sebő and Béla Halmos through the intensive appropriation of instrumental folk music. Their professional leaders were such folklore researchers as Lajos Vargyas, Imre Olsvai, and György Martin, later the amateur activity ignoring scientific requirements came to play a determinant role. (N.B. the “dance house method” was inscribed in 2011 on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity.) As an urban subculture rooted in the peasant traditional culture, it expanded independently from the centrally supervised cultural establishment — without the control of the communist party. It seemed to be dangerous from ideological point of view, because it could have involved the ideas of nationalism, liberty, and self-organized communities as well.