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Nitza Davidovitch, Nitza, and Eyal Lewin. "The Polish-Jewish Lethal Polka Dance." Journal of Education Culture and Society 10, no. 2 (2019): 15–31. http://dx.doi.org/10.15503/jecs20192.15.31.
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Aim. This paper analyses the inherent paradoxes of Jewish-Polish relations. It portrays the main beliefs that construct the contradicting narratives of the Holocaust, trying to weigh which of them is closer to the historic truth. It seeks for an answer to the question whether the Polish people were brothers-in-fate, victimized like the Jews by the Nazis, or if they were rather a hostile ethnic group.
 Concept. First, the notion of Poland as a haven for Jews throughout history is conveyed. This historical review shows that the Polish people as a nation have always been most tolerant towards the Jews and that anti-Semitism has existed only on the margins of society. Next, the opposite account is brought, relying on literature that shows that one thousand years of Jewish residence in Poland were also a thousand years of constant friction, with continuous hatred towards the Jews. Consequently, different accounts of World War II are presented – one shows how the Polish people were the victims, and the others deal with Poles as by-standers and as perpetrators.
 Results and conclusion. Inconsistency remains the strongest consistency of the relations between Jews and Poles. With the unresolved puzzle of whether the Polish people were victims, bystanders or perpetrators, this paper concludes with some comments on Israeli domestic political and educational attitudes towards Poland, that eventually influence collective concepts.
 Cognitive value. The fact that the issue of the Israeli-Polish relationship has not been deeply inquired, seems to attest to the reluctance of both sides to deal with what seems to form an open wound. At the same time, the revival of Jewish culture in Poland shows that, today more than ever, the Polish people are reaching out to Israelis, and are willing to deal with history at an unprecedented level. As Israelis who wish to promote universal values, a significant encounter with the Polish people may constitute a door to acceptance and understanding of others. Such acceptance can only stem from mutual discourse and physical proximity between the two peoples.
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Slobodová Nováková, Katarína, Michaela Grznárová, Mária Lujza Kovalčíková, Laura Vasiliauskaité, and Agáta Petrakovičová. "The Phenomenon of Sword Dancing in Europe. Cultural-historical contexts." Národopisný věstník 82, no. 2 (2023): 67–89. http://dx.doi.org/10.59618/nv.2023.2.05.
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Sword dances belong to the oldest layers of dance culture. The origin of these dances, which can be described as a phenomenal manifestation of dance culture in almost the whole of Europe, unfortunately cannot be reduced to a single genetic basis. It goes without saying that such dancing would not still exist today without its bearers. Sword dancing has been gradually modified in some countries, losing its ceremonial function or its connection to the calendar cycle, and being transformed into a theatrical form; in some countries it is now only maintained by small groups of dancers as a social occasion. The tradition of sword dancing is a unique example of Europe‘s intangible cultural heritage. The ancient chain and circle form of the dance is an element common to European countries, apart from the connection with the carnival season. The dance itself has its own specific features – dance patterns, costumes, clothing accesories, and props, which are unique components of the dance that point to its archaic character. The aim of the study is to document these dances, identifying the characteristic features and common expressions across almost all of Europe, or in the countries where they have been documented.
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Golovlev, Alexander. "Dancing the Nation? French Dance Diplomacy in Allied-Occupied Austria, 1945–55." Austrian History Yearbook 50 (April 2019): 166–83. http://dx.doi.org/10.1017/s0067237818000607.
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These excerpts from critical reviewscovering French dance tours in Vienna, Salzburg, and Innsbruck reflect the scale and variety of French cultural engagement and its growing public visibility in Austria. Out of the four Allied powers, it was France, and not the Soviet Union with its “ballet capital,” that made most use of dance and ballet fornation-brandingpurposes, both in sabots and on pointe. France's dance diplomacy exported all genres of dance to Austria in order to portray the politically and militarily weakened nation as arayonnantcultural leader of Europe, whose diversity, supremacy, and grandeur were not undone by 1871 and 1940.
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Burt, Ramsay. "Trio A in Europe." Dance Research Journal 41, no. 2 (2009): 25–27. http://dx.doi.org/10.1017/s0149767700000632.
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Since the mid-1990s European dancers and audiences have played a significant role in the revival of interest in Yvonne Rainer's dance work. Two key examples of this are the restaging of Rainer's Continuous Project-Altered Daily (CP-AD) in 1996 by the French group Quatuor Albrecht Knust and the more recent creation and trial of the Labanotation score of Trio A in London. In her reminiscences printed above, Pat Catterson suggests that Trio A' s “relaxed natural quality, equality of parts, its tame simplicity, and durational patience may be out of synch with today's Zeitgeist.” During Charles Atlas's documentary, Rainer Variations, Rainer herself suggests today's audiences would no longer be prepared to sit through the long slow works she made during the Judson period. If this is currently the case with audiences in the United States, it is not so on the other side of the Atlantic. European audiences for innovative dance and live art seem prepared to take the time to experience and appreciate slow, demanding, experimental work.European choreographers and dance artists who have been interested in Trio A often have a keen and sophisticated, if idiosyncratic, interest in dance history. Artists I have spoken to suggest this interest helps them build on what has already been done and makes them aware of a broader range of creative possibilities. Some say they find it useful to discover dance artists in the past who were working in ways that are similar to their own practices. For example, Xavier Le Roy, who took part in the 1996 restaging of Rainer's CP-AD, performed the “chair pillow” section from it during his 1999 performative lecture Product of Circumstances. His discovery of ordinary, task-based, and pedestrian movement in Rainer's work affirmed his own research into similar kinds of movement.
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von Rosen, Astrid. "Om Claude Marchant: Ett historiografiskt bidrag till svart danshistoria i Sverige." Nordic Journal of Dance 12, no. 1 (2021): 4–21. http://dx.doi.org/10.2478/njd-2021-0002.
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Abstract In this article, the concept of «black dance» is used as a critical tool to explore the lifelong dance achievements of the black dancer, choreographer and pedagogue Claude Marchant (1919–2004) in relation to history making. Marchant’s history in the US and to some extent in Europe from the 1930s to the 1960s is mapped and analysed, with the aim of better understanding his work in Sweden, and more specifically in Gothenburg. While Marchant is mentioned in previous dance historiographies, there are no in-depth explorations of his life and work. This exploration, therefore, complements both Swedish and international dance research, with an example that problematises history production in relation to black artists such as Marchant. It is argued that a participatory «dance-where-we-dig» method is a useful tool for instigating locally situated historiographical processes of change, and can relate artists such as Marchant to broader, transnational contexts.
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Bihari, Peter. "Dance of the Furies. Europe and the Outbreak of World War I." European Review of History: Revue europeenne d'histoire 19, no. 3 (2012): 467–69. http://dx.doi.org/10.1080/13507486.2012.695597.
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Chevrier-Bosseau, Adeline. "Dancing Shakespeare in Europe: silent eloquence, the body and the space(s) of play within and beyond language." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (2020): 3–17. http://dx.doi.org/10.1177/0184767820914508.
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How does one dance Shakespeare? This question underpins this collection of six articles, which explore how choreographers have invested space and the playtext’s interstices to transpose them into ballet pieces – whether contemporary ballet, classical or neo-classical ballet, or works that fall under the umbrella term of contemporary dance. The authors delineate how the emotions translate into silent danced movement and highlight the physical, somatic element in music – beyond spoken language. Through the triple prism of dance, music and a reflection on silence, this special issue invites us to reconsider questions of embodiment, performance and eloquence in Shakespeare’s plays.
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Althammer, Miriam. "Performing the Memories: Methodologies on Archiving, Recalling and Foretelling with Oral History in Dance and Performance." Divadelní revue 36, no. 1 (2025): 9–25. https://doi.org/10.62851/36.2025.1.01.
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This article explores how oral history can function as a performative and epistemological tool to engage with the embodied knowledge of dancer-choreographers from Southeast Europe. Drawing on 50 interviews and archival material from Tanzquartier Wien, it examines how personal memories, bodily practices, and translocal artistic experiences challenge dominant Western narratives in contemporary dance historiography. The study introduces the concept of body archaeologies to trace and activate fluid, multidirectional forms of dance knowledge, situated between archive and body, memory and movement. Through artistic-research methods such as transcripts as scores and (p)re-enactments, a framework emerges for revisiting and reshaping European dance histories – one that positions oral history not as a supplementary tool, but as a transformative, relational practice capable of destabilising linear historiography and institutional canons.
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PIPOYAN, RIMA. "FRANÇOIS DELSARTE’S DOCTRINE AS THE BASIS FOR THE CREATION OF MODERN DANCE." Scientific bulletin 1, no. 43 (2022): 192–206. http://dx.doi.org/10.24234/scientific.v1i43.15.
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The article discusses the study of the teachings of François Delsarte, in which an attempt is made to understand the stages of the origin and development of modern dance in different countries. This teaching spread to two countries: the USA, Germany, then it penetrated into Russia and became the basis for the creation of rhythmic and plastic dance studies. All the ideas embodied in the study of the François Delsarte system served as a good basis for the development of a new dance direction at the end of the 19th century. Today, this new dance direction is known to all of us as modern dance. Each country, having its own customs, worldviews and history, interpreted it in different ways: in the USA it was called modern dance, in Germany - expressive dance, and in Russia - rhythmoplastic dance.
 These phrases had different purposes: several generations of modern dancers in the USA used their ideas and developed the terminology of modern dance in English. Germany had its own interpretation, but since it was not a widely used international language, the terms did not come into use. Today, in Germany and elsewhere in Europe, these terms are also used in English.
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Macintosh, Fiona. "Moving Images, Moving Bodies." Fascism 12, no. 2 (2023): 206–27. http://dx.doi.org/10.1163/22116257-bja10066.
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Abstract At the end of the nineteenth century, under the influence of chronophotography and the arguments of the French musicologist Maurice Emmanuel, it was believed that ancient dance could be recovered for the modern world by animating the figures on ancient Greek vases. This led to a flurry of practitioners of so-called ‘Grecian’ dance across Europe, the US and the British Empire. At the beginning of the twentieth century, moving like a Greek became as popular and as liberating for women of the upper classes as discarding a corset and dressing in a Greek-style tunic. In the Edwardian period, since the most celebrated practitioners of Greek dance were women, this new corporeal Hellenism was viewed with deep suspicion as a perilous bid for Sapphic liberation from the patriarchy. But this new corporeality was no less part of a wider utopian return both to nature and the ideal of the collective that laid the groundwork for fascist appropriations of Greek dance in the 1920s.
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Bahia, Joana. "Dancing with the Orixás." African Diaspora 9, no. 1-2 (2016): 15–38. http://dx.doi.org/10.1163/18725465-00901005.
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This article explores how the body and dance play a central role in the transnationalization of Candomblé among Afro-descendant people and increasingly for white Europeans by creating a platform for negotiating a transatlantic black heritage. It examines how an Afro-Brazilian artist and Candomblé priest in Berlin disseminate religious practices and worldviews through the transnational Afro-Brazilian dance and music scene, such as during the annual presence of Afoxé – also known as ‘Candomblé performed on the streets’ – during the Carnival of Cultures in Berlin. It is an example of how an Afro-Brazilian religion has become a central element in re-creating an idea of “Africa” in Europe that is part of a longer history of the circulation of black artists and practitioners of Candomblé between West Africa, Europe and Latin America, and the resulting creation of transnational artistic-religious networks.
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Chepalov, Oleksandr. "Dance Party on the Banks of the River Isar (XVIII International Contemporary Dance Festival Dance 2023 in Munich)." Dance Studies 6, no. 2 (2023): 173–90. https://doi.org/10.31866/2616-7646.6.2.2023.295183.
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<strong>The purpose of the article </strong>is to identify repertoire trends and stylistic features of contemporary dance forums on the example of the XVIII International Festival DANCE 2023 in Munich. <strong>Research methodology. </strong>While maintaining the old tools (academic criteria for analysing the overall development of world dance culture), the conceptual and categorical apparatus of art history and cultural studies is updated to support a scientific strategy that corresponds to postmodern and post-postmodern changes in culture in general. <strong>Scientific novelty. </strong>Key stylistic changes in European and partly American contemporary dance are identified through the analysis of festival events as a concentration of contemporary world dance art. <strong>Conclusions. </strong>It has been determined that the participants of the DANCE 2023 dance forum in Munich, such as Marie Chouinard, Catherine Gaudet, Matilda Monier, Jodi Oberfelder, Moritz Ostrushniak, Richard Segal and Agnete Lysychkinaite, Dovydas Strimaitis, and Lucas Karvelis, Wen Chung Lee are not only working to showcase their best achievements but are also contributing to Munich’s return to the title of city with a rich dance history, a centre for the education of dancers and a place where influential developments in dance culture have taken place. The article shows how a regular (former city) festival is gradually transforming into one of the most innovative and representative dance forums in Europe. Examples of a well-thought-out programme combination of Munich-based companies, large guest ensembles and individual foreign experimental artists are given, which allowed DANCE 2023 to attract the attention of not only specialists but also to help attract numerous new audiences. The author has analysed the most significant choreographic compositions and other events, which demonstrates the relevance of the directors’ search for contemporary art through the international art of dance and the encouragement of artists and spectators to communicate more actively. The article also shows the proportion of additional festival events, such as exhibitions, film screenings, thematic excursions and discussions, in this process. This significantly contributed to strengthening the historical memory of prominent figures in choreography and the history of contemporary dance.
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Rakocevic, Selena. "The Jankovic sisters and kinetography Laban." Muzikologija, no. 24 (2018): 151–72. http://dx.doi.org/10.2298/muz1824151r.
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Based on the archival material from the Legacy of Sisters Jankovic, which is stored in the National Library of Serbia, this article critically examines Ljubica and Danica Jankovic?s relation to today?s world-renowned dance notation, kinetography Laban. The analyzed archival material includes the transcript of the first edition of Laban?s notation called Schrifttanz in German, as well as several unpublished manuscripts by Ljubica Jankovic. Even though the Jankovic sisters were familiar with kinetography Laban, they (especially Ljubica) were its great opponents. Instead of learning and using kinetography Laban, they developed their own dance notation system in early 1930s and used it until Ljubica?s death in 1974. In this article, the relationship of the Jankovic sisters? dance notation to Rudolf Laban?s kinetography is considered in the context of the wider processes of development of ethnochoreology, traditional dance notations, as well as the history of kinetography Laban in Europe in the first half and mid-20th century.
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Lansdale, Janet. "Ancestral and Authorial Voices in Lloyd Newson and DV8's ‘Strange Fish’." New Theatre Quarterly 20, no. 2 (2004): 117–26. http://dx.doi.org/10.1017/s0266464x04000028.
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Lloyd Newson has worked in Europe for some twenty-three years with DV8 Physical Theatre, creating powerful socio-political pieces which address sexuality and interpersonal relationships. These works are generally created with performers through workshop processes and collaboratively with composers. London's experimental dance and theatre scenes in the 1980s and early 1990s provided a challenging context for Lloyd Newson's early creative endeavours. Here, Janet Lansdale takes one work, Strange Fish, as the locus of her discussion on narrative positions in relation to dominant forms of modern dance and issues of sexuality, homophobia, and politics within physical theatre. She conceptualizes and contextualizes ‘voices’ as ‘authorial’ and ‘ancestral’, and traces their manifestation in readings of the work. Complementary and sometimes competing voices from author, text, reader, and cultural history are articulated through a range of intertextual perspectives. This is the second in a series of articles on this work. Janet Lansdale is Distinguished Professor in Dance Studies at the University of Surrey, where she was Head of Department, and later Head of the School of Performing Arts. She is the author and editor of four books on dance theory, history, and analysis, the most recent being Dancing Texts: Intertextuality in Interpretation (1999).
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Nevile, Jennifer. "Dance and the Garden: Moving and Static Choreography in Renaissance Europe*." Renaissance Quarterly 52, no. 3 (1999): 805–36. http://dx.doi.org/10.2307/2901919.
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AbstractIn the Renaissance there were close similarities between the static choreography of the formal gardens of the nobility and the moving choreographies performed by the members of the court. The principles of order and proportion, the expression of splendour, the geometrical forms, were all fundamental principles of both Renaissance court dance and the formal garden. The patterns in both these art-forms were meant to be viewed from above. This close similarity in design principles between the horticultural and kinetic arts existed right through the fifteenth and sixteenth centuries and continued into the seventeenth century.
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Franko, Mark. "French Interwar Dance Theory." Dance Research Journal 48, no. 2 (2016): 104–10. http://dx.doi.org/10.1017/s0149767716000188.
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Interwar French dance and the critical discourses responding to it have until recently been an underdeveloped research area in Anglo-American dance studies. Despite common patterns during the first half of the twentieth century that may be observed between the dance capitals of Berlin, Paris, and New York, some noteworthy differences set the French dance world apart from that of Germany or North America. Whereas in Germany and the United States modern dance asserted itself incontrovertibly in the persons of two key figures—Mary Wigman and Martha Graham, respectively—no such iconic nativist modernist dancer or choreographer emerged in France. Ilyana Karthas's When Ballet Became French indicates the predominance of ballet in France, and this would seem an inevitable consequence of the failure of modern dance to take hold there through at least one dominant figure. Franz-Anton Cramer's In aller Freiheit adopts a more multidimensional view of interwar French dance culture by examining discourse that moves outside the confines of ballet. A variety of dance forms were encouraged in the milieu of the Archives Internationales de la Danse—an archive, publishing venture, and presenting organization—that Rolf de Maré founded in Paris in 1931. This far-reaching and open-minded initiative was unfortunately cut short by the German occupation (1940–1944). As Cramer points out: “The history of modern dance in Europe is imprinted with the caesura of totalitarianism” (13). Although we are somewhat familiar with the story of modern dance in Germany, we know very little about it in France.
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Kothari, Saroj. "EFFECTS OF DANCE AND MUSIC THERAPY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–8. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3389.
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Arts have consistently been part of life as well as healing throughout the history of humankind. Today, expressive therapies have an increasingly recognized role in mental health, rehabilitation and medicine. The expressive therapies are defined as the use of art, music, dance/movement drama, poetry/creative writing, play and sand play within the context of psychotherapy, counseling, rehabilitation or health care.Through the centuries, the healing nature of these expressive therapies has been primarily reported in anecdotes that describe a way of restoring wholeness to a person struggling with either mind or body illness. The Egyptians are reported to have encouraged people with mental illness to engage in artistic activity (Fleshman & Fryrear, 1981); the Greeks used drama and music for its reparative properties (Gladding, 1992); and the story of King Saul in the Bible describes music’s calming attributes. Later, in Europe during the Renaissance, English physician and writer Robert Burton theorized that imagination played a role in health and well-being, while Italian philosopher de feltre proposed that dance and Play was central to children’s healthy growth and development (Coughlin, 1990).
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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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Tomlinson, Alan, and Christopher Young. "Towards a New History of European Sport." European Review 19, no. 4 (2011): 487–507. http://dx.doi.org/10.1017/s1062798711000159.
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The European Commission has invested much symbolic capital in sport's potential contribution to European identity, recently stating ‘that sport has a role in forging identity and bringing people together’. Yet such claims must be strongly qualified. Whilst sport is conspicuously present in Europe as an everyday activity, it is elusively variegated in its social and cultural forms and impacts, and historically informed scholarship points to a more sophisticated approach to the understanding of the subject. At the same time, national histories – conceived largely within national frameworks – hold sway in the field of sports history. There is little truly comparative work and this lack allows the European Commission to put out its statements unchallenged. This article proposes a number of ways in which European sports history might be conceived comparatively. It outlines four different models of European sport (British, German, Soviet, Scandinavian), whilst highlighting the problems inherent in such modelling; argues for greater historical depth (e.g. the importance of Italy in the early modern period); warns against the dangers of presentism (e.g. highlighting the proximity of dance and gymnastics in earlier periods); challenges the hegemony of British sport; and champions the cause of a serious consideration of Eastern Europe.
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Hellier-Tinoco, Ruth. "Constructing “Old Spanish Days, Inc.” in Santa Barbara, California, USA: Flamenco vs. Mexican Ballet Folklórico." Congress on Research in Dance Conference Proceedings 2014 (2014): 91–98. http://dx.doi.org/10.1017/cor.2014.12.
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Old Spanish Days Fiesta, an annual five-day event held in Santa Barbara, California, since 1924, “… provides an education to residents and visitors about the history, customs, and traditions of the American Indian, Spanish, Mexican, and early American settlers that comprise the rich cultural heritage of Santa Barbara” (http://www.sbfiesta.org). Dance plays a central role, with flamenco in the spotlight as the prime corporeal practice, constructing Spanishness through romanticized and revisionist historiography, and validating European colonization, migration, and diaspora. Although Mexican ballet folklórico is also featured, given the socio-political context in relation to people of Mexican heritage (recent and long-term) in Santa Barbara, I argue that deliberately privileging flamenco as the principal dance perpetuates problematic divisions, validating Europe and simultaneously undermining a Mexican presence.
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Rakočević, Selena. "Dancing in the Danube Gorge: Geography, dance, and interethnic perspectives." New Sound, no. 46 (2015): 117–29. http://dx.doi.org/10.5937/newso1546117r.
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This paper will look at dance practices of Romanian and Serbian villagers along the Danube Gorge which historically functioned as a natural and political boundary. Opportunities for dancing in all villages in the Gorge are still very common and frequented especially during the summer time. Based on my field research, carried out since 2011, the paper examines the contemporary dance practice of this region. My methodological orientation will be based on the ethnochoreological investigation of diverse repertoires, but also diverse dance structures as "predictable" dance texts designated during previous times as Romanian or Serbian, which are interpolated by the villagers. The notion of geographical place considered in the sense of a distinct "culture area", which, according to Bruno Nettl is grounded in the history of ethnomusicology, but also ethnochoreology, will be challenged by applying Martin Stokes' concept of (geographical) place as a social construction which involves notions of difference and social boundary. The following question will be raised: In what way does contemporary village dancing in the Danube Gorge correspond to the idea of establishing Romanian society as a part of the New Europe? In what way does the current (re)positioning of this historically and geographically distinct territory influence its contemporary dance practice? How is the concept of the ethnic dance (Romanian and Serbian) recognized both by insiders (villagers) and outsiders (the State institutions and scholars) and does this correspond to the new social and political context of contemporary Romanian society?
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Guðmundsdóttir, Aðalheiður. "Om hringbrot og våbendanse i islandsk tradition." Kulturstudier 1, no. 1 (2010): 132. http://dx.doi.org/10.7146/ks.v1i1.3886.
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By using those sources traditionally referred to, as well as introducing a number of new ones, the article seeks to shed light on weapon dances within the Nordic countries, placing them in a European context, the intention being to strengthen<br />the basis for further research into this area within the field of Nordic dance studies and history. Until now, the shortage of material has made it difficult for scholars to place potential Nordic weapon dances within the context of comparable<br />traditions known elsewhere in Europe. The purpose of this article is to attempt to fill this gap to some degree by presenting relevant material of a different kind.<br />In order to demonstrate that weapon dances belong to a deep-rooted tradition of dances and games in Northern Europe, some ancient pictorial sources are exhibited<br />and explained. Furthermore, Icelandic sources that shed new light on the coherence of medieval weapon dances are revealed. The Icelandic material, in other words sources which indicate that people in Iceland knew or knew of<br />weapon dances, are of two different kinds: they indicate first of all that Icelanders used to take part in a dance called hringbrot, a dance which appears to be very similar to descriptions of weapon dances of other nations. Secondly, it seems that<br />they created and preserved in their manuscripts drawings that indicate that they knew about weapon dances as early as in the fourteenth and fifteenth centuries.<br />The additional material presented here, which is substantial, is now being analyzed and has a valuable contribution to make to the debate concerning Nordic weapon dances. By putting the Icelandic material in connection with more traditional sources from Northern Europe, and in the broader context of Mid and<br />Western Europe, we should be able to increase our understanding of the context and development of weapon dances.
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Hanák, Péter. "The Historical and Cultural Role of the Vienna-Budapest Operetta." Central-European Studies 2021, no. 4(13) (2021): 391–415. http://dx.doi.org/10.31168/2619-0877.2021.4.15.
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This article is devoted to the history of the origin and rise to the peak of popularity of the operetta genre in the Austro-Hungarian monarchy. This paper demonstrates that, in contrast to French or English operettas with their pronounced political and satirical orientation, the uncomplicated and frivolous librettos of the operettas staged in Vienna and Budapest were demonstrably apolitical. The plots of four operettas — The Bat and The Gypsy Baron (Johann Strauss), The Merry Widow (Franz Lehar), and The Riviera Girl (Germ. Csárdásfürstin, Imre Kálmán) — and the press responses they produced are considered. These works created the illusion of ease of overcoming social boundaries, included a cascade of sparkling, memorable melodies borrowed from different peoples of the multi-ethnic monarchy, and combined waltz, csárdás, polka, mazurka, and gypsy tunes on the stage, relegating differences to the background and making the audience forget about interethnic contradictions. Sweet love stories with happy endings helped audiences to forget that Europe was burning during the First World War. The operetta genre became part of mass culture, and even if its artistic level and value varied greatly from work to work, it proposed a new common cultural metalanguage and did not cut off the path to high musical culture for the masses, but rather straightened it.
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Deaville, James. "African-American Entertainers in Jahrhundertwende: Vienna Austrian Identity, Viennese Modernism and Black Success." Nineteenth-Century Music Review 3, no. 1 (2006): 89–112. http://dx.doi.org/10.1017/s1479409800000367.
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According to jazz scholar Howard Rye, when considering public representations of African-American music and those who made it at the turn of the last century, ‘the average jazz aficionado, and not a few others, conjures up images of white folks in black face capering about’. We could extend this to include white minstrels singing so-called ‘coon songs’, which feature reprehensible racist lyrics set to syncopated rhythms. Traditional representations assign the blacks no role in the public performance of these scurrilous ‘identities’, which essentially banished them from the literature as participating in careers in the performing arts. As a result of the problems with the representation of blacks in texted music from the turn of the century, historians have tended to write vocal performance out of the pre-history of jazz, in favour of the purely instrumental ragtime. However, recent research reveals that African-American vocal entertainers did take agency over representations of themselves and over their careers, in a space unencumbered by the problematic history of race relationships in the USA. That space was Europe: beginning in the 1870s, and in increasing numbers until the ‘Great War’, troupes of African-American singers, dancers and comedians travelled to Europe, where they entertained large audiences to great acclaim and gained valuable experience as entrepreneurs, emerging as an important market force in the variety-theatre circuit. Above all, they performed the cakewalk, the late-nineteenth-century dance whose syncopated rhythms and simple form accompanied unnatural, exaggerated dance steps. By introducing Europe to the cakewalk, they prepared audiences for the jazz craze that would sweep through the continent after the war and enabled Europeans to experience the syncopated rhythms and irregular movements whether as dancers or as spectators.
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Dr., Saroj Kothari. "EFFECTS OF DANCE AND MUSIC THERAPY." International Journal of Research – Granthaalayah, Innovation in Music & Dance :January,2015 (September 5, 2017): 1–8. https://doi.org/10.5281/zenodo.884584.
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Arts have consistently been part of life as well as healing throughout the history of humankind. Today, expressive therapies have an increasingly recognized role in mental health, rehabilitation and medicine. The expressive therapies are defined as the use of art, music, dance/movement drama, poetry/creative writing, play and sand play within the context of psychotherapy, counseling, rehabilitation or health care. Through the centuries, the healing nature of these expressive therapies has been primarily reported in anecdotes that describe a way of restoring wholeness to a person struggling with either mind or body illness. The Egyptians are reported to have encouraged people with mental illness to engage in artistic activity (Fleshman & Fryrear, 1981); the Greeks used drama and music for its reparative properties (Gladding, 1992); and the story of King Saul in the Bible describes music’s calming attributes. Later, in Europe during the Renaissance, English physician and writer Robert Burton theorized that imagination played a role in health and well-being, while Italian philosopher de feltre proposed that dance and Play was central to children’s healthy growth and development (Coughlin, 1990). The idea of using the arts as an adjunct to medical treatment emerged in the period from the late 1800s to the 1900s alongside the advent of psychiatry. For example, documented uses of music as therapy can be found following World War I when “miracle cures” were reported, resulting form reaching patients through music when they responded to nothing else. The creative arts therapies became more widely known during the 1930s and 1940s when psychotherapists and artists began to realize that self-expressions through nonverbal methods such as painting, music making, or movement/dance might be helpful for people with severe mental illness.
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Rakočević, Selena. "Tracing the discipline: Eighty years of ethnochoreology in Serbia." New Sound, no. 42 (2013): 58–86. http://dx.doi.org/10.5937/newso1341058r.
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The interest for traditional dance research in Serbia is noted since the second part of the 19th century in various ethnographical sources. However, organized and scientifically grounded study was begun by the sisters Danica and Ljubica Janković marked by publishing of the first of totally eight volumes of the "Folk Dances" [Narodne igre] in 1934. All eight books of this edition published periodically until 1964 were highly acknowledged by the broader scientific communities in Europe and the USA. Dance research was continued by the following generation of researchers: Milica Ilijin, Olivera Mladenović, Slobodan Zečević, and Olivera Vasić. The next significant step toward developing dance research began in 1990 when the subject of ethnochoreology was added to the program of basic ethnomusicological studies at the Faculty of Music in Belgrade and shortly afterward in 1996 in the Academy of Arts in Novi Sad. Academic ethnochoreological education in both institutions was established by Olivera Vasić. The epistemological background of all traditional dance research in Serbia was anchored mostly in ethnography focused on the description of rural traditions and partly in traditional dance history. Its broader folkloristic framework has, more or less, strong national orientation. However, it could be said that, thanks to the lifelong professional commitment of the researchers, and a relatively unified methodology of their research, ethnochoreology maintained continuity as a scientific discipline since its early beginnings. The next significant milestone in the development of the discipline happened when traditional dance research was included in the PhD doctoral research projects within ethnomusicological studies at the Faculty of Music in Belgrade. Those projects, some of which are still in the ongoing process, are interdisciplinary and interlink ethnochoreology with ethnomusicology and related disciplines. This paper reexamines and reevaluates the eighty years long tradition of dance research in Serbia and positions its ontological, epistemological and methodological trajectories in the broader context of its relation to other social sciences/humanities in the contemporary era of interdisciplinarity and postdiciplinarity.
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Stepputat, Kendra. "Understanding Tango Danceability by Accessing Embodied Knowledge: The “Harmonic Comfort Zone”." European Journal of Musicology 23, no. 1 (2025): 116–36. https://doi.org/10.5450/ejm.23.1.2025.116.
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“The Tango Danceability of Music in European Perspective” is the title of a research project in which the translocal genre tango argentino is examined, focusing on its history and some of its manifestations in Europe. The broad objective of the project is to determine which factors in sound, movement, and social relations are relevant to the question of “tango danceability.” To access embodied knowledge of danceability by tango dancers, we designed an experiment in which tango dancers throughout Europe were asked to dance to newly composed pieces and write down their immediate reactions to it. Some of the outcomes of this experiment confirm inside knowledge I have gained as a tango dancer for more than a decade. Other aspects, such as the importance of harmonic structures, were surprising and led to insights impossible to uncover without quantitative, experimental approaches in combination with qualitative expert knowledge.
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Vertinsky, Patricia. "Isadora Goes to Europe as the “Muse of Modernism”: Modern Dance, Gender, and the Active Female Body." Journal of Sport History 37, no. 1 (2010): 19–39. http://dx.doi.org/10.5406/jsporthistory.37.1.19.
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Classen, Albrecht. "Marian Devotion in the Late Middle Ages: Image and Performance, ed. Andrea-Bianka Znorovszky and Gerhard Jaritz. Studies in Medieval History and Culture. London and New York: Routledge, 2022, ix, 209 pp., b/w ill." Mediaevistik 35, no. 1 (2022): 359–60. http://dx.doi.org/10.3726/med.2022.01.47.
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Abstract One of the central aspect of religious life in the European Middle Ages was the veneration of the Virgin Mary. We find countless examples of sculptures, churches, paintings, poems, and other objects, including musical compositions and also forms of dance reflecting this profound worship of the Mother of God. Research has addressed this accordingly already in a flood of relevant studies, and here we face yet another collective effort to probe this issue more deeply or in greater detail, especially examining important cases in eastern and central Europe during the late Middle Ages and the early modern age.
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T.V., Portnova. "TRANSFORMATION OF THE FANTASTIC PLOT IN THE GENRE STRUCTURES OF DANCE ART FROM THE RENAISSANCE TO ROMANTICISM." “Educational bulletin “Consciousness” 24, no. 10 (2022): 4–19. http://dx.doi.org/10.26787/nydha-2686-6846-2022-24-10-4-19.
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The author refers to the Renaissance era – mainly to the Italian region, which is associated with the development of theatrical dance. In Europe, it appeared a little later and French courtyards, mostly became a source of exquisite stylization and baroque beauty of this kind of art. It is noted that such rulers of Italian city-states as L. Medici, M. Sforza, the Este and Gonzaga dynasties began to pay more and more attention to magnificent spectacles. Using approaches and methods of system analysis, the article analyzes the main features of the development of dance from the Renaissance to the Baroque of the XVII century.then to the XVIII century and ballet Romanticism of the XIX century. The problems of transformation of dance vocabulary into the plot fantastic structure of performances and choreographic compositions are considered. As a result, having brought the existing transformations of the fantastic plot in the ballet into a single whole, it is indicated that in this transformation of the plots the connection of the times from ancient mythology to the fantastic refraction of the romantic narrative is revealed. Special attention is paid to the main types of theatrical dances at the court, which contributed to the development of stage choreography. The article also analyzes the main issues of the development of ballet in the period, mainly from the late Renaissance to the XIX century, in particular, the history of the opening of the First Ballet School in Paris, which influenced the composition of the technique of classical dance and the aesthetics of the formation of movements. It is noted that the increase in the level of classical dance technique enriched the artistic potential of ballet and largely expanded its thematic and genre range. As a result of the work, the author draws conclusions about the significant influence of the Renaissance era on the transformation of fantastic plots in the ballet theater of the subsequent time.
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Vernyhor, Dmytro. "The Ukrainian Star of World Ballet." Diplomatic Ukraine, no. XX (2019): 794–98. http://dx.doi.org/10.37837/2707-7683-2019-54.
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The article deals with the life and career path of Serge Lifar, a Ukrainian world-class dancer, choreographer, theorist of choreography, historian and reformer of the 20thcentury ballet, Honorary President of the UNESCO International Dance Council. Serge Lifar was a prolific artist, choreographer and director of the Paris Opéra Ballet, one of the most preeminent ballet companies in Western Europe. Attention is drawn to the fact that pedagogical activity constituted a significant part of Lifar’s work. In 1947, he founded the French Academy of Dance, from 1955 he taught his-tory and theory of dance at Sorbonne University, having developed his own system of ballet dancers’ training and authored more than 20 works on ballet. In the same year, he was recognized as the best dancer and choreographer in France and was awarded the ‘Golden Shoe’. In 1957, he became the founder and rector of the Paris University of Dance. The author emphasizes that Lifar’s creative heritage is huge. He choreographed more than 200 ballets and wrote 25 books on dance theory. Serge Lifar trained 11 ballet stars. Serge Lifar’s style, which he called choreographic neoromanticism, determined the ways of development of the European ballet art of the second half of the 20th century. At the age of 65, Lifar showed his talent as a visual artist. His heritage includes more than a hundred original paintings and drawings, the main plot of which is ballet, dance, and movement. In 1972–1975, exhibitions of his works were held in Cannes, Paris, Monte Carlo and Venice. His yet another passion was books. It all began with Serhii Diahiliev’s personal archive, which included a collection of theatrical paintings, scenery and a library. Lifar bought it from the French government for a one year’s salary at the Grand Opera. In the USSR, Lifar’s name was concealed. Only in 1961, did he and his wife visit it for the first time as the Soviet authorities did not allow him to stage any ballet in the USSR. He always felt he was Ukrainian and ardently promoted the history and culture of his people. In honour of the outstanding countryman, the Serge Lifar International Ballet Competition and the festival ‘Serge Lifar de La dance’ have been held since 1994 and 1995, accordingly. Keywords: cultural diplomacy, art of artistic vision of choreography, Serge Lifar International Ballet Competition.
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Rochester, Katherine. "Visual Music and Kinetic Ornaments." Feminist Media Histories 7, no. 1 (2021): 115–46. http://dx.doi.org/10.1525/fmh.2021.7.1.115.
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This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distance abstraction from ornament took the form of absolute film, and were screened together at the Absolute film Matinee of 1925. However, their claims for aesthetic integrity were staked on territory these artists largely had in common. By adopting a feminist approach that examines networks of collaboration, publication, and artistic production in Weimar Berlin, this essay reveals Reiniger as an early proponent of haptic cinema in interwar Europe and one of animation's earliest and most perceptive theorists.
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Winerock, Emily F. "Footprints of the Dance: An Early Seventeenth-Century Dance Master's Notebook. Jennifer Nevile. Drama and Theatre in Early Modern Europe 8. Leiden: Brill, 2018. xiv + 286 pp. $135." Renaissance Quarterly 72, no. 4 (2019): 1535–36. http://dx.doi.org/10.1017/rqx.2019.456.
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Tanman, M. Baha. "The Mevlevīḫāne of Salonica". Muqarnas Online 40, № 1 (2024): 423–47. http://dx.doi.org/10.1163/22118993_0040_013.
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Abstract Although there is quite a rich bibliography on the history of the Mevlevīḫāne of Salonica, which holds a prominent place among the Mevlevi lodges in Ottoman Europe, the visual sources that could illuminate its architectural features were limited until today to some exterior photographs from the early twentieth century. The building itself no longer exists, save for a few scant traces. I decided to write this article when, at an auction in 2019, I came across some personal items and official documents belonging to Salahaddin Efendi, the last postnişīn (sheikh of a dervish lodge) of this mevlevihane, as well as photographs of its courtyard, kitchen, türbe (mausoleum) and cemetery, and, most importantly, the plan of the main building, which houses the semāʿḫāne (hall in which the semāʿ [the Mevlevi ceremony of prayer, song, and dance] is performed) and the türbe. I hope this essay will be of interest to those who work on Ottoman Sufi architecture and the history of the Mevlevi order in Rumelia.
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Citro, Silvia, and Adriana Cerletti. "“Aboriginal Dances Were Always in Rings“: Music and Dance as a Sign of Identity in the Argentine Chaco." Yearbook for Traditional Music 41 (2009): 138–65. http://dx.doi.org/10.1017/s0740155800004173.
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In Argentina, aboriginal music and dance—as part of what UNESCO has called “intangible cultural heritage“—has been overlooked for a long time. During the construction of Argentina as a nation, especially in the late nineteenth and early twentieth centuries, European-derived societies and cultures were the privileged models in our country. In that period, the national government sponsored the wave of European immigration and, at the same time, the military persecution of aboriginal peoples and their forced assimilation to “Western Christian civilization.” One of the consequences of this history, mostly in the cultural imagination of the urban middle classes, was the pervasive thought that “Argentinians are descendants of the ships”—a popular saying referring to the ships that brought “our grandparents from Europe,” mainly from Spain and Italy.
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Ujvári, Hedvig. "“This Musical Peace is Worse than War:” Cultural History, Musical Banality and Political Context in the Ballet Excelsior." Studia Musicologica 64, no. 3-4 (2024): 269–86. http://dx.doi.org/10.1556/6.2023.00017.
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AbstractFrom 1847, the head of the Budapest ballet was Federico Campilli (1820–1889), an individual of Italian origin. He regarded Viennese taste as authoritative in designing the program, thereby building on the international ballet repertoire. This repertoire included romantic pieces from Western Europe, along with Campilli's own choreographies. Campilli concluded his forty-year tenure in Budapest in 1887, and Cesare Smeraldi (1845–1924) assumed his position. The imperial city served as the model for shaping the ballet program, commencing its operations with the staging of Manzotti's spectacular Excelsior, which had premiered in Vienna two years earlier. This sensational performance, focused on the rise of human civilization and the development of technology, involved hundreds of actors and was destined for success throughout Europe. It ran for 29 years in Vienna and nine years in Budapest. In this study, an exploration of the driving forces behind this ballet success story with unconventional themes is undertaken. Various aspects are examined, such as the discourse of dance and the articulation of otherness in local and global spaces. The study delves into what technophile ballet entails, how cultural history, abstract concepts, discoveries, and inventions can be narrated through ballet. The thesis also highlights the debatable aspects of the ballet's music, utilizing music reviews from Budapest and Viennese newspapers. Through these reviews, an attempt is made to map the reception history of the ballet in Vienna and Budapest. The significance of Excelsior in the political power field within Hungarian conditions is also emphasized.
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Martín, Annabel. "Introduction." International Journal of Iberian Studies 36, no. 3 (2023): 193–97. http://dx.doi.org/10.1386/ijis_00104_2.
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Armed political conflict is no stranger to contemporary Europe. Radicalized nationalist ideologies, state-sanctioned ethnic and religious violence, revolutionary separatist organizations, state-supported armies and police forces turning against civilian populations, insurgents and counterinsurgents, a long list of actors embodying the dance of death in recent times. This Special Issue of the International Journal of Iberian Studies (IJIS), ‘Unspeakable Truths’, will focus on the aftermath and the road to recovery after Basque ETA armed conflict in Spain–France (1959–2011) through the lens of affect, restorative justice, memory, peace-making efforts, and the arts (literature and film) thanks to contributions by academics, ETA and GAL victims, filmmakers, restorative justice practitioners and mediators of the Nanclares process, and peace activists.
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Carruthers, A. J. "Avant-Garde Austalgia." Journal of Foreign Languages and Cultures 6, no. 2 (2022): 132–42. http://dx.doi.org/10.53397/hunnu.jflc.202202012.
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The Australian avant-garde raises all the contradictions of avant-garde studies in the present time. Antipodal vanguards in the 20th and 21st centuries would grapple with various aspects of Australian national history, being in various ways and times between East and West, the aligned and non-aligned, the political and geopolitical in poetics. The word “Australia,” from the Latin auster, contains meanings for “East.” Most importantly, the Antipodal vanguard exposes the contradictions of Australia’s imperial-colonial past and the struggle to overcome it. In this essay, I begin with the example of a “Dada” poem that comes from an Aboriginal rain dance, as well as the emergence of Dada poetics from the 1950s to the 1970s. Throughout I keep complexities of history and time at the forefront: what is the worth of a “marginal” national literary history of the avant-garde? What does the avant-garde mean outside Europe or the Euro-US? What can Australian Dadaism tell us about the future of avant-garde studies? Does the avant-garde always lead to nostalgia, or “Austalgia,” a hearkening after the past, as much as a striving toward the future?
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Kusser, Astrid. "Arbeitsfreude und Tanzwut im (Post-)Fordismus." Body Politics 1, no. 1 (2013): 41–69. https://doi.org/10.12685/bp.v1i1.1430.
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English abstract: Black dances became popular in Europe and the United States not because they were exotic or different, but because they enabled a polemical attitude towards (self-)exploitation under modern regimes of mass labor. While the capacity of bodies to communicate and cooperate freely was increasingly supervised and instrumentalized on the shopfloor by disciplinary arrangements and racist discourses, people reappropriated it on the dancefloor in radically experimental and non-instrumentalist ways. The aesthetics and techniques of black diaspora dances constituted a vast repertoire of polemical movements and attitudes questioning the idea of self-liberation through work. Today, this history offers new perspectives on post-Fordist subjectivities and their work ethics. By assembling a diverse body of sources from early cinema to the 1980s Hollywood dance movies, from picture postcards to popular scientific publications and caricatures, the article shows that dancing was not the "other" of work in modern times.
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Johnson, Joan Marie. "Job Market or Marriage Market? Life Choices for Southern Women Educated at Northern Colleges, 1875-1915." History of Education Quarterly 47, no. 2 (2007): 149–72. http://dx.doi.org/10.1111/j.1748-5959.2007.00087.x.
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Margaret Preston, a member of a prominent family from Lexington, Kentucky, attended Bryn Mawr College from 1904 to 1906, initially against her will. Letters between Margaret and her parents while she was away at school reveal a homesick young woman, at first uninterested in scholarship. She complained that the other girls were “ugly and look disagreeable” and that she had bags under her eyes because “Bryn Mawr is a warranted beauty-destroyer.” In her second year, however, as Margaret began to develop academically, she focused less on returning home, beauty, and boys and more on her classes. She ignored her mother's requests for her to leave Bryn Mawr early for Christmas vacation in order to attend a dance, because she would lose credit if she missed class. Although she had earlier told her mother that she would have preferred that her aunt fund a trip to Europe rather than her education at Bryn Mawr, she now suggested that if she stayed four years to complete her degree, she might have a chance to graduate with honors. Apparently, her aunt did not choose to extend her financial support because Margaret stayed only two years. However, she returned home to Lexington a more bold and self-confident woman.
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Liu, Ting. "Singing (vocal) as a component of ballet: the experience of interpreting the phenomenon in the context of artistic trends of the early 20th century." Culture of Ukraine, no. 75 (March 21, 2022): 93–102. http://dx.doi.org/10.31516/2410-5325.075.12.
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The article is devoted to one of the forms of creative synthesis of types of art, which is being actualized in the modern space-time of musical and stage compositions, including through its own historical and genetic code. Singing in ballet appears in the context of art of the early 20th century as a common aesthetic phenomenon. However, music criticism and academic science have not yet provided the explanation of its mechanisms (image-aesthetic, psychological, form-creating, communicative), its overriding tasks in the concepts of modern musical theatre. The experience of problem statement in the field of interpretology provides the relevance of the topic of the article and determines the novelty of the obtained results.
 The purpose of the article is to reveal the preconditions and content of the functional unity of the art of singing and dance against the background of artistic trends of the early 20th century (starting with “Pulcinella” by I. Stravinsky).
 The creative tandem of dance and singing has its roots in ancient Greek culture, on which the creators of the French tradition of ballets du court (J.-B. Llully focused. In the realm of «mixed genres» of baroque music, the «golden age» of homo musicus began. The latest history of singing in ballet begins with I. Stravinsky, his «Pulchinelli». The obtained results of the research of the problem “What is singing in ballet — a tribute to history or an invention of modern culture”? First, the presence of the “genetic code” of this phenomenon in the art of Western Europe of the Modern times; secondly, the regularity of the tendency to synthesize singing in the art of ballet as a manifestation of neoclassicism, closely related to the historicism of compositional thinking of I. Stravinsky.
 The conclusions outline the preconditions and content of the functional unity of singing and dance in the format of artistic trends of the early 20th century: 1) the historical and cultural code of French art (singing — dramatic play — dance); 2) personal self-reflection of I. Stravinsky (his relations on the basis of creative cooperation in the early 20th century later formed a wide range of communication for artists: O. Rodin, A. Modigliani, K. Monet, P. Picasso, V. Kandinsky); 3) imitation of pre-classical, pre-baroque, and ancient folk traditions. In general, the revival of the function of singing in ballet of the 20th century took place on the basis of musical historicism and serves as a mental sign of the birth of neoclassicism.
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Związek, Tomasz. "The Dance of the Death in Late Medieval and Renaissance Europe: Environmental Stress, Morality, and Social Response. Edited by Andrea Kiss and Kathleen Pribyl." Environmental History 25, no. 4 (2020): 804–6. http://dx.doi.org/10.1093/envhis/emaa032.
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Rock, Judith. "The Jesuit College Ballets: What We Know and What’s Next." Journal of Jesuit Studies 4, no. 3 (2017): 431–52. http://dx.doi.org/10.1163/22141332-00403004.
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The existence and nature of the seventeenth- and eighteenth-century ballets produced at Jesuit colleges in Catholic Europe, most often in France and German-speaking lands, is better known now, in the United States and in France, than it was several decades ago. Researchers have come to understand much more about the ballets, their motivation and widespread production, and their professionalism. The Jesuit college ballets are a rich nexus of art, theology, philosophy, and culture. Looking again at what we already know reveals questions that need to be addressed in future research. The most fruitful future research is likely to come from scholars committed to interdisciplinary work, including some physical understanding of dance as an art form. As with any phenomenon involving the meeting of an art form and theology, historians of the art form and historians of the theology tend to know and be interested in very different things. And their colleagues, historians of culture, may be interested in yet something else. As scholars approach a variety of possible future Jesuit college ballet projects, this interdisciplinary challenge can illumine more completely the commitments and intentions of the ballets’ Jesuit producers, as well as the ballets’ influence on their surrounding cultures, and the cultures’ shaping of the ballets.
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Kartomi, Margaret J. "“Traditional Music Weeps” and Other Themes in the Discourse on Music, Dance and Theatre of Indonesia, Malaysia and Thailand." Journal of Southeast Asian Studies 26, no. 2 (1995): 366–400. http://dx.doi.org/10.1017/s0022463400007141.
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One of the most remarkable features of the past twenty years of scholarship on the Southeast Asian performing arts has been the sparking off of ideas between Southeast Asian-born scholars, whether trained in Southeast Asian universities or overseas, and Western scholars of the Southeast arts who live in North America, Australia, Europe, Japan and elsewhere. In colonial Indonesia (until 1945) and Malaysia (until 1957), research agendas of Dutch and British scholars respectively had complied with the social, economic and political priorities of the colonial powers and associated local court-centred artistic interests, though not always consciously. In Thailand, which was the only country in the region not to be colonized by a European power, Thai scholars had been actively researching their own court performing arts in the late colonial era but were nevertheless influenced by the colonial ethos of the region. In the past twenty years or so, the developing dialogue and contradictions between Southeast Asian and foreign scholars, each with their own partly distinctive assumptions and methodologies based on the priorities of their respective traditions and governments, have resulted in a healthy divergence, convergence, and cross-fertilization of ideas.
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LEONHARDT, NIC. "‘From the Land of the White Elephant through the Gay Cities of Europe and America’: Re-routing the World Tour of the Boosra Mahin Siamese Theatre Troupe (1900)." Theatre Research International 40, no. 2 (2015): 140–55. http://dx.doi.org/10.1017/s0307883315000024.
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Bangkok, Singapore, Paris, Vienna, Berlin, St Petersburg – some thirty performers of the Boosra Mahin Siamese Theatrical Troupe toured the world in 1900. Daily newspapers enthusiastically reported on the unprecedented shows of the performers ‘from the land of the white elephant’. After they disappeared from the map of theatre history, in 2010 Thai choreographer Pichet Klunchun ‘revives’ the troupe in his performance Nijinsky Siam. He follows their October 1900 St Petersburg show – the very performance attended by choreographer Mikhail Fokine and costume designer Léon Bakst, who later worked closely with Vaslav Nijinsky. In 1910, Nijinsky's La danse siamoise/Siamese Dance premiered at the Marinsky Theatre, St Petersburg. This article follows the routes of the Boosra Mahin Troupe on the basis of selected primary sources and from a global-historical perspective. In tracing the Boosra Mahin Troupe and their tours, the article not only maps their manifold routings and reroutings, but also advocates for the need for a global theatre historiography that puts past cultural entanglements and connected performance histories centre stage.
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Riggs, Robert, and Mary Barres Riggs. "New Perspectives on J. S. Bach's St. Matthew Passion : The Choreographic Vision of John Neumeier." BACH: Journal of the Riemenschneider Bach Institute 54, no. 2 (2023): 171–211. http://dx.doi.org/10.1353/bach.2023.a907240.
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Abstract: In 1980–1981, the American choreographer John Neumeier, director of the Hamburg Ballet since 1973, created a ballet to Bach's St. Matthew Passion . Aware that choreographing a revered icon of sacred music might be viewed as a violation of its sacrosanct status, he expressed his belief that "A choreographic realization of the Matthew Passion only appeared justified to me if it gives a new, unique dimension to the work … [and that like music] dance offers a means of escape from the grip of time and history to achieve inner reflection and a psychic state." In this essay, we discuss representative sections of the ballet and explore Neumeier's realization of these goals. Sometimes he focuses on visualizing a movement's structure and enhancing its affective and dramatic impact with contemporary ballet choreography. In other movements, he employs eclectic modern dance styles that, while contrasting in striking ways with the music, also enhance it. Both approaches inspire new dimensions and inner reflection. Ultimately, the choreography represents a visual corporeal transcription of the score and its timbres, which, without altering them, contributes new aesthetic perspectives. Our choreo/musical analysis will also address relationships between the ballet and issues in subsequent musicological scholarship, including aspects of Bach's performance practice, his cyclical versus linear approach to time, his occasional composition of works that threaten to stretch performers beyond their limits, and concerns about antisemitism in the turbae. The Hamburg Ballet has performed Matthäus-Passion , which has become one of Neumeier's most important and signature creations, throughout Europe, as well as in Japan, China, Canada, and the United States. The ballet reveals new and unexpected dimensions and affective experiences to audiences already familiar with the St. Matthew Passion and introduces it in a compelling manner to those who have never experienced one of Bach's most esteemed works.
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fink, robert. "the story of orch5, or, the classical ghost in the hip-hop machine." Popular Music 24, no. 3 (2005): 339–56. http://dx.doi.org/10.1017/s0261143005000553.
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perhaps the first digital sample to become well known within popular music was actually a piece of western art music, the fragment of stravinsky's firebird captured within the fairlight computer musical instrument, the first digital ‘sampler’, as ‘orch5’. this loud orchestral attack was made famous by bronx dj afrika bambaataa, who incorporated the sound into his seminal 1982 dance track, ‘planet rock’. analysis of kraftwerk's ‘trans europe express’, also sampled for ‘planet rock’, provides an interpretive context for bambaataa's use of orch5, as well as the hundreds of songs that deliberately sought to copy its sound. kraftwerk's concerns about the decadence of european culture and art music were not fully shared by users of orch5 in new york city; its sound first became part of an ongoing afro-futurist musical project, and by 1985 was fully naturalised within the hip-hop world, no more ‘classical’ than the sound of scratching vinyl. to trace the early popular history of orch5's distinctive effect, so crucial for early hip-hop, electro, and detroit techno, is to begin to tell the post-canonic story of western art music.
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Tognotti, Eugenia, and Marco Dettori. "The Socio-Cultural Factors Influencing the Level of Public Compliance with Infection Control Measures during the 1918 Influenza Pandemic in Italy: A Historical Approach." Healthcare 12, no. 6 (2024): 694. http://dx.doi.org/10.3390/healthcare12060694.
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During health emergencies, non-pharmaceutical interventions (NPIs) are adopted in various combinations until a vaccine can be produced and widely administered. Containment strategies, including the closure of schools, churches, and dance halls; banning of mass gatherings; mandatory mask wearing; isolation; and disinfection/hygiene measures, require reasonable compliance to be successfully implemented. But what are the most effective measures? To date, few systematic studies have been conducted on the effects of various interventions used in past epidemics/pandemics. Important contributions to our understanding of these questions can be obtained by investigating the historical data from the great influenza pandemic of 1918, an event widely considered one of the greatest natural disasters in human history. Taking on particular importance is the study of the possible role played by the behaviour of the population and the lack of public obedience to the non-pharmaceutical interventions in a Mediterranean country like Italy—one of the most affected countries in Europe—during that pandemic, with special attention paid to the weight of the socio-cultural factors which hindered the ultimate goal of containing the spread of the virus and preventing excess deaths in the country.
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Barrett, Michael B. "Dance of the Furies: Europe and the Outbreak of World War I. By Michael S. Neiberg. Cambridge, MA: Belknap Press of Harvard University Press. 2011. Pp. 292. Cloth $29.95. ISBN 978-0-674-04954-3." Central European History 46, no. 1 (2013): 186–88. http://dx.doi.org/10.1017/s0008938913000411.
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Sumanta Bhattacharya, Vinay Sahasrabuddhe, Arindam Mukherjee, and Bhavneet Kaur Sachdev. "An analytic interpretation on the importance of India's soft power in international cultural diplomacy over the centuries." World Journal of Advanced Research and Reviews 12, no. 3 (2021): 131–36. http://dx.doi.org/10.30574/wjarr.2021.12.3.0995.
Full textAbstract:
India’s Soft Power which is part of Smart Diplomacy or cultural diplomacy in India. India’s soft power diplomacy can be traced back to the time when Swami Vivekananda visited Chicago Parliament of Religion and spoke about Hinduism and India, which attracted many Indians and Foreigners who visited India and learnt about the Indian culture and the Sanskrit, his book on Raja Yoga influenced Western countries to practice Yoga who came to India and visited asharams, India’s main soft powers include spiritualism, yoga, Ayurveda, the world is shifting towards organic method of treatment which has its trace in India. There is culture exchange of arts, music, dance. Indian Diaspora and Young youth are the weapons for the spread of Indian culture across the globe, People are interested in Indian culture and epics of Ramayana and Mahabharat and studying on Kautliya. India literature and craft have received international recognition, countries abroad have included Sanskrit as part of their educational curriculum. India has also emerged has an export of herbs medicine to many foreign countries like Middle East, Europe, Africa etc. and this soft power of India will help in creating a massive influence across the world but before that Indian should have ample knowledge about their own history and culture and languages.