Academic literature on the topic 'Reed Dance'
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Journal articles on the topic "Reed Dance"
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Sone, Enongene Mirabeau. "Aesthetics from the Swazi perspective: The case of the Swaziumhlanga/reed dance." Muziki 7, no. 1 (July 2010): 130–39. http://dx.doi.org/10.1080/18125980.2010.484586.
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Peebles, Patrick. "Dance and the Nation: Performance, Ritual and Politics in Sri Lanka. Susan A. Reed." Journal of Anthropological Research 67, no. 1 (April 2011): 138–39. http://dx.doi.org/10.1086/jar.67.1.41304146.
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WIDGER, TOM. "Dance and the nation: performance, ritual, and politics in Sri Lanka - By Susan A. Reed." Journal of the Royal Anthropological Institute 17, no. 2 (May 3, 2011): 416–17. http://dx.doi.org/10.1111/j.1467-9655.2011.01698_18.x.
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Banerji, Anurima. "Dance and the Nation: Performance, Ritual, and Politics in Sri Lanka by Susan A. Reed." American Anthropologist 113, no. 4 (November 25, 2011): 690–91. http://dx.doi.org/10.1111/j.1548-1433.2011.01387_26.x.
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Kietzman, Parry M., and P. Kirk Visscher. "Follower Position Does Not Affect Waggle Dance Information Transfer." Psyche: A Journal of Entomology 2019 (March 3, 2019): 1–5. http://dx.doi.org/10.1155/2019/4939120.
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It is known that the honey bee waggle dance communicates the distance and direction of some item of interest, most commonly a food source, to nestmates. Previous work suggests that, in order to successfully acquire the information contained in a dance, other honey bees must follow the dancer from behind. We revisit this topic using updated methodology, including a greater distance from the hive to the feeder, which produced longer, more easily-read dances. Our results are not congruent with those of earlier work, and we did not conclude that honey bees must follow a dancer from behind in order to obtain the dance information. Rather, it is more likely that a follower can successfully acquire a dance’s information regardless of where she may be located about a dancer.
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Townsend, Camilla. "“What in the World Have You Done To Me, My Lover?” Sex, Servitude, and Politics among the Pre-Conquest Nahuas as seen in the Cantares Mexicanos." Americas 62, no. 03 (January 2006): 349–89. http://dx.doi.org/10.1017/s0003161500064518.
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The year 13-Reed [1479]. It was at this time that the people of Ame-cameca and the Chalcas Tlalmanalcas came to sing for the first time in Mexico. At that time they performed the song of the women of Chalco, the Chalca Cihuacuicatl. They came to sing for the lord Axayacatzin. The song and the dance were begun in the patio of the palace while Axayacatl was still inside in the house of his women. But in the beginning the song was poorly performed. A noble of Tlalmanalco was playing the music very clumsily, and making the great drum sound in a lazy offbeat way until finally in desperation he leaned down over it, not knowing what else to do. There, however, close to the place of the drums, was a man called Quecholcohuatzin, noble from Amecameca, a great singer and musician as well. When he saw that all was being lost and that the song and the dance were being ruined, he quickly placed himself next to the drum section. He picked up a drum and through his effort he gave new strength to the dance so that it would not be ruined. Thus Quecholcohuatzin made the people sing and dance. . . . Axayacatl who was still inside the palace, when he heard how marvelously Quecholcohuatzin played the music and made the people dance, was surprised, and his heart filled with excitement. He quickly arose and left the house of his women and joined in the dance. As Axayacatl approached the place of the dance his feet began to follow the music and he was overcome with joy as he heard the song and so he too began to dance and spin round and round. When the dance was over, the lord Axayacatl spoke, saying, “Fools, you have brought this fumbler before me, who played and directed the song. Don’t let him do it again.” The people from Chalco answered him, saying, “It is as you wish, supreme lord.” And because Axayacatl had given this command, all the nobles of Chalco became terrified. They stood there looking at each other, and it is said that truly they were very frightened. . . . But the lord Axayacatl was well pleased [with Quecholcohuatzin] and continued to take delight in the “Song of the Women of Chalco,” the Chalca Cihuacuicatl. So it was that once again he had the Chalcas, all of the nobles, return, and he asked them to give him the song and he also asked all those from Amecameca, because the song was theirs, it belonged to the tlailotlaque, the men who had returned. The song was their property, the “Song of the Warrior Women of Chalco.” Chimalpahin, Seventh Relation Ms. Mexicain 74, Bibliothèque Nationale de Paris Folios 174-176 The indigenous historian Chimalpahin seemed quite certain that events on a certain day in 1479 had unfolded as he described them, though he wrote over a century later and saw it all through the refracting lens of the intervening Spanish conquest. Posterity has been the more inclined to believe him since there exists a song amongst those collected in the sixteenth century under the auspices of the Franciscans entitled “The Song of the Women of Chalco” (Chalca cihuacuicatl) in which the singer addresses Axayacatl as the conqueror of Chalco and as her own lord and master. But what can we in the twenty-first century make of these two sources? We might pursue a number of interpretive avenues. In this article I will ask specifically what we actually know about the fifteenth-century performance event, and what, if anything, we can glean from the song concerning the lives of the Nahua women in that nearly untranslatable category whom we know in English as “concubines.”
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Townsend, Camilla. "“What in the World Have You Done To Me, My Lover?” Sex, Servitude, and Politics among the Pre-Conquest Nahuas as seen in the Cantares Mexicanos." Americas 62, no. 3 (January 2006): 349–89. http://dx.doi.org/10.1353/tam.2006.0048.
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The year 13-Reed [1479]. It was at this time that the people of Ame-cameca and the Chalcas Tlalmanalcas came to sing for the first time in Mexico. At that time they performed the song of the women of Chalco, the Chalca Cihuacuicatl. They came to sing for the lord Axayacatzin.The song and the dance were begun in the patio of the palace while Axayacatl was still inside in the house of his women. But in the beginning the song was poorly performed. A noble of Tlalmanalco was playing the music very clumsily, and making the great drum sound in a lazy offbeat way until finally in desperation he leaned down over it, not knowing what else to do.There, however, close to the place of the drums, was a man called Quecholcohuatzin, noble from Amecameca, a great singer and musician as well. When he saw that all was being lost and that the song and the dance were being ruined, he quickly placed himself next to the drum section. He picked up a drum and through his effort he gave new strength to the dance so that it would not be ruined. Thus Quecholcohuatzin made the people sing and dance. . . . Axayacatl who was still inside the palace, when he heard how marvelously Quecholcohuatzin played the music and made the people dance, was surprised, and his heart filled with excitement. He quickly arose and left the house of his women and joined in the dance. As Axayacatl approached the place of the dance his feet began to follow the music and he was overcome with joy as he heard the song and so he too began to dance and spin round and round.When the dance was over, the lord Axayacatl spoke, saying, “Fools, you have brought this fumbler before me, who played and directed the song. Don’t let him do it again.” The people from Chalco answered him, saying, “It is as you wish, supreme lord.” And because Axayacatl had given this command, all the nobles of Chalco became terrified. They stood there looking at each other, and it is said that truly they were very frightened.. . . But the lord Axayacatl was well pleased [with Quecholcohuatzin] and continued to take delight in the “Song of the Women of Chalco,” the Chalca Cihuacuicatl. So it was that once again he had the Chalcas, all of the nobles, return, and he asked them to give him the song and he also asked all those from Amecameca, because the song was theirs, it belonged to the tlailotlaque, the men who had returned. The song was their property, the “Song of the Warrior Women of Chalco.” Chimalpahin, Seventh Relation Ms. Mexicain 74, Bibliothèque Nationale de Paris Folios 174-176The indigenous historian Chimalpahin seemed quite certain that events on a certain day in 1479 had unfolded as he described them, though he wrote over a century later and saw it all through the refracting lens of the intervening Spanish conquest. Posterity has been the more inclined to believe him since there exists a song amongst those collected in the sixteenth century under the auspices of the Franciscans entitled “The Song of the Women of Chalco” (Chalca cihuacuicatl) in which the singer addresses Axayacatl as the conqueror of Chalco and as her own lord and master. But what can we in the twenty-first century make of these two sources? We might pursue a number of interpretive avenues. In this article I will ask specifically what we actually know about the fifteenth-century performance event, and what, if anything, we can glean from the song concerning the lives of the Nahua women in that nearly untranslatable category whom we know in English as “concubines.”
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Herman, Uwe, Ndivhuwo Norman Tshipala, and Neliswa Dlamini. "An Exploratory Analysis of Visitor Spending at a Cultural Event in Eswatini." December 2020, no. 9(5) (December 31, 2020): 1193–204. http://dx.doi.org/10.46222/ajhtl.19770720-77.
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Tourism is seen as a crucial part of the economy of eSwatini. eSwatini now focuses on marketing itself as a cultural tourism destination where tourists are able to experience ancient Swazi ceremonies such as the Umhlanga (Reed Dance) ceremony. Research into traditional rural, cultural events such as the Umhlanga ceremony has not received significant attention. This study presents an exploratory spending profile of visitors to the Umhlanga ceremony. A quantitative research method was utilised for the study. Data was analysed to determine general spending by event visitors on spending associated with the event. Lastly, data was analysed using analysis of variance (ANOVA) comparisons with Tukey's multiple comparisons and t-tests in order to determine if there were any significant associations between the demographic variables and the spending patterns. Findings indicated that place of residence, employment status, level of education, age, travel party size, local residential location, gender, transportation and number of visits had a significant influence on the average expenditure within the destination. This was the first study of its kind on a cultural event in eSwatini and it provides an insight into the complex nature of such events which may assist event stakeholders in enhancing the sustainability of these types of events in future.
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Bass, Daniel. "Dance and the Nation: Performance, Ritual, and Politics in Sri Lanka. By Susan A. Reed. Madison: University of Wisconsin Press, 2010. xv, 280 pp, DVD. $29.95 (paper)." Journal of Asian Studies 70, no. 1 (February 2011): 291–92. http://dx.doi.org/10.1017/s0021911810003682.
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Marsan, Nur Sekreningsih, and Mia Juliana Siregar. "Menghidupkan Identitas Kepulauan Riau Melalui Seni Tari Tradisional." Gondang: Jurnal Seni dan Budaya 5, no. 1 (April 6, 2021): 40. http://dx.doi.org/10.24114/gondang.v5i1.20964.
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This article was created with the aim of seeing the extent of the identity of Riau Islands through the art of dance known in the community and trying to revive the identity of traditional dance through documentation of the dance movement itself. Thus, the problem in this research is focused on traditional dance movements that are indeed the identity of Riau Islands identifiers, namely malay dance movements. This research was conducted by exploring the roots of the dance from art actors directly through interviews and documenting them. Through the collection of dance movement information is then documented so that it can be seen or read by all people. So that traditional dance as the identity of Riau Islands is well documented. Based on the results of the rersponden assessment, 61% stated that knowing and knowing the traditional dance of Riau Islands, the rest stated that less knowing the traditional dance. Art performances can only be enjoyed on certain occasions. To overcome this, one way to bring traditional dance identity to life is to gather information related to traditional dances and document them in the form of photos, videos and books, increasing the frequency of dance performances.
Dissertations / Theses on the topic "Reed Dance"
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Nkosi, Gugulethu Sebenzile. "Umkhosi Womhlanga (Reed Dance) as a tourism enterprise in KwaZulu-Natal: Perceptions, policies and practices." Thesis, University of Zululand, 2013. http://hdl.handle.net/10530/1282.
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A thesis submitted to the Faculty of Arts in fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of Recreation and Tourism at the University of Zululand, South Africa, 2013.uMkhosi Womhlanga is a traditional ceremony that is celebrated annually. This event attracts event tourists and generates revenue for the host communities of KwaNongoma, KwaZulu-Natal, and South Africa as a whole. It is assumed that the event has a massive tourism potential and platform to yield socio-economic benefits for the local community. Comprehensive planning and management are essential tools for hosting successful events. Event organizers or managers require extensive knowledge, skills, good intuition and an eye for beauty in the planning and management of special events. These are essential factors in this booming events sector of the tourism industry. The premises of this study involve understanding the meaning and objectives of celebrating uMkhosi Womhlanga as a traditional ceremonial event and ascertaining the extent to which uMkhosi Womhlanga is planned and managed in order to realize its full potential as a tourism enterprise. The study also highlights the policy framework that governs the event, the benefits, practices, participation levels and perceptions of all stakeholders linked to this ceremonial event. The research study area is KwaZulu- Natal. This paper has the following objectives: a) To find out whether stakeholders involved understand the origins and meaning of celebrating uMkhosi Womhlanga as a traditional and ceremonial event. b) To find out whether there are policies and procedures in place that govern the planning and management of the event. c) To indicate the extent to which the uMkhosi Womhlanga event is perceived as a tourist attraction in the study area. d) To establish the extent to which stakeholders participate in the uMkhosi Womhlanga event.
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Zhang, Zhixia. "The Woman Dancing with a Red Umbrella." University of Akron / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=akron1525447625866884.
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Nogueira, Isabelle Cordeiro. "Poéticas de multidão: autonomias co-(labor)ativas em rede." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/5057.
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Different ways of communication relate to different ways of social organization. The historical and evolutionary process of the cultural production developed a context where digital media promote important transformations and where relationships in new space-time structures bring changes to the environment. In this conjuncture of change emerge the artistic production that is named here as Poetics of Multitude. In this poetics, the media assume a central role in the net collaborative autonomies that characterize them. For understanding them, it is necessary to identify new forms of living together with the writings of Bauman (2000, 2003), Santos (2005) e Souza Santos (2005, 2006), and with them, to reflect about globalization. In the perspective presented in this thesis, the body is treated as a primary media in accordance to the Bodymedia Theory, developed by Katz (2005) and Greinner (2005). Understood as a response to capitalism, the poetics of multitude is understood as a symptom of the contemporary society. The theory of Negri and Hardt (2004), and Virno (2002) sustains the research. In multitude - this new form of existence that contrasts to the ideas of folk or mass the poetics is related to autonomies in forms of net collaboration. And is present also in the creation and distribution of new ways of thinking dance. An interaction of neighbors , without the traditional practices of leadership and hierarchy promotes a kind of authonomy theoretically supported by concepts of evolution, co-adaptation and co-dependence (Dawkins (1976, 1978, 1998, 1999) and Dennett (1995). Such social systems auto-organize themselves through indirect control resembling what happens in other live systems (Gordon (2002) and Johnson (2003). Actions of the body in the world produce poetic emergences. We propose that the new forms of social organization that are being put in the world produce new ways of addressing knowledge and a new position to the subject
Diferentes formas de comunicação se dão em novas formas de organização social. O processo histórico e evolutivo dos modos de produção cultural desencadeou um contexto em que as mídias digitais ocupam um importante papel transformador e onde novos relacionamentos na estrutura espaço-tempo fazem emergir mudanças no ambiente. É na conjuntura desses fenômenos de mudança que emergem o que aqui denominamos Poéticas de Multidão. Nestas poéticas, as mídias desempenham papel central autonomias colaborativas em rede que as caracterizam. Para entendê-las, faz-se necessário identificar uma nova forma de convívio, recorrendo aos estudos de Bauman (2000,2003), Santos (2005) e Souza Santos (2005, 2006) para, com eles, refletir sobre a globalização. Na perspectiva apresentada nessa tese, o corpo é tratado como mídia primária, em acordo com a teoria corpomídia, desenvolvida por Katz (2005) e Greinner (2005). Entendidas como uma resposta ao capitalismo, as poéticas de multidão são tratadas como um sintoma da sociedade contemporânea. A leitura teórica de Negri e Hardt (2004), e Virno (2002) sustentam a pesquisa. Em Multidão - esse novo modo de existir, contrastando com a idéia de povo ou massa - essas poéticas se relacionam na forma de redes colaborativas. E isso é também apresentado na criação e distribuição de novos tipos de pensamento de dança. A interação entre vizinhos , sem as práticas tradicionais de liderança e hierarquia, promovem uma espécie de autonomia teoricamente apoiada em conceitos evolutivos de co-adaptação e co-dependência Dawkins (1976, 1978, 1998, 1999) e Dennett (1995). Tais sistemas sociais se auto-organizam por controle indireto resembling o que acontece em outros sistemas viventes, como nos atestam Gordon (2002) e Johnson (2003). O corpo em suas ações no mundo, produz emergências poéticas. Propomos que as novas formas de organização social que estão sendo postas no mundo produz novos modos de construir conhecimento e uma nova posição do sujeito
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Falkembach, Maria Fonseca. "Corpo, disciplina e subjetivação nas práticas de dança : um estudo com professoras da rede pública no sul do Brasil Porto Alegre 2017." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/169008.
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A tese analisa práticas de dança como componente curricular obrigatório de Arte na educação básica, em escolas públicas no Rio Grande do Sul, Brasil. É produto da pesquisa com seis professoras graduadas em dança. A partir da identificação de tensões provocadas pela prática da dança na escola (construção de currículo, planos de ensino e aulas), a pesquisa problematiza as relações de saber-poder que configuram essas práticas. Identifica que as práticas de dança, ao colocar o corpo (composto, exposto, soma e tátil) como centro do currículo, desestabilizam tecnologias de governo naturalizadas na escola, tais como as operações disciplinares. Analisa diferentes práticas, com ênfase para práticas de composição e estudos labanianos, práticas com perspectiva da educação somática e práticas com presença do toque e do contato. A pesquisadora acompanhou duas semanas de aula de cada professora e realizou entrevistas com as professoras e com um integrante da equipe diretiva de cada escola. Ainda, os dados foram produzidos por registros em diário de campo, áudio, vídeo e fotografia. A produção e análise dos dados tece a perspectiva dos estudos foucaultianos, com saberes artístico-pedagógicos que a autora traz encarnados. A tese identifica a conduta artista das professoras, construída na relação com a escola, e mostra que as práticas se constituem em espaços íntimos a partir dos saberes da dançaThis thesis analyses how six dance teachers compose their artistic-pedagogical practices in the formal system of education in the Rio Grande do Sul state, Brazil. Dance is an art subject in the compulsory curriculum in the primary and secondary schools. From the identification of tensions provoked by the practice of dance at school – such as the construction of the curriculum, teaching plans and classes – the study problematises the power-knowledge relations in these practices. The research identifies that dance practices destabilise naturalised technologies of government at school, such as disciplinary operations, through placing the body (composed, exposed, soma and tactile) at the centre of the curriculum. The work analyses different practices, with emphasis on composition, Laban studies, somatic education, touch and contact. The methodology of data production involves participative observation of each teacher's lessons along two weeks, alongside interviewing teachers and members of the management staff. These actions were made through the using of the notebook, audio-recording, video and photographs.The analysis, as well as data production, was made through the articulation of Foucaultian studies with the researcher’s embodied artistic-pedagogical knowledge. The thesis identifies the teachers 'artist conduct' built in the relationship with the school, and shows that practices constitute intimate spaces from the dance knowledge.
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Cunha, Gisele Bizerra da. "Dança inclusiva e deficiência intelectual: um estudo com educandos da rede municipal de ensino de Aparecida de Goiânia." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/6966.
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The motivation and the interest that led to this research study are the results of experiences as a researcher with dance for people with intellectual disabilities at the Association - Associação Pestalozzi de Goiânia – CAE Peter Pan. Having noticed the importance that dance had in the life of these students with intellectual disabilities and how they showed pleasure and interest in this activity, it became necessary to study and analyse dance and how it could contribute to the inclusion of these students in school and society. The present research seeks, therefore, a dialogue between dance and inclusion and presents the following question for investigation: How can dance contribute to the inclusion of students with intellectual disabilities in the years of basic education? The main goal is to verify how dance makes inclusion possible within the context of basic education. The research is qualitative and class observations and interviews were undertaken at two fulltime municipal schools (Escolas Municipais de Ensino Integral) in the municipality of Aparecida de Goiânia. Authors that deal with the body, dance, inclusive education, multiple intelligences and inclusive dance form the theoretical base. Regarding inclusive education in Brazil and in Aparecida de Goiânia the works of Monteiro (2001), Sassaki (1998), and Santos (2016) were studied as well as pertinent national and municipal documents. For the theme of intellectual disability, Almeida (2012), Cintra (2002), and Matos (2012) formed the theoretical base. Gardner (1995) and Smole (1999).were researched for the theme of multiple intelligences. For the theme of dance, we based our research on Fahlbusch (1990), Marques (2010), Laban (1990), and Scarpato (2001). In regards to inclusive dance, we studied Cintra (1992), Figueiredo (1997, 1999), Ramos (2010), Tolocka and Verlengia (2006). Considering the data that was generated and analysed in this research study, it is possible to conclude that the practice of inclusive dance in school can contribute significantly in terms of affective, social, motor and cognitive development to students with intellectual disabilities, allowing these students with this type of disability to feel included in the school setting and in society. It was also possible to conclude that a type of education that takes into account the theory of multiple intelligences can contribute to the process of inclusion in school.
A motivação e o interesse que levaram à proposta desta pesquisa são resultantes de experiências, desta pesquisadora, com a dança, para pessoas com deficiência intelectual, na Associação Pestalozzi de Goiânia – CAE Peter Pan. Notando a importância da dança na vida dos alunos com deficiência intelectual e como eles demonstram prazer e interesse por essa atividade, percebemos a necessidade de estudar e analisar mais profundamente a dança e como ela pode contribuir para a inclusão desses alunos na escola e na sociedade. O presente trabalho busca, portanto, um diálogo entre dança e inclusão, apresentando a seguinte questão principal a ser investigada: Como a dança pode contribuir para a inclusão de alunos com deficiência intelectual na educação básica? Tem-se como objetivo principal verificar como a dança possibilita a inclusão dos alunos com deficiência intelectual no contexto da educação básica. A pesquisa é qualitativa e foi proposta para ser desenvolvida a partir de observações de aulas e entrevistas realizadas em duas Escolas Municipais de Ensino Integral do município de Aparecida de Goiânia. Como referencial teórico destacamos autores que tratam de corpo, dança, educação inclusiva, inteligências múltiplas e dança inclusiva. Sobre a educação inclusiva no Brasil e em Aparecida de Goiânia, estudamos os trabalhos de Monteiro (2001), Sassaki (1998), Santos (2016) e documentos nacionais e municipais que envolvem o estudo. Para o tema deficiência intelectual, embasamo-nos em Almeida (2012), Cintra (2002), Matos (2012). Ao tratar da teoria das inteligências múltiplas, pesquisamos Gardner (1995) e Smole (1999). Para o tema dança, nos fundamentamos em Fahlbusch (1990), Marques (2010), Laban (1990), Scarpato (2001). Sobre dança inclusiva, verificamos Cintra (1992), Figueiredo (1997, 1999), Ramos (2010), Tolocka e Verlengia (2006). Considerando os dados coletados e analisados nesta pesquisa, concluímos que a prática da dança inclusiva na escola pode proporcionar a alunos com deficiência intelectual contribuições significativas no desenvolvimento afetivo e social, motor e cognitivo, permitindo que alunos com esse tipo de deficiência se sintam mais incluídos no ambiente escolar e na sociedade. Constatamos também que um tipo de educação que leva em conta a teoria das inteligências múltiplas pode contribuir para o processo de inclusão escolar.
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Campos, Flávio 1985. "Rede de Afetos = as relações afetivas vivenciadas pelo sujeito no processo de formação e de criação cênica do método Bailarino-Pesquisador-Intérprete (BPI) = Affectionate network: affectionate relationships experienced in the process of scenic creating with the Dancer-Researcher-Performer (BPI) method." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284379.
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Orientador: Graziela Estela Fonseca RodriguesDissertação (mestrado) - Universidade Estadual de Campoinas, Instituto de Artes
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Resumo: O presente trabalho evidencia a existência e o papel fundamental das relações afetivas no processo criativo proposto pelo método Bailarino-Pesquisador-Intérprete (BPI). Utilizando-me metodologicamente da Análise de Conteúdos proposta por Laurence Bardin (1977) e do caráter qualitativo para analisar os dados coletados, segundo Graham Gibbs (2009), constato que há na dinâmica sistêmica do BPI a estruturação de uma Rede Afetiva a partir das relações intrapessoais e interpessoais vivenciadas pelo intérprete. Este trabalho possui quatro capítulos, onde descrevo a minha trajetória de estudos e inquietações até a organização de um pré-projeto cujo objetivo é o eixo do desenvolvimento desta investigação. Apresento, também, os Materiais e as ferramentas utilizadas para analisar o objeto de estudo escolhido. E, de modo mais especifico, discuto sobre a estruturação de uma Rede de Afetos e sobre a importância do diretor no Processo BPI. Esta dissertação sintetiza o meu aprofundamento sobre o método BPI, traçando, a partir de uma revisão bibliográfica, uma reflexão sobre a alteridade e a conduta ética num processo de criação em Artes da Cena. É um estudo que abre espaço para o diálogo com muitas das áreas do conhecimento, especialmente aquelas relacionadas às artes
Abstract: This study provides evidence of the existence and fundamental role of affectionate relationships in the creative process proposed by the BPI (Dancer-Researcher-Performer) Method. The qualitative approach and the Content Analysis Method proposed by Laurence Bardin (1977) utilized here allow me to observe that an Affective Network of intrapersonal and interpersonal relations is built through the system dynamics proposed by the BPI method. This Dissertation has four chapters in which I describe my personal and academic experiences, as well as my anxieties and inquiries that led me to the organization of a project that form the axis of this investigation. Materials and tools considered in the analyses of my study object are also described here. More specifically, I discuss the structuring of an Affectionate Network and the importance of the director in the BPI process. This dissertation also synthesizes my in-depth study of the BPI method, proposing, from a bibliographic review, a reflection on alterity and ethical conduct in the creative process of the Performing Arts. It is a study that dialogues with many areas of knowledge, especially those related to the arts
Mestrado
Artes da Cena
Mestre em Artes da Cena
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Masango, Lomagugu Precious. "Reading the Swazi reed dance (umhlanga) as a literary traditional performance art." Thesis, 2009. http://hdl.handle.net/10539/7296.
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ABSTRACT
This study examines the Swazi Reed Dance (Umhlanga) as a literary traditional art form actuated through performance/ or dramatic elements that involve song, dance, symbols as well as audiences. A literary reading of some of the event’s specific texts elucidates meanings of its diverse themes such as: rituals of performing the monarch’s power; circulation of traditional hegemonic and patriarchal ideologies; virginity and HIV/AIDS; gender and human rights; democracy as well as modernity and globalization. All these issues are pertinent to Swazi society. The thesis key focus is to interrogate the literary role of Umhlanga in mediating perceptions about the Swazi people in contemporary Swaziland. In this regard, Umhlanga is examined as an art form that reflects the Swazi people’s socio-cultural, economic and political way of life. In order to achieve this goal it was important to closely examine the mechanisms involved in the event’s orchestration and reception/ or consumption by the Swazi people in their diversity as well as tourists. Throughout, the study highlights ambiguities, contradictions and conflicting views that challenge the beliefs, myths surrounding the ritual’s precepts and guidelines and by extension the ruling monarch. These are attributed to the influence of modernity and globalization. A major finding is that Umhlanga generates multiple texts proving the dynamic nature of tradition and culture. The study primarily employs an ethnographic approach focusing on the period between 2004 and 2007.
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"Asian American and Dancing in Arizona; A Reflection on the Politics of Choreographing Migration and Citizenship in a Red State." Master's thesis, 2017. http://hdl.handle.net/2286/R.I.44279.
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abstract: My thesis, Asian American and dancing in Arizona; A reflection on the politics of choreographing migration and citizenship in a Red State is a written document that reflects on my creative process of making You don’t belong here, a site-specific, multimedia dance theater piece which I conceived, choreographed, and directed in partial fulfillment of my Master in Fine Arts in Dance degree (MFA) at Arizona State University (ASU) in Tempe, Arizona. I write this reflection from the corporeal perspective of my Asian body. My story comes from my cells that contain the memories of my ancestors, including the recent traumas of my parents that escaped war in China. I am writing from my feminist body, my fleshly archive. I am writing from a historically marginalized perspective. I write this reflection to provide my kinesthetic narrative for those that may not know that I exist at ASU. I consider the conservative political ethos of Arizona as an impetus to discover what it means to be Asian American and dancing in the desert.Dissertation/Thesis
Masters Thesis Dance 2017
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Winters, Jennifer G. "Nearby Red Dwarfs and Their Dance Partners: Characterizing More Than 2000 Single and Multiple M Dwarfs Near the Sun." 2015. http://scholarworks.gsu.edu/phy_astr_diss/80.
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This dissertation presents the results of a study to (1) determine the census of the nearby southern M dwarf stellar population via three types of distances and (2) determine the multiplicity rate of nearby M dwarfs using two different search methodologies.
The first part of this work reports three types of distance calculations (photographic, photometric, and trigonometric) for 1748 southern M dwarfs. Distances were estimated for 500 red dwarfs using photographic plate BRI magnitudes from SuperCOSMOS, while estimates were made for 667 stars using CCD VRI magnitudes. Both BRI and VRI were combined with 2MASS infrared JHK magnitudes. Distances for an additional 581 red dwarfs were derived from trigonometric parallaxes, 124 of which were measured for the first time during this work.
For the second portion of this thesis, an all-sky sample of 1122 M dwarfs, known via trigonometric parallaxes to lie within 25 pc of the Sun, was surveyed for stellar companions at separations of 2" to 600". I-band images using primarily the CTIO/SMARTS 0.9m and the Lowell 42in telescopes were obtained in order to search these systems for companions at separations of 2" to 180". A complementary reconnaissance of wider companions to 600" was also done via blinking SuperCOSMOS BRI images.
We find a stellar multiplicity fraction of 27.4 $\pm$ 1.3% for M dwarfs. Using this new gauge of M dwarf multiplicity near the end of the stellar main sequence, we calculate a multiplicity fraction of 30.1% for stellar systems of all types, implying that most systems are single. We find a peak in the separation distribution of the companions at 26 AU, i.e., distances on the scale of our Solar System, with a weak trend of smaller projected separations for lower mass primaries. A hint that M dwarf multiplicity may be a function of age/composition was revealed, with faster moving (and generally older) systems being multiple slightly less often. We calculate that at least 16% of M dwarf mass is made up of the stellar companions of multiple systems. Finally, we show that the mass function for M dwarfs increases to the end of the main sequence.
Books on the topic "Reed Dance"
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Groves, Michelle. Read and dance. Edited by Murray Annabelle, McLeod Siobhan, and Jones Jean Johnson. Guildford: Labanotation Institute, 1998.
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Buzo, Alessandro. Teia: Rede de cultura e cidadania. [São Paulo, Brazil]: Cultura em Ação, 2007.
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Franks, Jill. "Reel Irish": Nationalizing Irish step dance and vaunting the Celtic tiger. Rock Hill, SC: Dept. of English, Winthrop University, 2006.
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Franks, Jill. "Reel Irish": Nationalizing Irish step dance and vaunting the Celtic tiger. Rock Hill, SC: Dept. of English, Winthrop University, 2006.
Find full textBook chapters on the topic "Reed Dance"
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Chatterjea, Ananya. "Red-Stained Feet: Probing the Ground on which Women Dance in Contemporary Bengal." In Worlding Dance, 119–43. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230236844_7.
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Lally, Sophie. "Red Ladies: Walking, Remembering, Transforming." In Art and Dance in Dialogue, 163–77. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44085-5_10.
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Briginshaw, Valerie A. "Desire Spatialized Differently in Dances that can be Read as Lesbian." In Dance, Space and Subjectivity, 77–96. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230272354_5.
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Prais, Jinny. "Representing an African City and Urban Elite: The Nightclubs, Dance Halls, and Red-Light District of Interwar Accra." In The Arts of Citizenship in African Cities, 187–207. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137481887_9.
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Gremlicová, Dorota. "6. Decency, Health, and Grace Endangered by Quick Dancing?" In Waltzing Through Europe, 149–76. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.06.
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Gremlicová (Czech Republic) provides a detailed analysis of newspaper discussions of dance. She shows how a text of the kind that is often read as evidence of resistance to new dances can be contextualised: she identifies the people behind it, and the political and cultural contexts to which they belonged. Gremlicová takes the Redowa as an example of the dances mentioned in newspaper discussions: a dance that has Slavic roots, just as the Polka does, and possesses the basic characteristics of the Mazurka types. By means of the newspaper sources, Gremlicová explores the reception of the Redowa in the Czech Republic.
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Shuback, Alan. "La Princesse Aly Khan." In Hollywood at the Races, 189–97. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178295.003.0011.
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Discovered while performing red-hot Spanish dance numbers with her father at Agua Caliente, Rita Hayworth would become one of Hollywood’s most prominent movie stars and sex symbols. Her roles in Gilda and TheLadyfromShanghai and her dance partnership with Fred Astaire in YouWereNeverLovelier and You’llNeverGetRich showcased her dual talents as actress and dancer. But when Rita met Prince Aly Khan on the Riviera in 1948, she was swept off her feet by his charm and good looks. The son of the Aga Khan, Aly was one of the world’s leading Thoroughbred owner-breeders. When they married, Aly gave Rita several horses, including Double Rose, who finished second in the 1949 Prix de l’Arc de Triomphe. The marriage quickly unraveled, and Rita returned to Hollywood and her adoring fans.
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BELLOMO, SAVERIO. "How to Read the Early Commentaries." In Interpreting Dante, 84–109. University of Notre Dame Press, 2013. http://dx.doi.org/10.2307/j.ctvpg84vm.9.
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Skeel, Sharon. "“Mommie was the sparkplug and Catherine was the inspiration.”." In Catherine Littlefield, 39–58. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190654542.003.0004.
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Mommie opens a dance studio in Llanerch and teaches for the Philadelphia Music Club at the Bellevue-Stratford Hotel in the 1920s. Big Jim teaches horsemanship to wealthy men at private riding clubs. Catherine becomes a Ziegfeld dancer and performs in Sally and the Ziegfeld Follies. In New York, she studies with Italian pedagogue Luigi Albertieri. She leaves Ziegfeld’s employ and she and Mommie take their first trip to Paris. Big Jim forms News Reel Laboratory with partner Louis Kellman. Mommie opens a Littlefield School at 1415 Locust Street across from the Academy of Music. Catherine teaches there and raises its standards. She also serves as Mommie’s première danseuse. Mommie directs the “America” pageant at the 1926 Sesquicentennial Exposition.
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Pipolo, Tony. "A Dance with Death." In The Melancholy Lens, 91–126. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197551165.003.0004.
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Gregory Markopoulos was one of the key figures of American avant-garde cinema from the 1940s through the 1980s. This chapter focuses on The Mysteries, perhaps his most enigmatic film, made during what might be termed a mid-life crisis when mortality loomed and he was consumed with unanswered questions about art, life, and time. Through an intense examination of the film’s shots, often analyzed frame by frame, the author shows that a fictive scheme rules the film, and describes how its homosexual protagonist and his obsession with death inhibits his pursuit of a romantic relationship. The author argues, finally, that the film can be read convincingly as autobiographical.
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"How an Italian Friar Read His Arabic Qur’an." In Dante and Islam, 78–92. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823263899-005.
Full textConference papers on the topic "Reed Dance"
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Xue, Liang. "Multimedia System and Information Modelling System for Computer Aided Red Dance Creation with Virtual Reality." In 2020 3rd International Conference on Intelligent Sustainable Systems (ICISS). IEEE, 2020. http://dx.doi.org/10.1109/iciss49785.2020.9316068.
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