Relevant bibliographies by topics / Ritualistic Dance Forms

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Academic literature on the topic 'Ritualistic Dance Forms'

Author: Grafiati
Published: 5 June 2025
Last updated: 16 July 2025

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Journal articles on the topic "Ritualistic Dance Forms"

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Shahmuradova, Nigar. "The Evolution of Azerbaijani Dance in the Study of Afag Husseinova: A Practical Guide for a Quick Immersion in the Subject." Saryn 12, no. 4 (2024): 111–22. https://doi.org/10.59850/saryn.4.12.2024.245.

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This article analyses Afag Husseinova’s book “The Evolution of Azerbaijani Dance,” which represents a substantial contribution to the field of study. The research encompasses the origins, historical evolution, and contemporary practices of Azerbaijani dance art. Assessing the impact of this work on the choreology of Azerbaijan necessitated not only a content analysis of the book but also an examination of the context, including a review of scholarly sources on this and related topics accessible to contemporary researchers. An expeditious examination of the historiography of Azerbaijani dance d
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Alfan, Syafiq Faliq. "Sustaining Mak Yong – Main Puteri in Raman: A Discussion of its Existence in Cultural Evolutionary Thread." Jurai Sembah 1, no. 2 (2020): 1–13. http://dx.doi.org/10.37134/juraisembah.vol1.2.1.2020.

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Mak Yong, a traditional Malay dance-theatre recognised by UNESCO as one of the intangible cultural heritage of Malaysia has indeed seen its progress since its revival in the 1970s by some of its prominent artists such as Khatijah Awang of the Sri Temenggung troupe fame. Sadly, although Mak Yong belongs to the region of Kelantan-Pattani of the Malay Peninsula, the art form has seen its greater decline in its southern Thailand counterpart. This could be as a result of the political climate aside from the inclination of the local towards Sunni Islamic values that forbid some of its ritualistic el
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Laxman, Majhi. "The Popular Folk Dances of Odisha." Partners Universal International Innovation Journal (PUIIJ) 02, no. 01 (2024): 89–95. https://doi.org/10.5281/zenodo.10647777.

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The majority of Odisha's communities have a folk culture that include folk dance, theater, art & crafts, music, rituals, stories, and ballades, among other things. Our rural lifestyle and agricultural community still retain the Odishan traditional culture. Folk dances preserve tradition and continuity while incorporating fresh inspirations. Folk dances continue to be popular throughout Odisha's many groups. Our rural lifestyle and agricultural community still retain the Odishan traditional culture. Folk dances preserve tradition and continuity while incorporating fresh inspirations. Folk d
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Lungeli, Dipak. "Restored Behaviour and the Formation of Ethnic Identity: Critiquing the Rai Youths’ Sakela." Outlook: Journal of English Studies 15 (July 15, 2024): 11–21. http://dx.doi.org/10.3126/ojes.v15i1.67756.

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This paper examines four YouTube videos on Sakela, a dance performance of the Rai community, in two major contexts: enormous shifts and deviations in the performances of youths and the signature of unique ethnic identity. Sakela in its primitive art form of Rai culture has a ritual connection with the transcendent forces for human health and agriculture. However, there have been many deviations and changes in its highly contextualized aesthetic manifestations like festive performances, ceremonial presentations, recreational activities, political demonstrations or urban, and diasporic discourse
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Vijayan, K. Sajith, and Karin Bindu. "Kerala´s Ancient Mizhavu Drum: Transformations and Sustainability." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 8 (December 9, 2021): 27–38. http://dx.doi.org/10.30819/aemr.8-4.

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The Kerala state in India offers a huge assemblage of various percussion eccentricities. Each percussion instrument sustains and preserves its own attributes: some drums accompany visual arts, others create a vibrant world of percussion music, and a few maintain both attributes. Almost all instruments are related to ceremonial pursuance and worship customs. Mizhavu is a single-headed drum from Kerala that employs these kinds of ceremonial pursuance. The purpose of the instrument, which had also been used in temples in Tamil Nadu, is to accompany the Kūṭiyāṭṭam and Kuttu performances in the gre
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A, Rithwik Sankar, and Babitha Justin. "Devakkooth: A Ritual Dance Art from an Islet in North Malabar." Journal of the Anthropological Survey of India, June 14, 2023. http://dx.doi.org/10.1177/2277436x231163711.

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Many rituals in North Malabar can be read as complex cultural spaces that articulate subaltern concerns to a certain extent. However, rituals also perpetuate hegemonic ideologies dictated by and embedded within the caste system. Theyyam, a traditional ritual art in North Malabar, carries ritualistic elements of worship and penance along with the convergence of various forms like dance, painting and music. In Theyyam, a traditional ritual art in North Malabar, the female impersonation of the Mother Goddess and female deities occurs in the transvestite ritualistic performances by men. Devakkooth
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P., Lilabati Devi, and Rajkumari Jiteshwori. "MANIPURI RAAS LEELA: THE REMARKABLE MANIPURI CLASSICAL DANCE." ShodhKosh: Journal of Visual and Performing Arts 5, no. 6 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i6.2024.1586.

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Manipur is renowned for its cultural heritage, particularly in dance i.e., Manipuri Raas Leela, Pung Cholom, Lai Haraoba, Khamba Thoibi etc. Manipuri Raas Leela, the classical dance form is deeply rooted in the Vaishnavite tradition, depicting the love story of Shrimati Radhika and Lord Shri Krishna. It combines graceful movements, lyrical music and expressive gestures. Pung Cholom knew as the drum dance, this performance features dancers playing pung while performing acrobatic and vigorous movements. It is often performed during religious and cultural festivals. Lai Haraoba ia an ancient ritu
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D L, Deleep. "RITUALS OF RESISTANCE: DISCOURSE ANALYSIS OF THEYYAM IN KERALA'S FOLK TRADITIONS." ShodhKosh: Journal of Visual and Performing Arts 5, no. 6 (2024). https://doi.org/10.29121/shodhkosh.v5.i6.2024.3093.

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Theyyam is a distinctive form of worship practiced by the people of Northern Kerala, characterized by a unique blend of symbols, rituals, and art forms, particularly dance. This vibrant ritual, also referred to as Theyyattam, is prevalent in the Kolathu Nadu region and serves as a significant Hindu worship tradition. With roots tracing back centuries, Theyyam encompasses a wide array of customs and rituals that engage nearly all castes and classes within the Hindu community in this area. This art form is not only a spectacular display of dance and music but also reflects crucial elements of tr
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Tripathy, Dibya Ranjan, and Santosh Kumar Mallik. "DANDA NATA OF ODISHA: A CRITICAL ANALYSIS OF ITS CULTURAL AND RITUALISTIC DIMENSIONS WITH SPECIAL REFERENCE TO BOUDH." ShodhKosh: Journal of Visual and Performing Arts 4, no. 2 (2023). https://doi.org/10.29121/shodhkosh.v4.i2.2023.4026.

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Danda Nata is a vibrant folk tradition celebrated in rural and tribal communities of Odisha, with Boudh district standing out for its unique variations. Held annually during Chaitra (March–April), the festival spans thirteen or twenty-one days and culminates on Maha Vishuba Sankranti. The celebration is marked by rhythmic drumming, energetic dance, dramatic acts, and comedic performances, blending spiritual rituals with theatrical expressions. Central to the festival are the devotees, known as Danduas or Bhoktas, who undertake vows of austerity and devotion, guided by the Pata Dandua or Pata B
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S., Saran, Asha K. Nair, and Alappuzha. "EXPLORING THE CONJUNCTION OF CHILDHOOD AND RITUALS: AN ANALYTICAL STUDY OF KUTHIYOTTAM BASED ON SELECT TEMPLES IN KERALA." ShodhKosh: Journal of Visual and Performing Arts 4, no. 1 (2023). http://dx.doi.org/10.29121/shodhkosh.v4.i1.2023.1857.

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Kerala has a rich repertoire of folk arts and forms. The diverse culture of the place gives expression to these forms. Kuthiyottam is a ritualistic offering unique to the Devi temples of Kerala. It is a mélange of physical and religious facets. Though the performance has its basis on human sacrifice, it entails a perfect synchronization of song and dance movements. Despite exhibiting certain common traits, the practice varies markedly across various regions. The study primarily focuses on the Kuthiyottam performance prevalent in Pulimath Devi Temple in Thiruvananthapuram, while also examining
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Books on the topic "Ritualistic Dance Forms"

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Thompson, Katrina Dyonne. Casting. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038259.003.0003.

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This chapter examines the manner in which African captives were forced to perform music, song, and dance during the Atlantic voyage. Within the Middle Passage, white slavers brought the slaves on deck for airing. While on deck, the slavers drenched the captives with salt water, inspected them for any hint of disease, and, ironically, made them sing and dance. Historically, music and dance during the Middle Passage were viewed as a form of exercise used to preserve the human cargo. This chapter analyzes those scenes to illustrate the transformation of the top deck of the ship into a stage upon
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Book chapters on the topic "Ritualistic Dance Forms"

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Feldman, Walter. "The Sema’ i in the Third Selam and the Son Yürük Sema’i: Nucleus of the Antecedent Sam ā ’?" In From Rumi to the Whirling Dervishes. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474491853.003.0010.

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The sema’i usul in 6/8 characterizes the latter half of the Third Selam of the ayin. The name implies its history within earlier forms of Sufi dance. Sema’i as both term and musical form has also been adopted into the Ottoman secular repertoire, both as vocal and as instrumental music. This usul also characterizes many of the hymns (nefes) of the Bektashi dervishes, but not the ilahis of the Sunni Dervish Orders. In the ayin its appearance is always signaled by the singing of a hymn in the Turkish language, praising Rumi’s son Sultan Veled (d. 1312). This chapter compares 17th century and later versions of this Turkish hymn, and then old sema’i items in both the Ali Ufuki and Cantemir Collections with Bektashi and also Khorezmian ritualistic vocal and instrumental music. The manifest structural similarities among all of these items, strongly suggest an origin within antecedent Central Asian sufistic practices, harking back to yet earlier Turkic shamanism. Thus this single Turkish language hymn of the 14th century appears as a key unlocking the earlier history of larger shamanistic and sufistic practices that became acclimatized among the Mevlevis in Anatolia, prior to their consolidation in Ottoman Istanbul.
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Conference papers on the topic "Ritualistic Dance Forms"

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Hadzantonis, Michael. "Becoming Spiritual: Documenting Osing Rituals and Ritualistic Languages in Banyuwangi, Indonesia." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.17-6.

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Banyuwangi is a highly unique and dyamic locality. Situated in between several ‘giants’ traditionally known as centres of culture and tourism, that is, Bali to the east, larger Java to the west, Borneo to the north, and Alas Purwo forest to the south, Banyuwangi is a hub for culture and metaphysical attention, but has, over the past few decades, become a focus of poltical disourse, in Indonesia. Its cultural and spiritual practices are renowned throughout both Indonesia and Southeast Asia, yet Banyuwangi seems quite content to conceal many of its cosmological practices, its spirituality and co
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