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Journal articles on the topic 'Rumba (danse)'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

Ross, Karen. "Danse Macabre: Politicians, Journalists, and the Complicated Rumba of Relationships." International Journal of Press/Politics 15, no. 3 (May 6, 2010): 272–94. http://dx.doi.org/10.1177/1940161210367942.

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2

Grau, Andrée, Yvonne Daniel, Barbara Browning, Marta Savigliano, and Andree Grau. "Rumba: Dance and Social Change in Contemporary Cuba." Dance Research: The Journal of the Society for Dance Research 15, no. 1 (1997): 79. http://dx.doi.org/10.2307/1290955.

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3

Cone, Theresa Purcell, and Yvonne Daniel. "Rumba: Dance and Social Change in Contemporary Cuba." Dance Research Journal 30, no. 2 (1998): 79. http://dx.doi.org/10.2307/1478842.

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4

Lewis, J. Lowell, Yvonne Daniel, Barbara Browning, and Marta E. Savigliano. "Rumba: Dance and Social Change in Contemporary Cuba." TDR (1988-) 40, no. 4 (1996): 164. http://dx.doi.org/10.2307/1146599.

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5

Chasteen, John Charles, and Yvonne Daniel. "Rumba: Dance and Social Change in Contemporary Cuba." Hispanic American Historical Review 77, no. 1 (February 1997): 97. http://dx.doi.org/10.2307/2517074.

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6

Rodriguez, Olavo Alen, and Yvonne Daniel. "Rumba: Dance and Social Change in Contemporary Cuba." Latin American Music Review / Revista de Música Latinoamericana 20, no. 2 (1999): 313. http://dx.doi.org/10.2307/780026.

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7

Chasteen, John Charles. "Rumba: Dance and Social Change in Contemporary Cuba." Hispanic American Historical Review 77, no. 1 (February 1, 1997): 97. http://dx.doi.org/10.1215/00182168-77.1.97.

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8

Liébana, Encarnación, Cristina Monleón, Consuelo Moratal, and Amador Garcia-Ramos. "Heart Rate Response and Subjective Rating of Perceived Exertion to a Simulated Latin DanceSport Competition in Experienced Latin Dancers." Medical Problems of Performing Artists 36, no. 1 (March 1, 2021): 39–44. http://dx.doi.org/10.21091/mppa.2021.1006.

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This study aimed to describe the response of heart rate (HR) and the subjective rating of perceived exertion (RPE) during a simulated DanceSport competition. The mean and maximum HR of 18 dancers of the highest level were evaluated during a simulated DanceSport competition consisting of 5 Latin dances. RPE values were recorded immediately after each dance. The dances were ranked as follows according to the mean HR (samba [165.3 ± 16.3 bpm] < rumba bolero [176.9 ± 9.9 bpm] < cha-cha-chá [179.1 ± 11.4 bpm] = paso doble [182.5 ± 12.5 bpm] = jive [184.3 ± 11.4 bpm]); maximum HR (samba [185.6 ± 8.9 bpm] = rumba bolero [187.0 ± 9.1 bpm] < cha-cha-chá [190.1 ± 8.0 bpm] = paso doble [191.4 ± 9.0 bpm] < jive [194.2 ± 8.1 bpm]); and RPE (rumba bolero [5.22 ± 1.40] < samba [6.42 ± 2.06] = cha-cha-chá [6.78 ± 1.31] = paso doble [7.39 ± 1.04] < jive [8.33 ± 0.91]). The only significant correlation between RPE and HR values was observed for the maximum HR during the first dance of the competition (samba) (r = 0.485). A simulated DanceSport competition causes high physiological stress being influenced by the type of dance.

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9

Seo, Se-Mi, and Tae-Sam Kim. "Kinematic Character istics to Skill Degree during Dance Sports Rumba Forward Walk." Korean Journal of Sport Biomechanics 20, no. 3 (September 30, 2010): 293–301. http://dx.doi.org/10.5103/kjsb.2010.20.3.293.

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10

Lee, Jin, Cheong-Hwan Oh, and Eun-Hye Huh. "Kinematic Analyses of Scapula Depression in Cucarachas Movements in Dance Sport Rumba." Korean Journal of Sport Biomechanics 21, no. 1 (March 31, 2011): 77–83. http://dx.doi.org/10.5103/kjsb.2011.21.1.077.

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11

Henry, Rosita. "Book Reviews: Rumba Rules: The Politics of Dance Music in Mobutu’s Zaire." Australian Journal of Anthropology 21, no. 2 (August 2010): 273–75. http://dx.doi.org/10.1111/j.1757-6547.2010.00087.x.

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12

Forss, Matthew J. "Rumba Rules: The Politics of Dance Music in Mobutu's Zaire (review)." Callaloo 34, no. 1 (2011): 201–3. http://dx.doi.org/10.1353/cal.2011.0021.

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13

Mwenda Ntarangwi. "Rumba Rules: The Politics of Dance Music in Mobutu's Zaire (review)." Anthropological Quarterly 82, no. 3 (2009): 855–58. http://dx.doi.org/10.1353/anq.0.0081.

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Pavleski, Vlatko. "JUDGING OBJECTIVITY ANALYSIS WITH JUDGING COMPONENT “PARTNERING SKILLS” IN LATIN AMERICAN SPORT DANCE “RUMBA”." RESEARCH IN PHYSICAL EDUCATION, SPORT AND HEALTH 9, no. 2 (2020): 45–50. http://dx.doi.org/10.46733/pesh20920045p.

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15

EISENBERG, ANDREW J. "Rumba Rules: The Politics of Dance Music in Mobutu's Zaire by Bob W. White." American Anthropologist 111, no. 4 (November 17, 2009): 544–45. http://dx.doi.org/10.1111/j.1548-1433.2009.01161_23.x.

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16

Gerstin, Julian. "Rumba Rules: The Politics of Dance Music in Mobutu's Zaire by Bob W. White." PoLAR: Political and Legal Anthropology Review 33 (May 2010): 192–94. http://dx.doi.org/10.1111/j.1555-2934.2010.01086.x.

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17

Collins, John. "Musical Feedback: African America’s Music in Africa." Issue: A Journal of Opinion 24, no. 2 (1996): 26–27. http://dx.doi.org/10.1017/s0047160700502315.

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Since the end of the nineteenth century, black music has been prominent in the international arena—from ragtime to rumba and jazz, right up to today’s black and white fusions. Dance music and drama originally from Africa were adapted to the New World, creating an enormous impact there and feeding back into the mainstream of music in Africa itself. This double transformation, brought about by leaving and returning home, has created a truly international music-style in Africa, and yet one that is doubly African.

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18

Bosse, Joanna. "Salsa Dance and the Transformation of Style: An Ethnographic Study of Movement and Meaning in a Cross-Cultural Context." Dance Research Journal 40, no. 1 (2008): 45–64. http://dx.doi.org/10.1017/s0149767700001364.

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Over the last century perennial surges in the popularity of Latin American couple dance genres such as tango and rumba in the United States have served as lightning rods for debate on issues of morality, performance, and identity. These “crazes” have fueled the collective American imagination, reinforcing a type of Latin American exotica that prevailed throughout the twentieth century and into the next. Consequently, they have also fostered an entirely new style of performance as white Americans borrowed—or perhaps better stated, appropriated—these genres for their own. For instance, the two styles of tango performed by ballroom dancers today, some one hundred years after its introduction to American audiences in theaters and exhibition performances, is sufficiently distant from its Argentine roots to be considered an entirely different dance employing different movements, rhythms, and musical accompaniment.This article explores this particular brand of cross-cultural borrowing through an ethnographic accounting of a salsa dance formation team in central Illinois. Salsa is the latest of the Latin dance crazes, and since the earl. 1990. the genre has experienced increased attention from mainstream American audiences who have invested significant resources in order to learn to dance salsa. Formation teams are presentational performance ensembles, in this case combining salsa; ballroom; and staged, theatrical dance, and generally draw their enthusiasts from ballroom dance circles.

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19

Daniel, Yvonne Payne. "Changing Values in Cuban Rumba, A Lower Class Black Dance Appropriated by the Cuban Revolution." Dance Research Journal 23, no. 2 (1991): 1. http://dx.doi.org/10.2307/1478752.

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20

이만령. "Evaluation of Pelvis Motion to Skill Degree during Rumba Forward Walk of Male Dance Sports." Official Journal of the Koeran Society of Dance Science 32, no. 1 (January 2015): 267–82. http://dx.doi.org/10.21539/ksds.2015.32.1.267.

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21

Massidda, Myosotis, Lucia Cugusi, Maurizio Ibba, Iosto Tradori, and Carla M. Calò. "Energy Expenditure during Competitive Latin American Dancing Simulation." Medical Problems of Performing Artists 26, no. 4 (December 1, 2011): 206–10. http://dx.doi.org/10.21091/mppa.2011.4033.

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The aims of this study were to estimate the energy expenditure (EE) and the intensity of physical activity (PA) during a competitive simulation of Latin American dancing and to evaluate the differences in PA and EE values between the sexes, between different dance types, and between the various phases of the competition. METHODS: Ten Italian dancers (five couples, 5 males and 5 females) competing in Latin American dancing at the international level were examined in this study. The EE (kcal) was measured during the semifinal and final phases of the competition using the SenseWear Pro Armband (SWA). Paired-sample t-tests were used to determine differences in the metabolic equivalent (MET) and EE values between the semifinal and final phases and between each dance. One-way analysis of variance was used to analyze the differences in the MET and EE values between the sexes. RESULTS: The intensity of PA during the dance sequence ranged from moderate (3 to 6 METs) to vigorous (6 to 9 METs). The male dancers had higher EE values than the female dancers during all phases of the simulation. Similar MET values were observed in both sexes. The PA intensity during the finals phase was vigorous for 56% of the time of dance. Of all the dance styles, the rumba had the lowest MET and EE values. CONCLUSION: Our results demonstrate that competitive Latin American dancing is a heavy exercise and suggest that monitoring variables during normal training can improve training protocols and the dancers’ fitness levels.

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22

Amintia, Nurfadhilah, Ramanata Disurya, and Efita Elvandari. "BENTUK TARI DANA SARA DI DESA PAGAR AGUNG KECAMATAN RAMBANG KABUPATEN MUARA ENIM." IKONIK : Jurnal Seni dan Desain 2, no. 2 (July 29, 2020): 57. http://dx.doi.org/10.51804/ijsd.v2i2.734.

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Tari Dana Sara adalah tari yang berasal dari Desa Pagar Agung Kecamatan Rambang Kabupaten Muara Enim Provinsi Sumatera Selatan. Fenomena dari tari Dana Sara ini menceritakan mengenai sejarah dari Desa yang diangkat oleh masyarakat dan pemerintah desa, yang mana merupakan tari yang berasal dari Desa Pagar Agung. Tujuan penelitian ini untuk mendeskripsikan Bentuk Tari Dana Sara di Desa Pagar Agung Kecamatan Rambang Kabupaten Muara Enim. Metode dalam mengumpulkan data yaitu dengan cara observasi, wawancara, dan dokumentasi. Analisis data berdasarkan penelitian yang telah dilakukan oleh penulis maka peneliti mendapatkan data yang diperlukan, yang mana penulis dapat mendeskripsikan dalam bentuk uraian yaitu bentuk tari Dana Sara yang diangkat masyarakat untuk mengenang sejarah dari Desa Pagar Agung sebelum terciptanya kedamaian dari dulu sampai sekarang yang dikaitkan dengan konsep teori dari Maryono. Hasil penelitian yang didapatkan oleh penulis yaitu tema dikaitkan dengan sejarah dari desa yang diangkat oleh masyarakat desa Pagar Agung, alur cerita/alur dramatik yaitu alur ini dengan cara cepat lambatnya tari Dana Sara, gerak ada 6, penari ada 4 orang ditarikan oleh ibu-ibu/remaja, pola lantai: dua baris depan dan belakang, lurus, lingkaran dan zig-zag, ekspresi wajah/polatan ekspresi melambangkan kebahagian, rias cantik, busana yang dipakai: baju kurung, rok batik, ampak-ampak, pending, alas jilbab, dan jilbab pasmina warna lavender, musik yang digunakan gendang, taktawak/gong kecil, kentrongan, dan rumba/tamborin, panggung terbuka: fiur/bebas sesuai dengan acara yang dilaksanakan, properti selendang, pecahayaan yang digunakan yaitu lampu siang/malam, dan seting yang digunakan fiur/bebas sesuai dengan panggung pada saat pertunjukan tari Dana Sara.Dana Sara dance is a dance originating from Pagar Agung Village, Rambang District, Muara Enim Regency, South Sumatra Province. This phenomenon of Dana Sara dance tells about the history of the village that was raised by the community and village government, which is a dance that originated from Pagar Agung Village. The purpose of this study was to describe the Dana Sara Dance Form in Pagar Agung Village, Rambang District, Muara Enim Regency. The method of collecting data is by observation, interview and documentation. Data analysis is based on research that has been done by the writer so the researcher gets the necessary data, which the writer can describe in the form of a description that is the form of Dana Sara dance which is raised by the community to commemorate the history of Pagar Agung Village before creating peace from the past until now which is associated with the concept theory from Maryono. The research results obtained by the author that the theme is associated with the history of the village raised by the Pagar Agung village community, the storyline / dramatic storyline is this plot by way of the slow speed of the Dana Sara dance, motion there are 6, dancers there are 4 people danced by mothers / adolescent, floor pattern: two rows front and back, straight, circle and zig-zag, facial expressions / patterns of expression symbolizing happiness, beautiful makeup, clothing worn: clothes brackets, batik skirts, visible, pending, hijab pads, and lavender hijab pasmina, music used by drums, taktawak / small gongs, ukulele, and rumba / tambourine, open stage: fiur / free according to the event, shawl property, lighting used by day / night lights, and settings used fiur / free according to the stage at the Dana Sara dance performance.

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23

Gerstin, Julian. "Tangled roots: Kalenda and other neo-African dances in the circum-Caribbean." New West Indian Guide / Nieuwe West-Indische Gids 78, no. 1-2 (January 1, 2004): 5–41. http://dx.doi.org/10.1163/13822373-90002516.

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Investigates descriptions of Afro-Caribbean dances in early chronicles and historical material. Author focuses on choreography, as well as on musical instruments and their use. He pays special attention to descriptions of the Martinican kalenda dance. He discusses descriptions from the 18th c. of black Caribbean dance in French and other colonies, by priests and others, of the kalenda as a couple dance within a ring, and descriptions of other widespread early dances in the Caribbean, such as chica. Author notes that in these early descriptions the authors focus obsessively on eroticism, thus simplifying and exaggerating the dances as sexual, and ignoring their variety. Further, he analyses early chronicles on other widespread dances in the circum-Caribbean, such as stick-fighting dances, bamboula, djouba, and belair, comparing with present-day Caribbean dances, and on "challenge dancing" involving a dance soloist "challenged" by a lead drummer, found, for instance, in kalenda and rumba. In addition, the author focuses on the dances' musical accompaniment by drums, and the drum types and methods, specifically transverse drumming and drumming with sticks on the side of the drum, found today in kalenda, and other Caribbean styles. He points at the inaccuracy of some chronicles, mixing up dance names, and recurring superficiality and stereotypes. He nonetheless concludes from them that slaves from the Congo/Angola region probably played a crucial role in forming these early dance styles, and that their spread was connected with French colonialism and slavery and migrations from (once) French colonies. He describes probable Congolese/Angolan influences, such as pelvic isolation, challenge dances, couple dancing within a circle, and transverse drumming, but indicates that these are over time combined with other African and other influences.

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24

Ershova, Olga, and Evgeny Smirnov. "Sports and ballroom dancing competitive infrastructure analysis in the context of international organizations on sports and ballroom dancing." Tambov University Review. Series: Humanities, no. 182 (2019): 123–29. http://dx.doi.org/10.20310/1810-0201-2019-24-182-123-129.

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We consider current problems of scientific and theoretical representations development about competitive infrastructure of Sports and ballroom dancing which are not provided with sufficient scientific comprehension. The purpose is to determine the basis of division used in the world practice of international organizations for sports and ballroom dancing for the classification of competitions, performers, their skills, etc. Interest in sports and ballroom dancing, as a form of social, cultural and leisure activities, increases every year not only abroad but also in Russia. Sports and ballroom dancing in its structure have two programs: Latin American, which includes dances – Cha-cha-cha, Rumba, Samba, Jive, Pasodoble and European, dance – slow waltz, Viennese (fast) waltz, Slow Foxtrot, Quickstep, Tango. Dance and sports clubs cover in their work all age categories from children of three years to people of retirement age. Dance associations are based in cultural institutions, cultural and leisure type, in secondary schools, and in higher educa-tion institutions in the framework of additional education or the organization of cultural and leisure activities. Each dance and sports club, as an element of the structure, is registered in any Russian official organization for ballroom dancing, which, in turn, is a regional and part of the international organization for ballroom dancing. Now, there are actively there are four: 1) WDSF – World DanceSport Federation; 2) WDC – World Dance Council; 3) IDSU – International Dance Sport Union; 4) IDSCA – International Dance Studios and Clubs Association. Each of the organizations provides, contests, competitions, tournaments, Championships of Europe, Asia, world, etc. To analyze the material, we use a comparative typological method. We discover the similarities features and differences in the international organizations activities in sports and ballroom dancing, this information is scientifically investigated for the first time. We define the importance of sports and ballroom dancing competitive and amateur infrastructure for the development of culture and strengthening of a population healthy lifestyle. Also, for the first time in scientific circulation we introduce a systematic material on the activities of international organizations in sports and ballroom dancing.

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25

Desmawati, Nur, and Sri Rochana Widyastutieningrum. "TRANSFORMASI DEO KAYANGAN MENJADI TARI MAMBANG DEO-DEO KAYANGAN DI PEKANBARU." Gelar : Jurnal Seni Budaya 16, no. 2 (June 13, 2019): 119. http://dx.doi.org/10.33153/glr.v16i2.2484.

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<p>ABSTRAK<br />Deo Kayangan merupakan ritual pengobatan penyakit yang disebabkan oleh kekuatan gaib. Ritual ini ada di Kelurahan Tebing Tinggi Okura, Kecamatan Rumbai Pesisir, Kota Pekanbaru, Provinsi Riau. Ritual tersebut dipimpin oleh dukun Melayu bernama Tuk Damai. Tuk Damai diminta oleh masyarakat untuk menjadikan ritual tersebut sebagai hiburan dengan membuat imitasi Deo Kayangan yang diberi nama Badeo. Realitas tersebut memberikan kebebasan penafsiran baru oleh Wan Harun Ismail dengan mentransformasi menjadi suatu bentuk baru serta fungsi dan makna yang berbeda yaitu ditransformasi menjaditari Mambang Deo-Deo Kayangan sebagai ungkapan ekspresi. Fenomena ini kemudian menjadi sebuah topik pembicaraan yang hangat di Pekanbaru sejak tarian karya Wan Harun Ismail tersebut tampil di acara Parade Tari dan Pemilihan Bujang Dara Kota Pekanbaru. Penelitian ini bertujuan untuk menjelaskan fenomena tersebut secara runut. Mulai dari bentuk asli ritual Deo Kayangan hingga menjadi tari Mambang Deo-Deo Kayangan, mengetahui faktor-faktor yang mempengaruhi sosok Wan Harun Ismail sebagai seniman yang melakukan transformasi Deo Kayangan menjadi tari Mambang Deo-Deo Kayangan, serta menjelaskan tanggapan masyarakat terhadap transformasi bentuk Deo Kayangan menjadi tari Mambang Deo-Deo Kayangan.</p><p>Kata kunci: Ritual Deo Kayangan, transformasi, Tari Mambang Deo-Deo Kayangan.</p><p><br />ABSTRACT</p><p><br />Deo Kayangan is a ritual for the treatment of diseases caused by magical powers. This ritual is in the Village of Tebing Tinggi Okura, Rumbai Pesisir District, Pekanbaru City, Riau Province. The ritual was led by a Malay shaman named Tuk Damai. Tuk Damai was asked by the community to make the ritual an entertainment by making a Deo Kayangan imitation named Badeo. The reality provides a free interpretation of Wan Harun Ismail by transforming it into a new form and different functions and meanings which are transformed into Mambang Deo-Deo Kayangan dance as his expression. This phenomenon later became a hot topic of conversation in Pekanbaru since the dance by Wan Harun Ismail appeared in the Dance Parade and the Election of Bujang Dara Kota Pekanbaru. This study aims to explain this phenomenon in a continuous manner. It starts from the original form of Deo Kayangan ritual up to the Mambang Deo-Deo Kayangan dance; knowing the factors that influence Wan Harun Ismail as an artist who transforms Deo Kayangan into Mambang Deo-Deo Kayangan dance and explains the community’s response to Deo Kayangan’s transformation into Mambang Deo-Deo Kayangan dance.</p><p><br />Keywords: Deo Kayangan Ritual, transformation, Mambang Deo-Deo Kayangan Dance.</p>

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26

Lidbury, Clare. "Yvonne Daniel Rumba: Dance and Social Change in Contemporary CubaBloomington: Indiana University Press, 1995. ISBN 0-254-20948-X." New Theatre Quarterly 13, no. 52 (November 1997): 399. http://dx.doi.org/10.1017/s0266464x00011635.

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27

Liébana, Encarnación, Cristina Monleón, Raquel Morales, Carlos Pablos, Consuelo Moratal, and Esther Blasco. "Muscle Activation in the Main Muscle Groups of the Lower Limbs in High-Level Dancesport Athletes." Medical Problems of Performing Artists 33, no. 4 (December 1, 2018): 231–37. http://dx.doi.org/10.21091/mppa.2018.4034.

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Dancers are subjected to high-intensity workouts when they practice dancesport, and according to the literature, they are prone to injury, primarily of the lower limbs. The purpose of this study was to determine whether differences exist in relative activation amplitudes for dancers involved in dancesport due to muscle, gender, and type of dance. Measurements were carried out using surface electromyography equipment during the choreography of a performance in the following leg muscles: rectus femoris, biceps femoris, tibialis anterior, and gastrocnemius medialis. Eight couples of active dancesport athletes (aged 20.50±2.75 yrs) were analyzed. Significant gender differences were found in rumba in the tibialis anterior (p≤0.05) and gastrocnemius medialis (p≤0.05). Based on the different activations, it is possible to establish possible mechanisms of injury, as well as tools for preventing injuries and improving sports performance.

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28

Gondola, Didier. "Rumba Rules, The Politics of Dance Music in Mobutu's Zaire, by Bob W. White, Durham: Duke University Press, 2008. 300 pages; biblio, index. $23.95, paper." African Arts 43, no. 1 (March 2010): 94. http://dx.doi.org/10.1162/afar.2010.43.1.94.

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O'Connell, Joe. "Rumba Rules: The Politics of Dance Music in Mobutu's Zaire. By Bob W. White. Durham and London: Duke University Press, 2008. 300 pp. ISBN 978-0822341123." Popular Music 29, no. 3 (October 2010): 483–85. http://dx.doi.org/10.1017/s0261143010000310.

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30

Erlmann, Veit. "Rumba Rules: The Politics of Dance Music in Mobutu s Zaire, Bob W. White, Duke University Press, 2008, 300 pp., paperback: 978-0-8223-4112-3." African Music: Journal of the International Library of African Music 8, no. 3 (2009): 166–68. http://dx.doi.org/10.21504/amj.v8i3.1837.

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31

Rosenberg, Aaron L. "Bob W. White. Rumba Rules: The Politics of Dance Music in Mobutu's Zaire. Durham, N.C.: Duke University Press, 2008. xxiii + 300 pp. Photographs. Maps. Figures. Notes. Bibliography. Maps. Figures. Notes. Discography. Index. $84.95. Cloth. $23.95. Paper." African Studies Review 52, no. 1 (April 2009): 219–20. http://dx.doi.org/10.1353/arw.0.0133.

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MOORMAN, MARISSA J. "POPULAR DANCE MUSIC AND POLITICAL CULTURE IN ZAIRE UNDER MOBUTU - Rumba Rules: The Politics of Dance Music in Mobutu's Zaire. By Bob W. White. Durham, NC and London: Duke University Press, 2008. Pp. xix+300. £51, hardback (isbn978-0-8223-4091-1); £12.99, paperback (isbn978-0-8223-4112-3)." Journal of African History 50, no. 2 (July 2009): 310–11. http://dx.doi.org/10.1017/s002185370999020x.

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Stow, Simon. "Subversive Sounds: Race and the Birth of Jazz in New Orleans. By Charles Hersch. Chicago: University of Chicago Press, 2007. 256p. $35.00. - Rumba Rules: The Politics of Dance Music in Mobutu's Zaire. By Bob W. White. Durham, NC: Duke University Press, 2008. 328p. $84.95 cloth, $23.95 paper." Perspectives on Politics 6, no. 4 (November 13, 2008): 821–23. http://dx.doi.org/10.1017/s1537592708082017.

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34

Litvyshchenko, O. V. "Directions of concertmaster activity of Oleksandr Nazarenko." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 246–59. http://dx.doi.org/10.34064/khnum1-57.15.

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Formulation of the problem. At the current stage, concertmaster activity as a kind of performing art requires a comprehensive study to justificatе the artistic effectiveness of the artist. Thereby, there was a need for research of the concertmaster activity of Oleksandr Nazarenko (Professor of the Department of Ukrainian Folk Instruments in I. P. Kotlyarevsky Kharkiv National University of Arts), in order to characterize his performing skills. This article is about the instrumental work of a accordionist, which is an organic component of the activities of art institutions in a variety of forms of work with the listener. The nuances of the instrumental accompaniment of a vocal composition (and not only) in conditions of genre and style diversity of the musical life of Kharkiv were the peculiarity of fruitful activity of the musician for many years. Is there a connection between this form of creative activity (at first glance, simple and not the most important) and other manifestations of the academic professional development of a musician? The answer to this question is the relevance of the topic of the article, devoted to the characteristics of O. Nazarenko’s concertmaster activity. The lack of a special study of the stylistic aspects of his concertmaster’s activity drove a necessitaty to take note to the biographical facts of the artist’s life in order to generalize the components of his performing skills. Analysis of the latest publications on the topic. O. Nazarenko’s compositional work for accordion is presented in the researches of Kharkiv accordionists and musicologists Y. Dyachenko (2012), M. Plushenko (2017), I. Snedkova (2016), A. Sagittarius (2018).However, these authors did not address the problem of concertmaster activity of O. Nazarenko, which was an important part of his professional growth as a model for the young generation of accordionists, drawing attention to this aspect of his performing arts. The object of research is the musical activity of O. Nazarenko; subject – concertmaster component of the artist’s creative universalism. The purpose of the article is to comprehensively research the process of evolution of the concertmaster’s activity of the famous Kharkiv accordionist Oleksandr Nazarenko. The research methodology is based on a complex of historical, genre-style and system approaches. Presenting of the main material. His acquaintance with concertmaster’s skill and it’s mastering O. Nazarenko began quite early – during the third year in B. Lyatoshynsky Kharkiv Music School (1955). Working with artists, he went with concerts to small factories, factory workshops (during breaks in the “red corners”), dormitories and clubs, where were held 40-minute meetings, where O. Nazarenko was accompanying dancers and vocalists. While studying at the Kharkiv Conservatory (1957–1962), he toured with a student team, where he was accompanying the instruments of the folk orchestra (domra, balalaika), symphony orchestra (violin, cello) and vocal performances. O. Nazarenko strived for performing activity, and therefore he chose the direction of creative work as a soloist-accordionist of the Kharkiv Regional Philharmonic (1962–1967), where together with solo performances he began professional concertmaster activity, working in various genres (vocal, dance and original). After graduating from the conservatory, O. Nazarenko paid much attention to the technique of reading from a sheet of works for piano, studied professional accompaniment to soloists, gained experience in concertmaster’s work to learn the new repertoire with artists. At the Department of Folk Instruments, students and teachers competed with each other in better technique of reading from a sheet, transposition into any key, play a tune by ear, improvisation, and skillfully translation the piano texture into accordion. According to the professor’s words, in order not to lose his performance skill during the tour and to maintain the technical level, he tried to practice even on a bus. He played accordion technical exercises with ready-made chords and fragments from masterpiece works (G. Diniku “Romanian round dance”, introduction to the opera “Ruslan” by M. Glinka); always worked on the plastic of his right hand. Most often, the acquaintance with the musical text took place during the move or a short time before the concert. Soloists-vocalists gave piano notes and indicated in what key they were comfortable to sing. Thus, the accordionist had to analyse the texture without an instrument, sing the melody in the required key with his inner ear, and transpose the musical material. O. Nazarenko tried to enrich the instrumental accompaniment with texture (counterpoint, melodic undertones) in order to move away from the primitive form (bass-chord support). The intention to complicate the accordion part made O. Nazarenko to improve his skills constantly in the selection of means of expression, intonation, the search for timbre diversity, all means which create true artistic values. Accompanying the soloists, the artist paid special attention to the thinning of the sound, imitating stringed instruments. While accompanying a group of brass instruments of a symphony orchestra (trumpet, trombone), he tried to convey the effect of “spaciousness”, equalling the techniques of sound production of brass instruments. Thus, performing a popular song of the Great Patriotic War “At Nameless Height”, O. Nazarenko imitated the replicas of the trumpet signal, and in the song “Buchenwald’s alarm” his performance gained maximum tension, sharpening and concentration in the transmission of bells. The world-famous song for the musical of the same name “Hello, Dolly” accompanied by O. Nazarenko gained a swing accent due to the alternation of the first and fourth parts of the bar and bright intonation. The material for accompaniment in the original genres (acrobats, jugglers, tightrope walkers, illusionists) was Latin American tunes (“Malagenya”, rumba “Valencia”), music for movies (“Serenade of the Sunny Valley”), personal improvisations. Between 1967 and 1987, the Union of Composers of Ukraine had author’s concerts-meetings, where among soloists were present the artists from the Philharmonic, the Opera House and teachers from the Institute of Arts. Well-known composers of Kharkiv such as G. Finarovsky, O. Zhuk, T. Kravtsov, F. Bogdanov, I. Kovach, N. Yukhnovska, O. Litvinov, G. Faintukh, V. Zolotukhin selected the soloists and completed the concert program. In general, during the whole period devoted to concertmaster’s activity, O. Nazarenko performed with more than a hundred soloists-vocalists of academic (bass, baritone, soprano, mezzo-soprano) and folk singing, as well as with numerous instrumentalists. Conclusions. Fruitful work on improving his own professionalism made the master a famous concertmaster-accordionist of Kharkiv. Collaboration with talented artists filled the emotional and intellectual state of the young musician, a rich palette of genres allowed the musician to think more widely and go beyond academism. The variety in the choice of means of expression enriched the technique of reading from a sheet, transposing and transition a piano works into an accordion. The expansion of the dramatic functions of the accordion accompaniment, the arsenal of means of expression contributed to the formation of a new type of ensemble based on the cocreation (equality / subordination) of its participants. This determined the active role of the accordionist concertmaster at all stages of the development of the interpretation plan: from the search for a key idea to its implementation on the concert stage. Working as an accompanist influenced not only his performing skills, but also Nazarenko’s work as a composer. Thanks to the personality of O. Nazarenko, the concertmaster activity of a whole generation of accordionists reached a qualitatively new professional level, and the profession of accompanist became popular among the younger generations working in this complex performance format.

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"Rumba: dance and social change in contemporary Cuba." Choice Reviews Online 33, no. 07 (March 1, 1996): 33–3832. http://dx.doi.org/10.5860/choice.33-3832.

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"Rumba: Dance and Social Change in Contemporary Cuba:Rumba: Dance and Social Change in ContemporaryCuba." Transforming Anthropology 6, no. 1-2 (January 1997): 90–95. http://dx.doi.org/10.1525/tran.1997.6.1-2.90.

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