Relevant bibliographies by topics / Social aspects of Dance halls

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Social aspects of Dance halls'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Social aspects of Dance halls.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Social aspects of Dance halls"

1

Thomson, Raymond A. "Dance bands and dance halls in Greenock, 1945–55." Popular Music 8, no. 2 (May 1989): 143–55. http://dx.doi.org/10.1017/s0261143000003330.

Full text
Abstract:
The Americanisation of British popular culture has been the subject of intensive study and debate. Most of this, however, has had a national focus. It is the purpose of this article to examine aspects of a popular culture at a local level in order to discover the extent to which people were, or felt themselves to be, dominated by America. The history of popular culture is the history of the little people, how they passed their time and recreated themselves. Discoveries made here should cast illumination on the more global claims made by social historians.
APA, Harvard, Vancouver, ISO, and other styles
2

Ní Fhuartháin, Méabh. "Parish Halls, Dance Halls, and Marquees: Developing and Regulating Social-Dance Spaces, 1900–60." Éire-Ireland 54, no. 1-2 (2019): 218–50. http://dx.doi.org/10.1353/eir.2019.0009.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Nott, James. "Dance Halls: Towards an Architectural and Spatial History,c. 1918–65." Architectural History 61 (2018): 205–33. http://dx.doi.org/10.1017/arh.2018.8.

Full text
Abstract:
AbstractThe dance hall was a symbol of social, cultural and political change. From the mid-1920s until the mid-1960s, the dance hall occupied a pivotal place in the culture of working- and lower-middle-class communities in Britain. Its emergence and popularity following the First World War reflected improvements in the social and economic well-being of the working and lower middle classes. The architecture of dance halls reflected these modernising trends, as well as a democratisation of pleasure. The very name adopted by the modern dance hall, ‘palais de danse’, emphasises this ambition. Affordable luxury was a key part of their attraction. This article examines how the architecture of dance halls represented moments of optimism, escapism and ‘modernity’ in British history in the period 1918–65. It provides the first overview of dance halls from an architectural and spatial history perspective.
APA, Harvard, Vancouver, ISO, and other styles
4

KORHONEN, JOONAS JUSSI SAKARI. "Urban social space and the development of public dance hall culture in Vienna, 1780–1814." Urban History 40, no. 4 (May 29, 2013): 606–24. http://dx.doi.org/10.1017/s0963926813000217.

Full text
Abstract:
ABSTRACT:This article seeks to understand how the emergence of public dance hall culture affected the consumption of dance music among different social classes in Vienna between the years 1780 and 1814, when the number of dance halls more than tripled. Using mainly contemporary eyewitness accounts as sources, this article argues that social distinctions, rather than disappearing, were reinforced after the commercialization of the Viennese dance halls. As turn-of-the-century Vienna was a major city with a heterogeneous population, the diversity of social classes was reflected in its ballroom culture. This is because the Viennese elite, the nobility and the higher bourgeoisie, was very reluctant to share social space with the lower classes. Although to some degree the amount of social space expanded in the city at the time, the use of the space, however, remained socially diverse.
APA, Harvard, Vancouver, ISO, and other styles
5

Porter, John. "The Public Dance Halls Act, 1935: a re-examination." Irish Historical Studies 42, no. 162 (November 2018): 317–35. http://dx.doi.org/10.1017/ihs.2018.35.

Full text
Abstract:
AbstractHistorical scholarship has interpreted the Public Dance Halls Act, 1935 in a relatively uniform manner. Most works on the subject have emphasised the expanding influence of Catholic church authorities over dancing following the enactment of the legislation, as well as the increasing restrictions placed on the freedom of dancers. The act has been viewed as one element in a sequence of pieces of legislation passed by successive Free State governments that aimed to limit and control citizens, including the Censorship of Films Act, 1923, and the Censorship of Publications Act, 1929. Using previously unexamined Department of Justice records, this article questions the dominant interpretation of the Public Dance Halls Act. It analyses whether dances moved predominantly into parochial halls, as has been the common understanding, and also considers whether the supposedly harsh restrictions imposed on dancers were actually enforced or observed. The article also proposes that two largely unexamined facets of the legislation and its subsequent implementation be given more consideration. Safety concerns played a sizeable part in shaping dancing regulations, as did the interests and worries of local communities. The article concludes by suggesting that lacunae in the historiography of dance halls in the 1930s are emblematic of wider gaps in Irish social and cultural history and recommends avenues for future research.
APA, Harvard, Vancouver, ISO, and other styles
6

Blacker, C. Alexandra. "Cotillion Dance as an Embodiment of Class." Congress on Research in Dance Conference Proceedings 2014 (2014): 14–20. http://dx.doi.org/10.1017/cor.2014.2.

Full text
Abstract:
This paper suggests that social dance, specifically cotillion, teaches students to internalize and reflect ideas relevant to constructions of class. An examination of eighteenth- and nineteenth-century cotillion dance (also referred to as private balls, public balls, assemblies, and dance halls) shows a physical manifestation of class that can still be seen in the modern day dance world. This paper examines social dance in the eighteenth and nineteenth centuries. I use historical references, specifically Elizabeth Aldrich's From the Ballroom to Hell: Grace and Folly in Nineteenth-Century Dance, Linda Tomko's Dancing Class, Gender, Ethnicity, and Social Divides in American Dance, and the Library of Congress Web site to foreground this idea before turning to some modern day case studies. Employing historical as well as interview-based methodologies, the paper combines interviews from present day cotillion directors with my own experiences in the cotillion and professional ballet communities. The paper concludes that social dance in the eighteenth and nineteenth centuries sets up a tradition still carried forth today—one that is more about classed aspirations and courtship and less about dance technique or physical ability.
APA, Harvard, Vancouver, ISO, and other styles
7

Maples, Holly. "Embodying Resistance: Gendering Public Space in Ragtime Social Dance." New Theatre Quarterly 28, no. 3 (August 2012): 243–59. http://dx.doi.org/10.1017/s0266464x12000437.

Full text
Abstract:
In this article Holly Maples examines how the controversy surrounding the ragtime dance craze in the United States allowed women to renegotiate acceptable gendered behaviour in the public sphere. In the early 1910s many members of the public performed acts of resistance to convention by dancing in the workplace, on the street, and in public halls. Civic institutions and private organizations sought to censor and control both the public space of the dance hall and the bodies of its participants. The controlling of social dance was an attempt to restrain what those opposed to the dances saw as unrestrained and indecent physical behaviour by the nation's youth, primarily targeting ragtime dancing's ‘moral degradation’ of young women. It was not merely the public nature of the dancing that was seen as dangerous to women, however, but the dances themselves, many of which featured chaotic, off-centred choreography, with either highly sexualized behaviour, as seen in the tango and the apache dance, or clumsy, un-gendered movement, popular in the animal dances of the day. Through ragtime dancing, women performed acts of rupture on their bodies and the urban cityscape, transforming social dancing into public statements of gendered resistance. Holly Maples is a lecturer in Drama at the University of East Anglia. Both a theatre practitioner and a scholar, she trained as an actress at Central School of Speech and Drama in London and completed her PhD in Theatre Studies at Trinity College Dublin. Her book, Culture War: Conflict, Commemoration, and the Contemporary Abbey Theatre, has recently been published in the ‘Reimagining Ireland’ series by Peter Lang.
APA, Harvard, Vancouver, ISO, and other styles
8

Griffiths, John. "Going to the Palais: a social and cultural history of dance halls in Britain, 1918–1960." Social History 41, no. 2 (March 31, 2016): 221–23. http://dx.doi.org/10.1080/03071022.2016.1148359.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

M.M., Marushka. "SOCIAL DANCE SCHOOLS AS A CENTER OF CHOREOGRAPHIC EDUCATION IN GALICIA IN THE INTERWAR TWENTY YEARS (1919–1939)." Collection of Research Papers Pedagogical sciences, no. 90 (November 4, 2020): 12–15. http://dx.doi.org/10.32999/ksu2413-1865/2020-90-2.

Full text
Abstract:
Мета статті – визначити соціально-культурні передумовипопулярності та масовості шкіл товарись-ких танців як осередків хореографічного навчання; проаналізувати діяльність шкіл товариських танців у Галичині в міжвоєнне двадцятиліття. Методи. Для досягнення поставленої мети було використано комплекс дослідницьких методів – конкретно-пошуковий, системний метод, метод логіко-історичного аналізу. Конкретно-пошуковий метод застосовувався у роботі з архівними документами та матеріалами періодичних видань із досліджуваної проблематики. Системний метод дав змогу всебічно та комплек-сно розглянути діяльність шкіл товариських танців у Галичині міжвоєнного періоду. Метод логіко-істо-ричного аналізу дозволив систематизувати, проаналізувати дані та інформацію, що стосуються предме-та дослідження. Результати. На основі аналізу архівних матеріалів, публікацій у періодичних виданнях розкрито особливості організації шкіл товариських танців у Галичині 1919–1939 років, систематизова-но інформацію про власників та вчителів шкіл товариських танців, досліджено діяльність професійного зв’язку вчителів товариських танців. Висновки. Встановлено, що популярність та масовість шкіл това-риських танців у Галичині визначали розвиток бальної хореографії, а також роль, яку відігравали танці у тогочасному соціально-культурному житті галичан. Дуже поширеними були дансинґи – громадські зали для танців, у кав’ярнях та рестораціях також біли місця для танців. Часто різноманітні товариства організовували танцювальні вечори, особливо у карнавальний сезон. Репертуар бальної хореографії 20–30-х рр. ХХ ст. включав вальс, тустеп, уанстеп, блюз, фокстрот, квік-степ, чарльстон, танго, свінг, твіст, шіммі, каріоку тощо. Ці танці вивчали у школах товариських танців. Школи танців були у бага-тьох містах Галичини, а саме у Бережанах, Бориславі, Бродах, Дрогобичі, Золочеві, Коломиї, Надвірній, Самборі, Старому Самборі, Станіславові, Стрию, Трускавці. Зміст та методика навчання товариських танців залежали виключно від рівня підготовки педагогів танцювальних шкіл. Учителі танців об’єдну-вались у професійні зв’язки. Протягом 1919–1939 років у Львові діяло кілька таких зв’язків, які об’єд-нували фахових та ліцензованих учителів танців з усієї Східної Галичини. The purpose – to determine the cultural prerequisites for the popularity of social dance schools as centers of choreographic learning; to analyze the activities of social dance schools in Galicia in the interwar twenty years. Methods. To achieve this goal, a set of research methods was used specific search, system method, method of logical-historical analysis. Specific search methods were used when working with documents and materials of periodicals on the researched issues. The systematic method allowed to comprehensively consider the activities of social dance schools in Galicia in the interwar period. The method of logical-historical analysis allowed to systematize, analyze data and information related to the subject of research. Results. Based on the analysis of archival materials, publications in periodicals, the peculiarities of the organization of social dance schools in Galicia in 1919–1939 are revealed, information about the owners and teachers of social dance schools is systematized, the professional communication of social dance teachers is investigated. Conclusions.It is established that the popularity of social dance schools in Galicia determined the development of ballroom choreography, as well as the role played by the dance in the then socio-cultural life of Galicians. Dance halls were widespread, and there were also dance halls in cafes and restaurants. Often various societies organized dance evenings, especially during the carnival season. Repertoire of ballroom choreography of the 20–30s of the XX century included waltz, twostep, onestep, blues, foxtrot, quickstep, charleston, tango, swing, twist, shimmy, karioka, and more. These dances were studied in social dance schools. Dance schools were held in many cities of Galicia, namely in Berezhany, Boryslav, Brody, Drohobych, Zolochiv, Kolomyia, Nadvirna, Sambir, Staryi Sambir, Stanislaviv, Stryi, and Truskavets. The content and methods of teaching social dances depended solely on the professionalism of dance school teachers. Dance teachers formed professional relationships. During 1919–1939, there were several such associations in Lviv, uniting professional and licensed dance teachers from all over Eastern Galicia.
APA, Harvard, Vancouver, ISO, and other styles
10

Abra, Allison. "Going to the palais: a social and cultural history of dancing and dance halls in Britain, 1918–1960." Contemporary British History 30, no. 3 (July 2, 2016): 432–33. http://dx.doi.org/10.1080/13619462.2016.1200806.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Social aspects of Dance halls"

1

Eslamboli, Leila. "Shall we dance? : a study of the art of dance and social responsibility." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81486.

Full text
Abstract:
The discussion over whether arts education has an impact on social responsibility has been an interesting field of investigation in the educational realm. Although there still remains a dearth of information surrounding this issue, past research in the field has shed light on the importance of art and aesthetic education. Building upon prior research, this study offers a critical investigation into issues linking social responsibility and arts and aesthetic education. At the core of this study, through the use of a phenomenological framework, insight was offered into whether students' perceptions of a dance program in one British Columbia school assisted them in constructing a more advanced notion of their role in social responsibility. The overall results suggest that the participants believe that the dance program has assisted them in understanding and fulfilling their role in being socially responsible.
APA, Harvard, Vancouver, ISO, and other styles
2

Cummings, John Stewart. "Social and emotional aspects of children's dance in mainstream schools." Thesis, Manchester Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504999.

Full text
Abstract:
Although, in principle, schools and dance teachers support the notion of encouraging social and emotional development, there has been little emphasis on this area within English schools, little theory or research on how it might be applied within mainstream education, and teachers are mostly too busy to prioritise it. The basic model for dance in British schools is "dance as Art", performed for a theatre audience. It is commonly assumed by dance teachers that practice at performing dance boosts children's confidence and self-esteem. Using a social constructionist methodology and qualitative methods of group interviews, I find that children construct a wide variety of discourses about what constitutes dance, much of it based on a social model of dance for enjoyment and for each other, which is largely ignored by schools. Whether pupils gain confidence, or feel embarrassed, depends hugely on the quality of the audience, whether they are judgemental, or witnessing in an empathic way. Potentially, one of the major social and emotional benefits of dance could be as an open workshop to explore aspects of their gender and sexuality. There is still a large swathe of opinion, especially among boys, that school dance is for girls, and that boys who participate in it are "poofs". This attitude prevails much more strongly about the contemporary style of most school dance, than about popular, and more "macho" social forms such as breakdance. Apparently homophobic attitudes among boys are part of a policing of expressions of masculinity among "straight" boys, who suffer from schools' failure to tackle issues of gender, aggravated by a current discourse around so-called "child protection" that restricts most attempts to explore issues of touch and personal space, even within a heterosexual setting. I propose a model from performativity theory, of how both gender and "good dance" are constructed, or performed within schools, in a way which generates a measure of social exclusion, particularly of boys' dance. Using video recorded observations of lessons, I locate school dance within a wider social practice of "discipline of the body" and associated resistance, that constrains what movements are acceptable where and when. Within these constraints, dance lessons offer a space for young people to develop self-awareness, to explore and challenge customary boundaries of movement, the feelings associated with freer movement, and issues of identity. Some children gain self-knowledge, practice co-operation and trust, learn from cultures other than their own, extend their movement and expressive vocabulary, and experience enjoyment and zest for life. Using two contrasting approaches to phenomenology, I illustrate how the "dance as art" model, and the emphasis on school discipline and exam curricula, mostly excludes any emphasis on using movement introspectively to explore feelings and to develop autonomy, as occurs in most body / movement therapeutic settings. An emphasis on choreography omits opportunities to respond spontaneously to a partner in the present moment, or to dance alone for their own pleasure. Children resort to hiding their attempts to escape socialisation, through dance as "crazy" or "wild" self-expression. I emphasise the value of movement and dance as an embodied, non-verbal, non-rational route to knowledge of self, and raise theoretical questions about the limits to social construction, and the possibility of verbalising embodied experience.
APA, Harvard, Vancouver, ISO, and other styles
3

Poona, Sobhna Keshavelal. "Dance and sexual politics some implications of the status of women in selected dance forms." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002377.

Full text
Abstract:
This thesis explores, from a feminist perspective, some implications on the status of women in selected dance forms, and addresses the perceptions of women as 'inferior' and 'subordinate'. One of the intentions behind the work was, indeed, to challenge prevailing perceptions and create an awareness of sexism, capitalism and patriarchy, especially for the uncritical and uninformed who have become its victims. Part 1 offers an analysis of the premises upon which social, political and economic inequality are founded and consolidated, with specific reference to sexual inequality and sexual prejudice. Utilising a Marxist-feminist and semiotic approach, the machinations of the traditional mass media are linked to negative imaging of the female body in support of the sexist, patriarchal, capitalist male manipulator, who benefits from women's subordinate social status. Part 2 addresses the issue of sexual politics, and the implications for dance research and performance. The researcher offers a descriptive analysis of four specific dance forms, which serve to highlight the socialisation and educational processes that shape our perceptions and instruct our lives. A set of questionnaires was sent to fourteen autonomous dance institutions, including those attached to national performing arts councils. The thesis concludes with a summary of the results of the questionnaires that were distributed amongst female dancers, dance students and choreographers. The researcher questions our culture's preoccupation with the female body image, and posits the urgent need for an assessment of this situation, and an education which will create a better understanding and a more harmonious climate for development.
APA, Harvard, Vancouver, ISO, and other styles
4

Masipa, Mochaki Deborah. "The effects of a South African Black youth jive on selected biophysical physiological and psycho-social parameters." Thesis, Rhodes University, 1989. http://hdl.handle.net/10962/d1015682.

Full text
Abstract:
This study investigated the effects of a South African Black youth jive on selected Biophysical, Physiological and Psycho-social parameters, using 31 Black youths, males and females (mean age 19.29 yrs) as subjects. All subjects participated in the pre- and post-programme testing protocols (acting as their own control) and in a 7-week jive programme. While the female subjects were significantly (p<0.05) heavier with a greater percentage body fat than their male counterparts, a two factor analysis of variance revealed no significant changes in body composition (p<0.05) of either sex group. However, significant improvements did occur in the cardio-respiratory . parameters of working and recovery heart rates, predicted V0₂ max, and the anaerobic capacity. Here, the males exhibited superior cardio-respiratory qualities and performed better in all motor fitness parameters except flexibility, where no significant sex difference occurred. Also, there were significant improvements in all motor fitness tests with the exception of power (as tested in the 18-Item Illinois test). No significant differences occurred between male and female psycho-social responses with no changes occurring after the 7- week programme. It can be concluded that involvement in the 7-week jive programme improved physiological parameters but failed to bring about alterations in the biophysical and psycho-social domains..
APA, Harvard, Vancouver, ISO, and other styles
5

Cimino, Antimo. "Hi'Iaka meets Terpsichore : an exploratory study of the connections between intercultural communication and dance." Scholarly Commons, 2006. https://scholarlycommons.pacific.edu/uop_etds/641.

Full text
Abstract:
This thesis is a theoretical examination intended to lead the reader in a process of deeper and subjective understanding of culture through the medium of dance. The literature review avails the reader with meaningful foundation work and theories that are weaved together to propose a framework for observing dance movement with a more intercultural set of lenses. This thesis focuses particularly on three intersections: dance as a form of expression and nonverbal communication, dance as embodiment of culture, and dance as a reflection of cultural identity. A useful outcome of this study is a sequential set of tools suggested as a structure useful to gather and analyze data and to conduct further research.
APA, Harvard, Vancouver, ISO, and other styles
6

Bojner, Horwitz Eva. "Dance/Movement Therapy in Fibromyalgia Patients : Aspects and Consequences of Verbal, Visual and Hormonal Analyses." Doctoral thesis, Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4639.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Fernandez, Mary Ann Z. "A CASE FOR DANCE IN THE EDUCATIONAL EXPERIENCE OF THE HEARING IMPAIRED." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/276431.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Van, Niekerk Heather. "Performing the township: pantsula for life." Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/57874.

Full text
Abstract:
Pantsula dance is a performing art born from the townships of Johannesburg. It is a dance form performed across South Africa, in a variety of contexts; in theatres, music videos and competitions in community halls, on national and international stages and on television, and in the streets of townships, cities and suburbs across South Africa and abroad. Its performance is widespread, but it has its beginnings as a dance form born in areas created to marginalise and oppress. There is a scarcity of academic scholarship related to pantsula dance. This thesis aims to be a contribution to that pre-existing body of knowledge in the hope that there can be further engagement on this important, and increasingly mainstream, art form. I have focused my thesis on analysing pantsula dance as a performance of 'the township'. This has been attempted through an ethnographic engagement with pantsula dancers based in different township areas of Johannesburg and Graha mstown: various members of Impilo Mapantsula, Via Katlehong, Intellectuals Pantsula, Via Kasi Movers, Dlala Majimboz and the cast of Via Katlehong's Via Sophiatown. The research was conducted between 2013 and 2016 and serves to represent various moments within the ethnographic research process, while coming to understand various aspects of pantsula dance. An engagement with notions of 'the township', the clothing choices of the pantsula 'uniform', the core moves, inherent hybridity in the form itself, and the dedication to the dance form as a representation of the isipantsula 'way of life', are addressed throughout the thesis. As well as engaging with the memory and representation of Sophiatown as an important component to pantsula dance. Pantsula dance, an intrinsically South African dance form, provides a celebratory conception of 'the township' space and allows people from different backgrounds to engage in an important part of South Africa's past, present and future.
APA, Harvard, Vancouver, ISO, and other styles
9

Lau, Gar-lum, and 劉嘉琳. "The social construction of rave culture in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31228288.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Demeuldre, Michel. "Le changement musical: étude transculturelle de trois siècles de changements dans la musique et la danse en milieu urbain." Doctoral thesis, Universite Libre de Bruxelles, 1991. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213065.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Social aspects of Dance halls"

1

Guy, Rogers, ed. Pat Green's dance halls & dreamers. [Texas]: Dance Halls & Dreamers Pub., 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Texas dance halls: A two-step circuit. Lubbock, Tex: Texas Tech University Press, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Argyriadis, Kali. Vivre la guinguette. Paris: Presses universitaires de France, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Carter, Alexandra. Dance and dancers in the Victorian and Edwardian music hall ballet. Aldershot: Ashgate, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Le ragga: [reggae, rap, DJ]. Paris: Hors collection, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Sound clash: Jamaican dancehall culture from Lady Saw to Dancehall Queen. New York: Palgrave Macmillan, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Cooper, Carolyn. Sound clash: Jamaican dancehall culture at large. New York: Palgrave Macmillan, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Let's dance: A celebration of Ontario's dance halls and summer dance pavilions. Toronto, Ont: Natural Heritage/Natural History, Inc., 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Tythacott, Louise. Dance. New York: Thomson Learning, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Barcelona balla: Dels salons aritocràtics a les sales de concert. Barcelona: Editorial Base, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Social aspects of Dance halls"

1

Marlow, Eugene. "International Jazz Musicians Flock to Shanghai: 1920s–1930s." In Jazz in China, 39–56. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817990.003.0005.

Full text
Abstract:
This chapter discusses the presence of foreign jazz musicians in China between the 1920s and the 1930s. According to bassist Da Ren Zheng, the rise of the dance halls led to the prominence of a large number of foreign, i.e., Western, jazz musicians. There were around fifty to sixty establishments in total. All these dance halls needed to hire jazz bands to accompany social dances, but at that time in Shanghai there were almost no Chinese jazz musicians; hence, a great number of foreign jazz musicians were contracted to play in Shanghai. The large-scale dance hall jazz bands were made up of around ten to fifteen people, and even small-size dance halls had five or six members. In a few years, more than 500 foreign musicians had surged into the Shanghai concessions. This huge contingent played jazz music day and night so that the entertainment life of Shanghai people was influenced unconsciously.
APA, Harvard, Vancouver, ISO, and other styles
2

Solo, Ashu M. G., and Jonathan Bishop. "Conceptualizing Network Politics following the Arab Spring." In Advances in Human and Social Aspects of Technology, 231–39. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6066-3.ch014.

Full text
Abstract:
This chapter defines a new field called network politics. Network politics refers to politics and networks. These networks include the Internet, private networks, cellular networks, telephone networks, radio networks, television networks, etc. Network politics includes the applications of networks to enable one or more individuals or organizations to engage in political communication. Furthermore, network politics includes government regulation of networks. Finally, network politics includes the accompanying issues that arise when networks are used for political communication or when there is government regulation of networks. The domain of network politics includes, but is not limited to, e-politics (social networking for driving revolutions and organizing protests, online petitions, political blogs and vlogs, whistleblower Websites, online campaigning, e-participation, virtual town halls, e-voting, Internet freedom, access to information, net neutrality, etc.) and applications of other networks in politics (robocalling, text messaging, TV broadcasting, etc.). The definition of this field should significantly increase the pace of research and development in this important field.
APA, Harvard, Vancouver, ISO, and other styles
3

Taylor, David. "‘I wish I could shimmy like my sister Kate’: Dance halls and dancing between the wars." In From Mummers to Madness: A Social History of Popular Music in England, c.1770s to c.1970s, 233–48. University of Huddersfield Press, 2021. http://dx.doi.org/10.5920/mummers.14.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Koegel, John. "Mexican Musical Theater and Movie Palaces in Downtown Los Angeles before 1950." In Tide Was Always High. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520294394.003.0002.

Full text
Abstract:
The Plaza was the first site of Spanish colonial civilian settlement in 1781, it was also the first entertainment district in Los Angeles. From the mid-nineteenth century through the 1950s, Plaza district buildings housed immigrant-oriented businesses, churches, restaurants and cafes, grocery stores, social clubs, billiard halls, saloons, music stores, dance halls, rooming houses, phonograph parlors, penny arcades, nickelodeons and ten-cent motion picture houses, and vaudeville theaters. The development of the Plaza area over time mirrors the transition of Los Angeles from a small Spanish and Mexican pueblo to an American frontier city, and ultimately to one of the world's major cities and metropolitan areas. This chapter explores how musical theater directly relates to physical location, civic identity, immigration, and ethnicity. A recurring process of cultural conflict, maintenance, and accommodation played out over time on stage in Los Angeles's Latino theatrical world. Music and theater served as conduits for communal self-expression, as powerful symbols of Mexican identity, and as signs of tradition and modernity.
APA, Harvard, Vancouver, ISO, and other styles
5

Teo, Jane, and Ong Puay Hoon. "Dance and Movement as Therapy for Children with Autism Spectrum Disorders (ASD)." In Assistive Technologies for Physical and Cognitive Disabilities, 250–61. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-7373-1.ch012.

Full text
Abstract:
This chapter attempts to introduce the concept of Dance and Movement Therapy (DMT) in treating autistic-like symptoms and discusses the validity and feasibility of adopting DMT as a complementary component of an existing intervention framework. By defining mainstream DMT, identifying its implications for children across the spectrum, and briefly touching upon the theoretical aspects of its workings, it is hoped that parents, teachers, and educators can gain a more thorough understanding of this method. An outline of how it can be adapted for children with a range of abilities is also supplied. Finally, initial observations of DMT applied in Kuching, Malaysia, are shared with concluding suggestions for success within this particular cultural and social context. This chapter is aimed at the new practitioner looking for a starting point resource as well as parents, teachers, and educators who may be thinking about implementing DMT into a child's routine or programme.
APA, Harvard, Vancouver, ISO, and other styles
6

Harvell, Kalvin DaRonne. "The Art of Sankofa and Re-Establishing Kujichagulia." In Overcoming Challenges and Creating Opportunity for African American Male Students, 41–71. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-5990-0.ch003.

Full text
Abstract:
As many social critics are just now discovering the racial treatise W.E.B. DuBois advanced more than 100 years ago, the academy continues to devalue, marginalize, and ignore specific voices while choosing to champion, protect, and canonize others. This exclusion allows, or directs, each generation of new scholars to carefully dance around the real problems in education by judiciously repackaging the discourse of their predecessors. This is not to suggest that the intellectual past of a discipline should not be revisited. This does suggest that some aspects of that past, a past often marred by cultural incompetence and the intellectual marginalization of specific groups a discipline pretends to be educating, needs to be considered and critiqued by those groups the discipline has objectified and transformed into others. Intentionally connecting educators to the history of Black self-determination in education may potentially serve to assist in the creation of pedagogy and programs to address the challenges of Black males in education.
APA, Harvard, Vancouver, ISO, and other styles
7

Van de Peer, Stefanie. "Izza Génini: The Performance of Heritage in Moroccan Music Documentaries." In Negotiating Dissidence. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696062.003.0007.

Full text
Abstract:
This case study looks at a much overlooked and ignored filmmaker from Morocco, Izza Génini: the first woman to be truly dedicated to making documentaries in a country where documentaries were actively discouraged. Morocco’s political, economic, cultural and social devastation during the Years of Lead in the eighties determined censorship and prevented any sort of filmmaking for a long time. People were disappeared or killed by government spies, and production was at an all time low. It was moreover determined by an exceptionally strict censorship board. Nevertheless, as producer and director, since the eighties Génini has managed to make pertinent observations of celebratory aspects of her mixed culture. Her family is Jewish, and it is a hidden aspect of Moroccan society that a large contingency of Jewish people used to live peacefully side by side with the Moroccan Arabs. Through depictions of traditional music and dance, celebrating hidden customs, her films defy national timidity and homogeneity. She was the first woman to make documentaries in Morocco that were not sponsored by the state, and remained so until well into the nineties.
APA, Harvard, Vancouver, ISO, and other styles
8

"Collins, P. 98 structure of 150–1, 152; overt Collinson, D. 58 research on 153–4; and potentials of Community Care 62 confrontation 153–8, 163; reasons Community Relations Councils 171 for studying 158–60; researcher as Cotterill, P. 95, 101, 108; and threat to 154–5; risk of research on Letherby, G. 94, 95, 107 162–3; risk to researcher 153–8; role of researcher in 161–2; Dalley, G. 117 secondary roles for researcher in danger: awareness of 2, 23–4; beyond 155–6; structural/cultural view of researcher/researched 160–2; 151–2; studying 147–8; and trust coping strategies 144; defined 74; in 155–6; validity of research on the field 182; as immediate physical 159–60; and wider community threat 8–9; insights from 189; 160–2; see also groups invisible 80–1; move from empathy Day, G. 107 to sympathy 154–5, 157, 159, 160; Dees, M. and Fiffer, S. 151 multiple aspects 54–5, 133; new delivery suite: attitude to patients agenda 115–18; and political 86–7; description of 81; emotional correctness 169; as positively danger in 82–7; and internal disruptive influence 56; of examination 82–3; and (lack of) representation 168, 179; and knowledge 84–5; and monitoring of research 27–9, 40, 189–92; and births 83–4; and new technology researcher risk 1–7, 9–10, 61; of 81, 85; powerlessness and anger in unreliable knowledge 169; see also 83 risk/danger Denby, S. and Baker, C. 58 dangerous groups 169; acceptance of Denizen, N. 149 researcher in 157; attitude to Dobie, K. 151 presentation of reports on 157–8; door work 43–4, 198–9; assaults, take-basic preparations for studying overs, swimming lessons 48–9; and 163–4; conceptual approach toward the bouncer self 53; and collective 150–2; and confidentiality of trust 51–2; at dance-oriented club material 155–6; covert research on 49–52; and danger 47–53, 54; 153; and data collection 149–50; ethnographic episodes 7–52; at gay defined 148; development of 152; club 48–9; and gender 45, 58; and ethical problems with 156; gaining knowing the score 49–50; links to access to 155; and involvement of criminality 44, 45–6; and losing wider community 160–2; and law ‘bottle’ 48; methodological enforcement 156–7; leadership of concerns 46–7; mythology/reality 156–7; long-term involvement with concerning 44; and personal 156; mechanics of participant information 52; post-fieldwork observation 154; membership/social experience 54–6;." In Danger in the Field, 216. Routledge, 2002. http://dx.doi.org/10.4324/9780203136119-37.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Social aspects of Dance halls"

1

Nastase, Mihai-Claudiu, Alexandru Mitru, and Loredana Andreea Paun (Parnic). "The Social and Economic Impact of COVID 19 Pandemic on Museums. Case Study: „Princely Court” National Museum Ensemble." In International Conference Innovative Business Management & Global Entrepreneurship. LUMEN Publishing, 2020. http://dx.doi.org/10.18662/lumproc/ibmage2020/25.

Full text
Abstract:
The new coronavirus (Covid-19) is one of the main challenges world today has to address. With no large scale availability vaccine yet, and more or less experimental medical treatments for curing the disease, we can safely say that we are still far behind a solution to this problem. This new pandemic is considered the biggest threat to the global economy since the Second World War and there is no aspects of human life have not been affected it, spiritual ones included. Its high contagiousness, as well as novelty, raised all kind of challenges and one of the main ones was our manner to produce answers, in early stages at least, this creating problem on its own and of its design. As well as all the other institutions, theatres, cinemas, concert halls, spaces of socialization and in the same time places of wonder, knowledge and spiritual enrichment the museums were heavily affected by the pandemic crisis, especially those who’s collections are not, but in very small proportion available, to the public through virtual media. Such a case is „Princely Court„ National Museums Ensemble from Targoviste, Dambovita County, Romania. The present paper proposes an overview of the highlights in institution′s activity the past years in comparison with how the pandemic crisis affected its activity in the past months and what were the responses given to keep the museum in the eye of the public. It will also try to summarize how and to what extent the activity went back to „normal” after the emergency state earlier imposed was lifted and how the visitors responded to the new realities.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Social aspects of Dance halls' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography