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Journal articles on the topic 'Social aspects of Dance halls'
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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McWilliam, Rohan. "Going to the Palais: A Social and Cultural History of Dancing and Dance Halls in Britain, 1918–1960." Cultural and Social History 14, no. 2 (January 25, 2017): 280–82. http://dx.doi.org/10.1080/14780038.2017.1281620.
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Amole, Dolapo. "A Gender Analysis of Attitudes to Students Residences in Nigeria." Asian Journal of Environment-Behaviour Studies 2, no. 3 (April 1, 2017): 1–12. http://dx.doi.org/10.21834/aje-bs.v2i3.183.
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This paper examines gender differences in responses to different aspects of students’ housing in two identical single-sex halls of residence in a Nigerian university. A questionnaire survey was used to elicit data from 150 students about their attitudes towards their accommodation, the design, social densities, choices and preferences, use of facilities and coping strategies. Gender differences were found to be most significant with respect to the use of domestic facilities, social densities, and design issues. The paper confirms previous studies about gender differences, identifies directions for future research and discusses the implications for the design of students’ residence halls.
Keywords: Students’ housing; Gender; Crowding, Behavior, Halls of Residence, Attitudes.
© 2017. The Authors. Published for AMER ABRA by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.
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Talbot, Christine. "MORMONS, GENDER, AND THE NEW COMMERCIAL ENTERTAINMENTS, 1890–1920." Journal of the Gilded Age and Progressive Era 16, no. 3 (June 23, 2017): 302–24. http://dx.doi.org/10.1017/s153778141700007x.
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In the early twentieth century, new forms of commercial entertainment—dance halls, movie theaters, amusement halls and parks, saloons and the like—emerged in urban areas, providing new ways for young Americans to amuse themselves. This essay explores the distinctive Mormon response to these new forms of amusement. Mormon leaders took up other progressive reformers’ concerns about early twentieth-century amusements, but refracted them through a distinctively Mormon lens that was at once gendered and uniquely religious. Mormons rejected the progressive double standard that sought to constrain women's, more than men's, participation in these new entertainments, focusing on restraining both genders equally. While many progressives held women more responsible for the sexual transgressions they worried resulted from these new forms of entertainment, Mormons held men and women equally accountable. Moreover, while other progressives sought (and largely failed) to provide alternative, more wholesome, entertainment for American youth, Mormons successfully provided family and Church amusements that kept their youth safely ensconced within the Church community. By the end of the 1910s, Church leaders had officially institutionalized the provision of amusement for its members and the Church formally became a social as well as religious organization.
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Carter, Alexandra. "James Nott, Going to the Palais: a Social and Cultural History of Dancing and Dance Halls in Britain, 1918–1960." Dance Research 34, no. 1 (May 2016): 113–14. http://dx.doi.org/10.3366/drs.2016.0152.
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Edwards, Sian. "Going to Palais: A Social and Cultural History of Dancing and Dance Halls in Britain, 1918-1960. By James Nott." Twentieth Century British History 27, no. 3 (April 13, 2016): 480–82. http://dx.doi.org/10.1093/tcbh/hww011.
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Bailey, Peter. "James Nott. Going to the Palais: A Social and Cultural History of Dancing and Dance Halls in Britain, 1918–1960." American Historical Review 122, no. 2 (March 30, 2017): 582. http://dx.doi.org/10.1093/ahr/122.2.582.
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Thøgersen-Ntoumani, Cecilie, Anthony Papathomas, Jonathan Foster, Eleanor Quested, and Nikos Ntoumanis. "“Shall We Dance?” Older Adults’ Perspectives on the Feasibility of a Dance Intervention for Cognitive Function." Journal of Aging and Physical Activity 26, no. 4 (October 1, 2018): 553–60. http://dx.doi.org/10.1123/japa.2017-0203.
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We explored perceptions of social dance as a possible intervention to improve cognitive function in older adults with subjective memory complaints. A total of 30 participants (19 females; mean age = 72.6 years; SD = 8.2) took part in the study. This included 21 participants who had self-reported subjective memory complaints and nine spouses who noticed spousal memory loss. Semistructured interviews were conducted, and a thematic analysis was used to analyze the data. Three main themes were constructed: (a) dance seen as a means of promoting social interaction; (b) chronic illness as a barrier and facilitator to participation; and (c) social dance representing nostalgic connections to the past. Overall, the participants were positive about the potential attractiveness of social dance to improve cognitive and social functioning and other aspects of health. In future research, it is important to examine the feasibility of a social dance intervention among older adults with subjective memory complaints.
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Schettini, Cristiana. "South American Tours: Work Relations in the Entertainment Market in South America." International Review of Social History 57, S20 (August 29, 2012): 129–60. http://dx.doi.org/10.1017/s0020859012000454.
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SummaryThis article explores the relationships between young European women who worked in the growing entertainment market in Argentine and Brazilian cities, and the many people who from time to time came under suspicion of exploiting them for prostitution. The international travels of young women with contracts to sing or dance in music halls, theatres, and cabarets provide a unique opportunity to reflect on some of the practices of labour intermediation. Fragments of their experiences were recorded by a number of Brazilian police investigations carried out in order to expel “undesirable” foreigners under the Foreigners Expulsion Act of 1907. Such sources shed light on the work arrangements that made it possible for young women to travel overseas. The article discusses how degrees of autonomy, violence, and exploitation in the artists’ work contracts were negotiated between parties at the time, especially by travelling young women whose social experiences shaped morally ambiguous identities as artists, prostitutes, and hired workers.
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Parani, Julianti. "NUSANTARA CULTURAL INTERACTION THE CASE OF JOGET AS TRANSBORDER ENTERTAINMENT." Paradigma, Jurnal Kajian Budaya 8, no. 1 (July 31, 2018): 1. http://dx.doi.org/10.17510/paradigma.v8i1.217.
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<p>Initially a social entertaining dance in various countries of Southeast Asia, joget known as a customary entertainment in the context of Nusantara as a region, has turned more traditional in contemporary times. However less then 50 years ago it was the most popular dance of entertaining halls in Indonesia, Singapore and Malay peninsular. Joget was the common way of social dancing, indigenous in an urban setting when Ball-room and Latin –American was yet not popular.</p><p> Joget dance came in practice together with musical influence coming from Hispanic influence during 16<sup>th</sup> century, followed by other Europeans. In the urban mestizo settings of colonial living, the entertaining world became a mixture between West and East, European and Asian.</p><p> While modern entertaining, which gradually spread and speed up after World War II, brought about vast development from the new media, it opened to globalization trends of new economics and politics in new liberated countries.</p><p> With features encompassing the Malay world, joget adopts local values from the new emerging nations, dissolving away from entertainment to represent more traditional values of these nations moving towards the new millennium.</p><p>A historical shift in culture development that arose from a roaring intercultural environment, this dance becomes a cultural component of new nations as Singapore, Malaysia, also in certain region of Thailand, and in Indonesia significantly becoming transitional to modernity and transformational to traditional revival. </p>
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Lázár, Imre. "Dance as a Remedy of Lifestyle Medicine, a Cultural-psychophysiological Approach." Kaleidoscope history 11, no. 22 (2021): 191–210. http://dx.doi.org/10.17107/kh.2021.22.191-210.
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Dance is a traditional element of cultural-psychophysiological homeostasis. The chapter approves the role of dance in maintaining mental and bodily health. As dance is deeply cultural by its nature, it is worth extending its framework of healing from social-psychophysiological towards the cultural. The chapter explores the cultural, social, psychological, and bodily benefits and homeostatic functions of dance in an age of sedentary lifestyle. Sedentarism proved to be a silent killer responsible for increased cardiovascular, oncological morbidity and mortality; therefore, one should explore the lifestyle medical gains of dance along the whole life course. We explore the PNI-related and neurological aspects of endocrine functions of active muscle and its role in the prevention of chronic diseases and ageing. Dance also proved to be beneficial in mental health problems. We pay special attention to Hungarian folk dance revival, the so-called Táncház (Dance House) movement, and its practical potential in physical and psychological health protection, social skill development, gender socialization, and personal development.
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Wolff, Silvia, Marcela Delabary, and Aline Haas. "Can Dance contribute to Physical, Emotional and Social Aspects of the Stroke Patient?" International Journal of Therapies and Rehabilitation Research 6, no. 1 (2017): 70. http://dx.doi.org/10.5455/ijtrr.000000223.
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Bartie, A. "Going to the Palais: A Social and Cultural History of Dancing and Dance Halls in Britain, 1918–1960, by James Nott." English Historical Review 132, no. 558 (August 10, 2017): 1388–90. http://dx.doi.org/10.1093/ehr/cex259.
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Quick, Sarah. "The Social Poetics of the Red River Jig in Alberta and Beyond." Ethnologies 30, no. 1 (September 19, 2008): 77–101. http://dx.doi.org/10.7202/018836ar.
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Abstract The Red River Jig is a fiddle tune and a dance form that have particular resonance for First Nations and Métis peoples in Northern and Western Canada. Here I follow the dance form’s practice across diverse settings in time and space. This article is a part of a larger project in which I am analyzing the nexus of Métis identity, performance, and heritage; using Michael Herzfeld’s concept of “social poetics” (2005) to gauge the Red River Jig not only as a representative form of Métis heritage, but as a performative form that emerges in social interaction. Here I first chronicle its performance through time and then describe its form and manners of learning this form in contemporary contexts in Alberta and Western Canada more generally. Finally, I examine the Red River Jig, or aspects of the Red River Jig, emerging in other dance forms as well as other performative circumstances beyond the categorical boundaries of music and dance to consider the social poetics of the Red River Jig within greater spheres of practice.
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Haine, W. Scott. "The Development of Leisure and the Transformation of Working-Class Adolescence, Paris 1830–1940." Journal of Family History 17, no. 4 (October 1992): 451–76. http://dx.doi.org/10.1177/036319909201700407.
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The evolution of the pastimes of Parisian working-class youth between 1830 and 1940 reveals the interconnection between the rise of modern leisure and the development of modern adolesence. Two striking images halfway between literature and sociology, the gamin and the apache, illuminate the transformation of working-class adolescence from social and spatial exclusion during the 1830s to exclusivity by the 1900s. By the Belle Epoque, working-class adolescents had articulated their own subculture through the abundant and varied diversions of “the city of light”: dance halls, cafés, cinemas, sports, and newspapers. The growing sense of exclusivity among working-class adolescents, however, undermined a wider sense of class consciousness. Working-class youth, especially after 1900, increasingly identified more with leisure and youth than with work and class. In general, the workplace ceased to be a site where expression and creativity could be exercised and instead became an instrument, a means to an end: the wage.
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Machado, Zenite, Gabriella Roberta dos Santos, Adriana Coutinho de Azevedo Guimarães, Sabrina Fernandes, and Amanda Soares. "QUALITY OF LIFE OF PEOPLE WHO PRACTICE BALLROM DANCE." Revista Brasileira de Atividade Física & Saúde 17, no. 1 (August 29, 2012): 39. http://dx.doi.org/10.12820/rbafs.v.17n1p39-45.
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The transversal cut study aimed to investigate the quality of life in ballroom dancepractitioners in Florianopolis – SC. The sample was composed of 402 subjects aged 21to 83 years, who use to attend ballroom dance classes. In order to perform the study,a questionnaire was carried out, which consists of four parts: personal identifi cation,socioeconomic status, dance practice and quality of life (assessed by means ofthe WHOQOL BREF Questionnaire). After carrying the study out it is observed thatballroom dance is searched by individuals in diff erent ages, particularly the youngerunmarried ones belonging to an upperclass. Ballroom dance seems to be an instrumentfor improving/managing quality of life on the four diff erent domains (physical,psychological, social and environmental). By means of Spearman’s correlation thequality of life domain are associated to certain characteristics from which the mostrelevant were the participation in another activity (physical, psychological, social andenvironmental), the age (physical and environmental), the practice time (physical andsocial), and aspects of ballroom dance practice (physical). Furthermore, associationsbetween physical, social, and environmental domains were found. The psychologicaldomain is associated with the social one, and the environmental, is also associated withthe psychological and social domains.
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Shim, Kyung-Eun, and Blandine Bril. "Intégration et transformation d’une figure de la danse classique par la danse coréenne – une analyse comparée de la Pirouette en dehors et du Hanbaldeuleodolgi basée sur la notation Laban." Social Science Information 56, no. 2 (March 14, 2017): 309–27. http://dx.doi.org/10.1177/0539018417694776.
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Due to cultural exchange between the West and Asia since the beginning of the 20th century, the Korean dance has integrated quite a few aspects of classical dance while transforming its figures. The transformation itself is what we are interested in. We focus on a central figure in classical ballet, la pirouette en dehors, which in the Korean dance is known as the Hanbaldeuleodolgi. Our research aims at understanding how is expressed in both cultures (France and Korea), a dance movement which comes under similar mechanical constraints (producing rotational forces) while displaying a unique aesthetic to each context. The detailed analysis of this figure is carried out based on the theory of Rudolf Laban.
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Shanagher, Sean. "A dancing agency: Jazz, modern and ballroom dancers in Ireland between 1940 and 1960." Irish Journal of Sociology 24, no. 2 (February 1, 2016): 175–99. http://dx.doi.org/10.1177/0791603515625587.
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Studies of social dance in Ireland between the 1930s and 1950s have generally focused on either the disciplined body of ‘Irish dance’ or on the process of disciplining those who favoured non-traditional dance forms. As a result, important aspects of social dance have been obscured. This article assesses the importance of non-traditional forms such as jazz by foregrounding the agency of its participants. It draws primarily on an ethnography of dance culture in Co. Roscommon. The approach has also been inflected by a reflexive dimension that positions the researcher within the research frame. Drawing on developments in dance anthropology, such reflexivity can operate as a useful epistemological tool that problematises the notion of objective research. The main research findings are (1) that dancers during the period, in the face of considerable opposition from cultural nationalists, participated in the construction of a vibrant, cosmopolitan and transgressive dance culture and (2) that dancing pleasures related to music, ‘communitas’ and ‘flow’ formed a central element of these dancing experiences. By according the voices of dance participants – including that of the researcher – a central place, this article places the emphasis squarely on ‘a dancing agency’.
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Mullis, Eric C. "Dancing for Human Rights: Engaging Labor Rights and Social Remembrance in Poor Mouth." Dance Research 34, no. 2 (November 2016): 220–42. http://dx.doi.org/10.3366/drs.2016.0160.
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There is a tradition of dance artists developing work for the concert stage in order to engage pressing social justice issues and, more specifically, the abuse of human rights. Anna Sokolow's Strange American Funeral (1935), Pearl Primus' Strange Fruit (1945), Katherine Dunham's Southland (1951), Alvin Ailey's Masekela Langage (1969), Jawole Willa Jo Zollar's Womb Wars (1992), William Forsythe's Human Writes (2005), and Douglas Wright's Black Milk (2006) are examples of acclaimed dances that address the manner in which marginalized individuals and social groups have not been granted equal ethical or political consideration. 1 In this essay I consider how dance enacts secular rituals of remembrance for victims of human rights abuses characteristic of a particular community's or nation's historical legacy. This entails discussion of aesthetic strategies used to portray human rights abuse, a consideration of the ethics of memory, and analysis of specific dance work. I discuss my site-adaptive work Poor Mouth (2013) which centers on labor rights issues in the American South during the Great Depression and I argue that dance which presents such issues performs a valuable social function as it encourages audiences to remember the past in a manner that facilitates a historically informed understanding of communal identity. Further, since historical instances of human rights abuse often have contemporary correlates and since remembrance affects the significance of places associated with the history in question, the implications of such work temporally and spatially extend beyond the performance venue and thereby contribute to political discourse in the public sphere. Dance intersects with human rights issues in many ways, but here I focus on dances intended for performance on the concert stage. For the purposes of this essay, the terms ‘dance activism’ and ‘political dance’ refer to dances that intentionally grapple with explicit human rights abuses and that are intended to be performed for a theatre-going audience. Along the way I note what bearing my points have for other forms such as popular dance, dance used in acts of public political protest, site-specific dance, and dance therapy, but I should emphasize that it is beyond the scope of this essay to consider the many ways that dance intersects with human rights and with political activism more generally. Lastly, I should say that my approach to this topic is informed by the personal experience of collaboratively creating and performing dance work in a particular community and that it is interdisciplinary in nature since its draw on aspects of philosophical ethics in order to reflect on that experience.
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Polci, Barbara. "SOME ASPECTS OF THE TRANSFORMATION OF THE ROMAN DOMUS BETWEEN LATE ANTIQUITY AND THE EARLY MIDDLE AGES." Late Antique Archaeology 1, no. 1 (2003): 79–109. http://dx.doi.org/10.1163/22134522-90000005.
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This essay concerns some aspects of the transformation of the Late Roman domus into the Early Medieval house and focuses on the spaces designed for reception and entertainment. First, I will consider the use and the development of the reception areas of wealthy houses, and their relationship with the growth in private patronage in Late Antiquity. Second, I will examine the transformation of this late antique model of elite housing into the new type of upper-class dwellings that emerged in Early Medieval Italy. In particular, I will focus on the transferral of reception halls and banqueting chambers to the upper story, and on the social and architectonic implications of this feature.
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Ropo, Arja, and Erika Sauer. "Dances of leadership: Bridging theory and practice through an aesthetic approach." Journal of Management & Organization 14, no. 5 (November 2008): 560–72. http://dx.doi.org/10.1017/s1833367200003047.
Full textAbstract:
AbstractWe wish to develop the argument in this paper that through aesthetic and artistic work, practices and their metaphorical use, we have a potential to better understand the relationship between academic leadership theory and practical action. By aesthetic approach we mean the experiential way of knowing that emphasizes human senses and the corporeal nature of social interaction in leadership. In this paper, we discuss how leadership could look, sound and feel like when seen via the artistic metaphor of dance. We use the traditional dance, waltz and the postmodern dance experience of raves to illustrate our argument. By doing so, we challenge traditional, intellectually oriented and positivistic leadership approaches that hardly recognize nor conceptualize aesthetic, bodily aspects of social interaction between people in the workplace.The ballroom dance waltz is used as a metaphorical representation of a hierarchical, logical and rational understanding of leadership. The waltz metaphor describes the leader as a dominant individual who knows where to go and the dance partner as a follower or at least as someone with a lesser role in defining the dance. Raves, on the other hand representparadigmatically different kind of a dance and therefore a different understanding of leadership. There are neither dance steps to learn, nor fixed dance partners where one leads and the other follows. Even the purpose or aim of dancing may not be known at the beginning of the dance, but it is negotiated as the raves go on. We think that raves describe the organizational life as it is often seen and felt today: chaotic, full of unexpected changes, ambiguous and changing collaborators in networks. Here leadership becomes a collective, distributed activity where the work processes and the targeted outcome is continually negotiated.Through the dance metaphors of waltz and raves, we suggest aspects such as gaze, rhythm and space to give an aesthetic description both to a more traditional and an emerging aesthetic paradigm of leadership where the corporeality of leadership is emphasized. We wish to make the point that leadership is aesthetically and corporeally co-constructed both between the leader and the followers as well as between the researcher and the subjects. The metaphor of dance illustrates the corporeal nature of leadership both to practitioners and theoreticians.
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Ropo, Arja, and Erika Sauer. "Dances of leadership: Bridging theory and practice through an aesthetic approach." Journal of Management & Organization 14, no. 5 (November 2008): 560–72. http://dx.doi.org/10.5172/jmo.837.14.5.560.
Full textAbstract:
AbstractWe wish to develop the argument in this paper that through aesthetic and artistic work, practices and their metaphorical use, we have a potential to better understand the relationship between academic leadership theory and practical action. By aesthetic approach we mean the experiential way of knowing that emphasizes human senses and the corporeal nature of social interaction in leadership. In this paper, we discuss how leadership could look, sound and feel like when seen via the artistic metaphor of dance. We use the traditional dance, waltz and the postmodern dance experience of raves to illustrate our argument. By doing so, we challenge traditional, intellectually oriented and positivistic leadership approaches that hardly recognize nor conceptualize aesthetic, bodily aspects of social interaction between people in the workplace.The ballroom dance waltz is used as a metaphorical representation of a hierarchical, logical and rational understanding of leadership. The waltz metaphor describes the leader as a dominant individual who knows where to go and the dance partner as a follower or at least as someone with a lesser role in defining the dance. Raves, on the other hand representparadigmatically different kind of a dance and therefore a different understanding of leadership. There are neither dance steps to learn, nor fixed dance partners where one leads and the other follows. Even the purpose or aim of dancing may not be known at the beginning of the dance, but it is negotiated as the raves go on. We think that raves describe the organizational life as it is often seen and felt today: chaotic, full of unexpected changes, ambiguous and changing collaborators in networks. Here leadership becomes a collective, distributed activity where the work processes and the targeted outcome is continually negotiated.Through the dance metaphors of waltz and raves, we suggest aspects such as gaze, rhythm and space to give an aesthetic description both to a more traditional and an emerging aesthetic paradigm of leadership where the corporeality of leadership is emphasized. We wish to make the point that leadership is aesthetically and corporeally co-constructed both between the leader and the followers as well as between the researcher and the subjects. The metaphor of dance illustrates the corporeal nature of leadership both to practitioners and theoreticians.
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Santana, Tainah Lima Sousa, Evanilza Teixeira Adorno, and Lavinia Teixeira-Machado. "DANCE AND QUALITY OF LIFE PROMOTION IN DOWN SYNDROME: A VIEW ON DEPRESSIVE AD SELF-ESTEEM ASPECTS." International Journal of Research -GRANTHAALAYAH 6, no. 5 (May 31, 2018): 37–46. http://dx.doi.org/10.29121/granthaalayah.v6.i5.2018.1419.
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Down Syndrome (DS) adult often isolates himself from the world, due to social participation difficulty in understanding everything that surrounds him. In this context, dance assumes a substantial role in facilitating communication process, as it offers new ways of expressing ideas and feelings. The aim of this study was to investigate the effects of dance in quality of life, depressive and self-esteem aspects in DS. Method: This is a case report, longitudinal, descriptive, retrospective and prospective study, with dance class, twice a week, and public presentations, during four years. It was analyzed quality of life, depression index and self-esteem. Results: During the years, participant presented a gradual improvement in quality of life; the frequency and intensity of depression and anxiety symptoms decreased; she improved index of corporal satisfaction and in the self-esteem. Conclusion: Study reached the proposals in quality of life, depression, body satisfaction index and self-esteem.
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FILMER, PAUL. "Embodiment and Civility in Early Modernity: Aspects of Relations between Dance, the Body and Sociocultural Change." Body & Society 5, no. 1 (March 1999): 1–16. http://dx.doi.org/10.1177/1357034x99005001001.
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Šifrar, Tina, Kim Majoranc, and Tanja Kajtna. "Matching of personality traits, emotional intelligence and social skills among dance partners in competitive dancing." Kinesiology 52, no. 2 (2020): 242–49. http://dx.doi.org/10.26582/k.52.2.9.
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We investigated whether there was more matching in personality traits, emotional intelligence, and social skills in better performing dance couples than in their less successful counterparts and if better- and lower-performing dancers individually have more equivalent personality traits, emotional intelligence, and social skills. Twenty-four dance couples (i.e. 24 male and 24 female dancers), performing both the Latin and standard dances at a competitive level, were included in the study. Among the measured metrics were: personality traits (using the Big Five Questionnaire), social skills (using the Interpersonal Skills Questionnaire), and emotional intelligence (using the Emotional Competence Questionnaire). When comparing differences between couples, results showed that the better dance couples were more orderly, agreeable and conscientious than the lower-performing dance couples who seemed to be more open. When comparing differences between individual dancers, results showed that the better-performing dancers tended to be older, more experienced, with a higher “competitive mileage” and better-trained bodies, more diligent with a firm belief in their success, confident in attaining their goals, and more motivated. They were also more emotionally stable – a trait that stemmed from their maturity and many years of competing. Findings obtained by our study will certainly allow us to view competitive dancers from a different, as yet undiscovered and potentially deeper viewpoint of psychology. One of the practical aspects of our research lies in understanding how to keep dance couples together for a longer time, allowing dancers to perform in unison for longer periods than would be otherwise possible.
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Cannon, James W., and Alinka E. Greasley. "Exploring Relationships Between Electronic Dance Music Event Participation and Well-being." Music & Science 4 (January 1, 2021): 205920432199710. http://dx.doi.org/10.1177/2059204321997102.
Full textAbstract:
While an increasing amount of literature highlights the psychological well-being benefits of musical participation, research focusing on electronic dance music (EDM) event contexts remains scarce. This exploratory mixed methods research draws influence from interdisciplinary research on EDM culture and psychological well-being research on music festivals that suggest EDM event attendance may have a positive influence on well-being. Two studies were implemented. Semistructured interviews with regular attendees of EDM events were undertaken and analyzed thematically (Study 1, n = 7). Four main themes were identified, namely the importance of social, musical, and emotional experiences, and shared values at EDM event. These themes were then used as a basis for developing a questionnaire which explored relationships between scores on facets of EDM event attendance and measures of subjective, social, and psychological well-being (Study 2, n = 103). Results showed that all four EDM event facets were positively associated with psychological and social well-being measures. Principal component analysis was utilized to elucidate nuanced aspects of the four themes and their links to well-being scores. A four-factor model (SMEV) that encapsulates the key psychological beneficial aspects of EDM event attendance has been suggested, and the implications of this model and findings are discussed within the context of future research avenues.
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Stănescu, Monica, and Gabriela Tomescu. "The Relationship between Dance and Multiple Intelligences of Institutionalised Children: A Theoretical Framework for Applied Research." BRAIN. BROAD RESEARCH IN ARTIFICIAL INTELLIGENCE AND NEUROSCIENCE 11, no. 4Sup1 (December 28, 2020): 167–84. http://dx.doi.org/10.18662/brain/11.4sup1/163.
Full textAbstract:
The paper aims to make a systematic analysis of the literature that addresses the relationship between dance and multiple intelligences in order to identify the main theoretical aspects that underpin the design and implementation of educational interventions for institutionalised children to learn dance. This category of children is a permanent concern for specialists in the field of education sciences who are interested in finding the most effective methods and means of training that can support the educational and institutional efforts for the social integration of these children. Following the review of the literature provided by the main databases, a correspondence was made between the types of intelligence described by Gardner (1983) and the effects of dance on these intelligence modalities. The bibliographic analysis had as organisational criteria: multiple intelligences, dance, children at risk and the effects of dance on their growth and development. The correlative analysis has revealed a number of dance characteristics susceptible to have a positive influence on different types of intelligence and can serve as benchmarks in the interdisciplinary design of dance activities in general and dancesport in particular. As a result, the theoretical model presented in this paper represents a methodological benchmark for the implementation of enhanced programmes for the personal development of institutionalised children and the creation of additional conditions for their school and social integration.
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Zaini, Mimi Fitriana, and Niloufar Heshmati Manesh. "The Impact of Dance on the Development of Coping Mechanisms Fornarcolepsy: A Narrative Analysis." Jurnal Ilmiah Peuradeun 8, no. 1 (January 30, 2020): 17. http://dx.doi.org/10.26811/peuradeun.v8i1.516.
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The purpose of this study was to highlight the experiences of dance as an approach to give optimism in reducing the difficulties of narcoleptic patients that stem close to normal social functioning, and to explore the consequences of dance on narcoleptic patients in physiological, environmental and interpersonal aspects. A semi-structured interview was conducted to 3 selected narcoleptics, age ranging from 30 to 45 years, with at least 6 months of dance experience, using a purposive sampling procedure. Thematic analysis enabled the identification of key components of the impacts of dance and its coping mechanisms as the generated themes from the two research questions to include; 1) Dance as a form of Expression, Being Mindful, Decreased Symptoms, Self-achievement, Self-Enjoyment, Satisfaction level, Self-contentment, Stress-release and Balance of health, 2) Flexibility in Dance Style, Wider perspective in Dance Style, Social Functioning, Attention Skills, Emotion Management, Positive mind-set, Time management, and Intra-Familial relation. The finding from the two research questions was identified across the generated themes. The findings were expected to increase awareness among people in the issue of narcolepsy and its consequences for the purpose of mental health and well-being to promote a healthy lifestyle and better quality of life. Research Implications for the improvement of narcoleptics were also discussed for the purpose of module developments and interventions.
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Stănescu, Monica, and Gabriela Tomescu. "The Relationship between Dance and Multiple Intelligences of Institutionalised Children: A Theoretical Framework for Applied Research." BRAIN. BROAD RESEARCH IN ARTIFICIAL INTELLIGENCE AND NEUROSCIENCE 11, no. 4Sup1 (December 28, 2020): 167–84. http://dx.doi.org/10.18662/brain/11.4sup1/163.
Full textAbstract:
The paper aims to make a systematic analysis of the literature that addresses the relationship between dance and multiple intelligences in order to identify the main theoretical aspects that underpin the design and implementation of educational interventions for institutionalised children to learn dance. This category of children is a permanent concern for specialists in the field of education sciences who are interested in finding the most effective methods and means of training that can support the educational and institutional efforts for the social integration of these children. Following the review of the literature provided by the main databases, a correspondence was made between the types of intelligence described by Gardner (1983) and the effects of dance on these intelligence modalities. The bibliographic analysis had as organisational criteria: multiple intelligences, dance, children at risk and the effects of dance on their growth and development. The correlative analysis has revealed a number of dance characteristics susceptible to have a positive influence on different types of intelligence and can serve as benchmarks in the interdisciplinary design of dance activities in general and dancesport in particular. As a result, the theoretical model presented in this paper represents a methodological benchmark for the implementation of enhanced programmes for the personal development of institutionalised children and the creation of additional conditions for their school and social integration.
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Li, Feifei. "Feasibility Study on the “Six in One” Teaching Mode in Line Dance." Asian Social Science 16, no. 7 (June 29, 2020): 138. http://dx.doi.org/10.5539/ass.v16n7p138.
Full textAbstract:
Line dance is one of the most important parts of physical education, which has been widely and deeply promoted in physical education. To sum up, the traditional teaching mode of line dance basically focuses on the three aspects of "teaching, learning and doing", that is, for the teaching content, the teacher teaches and the students follow the teacher to learn and do. Most of the students just master the set of movements taught by the teacher, can not create their own dance moves or even participate in the competition. Therefore, this paper analyzes the shortcomings of traditional line dance teaching, reforms the teaching content and teaching mode, and probes into the teaching mode integrating "teaching, learning, doing, practicing, researching and competing", so as to provide some reference for the teaching reform of line dance course in colleges and universities in China.
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TIPTON, ELISE K. "Cleansing the Nation: Urban Entertainments and Moral Reform in Interwar Japan." Modern Asian Studies 42, no. 4 (July 2008): 705–31. http://dx.doi.org/10.1017/s0026749x06002678.
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AbstractThis article focuses on Japanese government restrictions and regulation of urban entertainments during the 1920s and 1930s as examples of attempts to rectify what was perceived as the declining morals of a modernizing, industrializing Japanese society. In this respect it adds another dimension to depictions of the Second World War as opposition to the cultural as well as political hegemony of the major Western powers. However, although war no doubt gave added impetus to the state's desire to unify popular support and sense of loyalty to the nation, morality campaigns had been initiated even before war had become an imminent possibility. Restrictions were imposed on cafés, dance halls and other modern entertainments, representing opposition to Westernizing, modernizing trends in social values and behaviour that had become prominent in the cities during the 1920s—individualism, materialism, sexuality, and more particularly, female sexuality. Middle class Protestants played a significant role in promoting and shaping these policies. Although such reformers disagreed with the government on other matters, they actively enlisted governmental support to carry out a moral cleansing of the ‘spiritual pests’ infesting the nation.
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Neff, Michael, Dawn Y. Sumner, Gerald W. Bawden, Ellen Bromberg, Della Davidson, Shelly Gilbride, Louise H. Kellogg, and Oliver Kreylos. "Blending Art and Science to Create Collapse (suddenly falling down)." Leonardo 43, no. 2 (April 2010): 204. http://dx.doi.org/10.1162/leon.2010.43.2.204.
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Understanding the collapse of natural and social systems is a key artistic and scientific endeavor. By collaborating on a multimedia dance-theatre production, we contributed individual approaches, techniques, and insights to a performance that captured both cultural and scientific aspects of collapse in an aesthetically meaningful way.
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Buckland, Theresa Jill. "How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack." Dance Research 36, no. 1 (May 2018): 1–32. http://dx.doi.org/10.3366/drs.2018.0218.
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This two-part article examines the contested transition in London's fashionable ballrooms from the established Victorian rotary waltz to the modern English waltz of the early 1920s. Existing scholarship on the dance culture of this period and locale has tended to focus on issues of national identity, gender, race, class and the institutionalisation of popular dance practices. Although these are of profound significance and are here integrated into the analysis, this fresh study focuses on the waltz's choreological aspects and relationship to its ballroom companions; on the dance backgrounds and agency of the waltz's most influential practitioners and advocates, and on the fruitful nexus between theatre, clubs, pedagogy, the press and competitions in transforming style and practice towards modern English ballroom dancing as both a social and artistic form. Part One discusses the kinetic problems that waltzing couples encountered in the face of ragtime dances and tango, the impact of World War One on social dance practices in fashionable London and the response of the press and the dance pedagogic profession to the post-war dance craze. Improvisational strategies are considered as contributory factors in the waltz's muted persistence throughout the war while throwing light on how certain social choreomusical practices might lead to the transmutation of dances into newly recognised forms. The persuasive role of London-based leaders such as Philip Richardson, Madame Vandyck and Belle Harding in these early years of modern ballroom dancing is brought to fresh attention. Part One concludes with the dance teachers’ inconclusive attempts during 1920–21 to define and recommend a waltz form compatible with both a discrete choreomusical identity and the stylistic dictates of modern ballroom dancing
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Jang, Seon Hee, and Frank E. Pollick. "Experience Influences Brain Mechanisms of Watching Dance." Dance Research 29, supplement (November 2011): 352–77. http://dx.doi.org/10.3366/drs.2011.0024.
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The study of dance has been helpful to advance our understanding of how human brain networks of action observation are influenced by experience. However previous studies have not examined the effect of extensive visual experience alone: for example, an art critic or dance fan who has a rich experience of watching dance but negligible experience performing dance. To explore the effect of pure visual experience we performed a single experiment using functional Magnetic Resonance Imaging (fMRI) to compare the neural processing of dance actions in 3 groups: a) 14 ballet dancers, b) 10 experienced viewers, c) 12 novices without any extensive dance or viewing experience. Each of the 36 participants viewed short 2-second displays of ballet derived from motion capture of a professional ballerina. These displays represented the ballerina as only points of light at the major joints. We wished to study the action observation network broadly and thus included two different types of display and two different tasks for participants to perform. The two different displays were: a) brief movies of a ballet action and b) frames from the ballet movies with the points of lights connected by lines to show a ballet posture. The two different tasks were: a) passively observe the display and b) imagine performing the action depicted in the display. The two levels of display and task were combined factorially to produce four experimental conditions (observe movie, observe posture, motor imagery of movie, motor imagery of posture). The set of stimuli used in the experiment are available for download after this paper. A random effects ANOVA was performed on brain activity and an effect of experience was obtained in seven different brain areas including: right Temporoparietal Junction (TPJ), left Retrosplenial Cortex (RSC), right Primary Somatosensory Cortex (S1), bilateral Primary Motor Cortex (M1), right Orbitofrontal Cortex (OFC), right Temporal Pole (TP). The patterns of activation were plotted in each of these areas (TPJ, RSC, S1, M1, OFC, TP) to investigate more closely how the effect of experience changed across these areas. For this analysis, novices were treated as baseline and the relative effect of experience examined in the dancer and experienced viewer groups. Interpretation of these results suggests that both visual and motor experience appear equivalent in producing more extensive early processing of dance actions in early stages of representation (TPJ and RSC) and we hypothesise that this could be due to the involvement of autobiographical memory processes. The pattern of results found for dancers in S1 and M1 suggest that their perception of dance actions are enhanced by embodied processes. For example, the S1 results are consistent with claims that this brain area shows mirror properties. The pattern of results found for the experienced viewers in OFC and TP suggests that their perception of dance actions are enhanced by cognitive processes. For example, involving aspects of social cognition and hedonic processing – the experienced viewers find the motor imagery task more pleasant and have richer connections of dance to social memory. While aspects of our interpretation are speculative the core results clearly show common and distinct aspects of how viewing experience and physical experience shape brain responses to watching dance.
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Barr-Melej, Patrick. "Sowing “Seeds of Goodness” in Depression-Era Chile: Politics, the “Social Question,” and the Labor Ministry's Cultural Extension Department." Americas 59, no. 4 (April 2003): 537–58. http://dx.doi.org/10.1353/tam.2003.0033.
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A contributor to La Lei, the journalistic mouthpiece of Chile's reformist Radical Party, attended a peculiar cultural event on a mild spring evening in 1909 that evidently made quite an impression. Workers with their spouses and children, all donning their best suits and dresses, had gathered in one of the capital's dance halls to enjoy what the onlooker grasped as an evening of “aesthetic enjoyment without ostentation.” As the writer noted, “For three hours I was enchanted by the order, by the discretion, by the culture of the dancers. [The cultured worker] is a natural friend of order, he does not let himself be convinced by high-sounding words, nor does he accept subversive ideas; the revolutionary preaching of the Utopians and those without spirits repulse him. He loves tranquillity and has a profound respect for republican laws. A man of this nature is not only a pillar of our democracy but also an unceasing producer of wealth and social well being.” What the writer recognized as “culture” evidently was conducive to the perpetuation of liberal democracy, the defense of the economic order, and the preservation of social peace during the so-called Parliamentary Republic (1891-1925). Indeed, if workers were culturally educated, if they properly understood, imitated, and enjoyed a “mainstream” culture, they would be less apt to engage in disruptive political endeavors, or so it was suggested in La Lei.
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Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.
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Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expressive means of dramatic performance. In addition, knowledge of the fundamentals of choreography and its history contributes to the comprehensive development of the director’s personality, his aesthetic education, the formation of artistic taste, the ability to orientate both in traditional and innovative requirements to the choreographic component of the drama performance, to obtain a contemporary idea of the mutual influence of different art forms, so, to raise his professional development. The objectives of this study are to substantiate the features of teaching the discipline “Dance” and determine its place in the contemporary education system of the director of the drama theatre. Methods. An analytical method is used to determine the components of the discipline “Dance” in the teaching system of the students of the specialization “Stage director of the Drama Theatre”. With the help of the system approach, the place and functions of each type of choreography have been identified within the discipline “Dance”; its integrity, functional significance and perspective development in the system of theatre education of directors are demonstrated. Results. The results indicate that in the education system of the director of the drama theatre the discipline “Dance” is essential not only because of the active involvement of the choreography in the arsenal of the demanded expressive means of drama performance, but it also contributes to the comprehensive development of the director’s personality and his proficiency enhancement. In view of this, a discipline program should be formed with the basic knowledge of various types of choreography. The basis of the choreographic training should be a system of classical dance, which brings up the naturalness of the movement performance, expressive gesture and laying the foundation for the study of other types of choreography. The purpose of the historical ballroom dance is to master the character of the dance culture of a certain epoch, the ability to wear a corresponding dress, use the accessories. The study of this section should be accompanied by a conversation about the era and its artistic styles, dance fashion, special considerations on the relationship between a man and a woman in a dance. This is necessary for the future unambiguous determination of the plastic component of the theatre performance in the pieces by the playwrights of the past centuries. The folk dance stage adaptation introduces the customs and culture of different peoples. Studying of dances all nationalities does not make sense, because the spectrum of their use in performances of the drama theatre today is rather narrow. It is required to concentrate on the basic movements of Ukrainian, Russian, Gypsy, Spanish, Italian, Hungarian and Jewish dances, partly – Old Slavic. It is necessary to require of the students the correct manner of performance and form a comprehension about relevance of the using of folk dance in the context of the director’s vision of a particular performance. The need for the future director’s awareness in contemporary dance is due to the fact that its means can create the plastic component of almost any show. The task of the teacher is to train basic knowledge to the students with the obligatory requirement of the faithful character of the performance of a particular artistic movement or style, considering what is sought out in the drama theatre: contemporary, jazz, partially – street and club style. The tango, which sometimes appears in dramatic performances, should be singled out separately; it should be studied in the form of social and scenic variants with the addition of movements of contemporary choreography. In class it is expedient to use improvisation, to offer the students to make dance pieces on their own. Significant attention should be paid to the musical accompaniment of the lesson, the explanation of the tempo-based and rhythmic peculiarities of musical compositions, and to teach the students to choose the background music for their own dance works independently. It is advisable to give some classes in the form of lectures, in particular, use video lectures that clearly represent the nature and manner of performing various types of choreography. Students’ individual work should consist in consolidating practical skills, compiling own dance pieces and familiarizing with the history of choreography. The director will later be able to use all the acquired knowledge while working with the choreographer, and in the absence of the latter, he will be able to create the dance language of the performance independently. Conclusions. Thus, the dance is an integral part of the education system of the drama theatre director, especially at the present stage, at the same time, the plastic arts is one of the most important components of the performance. This necessitates the stage director’s awareness in various types of choreography in order to use the acquired knowledge and skills in the creative work. In dance class, it is necessary to form a general idea of each type of dance, its purpose, manner of performance and features of use in the performances of the drama theatre. It is essential to demand musicality and rhythmic performance, the ability to improvise. It is advisable to hold both practical and lecture classes, to assign tasks for the independent work of creative and educational content. Eventually, the stage expressiveness, the sense of form, style, space, time, rhythm in the dance, knowledge of the features of partnership and ensemble are raised with the students; the skills of working with the actors on the choreographic component of the performance and the ability to cooperate with the choreographer are formed.
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Muliana, Yosi, and Herlinda Mansyur. "KOREOGRAFI TARI URAKLAH SIMPUAH DI SANGGAR TAK KONDAI NAGARI PASIR TALANG KECAMATAN SUNGAI PAGU KABUPATEN SOLOK SELATAN." Jurnal Sendratasik 9, no. 4 (December 5, 2020): 157. http://dx.doi.org/10.24036/jsu.v9i1.109566.
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This is a descriptive qualitative research using a descriptive analysis method. The main instrument in this study was the researcher itself and was assisted by supporting instruments such as writing instruments and cellphones. The data used where primary and secondary data. The data were collected through literature study, observation, interview, and documentation. The data analysis was conducted through data collection, data reduction, data presentation, and conclusion making. The results of this study show that the Uraklah Simpuah Dance is cultivated from social condition which is not in accordance with the customs in the village. The situation meant isgetting around done by Minangkabau women. In the form aspect, there is a floor design used in Uraklah Simpuah dance. It is a straight floor design which is lined and curved in a circle. It uses large group composition (unison). The music instrument used in this dance is a drum namely gandang tambua. In addition, it uses the distinctive strains of songs to accompany the dance.The costume worn is a basic black velvet shirt paired with songket and a red to orange head cover. This dance also uses metal plates and resins as the sounds. Thus, it is concluded that the Uraklah Simpuah dance is a traditional dance which already has choreographic aspects so that it can be researched using choreography.Keywords: Choreography, Uraklah Simpuah Dance, Tak Kondai Studio
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Woldendorp, Kees Hein. "Art on Prescription. Dutch Performing Arts Medicine Association (NVDMG) Symposium, Leeuwarden, The Netherlands, October 29, 2019." Medical Problems of Performing Artists 35, no. 2 (June 1, 2020): 116–18. http://dx.doi.org/10.21091/mppa.2020.2018.
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The focus of the symposium, organized by the Rehabilitation Expertise Center for Music & Dance of Revalidatie Friesland (NL) under the auspices of the Dutch Performing Arts Medicine Association (NVDMG), was the added value of the application of art in health care and the social domain. The abstracts of the presentations provide information about different aspects related to this topic.
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Meyer, Kylie. "Carers’ experiences accessing information on supports and services: Learning the social care “dance”." Qualitative Social Work 17, no. 6 (April 12, 2017): 832–48. http://dx.doi.org/10.1177/1473325017699265.
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Cities across England will see a growing number of informal carers as the population ages, many of whom do not begin this role equipped with the knowledge they need to access social care services and supports. One of the more significant changes brought by passage of the Care Act of 2014 is local governments’ increased responsibility to improve the provision of information and advice on social care to informal carers, long recognized as a policy priority. To better understand where improvements can be made on a local level in order to achieve the goals laid out in the Care Act, this study considers carers’ experiences accessing information and advice on social care services and supports in a city with a population of over 250,000 in the south of England. This was done through the collection of semi-structure qualitative interviews with 11 carers to people aged 65 and older from April 2015 to July 2015. Thematic analysis of interviews revealed a tension between carers’ varying levels of knowledge and experience with the social care system and information services’ one-size-fits-all approach to providing information. Findings suggest local governments should focus on creating information services that more actively reach out to carers, provide greater guidance to those carers who need it, and work to flexibly meet informal carers information needs, acknowledging that some carers will be less familiar than others with aspects of the social care system.
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Wise, Serenity, Ralph Buck, Rose Martin, and Longqi Yu. "Community dance as a democratic dialogue." Policy Futures in Education 18, no. 3 (August 8, 2019): 375–90. http://dx.doi.org/10.1177/1478210319866290.
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This article explores the values that bridge democracy and community dance. Policymakers show an interest in promoting democracy, including the very values shared between community dance and democracy. Observing this, we propose that policy may benefit from examining the pedagogy and practices of community dance, and incorporate relevant aspects of community dance’s ability to teach democratic values, into education policy. Through personal accounts and references, it highlights the ways in which community dance could have democratizing effects on its participants, encouraging people to actively create inclusive, participatory, and empowering spaces. Democracy takes practice, and recent, ongoing violent events show us the need for greater civic education in society: education that disseminates the values of democracy, as well as the everyday work of practicing, supporting, and existing in a democracy. As community dancers, we are compelled to explore the ways in which our discipline might intersect with policy, and wider social and political issues. We approach this exploration by raising the question, how might community dance play a role in education policy, as a means of fostering democracy within our world? To address this question, we delve into our mutually held values of inclusion, participation, and empowerment, to further understand the ways they are apparent within the community dance field and the ways they are apparent in defining democracy. Serving as a starting point to larger discussions, we illustrate that democracy and community dance share certain values, that community dance has the potential to teach people how to embody these values, and that these values are conducive to education policy.
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Charitonidis, Chariton. "Reflections of Individual Cultural Identity in Dance: The Example of Two Bulgarian Immigrants in Athens." Congress on Research in Dance Conference Proceedings 2016 (2016): 54–61. http://dx.doi.org/10.1017/cor.2016.10.
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This study explores aspects of cultural identity of two Bulgarian immigrants, as these are reflected in their dance preferences in contemporary Athens. Using methodological tools of anthropological critique and the “new” reflexive anthropology, the study highlights the internal-personal and external (social, political, economic) factors that mold cultural identity over time, whereby the past becomes a key factor influencing the actions of people in the “present” context. The study draws on Timothy Rice's (1994) work—the comparison with the “protagonists” of his ethnography (Kostandin Varimezov and his wife Todora Varimezova) is inevitable—and discusses the meaning of music and dance for a couple of Bulgarian immigrants living in Athens while struggling—once more—with an economic crisis.