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1
Chasteen, John Charles. "The Prehistory of Samba: Carnival Dancing in Rio de Janeiro, 1840–1917." Journal of Latin American Studies 28, no. 1 (February 1996): 29–47. http://dx.doi.org/10.1017/s0022216x00012621.
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AbstractRio's pre-Lenten carnival and its Afro-Brazilian dance, samba, have been symbols of Brazilian identity since the 1930s. This article explores the choreographical antecedents of samba, before the crystallisation of the modern dance genre with that name, highlighting the importance of earlier social dances in the evolution of the twentieth-century symbol. It traces the development of carnival dancing in Rio de Janeiro from the time when few danced, through the long reign of the polka, to the emergence of generalised carnival street dancing around 1889. A modified view of the roots of samba has interesting implications for on-going debates on the social meaning of Brazilian carnival.
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Urbano, Igor, Anna Carolina Souza Marques, and Matheus Milanez. "Dance as a Supplementary Instrument for Cardiac Rehabilitation." International Journal of Art, Culture and Design Technologies 7, no. 1 (January 2018): 17–29. http://dx.doi.org/10.4018/ijacdt.2018010102.
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Intrinsic socio-cultural and motivational dance aspects, physical demands,general and styles characteristics, may promote positive influence on cardiac rehabilitation programs development and progression, if dance is approached as a supplementary activity and resource for cardiac patients. The aim of this study was to conduct an integrative literature review to evaluate dance as a supplementary activity on cardiac rehabilitation, considering physical demands, dance socio cultural aspects and regular practice related effects on cardiac patients' health and quality of life. Classical ballet and modern dance are not supported by this revision as appropriated alternatives to improve cardiovascular capacities for cardiopaths However, belly dance, ballroom dance, emphasis on Samba, Samkya showed multiple positive effects: glycemia levels reduction, resting heart rate reduction, cholesterol (HDL, LDL) and triglycerides level regulation, BP reduction, cardio respiratory increment and body relaxation.
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Damon, Jessica. "Vai Sambar! American Meaning Making in Afro-Brazilian Dance." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 49–58. http://dx.doi.org/10.1017/s2049125500000509.
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This paper describes the interaction between an American community of dancers and the wave of Afro-Brazilian influence that entered that community. Through personal experience, academic research, community observation, and conversations, the author examines the role of samba and the religious dances of the orixds within a suburban white community, highlighting how meaning is changed and constructed based on cultural context. The author emphasizes how women in this community responded to the political, social, and sexual implications of a non-native dance form, and how their resulting self-identification as a community was transformed. The essay questions how Americans can locate themselves within the greater cultural context of samba and other Afro-Brazilian dance forms, not simply as cultural outsiders but as women deeply connected to the unique American reality of these practices.
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TILLMANN, Ana Cristina, Alessandra SWAROWSKY, Clynton Lourenço CORRÊA, Alexandro ANDRADE, Jéssica MORATELLI, Leonessa BOING, Melissa de Carvalho Souza VIEIRA, Camila da Cruz Ramos de ARAUJO, and Adriana Coutinho de Azevedo GUIMARÃES. "Feasibility of a Brazilian samba protocol for patients with Parkinson's disease: a clinical non-randomized study." Arquivos de Neuro-Psiquiatria 78, no. 1 (January 2020): 13–20. http://dx.doi.org/10.1590/0004-282x20190140.
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Abstract Background: New protocols applied in the rehabilitation of Parkinson's disease enable different action strategies for health professionals, as well as a new range of activities for these individuals. However, no valid samba protocol with activity prescription for this population was found in the literature. Objective: To investigate the feasibility of a Brazilian samba protocol in individuals with Parkinson's disease. Methods: Twenty participants, mean age of 66.4±10.7 years, diagnosed with idiopathic Parkinson 's disease, divided into: experimental group that received the intervention of Brazilian samba dance classes (10 individuals); and control group that maintained their routine activities (10 individuals). For data collection, a divided questionnaire was used: General Information; Disability stages scale; Balance and Quality of Life. Results: During class implementation, there were no falls, as all dance activities adhered to the details of the protocol steps without any changes. On average, patients completed 82.7% of activities. After 12 weeks, the experimental group had improvements in the UPDRS global score, in daily activities, and on motor examination. There was also improvement in balance scores and in the mobility domain of the quality of life in the experimental group. Conclusion: The samba protocol seems to be feasible and safe for patients with PD. Moreover, it has pleasant characteristics and offers sufficient physical benefits for combination with drug treatment. There were also benefits in social relationships and as a possible rehabilitation tool in individuals with Parkinson's disease.
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Alvarenga, Claudia Helena Azevedo, and Tarso Bonilha Mazzotti. "Samba as Representation of Brazilianness in the Popular Songs Rhetoric." Per Musi, no. 39 (September 12, 2019): 1–12. http://dx.doi.org/10.35699/2317-6377.2019.15152.
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This article aims to examine the hegemonic representations of what is said “to be Brazilian”. It proposes the rhetorical analysis of the lyrics of a couple of Brazilian popular songs in order to present the psychosocial aspects that bring to light the representations of social identity. The statement of identity and symbolic bonds through musicality exposes the desirable of the groups who share their value. The construct of social identity linked to nationality is a belief reinforced by social practices which relies on the metaphor that defines Music as the “people’s soul”.
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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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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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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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Ershova, Olga, and Evgeny Smirnov. "Sports and ballroom dancing competitive infrastructure analysis in the context of international organizations on sports and ballroom dancing." Tambov University Review. Series: Humanities, no. 182 (2019): 123–29. http://dx.doi.org/10.20310/1810-0201-2019-24-182-123-129.
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We consider current problems of scientific and theoretical representations development about competitive infrastructure of Sports and ballroom dancing which are not provided with sufficient scientific comprehension. The purpose is to determine the basis of division used in the world practice of international organizations for sports and ballroom dancing for the classification of competitions, performers, their skills, etc. Interest in sports and ballroom dancing, as a form of social, cultural and leisure activities, increases every year not only abroad but also in Russia. Sports and ballroom dancing in its structure have two programs: Latin American, which includes dances – Cha-cha-cha, Rumba, Samba, Jive, Pasodoble and European, dance – slow waltz, Viennese (fast) waltz, Slow Foxtrot, Quickstep, Tango. Dance and sports clubs cover in their work all age categories from children of three years to people of retirement age. Dance associations are based in cultural institutions, cultural and leisure type, in secondary schools, and in higher educa-tion institutions in the framework of additional education or the organization of cultural and leisure activities. Each dance and sports club, as an element of the structure, is registered in any Russian official organization for ballroom dancing, which, in turn, is a regional and part of the international organization for ballroom dancing. Now, there are actively there are four: 1) WDSF – World DanceSport Federation; 2) WDC – World Dance Council; 3) IDSU – International Dance Sport Union; 4) IDSCA – International Dance Studios and Clubs Association. Each of the organizations provides, contests, competitions, tournaments, Championships of Europe, Asia, world, etc. To analyze the material, we use a comparative typological method. We discover the similarities features and differences in the international organizations activities in sports and ballroom dancing, this information is scientifically investigated for the first time. We define the importance of sports and ballroom dancing competitive and amateur infrastructure for the development of culture and strengthening of a population healthy lifestyle. Also, for the first time in scientific circulation we introduce a systematic material on the activities of international organizations in sports and ballroom dancing.
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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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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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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.
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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.
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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.
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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.
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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.
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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.
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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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GRASSE, JONATHON. "Conflation and conflict in Brazilian popular music: forty years between ‘filming’ bossa nova in Orfeu Negro and rap in Orfeu." Popular Music 23, no. 3 (October 2004): 291–310. http://dx.doi.org/10.1017/s0261143004000182.
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Popular music plays important roles in two related films portraying Brazilian slum life. Based on a 1953 play by Vinícius de Morais, Marcel Camus's 1959 film Orfeu Negro, and a 1999 feature by Brazilian director Carlos Diegues titled Orfeu, augment traditional samba styles with bossa nova and rap, respectively. Interpreting musical style as allegorical texts within fictive landscapes, this paper examines conflation and conflict among musical meanings, Brazilian social histories, and discursive identities marking the twentieth century. Broad aspects of Brazilian political and socio-cultural development are implicated, such as authoritarianism, the politics and sociology of race, technological advances, mass media, and modes of modernisation. Here, bossa nova and rap engage society through reflexive and generative interpretations within a narrative designed to illustrate connections between processes of innovative, trans-national cultural production, myths of national identity, social change, and the powerful role of popular music in film.
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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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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.
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Garfinkel, Yosef. "Dancing and the Beginning of Art Scenes in the Early Village Communities of the Near East and Southeast Europe." Cambridge Archaeological Journal 8, no. 2 (October 1998): 207–37. http://dx.doi.org/10.1017/s0959774300001840.
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Dancing is depicted in the earliest art of the ancient Near East. It appears in many variations from the ninth to the sixth millennium BP over a vast geographical range. This article discusses the dancing performance, the social context of the dance and cognitive aspects of the dancing scenes. Ethnographic observations are used in order to gain a wider view of dancing and dancing scenes in pre-state societies. A correlation can be observed between art, symbolism, religion and social organization.
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Rodrigues Costa, Camila, Ana Paula Leite de Souza, and Matheus Augusto Mendes Amparo. "ANÁLISE DOS BENEFÍCIOS DA DANÇA PARA A QUALIDADE DE VIDA DE IDOSOS MORADORES DE UMA INSTITUIÇÃO DE LONGA PERMANÊNCIA." Colloquium Vitae 10, Especial 5 (December 1, 2018): 125–34. http://dx.doi.org/10.5747/cv.2018.v10.nesp5.000343.
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The objective of this study was to analyze the influence of a dance program on the quality of life of elderly people living in a long-stay institution located in the interior of the State of São Paulo. This is an action research. Nine elderly, aged between 63 and 93 years, of both sexes, participated in the study. The Quality of Life Questionnaire - SF-36 was applied. Subsequently, the interventions were initiated, through the dance (zumba) from the rhythms: Salsa, Cumbia, Merengue, Reggaeton, twice a week. After two months of intervention, the questionnaire was reapplied. The data were analyzed from the parameters for quality of life classification in which zero corresponds to a poor rating and 100 to an excellent rating. There was an improvement in general health and social aspects. It is concluded that a dance program can contribute to the improvement in the quality of life of elderly people living in a long-term institution.
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Arango, Alejandro. "From sensorimotor dependencies to perceptual practices: making enactivism social." Adaptive Behavior 27, no. 1 (November 23, 2018): 31–45. http://dx.doi.org/10.1177/1059712318811897.
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Proponents of enactivism should be interested in exploring what notion of action best captures the type of action–perception link that the view proposes, such that it covers all the aspects in which our doings constitute and are constituted by our perceiving. This article proposes and defends the thesis that the notion of sensorimotor dependencies is insufficient to account for the reality of human perception and that the central enactive notion should be that of perceptual practices. Sensorimotor enactivism is insufficient because it has no traction on socially dependent perceptions (SDPs), which are essential to the role and significance of perception in our lives. Since the social dimension is a central desideratum in a theory of human perception, enactivism needs a notion that accounts for such an aspect. This article sketches the main features of the Wittgenstein-inspired notion of perceptual practices as the central notion to understand perception. Perception, I claim, is properly understood as woven into a type of social practices that includes food, dance, dress, and music. More specifically, perceptual practices are the enactment of culturally structured, normatively rich techniques of commerce of meaningful multi- and intermodal perceptible material. I argue that perceptual practices explain three central features of SDP: attentional focus, aspects’ salience, and modal-specific harmony-like relations.
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Fountzoulas, Giorgos K., Maria I. Koutsouba, Anastasios Hapsoulas, and Vasilios Lantzos. "The Transformation of the Intangible Cultural Heritage of Dance through State Education and Politics in the Ritual of a Rural Greek Community." Mediterranean Journal of Social Sciences 8, no. 1 (January 26, 2017): 243–51. http://dx.doi.org/10.5901/mjss.2017.v8n1p243.
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Abstract In many cases, dance, as an embodied practice reflects habits, views, relations and juxtaposition and thus constitutes a “vessel” of meanings, is used by the ruling class as a means of enforcement or manipulation, whereas by the people, as a means to resist or express opposition to the policies of the respective ruling class. In such cases, dance stands as a symbol that carries values and meanings, embodies cultural classifications, reflects social relations and diversifications, and defines integration and exclusion. Dance, as “an inalienable structural component” of the “Gaitanaki” ritual in a community of Central Greece, i.e. Skala in the Nafpaktia province, is one of such cases. Thus, the aim of this paper is to study the transformation of dance during the “Gaitanaki” ritual as a result of the manipulation by the ruling class through the Greek formal education in the 20th century. More specifically, the paper investigates the way in which the respective ruling class influenced, manipulated and guided the dance during the ritual and how this contributed to the transformation of its dancing form from the middle of the 20th century until now. For this purpose, ethnographic research was carried out as it applies to the dance research. Data analysis was based on “thick description”, whereas its interpretation on Wright’s (2004) notion of political and politicised culture as this derives from Bourdieu’s (1990) “habitus”. It is proved that national cultural policy promoted through formal education transformed aspects of dance during the ritual as well as its symbolism.
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Nwauzor, Uzoma Hyacinth. "Agbacha Ekuru Nwa Dance: A Study of Performance Ethics for Music Students in Colleges of Education." Journal of Education and Practice 5, no. 1 (June 2, 2021): 36–48. http://dx.doi.org/10.47941/jep.581.
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performances and providing the theoretical framework for the study of general music education by students in colleges of education. To promote the baseline from which dance performance is produced to enhance cultural heritage and the structure with which all aspects of social events are finally understood. The need for increased awareness and participation in dance is apparent. In tertiary institutions, the study of dance as an academic course virtually does not exist. Dance should be given the attention it deserves in the curriculum for the promotion of sustainable development in creating jobs for the youths.
Methodology: Participant observation-adopting this survey is very necessary due to the nature of the research, it is a practical performance that involved dance groups. There are varieties of approaches to research in any field of investigation. Using the descriptive method is aimed at obtaining information concerning the current status of Agbacha ekuru nwa dance as it is expressed in the traditional setting. This is important in understanding the dance similarities among the groups selected from each of the 3 local government areas in Mbaise. The data collected for this project are obtained through oral interviews, observation, personal contact, and participation. Observation and participation in dance rehearsal are very necessary for future performance with the students. Uzoigwe (1998) explained that the descriptive method allows for better acceptance and understanding of all music elements discovered during research.
Results: Traditional dance is a part of life evolution, memory, and history, it is integral with the communities of the peoples' culture. And because communities re-shape and re-model folk music in line with changing tradition, ideals, and social interaction, it should be used to educate the people on the ills and goodwill of the society. Given the multiplicity of social performances in Nigeria, it will be possible to agree that the people's total culture is subsumed with music and dance and that it has become very important in promoting and developing our cultural heritage.
Unique contribution to theory, practice and policy: There is the need for us to revive our cultural heritage by ensuring that those subjects which teach and safeguards morals, norms and value system are given attention in school curriculum to revamp the fallen standard of education, cultural ideologies, and judgment regarding the way we see ourselves. This will lead to a drastic change in our attitude and behaviour. To better attract the interest of learners, the curriculum has a part to play; this is by designing a solid structure for the dance program in all levels of education in Nigerian schools. The nature of dance, as well as students' interest, will be captured and aimed at revitalizing general music education in our schools providing a balance between intellectual tasks and social interaction. This will be a way of expanding knowledge and skills for future use as a form of integrating cultural heritage into our educational system. Using Agbacha ekuru nwa dance as a case study will be beneficial to students because if all organizational principles are applied to teaching and learning it will provide structured performance ethics towards achieving collective objectives. Dance is teamwork and should be organized as such. One of the benefits is creativity in performance; talent development could be formed where students, lovers of music, and the larger society can function very well in creating dance. This will be one of the most valuable courses to enhance human personality.
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Rodgers, Susan. "Symbolic Patterning in Angkola Batak Adat Ritual." Journal of Asian Studies 44, no. 4 (August 1985): 765–78. http://dx.doi.org/10.2307/2056447.
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In Sumatra's Angkola Batak culture, rituals celebrating major kinship-related events such as marriage have many layers of social and symbolic meaning; they have political, kinship, musical, mythic, and philosophical dimensions as lengthy, oratory-filled ceremonies that unite wife-giving lineages with wife-receivers. This article examines several ways that the interpretive approach that is discussed in the introduction can help students of Indonesian ritual grasp diverse aspects of Batak marriage rituals such as their hidden symbolic organization and their practical political implications. The article deals with a short sequence of adat dance staged for anthropological research purposes. (Adat, once translated as customary law, roughly means Angkola ceremonial life, kinship norms, and political thought; adat is eminently flexible, redefined by each Batak generation.) The choreography of the dance (wife-receivers dancing with wife-givers), songs, clothing, the political biographies of the participants, and the fact that the event was staged render the ceremony open to both structural and social contextual inquiry.
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Banevičiūtė, Birutė, and Jolita Kudinovienė. "Development of Arts Teacher Research Competence in Master Studies." Pedagogika 125, no. 1 (April 13, 2017): 57–67. http://dx.doi.org/10.15823/p.2017.04.
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The problem of teachers’ research competence is one of the main aspects of concern in teacher education on master’s level. Arts teacher education is interdisciplinary studies which combine two areas – arts (music, dance, theatre, visual arts) and education, therefore research becomes a complex process requiring competence to use artistic expression forms and methods of social sciences research. In this article the point of view of arts education master’s students on research competence development is revealed.
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Raditya, Michael HB. "Musik sebagai Wujud Eksistensi dalam Gelaran World Cup." Resital: Jurnal Seni Pertunjukan 15, no. 1 (November 10, 2014): 83–99. http://dx.doi.org/10.24821/resital.v15i1.802.
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We Are One atau “Ole Ola” merupakan lagu resmi dari gelaran World Cup. Setiap World Cupmempunyai lagu resminya ditiap gelarannya. Dalam keberlangsungannya, setiap lagu world cupmembutuhkan pertimbangan dalam pembentukannya. Aspek-aspek seperti budaya, sosial, politikdan lainya menjadi alasan penting dalam pembentukannya. Pembentukan Ole Ola didasarkan padaproses hibriditas budaya lokal dan global. Perpaduan samba dan hip hop menjadi variant dalampembentukannya. Perpaduan tersebut membentuk identitas untuk lagu itu sendiri, dan untuk gelaranworld cup. Eksistensi dari lagu sehingga makin terasa karena perpaduan yang membentuk identitas.Terlebih lagu tersebut tercipta tidak hanya karena gelaran, tetapi mempunyai fungsi dan guna untukmasyarakat. Musik sebagai media dalam mengkonstruksi pesan atas kepentingan. Musik membentukidentitas, dan mempunyai eksistensi dalam keberlangsungannya. Musik tidak lagi hanya berfungsisebagai musik saja, tetapi musik mempunyai peran dalam pembentukan identitas dan menjamineksistensi.Music as a form of Existance in the World Cup Performance. We are one or Ole Ola is the officialsong of the world cup performance. Every world cup has its official song in each event. In its development ofexistance, every song in world cup needs requires of consideration for creating process. Aspects such as cultural,social, politics and others become the important reason for creation. The creating proses of Ole Ola song isbased on the local and global cultural hybridity. The combination of samba and hip hop is a primary varianton creating process. The combination creates an identity for the song itself, and for world cup identity. Theexistance of Ole Ola is stronger because the combination may create the new identity. Moreover, the songcreated is not only for the event, but also has a function and purpose to society. Music is as a medium inconstructing the messages of interest. Music creates an identity, and has an existance in its continuty. Musicis not only for music itself, but also has a role in creating identity and ensures the existance.
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Vicente Nicolás, Gregorio, Nuria Ureña Ortín, Manuel Gómez López, and Jesús Carrillo Vigueras. "La danza en el ámbito de educativo (Dance in the Educational Context)." Retos, no. 17 (March 9, 2015): 42–45. http://dx.doi.org/10.47197/retos.v0i17.34667.
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El presente trabajo ofrece una visión general del fenómeno de la danza en el ámbito de la educación. En un primer momento se realiza una exposición de los diferentes componentes o aspectos del ser humano sobre los que la danza incide de forma más evidente. Posteriormente se presenta una revisión de las definiciones propuestas por diferentes autores que consideramos más relevantes y se incluye una definición propia del concepto. También se destacan las aportaciones de la danza a la educación desde el punto de vista social, físico, intelectual y afectivo y se señalan los mayores problemas que esta disciplina ha tenido para ser incluida como una materia más: falta de formación del profesorado, falta de recursos y espacios adecuados y discriminación de género. Finalmente, se concluye con una reflexión sobre las formas de danzas más adecuadas en el ámbito educativo.Palabra clave: danza, baile, educación, movimiento, expresión corporal.Abstract: This paper provides an overview of the phenomenon of dance in the field of education. At first, it is made a presentation of the different components or aspects of human beings on that dance impacts in a more obvious way. Subsequently, we present a review of the definitions proposed by different authors that we consider most relevant and it is included a personal definition of the concept. It also highlights the contributions of dance to education in terms of social, physical, intellectual and emotional development and identifies the major problems that this discipline has had to be included as a subject: lack of teacher training, lack of adequate space and resources and gender discrimination. Finally, it concludes with a reflection on the most appropriate forms of dance in the educational context.Key words: dance, education, movement, corporal expressión.
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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 Two: The Waltz Regained." Dance Research 36, no. 2 (November 2018): 138–72. http://dx.doi.org/10.3366/drs.2018.0236.
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Part One of this study on the transmutation of the Victorian waltz into the modern English waltz of the early 1920s examined the labile social and choreographic climate of social dancing in London's fashionable ballrooms before, during and just after World War One. The article ended with the teachers’ unsatisfactory effort to characterise the features of a distinctively modern waltz style in response to a widespread discourse to recover and adapt the dance for the contemporary English ballroom. Part Two investigates the role of club and national competitions and exhibition dancers in changing and stabilising a waltz form and style that integrated preferred aspects of both old and new techniques, as advocated by leading waltz advocate and judge, Philip Richardson. This article brings into critical focus not only choreographic contributions by Victor Silvester and Josephine Bradley but also those of models such as Maurice Mouvet, G. K. Anderson, Georges Fontana, and Marjorie Moss whose direct influence in England outweighed that of the more famous American couple Irene and Vernon Castle. The dance backgrounds, training and inter-connections of these individuals are examined in identifying choreological and aesthetic continuities that relate to prevalent and inter-related notions of style, Englishness, art and modernity as expressed through the dancing. Taken as a whole, the two parts provide a case study of innovative shifts in popular dancing and meaning that are led through imitation and improvisation by practitioners principally from the middle class. The study also contributes to dance scholarship on cultural appropriation through concentrating on an unusual example of competition in dance being used to promote simplicity rather than virtuosity. In conclusion, greater understanding of creativity and transmission in popular social dancing may arise from identifying and interrogating the practice of agents of change and their relationships within and across their choreographic and socio-cultural contexts.
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Schöneich, Svenja. "From Global Decisions and Local Changes." Ethnologies 36, no. 1-2 (October 12, 2016): 447–66. http://dx.doi.org/10.7202/1037617ar.
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This paper analyses the transforming effects the “UNESCO intangible cultural heritage” label has on a cultural practice. It uses as a case study the ritual ceremony of the Voladores, an indigenous ritual dance practiced in different areas of Mexico since pre-colonial times. In 2009, it was declared the second of seven UNESCO intangible cultural heritages in Mexico. The following study examines ways in which perceptions and performance of the dance have changed after the declaration from an actor’s perspective. After the declaration the national and international interest of tourist and institutions increased. As a consequence, dancers were able to earn a significant amount of money and gain social recognition through public presentations of the dance, which transformed the ritual into an economic and social resource. On the one hand, the new function changed the ceremony in ways to make it more attractive to tourists. On the other hand, a tendency towards revitalizing and preserving traditional elements came to play as well. This was partly initiated through the UNESCO Safeguarding guidelines and pushed by many dancers afraid of a potential “sell-out of their culture to tourists”. These two aspects seem to be mutually exclusive at first but this paper will show that a binary model of “culture vs. commerce” does not provide an adequate conceptual framework to fully understand the complexities of culture.
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Witkoś, Joanna, and Magdalena Hartman-Petrycka. "Implications of Argentine Tango for Health Promotion, Physical Well-Being as Well as Emotional, Personal and Social Life on a Group of Women Who Dance." International Journal of Environmental Research and Public Health 18, no. 11 (May 31, 2021): 5894. http://dx.doi.org/10.3390/ijerph18115894.
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Background: The aim of the research was to determine the effect that dance has on the promotion of health, physical well-being, as well as the emotional, personal and social life of women who dance. In addition, the impact of the physical activity of long, often all-night dancing events on women’s health was investigated. This included possible disturbances in their monthly cycle and circadian rhythm, taking into account symptoms of biological rhythm disturbances. Methods: The study involved 214 women: tango group: 109, sedentary group: 105. The Mann–Whitney U and chi2 tests were used to compare the groups, as well as multiple ordinal regression to analyse individual predictors of missed menstrual periods. Results: The tango vs. sedentary groups did not differ in the duration of menstrual bleeding, the degree of pain during menstruation, the regularity of menstruation, the number of regular monthly cycles per year, and amenorrhea. Intermenstrual spotting was more common in dancers (tango 12.8% vs. sedentary 4.8%; p = 0.038). The frequency of missed periods was not increased by any of the assessed aspects. In 59.6% of female dancers, milongas caused disturbances in circadian rhythms, including extreme fatigue and drowsiness (36.7%), 66.0% of the dancers mentioned only positive aspects of Argentine Tango’s impact on their personal life. Conclusions: tango plays a positive and multifaceted role in the lives of dancers and fulfils the need for social contact. The physical effort put into this form of physical activity does not significantly affect the menstrual cycle, and thus the reproductive functions, and can be recommended as an attractive and safe form of physical recreation for women.
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Ndomondo, Mathayo Bernard. "New Music Emerging from War: Lingwangwanja during the Frelimo-Renamo Civil Conflict in Mozambique 1977-1992." Utafiti 13, no. 2 (March 18, 2018): 109–32. http://dx.doi.org/10.1163/26836408-01302007.
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Lingwalangwanja is a dance tradition performed by young male members of the Makonde society in the northern part of Mozambique, and in south eastern Tanzania. It is usually performed in the evening for the purpose of entertainment. The tradition involves a variety of topical songs, including love, politics, and important social and cultural issues. The emergence of lingwalangwanja is linked to an outbreak of the Frelimo-Renamo civil war in Mozambique when young musicians, due to their fear of landmines, were unable to go to the bush to fetch wild animal-hides and tree-trunks for making drum shells, resorted to improvising alternative musical instruments. These instruments yielded a new dance tradition. Research on this dance tradition is important because most of the studies done on the impact of the civil war in Mozambique have focused on other social, cultural, economic and political aspects; yet there has been no attention paid to the impact of this war on the musical practices of the Makonde, including this dance. By employing an eclectic research methodology, and drawing upon complex theories of musical change, the emergence of lingwalanganja can be revealed as emanating from both the impact of the Frelimo-Renamo civil war in Mozambique, as well as from migratory movements of Makonde of Mozambique to Tanzania, and between the Makonde of both countries. The study draws on fieldwork experience conducted 1995-1998 and upon follow-up research thereafter in the districts of Newala and Mtwara Rural in Mtwara region concerning the music of migrations among the Makonde in Mtwara region, as well as the variety of published sources related to the impact that war and the search for refuge have upon music making.
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MCGRATH, AOIFE. "Sounding a Quietening: Breastfeeding Choreographies and the Sonic–Corporeal Dialogue of Maternal Experience." Theatre Research International 46, no. 2 (July 2021): 148–68. http://dx.doi.org/10.1017/s0307883321000079.
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Let Down (2018) is a practice-as-research (PaR) dance performance that communicates women's experiences of breastfeeding in Northern Ireland, a jurisdiction with one of the lowest breastfeeding rates in the world, due, in part, to the social stigma attached to breastfeeding in public. Choreographed in collaboration with a composer and social scientists, Let Down is a duet for two lactating women who dance alongside a digitally transposed and augmented soundscape of sonic aspects of maternal experience, and improvise to the live sounds produced by infants in the audience. The work responds to a ‘quietening’ of maternal corporeality in some Western societies through a feminist dramaturgy of sonic disruption that refigures intermedial relations between sound and movement in performance to make unheard experience sensible. Attending to the complex sociopolitical and affective terrain that informed the work's creation, I discuss how a methodology of ‘quietening’ developed during the choreographic process generated space for a dialogue between private and public spheres of experience. I propose that the methodological concept of quietening offers both an alternative approach to choreographies of affect, and a critical framework for questioning representations of socially ‘quietened’ corporealities.
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Phillips-Silver, Jessica, C. Athena Aktipis, and Gregory A. Bryant. "The Ecology of Entrainment: Foundations of Coordinated Rhythmic Movement." Music Perception 28, no. 1 (September 1, 2010): 3–14. http://dx.doi.org/10.1525/mp.2010.28.1.3.
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Entrainment has been studied in a variety of contexts including music perception, dance, verbal communication, and motor coordination more generally. Here we seek to provide a unifying framework that incorporates the key aspects of entrainment as it has been studied in these varying domains. We propose that there are a number of types of entrainment that build upon pre-existing adaptations that allow organisms to perceive stimuli as rhythmic, to produce periodic stimuli, and to integrate the two using sensory feedback. We suggest that social entrainment is a special case of spatiotemporal coordination where the rhythmic signal originates from another individual. We use this framework to understand the function and evolutionary basis for coordinated rhythmic movement and to explore questions about the nature of entrainment in music and dance. The framework of entrainment presented here has a number of implications for the vocal learning hypothesis and other proposals for the evolution of coordinated rhythmic behavior across an array of species.