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Journal articles on the topic 'Traditional dance'
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1
Supeni, Siti. "JAVANESE TRADITIONAL ART-DANCE AS THE IMPLEMENTATION OF CHARACTER EDUCATION OF CHILDREN TO SUPPORT CHILD FRIENDLY SCHOOL." RESEARCH FAIR UNISRI 4, no. 2 (August 15, 2020): 48. http://dx.doi.org/10.33061/rsfu.v4i2.4517.
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The purpose of the research is to: ( I) identify character education of children in various Javanese traditional dances, (2) to analyze the needs, output, problems. and learning objectives of child-friendly schools (CFS) in applying character education based on regional dance by interviewing a dancer trainer and a professional dancer who have experiences in creating and practicing the dances, and (3) to identify types of Javanese traditional dance values inside the dances. the types of research is through literary studies, interviews, surveys, observations, and documentation. To analyze the data, the researchers useResearch & Development. The findings show that (1) identification of charactereducation in various Javanese traditional dance, (2) there are the needs, output, problems, and learning objectives of child-friendly schools (CFS) in implementing character education based on regional dance, and (3) types of Javanese traditional dance values from.
Keywords: Javanese Traditional Dance, Character Education, Child-Friendly School
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Odefunso, Adebunmi E., Esteban Garcia Bravo, and Yingjie V. Chen. "Traditional African Dances Preservation Using Deep Learning Techniques." Proceedings of the ACM on Computer Graphics and Interactive Techniques 5, no. 4 (September 6, 2022): 1–11. http://dx.doi.org/10.1145/3533608.
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Human action recognition continues to evolve and improve through deep learning techniques. There have been studies with some success in the field of action recognition, but only a few of them have focused on traditional dance. This is because dance actions, especially in traditional African dance, are long and involve fast movements. This research proposes a novel framework that applies data science algorithms to the field of cultural preservation by applying various deep learning techniques to identify, classify, and model traditional African dances from videos. Traditional dances are an important part of African culture and heritage. Digital preservation of these dances in their multitude and form is a challenging problem. The dance dataset was constituted from freely available YouTube videos. Four traditional African dances were used for the dance classification process: Adowa, Swange, Bata, and Sinte dance. Five Convolutional Neural Network (CNN) models were used for the classification and achieved an accuracy between 93% and 98%. Additionally, human pose estimation algorithms were applied to Sinte dance. A model of Sinte dance that can be exported to other environments was obtained.
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Gailīte, Elīna. "Tautas deju definēšanas problemātika mūsdienās Latvijā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 94–104. http://dx.doi.org/10.37384/aplkp.2021.26-2.094.
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The article “Problems of defining folk dance in Latvia today” examines the aspects that affect the current situation in Latvia, where folk dances are understood as both folk dances that have not been modified by choreographers, dances passed down through generations that can be danced every day, and stage folk dances, which are a type of art performed by folk dance ensembles, created by choreographers and dances adapted to the stage performance. The research aim is to identify and describe the problems that currently exist in the Latvian cultural space, where the definition of folk dances creates tension in the public space and ambiguous opinions among dancers. Nowadays, it is possible to identify such concepts as, for example, folk dance, ethnographic dance, authentic dance, traditional dance, folklore dance, folk dance, folk dance adaptation, field dance, folk ballet, etc. Consistent use of concepts is rarely seen in the documents and research of cultural policymakers and the historical and contemporary works of choreographers and researchers. Often they are only described in general terms. A survey conducted in 2019 shows that dancers consider stage folk dances to be folk dances, and often this separation of dances is not important for them. Another problem is the designation of folk dance ensembles where stage folk dance dancers are dancing. The term misleads; it suggests that folk dances are danced there. However, this designation is linked to its historical time of origin. It is not insignificant that the stage folk dance is more popular, more visible, and massively represented at the Song and Dance Festival. Thus, a part of the society associates it with our folk dances.
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Wahyuni, Fitri, and Malta Nelisa. "Pembuatan Purwarupa Ensiklopedia Tarian Adat Minangkabau." Ilmu Informasi Perpustakaan dan Kearsipan 8, no. 1 (October 29, 2019): 476. http://dx.doi.org/10.24036/107302-0934.
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AbstractIn this paper we discuss Minangkabau traditional dances in the form of an encyclopedia prototype. The objectives of writing this paper are: (a) to describe the community's needs for information about Minangkabau traditional dances; (b) describes the process of making an encyclopedia of traditional Minangkabau dance prototypes; and (c) describe the constraints and efforts in making an encyclopedia prototype of Minangkabau traditional dance. This study uses a descriptive method with data collection techniques through direct observation and direct interviews with seven different professions, such as the community, students, students, tourists and owners of the Syofyani dance studio. Based on the analysis of the data it can be concluded as follows: First, the need for information about Minangkabau traditional dances is very minimal from the community, this can be seen from people who are not very interested in information about Minangkabau traditional dances because Minangkabau traditional dances are rarely performed and there are no information media which specifically discusses Minangkabau traditional dances. So that the Minangkabau traditional dance is shifted by outside dances such as dance and k-pop. Second, the making of an encyclopedia prototype of Minangkabau traditional dance through several stages, namely: (a) information needed about traditional Minangkabau dances; (b) data collection is done by interviewing techniques; (c) prototype product design encyclopedia of Minangkabau traditional dance using the Photoshop CS6 application; and (d) the resulting form is an encyclopedia prototype which contains information about the types of dance, dance philosophy, property used, music, clothing used in the dance, along with supporting images. Third, constraints and efforts in producing encyclopedias prototype products, namely: (a) resource persons who know about information about Minangkabau traditional dances are difficult to find and efforts to overcome them are done by making an appointment beforehand to the speakers; (b) data collection such as books on Minangkabau traditional dances is difficult to obtain and efforts to determine them are carried out by obtaining data from journals that discuss traditional dances.Keywords: Prototype, Encyclopedia, Minangkabau Indigenous Dance
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Pype, Katrien. "Dancing for God or the Devil: Pentecostal Discourse on Popular Dance in Kinshasa." Journal of Religion in Africa 36, no. 3-4 (2006): 296–318. http://dx.doi.org/10.1163/157006606778941968.
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AbstractThis article studies the dance poetics and politics of Christians in contemporary Kinshasa. For Kinois (inhabitants of Kinshasa), dance is one of the most important technologies to get in touch with an invisible Other, the divine or the occult. In sermons, and other modes of instruction, spiritual leaders inform their followers about the morality of songs and dances. These discourses reflect pentecostal thought, and trace back the purity of specific body movements to the choreography's source of inspiration. As the specific movements of so-called sacred dances borrow from a wide array of cultural worlds, ranging from traditional ritual dances and popular urban dance to biblical tales, the religious leaders state that not just the body movements, but also the space where people dance and the accompanying songs, define the Christian or pagan identity of the dancer. Therefore, both the reflections upon dance movements and the dance events within these churches will be discussed as moments in the construction of a Christian community.
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Zakiyati, Nur Muaffah, Agus Cahyono, and Syakir Syakir. "Inheritance of Cultural Values of Kethek Ogleng Dance at Darma Giri Budaya Dance Studio in Wonogiri." Catharsis 9, no. 1 (May 31, 2020): 28–37. http://dx.doi.org/10.15294/catharsis.v9i1.39033.
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The Kethek Ogleng dance performance is one of the traditional dances that is inherited and there are cultural values at Darma Giri Budaya Dance Studio in Wonogiri Regency. The purpose of this study is to analyze the inheritance of cultural values in the performances of the Kethek Ogleng Dance at the Darma Giri Budaya Dance Studio in Wonogiri Regency. The method used is qualitative with ethnochoreological approaches. The data collection techniques through observation, interviews and document study. The analysis process began from collecting data, reducing dataand clarifying, concluding and interpreting. The cultural value of Kethek Ogleng Dance can be seen in the dance moves, the performing techniques, dancers, time, drama, and technique. The cultural values that are seen from the knowledge obtained is from learning in the Studio and formal schools. Skillis the process of training artists to the dancer of Kethek Ogleng in the studio. Attitude, the artist teaches the attitude of dancer Kethek Ogleng that the talent possessed must be delivered.
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Martozet, Martozet. "The Existency of Traditional and Modern Dance in Medan City." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 4, no. 1 (January 14, 2021): 203–12. http://dx.doi.org/10.33258/birle.v4i1.1574.
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The purpose of this study was to determine the existence or existence of traditional dances and modern dances in Medan. The research problem focuses on the existence of these two dance forms, how is the journey of traditional dance forms from the pre-independence era to the present and the glories of the emergence of new, modern-style dance forms from the 1960s, especially in the city of Meda. In order to approach this problem, the theory of existence is used WJS Poerwadaminta. Apart from that, it was also emphasized aboutunderstanding of traditional and modern dance by Indonesian dance expertsSoedarsono.While the data were collected through field observations, interviews, documentation, and literature study. Furthermore, the data obtained were analyzed through qualitative descriptive methods, narrating the data obtained in the field according to existing facts. From the research results it is known that the city of Medan as a large heterogeneous city, has traditional dances such as the Inai and Zapin Labuhan dances. Inai dance is performed at the evening ceremony, while Zapin Labuhan is performed at the apostolic circumcision ceremony.Zapin appeared in line with the existence of the Malays who lived in this area and were related to the existence of the Deli Sultanate. Zapin Labuhan developed during the reign of Tuanku Panglima Gandar Wahid in the 18th century AD, who was the King of Deli to V. Zapin.consists of several variants such as Zapin Anak Ayam, Zapin Pecah Tiga, Zapin Elang, Zapin Selendang, Zapin Lancang Kuning, Zapin Zat, Zapin Gergaji, and Zapin Zig-Zag.
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Yamaner Okdan, Hale. "Structural analysis of traditional Kadın Zeybek dances in İzmirİzmir ili geleneksel Kadın Zeybek oyunlarının yapısal analizi." International Journal of Human Sciences 13, no. 1 (January 12, 2016): 332. http://dx.doi.org/10.14687/ijhs.v13i1.3499.
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<p>İzmir has a dance culture where <em>zeybek</em> dances are performed predominantly. When the <em>zeybek </em>dances performed by men are danced by women they are called “<em>kadın </em>(female) <em>zeybek</em>”. <em>Kadın zeybek</em> dances are more agile in terms of rhythm, and simpler and elegant in terms of movement when compared to male <em>zeybek </em>dances. In traditional life, women aren’t welcome to dance in the same environment with men. Thus, female dances are performed indoors where men aren’t allowed to participate or even see the woman dancing. The staging of folk dances since the 1930’s has caused this rule applied in traditional life to lose its validity in urban atmosphere. While female dances are carried to the stage over time, men and women started to dance together on stage. As a result of these dances developments traditional dances gained a new category called “mixed dances” meaning dances performed by both sexes. Today, traditional dances are classified under the titles “female dances”, “male dances” and “mixed-sex dances” according to the gender of the dancer. This article is on the structural analysis of the <em>zeybek</em> dances performed by women only.</p><p> </p><p><strong>Özet</strong></p><p>İzmir ili, zeybek türü oyunların ağırlıklı olarak oynandığı bir oyun kültürüne sahiptir. Erkekler tarafından oynanan zeybek oyunlarının kadınlar tarafından oynanan şekline kadın zeybeği denmektedir. Kadın zeybek oyunları erkek zeybek oyunlarına kıyasla ritmik yapı itibarıyla daha kıvrak, oynanış tavrı bakımından daha zarif oyunlardır. Geleneksel yaşamda kadının erkekle aynı ortamda oyun oynaması hoş karşılanmaz. Bu nedenle kadın oyun icraları erkeğin katılamadığı ve hatta oynayan kadını göremediği mekanlarda -kapalı alanlar- gerçekleşir. Halk oyunlarının 1930’lu yıllardan itibaren sahneye taşınması, geleneksel yaşamda uygulanan bu kuralın şehirlerde geçerliliğini yitirmesine neden olmuştur. Zamanla kadın oyunları sahneye taşındığı gibi, kadın ve erkek sahne üzerinde birlikte, yan yana dans etmeye başlamıştır. Bu gelişmeler sonucu geleneksel oyunlar <em>karma oyunlar</em> adı altında –kadın ve erkeğin beraber oynadığı oyunlar- yeni bir kategoriye kavuşmuştur. Günümüzde geleneksel oyunlar oyuncunun cinsiyetine göre kadın oyunları, erkek oyunları ve karma oyunlar şeklindeki üç başlıkta ele alınır. Bu yazı sadece kadınlar tarafından oynanan zeybek türünde oyunların yapısal analizini içerir. </p>
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Georgios, Lykesas. "The Transformation of Traditional Dance from Its First to Its Second Existence: The Effectiveness of Music - Movement Education and Creative Dance in the Preservation of Our Cultural Heritage." Journal of Education and Training Studies 6, no. 1 (December 22, 2017): 104. http://dx.doi.org/10.11114/jets.v6i1.2879.
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Being an indispensable part of our folk tradition, the traditional dance bears elements of our cultural tradition and heritage and passes them down from generation to generation. Therefore, it contributes substantially to the reinforcement of our cultural identity and plays a crucial role in the "cultural development" of our society.Our culture is going through a constant process of mutation. Some traditional elements get lost, while others resist and survive or get transformed and readjust to new emerging circumstances.The aim of the present study is to investigate the learning process of Music/ Movement Education and Creative Dance within the context of the “second existence” of dance, and the way in which this learning process can effectively save and preserve the characteristic cultural traits of the "first existence" of the traditional dance.The experiential way of learning and transmitting dance from one generation to the other, is characterized as “the first existence” of dance. Changes in modern social, political and economic conditions have influenced the Greek traditional dance, which has acquired a more entertaining and tourist-commercial character, while its educational character has transformed going through teacher-centered educational processes. Having undergone this change, the traditional dance is now defined as “the second existence” of folk dance. The conversion of the traditional dance from its "first existence" into its "second existence" is supported and interpreted by the three components of the dancing process, the so-called “communication triangle”: the dancer, the dance and the viewer. The adoption of the particular approach of Music - Movement Education and Creative Dance in teaching Greek traditional dances can preserve and convey a large part of our cultural heritage to the new generation.Only by learning their country’s history and culture will the young generations be able to learn their own identity and make the best of the past in order to live more happily today and create a better future.
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Winarsih, Sri. "THE ROLE OF BALADA CENDERAWASIH TRADITIONAL DANCE OF PAPUA." British (Jurnal Bahasa dan Sastra Inggris) 9, no. 1 (June 25, 2020): 27. http://dx.doi.org/10.31314/british.9.1.27-36.2020.
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Balada Cenderawasih is a traditional dance of Papua which is performed by a group of dancers in the costumes resembling beautiful Paradise birds. The dance is often performed in many important events in Merauke. This study aims to find out the role of Balada Cencerawasih as a kind of ballad from Papua beyond an art show. Two subjects were studied; the dance and the owner of traditional dance studio. Through overt observation over the dance, and semi structured interview with the owner of traditional dance studio, it was collected the data and were analyzed using Spradley qualitative model. The study shows the roles of Balada Cenderawasih are as; 1) Cultural identity; through the motions, language and symbols; 2) Regional wealth, both material and cultural heritage; through the show includes costumes, musical instruments and the dancer attributes; and 3) Environmental protection; through the values include moral, religious and education.Keywords: balada cenderawasih, ballad, role, traditional dance
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Darmawan, Dominikus Reynard, Erdhi Widyarto Nugroho, and Ridwan Sanjaya. "Learning Traditional Denok Dance With Kinect Game." Journal of Business and Technology 1, no. 2 (August 9, 2021): 43. http://dx.doi.org/10.24167/jbt.v1i2.3511.
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Nowadays, culture exchange is so much easier, with the foreign culture walk in to Indonesia, our traditional culture start to be forgotten, one of them is our traditional dance. And also, studying our native culture is considered something outdated. That why its needed a new media to make our traditional culture more modern so not become forgotten. One of the media which can be used is a game and a technology called kinect, with both of it, can be made a simulation game of our traditional dance, so it can be a media for introducing our traditional dance or help to train the dancer.
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Varga, Sándor. "Two Traditional Central Transylvanian Dances and Their Economic and Cultural/Political Background." Acta Ethnographica Hungarica 65, no. 1 (November 11, 2020): 39–64. http://dx.doi.org/10.1556/022.2020.00004.
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This study focuses on a theme that until now has only been addressed to a lesser degree in dance folkloristics, namely the relationship between dance and politics. I examine two types of Central Transylvanian folk dance, the local variations of the dance group called eszközös pásztortánc (Herdsmen’s Dance with implement) and the local variations of the dance group called lassú legényes (slow male dance), attempting to study their transformation in terms of form and function during the 20th century in a traditional and revival context.1 Using two case studies, I also reflect on the unique system of relations between folklorism and folklorisation in an attempt to illustrate Hungarian and Romanian socio-economic factors and cultural policy underlying the transformation of these dances.
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Marsan, Nur Sekreningsih, and Mia Juliana Siregar. "Menghidupkan Identitas Kepulauan Riau Melalui Seni Tari Tradisional." Gondang: Jurnal Seni dan Budaya 5, no. 1 (April 6, 2021): 40. http://dx.doi.org/10.24114/gondang.v5i1.20964.
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This article was created with the aim of seeing the extent of the identity of Riau Islands through the art of dance known in the community and trying to revive the identity of traditional dance through documentation of the dance movement itself. Thus, the problem in this research is focused on traditional dance movements that are indeed the identity of Riau Islands identifiers, namely malay dance movements. This research was conducted by exploring the roots of the dance from art actors directly through interviews and documenting them. Through the collection of dance movement information is then documented so that it can be seen or read by all people. So that traditional dance as the identity of Riau Islands is well documented. Based on the results of the rersponden assessment, 61% stated that knowing and knowing the traditional dance of Riau Islands, the rest stated that less knowing the traditional dance. Art performances can only be enjoyed on certain occasions. To overcome this, one way to bring traditional dance identity to life is to gather information related to traditional dances and document them in the form of photos, videos and books, increasing the frequency of dance performances.
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Khairunnisa, Yussy Talitha, Ely Triasih Rahayu, and Muammar Kadafi. "Struktur dan Makna Tarian Yosakoi." Jurnal SAKURA : Sastra, Bahasa, Kebudayaan dan Pranata Jepang 4, no. 1 (February 28, 2022): 118. http://dx.doi.org/10.24843/js.2022.v04.i01.p10.
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The purpose of this study was to determine the structure and meaning of movements contained in the yosakoi dance. The yosakoi dance is a traditional dance that was first introduced in 1954 in Kochi prefecture. The kochi yosakoi dance was first performed in a summer festival, with the basic dance was called seicho. Seicho yosakoi is danced with the yosakoi naruko odori song and uses a musical instrument called naruko. Besides at Kochi prefecture, yosakoi also has expanded to the Hokkaido area. Yosakoi dance in Hokkaido is known as yosakoi soran. Yosakoi soran was first created by Hasegawa Gaku in 1992. Different from kochi yosakoi, yosakoi soran was first introduced with the traditional song soran bushi. The type of this study was descriptive qualitative. The data source of this study was the movement of yosakoi dancers, namely the Iroha and Yuujou Taiko groups. The method of this study used literature study, observation and interview. The data analysis technique was conducted by analyzing the movement structure and meaning of the seicho and soran bushi dances based on the semiotic concept of Roland Barthes. The results of this study showed that there were 5 movement structures in the seicho yosakoi dance that contained connotative meanings, and there were 14 movement structures in the soran bushi dance. The conclusion from the structure and meaning of these two dances are that they only have connotative meanings. In the seicho dance, it contains the meaning of an invitation for people to come and have fun during the summer at the yosakoi festival. While in soran bushi, this dance has the meaning of describing how fishermen go to sea to catch fish.
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Dania, Aspasia. "Analyzing the Aesthetics of Dance Instructional Design: An Example from Greek Traditional Dance Teaching." Congress on Research in Dance Conference Proceedings 2016 (2016): 116–26. http://dx.doi.org/10.1017/cor.2016.17.
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Within the context of dance education, the quality of students’ learning experiences during instruction affects their ability to coordinate body and mind effectively. The more these experiences are invested with emotionally motivated expectation, the more pervasive will students’ occupation with dance be. On this premise, the learning of dance is realized as a continuous process of aesthetic understanding, appreciation, and evaluation of the form of dance, as a learning object per se. Such a perspective upgrades instructional design to the level of art making, where every dancer can experience the aesthetically acceptable and “beautiful” while participating in dance lesson activities. The review of relevant literature shows that the application of solely reproductive practices in dance teaching cannot support the establishment of a learning environment that is rich in aesthetic experiences.The aim of this paper is to analyze those principles that should govern dance lesson design so that dance teaching can have the impact of an aesthetically elevated experience on every student dancer. With Greek traditional dance at the background and under the prism of modern socio-cognitive and aesthetic theories, the attributes of aesthetic teaching practices are reviewed. The design and implementation of a newly established method, the Laban Notation method for Teaching Dance, is used as an example. The author's objective is to add a new perspective to the design of dance teaching-a perspective that will balance student dancers' potential between passion for performance, conceptual appraising and personal identity.
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Abakporo, Princewill C. "Dance and content issues: implications for contemporary indigenous dance in Nigeria." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 72–82. http://dx.doi.org/10.4314/ejotmas.v7i1-2.5.
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Many traditional dances have witnessed downturn in patronage to occasion academic debates geared towards reviving interest in indigenous performances and live theatres in Nigeria. It is within this context that this article closely look at content issues in Nigerian indigenous dance from a diachronic perspective and observed that the seeming dwindling patronage for certain Nigerian indigenous dances is as a result of the inability of indigenous dance creators and performers to package indigenous dance products to reflect popular tastes in contemporary times. Also, it is observed that content issues in art are indicators that human society is constantly in a state of flux and that as humanity responds to these changing realities; art must do the same to remain relevant to the society within a particular period. Drawing on this, the study concludes that Nigerian indigenous dance space could be enlivened when its contents are at par with dominant societal realities and respond to prevailing societal conditions within the time of its creation while retaining its structures and form as a cultural document for the people. It recommended that the approach, packaging, and performance of indigenous dances from formalist and philosophical aesthetic consciousness will aid in the malleability of traditional dance contents to satisfy changing societal and audience needs.
Keywords: Traditional dance, Indigenous dance art, Nigeria Content issues, Patronage
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Đorđevic, Nenad, and Slavoljub Uzunović. "Niševljanka as a small town originated urban folk dance." Fizicko vaspitanje i sport kroz vekove 9, no. 1 (2022): 117–34. http://dx.doi.org/10.5937/spes2201120d.
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The subject of this paper are city (small town) folk dances in a broader sense and Niševljanka folk dance as a town game in a narrower sense. The aim of the paper was to describe Niševljanka as a town folk dance. The basic task is to write down the music, rhythm and technique of the dance. In the available literature dealing with the systematization and division of folk dances, city folk dances are nowhere to be found as a special type of dance. Maybe rightly so, since they can be traced back to the traditional, original dances. However, given the conditions and time of the origin of these dances, with the migration of the peasantry to the towns and cities, the city dances in some way distanced themselves from the traditional ones. This was influenced by new living conditions, more cramped space, mixtures of the European and Oriental culture, as well as the Europeanization of culture and way of life in general. It can be stated that city folk dances are in fact traditional - original dances that have taken on other aspects of dancing and dancing behavior. If any folk dance has marked our city, and the state in general, from the end of the 19th and the beginning of the 20th century, it is undoubtedly Niševljanka folk dance. Numerous manuscripts, books, travelogues, newspaper articles from that time testify to this fact. This paper is an attempt to point this out and to find in one place the musical, rhythmic and playful record of this, undoubtedly original city folk dance.
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Azizah, Rona Cita, Susanna Edelweiss, and Angelika Riyandari. "Representing Multicultural Semarang through Gambang Semarang’s Narrative." Celt: A Journal of Culture, English Language Teaching & Literature 18, no. 2 (December 29, 2018): 248. http://dx.doi.org/10.24167/celt.v18i2.1300.
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Dance is usually perceived as a structured movement done by a person or more and accompanied by music and in some cases songs. The attention on physical movement often neglects the narrative which may exist behind a dance. Dances often have stories which frame the sequence of movements done by the dancers. The stories in a dance have elements of literature such as theme, plot, characters, and setting. This paper which is part of an on-going research on Semarang traditional dance discusses the story told through the movements and costume of Gambang Semarang dance. Gambang Semarang is traditional performing arts from Semarang which originally consists of music, vocal, dance, and comedy. Gambang Semarang dance was a small part of Gambang Semarang performance, but it is often performed separately from the complete performance now. The dance is commonly accompanied by Gambang Semarang music which combines Javanese music instruments, gamelan, and Chinese music instruments. In some occasions, songs such as Gambang Semarang and Gado-Gado Semarang are presented along with the music. Gambang Semarang dance itself is often considered as Semarang’s identity as the dance tries to embrace the multicultural society of Semarang which are Javanese, Chinese, and Arabs through the dance movements and the costume worn by the dancer. Data were collected through interviews with key informants. The results of the interviews then were analyzed to find out the stories represented by Gambang Semarang. The findings show that dance movements and costumes of Gambang Semarang indeed represent multicultural Semarang.
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TALPĂ, Svetlana. "Methodical aspects of the (H)ostropat dance as an indispensible part in the repertoire of dance groups from the Republic of Moldova." Arta 31, no. 2 (January 2023): 87–91. http://dx.doi.org/10.52603/arta.2022.31-2.13.
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Th e study addresses a wide range of interpretations of (H)ostropat dance from the repertoire of dance groups in the Republic of Moldova in the XXI century. (H)ostropat — represents a ceremonial dance that accompanies various ritual acts in the traditional wedding, being an expression of a specific language of communication that determined the very aesthetics of the dance, its forms of expression, stylistic norms of the repertoire, etc. The (H)ostropat dance, being part of the value system of popular culture, with some aspects of ritual and entertainment, highlights the importance of professional choreographic practice and the role of dance groups in cultural institutions of traditional amateur artistic activity. Th e author focuses her attention on the configuration of the methodological apparatus of researching the repertoire of dance groups as a paradigm of a new stylistic direction and cultural identity in the realm of contemporary choreographic art. It is found that the tendencies of simplifying the ritual structure of the wedding and of compressing the temporal and spatial framework, the modernization of the ceremonial conception and the flow of new dances, created by professional artists or adapted from the repertoire of folk, neo-traditional and national dances in the region, have essentially marked the structure of the repertoire of the traditional dance groups.
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Agustono, Budi, Heristina Dewi, and Mhd Pujiono. "STRENGTHENING THE TRADITIONAL DANCE GROUP & PLACE (SANGGAR TARI) TO STRENGTHEN THE LOCAL CULTURE OF MEDAN IN MEDAN AMPLAS SUBDISTRICT." Abdi Dosen : Jurnal Pengabdian Pada Masyarakat 5, no. 2 (June 2, 2021): 306. http://dx.doi.org/10.32832/abdidos.v5i2.873.
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The majority of the younger generation ignore national culture, such as traditional dances, and prefer modern dances. This makes the importance of strengthening traditional dance groups & place (sanggar tari) as a forum for developing creativity in traditional culture in Medan. Therefore, in this community service, efforts to strengthen the sanggar tari to strengthen Medan's local culture were carried out. This activity consisted of a Focus Group Discussion (FGD) and dance training for 30 young men and women members of the Medan Amplas sub-district sanggar tari held for two months. Besides providing training, the community service team facilitates supporting equipment in traditional dance performance activities for members, such as clothing, accessories, and other training media. The lecture, Q&A, demonstration, and drill methods are used in its implementation. This community service has resulted in the form of services to raise public awareness of the local dance culture of North Sumatera, especially in Medan, with training assistance to increase creativity, innovation, and the ability of the sanggar members in the field of traditional dance and culture.
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Shitandi, Wilson, and Mellitus Nyongesa Wanyama. "The Challenges of Application of African Traditional Dance for Contemporary Educational Relevance." PAN African Journal of Musical Arts Education 1, no. 1 (December 30, 2014): 61–73. http://dx.doi.org/10.58721/pajmae.v1i1.137.
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Students pursuing music degree courses in Kenyan public universities undergo dance instructions as part of their cognitive processes in learning traditional African music. The purpose of the dance courses is to enable students to practice, appreciate, preserve through performance and understand dance as a cultural identity in a modern educational context. Dances hitherto performed in specific cultural contexts are reconceptualised and situated into the classroom for instructional purposes thus raising fundamental questions regarding the effect/affect of reinterpretation processes that are inevitable. Through analytical and comparative procedures, this paper seeks to establish how various aspects, content, methodologies and performance practice of traditional African dances commonly taught at Kenyatta university are unearthed, interpreted, re-evaluated and integrated into new academic thinking yet remaining valuable and important source of cultural identity.
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Pier, David. "THE BRANDED ARENA: UGANDAN ‘TRADITIONAL’ DANCE IN THE MARKETING ERA." Africa 81, no. 3 (July 22, 2011): 413–33. http://dx.doi.org/10.1017/s0001972011000246.
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ABSTRACTBrand marketing in its latest global advances offers ideologies of public participation and the audience–‘provider’ relationship that many in the developing world are finding compelling, even when consumer capitalism fails to produce its promised rewards immediately. Strategies of ‘branding’ are being explored in combination with older performance strategies, with new syncretic branded arenas emerging as a result. In Africa, music and dance have always been important for establishing certain arenas and mediating transactions within them. In the era of post-independence nationalism, ‘traditional’ dances were itemized and made more disciplined and spectacular to give new states an aura of inclusiveness, rigour and historical depth. As the image of a powerful African state declines, these same dance traditions are being hitched to commercial brands, and to the globalized consumerist/entreprenurial dream. This article considers the Senator National Cultural Extravaganza, an annual traditional music-and-dance competition sponsored by East Africa Breweries Ltd, which requires participants to compose ‘local’ songs and dances in praise of Senator Extra Lager. It focuses on the spatial and temporal architectures of events and the way these channel, and are complicated by, the energies and significances of dance. The ‘textbook’ brand–consumer relationship does not, it is argued, survive wholly intact.
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Asriyanto, Amrih Mulat Arif, Ahmad Muhibbin, Choiriyah Widyasari, Yeny Prastiwi, and Laili Etika Ramawati. "Etnomathematic Exploration Study on The Traditional Dance of Kethek Ogleng." Jurnal Pedagogi dan Pembelajaran 5, no. 2 (July 26, 2022): 293–302. http://dx.doi.org/10.23887/jp2.v5i2.48695.
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Learning in elementary school is more interesting when learning with the culture that surrounds students. This study aims to explore the ethnomathematical content of the traditional dance of Kethek Ogleng. This study uses qualitative research with an ethnographic approach. Data collection techniques by observation, documentation, and interviews. The data analysis technique used is Domain Analysis and Taxonomy. The analysis steps obtain a general picture and a comprehensive concept of the object then into a concept. The result of the research is that the ethnomathematical content in the traditional dance of Kethek ogleng consists of, first, the concept of a circular flat shape, this concept is present when the dancer performs a knuckle movement. Second, build a tube room, which is found on drums as a dance accompaniment. Third, the angle is found in the curve of the foot when the dancer makes a dreamy movement. Fourth, there is a time limit on the duration of the dancer's performance. Fifth, the concept of a flat, square shape, is found in the dancer's pants decoration. The conclusions of this study prove that the traditional Kethek Ogleng dance originating from Wonogiri contains ethnomathematics. Therefore, this traditional tariff can be used as a medium for making learning designs for elementary school children.
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Dordzhieva, G. A. "Crane tunes and dances in Kalmyk traditional culture." Languages and Folklore of Indigenous Peoples of Siberia, no. 38 (2019): 33–44. http://dx.doi.org/10.25205/2312-6337-2019-2-33-44.
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The article is devoted to the documentation of music-related phenomena of the Togrun Bi (Crane dance of Kalmyks). The traditional music of Kalmyks is deeply rooted in the culture of Oirad. The new geographical and ethnic environment changed and transformed it. The most obvious shift took place in the dances and musical instruments (their organology, performing style, and tunes). At the same time, on this outskirt of the Mongolian world, some unique forms and genres have been preserved. The sources of the present research are field materials collected by author in late 1990 th in Kalmykia: non-fiarytale prose, two-string dombra tunes with singing, onomatopoeia, and round dances. The participants of Сrane praising ritual were women and children. Similar components are revealed in the ritual Togrugan biilulkhm (Force Crane to dance) and Ova täkh (a sacrifice to a host-spirit of the place). In personal stories and memoires, the mythologic idea of the curse cast by cranes made a connection to arrests, exile and other tragic events in the history of the Kalmyks in the XX century. Characteristics of Crane dances is presented in the musical notations (made by author) and their description. There are the similarities between the Kalmyk round dance with imitations of Crane movements and calls (video recording from the settlement of Yashkul) and circular dances of Evenki, Yakuts, and some other Turkic-languages peoples of Siberia. These rare elements of Kalmyk tradition trail to the regions of South Siberia and Central Asia, from where some Oirad groups brought it to Volga region.
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Indrayuda, Indrayuda. "TARI TRADISIONAL DALAM RANAH TARI POPULER: KONTRIBUSI, RELEVANSI, DAN KEBERLANJUTAN BUDAYA." Humanus 14, no. 2 (November 30, 2015): 144. http://dx.doi.org/10.24036/jh.v14i2.5680.
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Recent development of dance performance is not only esthetical and artistic; it has improved farther along with social cultural changes and economic development, which is supported by the scientific and technological changes that have encouraged the improvement of the art and knowledge about dances. In choreographic learning in academic environment, the arrangement pattern in choreography is not limited to the conventional that the consequence of movement, but also a media for criticism and expression of the artists. Currently dance does not belong to certain tradition of a community but to individuals. The individual belonging of the dance is widely known as popular dance, both monumental and contemporary dance. In Indonesia, both monumental and contemporary popular dances tend not to be detached from their traditional idiom or spirit in their cultural choreographic background, even all of their arrangement source stems from traditional kinesthetic dance. This phenomenon becomes a new trend in dance creation and dance choreographic learning in Indonesia, many of which are developed by art academicians, art studios and workshops.
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Gratsiouni, Dimitra, Maria Koutsouba, Foteini Venetsanou, and Vasiliki Tyrovola. "Learning and Digital Environment of Dance – The Case of Greek Traditional Dance in Youtube." European Journal of Open, Distance and E-Learning 19, no. 2 (December 1, 2016): 80–95. http://dx.doi.org/10.1515/eurodl-2016-0009.
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Abstract The incorporation of Information and Communication Technologies (ICT) in education has changed the educational procedures through the creation and use of new teaching and learning environments with the use of computers and network applications that afford new dimensions to distance education. In turn, these emerging and in progress technologies, render new practices in many fields including the field of dance offering a fertile quest to everyone involved in the dance. Yet, a critical evaluation of the content of YouTube dance videos has not been carried out though what is eventually learned through YouTube is a key question. Based on the above, the aim of this study was to critically examine the way YouTube network channel as Computer Based Learning-CBL functions both as a learning tool and as a teaching result concerning the field of dance having as example a Greek traditional dance named Karagouna. YouTube dance videos were gathered through observation, while the dance exemplar used was based on ethnographic research. For the dance recording of the Karagouna performances examined from YouTube, Laban’s notation system (Labanotation) was used. For the analysis of the dance performances, the dance structural-morphological and typological method was adopted. Finally, for the comparison of the Karagouna dance performances examined from YouTube with the exemplar of the dancing community, the comparative method was used. It was proved that someone with little or no relation to dance is likely to learn dance with the use of YouTube, yet it is questionable what kind of dance will actually learn since in a number of cases the dance videos do not correspond to the performance of the dancing community. In addition, the outcome is different if someone with prior knowledge on the field of dance (dancer, dance teacher, dance student etc.) uses YouTube as a teaching and learning tool as, in this case, its use is useful and interactive.
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Filippidou, Eleni, and Irini Gialiti. "DIFFERENCES BETWEEN THE “FIRST” AND THE “SECOND” EXISTENCE OF DANCE IN THE GREEK ISLAND OF CRETE. THE EXAMPLE OF THE SYRTOS DANCE." International Journal of Education and Social Science Research 05, no. 03 (2022): 215–29. http://dx.doi.org/10.37500/ijessr.2022.5315.
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The ethnographic context of this research is the Syrtos dance, as it is danced in Rethymnon, in the island of Crete in Greece. Observing at first glance the Syrtos dance, as it is danced in social events in the area of Rethymnon and in dance performances on stage, some differences can be seen in it. The aim of this paper is to compare the Syrtos dance in its “first” and “second existence”, in order to ascertain the differences that took place in it, if any, in order to confirm or reject the empirical observation, which wants the two existences of Syrtos dance, the traditional and the fakelore to be different. The collection of ethnographic data was based on the ethnographic method, as it is used in the study of dance. Laban's notation system was used to record the choreographic compositions of Syrtos dance, while for the analysis of their structure and form, as well as their codification, the structural-morphological and typological method of analysis was used, as it is applied in the Greek Traditional Dance. From the data analysis was found that in Rethymnon, Crete, the Syrtos dance in its "first" and in its "second existence" presents both similarities and differences, rejecting the empirical observation that wants the two existences of dance to be distinct. In fact, the similarities are more than the differences, as there is both a structural and a stylistic relevance between the "first" and the "second existence" of dance. This refutes the claim that traditional dance and the dance that is transferred to the classrooms and therefore on stage are two different things. The difference lies, in the case of Greece we are examining, in the way the dance is transmitted (with or without a dance teacher) and in the stylized movement used in the dance scene.
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Aditia Candra Buana, Ika, Hartono Hartono, and Triyanto Triyanto. "Sada Sabai Dance in Komering Culture of East OKU Regency." Catharsis 9, no. 1 (May 31, 2020): 19–27. http://dx.doi.org/10.15294/catharsis.v9i1.38475.
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Sada Sabai dance as one of South Sumatra's traditional art works, especially in East Ogan Komering Ulu Regency is very closely related to Komering culture. Sada Sabai dance is one of the characteristics of the Komering culture that dwells in the South Sumatra region, created based on the spirit of the Komering community when holding a traditional wedding ceremony. Sada Sabai dance is one form of art that is used by many Komering people who are presented during the traditional wedding ceremony. The problem raised in this study aims to analyze the characteristics of the Sada Sabai dance that developed in the Komering culture. The method used is a qualitative method with a case study research design. Data collection techniques include observation, interview and document study. The results showed that Sada Sabai dance was a symbol of the harmony between the bride and groom family, so that in the past Sada Sabai dance was only danced by married families. This phenomenon was clearly seen when the groom's family and the bride danced on the stage how the two of them looked very close to each other. Then, the movement in Sada Sabai dance emphasized improvisation and exploration as its main approach and the main characteristic lied in the middle fingers of the dancers.
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Bauana, Agnes Emalisa. "Hermeneutic Study: The Meaning of Lyric From Kebalai Singing In Rote Ndao Society." Jurnal Seni Musik 11, no. 2 (December 31, 2022): 199–205. http://dx.doi.org/10.15294/jsm.v11i2.54004.
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Traditional art through music, dance and even traditional rituals becomes a symbol and identity of the community because it is a reflection of collective thoughts and also regional solidarity. Kebalai is a dance danced by the people of Rote and is very famous. The kebalai does not only contain dances but also songs in the form of rhymes which are performed together in every event, from big events such as when. The poetry uses the Rote regional language and the meaning of each song is different. This makes researchers interested in looking at oral literature through the songs from the balai and efforts to document the meaning of the poem from the kebalai entitled "Susue Lain" which means brotherly love. This study uses a hermeneutic study according to Ricoeur. The research method uses qualitative methods and literature studies, data collection techniques. Data collection in this study is by observing and unstructured interviews. The results of the Kebalai research are a dance that is often danced together by the people of Rote, in every event or activity that exists. The conclusion in this study is that Kebalai is a performing art, which in the way of interpreting it uses poetry to convey messages.
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Mabingo, Alfdaniels. "Decolonizing Dance Pedagogy: Application of Pedagogies of Ugandan Traditional Dances in Formal Dance Education." Journal of Dance Education 15, no. 4 (October 2, 2015): 131–41. http://dx.doi.org/10.1080/15290824.2015.1023953.
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Koten, Irianto Liko, and Cokorda Rai Adi Pramartha. "Semantic Representation of Balinese Traditional Dance." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 8, no. 4 (February 4, 2020): 411. http://dx.doi.org/10.24843/jlk.2020.v08.i04.p07.
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Bali is an island in Indonesia that is rich in culture, for example, is a traditional dance. The traditional dance performance is diverse from one village to another village in Bali. The traditional Balinese dance knowledge should be captured dan documented well in a digital form so that it can be shared easily to different people and generation across the world. The use of ontology as an information representation technique is the preferred solution in this matter because ontology can be used to enhance the development of semantic applications, especially when dealing with semantic webs. In this project, the ontology was built using Protege ontology development tool. We follow the methontology ontology development method where this methodology clearly describes each of its activity. In this study, we focus to describe two variants of Balinese traditional dance (Barong dance and Pendet dance). In the future, we expect that more type of dance can be documented using our proposed ontology.
Keywords: Balinese Dance, Ontology,Semantic Web
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Gordos, Anna. "Childrens' Scarf Dances." Tánc és Nevelés 2, no. 2 (October 12, 2021): 75–86. http://dx.doi.org/10.46819/tn.2.2.75-86.
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The scarf is a less used tool in the methodology of teaching folk dances. This object, however, had a crucial role both in Hungarian folk dance tradition and in the way of life of peasants. The paper presents the traditional appearances of the scarf in dances and its usage’s symbolic semantic layers with a special focus on wedding pair-choosing dances. The scarf has a privileged role in these playful pair-swapping games, on the one hand as the realisation of improvisation, on the other hand as a means of creating an equal relationship between dance partners. These structural and conceptual conclusions could be translated and applied in the process of dance teaching: the scarf as a tool of methodology eases communication, reveals the dynamism between dance partners and the emotional aspects of dance. The present study is followed by a supplement of 12 scarf games, which provides new ideas for practising dance teachers on how to use the scarf in teaching folk dances.
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Hanif, Muhammad Hanif, and I. Gusti Agung Gede Arya Kadyanan. "Building TariPedia App as A Typical Balinese Performance Encyclopedia on Mobile Device Platform." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 8, no. 2 (January 8, 2020): 163. http://dx.doi.org/10.24843/jlk.2019.v08.i02.p08.
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Indonesia is a country with a variety of cultures and arts. Traditional art dance is one of Indonesia's arts which is one of the important aspects in supporting Indonesian culture and even tourism. Traditional dance has a special attraction to be enjoyed while staying in the midst of rapid development. Therefore, the writer makes a market application that connects the studios, dance groups, and dancers with traditional dancer tenants. TariPedia makes it easy for studio owners, service providers, and event organizers to market their services so that they can be more easily reached by the public and can increase sales of their services with the payment feature through the application. Therefore by developing TariPedia with Prototyping Method and Java Language in its development, TariPedia will continue facilitates the community, especially in the fields of traditional dance and at the same time modernizing regional arts.
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Mataheru, Wilmintjie, Theresia Laurens, and Sisilia Marcelina Taihuttu. "The development of geometry learning using traditional dance context assisted by GeoGebra." Jurnal Elemen 9, no. 1 (January 2, 2023): 65–83. http://dx.doi.org/10.29408/jel.v9i1.6628.
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Research related to crazy bamboo dance, a traditional dance from Maluku and North Maluku, is still oriented towards cultural studies and has not been integrated into mathematics learning. On the other hand, the use of GeoGebra classrooms in previous research mainly refers to the influence on mathematics learning, so there is still a lack of development research based on GeoGebra classrooms that are integrated with cultures such as crazy bamboo dances. The purpose of this study is to produce learning tools in the form of a learning implementation plan (LIP), teaching materials (TM), and student worksheets (SW). In this case, the context of crazy bamboo dance is more focused on the dance medium, namely bamboo, to study tube material. The development model used is a 4D modified model from Thiagarajan. The results of this study produced an RME-based learning tool in the context of crazy bamboo dance assisted by GeoGebra classrooms that are valid, practical, and effective. In addition, the products produced can be used in geometry learning by teachers and students. Still, through this research, teachers can design and develop ethnomathematics-based learning tools by integrating them with the available mathematics software, one of which is Geogebra Classroom.
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Jung, Seung-hye, Joon-ho Kim, Ha-na Cho, Hae-won Lee, and Hyun-ju Choi. "Brand Personality of Korean Dance and Sustainable Behavioral Intention of Global Consumers in Four Countries: Focusing on the Technological Acceptance Model." Sustainability 13, no. 20 (October 9, 2021): 11160. http://dx.doi.org/10.3390/su132011160.
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Brand personality is a useful tool that forms a favorable brand image and that ultimately builds powerful brand equity. However, there has been insufficient empirical research on the brand personality of Korean dance. In the context of using culture and the arts to support national competitiveness, we examine traditional Korean dance in terms of a potential brand personality that can influence the perceptions of global consumers. We look at how this brand can affect consumer perceptions of how easy it is to learn Korean dances as well as their perceptions of the physical benefits of these dances. The respondents included global consumers who had listened to or watched Korean dance music and videos on TV and the Internet, searched for and watched Korean dance videos on YouTube, and searched for Korean dance information on social media at least once. A survey was conducted over the course of four months, from October 2020 to January 2021, in four countries: South Korea, the USA, the UK, and South Africa. Valid data were obtained from 649 individuals. We conducted an empirical study by applying and integrating the technology acceptance model (TAM) to the brand personality of Korean dance. A structural equation model was used to analyze the responses. The brand personality of Korean dance enhanced its perceived ease of use and its perceived usefulness among global consumers, which led to positive attitudes toward the dances. Furthermore, it led to a sustainable behavioral intention, that is, interest in learning traditional Korean dances. Since no studies have integrated Korean dance into a single brand personality to use it as a cultural asset, this study makes considerable contributions to the literature.
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Zhang, Ning. "3D Digital Model of Folk Dance Based on Few-Shot Learning and Gesture Recognition." Computational Intelligence and Neuroscience 2022 (June 30, 2022): 1–11. http://dx.doi.org/10.1155/2022/3682261.
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Folk dance is a very unique local culture in China, and dances in different regions have different characteristics. With the development of 3D digital technology and human gesture recognition technology, how to apply it in folk dance is a question worth thinking about. So, this paper recognizes and collects dance movements through human body detection and tracking technology in human gesture recognition technology. Then, this paper writes the data into the AAM model for 3D digital modeling and retains the information by integrating the manifold ordering. Finally, this paper designs a folk dance learning method combined with the Few-Shot learning method. This paper also designs a data set test experiment, an algorithm data set comparison experiment, and a target matching algorithm comparison experiment to optimize the learning method designed in this paper. The final results show that the Few-Shot learning method based on gesture recognition 3D digital modeling of folk dances designed in this paper reduces the learning time by 17% compared with the traditional folk dance learning methods. And the Few-Shot learning method designed in this paper improves the dance action score by 14% compared with the traditional learning method.
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Mapira, Nesta Nyaradzo, and Made Mantle Hood. "Performing Authenticity And Contesting Heritage In The UNESCO-Inscribed Jerusarema/Mbende Dance Of Zimbabwe." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 1, no. 1 (May 22, 2018): 1. http://dx.doi.org/10.31091/lekesan.v1i1.340.
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In African societies, traditional dances form and shape a multitude of cultural expressions that reflect socio-cultural status, stalwart traditions and degrees of heritage maintenance. Due to colonisation, westernisation and Christianity, the performative aesthetics of many African traditional dances have been drastically modified over time. One such traditional dance in Zimbabwe that has undergone continual socio-cultural and aesthetic change is Jerusarema/Mbende from the Murehwa and Uzumba-Maramba-Pfungwe districts of Mashonaland Eastern province. In 2005, The Mbende Jerusarema Dance of Zimbabwe was proclaimed on the United Nations Educational Scientific and Cultural Organisation (UNESCO) list of Masterpieces of Oral and Intangible Heritage of Humanity. Authentic elements of the dance were compiled by the Zimbabwe National Oral and Intangible Cultural Heritage (ZNOICH) committee in an effort to safeguard it against change. This safeguarding led the Jerusarema/Mbende dance along a contested path of endorsement and utilisation in multiple contexts by some performance ensembles such as Swerengoma, Ngomadzepasi, Zevezeve, Shingirirai and Makarekare as promoted by prominent dance festivals. These ensembles assert different agendas through music, props, instruments and dance movements. Drawing upon documentary video evidence from the National Arts Council of Zimbabwe and interviews, this paper evaluates the extent to which the authentic elements of the Jerusarema/Mbende dance inscribed on the UNESCO list have been safeguarded in formalised performances from 2013 to 2015. Video recordings from this period showing continuous participation of Ngoma Dzepasi, Makarekare and Shingirirai are used to assess similarities and differences from the fixity of authentic elements. We argue that UNESCO’s recognition of the Jerusarema/Mbende dance as intangible cultural heritage has, on the one hand, revived and maintained some characteristics of this dance but, on the other hand, gradually compromised innovative aesthetic music and dance elements introduced by inheriting generations.
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T. Lobo, Joseph. "Is Folk Dance Still Thriving? Personal Experience and Interest in Philippine Traditional Dances as a Basis on Strengthening the Love for Culture and the Arts." International Journal of Education and Humanities 2, no. 2 (June 8, 2022): 48–60. http://dx.doi.org/10.58557/ijeh.v2i2.82.
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A correlational study which aims to determine the relationship between the level of personal experience and level of interest of students taking BPEd and BPeA at City College of Angeles towards Philippine traditional Dances. Frequency and percentage were used to determine the number of students who answered the online survey questionnaire, while Pearson r was used to determine the relationship between personal experience and interest. The study findings shown that most of the respondents has an average experience in Philippine traditional dances. It was also found out that most of the respondents are interested in learning folk dance in respect to dance steps, music, costume and dance history. Lastly, it was found out that the level of personal experience and level of interest of students to Philippine traditional dances are significantly related to each other. Based on the findings of the study, proposed dance programs/activities will be provided which can be part of the projects of the institute, to intensify their appreciation to the culture and arts of the Philippines steered by one of the core values of the college – Patrimony. Limitation of this study is, it only focuses on BPEd and BPeA students. Additional respondents from other programs which are not part of this study is highly recommended
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Boye, Seika. "Ola Skanks: Delayed Recognition of a Dance Artist Ahead of Her Time." Canadian Journal of History 56, no. 3 (December 1, 2021): 216–28. http://dx.doi.org/10.3138/cjh.56-3-2021-0111.
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This essay chronicles my research relationship with choreographer, teacher, educator, and activist Ola Skanks. Canadian-born and of West Indian (St. Lucia and Barbados) descent, Skanks was a groundbreaking dance and fashion design artist who combined modern, Western art forms with traditional dances of the Africa diaspora. I share excerpts from my work to date, including my archival exhibition, It’s About Time: Dancing Black in Canada 1900–1970, to provide context for the circumstances that Black people danced in, socially and/or as performers. This is followed by a selection of photos from Skanks’s archival collection that illustrate the scope of her creative and community contributions. In conclusion, I offer a transcription of a speech I gave when Skanks was inducted into the Dance Collection Danse’s 2018 Encore! Dance Hall of Fame, alongside some of Canada’s most well-known dance artists and community builders. I detail some of the highlights of my meetings with her and also the profundity of the delayed recognition of a woman so far ahead of her time.
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Hernández, Angela María Vela. "ULASAN SINGKAT MENGENAI “CHAMARREO”—TARIAN RAKYAT DARI MEXICO." Imaji 17, no. 1 (June 27, 2019): 74–81. http://dx.doi.org/10.21831/imaji.v17i1.25727.
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Makalah ini membahas tentang tarian rakyat tradisional dari Meksiko yang bernama "Chamarreo". Untuk memahami dari mana tarian Chamarreo berasal, karya ini menjelaskan latar belakang sejarah tarian Meksiko. Terdapat juga ulasan singkat tentang beberapa tarian tradisional rakyat dari utara, tengah dan selatan Meksiko. Ini adalah ringkasan untuk memahami beberapa karakteristik tarian Chamarreo seperti: koreografi, kostum, objek, musik, bentuk dan ketika pertunjukan tariannya berlangsung. Kata Kunci: abstrak, bold, italic, maksimal lima kata/frase, tata tulis A SHORT REVIEW OF “CHAMARREO” FOLK DANCE FROM MEXICO Abstract This paper talks about the traditional-folk dance from Mexico which name is “Chamarreo”. In order to understand where the Chamarreo dance comes from, this work explained the historical background of Mexican dances. Also is a short review of some folk-traditional dances from north, central and southern Mexico. It is a summary to understand some of the characteristics of the Chamarreo dance such as: choreography, costume, object, music, form and when its dance performances take place. Keywords: abstract, bold, italic, maximum five words/phrases, template
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Widiatry, Widiatry. "PERANCANGAN MEDIA PEMBELAJARAN TARI TRADISIONAL KALIMANTAN TENGAH BERBASIS ANDROID." Jurnal Teknologi Informasi Jurnal Keilmuan dan Aplikasi Bidang Teknik Informatika 13, no. 2 (October 22, 2019): 70–78. http://dx.doi.org/10.47111/jti.v13i2.257.
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To advance the knowledge of people outside the world of art, especially traditional dance in Central Kalimantan requires the existence of a software technology, because at this time the delivery of information is still manual and still looking for information by visiting this traditional dance studio, so that with the Android-based learning media this is the delivery of information to be quick and easy in learning traditional dance. In this study, the stages of research are generally divided into two parts, namely (i) literature study and observation, (ii) the Waterfall model with analysis and design stages. In the analysis section the application needs are searched to determine the properties of learning media that will be created using Unfied Modeling Language (UML), namely use case diagrams, activity diagrams, and class diagrams. By designing this Android-Based Traditional Dance Learning Media it can facilitate the learning process, demonstration, and practice of learning outcomes of dances from the knowledge gained in this android system and application
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Wilcox, Hui, and Melaku Belay. "Dance in Ethiopia: Traditionality and Contemporariness." English in Africa 47, no. 3 (February 10, 2021): 15–35. http://dx.doi.org/10.4314/eia.v47i3.2s.
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Dance practices in Ethiopia remained vibrant, albeit transformed, as thecountry transitioned from feudalism to socialism (1974), and then to neoliberalcapitalism (1991). For centuries, a vast array of movement traditions has beenessential to religious and communal rituals in Ethiopia. Today, traditionalEthiopian dance is most visible in tourist restaurants or YouTube videos. Thetrajectory of dance from ritualised practices to commercialised performancespresents a seeming paradox: traditional Ethiopian dance as we know it today is,in fact, a modernised performance genre serving multiple functions: memorytransmission, ideological dissemination, and profit generation, among others.In the 1980s, the socialist state harvested dances from around the country toproduce “modernised” performances on the stages of government theatres,propagating the ideology of national unity amidst border wars and internaloppression. In the 1990s, as Ethiopia opened to the West, these dances continuedto be performed on restaurant stages, not so much to propagandise for thestate as to generate profit for the industry. The modernisation of traditionaldance continues in Ethiopia, under the auspices of neoliberal privatisation,which has also led to the westernisation of youth culture. Since the late 1990s,a group of young Ethiopians have devoted themselves to contemporarydance by adopting Western aesthetics and distinguishing their practice fromtraditional dance. Recently, they have grappled with the imperative to infuseEthiopian dance traditions in their work in order to be recognised in the globaldance field. Through dance ethnography, oral histories, and video archives,this paper illuminates both traditionality and contemporariness as historicalconstructs – categories of differential powers used to organise the currentdance field in Ethiopia.
Keywords: Ethiopian dance, contemporary dance, traditional dance, multiple modernities, decolonizing dance
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Akas, Nicholas C. "Symbols in traditional dance: A study of Nkwanwite dance." Journal of Gender and Power 13, no. 1 (June 1, 2020): 115–33. http://dx.doi.org/10.2478/jgp-2020-0007.
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AbstractThe use of iconic symbols during traditional performances (dance) has remained an indispensable tool. The major problem facing the use of signifying symbols during performances is because they are seen as mere performative enhancer. These assumptions might be generally accepted, but in core dance scholarship it can be argued for or against, but this paper stands against its wrong perceived nature as mere performative enhancer. The aim of this paper is to interpret some of the signifying symbols used in dance in order to understanding their socio-cultural essence. This paper would analyze the signifying symbols used in Nkwanwite traditional dance for the following reasons: (a) To acknowledge the use of cultural symbols as part of people’s mythology belief. (b) To interpret, analyze and document the signifying symbols as a socio-communicative tool. (c) To give each of the signifying symbols relevance and interpretation in dance. In order to achieve this Sense Making Theory would be used as theoretical frame work to interrogate the essence of the signifying symbols. Findings show that, due to lack of interpretation and documentation on the use of signifying symbols in dance. It is gradually going into extinction as mere props. The paper concludes that non dance scholars should cherish and appreciate the use of symbols in dance as communicative tool.
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Peng, Yuan. "Research on Dance Teaching Based on Motion Capture System." Mathematical Problems in Engineering 2022 (May 10, 2022): 1–8. http://dx.doi.org/10.1155/2022/1455849.
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Ethnic dance is a part of minority culture and an important chapter of intangible cultural heritage. Because the art of dance does not exist in a certain physical form in a certain environment, it is difficult to record and preserve dance. In traditional recording work, dancers' dance movements are mostly recorded through text, photos, videos, etc. However, these methods can only record and preserve dance movements in a two-dimensional manner from a limited number of angles and cannot achieve accurate and comprehensive record protection of dance poses. Moreover, data preserved by traditional methods can only be simply copied and transferred, and cannot be exploited, developed, or innovated. Therefore, motion capture technology can be applied to the protection of ethnic dance art, and motion capture technology can be used to obtain 3D gestures of ethnic minority dance spaces, restore and optimize digital movements, such as establishing a national dance art movement technology database, and combine the protection of the original ecological cultural atmosphere. It can accurately and comprehensively preserve the essence of ethnic minority dance art and provide effective reference for many ethnic minority dances with ethnic characteristics, digital protection of sports, and the future.
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Salsabila Muntaz, Rafidola Mareta Riesa, and Sepri Neswardi. "Investigation of ambek-ambek nagari koto gadang koto anau dance art to improve cultural tourism attraction." Entrepreneurship and Small Business Research 1, no. 2 (September 9, 2022): 67–78. http://dx.doi.org/10.55980/esber.v1i2.40.
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Minangkabau Tribe in West Sumatra hasone cultural problem, namely the traditional art of Ambek-Ambek Dance. This study aims to find out whether the art of Ambek-Ambek Nagari Koto Gadang - Koto Anau Dance can be used as a cultural tourism attraction in Solok Regency. The research method used is descriptive qualitative using the theory of tourist attraction. Data collection is carried out by observation, interview, and documentation methods. The results of this study show that Ambek-Ambek Dance meets the criteria of good tourist attraction; 1) uniqueness, ambek-ambek dance has a distinctive uniqueness and is different from other dances, namely in terms of dance history, naming, movement philosophy, herding music, costumes, and special rules in the presentation of dance. 2) originality, pure ambek-ambek dance comes from the traditional traditions and daily life of young mudi Koto Anau in ancient times in finding a partner. 3) Authenticity, Ambek-Ambek dance has a distinctive beauty naturally, exotic, and unpretentious. 4) diversity, ambek-ambek dance has a diversity of Minangkabau customs and culture which can be seen in terms of variations in movement shapes, floor patterns, herding music, and dance costumes.
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Dana, I. Wayan, and Ni Kadek Juni Artini. "Baris Memedi Dance in Jatiluwih Village Tabanan Bali: A Strategy to Preserve Traditional Arts." Harmonia: Journal of Arts Research and Education 21, no. 2 (January 1, 2022): 256–65. http://dx.doi.org/10.15294/harmonia.v21i2.31890.
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The Baris Memedi dance depicts a group of ‘ghosts’ who live in haunted places such as graves, cliffs, and in large trees. It is danced by 7-15 male dancers. This dance is performed in Ngaben (cremation) ceremony called Pitra Yadnya, using the Baleganjur gamelan accompaniment. The objective of this study is to analyze the form of existence of the Baris Memedi dance in implementing the Pitra Yadnya ceremony. Another objective is to understand the strategy for its preservation as a traditional art so that this dance can live and be long-lasting until today. The additional objective is to find the uniqueness of the dance that it needs preservation. The method used was a qualitative method that considers the issues of cultural context, ideology, interests, power in the culture, and meaning which refers to the culturalistic-humanistic paradigm, namely civilizing humans and humanizing humans. Based on observation, Baris Memedi dance has four stages in its presentation form. The preservation strategy is the active role of supporting the community, the role of Jatiluwih Village apparatus, Jatiluwih artists’ participation, and the government’s support. The most important aspect of Baris Memedi it is inseparable from its community. The proponents of traditional arts should continue to pursue these preservation efforts so that the arts have cultural resilience through Ajeg Bali.
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MISDIH, MUSNIN. "BUDAYA TARI BUBU MENGALAI – MEDIA KONVENSIONAL DAN PEMBENTUKAN TARI MASYARAKAT BISAYA DI BEAUFORT, SABAH." International Journal of Creative Future and Heritage (TENIAT) 1, no. 1 (June 30, 2013): 167–75. http://dx.doi.org/10.47252/teniat.v1i1.77.
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Artikel ini menjelaskan tentang latar belakang masyarakat Bisaya. Ia memperkenalkan budaya tradisi mereka menerusi tarian tradisi Bubu Mengalai yang diamalkan sejak zaman dahulu hingga kini. Kajian ini adalah tertumpu kepada tiga zaman yang berbeza iaitu pada era tahun 1920-an, tahun 40-an dan tahun 2011 yang mana masyarakat ini telah membudayakan tarian Bubu Mengalai dalam kehidupan mereka. Tarian tradisi Bubu Mengalai yang diamalkan oleh penggiat seni tari tradisi suku kaum Bisaya pada hari ini adalah lanjutan daripada tahun 1920-an lagi. Tarian Bubu Mengalai giat dipraktikkan oleh pencinta seni tari tradisi masyarakat Bisaya dan menjadi tetapan warisan bangsa Malaysia. This article explains the background of Bisaya community. It introduces their traditional culture through the traditional dances of Bubu Mengalai that has been practiced since the ancient times. This study is focused on three different times of the era of the 1920's, the 40's and the year 2011 of which this community has cultured the Bubu Mengalai dance in their lives. The traditional dance of Bubu Mengalai practiced by tribal tradition Bisaya dance today is an extension of the 1920's. The dance is actively practiced by Bisaya community who love traditional dance arts and the dance has become the national heritage of Malaysia.
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Otero, Daniel. "History of the belly dance: is it to entice men or a female’s rite of passage?" Arts & Humanities Open Access Journal 4, no. 5 (October 16, 2020): 203–12. http://dx.doi.org/10.15406/ahoaj.2020.04.00171.
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One of the most beautiful-classical forms of dance which has persisted since 220 B.C.E. (Before the Common Era) came from the Egyptian culture with its traditional ‘bedlah’ (suit) or suit. But it grew from the off-spring of the Arab Empire (Islamic expansions, 632-1492) and then spread towards India.1 It has been said or noted that from this dance style evolved the traditional patterns used by the Indian women with their saris, to the Romani (Gypsy) women while dancing flamenco in the medieval period, and the later burlesque techniques which flourished in the Nineteenth and Twentieth Centuries. Belly dance didn’t only influence these latter cultures, but it further influenced in the ways of dress and fashion for females. A dance taken from humble origins and converted into something for the international spectrum to glorify the body of women who wished to be in contact with Mother Earth/Nature. This dance wasn’t only for a female’s rite of passage. It was modified through different times in history to be danced in the courts of the Imperial Palaces across the Middle East. Through time, even used by the infamous Mata Hari to spy on men and used to get information during World War I. Belly dance grew, and with time became part of the line-up of classical dances. Because it is one of the oldest and most enjoyed worldwide. With this paper, I intend to demonstrate that belly dancing isn’t only to entice. It is more than that, it can be adapted to a woman’s anatomy and give her way into womanhood.
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Nussipbekov, A. K., E. N. Amirgaliyev, and Minsoo Hahn. "Kazakh Traditional Dance Gesture Recognition." Journal of Physics: Conference Series 495 (April 4, 2014): 012036. http://dx.doi.org/10.1088/1742-6596/495/1/012036.
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Effrata, Effrata, and Tresia Kristiana. "Role of The Local Government in The Preservation Wadian Dadas of Ritual in The East Kalimantan Barito Regency of Central Province." International Journal of Multi Discipline Science (IJ-MDS) 1, no. 2 (April 25, 2018): 153. http://dx.doi.org/10.26737/ij-mds.v1i1.437.
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<em>This research is about the role of local government in the effort to preserve the cultural customs that exist in the life of the Dayak people who Ma'anyan live in areas along the Barito river in East Barito regency. Wadian Dadas is one of the means of ceremonies in the field of traditional medicine in Ma'anyan Dayak tribe community in Central Kalimantan Province. That said, Wadian dadas originally Obtained through the inspiration Obtained by a woman named Ineh Ngundri Mountains. The woman is inspired to perform the duties of a god to heal a person or what is commanded by God. This woman is the first Wadian and is a messenger of gods embodied in the form of an eagle, then Wadian will be continued by the next Descendants. This study used descriptive qualitative method. Data collection techniques were conducted by primary and secondary collecting the data through interviews and observations with resource persons, for secondary Data Obtained from history books and documents belonging to the village government. The results Showed that Wadian Dadas originally for the healing rituals of the sick who started with the preparation of offerings, to perform the healing ritual by involving Wadian (shaman) is very trusted by the Dayak community Ma'anyan. Wadians in Ma'anyan Dayak community have now developed into Wadian Dadas Dances. Dadas Wadian dance begins with dances performed in the process of traditional medicine performed by Wadian. In the early 1980s Wadian dadas was known by some so that Wadian dadas the which originally served as a ritual ceremony medication Became an inspiration for the appearance of the dance Wadian Dadas. Dadas Wadian dance is one of the traditional dances. This dance is unique in its simple and energetic motion, the which has deep meaning and is Often presented in traditional events of Central Kalimantan. In the beginning this dance is performed with the excuse to get healed and free from evil spirits cause disease. The findings of this study are as the times progress, this dance is also presented at the event of welcoming and marriage. But there are still many people of Indonesia, even the citizens of Borneo who have not understood and are reluctant to desire to preserve this traditional dance. Dadas Wadian magical dance contains high value Because in every movement contains meaning, even in movement there is a spell pronunciation.</em>