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Relevant bibliographies by topics / Traditional folk dances / Dissertations / Theses

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Dissertations / Theses on the topic 'Traditional folk dances'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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1

Wesp, Henrike. "Folkdans och somatik : en kvalitativ studie om folkdanskroppen och somatik i folkdansundervisning." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-592.

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This study aims to investigate how dance teachers who are educated in Swedish folk dance are reflecting and thinking over the body and the use of bodily self-awareness in their teaching. Furthermore it wants to examine whether the use of somatic principles can act as a tool to support the ideas which dance teachers express. Four folk dance teachers have been interviewed as qualitative empirical material. These interviews have been transcribed and analyzed using codes and categories. The result of the study provides an image of the body as it is seen in folk dance today and points out similarit

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2

Lee, Hee Jung. "Storytelling of the Korean traditional dance "The Hahoe Mask" using interactive multimedia /." Link to online version, 2006. https://ritdml.rit.edu/dspace/handle/1850/2295.

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3

Davey, Mervyn Rex. ""As is the manner and the custom" : folk tradition amd identity in Cornwall." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3377.

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The distinctiveness of folk music and dance traditions in Cornwall is at best ignored and at worst denied by the wider British folk movement. Within Cornwall itself, traditional music and dance is not widely recognised as a serious art form. This study challenges this position by arguing that failure to recognise Cornwall’s folk tradition as a distinctive and creative art form is due to hegemonic power relations not the intrinsic nature of Cornish material. It contributes to the debate about the distinctiveness of Cornwall’s historical and cultural identity and shows that folk tradition has an

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4

Sayyed, Mubaashera Irfan, Наталія Анатоліївна Пилипенко-Фріцак, Наталия Анатольевна Пилипенко-Фрицак, and Nataliia Anatoliivna Pylypenko-Fritsak. "Traditional Indian Dance As Symbolic Nonverbal Communication." Thesis, Sumy State University, 2021. https://essuir.sumdu.edu.ua/handle/123456789/84793.

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Dance could be described as a performance art form in which the basic tool is the body and its purposefully selected movement in an intentionally rhythmical and culturally pattern with an aesthetic value and symbolic potential. Human has been using the body and its movement as a tool to express feelings and desires since prehistoric times and continues until now. When we dance, our bodies fire up with emotion and allow us to express what words cannot. In folk cultures around the world, people dance to impart knowledge and wisdom, express their emotions or devotion, and pass down the s

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5

Ballantyne, Patricia H. "Regulation and reaction : the development of Scottish traditional dance with particular reference to Aberdeenshire, from 1805 to the present day." Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230127.

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This thesis examines historical developments in Scottish dance over the past two hundred years and considers how they combined to shape the current traditional dance and music culture in Scotland. This work examines the effects of increasing regulation and standardisation during the twentieth century through an assessment of the experiences, viewpoints and opinions of present-day practitioners. The business practice and increasing professionalisation of nineteenth-century dancing masters active in the North-East of Scotland, and that of A. Cosmo Mitchell in particular, is considered in relatio

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6

García, Peter J. "La Onda Nuevo Mexicana multi-sited ethnography, ritual contexts, and popular traditional musics in New Mexico /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3031600.

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7

Martina, Aileen. "The Traditional Bambuco in Nineteenth and Twentieth-Century Colombian Composition." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500243/.

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Disputes concerning the origin of the term bambuco persist among scholars in Colombia, as well as controversies regarding the process of notating the traditional bambuco (3/4 or 6/8), when it penetrates the written tradition of popular music. Composers writing popular and salon bambucos increasingly perceived the advantage of notating it in 6/8. This study investigates the traditional bambuco and its assimilation into nineteenth and twentieth-century cultivated tradition, with emphasis on piano pieces by representative Colombian composers of art music. I include specific analyses of Cuatro pre

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8

Coladangelo, L. P. "Ontology and Domain Knowledge Base Construction for Contra Dance as an Intangible Cultural Heritage: A Case Study in Knowledge Organization of American Folk Dance." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1580295429503879.

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9

Murdoch, J. L. "Unmasking Talchum: An Embodied Inquiry into Korea’s Masked Dance-Drama." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300734669.

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10

Fabellini, Antonella. "El performance en la clase ELE: : La danza, un recurso pedagógico para el desarrollo de la competencia lingüística y sociocultural." Thesis, Stockholms universitet, Institutionen för spanska, portugisiska och latinamerikastudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-78379.

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This study aims to analyse the use of performance, particularly dance, as a useful didactic tool for the development of linguistic and sociocultural competence in the learning field of Spanish as a foreign language. This professionalizing research is carried out through a comparative analysis of the application of a didactic proposal in two different Spanish learning contexts: an academic institute in the United States and a swedish secondary school.The data, gathered through the interpretative analysis of the responses provided in questionnaires given to the students and teachers at the end o

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11

Jensen, Kirstine Nurdug. "Fremstillingen af en familietradition : en hermeneutisk tolkning." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-682.

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The description of a family tradition – a hermeneutic interpretation The purpose of this thesis is to deepen the knowledge of the description of a family tradition and how it can be analysed and interpreted as well as what a family tradition can consist of. The conclusion is that it can consist of more than just dance and music. The family members’ life circumstances, the social contexts, the use of the body, and the content of the repertoire are also described as important aspects of the family tradition according to my interpretation. To fulfil the purpose of the study, I have used a hermene

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12

Nichifor, Mihaela. "Histoire, conservation et valorisation du patrimoine immatériel moldave: l´ensemble de danses folkloriques"Joc"." Master's thesis, Universidade de Évora, 2017. http://hdl.handle.net/10174/21371.

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O objetivo deste trabalho é mostrar como um país, colocado em um contexto histórico, está a evoluir e a sofrer mudanças sociopolíticas e culturais. Essa evolução é o exemplo perfeito de como o folclore pode ser a soma e o resultado de fatos históricos distantes e como uma nação se apresenta, do ponto de vista cultural, quando confrontada com fases de diferentes potências principais. Durante a história, especialmente dos tempos da antiga Dácia, a Moldávia foi confrontada com separações e dominações, dos seus vizinhos, e a cultura teve que sofrer de todos os pontos. Mudanças constantes de podere

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13

Björk, Anna. "Folkdansaren och arkivet : en undersökning av traditionsbärande som kritisk arkivpraktik." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-881.

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The aim of this study is to investigate transmission of knowledge as critical archive practice within folk dance, and thereby contribute to updating the concept tradition bearer. The research questions are: What is done in the situation of knowledge transmission where different folk dance bodies understood as archives – both living dancers and bodies in text and image – meet over time and space? How can these situations be understood theoretically and thus contribute to a new, archive oriented, theoretical understanding of the transmission of knowledge and tradition within folk dance? The empi

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14

Caplat, Jacques. "Quand le geste technique transforme l'intention : l'évolution de l'accordéon diatonique en Bretagne." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH139/document.

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Ce travail vise à comprendre pourquoi et comment l'accordéon diatonique breton a connu une profonde transformation organologique et stylistique au cours des dernières décennies. L'évolution de l'instrument est ici le témoin des dynamiques historiques et sociales, que l'accordéon présente la particularité d'avoir intégrées dans sa forme-même du fait de sa rare plasticité, et qu'il permet d'éclairer. Statut des musiciens professionnels au sein d'une pratique restée massivement amateur, rôles et mécanismes de l'apprentissage d'un savoir traditionnel initialement basé sur l'oralité, fluctuation de

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15

Liren, Li. "The research of the prevention and healing for the injuries in dance." Master's thesis, 2014. http://hdl.handle.net/10400.5/7314.

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Mestrado em Performance Artística / Dança<br>The injuries can be detrimental to dancers, which may even end their career. The objective of this study is to answer the question will it be possible to formulate a self programmatic proposal to prevent the dancer himself from the injuries within a syncretic framework. To answer the above question, I will first present the result on research carried out based on knowledge of Traditional Chinese Medicine (TCM) as well as traditional Chinese dances; discuss and identify key injuries and propose an educational program to avoid it. Next, I will

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16

Tsai, Ming-E., and 蔡明娥. "Persistence and Compromise in Music Creation：Romanian Folk Dances Composed by Bela Bartok and Inspired by Transylvanian Tradition." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/c8786z.

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碩士<br>國立臺北藝術大學<br>音樂系碩士在職專班音樂學組<br>99<br>Abstract Bela Bartok was a Hungarian composer, pianist and ethnomusicologist who took interest in and devoted himself to the study of folk music.He was a versatile, prolific musicologist whose numerous works were created by adapting some original pieces into versions of orchestral music and dance music in the form of a suite. Romanian Folk Dances, composed in 1915, was one of his great piano pieces based on seven Romanian tunes from Transylvania.Two years later, i.e. in 1917, it was rearranged into an orchestral ensemble. The motivation behind the adap

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17

Massey, Rachel Helen. "Landscapes of Participation and Tradition: The Australian Folk Festival as Process and Public Event." Thesis, 2021. https://hdl.handle.net/2440/135373.

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Every year, more than eighty self-designated ‘folk festival’ events are staged throughout Australia. Mainly held in regional and rural towns, these are leisure events characterised by the presentation of formal folk music concerts, the staging of folk dance events as well as oral performances, street performance, and both formal and informal opportunities for music-making and folk engagement with a significant emphasis on attendee participation. Australian folk festivals are modern ‘public events’ – grounded phenomena in their own right, with internal structures of intentionality. This thesis

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18

Rambau, Lutanani Annah. "Music in the making: a case study of the Caravan Traditional Dance Group." Diss., 2015. http://hdl.handle.net/10500/19625.

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Text in English<br>This case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and wh

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19

Phibion, Otukile Sindiso. "Bakalanga music and dance in Botswana and Zimbabwe." Thesis, 2003. http://hdl.handle.net/2263/26707.

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Botswana, formerly known as the Bechuanaland Protectorate, is a country with diverse tribal and religious cultures. Bakalanga are one of the tribes found in Botswana and also in Westrn Zimbabwe. The Western part of the Zimbabwean Bukalanga region was included in the then Bechuanaland Protectorate when its border with Zimbabwe was fixed. To date, Botswana's traditional music has been passed from generation to generation, entirely orally. The main contribution of this study is collecting, documenting and preserving Bakalanga traditional music-making. After abolishing official usage of the Ikalan

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20

Miranda, Nieto Alejandro. "Mobilities of practice : the circulation of traditional music making across Mexico and the United States." Thesis, 2015. http://hdl.handle.net/1959.7/uws:34441.

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Music making, amongst a myriad of cultural practices, is on the move. This phenomenon has been reflected in the increasing interest of scholarly debates on the production and negotiation of meanings in and across social and geographical spaces. The enthusiasm for the analysis of the spatial dimensions of the production of, and engagement with, cultural practices has often overshadowed the consideration of their temporalities and social rhythms. Drawing on ethnographic research conducted in various locations in Mexico and the United States, this thesis advances the analysis of the mobility of c

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21

García, Peter J. "La Onda Nuevo Mexicana : multi-sited ethnography, ritual contexts, and popular traditional musics in New Mexico." 2001. http://hdl.handle.net/2152/10476.

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22

Izu, Benjamin Obeghare. "Music and associated ceremonies displayed during Ugie (festival) in the Royal Court of Benin Kingdom, Nigeria." Diss., 2012. http://hdl.handle.net/10500/6721.

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This study examines the Oba of Benin Royal Ugie ceremonies, which is an annual religious and cultural event celebrated by the Benin speaking people of Edo State, Nigeria. As a communal and spiritual activity, the Oba and people of Benin kingdom mark the Ugie festivals with Musical and dance performances. Within this context, the study adopts the historical and participant approaches as its method of contending that some events during the Oba of Benin Royal Ugie festival ceremonies are colorful theatrical performances. The organizational structure of the Oba of Benin Palace as it relates to th

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23

Mugovhani, Ndwamato George. "Venda choral music: compositional styles." Diss., 2007. http://hdl.handle.net/10500/1202.

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Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works. My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dziv

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