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Littérature scientifique sur le sujet « Polka (Dance) – History – Europe »

Auteur : Grafiati

Publié le 10 mars 2023

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Polka (Dance) – History – Europe"

Nitza Davidovitch, Nitza, and Eyal Lewin. "The Polish-Jewish Lethal Polka Dance." Journal of Education Culture and Society 10, no. 2 (2019): 15–31. http://dx.doi.org/10.15503/jecs20192.15.31.

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Aim. This paper analyses the inherent paradoxes of Jewish-Polish relations. It portrays the main beliefs that construct the contradicting narratives of the Holocaust, trying to weigh which of them is closer to the historic truth. It seeks for an answer to the question whether the Polish people were brothers-in-fate, victimized like the Jews by the Nazis, or if they were rather a hostile ethnic group. Concept. First, the notion of Poland as a haven for Jews throughout history is conveyed. This historical review shows that the Polish people as a nation have always been most tolerant toward

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Slobodová Nováková, Katarína, Michaela Grznárová, Mária Lujza Kovalčíková, Laura Vasiliauskaité, and Agáta Petrakovičová. "The Phenomenon of Sword Dancing in Europe. Cultural-historical contexts." Národopisný věstník 82, no. 2 (2023): 67–89. http://dx.doi.org/10.59618/nv.2023.2.05.

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Sword dances belong to the oldest layers of dance culture. The origin of these dances, which can be described as a phenomenal manifestation of dance culture in almost the whole of Europe, unfortunately cannot be reduced to a single genetic basis. It goes without saying that such dancing would not still exist today without its bearers. Sword dancing has been gradually modified in some countries, losing its ceremonial function or its connection to the calendar cycle, and being transformed into a theatrical form; in some countries it is now only maintained by small groups of dancers as a social o

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Golovlev, Alexander. "Dancing the Nation? French Dance Diplomacy in Allied-Occupied Austria, 1945–55." Austrian History Yearbook 50 (April 2019): 166–83. http://dx.doi.org/10.1017/s0067237818000607.

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These excerpts from critical reviewscovering French dance tours in Vienna, Salzburg, and Innsbruck reflect the scale and variety of French cultural engagement and its growing public visibility in Austria. Out of the four Allied powers, it was France, and not the Soviet Union with its “ballet capital,” that made most use of dance and ballet fornation-brandingpurposes, both in sabots and on pointe. France's dance diplomacy exported all genres of dance to Austria in order to portray the politically and militarily weakened nation as arayonnantcultural leader of Europe, whose diversity, supremacy,

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Burt, Ramsay. "Trio A in Europe." Dance Research Journal 41, no. 2 (2009): 25–27. http://dx.doi.org/10.1017/s0149767700000632.

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Since the mid-1990s European dancers and audiences have played a significant role in the revival of interest in Yvonne Rainer's dance work. Two key examples of this are the restaging of Rainer's Continuous Project-Altered Daily (CP-AD) in 1996 by the French group Quatuor Albrecht Knust and the more recent creation and trial of the Labanotation score of Trio A in London. In her reminiscences printed above, Pat Catterson suggests that Trio A' s “relaxed natural quality, equality of parts, its tame simplicity, and durational patience may be out of synch with today's Zeitgeist.” During Charles Atl

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von Rosen, Astrid. "Om Claude Marchant: Ett historiografiskt bidrag till svart danshistoria i Sverige." Nordic Journal of Dance 12, no. 1 (2021): 4–21. http://dx.doi.org/10.2478/njd-2021-0002.

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Abstract In this article, the concept of «black dance» is used as a critical tool to explore the lifelong dance achievements of the black dancer, choreographer and pedagogue Claude Marchant (1919–2004) in relation to history making. Marchant’s history in the US and to some extent in Europe from the 1930s to the 1960s is mapped and analysed, with the aim of better understanding his work in Sweden, and more specifically in Gothenburg. While Marchant is mentioned in previous dance historiographies, there are no in-depth explorations of his life and work. This exploration, therefore, complements b

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Bihari, Peter. "Dance of the Furies. Europe and the Outbreak of World War I." European Review of History: Revue europeenne d'histoire 19, no. 3 (2012): 467–69. http://dx.doi.org/10.1080/13507486.2012.695597.

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Chevrier-Bosseau, Adeline. "Dancing Shakespeare in Europe: silent eloquence, the body and the space(s) of play within and beyond language." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (2020): 3–17. http://dx.doi.org/10.1177/0184767820914508.

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How does one dance Shakespeare? This question underpins this collection of six articles, which explore how choreographers have invested space and the playtext’s interstices to transpose them into ballet pieces – whether contemporary ballet, classical or neo-classical ballet, or works that fall under the umbrella term of contemporary dance. The authors delineate how the emotions translate into silent danced movement and highlight the physical, somatic element in music – beyond spoken language. Through the triple prism of dance, music and a reflection on silence, this special issue invites us to

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Althammer, Miriam. "Performing the Memories: Methodologies on Archiving, Recalling and Foretelling with Oral History in Dance and Performance." Divadelní revue 36, no. 1 (2025): 9–25. https://doi.org/10.62851/36.2025.1.01.

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This article explores how oral history can function as a performative and epistemological tool to engage with the embodied knowledge of dancer-choreographers from Southeast Europe. Drawing on 50 interviews and archival material from Tanzquartier Wien, it examines how personal memories, bodily practices, and translocal artistic experiences challenge dominant Western narratives in contemporary dance historiography. The study introduces the concept of body archaeologies to trace and activate fluid, multidirectional forms of dance knowledge, situated between archive and body, memory and movement.

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PIPOYAN, RIMA. "FRANÇOIS DELSARTE’S DOCTRINE AS THE BASIS FOR THE CREATION OF MODERN DANCE." Scientific bulletin 1, no. 43 (2022): 192–206. http://dx.doi.org/10.24234/scientific.v1i43.15.

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The article discusses the study of the teachings of François Delsarte, in which an attempt is made to understand the stages of the origin and development of modern dance in different countries. This teaching spread to two countries: the USA, Germany, then it penetrated into Russia and became the basis for the creation of rhythmic and plastic dance studies. All the ideas embodied in the study of the François Delsarte system served as a good basis for the development of a new dance direction at the end of the 19th century. Today, this new dance direction is known to all of us as modern dance. Ea

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Macintosh, Fiona. "Moving Images, Moving Bodies." Fascism 12, no. 2 (2023): 206–27. http://dx.doi.org/10.1163/22116257-bja10066.

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Abstract At the end of the nineteenth century, under the influence of chronophotography and the arguments of the French musicologist Maurice Emmanuel, it was believed that ancient dance could be recovered for the modern world by animating the figures on ancient Greek vases. This led to a flurry of practitioners of so-called ‘Grecian’ dance across Europe, the US and the British Empire. At the beginning of the twentieth century, moving like a Greek became as popular and as liberating for women of the upper classes as discarding a corset and dressing in a Greek-style tunic. In the Edwardian perio

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Thèses sur le sujet "Polka (Dance) – History – Europe"

AUGUSTYNOWICZ, Ewa Anna. "A new fashion : Polka wave in Europe 1844-1860s." Doctoral thesis, 2016. http://hdl.handle.net/1814/42065.

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Defence date: 28 June 2016<br>Examining Board: Professor Antonella Romano, Centre Alexandre-Koyré (Supervisor); Professor Pavel Kolar, European University Institute; Professor Michael Werner, Centre Georg Simmel; Professor Markian Prokopovych, Central European University.<br>This is a thesis about the polka, a dance of women and feminity, love, passion, young and old, peasants, bourgeoisie and aristocrats. And, as I will explain and study in the following pages, it is about one of the spectres haunting Europe in the nineteenth century. A few years ago a short story called "Polkamania" by Joach

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Livres sur le sujet "Polka (Dance) – History – Europe"

1936-, Keil Angeliki V., ed. Polka happiness. Temple University Press, 1992.

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Jaffé, Nigel Allenby. Folk dance of Europe. Folk Dance Enterprises, 1990.

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Corrsin, Stephen D. Sword dancing in Europe: A history. Hisarlic Press, 1996.

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Matluck, Brooks Lynn, ed. Women's work: Making dance in Europe before 1800. University of Wisconsin Press, 2007.

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Jennifer, Nevile, ed. Dance, spectacle, and the body politick, 1250-1750. Indiana University Press, 2008.

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Jennifer, Nevile, ed. Dance, spectacle, and the body politick, 1250-1750. Indiana University Press, 2008.

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Greene, Victor R., and Victor Greene. A passion for polka: Old-time ethnic music in America. University of California Press, 1992.

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Bertin, Josseline. Chevaux de souffrance: Les marathons de danse en Europe : 1931-1960. Cénomane, 2014.

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Fabbricatore, Arianna Béatrice. La danse théâtrale en Europe: Identités, altérités, frontières. Hermann, 2019.

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Karina, Lilian. Hitler's dancers: German modern dance and the Third Reich. Berghahn Books, 2002.

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Chapitres de livres sur le sujet "Polka (Dance) – History – Europe"

Zebec, Tvrtko. "15. A Twenty-First Century Resurrection." In Waltzing Through Europe. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.15.

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Zebek (Croatia) surveys and contextualises the place of round dances, and particularly the Polka, in the twentieth-century Croatia. He shows how the folk-dance movement largely ignored or even rejected the round dances as new and foreign. He then portrays the revival of a ‘shaking’ kind of Polka that has a history in the region, but only rose in popularity as late as the twenty-first century. The peculiar aspect of the revival is that it seems to have arisen independently of the folk-dance movement, among the ‘dancing crowds’.

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Stavělová, Daniela. "5. The Polka as a Czech National Symbol." In Waltzing Through Europe. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.05.

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Stavělová (Czech Republic) discusses how the Polka was established as a Czech national symbol during the middle of the nineteenth century. She analyses a large number of sources that discuss the Polka, tracing the dance from its appearance in Czech national circles in the 1830s to its success in Paris in the 1840s. She discusses its consolidation as a Czech symbol through the work of music composers such as Bedřich Smetana in the second part of the century, arguing that it was first and foremost the name of the dance that carried political meaning: Polka as a cultural product fulfilled this go

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Gremlicová, Dorota. "6. Decency, Health, and Grace Endangered by Quick Dancing?" In Waltzing Through Europe. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.06.

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Gremlicová (Czech Republic) provides a detailed analysis of newspaper discussions of dance. She shows how a text of the kind that is often read as evidence of resistance to new dances can be contextualised: she identifies the people behind it, and the political and cultural contexts to which they belonged. Gremlicová takes the Redowa as an example of the dances mentioned in newspaper discussions: a dance that has Slavic roots, just as the Polka does, and possesses the basic characteristics of the Mazurka types. By means of the newspaper sources, Gremlicová explores the reception of the Redowa

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Passie, Torsten. "MDMA as a Dance Drug." In The History of MDMA, edited by Andrew Dennis. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198867364.003.0010.

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Abstract The association between drugs and dancing extends back to ancient times. Parallels can be seen between spontaneous medieval ‘dance epidemics’ and contemporary use of MDMA at dance parties. As a forerunner, MDA was used at dance parties in the late 1960s. However, it was only when the MDMA enthusiast Michael Clegg began to sell MDMA in parts of the Texas night-life scene that the synergy of MDMA and dancing spontaneously arose around 1983, which led to the rapid distribution of MDMA as a ‘dance drug’. From 1985 onwards, MDMA enjoyed a new career as a dance drug and found its way to Eur

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"Spain Between tradition and innovation: two ways of understanding the history of dance in Spain." In Europe Dancing. Routledge, 2002. http://dx.doi.org/10.4324/9780203448717-13.

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McGowan, Margaret. "The Performing Arts: Festival, Music, Drama, Dance." In The Oxford History of the Renaissance. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192886699.003.0007.

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Abstract In the Renaissance, the performing arts flourished most conspicuously in festival. Across Europe, in churches, cities, and courts, actors, musicians and dancers, poets, artists, and composers, supported by a vast army of craftsmen, developed and practised their arts in the service of spectacle. As courts became less peripatetic, and as knowledge of the ancient world increased and provided a stimulus for performance, settings for performance such as gardens, courtyards, and churches were supplemented by permanent public theatres. Spectacles were occasioned by feast days (notably Corpus

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Katarinčić, Ivana, and Iva Niemčić. "9. Dancing and Politics in Croatia." In Waltzing Through Europe. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.09.

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Katarinčić and Niemčić (Croatia) portray the situation around 1830 when round dances arrived in Croatian cities and started to appear in the source material. They demonstrate the tension between national loyalties and the attraction of the fashionable dances imported from abroad, and how solutions were found to satisfy and combine the two streams of influence through the creation of the Salonsko Kolo. This dance is performed by couples forming large and complex formations reminiscent of the Polonaise, the Mazurka or contra dances. Katarinčić and Niemčić‘s article concludes with a discussion of

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Aloff, Mindy. "Sets and Stagecraft." In Dance Anecdotes. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195054118.003.0025.

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Abstract An Idyll and a Storm Legend has it that the most spectacular, beautiful, and refined theatrical effects ever produced for the ballet were devised in nineteenth-century Russia, at the czar’s various theaters (notably the Maryinsky in St. Petersburg) and estates, where hundreds of men drawn from various branches of Russia’s armed forces would be commandeered to help achieve the spectacle. Whether the effects are, indeed, supreme in dance history—the scenic designs for some seventeenth-century court ballets in Continental Europe were also elaborate and refined—they are certainly in the r

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Aloff, Mindy. "From Stage to Page." In Dance Anecdotes. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195054118.003.0012.

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Abstract Eggsactly During the eighteenth century, “blind” dances with eggs were popular theatrical acts in both the United States and Europe, one of many bits of unexpected knowledge to be found in The American Musical Stage before 1800 by scholar of theater history Julian Mates. The passage below, from Thomas Carlyle’s translation of Johann Wolfgang von Goethe’s popular novel Wilhelm Meisters Lehrjahre (“Wilhelm Meister’s Apprenticeship”), describes a version of this wonderful stunt. In the scene, the young street dancer Mignon is performing the egg dance for an audience of one—the protagonis

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"Document No. 18: Telegram from Rozanne Ridgeway to All European Diplomatic Posts, “Eastern Europe: Invitation to the Dance”, December 1987." In Masterpieces of History. Central European University Press, 2010. http://dx.doi.org/10.1515/9786155211881-026.

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Actes de conférences sur le sujet "Polka (Dance) – History – Europe"

Martinsone-Škapare, Katrīne. "Character Dance Genre in the Creative Work of Ballet Master M. Petipa and Ballet Art Education." In 81th International Scientific Conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/htqe.2023.48.

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This research delves into the historical development of the character dance genre in ballet education. By analyzing ballet literature from Latvia and Europe published over the past decade, the study aims to create a theoretical outline of character dance history. This will provide a wider understanding of the genre and serve as a professional teaching tool for academic dance performers and pedagogues. The research focuses on French ballet master M. Petipa’s contribution to the development of ballet art, particularly his character dance “writing” as a means of enriching the choreographical lang

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