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

Auteur : Grafiati

Publié le 10 mars 2023

Mis à jour le 19 juillet 2025

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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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Bahia, Joana. "Dancing with the Orixás." African Diaspora 9, no. 1-2 (2016): 15–38. http://dx.doi.org/10.1163/18725465-00901005.

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This article explores how the body and dance play a central role in the transnationalization of Candomblé among Afro-descendant people and increasingly for white Europeans by creating a platform for negotiating a transatlantic black heritage. It examines how an Afro-Brazilian artist and Candomblé priest in Berlin disseminate religious practices and worldviews through the transnational Afro-Brazilian dance and music scene, such as during the annual presence of Afoxé – also known as ‘Candomblé performed on the streets’ – during the Carnival of Cultures in Berlin. It is an example of how an Afro-

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Chepalov, Oleksandr. "Dance Party on the Banks of the River Isar (XVIII International Contemporary Dance Festival Dance 2023 in Munich)." Dance Studies 6, no. 2 (2023): 173–90. https://doi.org/10.31866/2616-7646.6.2.2023.295183.

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<strong>The purpose of the article </strong>is to identify repertoire trends and stylistic features of contemporary dance forums on the example of the XVIII International Festival DANCE 2023 in Munich. <strong>Research methodology. </strong>While maintaining the old tools (academic criteria for analysing the overall development of world dance culture), the conceptual and categorical apparatus of art history and cultural studies is updated to support a scientific strategy that corresponds to postmodern and post-postmodern changes in culture in general. <strong>Scientific nov

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Rakocevic, Selena. "The Jankovic sisters and kinetography Laban." Muzikologija, no. 24 (2018): 151–72. http://dx.doi.org/10.2298/muz1824151r.

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Based on the archival material from the Legacy of Sisters Jankovic, which is stored in the National Library of Serbia, this article critically examines Ljubica and Danica Jankovic?s relation to today?s world-renowned dance notation, kinetography Laban. The analyzed archival material includes the transcript of the first edition of Laban?s notation called Schrifttanz in German, as well as several unpublished manuscripts by Ljubica Jankovic. Even though the Jankovic sisters were familiar with kinetography Laban, they (especially Ljubica) were its great opponents. Instead of learning and using kin

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Lansdale, Janet. "Ancestral and Authorial Voices in Lloyd Newson and DV8's ‘Strange Fish’." New Theatre Quarterly 20, no. 2 (2004): 117–26. http://dx.doi.org/10.1017/s0266464x04000028.

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Lloyd Newson has worked in Europe for some twenty-three years with DV8 Physical Theatre, creating powerful socio-political pieces which address sexuality and interpersonal relationships. These works are generally created with performers through workshop processes and collaboratively with composers. London's experimental dance and theatre scenes in the 1980s and early 1990s provided a challenging context for Lloyd Newson's early creative endeavours. Here, Janet Lansdale takes one work, Strange Fish, as the locus of her discussion on narrative positions in relation to dominant forms of modern da

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Nevile, Jennifer. "Dance and the Garden: Moving and Static Choreography in Renaissance Europe*." Renaissance Quarterly 52, no. 3 (1999): 805–36. http://dx.doi.org/10.2307/2901919.

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AbstractIn the Renaissance there were close similarities between the static choreography of the formal gardens of the nobility and the moving choreographies performed by the members of the court. The principles of order and proportion, the expression of splendour, the geometrical forms, were all fundamental principles of both Renaissance court dance and the formal garden. The patterns in both these art-forms were meant to be viewed from above. This close similarity in design principles between the horticultural and kinetic arts existed right through the fifteenth and sixteenth centuries and co

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Franko, Mark. "French Interwar Dance Theory." Dance Research Journal 48, no. 2 (2016): 104–10. http://dx.doi.org/10.1017/s0149767716000188.

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Interwar French dance and the critical discourses responding to it have until recently been an underdeveloped research area in Anglo-American dance studies. Despite common patterns during the first half of the twentieth century that may be observed between the dance capitals of Berlin, Paris, and New York, some noteworthy differences set the French dance world apart from that of Germany or North America. Whereas in Germany and the United States modern dance asserted itself incontrovertibly in the persons of two key figures—Mary Wigman and Martha Graham, respectively—no such iconic nativist mod

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Kothari, Saroj. "EFFECTS OF DANCE AND MUSIC THERAPY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–8. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3389.

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Arts have consistently been part of life as well as healing throughout the history of humankind. Today, expressive therapies have an increasingly recognized role in mental health, rehabilitation and medicine. The expressive therapies are defined as the use of art, music, dance/movement drama, poetry/creative writing, play and sand play within the context of psychotherapy, counseling, rehabilitation or health care.Through the centuries, the healing nature of these expressive therapies has been primarily reported in anecdotes that describe a way of restoring wholeness to a person struggling with

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Gélinas, Aline. "Edouard Lock and Bliss: About Dance, Mime, Theatre." Canadian Theatre Review 65 (December 1990): 24–29. http://dx.doi.org/10.3138/ctr.65.005.

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The last label Edouard Lock would like to have applied to his choreographic work is “dance theatre.” The artistic director of La La La Human Steps takes a firm stand against this new trend in the dance scene, stating again and again that it tends to impoverish the vocabulary of movements and impose limitations on the creativity of the choreographer. I would like to analyze some basic notions about these three related fields from my own point of view, which is that of a dance writer, theatre critic and corporeal artist trained in mime. Then, I want to ask: why are some people from the theatre t

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Tomlinson, Alan, and Christopher Young. "Towards a New History of European Sport." European Review 19, no. 4 (2011): 487–507. http://dx.doi.org/10.1017/s1062798711000159.

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The European Commission has invested much symbolic capital in sport's potential contribution to European identity, recently stating ‘that sport has a role in forging identity and bringing people together’. Yet such claims must be strongly qualified. Whilst sport is conspicuously present in Europe as an everyday activity, it is elusively variegated in its social and cultural forms and impacts, and historically informed scholarship points to a more sophisticated approach to the understanding of the subject. At the same time, national histories – conceived largely within national frameworks – hol

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Hellier-Tinoco, Ruth. "Constructing “Old Spanish Days, Inc.” in Santa Barbara, California, USA: Flamenco vs. Mexican Ballet Folklórico." Congress on Research in Dance Conference Proceedings 2014 (2014): 91–98. http://dx.doi.org/10.1017/cor.2014.12.

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Old Spanish Days Fiesta, an annual five-day event held in Santa Barbara, California, since 1924, “… provides an education to residents and visitors about the history, customs, and traditions of the American Indian, Spanish, Mexican, and early American settlers that comprise the rich cultural heritage of Santa Barbara” (http://www.sbfiesta.org). Dance plays a central role, with flamenco in the spotlight as the prime corporeal practice, constructing Spanishness through romanticized and revisionist historiography, and validating European colonization, migration, and diaspora. Although Mexican bal

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Rakočević, Selena. "Dancing in the Danube Gorge: Geography, dance, and interethnic perspectives." New Sound, no. 46 (2015): 117–29. http://dx.doi.org/10.5937/newso1546117r.

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This paper will look at dance practices of Romanian and Serbian villagers along the Danube Gorge which historically functioned as a natural and political boundary. Opportunities for dancing in all villages in the Gorge are still very common and frequented especially during the summer time. Based on my field research, carried out since 2011, the paper examines the contemporary dance practice of this region. My methodological orientation will be based on the ethnochoreological investigation of diverse repertoires, but also diverse dance structures as "predictable" dance texts designated during p

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Guðmundsdóttir, Aðalheiður. "Om hringbrot og våbendanse i islandsk tradition." Kulturstudier 1, no. 1 (2010): 132. http://dx.doi.org/10.7146/ks.v1i1.3886.

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By using those sources traditionally referred to, as well as introducing a number of new ones, the article seeks to shed light on weapon dances within the Nordic countries, placing them in a European context, the intention being to strengthen<br />the basis for further research into this area within the field of Nordic dance studies and history. Until now, the shortage of material has made it difficult for scholars to place potential Nordic weapon dances within the context of comparable<br />traditions known elsewhere in Europe. The purpose of this article is to attempt to fill thi

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Hanák, Péter. "The Historical and Cultural Role of the Vienna-Budapest Operetta." Central-European Studies 2021, no. 4(13) (2021): 391–415. http://dx.doi.org/10.31168/2619-0877.2021.4.15.

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This article is devoted to the history of the origin and rise to the peak of popularity of the operetta genre in the Austro-Hungarian monarchy. This paper demonstrates that, in contrast to French or English operettas with their pronounced political and satirical orientation, the uncomplicated and frivolous librettos of the operettas staged in Vienna and Budapest were demonstrably apolitical. The plots of four operettas — The Bat and The Gypsy Baron (Johann Strauss), The Merry Widow (Franz Lehar), and The Riviera Girl (Germ. Csárdásfürstin, Imre Kálmán) — and the press responses they produced a

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Deaville, James. "African-American Entertainers in Jahrhundertwende: Vienna Austrian Identity, Viennese Modernism and Black Success." Nineteenth-Century Music Review 3, no. 1 (2006): 89–112. http://dx.doi.org/10.1017/s1479409800000367.

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According to jazz scholar Howard Rye, when considering public representations of African-American music and those who made it at the turn of the last century, ‘the average jazz aficionado, and not a few others, conjures up images of white folks in black face capering about’. We could extend this to include white minstrels singing so-called ‘coon songs’, which feature reprehensible racist lyrics set to syncopated rhythms. Traditional representations assign the blacks no role in the public performance of these scurrilous ‘identities’, which essentially banished them from the literature as partic

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Dr., Saroj Kothari. "EFFECTS OF DANCE AND MUSIC THERAPY." International Journal of Research – Granthaalayah, Innovation in Music & Dance :January,2015 (September 5, 2017): 1–8. https://doi.org/10.5281/zenodo.884584.

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Arts have consistently been part of life as well as healing throughout the history of humankind. Today, expressive therapies have an increasingly recognized role in mental health, rehabilitation and medicine. The expressive therapies are defined as the use of art, music, dance/movement drama, poetry/creative writing, play and sand play within the context of psychotherapy, counseling, rehabilitation or health care. Through the centuries, the healing nature of these expressive therapies has been primarily reported in anecdotes that describe a way of restoring wholeness to a person struggling wit

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Rakočević, Selena. "Tracing the discipline: Eighty years of ethnochoreology in Serbia." New Sound, no. 42 (2013): 58–86. http://dx.doi.org/10.5937/newso1341058r.

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The interest for traditional dance research in Serbia is noted since the second part of the 19th century in various ethnographical sources. However, organized and scientifically grounded study was begun by the sisters Danica and Ljubica Janković marked by publishing of the first of totally eight volumes of the "Folk Dances" [Narodne igre] in 1934. All eight books of this edition published periodically until 1964 were highly acknowledged by the broader scientific communities in Europe and the USA. Dance research was continued by the following generation of researchers: Milica Ilijin, Olivera Ml

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Stepputat, Kendra. "Understanding Tango Danceability by Accessing Embodied Knowledge: The “Harmonic Comfort Zone”." European Journal of Musicology 23, no. 1 (2025): 116–36. https://doi.org/10.5450/ejm.23.1.2025.116.

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“The Tango Danceability of Music in European Perspective” is the title of a research project in which the translocal genre tango argentino is examined, focusing on its history and some of its manifestations in Europe. The broad objective of the project is to determine which factors in sound, movement, and social relations are relevant to the question of “tango danceability.” To access embodied knowledge of danceability by tango dancers, we designed an experiment in which tango dancers throughout Europe were asked to dance to newly composed pieces and write down their immediate reactions to it.

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Vertinsky, Patricia. "Isadora Goes to Europe as the “Muse of Modernism”: Modern Dance, Gender, and the Active Female Body." Journal of Sport History 37, no. 1 (2010): 19–39. http://dx.doi.org/10.5406/jsporthistory.37.1.19.

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Classen, Albrecht. "Marian Devotion in the Late Middle Ages: Image and Performance, ed. Andrea-Bianka Znorovszky and Gerhard Jaritz. Studies in Medieval History and Culture. London and New York: Routledge, 2022, ix, 209 pp., b/w ill." Mediaevistik 35, no. 1 (2022): 359–60. http://dx.doi.org/10.3726/med.2022.01.47.

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Abstract One of the central aspect of religious life in the European Middle Ages was the veneration of the Virgin Mary. We find countless examples of sculptures, churches, paintings, poems, and other objects, including musical compositions and also forms of dance reflecting this profound worship of the Mother of God. Research has addressed this accordingly already in a flood of relevant studies, and here we face yet another collective effort to probe this issue more deeply or in greater detail, especially examining important cases in eastern and central Europe during the late Middle Ages and

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T.V., Portnova. "TRANSFORMATION OF THE FANTASTIC PLOT IN THE GENRE STRUCTURES OF DANCE ART FROM THE RENAISSANCE TO ROMANTICISM." “Educational bulletin “Consciousness” 24, no. 10 (2022): 4–19. http://dx.doi.org/10.26787/nydha-2686-6846-2022-24-10-4-19.

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The author refers to the Renaissance era – mainly to the Italian region, which is associated with the development of theatrical dance. In Europe, it appeared a little later and French courtyards, mostly became a source of exquisite stylization and baroque beauty of this kind of art. It is noted that such rulers of Italian city-states as L. Medici, M. Sforza, the Este and Gonzaga dynasties began to pay more and more attention to magnificent spectacles. Using approaches and methods of system analysis, the article analyzes the main features of the development of dance from the Renaissance to the

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Vernyhor, Dmytro. "The Ukrainian Star of World Ballet." Diplomatic Ukraine, no. XX (2019): 794–98. http://dx.doi.org/10.37837/2707-7683-2019-54.

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The article deals with the life and career path of Serge Lifar, a Ukrainian world-class dancer, choreographer, theorist of choreography, historian and reformer of the 20thcentury ballet, Honorary President of the UNESCO International Dance Council. Serge Lifar was a prolific artist, choreographer and director of the Paris Opéra Ballet, one of the most preeminent ballet companies in Western Europe. Attention is drawn to the fact that pedagogical activity constituted a significant part of Lifar’s work. In 1947, he founded the French Academy of Dance, from 1955 he taught his-tory and theory of da

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Rochester, Katherine. "Visual Music and Kinetic Ornaments." Feminist Media Histories 7, no. 1 (2021): 115–46. http://dx.doi.org/10.1525/fmh.2021.7.1.115.

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This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distan

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Winerock, Emily F. "Footprints of the Dance: An Early Seventeenth-Century Dance Master's Notebook. Jennifer Nevile. Drama and Theatre in Early Modern Europe 8. Leiden: Brill, 2018. xiv + 286 pp. $135." Renaissance Quarterly 72, no. 4 (2019): 1535–36. http://dx.doi.org/10.1017/rqx.2019.456.

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Tanman, M. Baha. "The Mevlevīḫāne of Salonica". Muqarnas Online 40, № 1 (2024): 423–47. http://dx.doi.org/10.1163/22118993_0040_013.

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Abstract Although there is quite a rich bibliography on the history of the Mevlevīḫāne of Salonica, which holds a prominent place among the Mevlevi lodges in Ottoman Europe, the visual sources that could illuminate its architectural features were limited until today to some exterior photographs from the early twentieth century. The building itself no longer exists, save for a few scant traces. I decided to write this article when, at an auction in 2019, I came across some personal items and official documents belonging to Salahaddin Efendi, the last postnişīn (sheikh of a dervish lodge) of thi

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Citro, Silvia, and Adriana Cerletti. "“Aboriginal Dances Were Always in Rings“: Music and Dance as a Sign of Identity in the Argentine Chaco." Yearbook for Traditional Music 41 (2009): 138–65. http://dx.doi.org/10.1017/s0740155800004173.

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In Argentina, aboriginal music and dance—as part of what UNESCO has called “intangible cultural heritage“—has been overlooked for a long time. During the construction of Argentina as a nation, especially in the late nineteenth and early twentieth centuries, European-derived societies and cultures were the privileged models in our country. In that period, the national government sponsored the wave of European immigration and, at the same time, the military persecution of aboriginal peoples and their forced assimilation to “Western Christian civilization.” One of the consequences of this history

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Ujvári, Hedvig. "“This Musical Peace is Worse than War:” Cultural History, Musical Banality and Political Context in the Ballet Excelsior." Studia Musicologica 64, no. 3-4 (2024): 269–86. http://dx.doi.org/10.1556/6.2023.00017.

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AbstractFrom 1847, the head of the Budapest ballet was Federico Campilli (1820–1889), an individual of Italian origin. He regarded Viennese taste as authoritative in designing the program, thereby building on the international ballet repertoire. This repertoire included romantic pieces from Western Europe, along with Campilli's own choreographies. Campilli concluded his forty-year tenure in Budapest in 1887, and Cesare Smeraldi (1845–1924) assumed his position. The imperial city served as the model for shaping the ballet program, commencing its operations with the staging of Manzotti's spectac

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Martín, Annabel. "Introduction." International Journal of Iberian Studies 36, no. 3 (2023): 193–97. http://dx.doi.org/10.1386/ijis_00104_2.

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Armed political conflict is no stranger to contemporary Europe. Radicalized nationalist ideologies, state-sanctioned ethnic and religious violence, revolutionary separatist organizations, state-supported armies and police forces turning against civilian populations, insurgents and counterinsurgents, a long list of actors embodying the dance of death in recent times. This Special Issue of the International Journal of Iberian Studies (IJIS), ‘Unspeakable Truths’, will focus on the aftermath and the road to recovery after Basque ETA armed conflict in Spain–France (1959–2011) through the lens of a

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Carruthers, A. J. "Avant-Garde Austalgia." Journal of Foreign Languages and Cultures 6, no. 2 (2022): 132–42. http://dx.doi.org/10.53397/hunnu.jflc.202202012.

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The Australian avant-garde raises all the contradictions of avant-garde studies in the present time. Antipodal vanguards in the 20th and 21st centuries would grapple with various aspects of Australian national history, being in various ways and times between East and West, the aligned and non-aligned, the political and geopolitical in poetics. The word “Australia,” from the Latin auster, contains meanings for “East.” Most importantly, the Antipodal vanguard exposes the contradictions of Australia’s imperial-colonial past and the struggle to overcome it. In this essay, I begin with the example

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Kusser, Astrid. "Arbeitsfreude und Tanzwut im (Post-)Fordismus." Body Politics 1, no. 1 (2013): 41–69. https://doi.org/10.12685/bp.v1i1.1430.

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English abstract: Black dances became popular in Europe and the United States not because they were exotic or different, but because they enabled a polemical attitude towards (self-)exploitation under modern regimes of mass labor. While the capacity of bodies to communicate and cooperate freely was increasingly supervised and instrumentalized on the shopfloor by disciplinary arrangements and racist discourses, people reappropriated it on the dancefloor in radically experimental and non-instrumentalist ways. The aesthetics and techniques of black diaspora dances constituted a vast repertoire of

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Johnson, Joan Marie. "Job Market or Marriage Market? Life Choices for Southern Women Educated at Northern Colleges, 1875-1915." History of Education Quarterly 47, no. 2 (2007): 149–72. http://dx.doi.org/10.1111/j.1748-5959.2007.00087.x.

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Margaret Preston, a member of a prominent family from Lexington, Kentucky, attended Bryn Mawr College from 1904 to 1906, initially against her will. Letters between Margaret and her parents while she was away at school reveal a homesick young woman, at first uninterested in scholarship. She complained that the other girls were “ugly and look disagreeable” and that she had bags under her eyes because “Bryn Mawr is a warranted beauty-destroyer.” In her second year, however, as Margaret began to develop academically, she focused less on returning home, beauty, and boys and more on her classes. Sh

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Liu, Ting. "Singing (vocal) as a component of ballet: the experience of interpreting the phenomenon in the context of artistic trends of the early 20th century." Culture of Ukraine, no. 75 (March 21, 2022): 93–102. http://dx.doi.org/10.31516/2410-5325.075.12.

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The article is devoted to one of the forms of creative synthesis of types of art, which is being actualized in the modern space-time of musical and stage compositions, including through its own historical and genetic code. Singing in ballet appears in the context of art of the early 20th century as a common aesthetic phenomenon. However, music criticism and academic science have not yet provided the explanation of its mechanisms (image-aesthetic, psychological, form-creating, communicative), its overriding tasks in the concepts of modern musical theatre. The experience of problem statement in

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Związek, Tomasz. "The Dance of the Death in Late Medieval and Renaissance Europe: Environmental Stress, Morality, and Social Response. Edited by Andrea Kiss and Kathleen Pribyl." Environmental History 25, no. 4 (2020): 804–6. http://dx.doi.org/10.1093/envhis/emaa032.

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Rock, Judith. "The Jesuit College Ballets: What We Know and What’s Next." Journal of Jesuit Studies 4, no. 3 (2017): 431–52. http://dx.doi.org/10.1163/22141332-00403004.

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The existence and nature of the seventeenth- and eighteenth-century ballets produced at Jesuit colleges in Catholic Europe, most often in France and German-speaking lands, is better known now, in the United States and in France, than it was several decades ago. Researchers have come to understand much more about the ballets, their motivation and widespread production, and their professionalism. The Jesuit college ballets are a rich nexus of art, theology, philosophy, and culture. Looking again at what we already know reveals questions that need to be addressed in future research. The most frui

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Kartomi, Margaret J. "“Traditional Music Weeps” and Other Themes in the Discourse on Music, Dance and Theatre of Indonesia, Malaysia and Thailand." Journal of Southeast Asian Studies 26, no. 2 (1995): 366–400. http://dx.doi.org/10.1017/s0022463400007141.

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One of the most remarkable features of the past twenty years of scholarship on the Southeast Asian performing arts has been the sparking off of ideas between Southeast Asian-born scholars, whether trained in Southeast Asian universities or overseas, and Western scholars of the Southeast arts who live in North America, Australia, Europe, Japan and elsewhere. In colonial Indonesia (until 1945) and Malaysia (until 1957), research agendas of Dutch and British scholars respectively had complied with the social, economic and political priorities of the colonial powers and associated local court-cent

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LEONHARDT, NIC. "‘From the Land of the White Elephant through the Gay Cities of Europe and America’: Re-routing the World Tour of the Boosra Mahin Siamese Theatre Troupe (1900)." Theatre Research International 40, no. 2 (2015): 140–55. http://dx.doi.org/10.1017/s0307883315000024.

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Bangkok, Singapore, Paris, Vienna, Berlin, St Petersburg – some thirty performers of the Boosra Mahin Siamese Theatrical Troupe toured the world in 1900. Daily newspapers enthusiastically reported on the unprecedented shows of the performers ‘from the land of the white elephant’. After they disappeared from the map of theatre history, in 2010 Thai choreographer Pichet Klunchun ‘revives’ the troupe in his performance Nijinsky Siam. He follows their October 1900 St Petersburg show – the very performance attended by choreographer Mikhail Fokine and costume designer Léon Bakst, who later worked cl

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Riggs, Robert, and Mary Barres Riggs. "New Perspectives on J. S. Bach's St. Matthew Passion : The Choreographic Vision of John Neumeier." BACH: Journal of the Riemenschneider Bach Institute 54, no. 2 (2023): 171–211. http://dx.doi.org/10.1353/bach.2023.a907240.

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Abstract: In 1980–1981, the American choreographer John Neumeier, director of the Hamburg Ballet since 1973, created a ballet to Bach's St. Matthew Passion . Aware that choreographing a revered icon of sacred music might be viewed as a violation of its sacrosanct status, he expressed his belief that "A choreographic realization of the Matthew Passion only appeared justified to me if it gives a new, unique dimension to the work … [and that like music] dance offers a means of escape from the grip of time and history to achieve inner reflection and a psychic state." In this essay, we discuss repr

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fink, robert. "the story of orch5, or, the classical ghost in the hip-hop machine." Popular Music 24, no. 3 (2005): 339–56. http://dx.doi.org/10.1017/s0261143005000553.

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perhaps the first digital sample to become well known within popular music was actually a piece of western art music, the fragment of stravinsky's firebird captured within the fairlight computer musical instrument, the first digital ‘sampler’, as ‘orch5’. this loud orchestral attack was made famous by bronx dj afrika bambaataa, who incorporated the sound into his seminal 1982 dance track, ‘planet rock’. analysis of kraftwerk's ‘trans europe express’, also sampled for ‘planet rock’, provides an interpretive context for bambaataa's use of orch5, as well as the hundreds of songs that deliberately

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Tognotti, Eugenia, and Marco Dettori. "The Socio-Cultural Factors Influencing the Level of Public Compliance with Infection Control Measures during the 1918 Influenza Pandemic in Italy: A Historical Approach." Healthcare 12, no. 6 (2024): 694. http://dx.doi.org/10.3390/healthcare12060694.

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During health emergencies, non-pharmaceutical interventions (NPIs) are adopted in various combinations until a vaccine can be produced and widely administered. Containment strategies, including the closure of schools, churches, and dance halls; banning of mass gatherings; mandatory mask wearing; isolation; and disinfection/hygiene measures, require reasonable compliance to be successfully implemented. But what are the most effective measures? To date, few systematic studies have been conducted on the effects of various interventions used in past epidemics/pandemics. Important contributions to

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Barrett, Michael B. "Dance of the Furies: Europe and the Outbreak of World War I. By Michael S. Neiberg. Cambridge, MA: Belknap Press of Harvard University Press. 2011. Pp. 292. Cloth $29.95. ISBN 978-0-674-04954-3." Central European History 46, no. 1 (2013): 186–88. http://dx.doi.org/10.1017/s0008938913000411.

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Sumanta Bhattacharya, Vinay Sahasrabuddhe, Arindam Mukherjee, and Bhavneet Kaur Sachdev. "An analytic interpretation on the importance of India's soft power in international cultural diplomacy over the centuries." World Journal of Advanced Research and Reviews 12, no. 3 (2021): 131–36. http://dx.doi.org/10.30574/wjarr.2021.12.3.0995.

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India’s Soft Power which is part of Smart Diplomacy or cultural diplomacy in India. India’s soft power diplomacy can be traced back to the time when Swami Vivekananda visited Chicago Parliament of Religion and spoke about Hinduism and India, which attracted many Indians and Foreigners who visited India and learnt about the Indian culture and the Sanskrit, his book on Raja Yoga influenced Western countries to practice Yoga who came to India and visited asharams, India’s main soft powers include spiritualism, yoga, Ayurveda, the world is shifting towards organic method of treatment which has its

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