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Articoli di riviste sul tema "Narrative in dance"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 19 luglio 2025

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1

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 (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 traditiona

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de Lucas, Cristina. "Toward a Narratology of Western Narrative Theatre Dance." Narrative 32, no. 1 (2024): 101–23. http://dx.doi.org/10.1353/nar.2024.a916607.

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ABSTRACT: Dance is barely present in narrative studies. It is generally accepted as a narrative medium, yet lacks a systematic study that addresses its distinctive qualities. This article focuses on generic theoretical issues of dance as a narrative medium and discusses its place within current narratological debates. The first premise suggested here is that among the diferent manifestations of dance, narrative theatre dance is the fullest expression of narrativity, with a narrative essence that the notions of plot and experientiality help defining and grading. Taking the discussion through ro

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NYE, EDWARD. "‘Choreography’ is Narrative: The Programmes of the Eighteenth-Century Ballet d'Action." Dance Research 26, no. 1 (2008): 42–59. http://dx.doi.org/10.3366/e0264287508000054.

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In the 1760s, a change in the meaning of the French word ‘chorégraphie’, coined by Feuillet in 1700, coincides with the coming of age of the ballet d'action. At the time when Jean-Georges Noverre, Gasparo Angiolini and others are developing mime dance into a highly elaborate and aesthetically complex stage art, their contemporaries are beginning to use ‘chorégraphie’ to mean the dramaturgical structure of the work rather than a system of notation. The semantic shift suggests that drama is as fundamental to the ballet d'action as a Feuillet transcription is to danse noble. The analogy is someti

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Saenal, Selfiana, Muhammad Jazuli, and Syakir Syakir. "Increasing Student Creativity Through The Implementation Of Dance Learning In Special Schools (SLB)." Edumaspul: Jurnal Pendidikan 7, no. 2 (2023): 5424–31. http://dx.doi.org/10.33487/edumaspul.v7i2.7292.

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Abstrak Dance training in schools is one of the basics of learning in cultivating the talent and capacity of stunt actors, and dance learning is very important, considering that dance learning underlines the course of training in developing character which includes coaches and stunt performers and can build the imagination of stunt development for children. normal children as well as for children who have physical or mental disabilities who meet the requirements for dance learning. The aim of this research is to examine the creative dance movements of blind students who use the storytelling le

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Mantillake, Sudesh. "Panibharata and the Invention of Sinhala Folk Dance Repertoires in Post-Colonial Sri Lanka." Sri Lanka Journal of the Humanities 43, no. 2 (2023): 40–57. http://dx.doi.org/10.4038/sljh.v43i2.7270.

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This article focuses on the history of the Sinhala folk dance genre and its connection to Sinhala cultural nationalism in Sri Lanka. This paper aims to examine the formation of Sinhala folk dance as a tradition in the context of the rise of Sinhala nationalism during the 1940s and 1950s. Although performing arts were commonly practiced by villagers, the genre named Sinhala Folk Dance (Sinhala gemi näțuma) did not emerge until the 1930s in Sri Lanka. Around 1956, in the midst of the rise of Sinhala cultural nationalism, it is believed that the stylistic choices that preceded the modern creative

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Peng, Xun. "Historical Development and Cross-Cultural Influence of Dance Creation: Evolution of Body Language." Herança 7, no. 1 (2023): 88–99. http://dx.doi.org/10.52152/heranca.v7i1.764.

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This paper delves into the historical evolution of dance creation and its cross-cultural influences, with a particular focus on the transformation of corporeal language. Commencing from the dance traditions of ancient cultures, the article retraces the dances of Ancient Egypt and Ancient Greece, as well as the religious and courtly dances of the medieval and Renaissance periods. Subsequently, it scrutinizes the emergence of modern dance, encompassing the American modern dance movement and European expressionist dance, along with the evolution of dance techniques and forms. The article delves i

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MacKenzie, Robin. "Nymph, Scarab, Butterfly: Figures of the Dancer in Mérimée, Flaubert and Proust." Forum for Modern Language Studies 55, no. 3 (2019): 308–24. http://dx.doi.org/10.1093/fmls/cqz023.

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Abstract This article examines dance episodes from three works of French fiction written between 1860 and 1920: the roussalka dance from Mérimée’s Lokis, Salomé’s performance in Flaubert’s Hérodias, and the description of an unnamed ballet dancer in Proust’s Le Côté de Guermantes. The texts, in contrasting ways, explore networks of power and desire, as well as the relationship between the aesthetic sphere and the world of social conventions and interactions, thus reflecting the thematic significance of dance in the literary culture of the period. It would be hard to justify constructing a gran

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Markula, Pirkko. "Dancing the ‘Data’." International Review of Qualitative Research 4, no. 1 (2011): 35–50. http://dx.doi.org/10.1525/irqr.2011.4.1.35.

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This article traces a process of combining dance and narrative text into performance ethnography. It focuses on how interviews collected during an ongoing research project on serious contemporary dancers' experiences with injuries can ‘be danced’ in a research presentation. The author reflects how the empirical material from the interviews informed a narrative text that, combined with contemporary dance choreography interpreted through Deleuzian rhizomatic analysis, was included into live performance ethnography. The author concludes with a need for an on-going experimentation with the dancing

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Hutcheson, Maury. "Memory, Mimesis, and Narrative in the K'iche' Mayan Serpent Dance of Joyabaj, Guatemala." Comparative Studies in Society and History 51, no. 4 (2009): 865–95. http://dx.doi.org/10.1017/s0010417509990168.

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It seemed to me a simple question. “What happens in this dance-drama? What is the storyline, the narrative?” I am met by puzzlement. The dancer explains that each such dance has its own set of instruments, its own special costumes and masks. For this one they use a simple, one-man marimba and the costumes come from the nearby town of Chichicastenango.

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DOĞANER, Saygın Koray. "DANCER IN THE DARK AS A HYBRID NARRATION." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 12, no. 3 (2022): 833–45. http://dx.doi.org/10.7456/11203100/018.

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In this article, in Dancer in the Dark, the third film of Lars Von Trier's Golden Heart Trilogy (Breaking the Waves 1996, Idioterne, 1998, Dancer in the Dark 2000), how music and dance are used, what principles its technique is based on, the mise-en-scene elements used in creating meaning. and the narrative structure of the film was examined. Dancer in the Dark stands out as one of the films where Trier takes naive, childlike, pain-tested, strong and yet fragile women to the center. The film, which has little in common with the musicals in classical narrative cinema, has a musical feature with

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Huang, Yihai, and Xinhuan Zeng. "The Heterotopia of Dance: Imagined Spaces in Dance Films." Global Review of Humanities, Arts, and Society 1, no. 2 (2025): 18–35. https://doi.org/10.63802/grhas.v1.i2.29.

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Dance films, as a cinematic genre that integrates bodily art with narrative expression, profoundly reflect the tension between social power, bodily discipline, and the expression of freedom through the dynamic construction of space. This study aims to explore the characteristics and narrative functions of heterotopian spaces in dance films, revealing their representation and significance in the relationship between power and freedom. Adopting a qualitative analytical approach, the study uses Foucault’s theory of “heterotopia” as its central framework and examines three classic dance films—The

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Esteban, Jose Miguel. "The Inspirations of Our Remembering." Journal of Literary & Cultural Disability Studies 16, no. 1 (2022): 93–107. http://dx.doi.org/10.3828/jlcds.2022.6.

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How do we breathe through the spaces of our remembering? The article engages in a choreographic narrative that follows the author’s initial attempts to perform a dance of his memories. Inspired by dancer and scholar Katherine Dunham, and her own journey of remembering her childhood through the Black feminist tradition of self-writing, the author questions whose stories are exhaled as they attempt to breathe in their pasts. Breathing in her story, breathing in his story, they inhabit a dance through which the lingering absence and the haunting appearances of disability move them to encounter a

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Ramadoss, Balakrishnan, and Kannan Rajkumar. "Modeling the Dance Video Semantics using Regular Tree Automata." Fundamenta Informaticae 86, no. 1-2 (2008): 175–89. https://doi.org/10.3233/fun-2008-861-210.

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Dance video is one of the important types of narrative videos with an interesting and semantics-rich content. Modeling the expressive dance semantics is a real challenging task, compared to the other types of videos such as news, sports and video streams. This paper proposes a formal conceptual model based on the theory of regular tree automata called, DanceGrammar. The DanceGrammar and its tree automaton represent the dance pieces that are associated with the accompanying song. A dance piece incorporates many dance video semantics such as dancer objects, actors, dance movements, emotions and

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Nuryanto, Nuryanto. "Karya Tari Dewaruci Sebagai Tari Sesaji Dalam Rangka Dies Natalis Isi Surakarta." Acintya Jurnal Penelitian Seni Budaya 15, no. 2 (2023): 183–92. http://dx.doi.org/10.33153/acy.v15i2.5099.

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The dance work Dewaruci is a new work inspired by Bima's attitude and character in wayang so that it is danced in the dashing male dance of the Surakarta style. The make-up and fashion design refer to the wayang orang characters in the Surakarta style. The purpose of the research entitled Dewaruci Dance Work is to describe the dashing Surakarta style dance used as offering dance at the Surakarta Indonesian Institute of the Arts (ISI) Anniversary ceremony in 2015. The research method of the Surakarta Style Dewaruci Dance Work is a type of qualitative research. Narrative data sources. Data analy

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Stolberg, Tonie L. "Communicating Science through the Language of Dance: A Journey of Education and Reflection." Leonardo 39, no. 5 (2006): 426–32. http://dx.doi.org/10.1162/leon.2006.39.5.426.

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Bharatanatyam, the classical dance style of South India, is adept at conveying complex, multilayered narratives. This paper documents and reflects upon the interactions between the author, a scientist and educator, and a professional dance company as they strive to develop and produce a dance-drama about the carbon cycle. The author examines the process by which scientific ideas are shared with the artists and the way a scientific narrative becomes one with an artistic meaning. The paper also examines areas for possible future science-dance collaborations and explores the necessary features fo

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Matos, Mariana Inocêncio, and Elirez Bezerra da Silva. "New Notes on the Cardiorespiratory Capacity of Dancers." International Journal of Art, Culture, Design, and Technology 11, no. 2 (2022): 1–11. http://dx.doi.org/10.4018/ijacdt.305795.

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Cardiorespiratory capacity is one of the most important components of our physical fitnes for the general population. How much this ability is required in dance depends on factors such as dance mode, duration and intensity of step sequences and choreographies, and even the hierarchical position that the dancer occupies within a company. Although far from the values found in athletes, the cardiorespiratory capacity of dancers is good compared to the general population. Although the theme is explored in the 1980s, there are many points that still need further investigation, such as the relations

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Song, Haw Suk. "Narrative Possibilities through Bodyness: Aesthetic of Dance Music and Affective Turn." Korean Association for the Study of Popular Music 29 (May 31, 2022): 171–94. http://dx.doi.org/10.36775/kjpm.2022.29.171.

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If the criteria for judging good and not good music correspond to the musical content or meaning, much popular music would not escape the judgment of yet being qualitatively low, and its representative genre is dance music. Compared with movies and dramas, pop music lacks clarity of reproduction and narrative structure. Dance music is more multi-layered and ambiguous than other pop music genres as it contains music, lyrics, and body movements as basic genre characteristics. To discuss the aesthetic aspects of dance music, focusing on the theoretical significance raised from the theory of affec

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Purnama Sari, Dewi, Malarsih Malarsih, and Muhammad Jazuli. "Analisis Bentuk Penyajian Tari Bedhaya Retnatama di Kraton Surakarta Hadiningrat." Jurnal Sendratasik 12, no. 2 (2023): 182. http://dx.doi.org/10.24036/js.v12i2.123178.

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Bedhaya Retnatama dance is one of the classical dances from the Surakarta Hadiningrat Palace. This dance was created by GKR Koes Moertiyah Wandansari during the inauguration of the Surakarta Hadiningrat Kraton Museum. The results of the study show that the form of performance in this dance is almost the same as other Bedhaya dance performances. The difference is that the dance movements are composed more "soblakan" which indicates the firmness conveyed in the theme of this dance. This assertiveness is strengthened by the use of the gandewa property in this dance performance. The firm impressio

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Lu, Fei, and Fangjing Hao. "Research on the Development and Trends of Dance Video in the New Era." Journal of Contemporary Educational Research 9, no. 3 (2025): 161–65. https://doi.org/10.26689/jcer.v9i3.9897.

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Dance video is an innovative form that integrates dance art with imaging technology, enriching the expression of dance through techniques such as photography, videography, and special effects. This paper explores the definition, current development, artistic expression, social impact, and future trends of dance video. Through narrative construction, visual impact, emotional resonance, technological innovation, and cultural expression, dance video enhances the narrative and visual appeal of dance. In the future, dance video will focus more on the integration of virtual reality (VR) and augmente

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Engelhart, Monica. "The Dancing Picture - The Ritual Dance of Native Australians." Scripta Instituti Donneriani Aboensis 16 (January 1, 1996): 75–90. http://dx.doi.org/10.30674/scripta.67224.

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What kind of message does -or did — the dance convey to the Native Australians? Several types of communication can be distinguished in ritual dance. There is the narrative aspect, i.e., the dramatization of a myth, or of certain social relations, there is an aspect of explanation, i.e., the visual performance of significant conditions, an expressive aspect of worship, and even an aspect of transmission, as when the body of the dancer is thought to mediate divine power to the audience. When a dancer is considered possessed, the boundaries between his human identity and the divine are wiped out.

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Pruiksma, Rose. "Of Dancing Girls and Sarabandes." Journal of Musicology 35, no. 2 (2018): 145–82. http://dx.doi.org/10.1525/jm.2018.35.2.145.

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The French sarabande is typically characterized as one of the most serious and noble baroque dances in the instrumental suite. New research synthesizing eyewitness accounts, literary sources, and musical analysis reveals the sarabande’s rich history as a theatrical dance regularly performed by female dancers in French court ballets. The groups of girls and solo young women who danced it between 1651 and 1669 invite us to reshape our narrative of the sarabande in France. Both literary references and the theatrical context reveal how the sarabande resonated with layers of culturally inscribed me

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Schorn, Ursula. "The healing encounter of dance, Gestalt, and art based on Anna Halprin’s Life/Art Process." British Gestalt Journal 24, no. 2 (2015): 14–20. http://dx.doi.org/10.53667/ppxw4748.

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"Abstract: Anna Halprin, influential American dancer and artist, in her search for new ways to activate the transformative potential in dance, integrated Fritz Perls’ approach to Gestalt therapy in her work, called Life/Art Process. Gestalt principles of awareness in the ‘here and now’ find a structure in the Principles of the Creative Process, a central theoretical model of the Life/Art Process offering a holistic approach to creativity. The experience of physical, emotional, and mental awareness through movement extends into the field of artistic expression in dance and visual arts. The crea

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Miao, Feng, and Nan Zhang. "Digitization, Preservation, and Dance Narrative Exploration of Red Music Cultural Heritage in Hebei Province: A Multidisciplinary Approach." International Journal of Social Sciences and Public Administration 2, no. 2 (2024): 211–21. http://dx.doi.org/10.62051/ijsspa.v2n2.31.

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This research paper presents a comprehensive exploration of the digitization, preservation, and dance narrative exploration of Hebei's red music cultural heritage. The study investigates the multifaceted relationship between red music, digital technologies, and dance narratives, aiming to contribute significantly to the theoretical underpinnings and practical strategies for preserving and reinterpreting this unique musical tradition. Through a multidisciplinary lens, the research delves into the theoretical foundations, historical significance, and innovative methods employed to safeguard and

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Nurlina, Syahrir Alimuddin Alimuddin. "Integrating computing techniques in preserving Makassar's Pakarena dance heritage." Indonesian Journal of Electrical Engineering and Computer Science 36, no. 3 (2024): 1674–82. https://doi.org/10.11591/ijeecs.v36.i3.pp1674-1682.

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This interdisciplinary study bridges the cultural heritage of the Pakarena dance, a key element of Makassar ethnicity, with contemporary computing and informatics to examine its social implications, particularly in terms of identity formation, community transmission, and narrative preservation. Emphasizing the dance’s crucial role within the Makassar community, the research employs digital technologies for comprehensive data collection, analysis, and dissemination. Utilizing a qualitative framework supplemented by digital ethnography, the methodology includes in-depth interviews and part

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Lu, Chunhui, Lingling Cheng, Ziwei Li, and Xiangyue Zhang. "Interdisciplinary Fusion in Media: Innovative Applications of Dance, Music, and Film in Experimental Content Creation." Advances in Humanities Research 9, no. 1 (2024): 64–68. http://dx.doi.org/10.54254/2753-7080/9/2024110.

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In media-related experimental content, non-narrative methods utilizing non-verbal elements such as dance, music, and visual effects significantly enhance both narrative and emotional resonance. This paper explores how symbolic dance choreography, thematic music, and visual effects (e.g., color usage and shadow projections) convey narrative and emotional intent, heightening viewers' immersion and emotional engagement. Beginning with an analysis of symbolic dance, the paper demonstrates how abstract movements convey themes like freedom and oppression or states of joy and despair, revealing mecha

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STROE, ALINA, SILVIU AXELERAD, ANCA GOGU, LAVINIA MUJA, CORINA FRECUS, and CRISTINA MIHAI. "Narrative review on effects of dance therapy in Parkinson’s disease patients." Journal of Complementary Medicine Research 13, no. 3 (2022): 33. http://dx.doi.org/10.5455/jcmr.2022.13.03.07.

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Background: Parkinson's disease is a chronic neurodegenerative disease, with slow insidious onset, characterized by the presence of predominantly motor symptoms such as rest tremor, bradykinesia, and postural instability. Dance therapy has been used for many years for various conditions, especially for patients with Parkinson's disease. Methods: The PubMed, Elsevier, Wiley, and Springer databases were searched using the solitary or combination keywords "dance therapy", "Parkinson's disease", and "dance therapy in neurodegenerative disorders". Finally, the time period covered by the inclusion c

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Patel-Grosz, Pritty, Patrick Georg Grosz, Tejaswinee Kelkar, and Alexander Refsum Jensenius. "Coreference and disjoint reference in the semantics of narrative dance." ZAS Papers in Linguistics 61 (January 1, 2018): 199–216. http://dx.doi.org/10.21248/zaspil.61.2018.492.

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This paper presents an exploratory production study of Bharatanatyam, a figurative(narrative) dance. We investigate the encoding of coreference vs. disjoint reference in thisdance and argue that a formal semantics of narrative dance can be modeled in line withAbusch’s (2013, 2014, 2015) semantics of visual narrative (drawing also on Schlenker’s,2017a, approach to music semantics). A main finding of our investigation is that larger-levelgroup-boundaries (Charnavel, 2016) can be seen as triggers for discontinuity inferences(possibly involving the dynamic shift from one salient entity to another)

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Rahman, Munjulika. "Price of Gold and Light: Power and Politics in Hey Ananta Punya." Congress on Research in Dance Conference Proceedings 2011 (2011): 29–34. http://dx.doi.org/10.1017/s014976771100026x.

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Hey Ananta Punya, a dance-drama adapted and choreographed by the Bangladeshi choreographer Warda Rihab was performed in Kolkata, India, in December 2009. Rihab plays the main character Srimoti, a dancer at the court of King Ajatashatru. Srimoti embraces Buddhism but is not allowed to practice since Ajatashatru decrees Hinduism to be the state religion. In the narrative, Hinduism, the predominant religion of India, represses Buddhism, which is a minority religion in the subcontinent. Even though on the surface the dance-drama deals with Hinduism and Buddhism, the performance is complicated by t

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Goel, Sujata. "In Search of Context, In Search of Home." Arts 12, no. 5 (2023): 194. http://dx.doi.org/10.3390/arts12050194.

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In this text, the author outlines her personal narrative as a dancer and choreographer over twenty years. She traces her path of migration between the USA, India and Europe in search of artistic context and belonging. Her account addresses larger issues such as Orientalism and Eurocentrism in the global, contemporary dance sphere.

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Gianvittorio-Ungar, Laura. "Narratives in Motion: the Art of Dancing Stories in Antiquity and Beyond." Greek and Roman Musical Studies 8, no. 1 (2020): 174–89. http://dx.doi.org/10.1163/22129758-12341367.

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Abstract The purpose of the symposium “Narratives in Motion. The Art of Dancing Stories in Antiquity and Beyond” was to make original contributions to the thriving field of study on ancient Greek and Roman dance by tackling this issue from an angle which is both specific in that it narrows down the focus on dance narrativity across different performance genres, and inclusive in that it encompasses transcultural, transhistorical and practice-based approaches. With eleven talks by classical and dance scholars and two performances by dance artists, the symposium was able to shed light on a range

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Sabee, Olivia. "Mannerism and the Expressive Body in Eighteenth-Century French Ballet: Diderot and Noverre." Eighteenth Century 64, no. 3-4 (2023): 267–85. https://doi.org/10.1353/ecy.2023.a950264.

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Abstract: Studies of ballet reforms in eighteenth-century France often focus primarily on the newly introduced component of pantomime into ballet. By focusing on dance rather than pantomime, I complicate the relationship between narrative form and medium in Jean-Georges Noverre’s pantomime ballets and Denis Diderot’s single extant pantomime ballet scenario. Analyzing both writers’ approaches to narrative register, I examine these in context with their and Rousseau’s views on the belle danse , or danse noble , as a medium. Ultimately, I argue that these thinkers’ divergent views reveal the comp

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Newton-Jackson, Paul. "Early Modern Polonaises and the Myth of Polish Rhythms." Journal of Musicology 41, no. 2 (2024): 179–220. http://dx.doi.org/10.1525/jm.2024.41.2.179.

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Scholars have long viewed the history of Polish dances through the lens of “Polish rhythms.” These rhythms are thought to characterize dances known as Polish from the sixteenth-century lute pieces of Hans Neusidler to the piano music of Frédéric Chopin. The notion of Polish rhythms continues to shape our modern reception of eighteenth- and nineteenth-century music: certain patterns are often used as a litmus test for whether a piece is evoking a Polish dance, even in the absence of an identifying label. I demonstrate, however, that there is little historical evidence that specific rhythms rend

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Corpus, Rina Angela. "Dance Beyond the Disquiet of Diaspora: Kristin Jackson's Aesthetic of Independent Dancing." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 12–23. http://dx.doi.org/10.1017/s2049125500000066.

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This essay navigates the dance history and aesthetics of New York–based Filipina-American dance artist Kristin Jackson, who bravely produced herself as an independent dance-maker. It highlights the independent and alternative dance practice of Jackson in the context of her multicultural identity and Filipino diaspora in America. As Jackson straddles both the Philippines and America, we witness in this narrative several issues mobilized around her dance and dance-making.

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Lalonger, Edith, and Jonathan Williams. "Music, Dance and Narrative in Rameau's Zaïs: Bringing the Immortal back to Life." Dance Research 33, no. 2 (2015): 212–26. http://dx.doi.org/10.3366/drs.2015.0138.

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The year 2014 saw the 250th anniversary of the death of the leading opera composer of the French Enlightenment, Jean-Philippe Rameau (1683–1764). While none of his 30 operas was granted a full production in the UK, semi-staged performances of three were given in London as part of the Rameau Project by Jonathan Williams and the Orchestra of the Age of Enlightenment. This interdisciplinary collaboration is based at Oxford University and has since 2012 been re-examining performance issues in Rameau's operas. Perhaps most fascinating is their research into stylistically-appropriate dance with Baro

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Hiscock, Andrew. "Moving Shakespeare: La danse narrative and adapting to the Bard." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (2020): 18–37. http://dx.doi.org/10.1177/0184767820914513.

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This article considers the expectations of narrative that frequently surround Shakespearean dance adaptation. Reviewing responses to two contemporary productions ( Le Songe by Les Ballets de Monte Carlo and Golden Hours (As You Like It) by the Rosas company), discussion pays particular attention to critical and audience appetites when attending to performances of Shakespeare on the dance stage. Highlighting contemporary debates in dance studies, the discussion draws to a close examining the challenges of transposing (often well-known) Shakespearean texts into bodily gesture and movement.

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Wang, Zi. "The Application of Polish Dance Rhythms in Opera Halka by Stanisław Moniuszko." Art and Society 4, no. 2 (2025): 16–21. https://doi.org/10.56397/as.2025.02.03.

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Stanisław Moniuszko’s opera Halka is a quintessential work of Polish national music, renowned for its innovative incorporation of traditional Polish dance rhythms. These rhythms are creatively adapted into special musical melodies, highlighting a distinct Polish national style and earning global acclaim. Moniuszko masterfully integrates the rhythms of dances such as the mazurka, polonaise, and krakowiak, reflecting the personalities of different characters and enhancing the emotional and dramatic depth of the narrative. These dance rhythms not only emphasize the folkloric elements of the story

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Kim, Hyun-Jung, and Young-Seok Lee. "Physical Narrative in the Dance of [Yuwol]." Journal of acting studies 23 (August 31, 2021): 265–78. http://dx.doi.org/10.26764/jaa.2021.23.14.

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Carroll, Noël. "Theatre, dance, and theory: A philosophical narrative." Dance Chronicle 15, no. 3 (1992): 317–31. http://dx.doi.org/10.1080/01472529208569103.

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Bulag, Uradyn E. "Mongolian Music, Dance, and Oral Narrative: Performing Diverse Identities.:Mongolian Music, Dance, and Oral Narrative: Performing Diverse Identities." American Anthropologist 105, no. 2 (2003): 452–53. http://dx.doi.org/10.1525/aa.2003.105.2.452.

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Rogers, Catherine, David Leventhal, Leah Apple, Katrina Kostro, Andrew Sudler, and Rita Charon. "Observing the World as Dancers Do: Teaching Dance to Medical Students." TDR/The Drama Review 64, no. 3 (2020): 67–78. http://dx.doi.org/10.1162/dram_a_00943.

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On a sunny day in a studio overlooking the Hudson River, a Mark Morris dancer guides a group of medical students in choreographing their patients’ stories. This class in narrative medicine provides a safe laboratory where doctors-to-be learn to view their relationships with future patients as an improvisatory partnered dance in which the choreography adjusts moment to moment as new challenges, details, and possibilities for healing emerge.

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Joung, Hee Joung. "An Action Study on a Narrative-Based Creative Dance Class for College Students with Developmental Disabilities." Korean Association For Learner-Centered Curriculum And Instruction 25, no. 12 (2025): 87–111. https://doi.org/10.22251/jlcci.2025.25.12.87.

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Objectives The purpose of this study is to implement a narrative-based creative dance class for college students with developmental disabilities and to explore the meaning of the class and potential areas for improvement. Methods The participants were nine students with developmental disabilities majored in the Special Physical Education. The class was conducted once a week for 15 weeks. Data were collected from literature sources, in-depth student interviews, field notes, class journals, student reflections, cultural artifacts, and a class sat isfaction survey from September to December 2024.

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Dewi, Jauhari Kumara. "Nilai-nilai Pendidikan Karakter dalam Gerak Dasar Tari Kejei Bagi Anak Usia Sekolah Dasar." AR-RIAYAH : Jurnal Pendidikan Dasar 6, no. 1 (2022): 115. http://dx.doi.org/10.29240/jpd.v6i1.4992.

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Education is one of leading sectors in the development of student character. Specifically, it aims to identify character values and integrate them into elementary school’s life. Kejei dance is one of the dances in which there are character values that have a role in shaping elementary school students’ character with God, themselves, others, and their nationality which expressed in every movement of the Kejei dance. The purpose of this study was to discover the meaning contained in the various basic movements of the Kejei dance in the process of shaping elementary students’ character. This rese

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Załęska, Zofia. "Swing dance costumes and their dynamics as seen through the prism of the feature films of the Second Polish Republic." Quart, no. 4(66) (December 1, 2022): 40–59. http://dx.doi.org/10.19195/quart.2022.4.95172.

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The article is a synthetic presentation of the presence of swing dance in the Second Polish Republic. It presents a brief history of this music and dance genre in the United States and its arrival in Poland, where it rapidly gained popularity and began to appear in cinematography. The author focuses on swing dance scenes in the following films: Zabawka (A Toy, dir. Michał Waszyński, 1933), Prokurator Alicja Horn (Prosecutor Alicja Horn, dir. Marta Flanz, Michał Waszyński, 1933), Dyplomatyczna żona (A dimplomatic Wife, dir. Mieczysław Krawicz, Carl Boese, 1937), Szczęśliwa trzynastka (Luck

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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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Eygerðardóttir, Dalrún. "Drifting: Feminist Oral History and the Study of the Last Female Drifters in Iceland." Feminist Research 2, no. 1 (2018): 1–15. http://dx.doi.org/10.21523/gcj2.18020101.

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This paper examines the story of the last female drifters in Iceland from the voices of women who remembered them. It examines the advantages of the woman-on-woman oral history interview when obtaining women’s perspectives on women’s history. An examination of women’s narrative techniques suggests that women’s narrative style is often consistent with a conversational style; and therefore it is important to construct a space in woman-on-woman oral history interviews that carries a sense of place for a conversation. It also examines the woman-on-woman oral history interview as a continuation of

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Febriyantono, Eka Lutfi. "INDUK BERAS MAHARAJA: PEMAKNAAN ULANG PERTUNJUKAN DRAMATARI RAMAYANA MELALUI MEDIA FILM DALAM KONSEP DANCE FILM NARATIF." Joged 23, no. 2 (2024): 187–204. https://doi.org/10.24821/joged.v23i2.14160.

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RINGKASANKarya dance film Induk Beras Maharaja terinspirasi dari pertunjukan dramatari dari serat pewayangan Ramayana pada lakon (ceritra) taman Argasoka, taman indah di kerajaan Alengka milik Rahwana Raja tempat di mana ketika Dewi Shinta diculik, ia ditempatkan di taman tersebut. Induk Beras Maharaja diartikan sebagai permaisuri raja, atau dalam kisah ini merujuk kepada Dewi Shinta itu sendiri. Dari lakon tersebut memunculkan ide gagasan alih wahana dari dramatari pertunjukan live ke dalam bentuk karya dance film naratif yang berfokus pada aspek naratif tembang Jawa dan sinematik yang melipu

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Guo, Shiyong, and Norzizi Zulkafli. "Artistic Value and Confucius Culture in Kong Dexin’s Dance Drama ‘Confucius’." Malaysian Journal of Social Sciences and Humanities (MJSSH) 10, no. 2 (2025): e003160. https://doi.org/10.47405/mjssh.v10i2.3160.

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This research article explores the artistic value of Chinese dance drama director Kong Dexin, with a particular focus on her outstanding dance drama ‘Confucius.’ The dance drama ‘Confucius’ is created by Kong Dexin and premiered in Beijing in 2013. The purpose of the research is to examine the artistic value and cultural significance of Kong Dexin's artistic work in the field of dance drama. The objectives include analyzing the narrative structure, choreography and cultural themes of ‘Confucius’ employed by Kong Dexin in the dance drama ‘Confucius.’ To achieve these aims, an interview was cond

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Zaini, Mimi Fitriana, and Niloufar Heshmati Manesh. "The Impact of Dance on the Development of Coping Mechanisms Fornarcolepsy: A Narrative Analysis." Jurnal Ilmiah Peuradeun 8, no. 1 (2020): 17. http://dx.doi.org/10.26811/peuradeun.v8i1.516.

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The purpose of this study was to highlight the experiences of dance as an approach to give optimism in reducing the difficulties of narcoleptic patients that stem close to normal social functioning, and to explore the consequences of dance on narcoleptic patients in physiological, environmental and interpersonal aspects. A semi-structured interview was conducted to 3 selected narcoleptics, age ranging from 30 to 45 years, with at least 6 months of dance experience, using a purposive sampling procedure. Thematic analysis enabled the identification of key components of the impacts of dance and i

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Gao, Yiran. "Research on the Sexualization or Empowerment of High-heeled Dancing on Social Media." Communications in Humanities Research 35, no. 1 (2024): None. http://dx.doi.org/10.54254/2753-7064/35/20240064.

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With the rapid development of modern technology and the internet, social media has become the mainstream way to shape groups. Many people will express their ideas online, which can greatly affect their psychology and spirit. Heel dancing has evolved, incorporating different dance styles and cultural influences. In terms of high-heeled dancing, social media also became a hotbed of debate.This article delves into the sexualization of heel dance on social media platforms, highlighting the difficulties dancers, particularly women, encounter as their image shapes society's perceptions. By reviewing

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Shin, Inseop. "Mobility in the Work of Haruki Murakami, Focusing on Dance Dance Dance as a Narrative of Mobility." Kritika Kultura, no. 36 (December 17, 2021): 234–52. http://dx.doi.org/10.13185/kk2021.003613.

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