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Artykuły w czasopismach na temat „Dance”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 25 lipca 2025

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1

Gailīte, Elīna. "Tautas deju definēšanas problemātika mūsdienās Latvijā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 94–104. http://dx.doi.org/10.37384/aplkp.2021.26-2.094.

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The article “Problems of defining folk dance in Latvia today” examines the aspects that affect the current situation in Latvia, where folk dances are understood as both folk dances that have not been modified by choreographers, dances passed down through generations that can be danced every day, and stage folk dances, which are a type of art performed by folk dance ensembles, created by choreographers and dances adapted to the stage performance. The research aim is to identify and describe the problems that currently exist in the Latvian cultural space, where the definition of folk dances crea

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MURADOVA, Terane. "APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION." IEDSR Association 6, no. 12 (2021): 218–26. http://dx.doi.org/10.46872/pj.258.

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Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement

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Surya, Windi Kartika, and Nerosti Nerosti. "Eksistensi Tari Andun Dalam Upacara Adat Perkawinan Di Kecamatan Seluma Kabupaten Seluma Provinsi Bengkulu." Jurnal Sendratasik 10, no. 4 (2021): 51. http://dx.doi.org/10.24036/js.v10i4.114175.

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This research has a problem regarding the formulation of "The Existence of Andun Dance in Seluma Marriage, Seluma Regency, Bengkulu Province". The purpose of this research is to describe and analyze the existence of Andun Dance in traditional wedding ceremonies in Seluma District, Seluma Regency, Bengkulu Province. This research uses descriptive qualitative analysis. Data collection techniques or through literature study, observation, interviews and documentation. The research found that the Andun Dance consists of two types, namely: (1) the Andun lelawanan dance which is danced in pairs and w

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Supeni, Siti. "JAVANESE TRADITIONAL ART-DANCE AS THE IMPLEMENTATION OF CHARACTER EDUCATION OF CHILDREN TO SUPPORT CHILD FRIENDLY SCHOOL." RESEARCH FAIR UNISRI 4, no. 2 (2020): 48. http://dx.doi.org/10.33061/rsfu.v4i2.4517.

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The purpose of the research is to: ( I) identify character education of children in various Javanese traditional dances, (2) to analyze the needs, output, problems. and learning objectives of child-friendly schools (CFS) in applying character education based on regional dance by interviewing a dancer trainer and a professional dancer who have experiences in creating and practicing the dances, and (3) to identify types of Javanese traditional dance values inside the dances. the types of research is through literary studies, interviews, surveys, observations, and documentation. To analyze the da

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Kariasa Putra, I. Komang, Tjokorda Udiana Nindhia Pemayun, and Gede Yosef Tjokropramono. "Sanghyang Dedari Dance as a Painting Creation Idea." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, no. 2 (2022): 87–91. http://dx.doi.org/10.59997/citakara.v2i2.1849.

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Balinese dance is a variety of dances originating from the island of Bali. Balinese dance does not always depend on the storyline. The main goal of Balinese dancers is to dance each stage of movement and sequence with full expression. Sang Hyang Dedari dance is a Balinese dance that is used as a religious tool. Balinese people still believe that when girls aged 9-12 years dance this dance, they will be possessed by the holy spirit of an angel. Usually, the Sang Hyang Dedari Dance is played or danced before the rice harvest around April to resist disease outbreaks, and this dance has been desig

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Hawthorn, Ainsley. "Middle Eastern Dance and What We Call It." Dance Research 37, no. 1 (2019): 1–17. http://dx.doi.org/10.3366/drs.2019.0250.

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This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly d

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Turabian, Jose Luis. "Doctor-Patient Relationship as Dancing a Dance." Journal of Family Medicine 1, no. 2 (2018): 1–6. http://dx.doi.org/10.14302/issn.2640-690x.jfm-18-2485.

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The transcendence of the doctor-patient relationship is given by the confirmed fact of its influence on the results of health care. Several models of doctor-patient relationship can be described, but evidence of improved compliance, satisfaction and recall of physician information has been found in patient-centered consultations. Since these concepts of doctor-patient relationship and patient-centered consultation have multiple facets, they are complex to understand and teach. Using a metaphor is a tool that can be useful in these situations. We could say that the "good" doctor-patient relatio

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Berdnik, M. "The Impact of Historical Choreographic Origins on Forming Emotional Content in Latin American Ballroom Dance." Culture of Ukraine, no. 80 (June 30, 2023): 76–81. http://dx.doi.org/10.31516/2410-5325.080.09.

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Modern ballroom dance is actively developed as a sport whereas the art of dancing, which is characterized by emotions, is disappearing now. The causes are dealt with the low level of performing Latin American ballroom dance as an art and the necessity to develop the origins of this dance. It is also important to perform a particular Ballroom dance emotionally considering its historical roots. It is fact that now the great number of competitive dance couples give a lot of attention to the physical training of choreographic compositions with a large number of acrobatic tricks and little re

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Harefa, Mega Suryawan, Malarsih Malarsih, and Rahina Nugrahani. "Analisis Bentuk Penyajian Tari Fanari Niowalu pada Acara Fal�wa di Kecamatan Idan�gawo." Ideas: Jurnal Pendidikan, Sosial, dan Budaya 10, no. 1 (2024): 223. http://dx.doi.org/10.32884/ideas.v10i1.1548.

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The fanari niowalu dance is a traditional dance which is one of the sacred dances in wedding customs which is only danced by niowalu at the fal�wa which symbolizes that Niowalu is ready to get married and welcomes the extended family of the marafule (groom), guests and the community who come was at the fal�wa event. The purpose of writing this article is to analyze the form of presentation of the fanari niowalu dance using qualitative research methods with an ethnochoreological approach that describes existing problems. This dance is danced at weddings where the dance is started by the mothers

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Pype, Katrien. "Dancing for God or the Devil: Pentecostal Discourse on Popular Dance in Kinshasa." Journal of Religion in Africa 36, no. 3-4 (2006): 296–318. http://dx.doi.org/10.1163/157006606778941968.

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AbstractThis article studies the dance poetics and politics of Christians in contemporary Kinshasa. For Kinois (inhabitants of Kinshasa), dance is one of the most important technologies to get in touch with an invisible Other, the divine or the occult. In sermons, and other modes of instruction, spiritual leaders inform their followers about the morality of songs and dances. These discourses reflect pentecostal thought, and trace back the purity of specific body movements to the choreography's source of inspiration. As the specific movements of so-called sacred dances borrow from a wide array

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Wang, Ziqiao. "Analysis of the Importance of Demeanor Training to the Study of Chinese Folk Dance—Taking Uighur Dance as an Example." Journal of Educational Theory and Management 2, no. 3 (2018): 84. http://dx.doi.org/10.26549/jetm.v2i3.992.

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Chinese folk dance has a long history and is quite abundant. It is an indispensable source of Chinese classical dance, court dance and professional dance creation. Chinese folk dances are characterized by unpretentiousness, diverse forms, rich content, and vivid images. But these require professional dancers to express through professional training. Even amateur dances need to be completed through well-trained and emotionally full actors.[1] In the process of training, in addition to the necessary basic skills and other physical training, we also need to train the demeanor. We often say that t

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Zakiyati, Nur Muaffah, Agus Cahyono, and Syakir Syakir. "Inheritance of Cultural Values of Kethek Ogleng Dance at Darma Giri Budaya Dance Studio in Wonogiri." Catharsis 9, no. 1 (2020): 28–37. http://dx.doi.org/10.15294/catharsis.v9i1.39033.

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The Kethek Ogleng dance performance is one of the traditional dances that is inherited and there are cultural values at Darma Giri Budaya Dance Studio in Wonogiri Regency. The purpose of this study is to analyze the inheritance of cultural values in the performances of the Kethek Ogleng Dance at the Darma Giri Budaya Dance Studio in Wonogiri Regency. The method used is qualitative with ethnochoreological approaches. The data collection techniques through observation, interviews and document study. The analysis process began from collecting data, reducing dataand clarifying, concluding and inte

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Linggih, Nyoman. "Sasolahan Sanghyang Oncesrawa At Penataran Sasih Temple, Desa Pakraman Pejeng Tampaksiring District, Gianyar Regency." Vidyottama Sanatana: International Journal of Hindu Science and Religious Studies 3, no. 2 (2019): 191. http://dx.doi.org/10.25078/ijhsrs.v3i2.892.

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<p>The Sanghyang Oncesrawa dance is not just a mere spectacle dance, this dance is in a state of unconsciousness, dancing on a burning fire and even though there are no signs of burning the body parts of the dancers. This dance is not a show or show off strength. The Sanghyang Oncesrawa dance is motivated by the loss of a beloved horse, the king of Bali, namely Sri Gajah Waktera with the title Sri Asta Sura Ratna Bumi Banten, a white hairy horse with a very powerful black tail named kuda oncesrawa. King Bedahulu's favorite horses disappeared and never came again. To commemorate the horse

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DePass, Cecille. "Dancing Our Stories Ourselves: Dancing with Mr. Neville Black." Cultural and Pedagogical Inquiry 12, no. 3 (2022): 54–58. http://dx.doi.org/10.18733/cpi29616.

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Chapter 10: Introduction to Jazz and Modern Dance, Take 5: Cecille recounts her experiences dancing with Neville Black, a modern dancer who was trained in the USA and returned to Jamaica to choreograph and teach modern and jazz dance to teens and adults. He choreographed several dances for Mrs. Simpson’s ballet performances, and taught with her in the 1960s.

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Sidhi, I. Putu Gede Serana Asta, Ida Ayu Trisnawati, and Kompiang Gede Widnyana. "Tari Sesandaran Di Griya Delod Pasar Desa Adat Intaran; Kajian Bentuk, Fungsi Dan Makna." Jurnal Igel : Journal Of Dance 4, no. 1 (2024): 47–54. http://dx.doi.org/10.59997/jijod.v4i1.4196.

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The Sesandaran dance at Griya Delod Pasar is a bebali dance that is sacred to the people and was born in the Intaran Traditional Village. This Sesandaran Dance is the same as the Telek Dance which uses a white tapel or mask and has a subtle character. Of course, the Sesandaran Dance which is located at Griya Delod Pasar is created with its own characteristics and identity. These characteristics exist at the beginning, the form of the dance. This Sesandaran Dance Research uses a qualitative research method with a descriptive qualitative approach. The research data was obtained through several s

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Kepekçi, Yalçın, Can Boğa, Zühey Günal, Hamza Çivi, and Emine Özmen. "MYOGLOBINURIA, HEMOGLOBINURIA AND BLOOD PRESSURE CHANGES iN TURKISH FOLK DANCERS." European Journal of Therapeutics 2, no. 1 (1991): 42–48. http://dx.doi.org/10.58600/eurjther.19910102-501.

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Turkish folk dancers hava won many international competitions i.e. first place in 1986 at Dijon, France; gold hatched in 1986 at Zakupane Poland. Turkish folk danca has almost the sama characteristics as other sports. Soma of the figures in the dances is characteristics as other sports. Soma of the figures in the dances is characterised by sudden movements of the feet to the ground. Rhabdomyolysis has been defined in skiers, football players, and in clay drum players according to previous reports. During the 1991 Turkish folk dance competition, the effects of physical activity and extremity co

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Vionnet, Claire. "Auto-Ethnography of Engagement Through Dance." TSANTSA – Journal of the Swiss Anthropological Association 27 (April 5, 2022): 78–93. http://dx.doi.org/10.36950/tsantsa.2022.27.7770.

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This paper proposes a reflection on collaboration through dance. Drawing on ten years of fieldwork within the Swiss contemporary dance scene, the author, an anthropologist, dance scholar, and dancer, discusses her ethnographic practice, method, and writing inspired by collaborative anthropology. The first part of the paper advocates for dance as a practice-based research method, and for auto-ethnography to convey anthropological knowledge in a more accessible way. Research-creation is claimed to particularly suit sensorial topics, tending toward symmetrical relationships between anthropologist

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Murti, Karinsa Krisna, and Slamet Slamet. "FUNGSI TARI NADRAK PAGUYUBAN RUKUN SANTOSA DESA BRONGKOL KABUPATEN SEMARANG." Greget 20, no. 2 (2022): 165–80. http://dx.doi.org/10.33153/grt.v20i2.4141.

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The article entitled Functions of the Nadrak Dance Association of Rukun Santosa, Brongkol Village, Semarang Regency aims to determine the function of Nadrak Dance. Nadrak dance is one of the folk dances in the Rukun Santosa Association which is danced in groups. The main problem of this research is the function of the Nadrak Dance. This research uses function theory. The theory of function was expressed by Bastomi. This research is qualitative. The data were collected through observation, interviews, and literature study. The results of this study the authors reveal the form and function of th

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Kietzman, Parry M., and P. Kirk Visscher. "Follower Position Does Not Affect Waggle Dance Information Transfer." Psyche: A Journal of Entomology 2019 (March 3, 2019): 1–5. http://dx.doi.org/10.1155/2019/4939120.

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It is known that the honey bee waggle dance communicates the distance and direction of some item of interest, most commonly a food source, to nestmates. Previous work suggests that, in order to successfully acquire the information contained in a dance, other honey bees must follow the dancer from behind. We revisit this topic using updated methodology, including a greater distance from the hive to the feeder, which produced longer, more easily-read dances. Our results are not congruent with those of earlier work, and we did not conclude that honey bees must follow a dancer from behind in order

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Fiskvik, Anne Margrete. "Tracing the Achievements of Augusta Johannesén, 1880–1895." Nordic Journal of Dance 5, no. 2 (2014): 4–21. http://dx.doi.org/10.2478/njd-2014-0007.

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Abstract Dancer, choreographer and teacher Augusta Johannesén was an important figure in several capacities for Nordic theatrical dance. She danced, taught and choreographed in Sweden, Finland as well as in Russia. Between 1860-1878 she was a member of the so-called Johannensénske Balletselskab, which toured extensively in the Nordic countries. The Johannesénske family settled in the Norwegian capital Kristiania in 1880, and Augusta Johannesén slowly established herself as a professional dance artist at the most important theatres in Kristiania. Over the years she became a dancer, choreographe

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ALM, IRENE. "Winged feet and mute eloquence: dance in seventeenth-century Venetian opera." Cambridge Opera Journal 15, no. 3 (2003): 216–80. http://dx.doi.org/10.1017/s0954586703001733.

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This article shows how central dance was to the experience of opera in seventeenth-century Venice. The first part provides an introduction to the use of dance in Venetian opera and the primary sources – libretti, scores, treatises, and various eyewitness reports. The second section summarizes the extraordinary variety of subjects and style of the dances. A third section treats the musical sources, describing stylistic features of the dance music, as well as providing important insights as to how to identify which vocal or instrumental excerpts would likely have been danced.

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Filippidou, Eleni. "Dance Stereotypes. Reflection of gender relations in the ‘Karsilama’ dance in Greece." International Journal of Research and Innovation in Social Science 06, no. 11 (2022): 839–44. http://dx.doi.org/10.47772/ijriss.2022.61143.

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Τhe research field of this paper is the Greek dance ‘Karsilama’ as this is danced in the area of Thrace in Greece. More specifically, the research was carried out in the community of Nea Vyssa, which is located in the northern part of this country. The aim of this research is to study the dances of ‘Karsilama’ in Nea Vyssa, which have rhythm of nine beats (9/8), so that through the analysis of their form, it can be established whether these dances reflect stereotypes of the position of the two sexes in society. The collection of ethnographic data was based on the ethnographic method. Laban’s n

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Ria Novitasari, Ni Luh, Ni Made Ruastiti, and I. Ketut Sariada. "Oleg Tamulilingan with Badung Style as the Primadona in the Performance Arts of Bali Tourism." Randwick International of Social Science Journal 4, no. 2 (2023): 481–91. http://dx.doi.org/10.47175/rissj.v4i2.658.

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The Oleg Tamulilingan dance is a traditional Balinese dance with the theme of romance, which depicts the romance of male and female beetles, danced in pairs by a male and female dancer. Researchers have extensively discussed the popularity of the Oleg Tamulilingan Dance. But, no one has disclosed the Badung Style in Oleg Tamulilingan Dance has remained the primadonna of the Bali tourism industry. The question is: what is the structure of the Badung version of the Oleg Tamulilingan dance?; What is the origin of the Badung-style Oleg Tamulilingan dance?. This research was conducted using qualita

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Nürnberger, Marianne. "Vajira ‐ The First Professional Female Dancer of the Sinhalese Style." Sri Lanka Journal of the Humanities 40 (July 9, 2015): 99–132. https://doi.org/10.5281/zenodo.200332.

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This article analyzes the historical role of Vajira, the first professional female dancer of the “classical” Sinhalese style – the Kandyan dance. The focus is on how her life’s work in training and presenting women on theatre stage in dances choreographed by her has largely influenced the modern culture of Sri Lanka. Vajira’s extraordinary career is described, and her most important ballets, tours, and awards are named. The article describes in some detail some of her numerous contributions to modern dance training and highlights her role as teacher in the development of children’s dance train

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RM, Pramutomo. "Dance, Ceremonialism, and Politic In Indonesia." International Journal of Social Science and Human Research 04, no. 01 (2021): 517–24. https://doi.org/10.47191/ijsshr/v4-i1-09.

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A study of the relationship between dance, ceremomonialism and politics in Indonesia is always interesting. The presence of dance in ceremonialism has a long history in Indonesian political culture. Since the time of the Majapahit kingdom, this has occurred in a pattern of political communication expressed through the appearance of King Hayam Wuruk when he danced in an official meeting in the palace. This fact is revealed from the ancient literature of Negara Kertagama which writes of the greatness of king Hayam Wuruk when he was a dancer in a performance at the palace. This fact seems to be a

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Hoppu, Petri. "Nordic Folk Dances as Imaginary Geographies." Congress on Research in Dance Conference Proceedings 2012 (2012): 76–80. http://dx.doi.org/10.1017/cor.2012.8.

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Geography is a feature that typically belongs to the realm of folk dance. Folk dances are often defined as belonging to a certain region, and it is seldom they are considered a result of artistic creativity. In the Nordic countries, folk dancers have co-operated intensively since the early twentieth century, sharing dances with each other. In this presentation, I am arguing that this co-operation has created imaginative geographies of the Nordic region, filled not with landscapes, terrains, or water systems, but with movements, holds, and music. As an example, I will present two Nordic folk da

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Hoppu, Petri. "The Polska: Featuring Swedish in Finland." Congress on Research in Dance Conference Proceedings 2014 (2014): 99–105. http://dx.doi.org/10.1017/cor.2014.13.

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The paper examines the Swedish polska as a special case of movementscape in Finnish folk dance. The research is based on ethnographic fieldwork among Finnish folk dancers in 2013. Since the 1970s, the polska has been popular in Swedish folk dance, and this versatile dance form can be seen as emblematic to Swedish folk dance culture. During the last 30 years, Finnish folk dance groups have also eagerly adopted it: not only the dance itself, but a whole new style and embodiment of dancing with improvisation as an important element. Although there have been vernacular polska forms in Finland, as

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Krisnasari, Bening. "Keberagaman Busana Tari Gambyong: Konstruksi Sosial pada Busana Tari Gambyong di Yogyakarta." INVENSI 8, no. 1 (2023): 31–41. http://dx.doi.org/10.24821/invensi.v8i1.7100.

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Tari Gambyong awalnya merupakan tari tunggal putri yang termasuk dalam tari tradisi gaya Surakarta. Pada perkembangannya, tari tunggal ini dapat ditarikan secara berkelompok, sehingga bisa menyesuaikan keinginan konsumen atau pun penyelenggara acara mengenai jumlah penari yang akan menarikannya. Tari Gambyong sering dijadikan sebagai pentas paket para seniman karena tari Gambyong sering ditarikan untuk pembukaan sebuah acara seperti gala dinner, penyambutan tamu, dan sebagainya. Maka tari Gambyong dapat digolongkan sebagai pertunjukan komersial karena dapat dipentaskan di acara besar maupun ke

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Morris, Geraldine. "Is it a Petipa dance we are watching?" Dance Research 37, no. 2 (2019): 220–38. http://dx.doi.org/10.3366/drs.2019.0274.

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To answer this question, I focus on dance movement style in one particular Petipa ballet; but in doing so, I seek to go further and to raise a more fundamental issue, namely, how we should distinguish between classroom technique and art? Petipa dances present a specific example of the problem that arises when choreographers draw on the classroom lexicon, or danse d'école, as a basis for their choreography – leading dancers and rehearsal directors to conflate the values of the classroom with those of the dance. Using a dance from The Sleeping Beauty (1890) as a framework, I explore the issue of

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Khairunnisa, Yussy Talitha, Ely Triasih Rahayu, and Muammar Kadafi. "Struktur dan Makna Tarian Yosakoi." Jurnal SAKURA : Sastra, Bahasa, Kebudayaan dan Pranata Jepang 4, no. 1 (2022): 118. http://dx.doi.org/10.24843/js.2022.v04.i01.p10.

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The purpose of this study was to determine the structure and meaning of movements contained in the yosakoi dance. The yosakoi dance is a traditional dance that was first introduced in 1954 in Kochi prefecture. The kochi yosakoi dance was first performed in a summer festival, with the basic dance was called seicho. Seicho yosakoi is danced with the yosakoi naruko odori song and uses a musical instrument called naruko. Besides at Kochi prefecture, yosakoi also has expanded to the Hokkaido area. Yosakoi dance in Hokkaido is known as yosakoi soran. Yosakoi soran was first created by Hasegawa Gaku

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Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai, and Takuichi Nishimura. "Determining Partnering Effects in the “Rise and Fall” Motion of Competitive Waltz by the Use of Statistical Parametric Mapping." Baltic Journal of Sport and Health Sciences 1, no. 120 (2021): 4–12. http://dx.doi.org/10.33607/bjshs.v1i120.1047.

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Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz. Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and

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Vladova, Ina, and Yiğit Ünlü. "ON THE IMPORTANCE AND NEED OF FLEXIBILITY AND STRENGTH REFINEMENT AS AN ELEMENT OF DANCERS' TRAINING." Journal of Applied Sports Sciences 1 (July 14, 2017): 31–45. https://doi.org/10.37393/JASS.2017.01.4.

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Contemporary professional dance art is close, to a great extent, to sport of excellence. The requirements to performers are constantly increasing and hence the need of properly organised specialised training, including a system of drills, stretching and dance exercise for developing their motor skills. The aim of this empirical study is to establish the need of including a specialised methodology for the development of the motor skills in the dance practice in the Republic of Turkey – strength and flexibility for the dancers of Turkish folk dances. The tasks are: to study the dance practice in

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Nugroho, Slamet. "Makna Tarian Sufi Perspektif Komunitas Tari Sufi Dervishe Pekalongan." JOUSIP: Journal of Sufism and Psychotherapy 1, no. 1 (2021): 69–84. http://dx.doi.org/10.28918/jousip.v1i1.3880.

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 Spiritual dance has a deep meaning. One of the Sufi dancers from Dervishe Pekalongan revealed that there are many meanings contained in the dance, one of which is love. The dancer must present love in his heart and in every breath only for Allah, from feelings of love it is hoped that all Sufi dancers can accept and live all life in the world with great love for Allah. Based on this, it is studied about the Meaning of Sufi Dance from the Perspective of the Sufi Dance Community Dervishe Pekalongan. This research is a type of qualitative research. The main target of the research is how to

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Liska, Suzanne. "Somatic ethnographic research: A choreographic process informed by Alexander Technique." Choreographic Practices 11, no. 1 (2020): 75–99. http://dx.doi.org/10.1386/chor_00013_1.

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I write from the perspective of a dance artist interested in reflecting on and sharing my experiences of applying the Alexander Technique (AT) to a choreographic process. The inquiry was framed by dance ethnography, and I choreographed, danced, interviewed and performed with emerging to established dance artists specializing in Contact Improvisation, and interviewed and participated in lessons and workshops with AT teachers. During each phase of the research, I asked: why and how does AT guide me to embody my practice as a choreographer and dancer? This self-ethnographic research outlines an A

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Triana Titania Manuaba, Ida Ayu, I. Wayan Dibia, and I. Ketut Sariada. "A Dance Work Representing Ida Bagus Blangsinga’s Life Journey (The Maestro of Kebyar Duduk Dance in Blangsinga Style)." Journal of Aesthetics, Creativity and Art Management 1, no. 1 (2022): 31–36. http://dx.doi.org/10.59997/jacam.v1i1.1594.

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This work aims to represent the figure of Ida Bagus Blangsinga, a master of the Kebyar Duduk dance in Blangsinga style. The method of creation used in this work uses the creation method which includes assessment, experimentation, and formation. This method is easily understood by the stylist to express and visualize several scenes in the work. The form of the chosen work is a new creation dance, because it provides space for development according to the wishes of the stylist. This work is danced by six female dancers and one male dancer using soft make-up and fashion that supports each part of

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Ailamazyan, Aida. "Dance and Personality." Ideas and Ideals 15, no. 1-2 (2023): 406–26. http://dx.doi.org/10.17212/2075-0862-2023-15.1.2-406-426.

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The article is devoted to the problem of personal involvement in dance activity. The author applies an interdisciplinary research methodology: on the one hand, a semiotic analysis of the dance language is carried out and the features of the dance sign are considered, on the other hand, a psychological description of the dancer’s personality is given, a psychological portrait is created. According to the methodology of the cultural-historical approach, the sign is taken in its instrumental function and orientation. The author puts forward a hypothesis about the dual orientation of the dance mov

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Setyawati, Livia. "Budaya Tari Lengger dalam Perspektif Hukum Islam di Kabupaten Wonosobo)." Al-Mada: Jurnal Agama, Sosial, dan Budaya 4, no. 1 (2021): 64–77. http://dx.doi.org/10.31538/almada.v4i1.735.

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Research on the culture of Lengger dance in the perspective of Islamic law aims to find out how the implementation of the Lengger dance is carried out by Muslims in Wonosobo Regency, to find out what factors cause the many fans of the Lengger dance in Wonosobo Regency, to find out how the view of Islamic law affects the Lengger dance as culture in Wonosobo Regency. This research uses a descriptive method. The data analysis technique used is qualitative analysis techniques. The results of the data from this article indicate that the Lengger dance culture is carried out on certain occasions, suc

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Jacob, Oluwafemi. "Contributions of Maltina Dance Reality Show to Dance Practice in Nigeria." NIU Journal of Humanities 8, no. 4 (2023): 277–82. http://dx.doi.org/10.58709/niujhu.v8i4.1863.

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Dance involves the totality and living experience of man from the prehistoric times till date. It was part of all his daily activities such as his work, communication and even in his worship of the gods and ancestors (Nigeria inclusive). To this extent, the Nigeria dance practice has developed greatly even in the face of multi ethnicity as it has given birth to various indigenous dances. These indigenous dances have also been the raw materials to every form of contemporary dances that has emerged over the years. Diverse platforms have also surfaced to help sustain Nigerian dances such as Natio

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Shamshiev, Almat, and Gulnara Jumasseitova. "VARIATIONS OF ELEMENTS OF THE NATIONAL MEN'S DANCE («ZHOLBARYS ZHUREK» BASED ON A DANCE PERFORMANCE)." Central Asian Journal of Art Studies 10, no. 3 (2023): 145–60. http://dx.doi.org/10.47940/cajas.v10i3.737.

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Abstract. Men's dance in the Kazakh dance art requires special attention in modern choreography. The development of dances for men, the scientific formulation of its history, and development trends are among the most pressing problems in modern dance art. Therefore, this scientific article is devoted to discussing the essence of the national dances of the Kazakh people, including dances for men, ways of their formation and development. The article is based on Almat Shamshiev's dance «Zholbarys zhurek» changes in the national men's dance elements were scientifically differentiated, and various

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Islami, Virdha Fahira, and Kun Setyaning Astuti. "Aesthetic Value of Padduppa Bugis-Makassar Dance as a Guest Welcoming Dance in South Sulawesi." International Journal of Multicultural and Multireligious Understanding 10, no. 5 (2023): 72. http://dx.doi.org/10.18415/ijmmu.v10i5.4569.

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The aesthetic value of Padduppa Bugis-Makassar Dance as a guest welcoming dance in South Sulawesi. Padduppa dance is a traditional dance originating from the Bugis-Makassar tribe. Padduppa Bugis-Makassar dance as a welcoming dance in South Sulawesi. Padduppa dance is a dance that illustrates that the Bugis people have guests or can be said to be a welcome dance from the Bugis tribe as a sign of gratitude and honor. Padduppa dance comes from the Bugis language, duppa, which means meeting, picking up or meeting. The purpose of this study is to analyze the aesthetics contained in Padduppa Dance a

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Wang, Lan. "The presentation and cultural characteristics of the Savurden dance form among the Mongolian people." 国际化教育科学与理论 3, no. 3 (2024): 43. https://doi.org/10.26789/ijest.v3i3.1876.

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The Mongolian nationality dance includes the top bowl dance inherited from the Yuan Dynasty, including chopsticks dance, insect insect dance, Topxiu dance, duel, etc. Various kinds of dances have their own characteristics, and various dances express the strong emotions of the Mongolian people. This paper studies —— Surden, another Mongolian dance. In short, Savurden is a form of artistic expression that integrates song, music and dance, with profound research significance and rich cultural heritage. The article will take Mongolian Uygur dance as the starting point to explore the presentation a

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Azizah, Rona Cita, Susanna Edelweiss, and Angelika Riyandari. "Representing Multicultural Semarang through Gambang Semarang’s Narrative." Celt: A Journal of Culture, English Language Teaching & Literature 18, no. 2 (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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Grube, Nikolai. "Classic Maya Dance." Ancient Mesoamerica 3, no. 2 (1992): 201–18. http://dx.doi.org/10.1017/s095653610000064x.

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AbstractA long-known verbal glyph in Classic Maya inscriptions is reinterpreted as a glyph for dancing (ahk'ot), apparently an important ritual of the ancient Maya. The glyph is found with scenes showing one or several dancers. Glyphs after the verb can be shown to describe the objects and instruments employed in dances. This article analyzes several examples of Maya dances and the ritual and social context in which they occur. These include the dance with a staff with cloth tied down its length, a dance with a “God K” scepter, a dance with a staff with birds attached to it, a dance with a sta

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Haes, Putri Ekaresty. "Pelestarian Budaya dalam Tari Wali Krama Murwa pada Tradisi Usaba Sambah di Desa Pesedahan Karangasem." Ideas: Jurnal Pendidikan, Sosial, dan Budaya 7, no. 3 (2021): 101. http://dx.doi.org/10.32884/ideas.v7i3.468.

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Penelitian ini bertujuan untuk mengetahui pelestarian budaya yang dilakukan oleh masyarakat desa Pesedahan melalui tari wali krama murwa dalam tradisi usaba samba. Metode kualitatif dengan pendekatan etnografi melalui teknik observasi, wawancara dan dokumentasi. Hasil penelitian menjelaskan bahwa tari wali merupakan tarian sakral yang berfungsi sebagai pelaksana upacara yadnya dan wajib ditarikan oleh penduduk asli setempat (krama murwa), tarian ini memiliki tiga bentuk yaitu Tari Pendet Lanang, Tari Pendet Tari Istri, dan Tari Rejang Lilit. Ketiga tarian ini memiliki makna untuk menyenangkan

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Filippidou, Eleni. "The Sacred and The Secular in Dance: One Dance, Two Different Functions." European Journal of Theology and Philosophy 3, no. 4 (2023): 1–7. http://dx.doi.org/10.24018/theology.2023.3.4.119.

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The aim of this paper is to highlight the "sacred" and "secular" character of the Xesyrtos or Gikna dance in the community of Asvestades in Thrace in Greece. In particular, this paper intends to highlight the difference between the "sacred" and the "secular" and the way this dichotomy is reflected in the dance under study. Data was gathered through the ethnographic method. The sacred/secular dichotomy, as proposed in Leach's (1976) theoretical model, is used to analyze the data. Further, Laban's notation system (Hutchinson, 2005; Koutsouba, 2005), was used to record the choreographic compositi

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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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López Arnaiz, Irene. "Living Archive. Nyota Inyoka’s Archive: Traces of the Ephemeral and Ancient Dances Reenactment." Anales de Historia del Arte 32 (July 14, 2022): 327–50. http://dx.doi.org/10.5209/anha.83074.

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The French National Library keeps since 1983 the personal archive of the dancer and choreographer Nyota Inyoka (Fonds Nyota Inyoka). This archive comprises twenty-eight boxes of documents, besides costumes belonging to the dancer, which are constitutive as material of enormous value for the necessary recovery of this figure that has fallen into oblivion in the history of dance. This article aims at providing a first approach to the Nyota Inyoka Archive by ramifying the study in two directions. On the one hand, it allows us to articulate some keys to her choreographic proposal and her theoretic

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Basirova, Karina B. "THE FOLK MUSIC AND DANCE'S AS A MEANS OF AESTHETIC EDUCATION OF THE DAGESTAN CHILDREN." History, Archeology and Ethnography of the Caucasus 16, no. 3 (2020): 797–810. http://dx.doi.org/10.32653/ch163797-810.

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This article discusses the theoretical, educational, and educational aspects of aesthetic education of children by means of folk music and dance. The analysis of theoretical and methodological, psychological and pedagogical problems of aesthetic education of children is carried out, and effective means of using the spiritual and cultural value of folk music and dance of the Dagestan peoples are identified. Recommendations for the successful upbringing of children through folk music (song, dance) are defined. It is shown that each of the Dagestan peoples created their own original musical genre

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Wahyuni, Fitri, and Malta Nelisa. "Pembuatan Purwarupa Ensiklopedia Tarian Adat Minangkabau." Ilmu Informasi Perpustakaan dan Kearsipan 8, no. 1 (2019): 476. http://dx.doi.org/10.24036/107302-0934.

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AbstractIn this paper we discuss Minangkabau traditional dances in the form of an encyclopedia prototype. The objectives of writing this paper are: (a) to describe the community's needs for information about Minangkabau traditional dances; (b) describes the process of making an encyclopedia of traditional Minangkabau dance prototypes; and (c) describe the constraints and efforts in making an encyclopedia prototype of Minangkabau traditional dance. This study uses a descriptive method with data collection techniques through direct observation and direct interviews with seven different professio

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Moreno Carvallo, Jose Manuel. "Con el Divino Rostro no se juega: Personificación de un santo en la danza de Santiagos de Texcoco y Teotihuacan / With the Divine Face do not play: Personification of a saint in the dance of Santiagos of Texcoco and Teotihuacan." REVISTA TRACE, no. 84 (July 31, 2023): 9–30. https://doi.org/10.22134/trace.84.2024.856.

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Este trabajo trata sobre el Divino Rostro, un objeto ritual utilizado en la danza de Santiagos de las regiones de Texcoco y Teotihuacan, México central, al que los pobladores consideran como un santo o imagen viva. Debido a esta característica, el danzante que porta la imagen, la cual representa una mezcla entre Jesucristo y Santiago apóstol, tiene que cumplir con una serie de requisitos, ya que al momento en que la utiliza «le presta su cuerpo al santo». Esto significa que no es solo el danzante quien baila y participa en la festividad, sino también la imagen. Contrario a esta idea, los espec

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