Bibliografias temáticas / Traditional dance

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Literatura científica selecionada sobre o tema "Traditional dance"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 20 de fevereiro de 2023

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Artigos de revistas sobre o assunto "Traditional dance"

Supeni, Siti. "JAVANESE TRADITIONAL ART-DANCE AS THE IMPLEMENTATION OF CHARACTER EDUCATION OF CHILDREN TO SUPPORT CHILD FRIENDLY SCHOOL". RESEARCH FAIR UNISRI 4, n.º 2 (15 de agosto de 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 data, the researchers useResearch & Development. The findings show that (1) identification of charactereducation in various Javanese traditional dance, (2) there are the needs, output, problems, and learning objectives of child-friendly schools (CFS) in implementing character education based on regional dance, and (3) types of Javanese traditional dance values from. Keywords: Javanese Traditional Dance, Character Education, Child-Friendly School

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Odefunso, Adebunmi E., Esteban Garcia Bravo e Yingjie V. Chen. "Traditional African Dances Preservation Using Deep Learning Techniques". Proceedings of the ACM on Computer Graphics and Interactive Techniques 5, n.º 4 (6 de setembro de 2022): 1–11. http://dx.doi.org/10.1145/3533608.

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Human action recognition continues to evolve and improve through deep learning techniques. There have been studies with some success in the field of action recognition, but only a few of them have focused on traditional dance. This is because dance actions, especially in traditional African dance, are long and involve fast movements. This research proposes a novel framework that applies data science algorithms to the field of cultural preservation by applying various deep learning techniques to identify, classify, and model traditional African dances from videos. Traditional dances are an important part of African culture and heritage. Digital preservation of these dances in their multitude and form is a challenging problem. The dance dataset was constituted from freely available YouTube videos. Four traditional African dances were used for the dance classification process: Adowa, Swange, Bata, and Sinte dance. Five Convolutional Neural Network (CNN) models were used for the classification and achieved an accuracy between 93% and 98%. Additionally, human pose estimation algorithms were applied to Sinte dance. A model of Sinte dance that can be exported to other environments was obtained.

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Gailīte, Elīna. "Tautas deju definēšanas problemātika mūsdienās Latvijā". Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, n.º 26/2 (11 de março de 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 creates tension in the public space and ambiguous opinions among dancers. Nowadays, it is possible to identify such concepts as, for example, folk dance, ethnographic dance, authentic dance, traditional dance, folklore dance, folk dance, folk dance adaptation, field dance, folk ballet, etc. Consistent use of concepts is rarely seen in the documents and research of cultural policymakers and the historical and contemporary works of choreographers and researchers. Often they are only described in general terms. A survey conducted in 2019 shows that dancers consider stage folk dances to be folk dances, and often this separation of dances is not important for them. Another problem is the designation of folk dance ensembles where stage folk dance dancers are dancing. The term misleads; it suggests that folk dances are danced there. However, this designation is linked to its historical time of origin. It is not insignificant that the stage folk dance is more popular, more visible, and massively represented at the Song and Dance Festival. Thus, a part of the society associates it with our folk dances.

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Wahyuni, Fitri, e Malta Nelisa. "Pembuatan Purwarupa Ensiklopedia Tarian Adat Minangkabau". Ilmu Informasi Perpustakaan dan Kearsipan 8, n.º 1 (29 de outubro de 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 professions, such as the community, students, students, tourists and owners of the Syofyani dance studio. Based on the analysis of the data it can be concluded as follows: First, the need for information about Minangkabau traditional dances is very minimal from the community, this can be seen from people who are not very interested in information about Minangkabau traditional dances because Minangkabau traditional dances are rarely performed and there are no information media which specifically discusses Minangkabau traditional dances. So that the Minangkabau traditional dance is shifted by outside dances such as dance and k-pop. Second, the making of an encyclopedia prototype of Minangkabau traditional dance through several stages, namely: (a) information needed about traditional Minangkabau dances; (b) data collection is done by interviewing techniques; (c) prototype product design encyclopedia of Minangkabau traditional dance using the Photoshop CS6 application; and (d) the resulting form is an encyclopedia prototype which contains information about the types of dance, dance philosophy, property used, music, clothing used in the dance, along with supporting images. Third, constraints and efforts in producing encyclopedias prototype products, namely: (a) resource persons who know about information about Minangkabau traditional dances are difficult to find and efforts to overcome them are done by making an appointment beforehand to the speakers; (b) data collection such as books on Minangkabau traditional dances is difficult to obtain and efforts to determine them are carried out by obtaining data from journals that discuss traditional dances.Keywords: Prototype, Encyclopedia, Minangkabau Indigenous Dance

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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, n.º 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 of cultural worlds, ranging from traditional ritual dances and popular urban dance to biblical tales, the religious leaders state that not just the body movements, but also the space where people dance and the accompanying songs, define the Christian or pagan identity of the dancer. Therefore, both the reflections upon dance movements and the dance events within these churches will be discussed as moments in the construction of a Christian community.

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Zakiyati, Nur Muaffah, Agus Cahyono e Syakir Syakir. "Inheritance of Cultural Values of Kethek Ogleng Dance at Darma Giri Budaya Dance Studio in Wonogiri". Catharsis 9, n.º 1 (31 de maio de 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 interpreting. The cultural value of Kethek Ogleng Dance can be seen in the dance moves, the performing techniques, dancers, time, drama, and technique. The cultural values that are seen from the knowledge obtained is from learning in the Studio and formal schools. Skillis the process of training artists to the dancer of Kethek Ogleng in the studio. Attitude, the artist teaches the attitude of dancer Kethek Ogleng that the talent possessed must be delivered.

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Martozet, Martozet. "The Existency of Traditional and Modern Dance in Medan City". Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 4, n.º 1 (14 de janeiro de 2021): 203–12. http://dx.doi.org/10.33258/birle.v4i1.1574.

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The purpose of this study was to determine the existence or existence of traditional dances and modern dances in Medan. The research problem focuses on the existence of these two dance forms, how is the journey of traditional dance forms from the pre-independence era to the present and the glories of the emergence of new, modern-style dance forms from the 1960s, especially in the city of Meda. In order to approach this problem, the theory of existence is used WJS Poerwadaminta. Apart from that, it was also emphasized aboutunderstanding of traditional and modern dance by Indonesian dance expertsSoedarsono.While the data were collected through field observations, interviews, documentation, and literature study. Furthermore, the data obtained were analyzed through qualitative descriptive methods, narrating the data obtained in the field according to existing facts. From the research results it is known that the city of Medan as a large heterogeneous city, has traditional dances such as the Inai and Zapin Labuhan dances. Inai dance is performed at the evening ceremony, while Zapin Labuhan is performed at the apostolic circumcision ceremony.Zapin appeared in line with the existence of the Malays who lived in this area and were related to the existence of the Deli Sultanate. Zapin Labuhan developed during the reign of Tuanku Panglima Gandar Wahid in the 18th century AD, who was the King of Deli to V. Zapin.consists of several variants such as Zapin Anak Ayam, Zapin Pecah Tiga, Zapin Elang, Zapin Selendang, Zapin Lancang Kuning, Zapin Zat, Zapin Gergaji, and Zapin Zig-Zag.

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Yamaner Okdan, Hale. "Structural analysis of traditional Kadın Zeybek dances in İzmirİzmir ili geleneksel Kadın Zeybek oyunlarının yapısal analizi". International Journal of Human Sciences 13, n.º 1 (12 de janeiro de 2016): 332. http://dx.doi.org/10.14687/ijhs.v13i1.3499.

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İzmir has a dance culture where zeybek dances are performed predominantly. When the zeybek dances performed by men are danced by women they are called “kadın (female) zeybek”. Kadın zeybek dances are more agile in terms of rhythm, and simpler and elegant in terms of movement when compared to male zeybek dances. In traditional life, women aren’t welcome to dance in the same environment with men. Thus, female dances are performed indoors where men aren’t allowed to participate or even see the woman dancing. The staging of folk dances since the 1930’s has caused this rule applied in traditional life to lose its validity in urban atmosphere. While female dances are carried to the stage over time, men and women started to dance together on stage. As a result of these dances developments traditional dances gained a new category called “mixed dances” meaning dances performed by both sexes. Today, traditional dances are classified under the titles “female dances”, “male dances” and “mixed-sex dances” according to the gender of the dancer. This article is on the structural analysis of the zeybek dances performed by women only. Özetİzmir ili, zeybek türü oyunların ağırlıklı olarak oynandığı bir oyun kültürüne sahiptir. Erkekler tarafından oynanan zeybek oyunlarının kadınlar tarafından oynanan şekline kadın zeybeği denmektedir. Kadın zeybek oyunları erkek zeybek oyunlarına kıyasla ritmik yapı itibarıyla daha kıvrak, oynanış tavrı bakımından daha zarif oyunlardır. Geleneksel yaşamda kadının erkekle aynı ortamda oyun oynaması hoş karşılanmaz. Bu nedenle kadın oyun icraları erkeğin katılamadığı ve hatta oynayan kadını göremediği mekanlarda -kapalı alanlar- gerçekleşir. Halk oyunlarının 1930’lu yıllardan itibaren sahneye taşınması, geleneksel yaşamda uygulanan bu kuralın şehirlerde geçerliliğini yitirmesine neden olmuştur. Zamanla kadın oyunları sahneye taşındığı gibi, kadın ve erkek sahne üzerinde birlikte, yan yana dans etmeye başlamıştır. Bu gelişmeler sonucu geleneksel oyunlar karma oyunlar adı altında –kadın ve erkeğin beraber oynadığı oyunlar- yeni bir kategoriye kavuşmuştur. Günümüzde geleneksel oyunlar oyuncunun cinsiyetine göre kadın oyunları, erkek oyunları ve karma oyunlar şeklindeki üç başlıkta ele alınır. Bu yazı sadece kadınlar tarafından oynanan zeybek türünde oyunların yapısal analizini içerir.

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Georgios, Lykesas. "The Transformation of Traditional Dance from Its First to Its Second Existence: The Effectiveness of Music - Movement Education and Creative Dance in the Preservation of Our Cultural Heritage". Journal of Education and Training Studies 6, n.º 1 (22 de dezembro de 2017): 104. http://dx.doi.org/10.11114/jets.v6i1.2879.

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Being an indispensable part of our folk tradition, the traditional dance bears elements of our cultural tradition and heritage and passes them down from generation to generation. Therefore, it contributes substantially to the reinforcement of our cultural identity and plays a crucial role in the "cultural development" of our society.Our culture is going through a constant process of mutation. Some traditional elements get lost, while others resist and survive or get transformed and readjust to new emerging circumstances.The aim of the present study is to investigate the learning process of Music/ Movement Education and Creative Dance within the context of the “second existence” of dance, and the way in which this learning process can effectively save and preserve the characteristic cultural traits of the "first existence" of the traditional dance.The experiential way of learning and transmitting dance from one generation to the other, is characterized as “the first existence” of dance. Changes in modern social, political and economic conditions have influenced the Greek traditional dance, which has acquired a more entertaining and tourist-commercial character, while its educational character has transformed going through teacher-centered educational processes. Having undergone this change, the traditional dance is now defined as “the second existence” of folk dance. The conversion of the traditional dance from its "first existence" into its "second existence" is supported and interpreted by the three components of the dancing process, the so-called “communication triangle”: the dancer, the dance and the viewer. The adoption of the particular approach of Music - Movement Education and Creative Dance in teaching Greek traditional dances can preserve and convey a large part of our cultural heritage to the new generation.Only by learning their country’s history and culture will the young generations be able to learn their own identity and make the best of the past in order to live more happily today and create a better future.

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Winarsih, Sri. "THE ROLE OF BALADA CENDERAWASIH TRADITIONAL DANCE OF PAPUA". British (Jurnal Bahasa dan Sastra Inggris) 9, n.º 1 (25 de junho de 2020): 27. http://dx.doi.org/10.31314/british.9.1.27-36.2020.

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Balada Cenderawasih is a traditional dance of Papua which is performed by a group of dancers in the costumes resembling beautiful Paradise birds. The dance is often performed in many important events in Merauke. This study aims to find out the role of Balada Cencerawasih as a kind of ballad from Papua beyond an art show. Two subjects were studied; the dance and the owner of traditional dance studio. Through overt observation over the dance, and semi structured interview with the owner of traditional dance studio, it was collected the data and were analyzed using Spradley qualitative model. The study shows the roles of Balada Cenderawasih are as; 1) Cultural identity; through the motions, language and symbols; 2) Regional wealth, both material and cultural heritage; through the show includes costumes, musical instruments and the dancer attributes; and 3) Environmental protection; through the values include moral, religious and education.Keywords: balada cenderawasih, ballad, role, traditional dance

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Teses / dissertações sobre o assunto "Traditional dance"

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

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

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Rani, Maxwell Xolani. "Lost meaning-new traditions : an investigation into the effects of modernity on African social traditional dance in Nyanga, Cape Town". Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/11155.

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Includes bibliographical references.
The dancers of Nyanga have taken note of the extent to which modernity has caused them to adjust and transform the movement quality and execution of their dances to create new urban African social dances. In addition, the urban dancers' experiences in the field have affected and influenced their craft. These perspectives have served as a point of departure for a re-evaluation of the role and predicaments of African social traditional dance in an urban environment, with specific reference to Nyanga township and raises questions around the manner in which modern agencies such as Christianity, education, multimedia, fashion and geography influence South African social traditional dance.

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Son, Munmi. "Dance as Healing Therapy| The Use of Korean Traditional Mission Dance in Overcoming Oppression". Thesis, California State University, Los Angeles, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10814071.

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Korean traditional mission dance originates in worship ceremonies in Christian churches and missionary settings, but inherits movement, floor patterns, and motifs from Korean folk dances that are performed as ceremonial rituals. This thesis suggests that as women connect to the healing power present in Korean traditional dance and its hybrid forms, they may be aided in healing from negative experiences with sexist oppression. The author discusses intersectional oppression she experienced in Korea through an autoethnographic research process, her experiences with Korean traditional mission dance pioneered by Soon Ja Park and considers identity transformation and healing in the context of her work as director of the L.A. Argon Mission Dance group. In this way, she expands a choreography model to further these healing processes.

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Chun, Mi Hyun. "Developing a somatic teaching method for Korean traditional dance /". The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488192447430171.

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Mollenhauer, Jeanette Anne. "Translated traditions: A comparative ethnography of traditional dance in the Irish and Croatian communities in Sydney, Australia". Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17997.

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This comparative ethnography investigates the traditional dance practices of the Irish and Croatian communities in Sydney, Australia. Transnationalism theory affords the means through which to examine the multiple ways in which individuals and groups have forged, and continue to participate in, fields of engagement across national borders. The study situates the immigrant groups within the context of multicultural Australia, and additionally references the theoretical paradigms of cultural identity, diaspora studies, nostalgia theory and ethnochoreology. The research entailed detailed case studies of three dance groups from each of the immigrant communities under investigation. Data were gathered through ethnographic fieldwork conducted in dance classes and special events over two years and interviews with 100 participants. Emergent themes revealed participants’ agency in multiple transnational spaces including, at a personal level, cultural identity, emotional attachment and embodied signification. Themes relating to structural and functional fields were the global organisational frameworks, patterns of pedagogical practice and flows of material goods. The final theme was transnational representation through public performances of dance. The research revealed that participation in traditional dance was an important means through which immigrants may perpetuate links with their ancestral birthplace. Strong affective bonds with that former homeland were noted amongst the large majority of respondents. Dance was also identified as an important signifier of cultural belonging amongst members of both communities. Additionally, the study acknowledged that transnational engagements were not the sole province of immigrants, but also included those who have merely affiliated themselves with a traditional dance genre.

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

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This study aims to investigate how dance teachers who are educated in Swedish folk dance are reflecting and thinking over the body and the use of bodily self-awareness in their teaching. Furthermore it wants to examine whether the use of somatic principles can act as a tool to support the ideas which dance teachers express. Four folk dance teachers have been interviewed as qualitative empirical material. These interviews have been transcribed and analyzed using codes and categories. The result of the study provides an image of the body as it is seen in folk dance today and points out similarities between that picture and somatics. Folk dance and somatics treat the whole body as a single unit and strive towards a relaxed and functional way of moving. Since folk dance and somatics have these similarities the possibility of using somatic principles in folk dance, such as training to gain consciousness of the body and its different parts to be able to relax actively, is discussed. However the result of this study shows how a rather small part of folk dance teachers think, since it only provides the opinions of four different teachers.

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Ubom, Enobong Isaac. "The socio-economic values of traditional music and dance in Nigerian development /". Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11301715.

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Thesis (Ed.D.) -- Teachers College, Columbia University, 1992.
Typescript; issued also on microfilm. Sponsor: William Sayres. Dissertation Committee: Maryalice Mazzara. Includes bibliographical references (p. 173-183).

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Zacharioudakis, George. "Taking traditional Cretan dance music forward : interpretations with traditional Cretan instruments and with the Western flute". Thesis, University of Sheffield, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577796.

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This project attempts an interpretation of traditional Cretan dance music with Cretan instruments and with the Western flute. Examining the changes in musical practices brought by the new socio-cultural conditions in Crete from the mid-twentieth century until today, it argues that Western musical trends have indirectly caused the neglect and loss of some pertinent musical qualities and the modification of the traditional Cretan musical character. More particularly, it argues that some old Cretan instruments and repertories are being abandoned, while the non-equal-tempered tuning and the Eastern Mediterranean modal systems are being replaced by Western equivalents. In this context the project endeavours to provide an alternative that restores these characteristics of traditional Cretan music, by revealing and using musical elements which were used around the first half of the twentieth century. In order to do so the project includes a musicological analysis of the traditional Cretan dance music. Specifically, it identifies and explains the non-equal-tempered tuning and the Eastern Mediterranean modal systems; it clarifies the distinct styles of interpretation and it examines other important facets of the music such as texture, structure, melodic development, improvisation and composition. Attempting to reduce the distance between earlier Cretan sound qualities and modern musical perception, the project adjusts the interpretations according to today's aesthetics and introduces modern audiences to new ways of performing traditional Cretan music. This is achieved by utilising the Western flute for the interpretation of the music and by extending the interpretative capabilities of the Cretan instruments. The project contains both written and practical components. The later consists of audio material which demonstrates in performance all the arguments and results presented in the thesis, offering new insights on the interpretation of Cretan music.

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Yoo, Si-Hyun. "Contemporary interpretations of the practice of a traditional Korean dance Han Young-Sook's Salpúri Chúm /". The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488203158826464.

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Lallathin, Jayma R. "Skill acquisition and learning in dance : a traditional vs. biofeedback approach". Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1371848.

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Practice and modeling are common approaches to teaching motor skills. Qualitative and quantitative feedback have also been used to improve complex skill learning. The purpose of this study is to determine if providing real-time kinematic feedback in addition to traditional training will enhance skill acquisition of unskilled dancers when compared to traditional dance instruction alone. Two groups of dancers participate in testing and training protocols including a traditional group and a biofeedback training group to examine differences between the two teaching methods. Significant differences were found due to time for knee flexion and hip rotation. Significant differences due to training group were found at one time point for knee flexion. The main finding of this study was that the addition of biofeedback had a limited effect on skill acquisition on beginning level dancers.
School of Physical Education, Sport, and Exercise Science

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Livros sobre o assunto "Traditional dance"

Traditional Dance Conference (4th 1984 Crewe and Alsager College of Higher Education). Traditional dance. Crewe: Crewe and Alsager College of Higher Education, 1986.

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Traditional Dance Conference (3rd 1983 Crewe and Alsager College of Higher Education). Traditional dance, volume 3. [Wistaston]: Crewe and Alsager College of Higher Education, 1985.

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Traditional Dance Conference (5th (6th 1985 Crewe and Alsager College of Higher Education). Traditional dance, volume 5/6. [Wistaston]: Crewe and Alsager College of Higher Education, 1988.

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Ito, Sachiyo. Origins of traditional Okinawan dance. Ann Arbor, MI: University Microfilms International, 1988.

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Joan, Whincup, ed. Akekeia!: Traditional dance in Kiribati. [Wellington, N.Z.]: Tony and Joan Whincup, 2001.

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Emmerson, George S. A handbook of traditional Scottish dance. Oakville, Ont., Canada: Galt House, 1995.

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Traditional Dance Conference (5th 1985 Crewe and Alsager College of Higher Education). Traditional dance: Proceedings of the fifth Traditional Dance Conference held in March 1985 ; Proceedings of the sixth Traditional Dance Conference held in March 1986. (Wistaston): Crewe and Alsager College of Higher Education, 1988.

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Evans, C. Scott. The northern traditional dancer. 2^a ed. Pottsboro, Tex: Crazy Crow Trading Post, 1998.

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The northern traditional dancer. Denison, Tex: Crazy Crow Trading Post, 1990.

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Flett, J. F. Traditional step-dancing in Scotland. Edinburgh: Scottish Cultural Press, 1996.

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Capítulos de livros sobre o assunto "Traditional dance"

Katrak, Ketu H. "Beyond Tradition: Contemporary Choreography by Masters of Traditional Indian Dance and Emerging Innovators". In Contemporary Indian Dance, 84–122. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230321809_4.

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Ashley, Linda. "Innovation in Dance–Traditional Differences". In Dancing with Difference, 139–71. Rotterdam: SensePublishers, 2012. http://dx.doi.org/10.1007/978-94-6091-985-5_7.

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Koutsouba, Maria I. "Traditional Dance in Urban Settings". In The Routledge Companion to Dance Studies, 285–97. First Edition. | New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315306551-20.

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Williams, Sean. "New Contexts for Music and Dance". In Focus: Irish Traditional Music, 230–58. Second edition. | New York: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429282256-12.

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Moulin, Jane Freeman. "Changing Pedagogical Approaches in ‘Ori Tahiti: “Traditional” Dance for a Non-traditional Generation". In Intersecting Cultures in Music and Dance Education, 135–57. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-28989-2_9.

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Ronström, Owe. "It Takes Two — or More — to Tango: Researching Traditional Music/Dance Interrelations". In Dance in the Field, 134–44. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1057/9780230375291_11.

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Zilidou, Vasiliki I., Efthymios Ziagkas, Evdokimos I. Konstantinidis, Panagiotis D. Bamidis, Styliani Douka e Thrasyvoulos Tsiatsos. "Integrating Technology into Traditional Dance for the Elderly". In The Challenges of the Digital Transformation in Education, 287–96. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-11935-5_28.

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Ziagkas, Efthymios, Vasiliki Zilidou, Andreas Loukovitis, Styliani Douka e Thrasyvoulos Tsiatsos. "Greek Traditional Dances Capturing and a Kinematic Analysis Approach of the Greek Traditional Dance “Syrtos” (Terpsichore Project)". In Internet of Things, Infrastructures and Mobile Applications, 514–23. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49932-7_49.

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Dankworth, Linda E., e Ann R. David. "Introduction: Global Perspectives in Ethnographic Fieldwork, Theory, and the Representation of Traditional Dance". In Dance Ethnography and Global Perspectives, 1–10. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137009449_1.

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Albakri, Ikmal Faiq, Nik Wafiy, Norhaida Mohd Suaib, Mohd Shafry Mohd Rahim e Hongchuan Yu. "3D Keyframe Motion Extraction from Zapin Traditional Dance Videos". In Lecture Notes in Electrical Engineering, 65–74. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0058-9_7.

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Trabalhos de conferências sobre o assunto "Traditional dance"

Ni Nyoman, Wahyuni, Ni Nyoman Seriati e Trie Wahyuni. "Reinterpretation of Traditional Dance through Contemporary Dance". In Proceedings of the International Conference on Art and Arts Education (ICAAE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icaae-18.2019.45.

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Desfiarni e Fuji Astuti. "Transformation of Traditional Indang Dance to Entertainment Dance". In Ninth International Conference on Language and Arts (ICLA 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210325.058.

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Rohayani, Heny, Yuliawan Kasmahidayat, Frahma Sekarningsih e Agus Budiman. "Traditional Dance Studio Management Study". In 4th International Conference on Arts and Design Education (ICADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220601.034.

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Indrayuda, Indrayuda. "Traditional Spirit in Contemporary Dance". In Proceedings of the Seventh International Conference on Languages and Arts (ICLA 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icla-18.2019.1.

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Tragtenberg, João, Filipe Calegario, Giordano Cabral e Geber Ramalho. "TumTá and Pisada: Two Foot-controlled Digital Dance and Music Instruments Inspired by Popular Brazillian Traditions". In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10426.

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This paper presents the development process of “TumTá”, a wearable Digital Dance and Music Instrument that triggers sound samples from foot stomps and “Pisada,” a dance-enabled MIDI pedalboard. It was developed between 2012 and 2017 for the use of Helder Vasconcelos, a dancer and musician formed by the traditions of Cavalo Marinho and Maracatu Rural from Pernambuco. The design of this instrument was inspired by traditional instruments like the Zabumba and by the gestural vocabulary from Cavalo Marinho, to make music and dance at the same time. The development process of this instrument is described in the three prototyping phases conducted by three approaches: building blocks, artisanal, and digital fabrication. The process of designing digital technology inspired by Brazilian traditions is analyzed, lessons learned, and future works are presented.

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Hegarini, Ega, Dharmayanti e Abdus Syakur. "Indonesian traditional dance motion capture documentation". In 2016 2nd International Conference on Science and Technology-Computer (ICST). IEEE, 2016. http://dx.doi.org/10.1109/icstc.2016.7877357.

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Zhu, Xiaomei. "VR technology applied to traditional dance". In 2021 3rd International Conference on Internet Technology and Educational Informization (ITEI). IEEE, 2021. http://dx.doi.org/10.1109/itei55021.2021.00060.

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Belabbes, Sihem, Chi Wee Tan, Tri-Thuc Vo, Yacine Izza, Karim Tabia, Sylvain Lagrue e Salem Benferhat. "Query Answering from Traditional Dance Videos: Case Study of Zapin Dances". In 2019 IEEE 31st International Conference on Tools with Artificial Intelligence (ICTAI). IEEE, 2019. http://dx.doi.org/10.1109/ictai.2019.00239.

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Bulan, Indra, Dwiyana Habsary e Afrizal Setiawan. "Application of Lampung Traditional Dance Assessment Instruments in Rudat Dance Assessment". In Proceedings of the 2nd International Conference on Progressive Education, ICOPE 2020, 16-17 October 2020, Universitas Lampung, Bandar Lampung, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.16-10-2020.2305214.

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Damastuti, Fardani Annisa, Artiarini Kusuma Nurindiyani e Dadet Pramadihanto. "Gesture 3D Modeling for Traditional Javanese Dance". In 2018 International Electronics Symposium on Knowledge Creation and Intelligent Computing (IES-KCIC). IEEE, 2018. http://dx.doi.org/10.1109/kcic.2018.8628502.

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