The scarf is a less used tool in the methodology of teaching folk dances. This object, however, had a crucial role both in Hungarian folk dance tradition and in the way of life of peasants. The paper ...presents the traditional appearances of the scarf in dances and its usage’s symbolic semantic layers with a special focus on wedding pair-choosing dances. The scarf has a privileged role in these playful pair-swapping games, on the one hand as the realisation of improvisation, on the other hand as a means of creating an equal relationship between dance partners. These structural and conceptual conclusions could be translated and applied in the process of dance teaching: the scarf as a tool of methodology eases communication, reveals the dynamism between dance partners and the emotional aspects of dance. The present study is followed by a supplement of 12 scarf games, which provides new ideas for practising dance teachers on how to use the scarf in teaching folk dances.
Understanding the historical processes in the shaping of stage folk music raises an important question about the application of traditional music in stage choreographic works. Since the 1930s in ...Serbia, the history of music and dance was cre?ated by prominent individuals, musicians and composers, initiated by the work of choreographers such as Maga Magazinovic, Russian artists, and later by many domestic performing artists gathered around cultural and artistic societies and the National ensemble ?Kolo?. In this article, all available data relevant for the consideration of stage folk music as a specific genre will be presented along with the stage folk dance, precisely through the form of folk dance choreography (FDC), whose developmental path was hinted at since the end of the 19th century. Defining and understanding dance music, that is, music for FDC, opens new horizons in re-examining the process of forming stage folk music in our region.
Romanian folk dances are a wealth of generations that we owe to preserve, protect and leave our inheritance to our descendants as a proof of our identity and history. By practicing dance, the customs ...and traditions of the people are learned; young people develop harmoniously due to the various movements in which the dances are composed. Romania has a wide range of games, dances and costumes inherited from tradition, perpetuated through repertoire and ethnography, which convinced us to address and highlight the important role of the traditions, folk dances in Bihor County, the beneficial effect that they have in the personal development of the dancers. The proposed research methodology for the study addresses methods such as the survey method by applying a questionnaire and the statistical-mathematical method. The results highlight the importance of folk dances first present in the family and the fact that passion is the main motivation of dancers that drives them to practice folk dance. It is necessary to give children the opportunity to make direct contact with the sources of popular creation such as dance, music, customs and folk costume, to create optimal conditions for learning our folk dances, the priceless treasure of our people.
An important and previously unexplored body of esoteric ritual songs of the Tz'utujil Maya of Santiago Atitlán, Guatemala, the "Songs of the Old Ones" are a central vehicle for the transmission of ...cultural norms of behavior and beliefs within this group of highland Maya. Ethnomusicologist Linda O'Brien-Rothe began collecting these songs in 1966, and she has amassed the largest, and perhaps the only significant, collection that documents this nearly lost element of highland Maya ritual life.This book presents a representative selection of the more than ninety songs in O'Brien-Rothe's collection, including musical transcriptions and over two thousand lines presented in Tz'utujil and English translation. (Audio files of the songs can be downloaded from the UT Press website.) Using the words of the "songmen" who perform them, O'Brien-Rothe explores how the songs are intended to move the "Old Ones"—the ancestors or Nawals—to favor the people and cause the earth to labor and bring forth corn. She discusses how the songs give new insights into the complex meaning of dance in Maya cosmology, as well as how they employ poetic devices and designs that place them within the tradition of K'iche'an literature, of which they are an oral form. O'Brien-Rothe identifies continuities between the songs and the K'iche'an origin myth, the Popol Vuh, while also tracing their composition to the late sixteenth and early seventeenth centuries by their similarities with the early chaconas that were played on the Spanish guitarra española, which survives in Santiago Atitlán as a five-string guitar.
The main purpose of this research is to study the experience and achievements of previous generations of folk dance performers to improve work with future choreographers who study Kazakh folk dance ...in higher education institutions of the Republic of Kazakhstan. The study’s methodological approach is the search and theoretical analysis of sources aimed at studying both the history of the Kazakh folk dance itself and the development of the performing skills methods of Kazakh dance in future choreographers. This research uses typological, historical, and thematic analysis methods from used literature collected during the writing of the article. The author analyzes the historical stages of the development of the professional training of choreographers-performers and the influence of the experiences and achievements of previous generations on the performing skills of future choreographers in Kazakh higher educational institutions. This study also found that modern teaching is based on the integration of experience and achievements in the art of choreography for the development of performing skills and choreographer-performer skills of Kazakh folk dances in higher educational institutions of the Republic of Kazakhstan. This research work is of practical importance in the study, as well as training of future choreographers who study dance in various areas of original folk art in higher education institutions of the Republic of Kazakhstan.
The pedagogy and practices of folk music and folk dance are firmly separate in Finland. Furthermore, the expertise in these fields focuses heavily on folk music and dance as performing arts rather ...than communal activities. The situation has led to the differentiation and fragmentation of professional and amateur activities. To address this gap in knowledge and practice, the KanTaMus project intends to present a pedagogical model for a joint participatory folk dance and music pedagogy devised through practice-based development work. This article explains the basic premises of the model under development. We first discuss the legacy issues crucial in Finnish folk dance and music and its pedagogy. Secondly, we outline the values, pedagogical principles, and prior development work we see as fundamental to our work. Martin Seligman's PERMA theory serves as an overall canvas for our development work. The basic elements of the theory, i.e., positive emotions, engagement, relationships, meaning, and accomplishment, work as a basis for our model, which emphasises embodied presence, inclusion, and interaction as crucial features of a shared learning situation in dance and music. Finally, we present the pairing process as a specific example of the application of the model.
In this paper, the authors present an in-depth analysis of eight educational videos, selected from the total of 153 videos for teaching music art at the classroom level (ages 6-10 years) on the ...Slovenian educational portal www.razlagamo.si, created during the COVID 19 pandemic. The in-depth analysis focuses on the folk dances presented in the videos, the articulation of the teaching unit, the use of teaching methods, the integration of student activities, the use of audiovisual resources and adaptations. On the basis of the shortcomings that were identified, the authors highlight guidelines and didactic recommendations for teaching folk dances in traditional lessons and through educational videos, justify the usefulness of folk dances in music teaching in primary schools and present possibilities for using new information technologies in the preservation of intangible cultural heritage.
The article explores the digital innovations that are being used in a folk performance in West Bengal, namely the
Chhau
dance. The COVID-19 pandemic
foregrounded
the relevance of digital space across ...disciplines. Being an expression of the collective experience of the people of the Purulia district,
Chhau
dance is commonly associated with fostering and perpetuating folk and mythical beliefs through its extensive use of masks and dance movements steered by the
Jhumur
songs. While the common urge to archive the traditional dance-drama form in its ‘authentic’ essence precipitates a digital turn within the performance, the digital contact paradoxically reorients the ‘authentic’ identity of this cultural practice. The present study seeks to use the ‘identity–authenticity’ interplay in the context of globalization as the crux of the article. Within this framework, the article analyses how a folk cultural practice like
Chhau
dance, with its recent innovations in masks and performances mandated by the pandemic, problematizes the debate. It further strives to recognize the implications of the digital presence of the performances as well as the performers, which, for many of the traditionalists, might have jeopardized the ritualistic practices that were considered the ‘essence’ of the performance. The research was conducted through ethnographic methods gathered through fieldwork to gain first-hand knowledge of the ground reality.
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DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
The article presents the author’ attempt to analyze Ukrainian and Slovak folk dance melodies, to figure out its common and different characteristics. It was found that dance melodies are signs of ...very old, interconnected cultural ties between the Ukrainian and Slovak ethnic groups. On the basis of the analysis of the structure of musical texts, either common signs, characteristics which are typical for folk musical creativity, or degree of relatedness of cultural and mystical continuums, special features of its interplay and transformation are defined.The similarities of the Western Ukrainian (Lemkos, Hutsuls) dance melodies with Slovak motifs (for example, "Oh Marichko, chicheri" and the Slovak polka, or the Slovak folk song) have been continually observed. Also interweaving of melodies typical for Central Ukrainian territories and the Slovak continuum is stated. The Ukrainian folk music and dance rhythm design is based on a square theme structure with the rhythm two-four time or four-four time. Slovak folk dance melodies differ from Ukrainian ones mainly in tempo: it is more restrained and moderate. The largest number of similar elements was recorded in polka. In addition, in both cultures musical design (accompaniment) often is analogous: cymbals, violin, button accordion, other folk music instruments. The number of common signs is impressively larger than different ones, and it is a big deal to make separation of the specifics of dance compositions musical accompaniment of two cultures, and at the same time it confirms the closest proximity, deep connections between them.In general, the problem of relationships and contacts between the choreographic cultures of the peoples of neighboring countries is one of the most interesting and least explored today. The fact that there is mutual influence at the level of folk dance tunes, today is not the point for discussion.
Ethnic folk dances possess significant cultural value and require documentation and preservation. This article begins by recognizing the distinctive movement characteristics found in ethnic folk ...dances. It then collects skeletal motion data of the human body while executing typical movements in ethnic folk dances using Kinect V2. Two primary features, namely angle and relative distance, were extracted. Deep learning was combined with the attention mechanism to design a three-layer BiLSTM-attention method. Experiments were conducted using the typical movement feature set of ethnic folk dance and the MSRAction3D dataset. It was found that the three-layer BiLSTM method exhibited superior performance when compared to other configurations of BiLSTM layer. Additionally, the results derived from the BiLSTM model surpassed those achieved with RNN or LSTM models. Furthermore, the inclusion of the attention layer led to a noteworthy 0.0234 increase in the ACC value compared to models without it. The processed features demonstrated enhanced performance compared to the raw skeletal motion data. ACC values exceeding 0.95 were achieved for the recognition of typical movement features in various types of ethic folk dances. Notably, the ACC value of the three-layer BiLSTM method for the MSR-Action3D dataset was 0.9767, which was superior to the other methods. These outcomes validate the robustness of the methodology presented in this paper for recognizing typical movement features in folk dance and suggest its potential for practical applications.
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