Ethnic communities with different religions and languages live together in harmony in Hatay.
Individuals belonging to these communities maintain their cultural ethnic identity along with their
...national Turkish citizenship identity. The Arab Alawite community is the largest community in Hatay
who speak the local dialect Arabic. The dabke, as a folkdance, whose lyrics are spoken in their unique
local Arabic dialect, is seen as an indicator of their cultural differences and cultural identities. The
musical structure of dabke, which is sung in Arabic in other ethnic communities in Hatay and danced
as line called halay in Turkish, is widely danced in Middle Eastern countries and cultures such as
Lebanon, Palestine, Israel, Syria, and also in Europe and America where these communities live
through immigration.
Until now, there has been no academic study on the folkdance of dabke music and lyrics in Hatay
that emerged from events such as cultural life and social solidarity. In this study, the subject of
dabke dance’s lyrics and music in Hatay Arabic Alawite culture was examined and musical notes
were written for the first time. The information obtained by conducting field research with the
subject participant-observer method was analyzed within the framework of cultural theories from
an academic perspective. The most widespread dabke pieces were determined, musicologically, to
consist of six musical works which were compiled and recorded. It was determined that Ala delo’una
was the most common work in the Middle East and Hatay region. In this academic study about dabke
as a folk dance common in a multicultural region among the folk dances included in the UNESCO
sustainable intangible cultural heritage list, the subject was examined in terms of term, etymology,
history, cultural, social and social aspects.
This study aimed to determine the performance level of second year BPED students in teaching folk dance through multimedia computer-assisted instruction and demonstration methods. A ...quasi-experimental design was utilized. Sixty (60) students participated in the study with two intact heterogeneous classes. A validated researcher-made performance instrument was used to collect data. Descriptive statistics was utilized such as mean, standard deviation, and ANCOVA for the treatment of data. Findings in the pre-test revealed that the performance level of second-year BPED was “developing.” After employing MCAI, the group obtained a “proficient” level of performance in the post-test. The performance level of second-year BPED in the pre-test was “developing.” After employing the demonstration method, the group obtained a “proficient” performance level in the post-test. Students in demonstration method had significantly higher mean scores than those exposed to multimedia computer-assisted instruction. It can thus be concluded that the demonstration method is highly significant in enhancing the performance level of second-year BPED students in teaching folk dance. It was recommended among others that physical educators may conduct more studies related to the good quality of MCAI and may adopt the combination of MCAI and the demonstration methods in teaching folk dance.
The present study introduces the role played by the Hungarian Heritage House in applied ethnography and the folk art revival. It is the first such study to review their antecedents over the past 70 ...years, the evolution of the institutional background, and activities of varying emphasis (research, teaching, certification) in the fields of folk dance, folk music, and folk handicrafts. The second part of the study evaluates professional tasks in the context of the organizational framework of the Hungarian Heritage House, which was founded in 2001, highlighting the internal relationships among activities embedded within the historically developed structure. The study then goes on to describe the intermediary role of the institution in relation to the practical use/usefulness of basic ethnographic research in terms of: (a) knowledge transfer — the utilization of basic ethnographic research in trainings and courses; and (b) digitization — ensuring wide access to ethnographically authentic archive folk music and dance recordings as the socialization of basic ethnographic research; and (c) research activities within the scope of applied ethnography and existing and potential cooperation with the academic sector. By way of conclusion, the study outlines pressing tasks in the field of applied ethnographical research that are crucial to the everyday, practical work of folklorism. These tasks include delineating the image (i.e., concept) of folk art and folk tradition in the Hungarian Heritage House; clarifying the terminological issues that affect the profession as a whole; creating a professional historical archive of folklorism; organizing a regular forum for critical discussion; and rethinking the cultural context and function of the folklore revival in light of the present-day challenges.
For a dance researcher, audiovisual recordings are the most informative part of archives. For various reasons, in Estonia, re-embodiment of traditional dances has been based more on verbal ...descriptions and less on film and video. Nonetheless, some analysis has been done by today, and some findings on individual, local, and temporary variability of traditional dancing in different parts of Estonia exist, and some clips have been published. Despite of availability of archival video recordings, folk dance teachers usually prefer verbal descriptions, which leads to the loss of a great deal of detailed information. In the article, I explore some of the reasons for this situation, based on my own teacher practice and a case study inquiry among teachers of high school girls’ dance groups involved in the process of the 12th Youth Dance Celebration in 2017. In this project high school girls’ groups were proposed to learn Ristpulkadetants (Crossed Sticks Dance) in an unusual way – as a supplement to verbal descriptions, an archival movie clip was provided to teachers as source material. This made it possible to investigate teachers’ interest in the use of film, as well as the facilitating or hindering factors of actual use. About a fifth of the involved teachers expressed an opinion that archival recordings contain information not yet verbalized in descriptions and could help them in adding new qualities to the bodily dimension of their own and their students’ dance. As a result of the study, it can also be said that archive videos of a traditional dance are not that available to folk dance teachers as they would like them to be.
Queen Ida. Danny Poullard. Documentary filmmaker Les Blank. Chris Strachwitz and Arhoolie Records. These are names that are familiar to many fans of Cajun music and zydeco, and they have one other ...thing in common--longtime residence in the San Francisco Bay Area. They are all part of a vibrant scene of dancing and live Louisiana-French music that has evolved over several decades.
Cajun and Zydeco Dance Music in Northern Californiatraces how this region of California has been able to develop and sustain dances several times a week with more than a dozen bands. Description of this active regional scene opens into a discussion of several historical trends that have affected life and music in Louisiana and the nation. The book portrays the diversity of people who have come together to adopt Cajun and Creole dance music as a way to cope with a globalized, media-saturated world.
Ethnomusicologist Mark F. DeWitt innovatively weaves together interviews with musicians and dancers (some from Louisiana, some not), analysis of popular media, participant observation as a musician and dancer, and historical perspectives from wartime black migration patterns, the civil rights movement, American folk and blues revivals, California counterculture, and the rise of cultural tourism in "Cajun Country." In so doing, he reveals the multifaceted appeal of celebrating life on the dance floor, Louisiana-French style.
The national rhythms are formed by urbanized versions of each nation, which create a set of musical genres that serve as the basis for the practice of specialized physical activity, while enriching ...the cultural heritage. The rescue of cultural traditions goes through specific actions that include Physical Education teachers. Therefore, the purpose of the research is to theoretically validate, through consultation with specialists, a methodological proposal for teaching folk dance with the Pasacalle rhythm. The research is of a descriptive-explanatory type with a prospective orientation. A methodological proposal was designed and validated through a survey by 15 national specialists. The proposal of a methodology for the teaching of the folkloric dance of the Pasacalle rhythm is acceptable according to the specialists consulted (w=0.513), presenting an average score in the indicators "relevance" (4.20: very adequate), "originality" (3 : adequate), “affordable” (4.27: very adequate) and “objective” (3.93: between adequate and very adequate). The proposal includes characteristics of a methodological strategy that contains a theoretical and methodological foundation, with a diagnostic phase and a planning phase, plus three stages that include the determination of the methodological steps, the design of an optional subject and the evaluation. methodology, as well as a group of contents and objectives to be implemented in the physical education class, plus teaching resources and skills with performance criteria.
Os ritmos nacionais são formados por versões urbanizadas específicas de cada nação, que criam um conjunto de géneros musicais que servem de base para a prática da atividade física especializada, ao mesmo tempo que enriquecem o património cultural. O resgate das tradições culturais requer ações específicas que incluam professores de Educação Física. Por esta razão, o objetivo da investigação é validar teoricamente, através da consulta a especialistas, uma proposta metodológica para o ensino da dança folclórica com o ritmo Pasacalle. A investigação é de tipo descritivo-explicativo com uma orientação prospectiva. Foi concebida e validada uma proposta metodológica através de um inquérito a 15 especialistas nacionais. A proposta de uma metodologia para o ensino da dança folclórica do ritmo Pasacalle é aceitável segundo os especialistas consultados (w=0,513), apresentando uma pontuação média nos indicadores "pertinência" (4,20: muito adequado), "originalidade" (3: adequado), "acessível" (4,27: muito adequado) e "objectivo" (3,93: entre adequado e muito adequado). A proposta inclui características de uma estratégia metodológica que contém uma base teórica e metodológica, com uma fase de diagnóstico e uma fase de planeamento, mais três fases que incluem a determinação de etapas metodológicas, a concepção de uma disciplina opcional e avaliação metodológica, bem como um grupo de conteúdos e objectivos a implementar na aula de educação física, mais recursos didáticos e competências com critérios de desempenho.
Los ritmos nacionales se forman por versiones urbanizadas propias de cada nación, que crean un conjunto de géneros musicales que sirven de base para la práctica de actividad física especializada, a la vez que enriquecen el acervo cultural. El rescate de las tradiciones culturales pasa por acciones específicas que incluyen al profesorado de Educación Física. Por ello, el propósito de la investigación es validar teóricamente mediante consulta de especialistas una propuesta metodológica para la enseñanza de la danza folclórica con el ritmo Pasacalle. La investigación es de tipo descriptiva-explicativa de orientación prospectiva. Se diseñó una propuesta metodológica que es validada a través de encuesta por 15 especialistas nacionales. La propuesta de una metodología para la enseñanza de la danza folclórica del ritmo Pasacalle es aceptable según establecen los especialistas consultados (w=0.513), presentando un puntaje medio en los indicadores "pertinencia" (4.20: muy adecuado), "originalidad" (3: adecuado), "asequible" (4.27: muy adecuado) y "objetivo" (3.93: entre adecuado a muy adecuado). En la propuesta, se incluyen características de una estrategia metodológica que contiene una fundamentación teórica y metodológica, con una fase de diagnóstico y otra de planeación, más tres etapas que incluyen la determinación de los pasos metodológicos, el diseño de una asignatura optativa y la evaluación metodológica, así como un grupo de contenidos y objetivos a implementar en la clase de educación física, más los recursos didácticos y destrezas con criterio de desempeño.
Jindo Drum Dance is an extremely distinctive form of Korean folk dance that is still very much alive as a performance medium and has been designated by the Jeollanam-do Government as an example of ...intangible cultural heritage. Current research on Jindo Drum Dance has focused on its choreography, comparing different styles and genres and analyzing specific dance movements; methodological studies on the practice level, however, remain very limited. Through a combination of visits and field studies, I have categorized and summarized the strength, energy and charm of Jindo Drum Dance from a first-person perspective, and have further investigated the cultural connotations embodied within the dance form. This paper firstly aims to promote a broader perspective of Jindo Drum Dance through integrating theory with practice and then aims to provide further references for those who study Jindo Drum Dance by sharing my own personal experiences.
In this study, the effect of various local dances on prospective physical education teachers' attitudes towards the folk dance course was examined. The research was conducted by using an experimental ...design with pre-test/post-test control group. A total of 46 female students, which includes an experimental group consisting of 23 students attended the folk dance class and a control group consisting of 23 students did not attend the folk dance class, who are studying at Niğde Ömer Halisdemir University, School of Physical Education and Sports in the Department of Teaching in the spring term of the 2017-2018 academic year and who are aged 20 years, voluntarily participated in the study. In this research, the Folk Dance Course Attitude Scale for Prospective Physical Education Teachers developed by Turan (2015) was used. In the experimental group, the folk dances training program, which continues for 14 weeks with the program of 2 days of a week for 2 hours at each day, was conducted. The data were analyzed by using SPSS 22 (Statistical Package for the Social Sciences) package program. In the analysis of data, dependent sampling t-test was used for examining the differences between experimental and control groups. As a result of the research, it was observed that there was a significant difference in favor of students who took the folk dance training. This result shows that various local dances are effective in developing a positive attitude towards this course.
The medium of dance can offer routes other than textual and verbal for expressing women's oppression and also their resistance to it. The folk dance of garba in the Gujarati film Hellaro (The ...Outburst, 2019) directed by Abhishek Shah is an exemplary instance of this. Further, the present essay traces the history of this dance form to explore the filmic reversal of the traditional understanding concerning garba. Garba changes in the film from being a ritualistic and religious performance to a recreational one, thematically linking women's leisure as a mode of resistance to patriarchy. Moreover, such an understanding of garba serves to highlight women's negotiation of agency in their everyday lives through nonverbal cues, as in the film.
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