The contradance and quadrille, in their diverse forms, were the most popular, widespread, and important genres of creole Caribbean music and dance in the nineteenth century. Throughout the region ...they constituted sites for interaction of musicians and musical elements of different racial, social, and ethnic origins, and they became crucibles for the evolution of genres like the Cuban danzón and son, the Dominican merengue, and the Haitian mereng.
Creolizing Contradance in the Caribbeanis the first book to explore this phenomenon in detail and with a pan-regional perspective. Individual chapters by respected area experts discuss the Spanish, French, and English-speaking Caribbean, covering musical and choreographic features, social dynamics, historical development and significance, placed in relation to the broader Caribbean historical context. This groundbreaking text fills a significant gap in studies of Caribbean cultural history and of social dance.
Develops a new framework to understand how temporality is performed in contemporary dance. It combines an in-depth analysis of the choreographic practices of Jonathan Burrows & Matteo Fargion, Ivana ...Müller, Mette Edvardsen and Mårten Spångberg with a close study of the philosophical work of Bergson, Deleuze and Bachelard. 13 b/w illus.
A comprehensive guide to conducting empirical research
in dance
Research Methods in the Dance Sciences introduces
concepts and practices that support effective, empirical research
in the dance ...sciences, including medical science. A valuable new
resource for this growing field, this book provides foundational
knowledge for anyone who wants to understand, apply, and conduct
research with dancers and proposes ways to facilitate more
collaboration between the many disciplines that often overlap in
this area.
In this volume, pioneers of dance medicine and science guide
readers through the stages of the research process. They address
topics such as choosing a research question, writing a literature
review, developing a framework and methodology, influencing the
field, and progressing in a research career. Offering
dance-specific examples as illustrations, this volume provides
clear and instructive strategies for developing a solid repertoire
of research skills to examine dance and movement-centered
activities. It is ideal for practicing and aspiring dancers,
teachers, and clinicians in fields including exercise physiology,
motor learning, behavioral sciences, food sciences, medicine,
psychology, and somatics who are interested in dance science
research.
What is »materiality« in dance and performance? What role does »the material« play in the formation for the cultural memory of ephemeral arts? The contributors to this volume examine concepts of ...materiality in dance and performance, the use of materials in artistic practices and the role of social media in changing the perception of time-based artefacts. The volume shows how the focus on materiality transforms contemporary artistic work and challenges established concepts of dance and performance research.
Abstract
In addition to folk music, Zoltán Kodály was interested in folk dance. This is evidenced not only by his writings dedicated to the subject – some relevant ideas are to be found in his ...publications mainly focused on other topics. In this article, the author collects both Kodály's writings explicitly related to folk dance as well as the “hidden” ideas, presented partly chronologically, partly in thematic groups. Topics include: Kodály's dance experiences, his practical dance knowledge, his work of exploring data of historical dance music, his role in the emergence of Hungarian ethnochoreology as a scholarly discipline, his critical views on the use of folk dance on stage, etc. In contrast to the earlier literature, this article no longer considers the Hungarian shepherds' horn signals as the inspirational sources for
Bécsi harangjátek
Viennese Clock, a movement which imitates a musical clock in Kodály's Singspiel
Háry János
. The movement entitled
Branle de village,
part of seventeenth-century Austrian composer Johann Heinrich Schmelzer's
Partita ex Vienna,
contains some bars that bear a close resemblance to the repeated main motif of Kodály's
Viennese Clock.
It is safe to assume that
Branle de village
was Kodály's source of inspiration, given that there is evidence that he studied the DTÖ-collection of Schmelzer's works: he referred to this volume where he found a Styrian version of a Székely dance tune.
The Maya of Mexico and Central America have performed ritual dances for more than two millennia. Dance is still an essential component of religious experience today, serving as a medium for ...communication with the supernatural. During the Late Classic period (AD 600–900), dance assumed additional importance in Maya royal courts through an association with feasting and gift exchange. These performances allowed rulers to forge political alliances and demonstrate their control of trade in luxury goods. The aesthetic values embodied in these performances were closely tied to Maya social structure, expressing notions of gender, rank, and status. Dance was thus not simply entertainment, but was fundamental to ancient Maya notions of social, religious, and political identity. Using an innovative interdisciplinary approach, Matthew Looper examines several types of data relevant to ancient Maya dance, including hieroglyphic texts, pictorial images in diverse media, and architecture. A series of case studies illustrates the application of various analytical methodologies and offers interpretations of the form, meaning, and social significance of dance performance. Although the nuances of movement in Maya dances are impossible to recover, Looper demonstrates that a wealth of other data survives which allows a detailed consideration of many aspects of performance. To Be Like Gods thus provides the first comprehensive interpretation of the role of dance in ancient Maya society and also serves as a model for comparative research in the archaeology of performance.
PERSIAN DANCE: TRADITIONS AND MODERNITY Berezina, Anna V.; Delinad, Maxim G.
Koncept: filosofiâ, religiâ, kulʹtura,
03/2019, Letnik:
1, Številka:
9
Journal Article
Recenzirano
Odprti dostop
This article attempts to explore Persian dances in order to determinate its national identity. The authors refer to the semantic core of the lexemes that express this phenomenon, give a brief outline ...of the genesis and evolution of this traditional physical culture of Iranians, the historical dynamics of its development, consider and group existing types of dance styles. Such a multifaceted approach allowed to study the specifcs of this art and to identify the characteristic features of this language of art in Iran. Ethnic dances reflect the climatic characteristics of the people living environment, the specifcs of its history, culture, beliefs and musical preferences. These include the oldest of all existing types’ ritual traditions, which symbolize worship, offering, dedication, thanksgiving or prayer, as well as folk, classical and modern dances. Persian dance is neither organized nor detailed, which allows, through individual initiative, to contribute to the evolution of the canon. However, like any other kind of art, it requires a serious analysis, and codifcation. Classical dance has developed in parallel with the other authentic cultural materials – Indian and Arabic dance traditions that contributed to the evolution of its forms. Despite their simplicity, folk dances reflect fgurative mythological thinking, religious beliefs, moral and aesthetic values. Their varieties show the whole rich palette of ethnic peoples living in the territory of Iran. Not only individual dance styles, but also a full-fledged cultural rite of passage has become a mystical ritual of rotation of “sama”. Another feature of the Persian scenic and professional choreographic art lies in the fact that at the present stage it develops under the territorial remoteness of its origins.
This article examines how the philosophy of Ubuntu is reflected in assessment and feedback provision systems of Indigenous dance education in African communities. In environments where urbanization, ...globalization, digitalization, and existing traces of colonialism are contesting Indigenous epistemologies, examining how communities value and leverage Indigenous philosophies to teach Indigenous dances is necessary. I draw on hermeneutic phenomenological stories and my participant observations to reveal that the complex assessment and feedback mechanisms support individual growth and community connections as a basis for knowledge production and holistic education. Manifested in music, community connection, embodied observations, community values and ethics, communal participation, and peer support, the assessment and feedback are engrained in mutuality, dialogue, connection, care, open-mindedness, moral maturity, inclusion, belonging, embodied participation, and individual innovation as ethos of interhuman relationships and relationality. Insights are provided on how dance practitioners can approach creating, performing, teaching, and sharing dance as community-building experiences and interhuman connections.
The Bloomsbury Companion to Dance Studies brings together leading international dance scholars in this single collection to provide a vivid picture of the state of contemporary dance research. The ...book commences with an introduction that privileges dancing as both a site of knowledge formation and a methodological approach, followed by a provocative overview of the methods and problems that dance studies currently faces as an established disciplinary field. The volume contains eleven core chapters that each map out a specific area of inquiry: Dance Pedagogy, Practice-As-Research, Dance and Politics, Dance and Identity, Dance Science, Screendance, Dance Ethnography, Popular Dance Studies, Dance History, Dance and Philosophy, and Digital Dance. Although these sub-disciplinary domains do not fully capture the dynamic ways in which dance scholars work across multiple positions and perspectives, they reflect the major interests and innovations around which dance studies has organized its teaching and research. Therefore each author speaks to the labels, methods, issues and histories of each given category, while also exemplifying this scholarship in action. The dances under investigation range from experimental conceptual concert dance through to underground street dance practices, and the geographic reach encompasses dance-making from Europe, North and South America, the Caribbean and Asia. The book ends with a chapter that looks ahead to new directions in dance scholarship, in addition to an annotated bibliography and list of key concepts. The volume is an essential guide for students and scholars interested in the creative and critical approaches that dance studies can offer.
The Covid-19 pandemic impacted dance practice in African communities, which at the time were still grappling with building technological infrastructure and resources to advance dance education, ...research, scholarship, and practice. How did the dance teachers and students in environments with less developed information and communication technological (ICT) infrastructure in African countries such as Uganda navigate online teaching and learning of dance during the covid-19 pandemic? This article engages the Kiganda education philosophy 'kola nga bwoyiga ate oyige nga bwokola' (learn as you do and do as you learn) as an analytical frame to unpack how the dance teachers and students in Uganda navigated dance pedagogies during the pandemic. The reflections of the teachers and students revealed how the pandemic dismantled the sense of community as an actual essence dance in local communities. The pandemic stirred a radical rethink on framing online and distance dance teaching and learning, applying context-centered and technologically-responsive pedagogies, and using motion picture tools to teach indigenous dance traditions. The discussion unpacks how 'kola nga bwoyiga ate oyige nga bwokola' centered pedagogic reimaginations and maneuvers to activate agency, adaptation, resilience, and contextualization, underscoring the value and relevance of Indigenous worldviews in overcoming ever-emerging barriers in dance education.
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