The purpose of the paper is to give an overview of dance theatre education related to Hungarian contemporary dances and relying on the results of current and still ongoing research. The paper surveys ...the embeddedness of participational dance education programmes in the structure of prose/drama theatre education, as well as the historical antecedents of its diverse methodology, its forms of financing throughout times and its activities.
This paper raises both the issue of eponyms emerging in dance terminology and problems concerning their translation. In Section 1, a short introduction to the topic is presented. Section 2 covers ...theoretical background crucial to understand the topic, defining the notion of an eponym vital to the paper, as well as the term of sociolect in terms of dance community. Moving on to the methodology of this research, Section 3 contains the corpus of 56 Polish eponyms in dance terminology, gathered mostly from books such as Kopaliński’s “Słownik eponimów, czyli wyrazów odimiennych” (1996), his “Słownik wyrazów obcych i zwrotów obcojęzycznych” (2003), Chodkowski’s “Encyklopedia muzyki” (1995), Dąbrowska’s “W kręgu polskich tańców ludowych” (1979) and during various lectures conducted by numerous dance teachers, along with English translations of the units. Then, a quantitative and qualitative analysis of the corpus is discussed. Finally, in Section 4, conclusion of the research is presented to show the complexity of the issue of eponyms and problems that may occur in their translation.
Some characteristics of Korean court dance terminology might seem unclear and confusing even to those familiar with the form. I argue that these characteristics carry a cultural understanding of the ...body, movement knowledge, and language. Sharing these characteristics with the language used in other sources, the terminology presents the body as a site where material and nonmaterial components coexist, intermingle, and transform into each other; where movement knowledge resides not in words but in a person's embodiment; and where language is used consciously to nurture concealment, inviting the reader or observer to achieve personal meaning. I conclude that the dance terms could be understood not as lacking sophistication or precision but as carrying a culturally specific perception of dancing and writing.
Estancias Coreográficas II (Choreographic Residency II), is the name given to a movement research project that unites three choreographers: Lucía Piquero, Dana Raz and Yoshua Cienfuegos. The aim ...behind this encounter is to investigate movement within the predetermined codification obtained from Ñeco’s doctoral research (2014). The information gathered from the dancers that participated in this investigation is used to develop and expand the taxonomy and description of movement, from the choreographic work of three different artists. The results of this research are compiled in this report and were also presented in the work in progress performed at Teatro Campoamor in Oviedo
Estancias Coreográficas II es la denominación otorgada a un proceso de investigación del movimiento que reúne a tres coreógrafos: Lucía Piquero, Dana Raz y Yoshua Cienfuegos. La intención de este encuentro es investigar en el movimiento desde los códigos predeterminados obtenidos en la Tesis Doctoral de Ñeco (2014). Las informaciones de los bailarines/as participantes en la investigación sirven para enriquecer, desde la acción coreográfica de tres investigadores, la nomenclatura y descripción de movimiento lograda en la Tesis Doctoral. Los resultados de la investigación se recopilan en este informe y en el
work in progress presentado en el Teatro Campoamor de Oviedo
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