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 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.
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.
DEVELOPMENT OF FOLK DANCE INTERPRETATION TO STUDENTS Marioara SALUP; Elena RAŢĂ
Annals of the "Ștefan cel Mare" University. Physical Education and Sport Section. The Science and Art of Movement (Online),
01/2019, Letnik:
5, Številka:
2
Journal Article
Recenzirano
Odprti dostop
Romanian folk dances and games dance in unity, however they vary in execution and in relation with inspiration and emotions of those dancers. In the development of the folk dances it is observed a ...large amount of rhythms, an extended range of tempos, as many forms of presentation, appearance and expression. Taken together, dances blend elegance with vivacity of the movements, with tenderness of the female dancing, a special note with shouts and shout that accompanies almost continuously beyond the game. The cultural and artistic manifestations of students is an opportunity to achieve preserving and transmission of traditions, habits, songs and dances from one generation to the next and strengthen cultural and spiritual identity of the Romanian people. Variety of the folk material, of the music and folk dance, creates situations that allow complex knowledge of life and soul of a nation. It is therefore our duty of those, who work with students, to familiarize them from very early times of childhood and to develop the passion and love toward music and folk dance.
With the arrival of the informationization era, the inheritance and development of ethnic folk dance in dance teaching faces new challenges and opportunities. This paper discusses effectively ...inheriting and developing ethnic folk dance under informationization. The research methodology includes the Analysis of folk dance movement characteristics, movement capture and feature extraction based on Kinect acquisition technology. The results show that the dancer’s movement data can be accurately recorded by Kinect capture technology, and the error of capture coordinates can be minimized up to 1.115. The study also finds that the dance movement features can be effectively extracted using Gaussian Mixture Model Background Subtraction and Median Filtering preprocessing techniques. In addition, the “Trinity Teaching Assistive Technology” proposed in this study can improve teaching quality. The application of information technology not only promotes the scientific and standardized teaching of folk dance, but also helps improve students’ skills and creativity.
The focus of this article is on traditional folk dance in Soviet and post-Soviet Estonia. Dance variation is analyzed through the prism of postcolonial theories to reveal the sequential effects of ...the colonial situation developed during the Soviet period. Specific causes and characteristic traits of the Soviet influence are explored. Colonialist echoes of the Soviet regime within contemporary Estonian culture are reflected in two trends in the variation of traditional folk dance: first, "contamination" of traditional folk dance with stage dance elements promoted during the Soviet era and, second, a regular search for "genuine" folk dance as a reaction to Soviet colonial heritage.
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