Dance Culture Research Articles

ANALISIS SEMIOTIKA DALAM KESENIAN KUDA LUMPING BIMA SAKTI

This research aims to determine the meaning of Kuda Lumping Bima Sakti Art performance. The research method used is descriptive qualitative. The main research informant was Jono Suwito as an elder and handler in Kuda Lumping Bima Sakti Art. Research data was collected by conducting direct observation, interviews and documentation. The results of this research indicated that the meaning of denotation of Kuda Lumping Bima Sakti Art as a whole is a show that in every movement there is a bond of dance in culture. There are also meanings of a community life and a religious belief. The connotation meaning of Kuda Lumping Bima Sakti Art is how to respond and believe that every culture has its own beliefs and from this connotation meaning, human must believe that God and supernatural exist. And the meaning of myth of Kuda Lumping Bima Sakti Art is that in daily life humans cannot be seperated from supernatural matters. Then the key to all of Kuda Lumping Bima Sakti Art rituals is that all movements have meaning from where the dance originated. The main key is to remind humans of God or return to their origin, namely the Creator.Keywords: Semiotics, Kuda Lumping, and Bima Sakti

Edward Ross Dickinson. Dancing in the Blood: Modern Dance and European Culture on the Eve of the First World War.

Edward Ross Dickinson. Dancing in the Blood: Modern Dance and European Culture on the Eve of the First World War.

Взаимодействие музыкальных культур в контексте современных проблем образования

Статья посвящена актуальной проблеме взаимодействия музыкальных культур в многонациональных регионах юга России. Автор рассматривает особенности традиционной музыки Ростовской области, Ставрополья, Астрахани, Кубани, Карачаево-Черкеcии, Адыгеи и подчёркивает, что её органичное вхождение в академическое искусство происходило в специализированных учебных заведениях музыкальных училищах и музыкальных педагогических институтах. Привлекавшиеся для работы в них педагоги, переплавляя в единое художественное целое местный фольклор и традиции академической музыки, создавали благоприятные условия для формирования нового поколения музыкантов, в произведениях которых находит свое подлинное воплощение диалог культур. Этот опыт, приходит к выводу автор, может быть взят на вооружение современной системой музыкального образования, в связи с чем изучение вопроса не должно прекращаться.The article is devoted to the urgent problem of the interaction of musical cultures in the multinational regions of Southern Russia. In the context of the growing globalization, the search for ideas that can become the basis for intercultural dialogue is becoming relevant. In these conditions, music can be considered as the clearest example of a powerful resource for creating and strengthening the space of interethnic interaction. Russian musical heritage is enormous in its characteristics, distinguished by the wealth of national schools. This heritage is a unique laboratory in which distinctive cultures constantly experience mutual influence thus enriching each other. The author notes that Russian composers constantly turned to Oriental themes not only reflecting the corresponding musical specifics, but also creating a new image of the East in the eyes of their compatriots, acting as artists carrying Russian culture. Currently, this tradition continues, which is shown by an example of the musical culture of the South of Russia, whose development reflects the constant interaction of academic music and folklore. The culture of dialogue, which made the integration of traditional music and academic art possible, originated in specialized educational institutions. The first of these institutions was the Music and Pedagogical Institute (later Rostov State Rakhmaninov Conservatoire), which trained composers whose works expressed all musical forms and genres. The joint work of teachers and students in the early 1970s positively reflected in the work of the Ensemble of Don Cossacks. The founding of Astrakhan State Conservatory (1969) became an important link in the formation of the space for cultural interaction between the peoples of the region (Kalmyks, Volga Germans, Kazakhs, Volga Tatars, etc.). Of great importance for the work of local composers were folklore works recorded on tape during ethnographic expeditions and then decrypted in the form of musical notation. Of considerable importance was the activity of graduates of Astrakhan Conservatory in the neighboring Kalmykia. According to composers and musicologists, the traditional music of the Kalmyk people is notable for its significant originality. One example of cultural interaction in the musical sphere is the Kalmyk dance melody Chichirdyk, which appeared in one of the villages populated by Kalmyks and Ukrainians. In Stavropol Krai, the opening of Stavropol School of Music in 1903 had a positive impact on the local traditional song and dance culture. The musical tradition of this region began to form during the period of active development of the region by the East Slavic population since the end of the 18th century. Krasnodar Krai is the center that has been attracting many ethnic groups, each of which brought its own unique shade to the local musical palette. The carriers of ethnic cultures that actively influenced the formation of the musical picture of the region were the Adyghe, Black Sea Cossacks, Armenians, Greeks, Assyrians and many other peoples. Currently, the Krasnodar Branch of the Union of Composers of Russia includes professionals who are fluent in various genres of music and embody the ideas of dialogue of cultures in the form of musical works.

Using a cultural dance program to increase sustainable physical activity for breast cancer survivors—A pilot study

BackgroundStudies have shown that physical activity can reduce the risk of mortality for female breast cancer patients and improve quality of life, reduce weight, and alter circulating biomarker levels. We conducted a pilot trial to determine the feasibility of increasing physical activity through a cultural dance intervention to achieve similar benefits. MethodsConducted a pilot trial implementing a cultural dance intervention to increase and sustain physical activity for breast cancer survivors, which consisted of a six-month group-based intervention of Hula Dance. Anthropometric measures, fasting blood draws, and self-reported questionnaires to assess physical activity, mood, and quality of life, were completed at baseline, at the end of the 6-month intervention (time point month-6), and at two additional post-intervention time points (month-12 and month-24) to assess sustainability. ResultsA total of 11 women with a median age of 63 years were enrolled in the intervention trial. Eight of the 11 (73%) completed the trial to month-12 and demonstrated an overall significant increase in weekly moderate exercise. There were no significant changes in intra-individual body mass index (BMI). However, there was a sustained post-intervention reduction in waist circumference and significant changes in circulating biomarker levels. For the self-reported measures, there was a significant increase in vigor/activity (p < 0.001; Profile of Mood States-Short Form). ConclusionOur intervention pilot trial demonstrated that a cultural dance program could achieve a sustainable increase in physical activity for breast cancer survivors, with potential to improve quality of life, increase vigor, and decrease levels of circulating cytokines associated with obesity and inflammation.

A Brief Genealogy of Hanmai

Hanmai 喊麥, literally “shouting [at] a microphone,” first came to public attention and scrutiny as a distinct sound gaining both popularity and notoriety in 2015, when livestreaming platforms such as YY (which launched as a voice chat client in 2008) were growing exponentially. Contemporary hanmai is therefore predominantly associated with livestreaming media.2 However, its origin can be traced much further back. The sound culture can be linked to the broader context of market reform and the emergence of disco music in the 1990s, as well as to the evolution of Northeastern (Dongbei 東北) folk culture during the same period. Dongbei spoken word art has fundamentally shaped the lyrical structure and presentation of hanmai , while its lyrical content has shifted over time from a dance culture filled with hedonist desires in the late 1990s and early 2000s to a contemporary livestreaming culture of venting frustration due to unfulfilled desires. Moreover, socio-technologically speaking, hanmai culture started in the form of commercial sales of pirate mixtape CDs, then migrated to QQzone (Tencent’s version of personal webspace similar to Myspace) throughout the 2000s, re-invented itself via Internet subculture on early video portals such as Acfun as well as popular web fiction, and finally (re)emerged on YY as the contemporary reiteration of hanmai . This paper aims to map a genealogy of hanmai, including the divergences, parallels, and reiterations of this specific style of sound in Chinese societ from the 1990s onwards.

‘African dances are valid knowledge’: Dance teachers’ de/construction of meanings from cultural heritage dances in Uganda

ABSTRACTWhat constitutes African dances as valid knowledge? Do the learning processes of African dances in local communities entail rational consciousness and epistemological interpretations of the learner? How do the processes of dance practice double as frameworks of construction of meanings? The foregoing questions provided parameters for critical examination of pedagogy of cultural heritage dances as epistemological domains. Drawing on the stories, reflections, and practices of teachers of cultural heritage dances in nonacademic settings in central Uganda, the article reveals the different mechanisms through which these dance teachers acquired competences in content knowledge of the dances. The theory of constructivism is engaged to illuminate the content knowledge of the dances as a constructed reality that is anchored in the Afrocentric worldview. The individual learners claim agency in embodied, reflective, participatory, and communalized learning processes as knowers, thinkers, doers, and collaborators. Immersion into pedagogic processes cultivates interface with dance as an object and subject of knowledge. The article offers insights into the complexities entailed in pedagogic processes of African dances as epistemological and ontological foundation of human life and experience. This analysis critiques reductionist notions that objectify, fetishize and exoticize the learning processes of African dances as just instinctive, innate, and imitative.

BUILDING PROFESSIONAL COMPETENCIES OF INTENDING TEACHERS-CHOREOGRAPHERS IN THE PROCESS OF STUDYING THE DISCIPLINE OF STAGED FOLK DANCE

The article deals with the problem of building professional competencies of intending teachers-choreographers in the process of studying the discipline of staged folk dance. In this context, the author considers the concept of “competence”, “professional competence”, emphasizes the specific professional competences of a teacher-choreographer. Among them there are: the general ones, which concern issues of organizational, pedagogical, educational, training, rehearsal and concerto-performing activities by the head of the choreographic team, and highly professional and methodical competence, which includes both traditional and innovative methods and technologies for the study of technology, style, manners of executing the main elements of various types of dance. The author focuses on emotional competence, which manifests itself in the the leader’s ability to establish emotional contact with all creative choreographic team and with each individual participant, create an atmosphere of mutual understanding and trust at the lessons, choose the right tone and form of communication, manage their own feelings and thoughts as well as the student’s, that is, be able to leave all their emotional problems outside the team and not to demonstrate them to participants.The author remarks that in recent years, the dances of the peoples of the East, which are a part of their philosophy, original culture are becoming very popular. It should be noted that in conditions with a tendency to modern globalization, the need to study the dance culture of the East is constantly increasing. In order to familiarize students with the choreography of other cultures, they are actively involved in scientific and creative activity, which is based on familiarization with dances of different countries in the form of conducting master classes, videoconferences, etc.The article deals with methods, forms and methods of educational work, which will promote the students’ attraction to folk dance traditions in different countries. Among them: there are cultural projects, forums, round tables, curatorial hours, visits and participating in the events of national and cultural centers, etc.

Archetypical Symbols in the Modern Tuvan Culture

Scientific relevance of dance culture is driven by studying specifics of traditional and modern dance correlation with new methodology. The article aims analyzing the mechanisms of archetypal symbols translation in modern stage dances of Tuva. For that, the following tasks involving the relation between archetype with totem being considered and representation of archetypal symbols in the structure of modern Tuvan choreography being revealed are achieved in this work. The study allows concluding on morphological stability of the ancient Tuvan ideas preserved in the sacred kinetics of dances reflecting of the world’s multidimensionality; on permanent relationship with traditional ideas about the spirits of ancestors and gods. The Tuvan worldview specificity, expressed through the dance culture, keeps this tradition alive

Introduction. Intermedialities: Dance in Modern and Contemporary French Culture

Introduction. Intermedialities: Dance in Modern and Contemporary French Culture

Nymph, Scarab, Butterfly: Figures of the Dancer in Mérimée, Flaubert and Proust

Abstract This article examines dance episodes from three works of French fiction written between 1860 and 1920: the roussalka dance from Mérimée’s Lokis, Salomé’s performance in Flaubert’s Hérodias, and the description of an unnamed ballet dancer in Proust’s Le Côté de Guermantes. The texts, in contrasting ways, explore networks of power and desire, as well as the relationship between the aesthetic sphere and the world of social conventions and interactions, thus reflecting the thematic significance of dance in the literary culture of the period. It would be hard to justify constructing a grand narrative that maps the history of dance on to that of its literary representations on the basis of three texts; nevertheless, in the interplay of narrative and metaphor and the portrayal of the dancer’s multiple personae, we can find traces of some major shifts in the evolution of dance from the romantic ballet of the mid-nineteenth century to the coming of modernism at the start of the twentieth.

Decolonising culture, staging traditional dances, creating a new music-dance genre: the National Ballet of Mali’s postcolonial agency

ABSTRACTLike many newly independent African countries, Mali turned towards its cultural resources, especially music and dance, to build its national identity as part of the decolonisation process. The National Ballet was one of the national state-sponsored artistic ensembles created at the time of the achievement of independence in 1960 and as such, it had to display the music dance forms of the various Malian populations. Despite the Ballet’s claims of ‘tradition’ and ‘authenticity’, the traditional dances were adapted on stage by choreographers trained in socialist countries within the broader political context of the Cold War. Infused with Negritude and Pan-Africanism and entangled at the same time within a discourse on modernity, the theoretical ambition of the National Ballet was articulated in contradistinction to the colonial legacy. The article interrogates therefore the intricacy of this ideological and political background in order to apprehend the constellation of international relations and currents of thoughts that gave birth to the National Ballet. While examining the various means of postcolonial agency performed through the Ballet’s repertoire, the article demonstrates how a new music-dance genre emerged that spread widely in the postcolonial world within the subsequent decades.

Bodies That Cannot Listen

This is a brief reflection on the consequences of the commodification of dance cultures from the former colonised world and the ways they are consumed in Europe. Inspired from ten years of fieldwork, the ethnic structuring of postcolonial dance floors in European cities proves an empirical basis to start this line of thought. Instead of promoting respect and interest in the dance forms and the cultural contexts in which these dance forms developed, aficionados tend to consider that these are less evolved, beautiful and interesting than the appropriations they develop in their home countries. As a result, commodification leads to reinforcing previous stereotypes and emic hierarchies of value. The kinetic metaphor of the bodies that scream but cannot listen structures the text and its arguments.

Finding Your Balance

ABSTRACTProfessional dance careers require years of intensive training. Stress experienced during training must be balanced with adequate recovery to prevent overtraining and burnout. Little is known, however, about how dancers achieve recovery–stress balance. This study examined dancers’ recollection of stress and recovery during their vocational dance training to identify potential stressors and recovery behaviors in vocational dance training. Twelve current and ex-professional ballet (n=4) and contemporary dancers (n=8) participated in the study. Four general dimensions, based on the extant overtraining literature in athletes, were identified: dance culture, intrapersonal, interpersonal, and situational factors. Cultural norms, health factors related to injury and illness, and transition periods within vocational dance training were sources of stress for participants. Dancers’ responses to stress were categorized as adaptive or maladaptive. Maladaptive behavioral responses (e.g., ignoring injury, pain, and fatigue) were related to negative training outcomes associated with overtraining and burnout. Interventions that encourage adaptive behaviors for dance students to support health and well-being are recommended to address the recovery–stress balance in vocational dance training identified in this study.

STRATEGI KOMUNIKASI PEMASARAN PARIWISATA KEMARITIMAN DALAM MENINGKATKAN KUNJUNGAN WISATAWAN DI PULAU BANYAK

Aceh Singkil is one of the regencies in Nanggroe Aceh Darussalam Province that is rich in marine tourism, nature and culture. One of the popular tourism objects in this place is Banyak Island. Being well known by both local and international tourists, this tourist destination needs the right strategy. Through coordination done by government tourism office and youth and sports service of Aceh Singkil Regency, tourism communication strategy is arranged as an effort to improve the tourists’ visit in Banyak Island. This research was conducted by using descriptive-qualitative approach in which the data were collected by interview to the related parties. This research aims at : (1) knowing the maritime tourism marketing communication strategy done by government tourism office and youth and sports service of Aceh Singkil Regency in improving the tourists’ visit in Banyak Island, (2) knowing the supporting and inhibiting factors of the maritime tourism marketing communication strategy done by government tourism office and youth and sports service of Aceh Singkil Regency in improving the tourists’ visit in Banyak Island. Research findings show that the strategy of maritime tourism marketing communication done by government tourism office and youth and sports service of Aceh Singkil Regency in improving the tourists’ visit in Banyak Island are by advertising, event, publicity, and word of mouth marketing. The supporting factors of communication marketing are potential attractions for dance culture (Adok dance, Umbrella dance) and tomb of Makam syekh Abdurauf As-Singkily as national Islamic treasure. Meanwhile, the inhibiting factors, one of them, is lack of crossing transportation for tourists to visit Banyak Island

Building an authentic cultural curriculum through tertiary cultural dance

This study identified a range of pedagogies developed to promote global citizenship within a university Latin American dance unit. It implemented changes to teaching and learning approaches in the unit using the Biological Sciences Curriculum Study (BSCS) 5E Instructional Model, supporting learning that privileges transcultural connections to Latin America. The action research used a range of dance teaching pedagogies that were adapted, and evaluated, using the Structure of Observed Learning Outcomes (SOLO)Taxonomy, to support a culturally enriched student learning experience. The findings challenge traditional dance teaching pedagogies through meaningful engagements with the local Latin American dance community and a range of student and teacher reflective approaches.

Abstract P124: Comparative Evaluation of African Dance versus a Cultural Educational Program in Mitigating Cardiovascular Risk Among REACT! Study Participants

Background: Currently, about 50% of African American (AA) adults are affected by cardiovascular disease (CVD) compared to 38.9% of the general US adult population. Physical inactivity, a major risk factor for CVD, plays a key role in perpetuating the disparities, while physical activity and psychosocial interventions are known to be protective. In this study, we did a secondary analysis of the 6-month Rhythm Experience and Africana Culture Trial (REACT!) to compare the impact of moderate physical activity (African dance) versus an educational control program (culture and health education) in reducing cardiovascular risk. Methods: In the REACT! Trial, CVD risk factors including history of smoking and diabetes, body mass index and systolic blood pressure (SBP) were measured using CDC-BRFSS protocols. In this analysis, we used the non-lab based Framingham algorithm to compute pre- and post-intervention absolute CVD risk scores. Chi-square and t test were used to evaluate between group differences in categorical and continuous variables, respectively. Results: The 28 REACT! Trial participants (mean age 68 yrs, 93% female) were randomly assigned to either the cultural education control group (13) or African dance intervention group (15). At baseline, both groups had comparable cardiovascular risk profiles, including mean SBP (143 vs 146 mmHg; p=0.80) and absolute CVD risk scores (27 vs 29%; p=0.71). Post-intervention, the control group had a more favorable cardiovascular risk profile compared to the intervention group, with improvements in SBP (136 vs 152 mmHg; p=0.028) and absolute CVD risk scores (24 vs 30%; p=0.175), respectively. Conclusions: These data suggest that certain control group characteristics such as social interaction could be potent in lowering SBP compared to moderate physical activity. Possible mechanisms might include the stress-lowering effects of social support and communication in the culture education group.

Rivne Polissya as an Authentic and Archaic Cultural Region of Ukraine: Choreographic Component of the Heritage

The aim of this paper is to analyze the complex of historical prerequisites of forming the choreographic component of art heritage of the Rivne Polissya in the past and the present. Social and political, ethnic, cultural and natural circumstances of forming the art of dance in a retrospective are highlighted.Research methodology. The author uses the integrated approach caused by need of the involvement of the comparative and historical method which fixes similarity between the cultural phenomena as certificates of community of their origin. The application of culturological methodology which includes sociocultural approach –as it focuses attention on the unity of culture and sociality, taking into account scientific achievements of a choreology, cultural science, ethnography, history, etc. has been integral to the study.Results. It is established that non-ritual dancing repertoire in the northern areas of the Rivne region is submitted by specific local dances. There were twists — pair dances where participants move around in one direction, exchanging at the same time partners; buckwheat — women’s dance which was carried out during agricultural works with the corresponding refrain; chumak subject dance of the hopak group; small pillows — dance of men and women who went around, having joined hands; a drill — dance which was carried out by the three of dancers. All-Ukrainian genres of the national dances were also widespread in the northern Rivne region.The historical prerequisites of forming the choreographic art of residents of the Rivne Polissya were found in the specified region owing to different natural, social and political, social and economic and ethnic circumstances, where traditional dancing culture of the Ukrainian population characteristic of the north of Ukraine was created. Considerable influence of material and spiritual culture of the Belarusian ethnos was a considerable factor too.Novelty. An attempt is made to analyze Ukrainian choreographic arts in Rivne Polissya from the point of view of changes of cultural eras.The practical significance. The results of the study can be used in developing the monographs and publications on the history of dance in the authentic ethnographic regions of Ukraine.Keywords: historical prerequisites, spiritual culture, material culture, Ukrainian Polissya, Rivne Polissya, subregion, Poleshuks, choreography, dance, art.

CULTURALLY DRIVEN MENTAL HEALTH CARE IN HMONG AND CAMBODIAN REFUGEE POPULATIONS

CULTURALLY DRIVEN MENTAL HEALTH CARE IN HMONG AND CAMBODIAN REFUGEE POPULATIONS

PENERAPAN PENDEKATAN SAINTIFIK PADA PEMBELAJARAN SENI TARI OLEH GURU KELAS VII.10 DI SMP NEGERI 2 KOTA SOLOK

AbstractThis article aims to find out and describe the application of the Scientific Approach to the study of Dance Class VII. 10 in SMP Negeri 2 at Solok. This type of research is qualitative research using descriptive method. The instrument of this study is the researchers themselves. Types of data using primary data secondary dandata. Engineering data collection done by the study of librarianship, observation and interview. After the data is collected, the data analyzed by a conceptual framework based on. The results showed that the application of scientific approaches in the study of art and culture (dance) are going well and the students gave positive response during learning activities. At the first meeting there were still many students who are making a fuss, not excited in the move, and not confident in doing the motion. At the second meeting has already increased the student who submits an opinion. At the third meeting of the visible increase in the activity of students i.e. students who dared to ask your opinions and ask questions. Student activity on the fourth and fifth meetings already looks very good. That's where almost all serious and eager students in learning theory as well as practice of dance. Then follows the application of scientific approaches in the study of art and culture (dance) is very effective in improving student learning activities.Keyword: application of scientific, approach, learning the art of dance

Photography as visual documentation of Topeng Losari dance culture of Sanggar Purwa Kencana

Indonesia is a country with diverse ethnic groups that has a big potential in exploring its culture and turning it into a valuable asset. However, the young generation does not fully explore this potential and prioritize computerization and technology instead, as they consider those things a bigger asset for the country. This research aims to help preserve Indonesia’s local traditions and culture, and reintroducing them to the young generation in the hope of attracting their interest. Losari Topeng dance as one of Indonesia’s local cultural heritages will be the main topic explored in this research. It will be done by using visual documentation approach, in the form of photography that has a power on social media and on the internet, both the biggest and the fastest source in spreading information that is distance-free and can reach to a wide audience. Author concludes that photography will be the effective approach to document and visualize this mask dance heritage of the Indonesian culture as a way to preserve it.