Dance Culture Research Articles

Kulintang Kultura: Danongan Kalanduyan and Gong Music of the Philippine Diaspora

Kulintang Kultura: Danongan Kalanduyan and Gong Music of the Philippine Diaspora

Vajira: The Pioneering Female Dancer

Vajira Chitrasena is regarded as a pioneer in the field of Kandyan dance, primarily for being the first female professional dancer. At nearly ninety, she was awarded the prestigious Padma Shri by the Government of India in 2021, in recognition of her art form and her contribution to dance culture in Sri Lanka. Vajira has received numerous awards from the state and private institutions in Sri Lanka, and she has been the subject of numerous articles over the years. Most of the popular writings on Vajira highlight her critical contribution in advancing the female form of a traditionally male dance, paving the way for successive generations of professional female stage dancers. These commentaries that appeared in print and, later, in online media, also document the aesthetics of her dance and the supporting role she played to the acclaimed Kandyan dancer, Chitrasena, who was her partner on stage and in life. These accounts have, however, tended to ignore her role as a multifaceted artist. In addition to being a performer, Vajira is a choreographer of traditional dances and a co-creator of numerous productions; she has also been a teacher to numerous dancers over the decades and, in this process, she has developed her own, influential pedagogy for teaching Kandyan dance.

The Sociocultural Significance of the Emedjo (Masquerade) Dance Among the Abraka People in Delta State, Nigeria.

Dance serves an important role in the cultural lives of a people and transcends the overall aesthetics of the body to convey the cultural essence of the dance. Among the Abraka people, the emedjo dance is an art form that reflects their cultural beliefs and thus goes beyond mere aesthetic dancing. The foremost challenges to the survival of the emedjo dance are Christianity and Western influence and if not addressed, these can adversely affect the cultural potency of the dance and in turn the intrinsic cultural elements thereof. This paper, therefore, serves as an avenue to bring to the fore the social-cultural significance of the dance, using social-cultural material to illustrate the intrinsic nature of the dance, thereby preserving the cultural context thereof. To accomplish this, the researcher used a range of data gathering methods, including interviews, participant observation, and a review of related literature. Dunham’s conceptual and ethnographic theory was employed to gain an in-depth understanding of the social-cultural significance of the emedjo dance as both an observer and a participant observer during the dance performance. The study concludes that emedjo dance is an art form that can entertain, inform, and educate the Abraka people about the uniqueness of their cultural heritage and remind them of their cultural roots. The study, therefore, recommends that, for sustainability and continuity, the emedjo dance should not be limited to the dance performance alone but should also include the dance’s many artefacts. Such factors ensure the emedjo masquerade dance culture’s continuity and originality. Keywords: emedjo dance, masquerade, Abraka people, cultural dance, ceremonial dance.

Study of Creative Dance and Its Transformation Under Cultural Heritagetion of Our Cultural Heritage

This lesson teaches us about our cultural past and the value of imaginative dance. To gauge the pupils' degree of understanding of cultural heritage, we used 5 statements. The social dance, an essential component of our society's customs, transmits elements of our social tradition from one generation to the next. As a result, it commits significantly to enhancing our social personality and fundamentally affects the "social upheaval" in our general population. Constant change is occurring in our way of life. While some societal perspectives are lost, others struggle and persist or are modified and altered to fit new conditions. This investigation examines the development of music/movement education and creative dance in relation to the "second presence" of movement and how this development may really preserve the social qualities of social dance's "first existence." The "introductory presence" of dance is defined as a method of obtaining and transmitting dance from one age to the next through experiential learning. Greek social dancing has changed to take on a genuinely engaging and tourist commercial angle while also changing its informative nature through teacher-centered educational practices due to current social, political, and economical changes. Social dance is now referred to as "the subsequent presence" of social dance due to this development. The "correspondence triangle," which consists of the three components of the moving system—the artist, the dance, and the spectator—supports and explains how social dance changes from its "first existence" to its "second presence." A substantial portion of our social heritage can be preserved and passed on to future generations using the Music Movement Education and Creative Dance technique to teach Greek social motions. The dance represents cultural history and is an essential component of all nations, reflecting local customs and culture. Even though dance's significance has long been understood, little research has been done on how to preserve dance culture. To solve these concerns and ensure the long-term preservation of the cultural heritage of dance and the transmission of dance abilities from generation to generation, this research aims to study and identify the challenges cultural dancers face in developing nations. It was done to aid in the ongoing dissemination of knowledge. from one generation to the next. According to our research, the cultural heritage of arts and crafts in emerging countries is threatened for several significant reasons.

Dance Culture in the Digital Age

The purpose of this article is to analyze the existence of dance culture in the context of its active interaction with media technologies. The modern theatrical repertoire offers a large number of experimental performances, which provides a basis for a cultural understanding of dance culture, based on the works of researchers of culture, theater and dance, as well as on the basis of the results of creative searches of choreographers and dancers (lectures and individual performances). The synthesis under consideration generates new stage techniques (formation of space without the use of decorations, direct “interaction” of the dancer with electronic “props”), technical means for rehearsals (tracking movements in space, remote work of the choreographer and the performer). This makes dance art accessible to the viewer making it a part of media culture through musical films and television projects. The article pays special attention to the wide opportunities of the dancer’s self-presentation in the digital space, which requires not only beautiful dance technique, but also technical skills (filming, editing).It is important that the synthesis of technology and dance is a special case of the relationship between the classical and the modern. This manifests itself in unusual musical works, where genres and musical instruments of different styles are combined, as well as in experimental dance performances in which there is a place for both classical dance and digital technologies as decorations or even participants in the stage action. The article concludes that dance culture continues to develop with the help of media technologies, but it should be borne in mind that further technical transformations will never replace the live movement and expressiveness of the human body with digital effects.

ҰЙҒЫР ХАЛЫҚ БИ ӨНЕРІНІҢ ДАМУЫНДАҒЫ ГУЛЬНАРА САИТОВАНЫҢ ШЫҒАРМАШЫЛЫҚ РОЛІ

The article examines the creative and pedagogical path of G. Saitova, who studies the dance art of Kazakhstan, including the dance culture of the Uighur people. Having received choreographic education at the Republican Studio of Variety and Circus Art (now the College named after Zh. Yelebekov), since 1971, the performing and choreographer path has been held at the State Academic Uighur Theater named after K. Kozhamyarov.In Kazakhstan, she is recognized as a scientist who plays an important role in the study of choreographic art, including the dance culture of the Uighur backgammon.

Western ukrainian choreographers – representatives of today's modern dance

The aim of the research is to study in detail the work of Ukrainian choreographers - representatives of the "modern" style of Western Ukraine in particular. The research methodology consists in the application of several approaches: analytical for the study of literature on the topic of the article and system; using a range of methods: biographical, culturological, comparative-historical, theoretical generalization - comprehensively achieving the stated goal. Due to the biographical method, we considered the professional and creative experience of choreographers, which explains the sources of their work. The comparative-historical method helped us to study the historically formed features of modern dance, to note its structure, due to which we determined the differences between the previous experience of choreographers and modern choreographic research. The scientific novelty of the study is that we are the first to trace the features of modern dance style in the productions of famous choreographers of Ukraine I.V. Mazur, O.B.Lan, O.V. Martyniuk, A.S. Safonov, S.V. Naenko. The research of this issue helped to understand the main trends in the development of contemporary choreographic art in Ukraine, which are to create a national school of modern dance and the use of choreographic vocabulary in ethnic productions. Conclusions: Due to the research, we followed the development of modern dance on the example of the work of Western Ukrainian choreographers listed above. Our research proves that Ukrainian choreography does not deviate from modern fashion trends. The choreographers of our country develop a fashionable pro-European culture of modern dance in their work, create ballet performances in this style and continue to experiment in their own search for lexical material. Art analysis of the leading Western Ukrainian choreographers of modern dance allowed us to identify special cultural features of modern dance in Western Ukraine, which is manifested in the combination of modern dance with national traditions and the creation of an academic school of this style under the influence of national culture. Keywords: modern dance, balletmaster, choreographer, ballet performances, art analysis.

Research on the Path of Inheriting Folk Dance Culture in College Dance Teaching

Research on the Path of Inheriting Folk Dance Culture in College Dance Teaching

Dance interventions for individuals post-stroke - a scoping review

ABSTRACT Background There is a growing body of literature assessing the potential benefits of dance for individuals post-stroke. Objectives We conducted a scoping review mapping the state of the literature on feasibility, intervention procedures, and efficacy of dance to improve health-related outcomes for individuals post-stroke. Eligibility Criteria Included studies were original research that described the use of a dance intervention for individuals post-stroke, included any health-related outcome, and were written in English. Sources of Evidence Databases selected were Pubmed, Scopus, Google Scholar, Proquest, MedRxiv, and CINHAL. Charting Methods Two reviewers extracted relevant data and results were organized into themes and categories determined by all authors through discussion. Results We searched electronic databases were in February 2021. We included 18 publications from 14 studies. Ten were quantitative, five were qualitative, one was mixed-methods, and two were community project descriptions. Twelve publications evaluated in-person dance classes and six evaluated dance exergaming. Based on the limited studies included, evidence suggests dance is a feasible and potentially effective intervention for individuals post-stroke. Studies demonstrate dance may facilitate changes in balance and fall risk, encourage confidence, promote comfort with the changed body, increase rehabilitation motivation, and facilitate community reintegration. Evidence is limited by number of studies, design (lack of control groups and blinded assessments), intervention descriptions, and outcomes reporting. Conclusions There is growing interest in dance for stroke interventions. Further research should focus on rigorous study design, optimal intervention timing, consistency of reporting outcomes, key elements of dance classes, and the impact of cultural dance styles.

Ontogenesis of the choreographic culture of Prykarpattia from its origins (primary sources) – to the end of the 18th century

The purpose of the article is to study and describe the features of the ontogenesis of the dance culture of Prykarpattia, its significance for choreographic culture and Ukrainians as descendants of the cultural choreographic heritage of ancestors. Methodology. The goal set in the article has led to the use of a number of research methods, namely the use of descriptive, logical, historical, systematic methods. The comparative method made it possible to elucidate the ethnocultural mechanisms of the origin, formation and development of Prykarpattia choreography as a holistic phenomenon. The paper uses a comparative analysis and synthesis of the provisions of professional works of researchers in the fields of history, culturology, ethnography, philosophy, art history, related to the topic of this article. The scientific novelty of the publication is that for the first time it comprehensively explores various aspects of the ontogenesis of choreographic culture of Prykarpattia in the context of its historical development, identifies features of dance culture due to the influences of neighboring nations. Conclusions. Dance is an artistic means for the audience to learn traditional signs, ethics of communication, historical past, traditions and life of ancestors. The uniqueness of cultural traditions, customs, beliefs, geographical location and economic and political situation led to the formation of the Carpathian choreographic culture. Ontogenesis and trends in the development of dance in the Carpathians contributed to the creation of an original, distinctive, unique choreographic culture.
 Key words: culture, ontogenesis, dance, folklore, choreographic culture, art, creativity, heritage.

Performing Tsarist Russia in New York: Music, Émigrés, and the American Imagination

Performing Tsarist Russia in New York: Music, Émigrés, and the American Imagination

Mārganāṭyam: Ancient Indian Theater in India Today. Philosophy, Discipline and Artistic Experience

The article is the first exploration of Mārganāṭyam, a new tradition in the performing arts of modern India, created (and still in the process of the development) from the beginning of the XXI century by an outstanding researcher of musical, theatrical and dance culture, Kalamandalam Piyal Bhattacharya (Kolkata, West Bengal) and his students. It is based on the many years of the author’s personal observations, interaction, interviews and discussions with the participants of “Chidakash Kalalay. Centre of Art and Divinity”, an artistic community based on the direct transfer of knowledge and skills from teacher to students, which has developed around Piyal. The features of the method of reconstruction of the ancient Indian theater, the flexible application of the legacy of the past in modern conditions are under study. Particular attention is paid to the artistic interpretation and comprehension of the Indian philosophical heritage, and above all the concepts and worldview of Nyaya and Vedanta systems, transferring them to the space of scenic images. The presented material demonstrates that an integrated approach to the artistic heritage, a metatheater, combined with individual pedagogical unfold of the personality of the artists, creates the possibility of recreating the long-vanished tradition and complex philosophical issues in a way that is well understood today, relevant and reflects the essential needs of modern creators and viewers of the Indian theater at large.

Study of Cultural Values of Panah Dance in the Ohoi Ngefuit Community Using Song Instruments in Southeast Maluku Regency

The history of civilization of the Ohoi Ngefuit people proves that the majority of the Ohoi Ngefuit people are the result of the migration of the Balinese people in ancient times, this can be seen from the cultural similarities and the performances of traditional rituals that are similar to the traditional Balinese culture and rituals. This Panah Dance originally came from a war dance, using bows and arrows as properties that can inspire and inflame the courage of men, but it is different from the Panah Dance in the ohoi ngefuit Panah Dance which is used by using ynayian instruments by the dancers. The Panah Dance of the ohoi ngefut community is different from the Kei people in the Kei islands. This research uses a descriptive method. The purpose of this study is to find out how much the Panah Dance culture of the Ohoi Ngefuit community is maintained until now.

Membangun City Branding Lokalitas dalam Tumbler Starbucks: Suatu Pendekatan Budaya

This research aims to provide a comprehensive overview of how Tumbler Starbucks City Series Indonesia builds city branding on displayed cities. The method used in this study is qualitative with several supporting techniques such as library study techniques, listen, and record. The results of this study showed that the Tumbler Starbucks City Series can be said to "successfully" display a form of local wisdom such as highlighted elements of dance culture, traditions, and landmarks. Nonetheless, the process in building city branding has not been able to be a strong parameter in an effort to increase tourists. There are several problems that can be felt in the application of city branding in the cover tumbler Starbucks City Series. First, the branding implications contained on this tumbler cover have some contradictions between marketing goals and communication goals. Second, the city image built on a Starbucks City Series tumbler is limited to traditional landmarks and dance. Third, the relatively expensive price of tumblers is also a major drawback to the city branding process in Starbucks tumblers.

ROUND DANCE TRADITION OF BELGORIE: THE SEMANTIC AND CULTURAL ASPECT

The accumulated rich archival material on the musical folklore of the Belgorod region actualizes the problem of the semantic analysis of round dance songs as the dominant genre of the region’s traditional culture. In this work, based on expeditionary materials and researchers’ publications, the choreographic forms of round dances (circular karagods, tanks, figured tanks) of the Belgorod region are identified and described. The general scientific research methods within the framework of comparative, logical and statistical analysis are utilized. The systematic approach to research used in the process of modeling dance culture contributed to the reconstruction of the three-part picture of the world, captured in the dance in many versions.

Kazakh ballet in the retrospective of the search for national identity

Abstract. Scientific understanding of the process of formation and development of the national ballet genre is relevant for the study of modern choreographic art. In the era of globalization, it is important to take steps to preserve the individuality of the national culture and support its iconic phenomena. The study of Kazakh ballet will reveal the peculiarities of the formation of choreographic art in the interaction of national tradition and classical ballet. The Ballet Theater of Kazakhstan of the twentieth century, although formed on the basis of the Russian ballet school, but it managed to preserve its national identity. Kazakhstan ballet has gone through difficult periods of development. The analysis of this phenomenon on the example of its history of formation will provide answers to many questions of the development of national choreographic art. Cultural-historical, comparative, biographical methods were used in the work on the study.Folk dance in Kazakhstan, due to the development of nomadic culture, has not preserved the established traditions and ancient samples of dance culture. This is seen as one of the reasons for the lack of a world-class national production in the repertoire of ballet theaters. Characterizing the main features of the development of the genre, it is concluded that the Kazakh ballet does not yet have a long history on stage: the success of the premieres is further replaced by the loss of the performance from the repertoire. To date, an exemplary ballet performance, unconditionally recognized as national, has not been created.Creative processes in the national ballet theater are active, starting from the first experiments of combining the movements of Kazakh games and rituals with classical dance to the creation of choreographic miniatures and ballets. Interest in ballet has not faded to this day, which confirms the appearance of new premieres.

Preservation of Sasoki Dance Culture for Youth in Tihulale Village, West Seram Regency

Preservation of Sasoki Dance Culture for Youth in Tihulale Village, West Seram Regency

The sacredness of the Maengket Dance in Contextual Theological Perspective

This article aims to interpret the reality of the sacredness of the Maengket dance in Minahasa culture from a contextual theological perspective. Maengket dance is an original Minahasa dance that contains some sacred values ??in the form of traditional rituals (foso) and performing arts. This study uses a qualitative approach through interviews, observations, and literature study. The research finding in this article is the encounter between the Bible and culture in Minahasa seen in dance. However, due to globalization, the meaning of sacredness and ethnic identity in the dance has experienced a shift in values. Therefore, it is concluded that the Maengket dance is part of the identity of the Minahasa tribe in offering prayers of supplication and thanksgiving to Opo Empung Wailan Wangko (God the Almighty), which is inclusive in people's daily lives. On the other hand, it is necessary to get attention from various parties to preserve this artwork as a legacy of local wisdom for the next Minahasa generation.

Dance Performance in New Rural Areas Based on 3D Image Reconstruction Technology.

Because of the special ecological environment and humanistic atmosphere in new rural areas, excellent regional dance art has been created. Through computer-aided technology, the essence of dance art in rural areas can be reconstructed and displayed. Therefore, based on 3D image reconstruction technology, this paper obtains the dance data of southeast Guangxi and puts forward the dance display scheme of new rural areas. Through acquisition of image information and image matching algorithm, the dance pose is estimated, and the extracted dance sequence is simplified by 3D reconstruction and mapped by texture. In addition, extraction effect of data set, comparison of dance similarity, and user authenticity score were used to test the five types of dance, which provides ideas for the inheritance and development of traditional folk dance culture.

Dancing Queen: Marie de Médicis' Ballets at the Court of Henri IV by Melinda J. Gough

Reviewed by: Dancing Queen: Marie de Médicis' Ballets at the Court of Henri IV by Melinda J. Gough Catherine Gaughan Gough, Melinda J. Dancing Queen: Marie de Médicis' Ballets at the Court of Henri IV. UP of Toronto, 2019. ISBN 978-1-4875-2679-5. Pp. 378. Dancing Queen sheds new light on Marie de Medici's ballets presented at the turn of the seventeenth century and her enormous contribution to the genre of court entertainment as both patron and performer, most notably the ways in which the performing arts were used as a vehicle for politically engaged queenship. Thoroughly researched from a wealth of previously unavailable primary sources, this interdisciplinary project explores these performances through theories and methodologies derived from literary studies, social and political history, theater and art history, sociology, musicology, women and gender studies. The book highlights the queen's political authority expressed through textual and visual iconographies combining Christian and classical imagery, as well as a larger defence of Bourbon legitimacy in early modern France. Marie de Medici' fascinating role in the revival of the arts in Henri IV's court includes selecting lesser status performers or the king's illegitimate son dressed en travesti and her savvy use of court ballets for political purposes. At the heart of this project is the French-to-English translation of three early seventeenth-century royal women's ballets made available for the first time: Ballet of the Sixteen Virtues, Ballet of Diana and her Nymphs, and Ballet de Madame. The book creates a vivid picture of the ways in which cultural activities in France aided political legitimation and negotiations not previously explored in standard histories of French court ballet. The numerous images, as well as the extensive bibliography and notes, serve as helpful resources for further study in the field. Overall, the five chapters trace modern women's theatrical and political agency across linguistic and geographical borders, and the insightful analyses of the ballets provide a deeper understanding not only of the dances themselves but of the political implications for the Habsburg-Bourbon rapprochement. An engaging and informative read, Dancing Queen will be an asset to any French history collection and a keen reference point for research focusing on dance and women's studies in early modern queenship and court culture. [End Page 221] Catherine Gaughan Ryerson University (ON, Canada) Copyright © 2022 American Association of Teachers of French