Dance Forms Research Articles

INTERCULTURAL INTERACTION OF FOLK-STAGE DANCE OF UKRAINE AND EUROPEAN COUNTRIES

In the current stage of development of Ukraine, during martial law, the problem of strengthening intercultural interaction between different peoples of the world acquires special significance. A significant issue in intercultural interaction between Ukraine and Europe today is the rapprochement of ethnic cultures and the assimilation of cultural and moral values, customs, and dance traditions. In Ukraine, strengthening intercultural interaction between peoples is one of the key factors of peace and interethnic harmony. International folk dance festivals, where you can see folk dances from around the world, play a significant role in creating intercultural interaction and ensuring dialogue between the Ukrainian people and European countries. These festivals ensure the exchange of dance traditions, customs, highly artistic repertoire, and stage culture from different countries of the world. The article is aimed at studying the features of intercultural interaction of folk stage choreography of the Volyn and Bukovinian regions of Ukraine and European countries: Hungary, Slovakia, Moldova, Romania and Poland, in particular, determining the mutual influence of regional features of dance vocabulary and folk dance forms of these countries. The article is intended for future teachers of choreographers, teachers of choreographic disciplines and leaders of choreographic groups, who must be ready to create a highly artistic dance repertoire and master the methods of teaching folk dances from around the world, know the features of their dance vocabulary, forms and genres of choreographers.

О роли «страстных» ритмов французской поэзии XVII — начала XVIII века в жанрах chanson à danser и danse chantée

The article is devoted to the rhythms of French Baroque poetry, which are considered as an important source of emotional expressiveness in the dances of that time period. One example chosen is the Sarabande, as presented in the genres of the chanson à danser and the danse chantée by French composers of the 17th and the early 18th centuries. Special attention is given to the so-called unbalanced phrasing of poems, which leads to the emergence of ‘passionate rhythms.’ Their expressiveness was stipulated by the three types of accents present in the French spoken language — the grammatical, the logical and the pathetic (oratorical), which, according to Jean-Jacques Rousseau, create an impact on musical intonation and are important for composers who write music in dance forms. The equivalents of the grammatical accents, which mark the open or the closed sounds, as well as the brevity vs. the length of the syllables, are presented by the downbeats and the offbeats of the measures. The logical accents indicate the connections and relationships of the expressed thoughts uttered in the sentences of speech. The pathetic, or oratorical accents express the feelings of the speaker and communicate them to the listeners.

Москва — Каир. Египетский народный сценический танец: наследие советских хореографов

Based on a wide range of sources, including archival ones, what follows a history of Soviet-Egyptian cooperation in choreographic art from 1957–1976. Special attention is paid to the contribution of choreographers Igor Moiseev, Boris and Larisa Ramazin, Anatoly Borzov, Alla Shulgina, and others. They helped to create and develop Egyptian stage folk dance. Soviet choreographers played a decisive role in the development of Egyptian stage folk dance in its modern form. Within the Agreement on Cultural Cooperation between the USSR and the Arab Republic of Egypt, they collected folk dance material in the regions of Egypt and staged it for the repertoire of The National Folkloric Dance Troupe of Egypt and the Cairo Ballet Company. They also played an important role in the creation of the Higher Ballet Institute and School at The National Folkloric Dance Troupe. This formed the base for the system of professional training of choreographers, which still works in this country. The published information changes the ideas about the history of both the folk forms of Egyptian stage dance and the female dance raqs sharqi in the second half of the 20th century.

ТАНЕЦЬ І МУЗИКА: СИНТЕЗ ДВОХ МИСТЕЦТВ

The article describes the features of a possible synthesis between the art of dance and music. To realize the set goal, a complex of methods was used, in particular, general scientific methods – analysis, synthesis, generalization, systematization, which were applied to the state of development of the problem. The concrete-scientific – terminological analysis and interpretation of scientific thought used to define the basic concepts of our work. The historical-genetic and retrospective analysis, which made it possible to clarify certain historical features of the research phenomenon. The comparative and comparative analysis used to outline the problem of a possible synthesis between dance and music. It has been proven that dance and music are capable of a joint, integral existence. As a result, a synthesis of arts is formed, by which we understand an organic combination, interconnection, combination of various autonomous types of art into a single innovative and modern form, which is characterized by the completion of an artistic work. It has been established that dance and music are closely related. The dance does not exist without music. At the same time, the music strengthens the expressiveness of the dance, its emotional and rhythmic basis. The synthesis of dance and music is explained by the influence of the latter on the dramatic construction of a dance composition, the structure of which is created on the basis of a musical work. It was established that the joint interaction of dance and music involves joint mutual assistance in revealing the theme, idea, content, image of the heroes of the dance composition. The result of the synthesis between the dance and music arts is the emergence of musicdance forms (suite, pastoral, interlude). The work presents symphonic dance, which is formed due to individual dance forms and forms of symphonic development of music and is the result of musical and dance synthesis.

EARLY CHILDHOOD PERSONALITY DEVELOPMENT THROUGH BEBEK PUTIH JAMBUL DANCE

The Bebek Putih Jambul dance is a new performance for young children based on local Balinese philosophy and accompanied by the Bebek Putih Jambul composition by Sekar Rare . This routine was devised in response to findings from the field indicating that most young children in Bali were exposed to age-inappropriate adult performing arts material during the learning process. The research problems are 1) What is the dance form of the Bebek Putih Jambul ?; 2) What is the function of the Bebek Putih Jambul ? This study used qualitative methods. The sources of data for this study included the Bebek Putih Jambul Dance performance, children, art instructors, parents, and the local population. Using symbol theory and practice theory, all data gathered through observation, interviews, and literature studies are qualitatively analyzed. The research results include 1) The Bebek Putih Jambul Dance, which is founded on indigenous Balinese knowledge, is performed as a free-form dance. This is evident in the variety of the show’s movements, performance structure, fashion cosmetics, and music. While dancing and singing, the Bebek Putih Jambul Dance teaches children about togetherness, mutual cooperation, discipline, responsibility, and the grandeur of God Almighty. Keywords: National Character, Bebek Putih Jambul Dance, Early Childhood DOI： https://doi.org/10.35741/issn.0258-2724.58.3.54

LMA이론을 적용한 한국무용전문가의 즉흥 움직임에 담긴 개성적 움직임의 특질

The purpose of this study is to analyze the unique movement form and characteristics of dance experts through Quality of movement that reveal individuality. In order to achieve this research purpose, six research participants were selected as a judgment sampling method among convenience sampling methods. The movement analysis tool used the Laban Movement Analysis (LMA) theory. First, in the Quality of movement of Korean dance experts, a unique movement form appeared, and it was analyzed as a Quality of movement that emphasizes the inner side of the movement. Second, in the Body element shown Quality of movement characteristic was formed by combining the Breath Support and Grounding elements based on Homolateral to form a habituated Body. Third, in the Effort element shown Quality of movement characteristic was as Vision Drive, which consists of Body movement-oriented movements. Fourth, in the Shape element, it was analyzed as an important factor in determining the characteristics of movement according to the Quality of movement characteristic Following Shape Flow and Bulging Shape Flow. Fifth, in the Space element shown Quality of movement characteristic were found to create Indirect Space Effort and Dynamosphere. Also, analyzed as Central Pathway, Central Spatial Tension, Mid-Reach, and Middle level. In conclusion, by identifying the form of movement through Laban Movement Analysis (LMA) theory, it is expected that individual training methods can be presented to dance experts and standards for appreciating dance works as social values.

REKONSTRUKSI TARI JEPIN TALI DI KABUPATEN SINTANG

The purpose of this study was to analyze the reconstruction process and the results of the reconstruction of the Jepin Tali dance in Sintang Regency by Anggi Wulan Sari. Jepin Tali dance is one of the traditional Malay dances originating from Sintang Regency, West Borneo Province. The Jepin Tali dance is presented in the form of a group dance and can be danced by both male and female dancers. The theory used in this research is the theory of reconstruction by Burra Charter and the theory of form proposed by Slamet, MD. This research is qualitative with interpretive descriptive method with data collection techniques by observation, literature study, and interviews. The results showed that: First, the Jepin Tali dance has a function as entertainment and as a medium for public education about mutual cooperation and tolerance. Second, the reconstruction process is carried out in the excavation and arrangement stages. Third, the results of the reconstruction are the addition of a variety of movements from 3 to 16 variations, the addition of musical instruments, make-up and clothing, as well as the floor pattern used. Fourth, the Jepin Tali dance is presented in the form of a group dance with a total of 4 female dancers and has a presentation structure which is divided into 3 parts, namely the beginning, the core, and the closing using the 8 rope property. Fifth, the hallmark of the Jepin Tali dance presentation is the use of the rope property and Siti Zubaidah's poetry.

BENTUK DAN FUNGSI TARI RONGGENG PASER DI DESA SESULU GUNUNG BATU KABUPATEN PENAJAM PASER UTARA KALIMANTAN TIMUR

The research entitled Forms and Functions of Ronggeng Paser Dance in Sesulu Village, Gunung Batu, North Penajam Paser Regency, East Kalimantan, is a form of traditional dance in Sesulu Village, Gunung Batu, East Kalimantan. This dance is a form of traditional Malay dance. This dance is included in the social dance or merry dance which is danced by six dancers using the Malay lenggang motion motif with dance music of three kinds of songs, namely Batu Sopang, Tirik, and Makinang.

BENTUK SAJIAN BEDHAYA SAPTONGKARA KARYA I NYOMAN CAHYA BERSAMA SULISTYO HARYANTI

This article discusses one form of group dance that tells the expression into a dance form that takes the symbol of Sapta Ongkara in the form of energy that exists in humans and the universe. This dance work was composed by I Nyoman Chaya and Sulistyo Haryanti in 2019. To reveal the form of this bedhaya dance, Y. Sumandiyo Hadi's theory is used to describe its elements. The results obtained in this study are in the form of a description of the work on the Bedhaya Saptongkara dance moves compiled by I Nyoman Chaya and Sulistyo Haryanti as well as the form of the presentation consisting of dance moves, dance themes, types of dance, mode of presentation, number of dancers and gender, dance room, music. dance, make-up and fashion, props, and lighting.

FORMS OF ORGANIZATION OF THE PRE-PROFESSIONAL CHOREOGRAPHIC TRAINING IN UKRAINE IN THE 20S OF THE XX CENTURY

The article reveals the peculiarities of the development of choreographic education in Ukraine in pre-professional forms of organization in the 20s of the XX century. In the aspect of socio-political and cultural determinants, the organizational and pedagogical foundations of choreographic training of the younger generation in the structure of general and out-of-school education are analyzed. The educational value of the phenomenon of pre-professional dance creativity is clarified. It has been observed that during the study period children's dance amateurism was formed in the educational, cultural and artistic spheres in institutions of various functional purposes: in general education institutions, dance vocational schools, art studios, children's and youth clubs. The dissemination of elementary choreographic knowledge also took place in various mass forms of aesthetic and educational leisure: concerts, literary and musical matinees, evenings, and mass folk festivals.Based on the analysis of the educational sector's reporting documentation of the time, it was found that official support for school and out-of-school amateur children's choreography was centralized, regulated by norms and methods, and subordinated to the ideological narratives of the society of the time. Physical education bias dominated the arrangement of the content of school motor training. The priority direction of leisure time choreographic activities of schoolchildren in institutions of mass culture is the attraction to newly created mass dance forms of Soviet origin, lexically simple and accessible for assimilation. The main principles of mass children's choreographic performance were the availability of dance vocabulary, a combination of elementary natural movements, jumps, running, simplicity and artistry of musical accompaniment.It is proved that in the period under study, the formation of the content of pre-professional choreographic training of children and students involved the correlation of ideological and educational tasks. Mass choreographic forms were interpreted primarily as an effective component of the overall system of class education. At the same time, it was noted that the quality level of children's amateur choreography in the system of cultural and mass work remained generally low, despite its popularity in society. The need to improve pre-professional dance creativity in various forms of organization remained relevant.

Dance and Its Effect on the Mental Health of Performing Arts Students

This study is aimed to describe dance's effect and its different forms on mental health. The respondents of this study are students taking Bachelor of Performing Arts at City College of Angeles. The Mental Effect of Dance Questionnaire was utilized to gather data through an online survey. The said questionnaire has undergone pilot testing α =.975 and .946, which confirms that the instrument can be utilized. Descriptive analyses were used to describe the effects of dance and its different forms on mental health. Independent T-Test Analysis, Mann-Whitney U, and Kruskal-Wallis H analyses were utilized to determine the difference between groups in the cognitive effect of the dance and its genre regarding gender and year level. After data were obtained from 83 students, the results showed that dance positively affects their mental health. On the other hand, there was no significant difference between groups regarding gender and year level regarding the mental effect of the dance and its genres. Results found that most BPeA students answered that dance has a good impact and benefits them, especially in their mental health. From the results obtained, this study suggests providing different seminars and exposures for the students to gain knowledge about the benefits of dance based on various dance forms to students' mental health. These findings provide new information to students and professionals interested in researching dance and mental health. Further investigation is also recommended to support this research study.

Pelatihan Pengelolaan Desa Wisata Gunung Salak, Kabupaten Tabanan, Bali

Gunung Salak village has been inaugurated as a village that has natural tourism potential, Gunung Salak village also has cultural potential in the form of Okokan dance, Bunut Sakti Temple, Beji Sudhamala Temple, and subak. The Master of Tourism Applied Study Program is one of the study programs at the Bali Tourism Polytechnic. Carrying out Community Service activities in Gunung Salak Village on 29-30 March 2021. The theme of the implementation of the community service program is Training on Management of Tourism Villages, Gunung Salak Tourism Village, Selemadeg Timur District, District Tabanan. Participants in this training were 30 people consisting of elements of village officials, tourism object managers, accommodation managers, art associations, PKK, and youth organizations. The training materials include Government policies in the development of Gunung Salak Tourism Village, destination management, techniques for communicating and interacting with tourists, Sapta Pesona, as well as accommodation management and entrepreneurship. Based on the participant's assessment, this community service activity shows that the suitability of the program with the needs and suitability of the material is the highest assessment. Participants thought that this material was considered quite interesting because this activity was only a training course so that the participants hoped that further training would be held.

“A mere maiden”

In Tolkien studies, the character of Lúthien Tinúviel has frequently been de- scribed as central to the entire creation of the Eä (i.e. Middle-Earth) universe. As previous scholars have identified, the two major sources of her power are dance and song, which are sometimes described as extensions of her feminin- ity, though this is hotly debated and often outright rejected. Clare Moore, in her 2021 article “A song of greater power,” contends that J.R.R. Tolkien “in- creasingly [...] establishes Lúthien as a figure of power” as the story is written and re-written, wielding song and dance as expressions of self and influence (Moore, 2021, p. 7). Tolkien also “increase[es] her agency and autonomy,” and therefore “presents her as the foremost figure of his entire legendarium by establishing her influence over the history that comes after her,” and part of that power comes from song and dance (p. 7). Following Moore’s close reading work comparing the five major texts that tell the story of Lúthien Tinúviel, I create a corpus for use in R; look at term frequency; create dispersion plots to visualize patterns of occurrences across the various versions of the story; and calculate correlation scores between song variants and dance variants. These are all ways to identify the true sources of her power and their evolutions over the five key manuscripts: The tale of Tinúviel (1917), The Lay of Leithian (1925), Sketch of the mythology (1926), Quenta Noldorinwa (1930), and Quenta Silmarillion (1977). The dispersion plots particularly probe Moore’s argument that the art form of dance gives way to song over time. Lastly, I also consider what weaknesses these R tools bring to studying the Lúthien story, and make suggestions for a text analysis library for Tolkien studies.

Kva kan dansehistoria fortelja om røtene til bygdedansen?

This article discusses how dance forms have developed and spread through the ages and works in particular with the genre that we in Norway call regional dances. In contrast to much other research into dance history, it is the dances as movement patterns that I focus on, rather than their context. Therefore, I will also discuss methodological approaches suitable for such a focus. The conventional method is to study old sources in both writing and images and compare them with dance in the present, Film and video recordings of dance from the last hundred years or so can also be used to make hypotheses about connections. A less common approach, that I have used before, is to build on theories about diffusion processes and the spread of dance forms and dance elements (Bakka, Aksdal & Flem 1992, Bakka 2012). Finally, I present an approach that I believe is new in dance history, although Lisbet Torp did an ethnochoreological description of chain dances somewhat related (Torp 1990). It is the idea of ​​the generative power of the simple basic elements that runs through many dances. By generative power or potential, I mean the property of an element to be able to “give birth” to new variants of itself. In the dances with which we work here, it is especially the couple turnings that provide the basis for the approach through the generative. I compare basic elements in dances that are similar to each other and try to show how it only takes a small change of one basic element for us to get the other. It is similar to what biologists call mutation. I imagine that a basic element that becomes popular and has generative power will develop new variants based on certain fundamental principles laid down in humans. I think it is processes of this kind that have created most of the variety, in the regional as well as in the round dances. We cannot know for sure when the development starts, or in what order the variants come into being, if we cannot date certain variants from other kinds of historical sources.

Luminous neutrality in the art of walking backward

This essay develops performatively through somatic research related to conscious listening in verbal and embodied communication. The poiesis ensues from phenomenology, butoh, and Zen, explaining butoh as a protest form of dance and therapy with origins in mid-20th Century Japan and still continuing today. On walking back, the text slips inward—awakening matters of environmental precarity and a somatic ethic of planetary care.

Ballet Pedagogy and a “Hard Re-Set”: Perspectives on Equitable and Inclusive Teaching Practices

In her scholarship on pedagogy, Gloria Ladson-Billings describes COVID-19 as a call to re-set education using a more culturally relevant pedagogy. As ballet teachers and researchers working in higher education and pre-professional settings, we teach a form of dance often associated with the characteristics of white supremacy. Through this collaborative institutional ethnography, we generated methods for posing questions, critiquing choices, and imagining alternatives to create more equitable educational settings. We connect the process of addressing and challenging systemic exclusions in ballet with tangible steps toward creating more inclusive classes and performances that value the joy and pleasure in moving.

Music and exercise as therapeutic resources in dementia

Music and exercise have played amajor role in the care of people with dementia for decades. The scientific evidence for such interventions is still relatively scarce but growing. The fact which has been known for nearly 10 years that brain regions associated with musical long-term memory remain intact up to advanced stages of dementia made music amajor therapeutic resource in cognitive decline. Therefore, sung texts are learned and recalled better than spoken texts. Furthermore, the specific music-related stimulation of frontal brain regions has frequently shown positive effects on conspicuous behavioral disorders associated with dementia. Exercise in combination with music, in the form of dance or eurhythmics, not only seems to positively affect cognition but also balance and gait safety among patients with dementia.

Towards semiotically driven empirical studies of ballet as a communicative form

This paper treats dance as a movement-based semiotic system, focusing on classical ballet as an example in order to show how dance can be made accessible to both detailed description and empirical investigation as a form of communication. The study contributes to a growing tradition of multidisciplinary research that looks at a variety of dance forms from the perspectives of linguistics, communication studies and social semiotics, drawing additionally on recent developments in the formal semantics of non-verbal semiotic systems and on empirical methods emerging within functional accounts of multimodality. The paper consequently develops a particular treatment of ballet that offers a principled means of linking the physical stream of movement, recorded using motion caption technology, and discourse interpretations, such as those that are typically narratively relevant in classical ballet but which may be found in other forms of dance as well. The paper sets out how this may then support further empirical research by importing well-defined methods and even specific questions from linguistics and related fields.

On the table: An open invitation

In this text, we propose the table as a choreographic and discursive tool that enables fruitful, collective exploration of artistic material. Through poetics, essay and scores, we share our project On the Table (OTT) – a format for artistic exchange and collaboration. We, Caitlin and Ebony, co-developed the OTT format in Naarm (Melbourne, Australia), where it runs as a programme of regular sessions out of Dancehouse. Each is hosted by a different artist who puts something ‘on the table’ for everyone who attends to explore together. This can be any manner of provocation, meaning sessions take disparate forms, ranging from workshops and in-progress showings to open artistic explorations and collaborative research. Hosts come from various forms of dance, approaches to bodily practice and relationships to movement. We platform artists who work with dance in combination with other fields, which have included those working within martial arts, game design, science and therapy. People from these fields or with thematic interests in a session are encouraged to attend regardless of movement experience. Our practice enables everyone in the room to contribute towards and shape the session’s explorations. The aim is for an unconventional array of people to work synergistically, from their varied points of interest and differing levels of expertise. Although the format is applicable beyond a dance or choreographic context, it centres around collective, embodied encounters. In this text, we extend an open invitation to readers to borrow from our practice or initiate their own satellite OTT events.

Carnival in Africa

Carnival in Africa