Dance Forms Research Articles

Roof/Room Pieces: An Ethnography of Lockdown Lives, and Digital Perfor- mances of Rabindranritya

This essay is an exploration of precarity and sociality within performing arts in India. It analyses dances made digitally for audiences during the COVID-19 pandemic (2020-21) and engages with scholarly literature and movement system with reference to Bengali polymath Rabindranath Tagore (1861-1941) and forms of dance identified as rabindranritya. Interpreted through interdisciplinary research methods of digital ethnography, questionnaires, content analysis and dance studies, the essay aims to understand why some of us continued to dance through the global pandemic. I focus on YouTube as a site of research as we realize that technology’s relationship with human and arts have now evolved and ‘liveness’ could be optional. I question various forms of precarity in arts industries through respondents’ answers and observe what notions of sociality are exchanged between the performer and their audience. I bring to light the mundane and vibrant of the quotidian lockdown lives of performers who remained cloistered at home, but with cameras on them, how they seized the pandemic precarity and continued dancing with a sense of immediacy and new kinds of intimacy, communicating their imaginations and emotions and bridging social- temporal-spatial distances.

Tale of a Choreographer, Her student, River and an endangered Heritage

Choreographing in Pakistan since the 50’s, the country’s senior most 90+ years young classical dance maestro Indu Mitha has made trailblazing contributions within the Kalakshtera Bharata Natyam using North Indian music, interesting and contemporary content, while also producing more tableau forms of dance.
 In one of her recent solo pieces in the later style, titled “Qaseeda-i-Ilm of Jamal” or “An Ode to Wisdom and Beauty” Indu engages with symbolisms of a Hindu goddess of knowledge and Aesthetics_Saraswati and pays tribute to a forgotten dried up river of the same name. Indu Mitha allows the author, for whom and on whose body the dance is made, to bring in the forgotten river in her engagement with people’s histories of the land of present-day Pakistan and eventually facilitates her accessing of and embodying a pluralistic space of inter faith harmony which was occluded.

Censorship and the Nationalization of Dance in India: An Overview from 1947 to the Present

In this essay, I present a broad overview of the intersections between dance and censorship in independent India. I try to explore the consequent exclusions within the mainstream dance discourse and practices as they were shaped by hegemonic forces of nationalism. I also look at how the changes in instruments and objectives of censorship reflect changing visions of nationalism. Thisessay broadly examines two major forms of censorship, both of which have been crucial in the appropriation and reconstruction of dance as an integral part of the nationalist cultural identity of India. First, there are the overt forms of censorship, which have been enforced by instruments of state power like legislation and statutory bodies. The post-independence government enacted the Madras Devadasis (Prevention of Dedication) Act 1947 and Cinematograph Act 1952 ostensibly for socialreformandprotectionofpublicmorality,butineffectthey carried forward socio-political biases of Orientalism and colonialism into the postcolonial project of constructing the Indian imaginary. The process necessitated the elimination of hereditary artist communities and professional women performers (and many of their movement idioms) from mainstream practices of dance, even as their art was decontextualized and reconstructedtosuittheofficiallysanctifiedhighculture. This mode of erasure also influenced popular forms ofdance, especially those appearing in Indian cinema, by inscribing them with nationalist notions of womanhood, sexuality, and, more recently, religious majoritarianism. Second, I trace the covert operation of censorship, in which state institutions play a key role in the support and promotion of art. Through selective funding and promotion, conferring privileging labels like “classical,” and presiding over the formalization and classicization of dance, these institutions helped fit dance practices within the nationalist framework of a normative Indian cultural identity that is predominantly Hindu and rahminical. This process resulted in hierarchization, stigmatization, and even omission of certain dance practices, some of which I have highlighted in this essay. The sustained influence of direct and indirect modes of censorship created standardized codes of aesthetics and performance practices, contributing to a chilling effect and leading practitioners to censor themselves. Finally, I argue that the centrality of dance in the national cultural discourse enabled its use as propaganda to censor negative actions of or perceptions about the government. The phenomenon, which may be described as artwashing, has become increasingly prominent in the contemporary context of Hindu majoritarian nationalism seeking to launder itsexclusionary tendencies in the process of redefining Indian cultural identity on its terms. Thus, I argue that censorship in the domain of dance has played not just a repressive role but also a productive role by enabling discourses of nationalism. It has acted as a tool of governmentality, by which nationalist ideologies have been established and reinforced to public, such that they are no longer confined to the sphere of the state but have percolated down to the conduct of individuals.

Punking: How appropriation revitalised it and the role institutions play in the protection and longevity of this elusive art

Abstract From the streets of Los Angeles in the early 1970s, a dance style named Punking emerged. This occurred at the height of the civil rights movement in the underground LGBTQ+ clubs of LA by a group of BIPOC queer men. A blend of sharp, exaggerated poses and movements borrowed from Hollywood films and pop culture became an art form that reflected their identity and encapsulated the escapism and liberation of a group of young queer people growing up in an environment where being queer was illegal and dangerous. By the late 1980s and 1990s, the dance faded, but it still influenced dance styles such as jazz, house, and even vogue. In the early 2000s, interest in the dance was reignited. However, its name and origins remained elusive, prompting an investigation into its history, shifting narratives and exclusion from dance history. In this article, I will explore how a dance form becomes lost in translation and how this dance can be preserved and introduced into institutionalised spaces to offer resources and legal protection for an art form on the verge of erasure from history.

Relations of dance culture and social structure in a Moldavian rural community

The social structure of the Moldavian Csángó settlements and the social systems that form in the dance scenes significantly determine the possibility of participation in dance occasions and the formal and stylistic performance of dances. The gender, age, and marital status of community members, as well as the specific position of dancers and the relationship between them, are revealed in dance forms and practices of space use on the dance floor, individual dance construction, and dancers’ behaviour. Through the study of local dance cultures, a social structure is observable that is held together by gendered and generationally defined norms, rules, and obligations. This makes dancing a socially defined collective activity in rural communities in Moldavia, Romania. The aim of this study is to interpret the representational practices of age and social status in dance culture, which are constantly changing, through the example of dance events, especially weddings, in a single Moldavian Csángó village.

Kreativitas Eka Rosy dalam Penciptaan Karya Tari Jejak

The Jejak dance work is a new choreography that has a background from the spirit of the Jathil Ponorogo dance. The value contained in the Jejak dance work is the value of the spirit of never giving up. The Jejak dance work is presented in the form of a group dance danced by six female dancers. This dance work isdivided into four parts, namely the intro, the first scene shows anxiety about goals and what you want to achieve, the second scene is conflict within the personal sphere, the third scene is self-confidence, which shows an atmosphere of enthusiasm or fighting spirit values. This study used a qualitative research method with a choreographic approach, to dissect the form of the choreography of the Jejak danceusing Y. Sumandiyo Hadi's theory. Meanwhile, to describe the creative process of creating Jejak dance works, it uses the theory of Rhodes, 4P (person, press, process, product). The stages in the process of creating a Jejak dance work go through several stages, namely the stage of determining ideas which are refined through several phases including the phase of selecting themes, maturation ofconcepts, observation, then the process of exploration, improvisation, and composition.This is very fundamental to creating a work that can be accounted for scientificallyacademically. The results of this research show: Eka Rosy's creativity in creating Jejak dance works is influenced by several factors (internal and external), Eka Rosy's creativity is reflected in Eka Rosy's ability to actualize ideas that are compiled through a process of exploration, improvisation, and composition then implemented in the form of works Jejak dance.Keywords: Jejak, dance work, creation process, choreography.

Analysing Western Classical Ballet with Bourdieu's Field Theory How to use it as a social stratification tool

Known as one of the representatives of elegant art，western classical ballet holds a certain status and influence in Western society, During the reign of Louis XIV in France, with his vigorous promotion, ballet gradually flourished, even serving as a tool for the king's prestige to achieve French national independence [1]. Through analyzing the phenomena of ballet in the western society, it can be found that classical ballet has become a social stratification tool in Western society. The learning threshold for Western classical ballet is relatively high, and students from upper-class society have more opportunities to receive high-level classical ballet education, while students from lower-class society often lack the corresponding capital and other issues to gain equal opportunities. However, ballet in China, through the combination of localisation and orientalisation, ballet has become a popular dance form for the Chinese public. This paper will analyze how Western classical ballet serves as a social stratification tool in Western society using Bourdieu's field theory, comparing with the social function of ballet in China.

Leading the Other: Gender and Colonialism in Partner Dancing's Long Century

In the 1840s, the polka craze established lead/follow partner dancing as the normative social dance structure in the Atlantic world. In the process, it imposed a choreographed performance of bourgeois heteropatriarchy (originally developed with the waltz) on Europe's colonies and post-colonies. However, a central mechanism of the lead/follow system in social partner dance is the woman's body attitude, and as the nature of that attitude changes, so do the associated dances. In the Americas, women acculturated to African-rooted principles of polycentricity disrupted the equilibrium of the lead/follow dynamic, catalyzing the creation of new partner dance forms and techniques. On the one hand, this resulted in an intensification of the lead/follow system such that men could now control and shape the dissociated parts of their partners’ bodies. On the other hand, it also seeded the fissioning and eventual dissolution of the dance partnership itself.

몽골 민족무용의 문화적 특징과 사회적 가치

This study focused on the Mongolian national dance drama 'Cavalry' to trace the roots of Mongolian national culture and to examine its historical background. It analyzed the ethnic elements of the dance drama 'Cavalry' and reviewed the diversity of Mongolian culture as depicted in the drama. Finally, the study examined the value of Mongolian national dance culture as depicted in 'Cavalry' and its impact on society. The results revealed that Mongolian national dance goes beyond just being a form of dance, playing a significant role in the derived cultural values, contributing to the transmission and development of national culture. This research is expected to contribute to existing studies on the transmission and development of Mongolian national dance culture.

Mahardika Dance Creation Process

This paper aims to reveal a creative process of the Mahardika dance creation conducted in 2006. This disclosure is important to see how the concept of traditional dance development still maintains the Balinese identity. The Mahardika dance, a new creation form of Balinese dance, comes from the creative process between I Wayan Sutirtha as the dance choreographer and I Nyoman Windha as the musical composer of the dance accompaniment. Mahardika means freedom or release from worldly ties, which refers to the Sutasoma figure as the central character in the Mahardika dance. It is adapted from the main theme of the Bali Arts Festival, namely Swabawaning Idep, meaning the radiance of nobility. The process of creating dance refers to the theory of Alma M. Hawkins in the book Creating Through Dance, including exploration, improvisation, and formation. The Mahardika dance consists of four parts. The first part describes the atmosphere of meditation with a silent atmosphere, the second part depicts the meeting of the Sutasoma and Dewi Candrawati with a happy and romantic atmosphere, the third part portrays the war of the Sutasoma and Prabu Purusadha with a tense atmosphere, and the fourth part represents the consciousness of Prabu Purusada and Sutasoma sitting on a lotus flower with a serene atmosphere. In addition, the costumes are adjusted to the characters. Certainly, it does not interfere with the dancer's movements but helps and opens aesthetic spaces in the choreography of the Mahardika dance creation.

The Form and Development of Jaran Kepang Dance in the Langen Budi Sedyo Utomo Association from 1996-2018

The Langen Budi Sedyo Utomo Association is located in Sombron Hamlet, Tlompakan Village, Tuntang District, Semarang Regency. The Langen Budi Sedyo Utomo Association in the course of the Jaran Kepang dance experienced development after the entry of the Songo dance in 1996. The problem that arose was the existence of external obstacles in the form of a lack of support from the people around regarding the views of dance art and maintenance of inventory of costumes, accompaniment or gamelan, and others. This study aims to analyze and describe the development of the form of the Jaran Kepang Dance at the Langen Budi Sedyo Utomo Association from 1996-2018. As well as the factors that influenced the development of the Jaran Kepang Dance form at the Langen Budi Sedyo Utomo Association from 1996-2018. The method used in this study is a qualitative research method that produces descriptive data. The research method used a qualitative method. Data collection techniques in this study used three techniques, namely observation techniques, interview techniques and documentation techniques. Interviews in this study were conducted 4 times with different informants. Based on the results of research conducted at the Langen Budi Sedyo Utomo community and the results of the discussion in chapter four, it can be concluded that the Jaran Kepang dance in the Langen Budi Sedyo Utomo community experienced development after the entry of the Songo dance, developments took place from year to year. From 1996-2013 the Jaran Kepang dance form in the Langen Budi Sedyo Utomo community still used movements that resembled Surakarta style dance movements, there was one dancer as the leader, then in 2013-2016, the Jaran Kepang dance form in the Langen Budi Sedyo Utomo community began to experience a variety of developments. movement and mining 1 Manggolo Yudho and 3 lead soldiers. In 2016-2018 the development of dance moves has been detailed because the movements have been updated by trainers who are more professional in their field. Developments can also be seen in costumes, makeup, and accompaniment.

DANCE AS CULTURAL LEDGER: THE VALUE OF DOCUMENTING INDIGENOUS AFRICAN DANCES

This article explores the significance of documenting indigenous African dances, specifically focusing on the Umxhentso dance within the cultural context of Xhosa amagqirha in the Eastern Cape province of South Africa. Historically, Indigenous dances in African societies have served as crucial elements of communal ceremonies, embodying cultural traditions, spiritual beliefs, and social cohesion. However, colonialism and contemporary globalisation have threatened the preservation of these traditional dance forms. This paper employs a qualitative approach, incorporating interviews with participants and observations and extant literature and data analysis using thematic analysis. The findings underscore the multifaceted role of the Umxhentso dance, highlighting its function as a medium for connecting with ancestors, enhancing divination practices, and reinforcing spiritual potency within the community. Moreover, the article emphasises the value of documenting indigenous dances in combating stereotypes and misconceptions, preserving cultural heritage, and promoting intercultural understanding. This study contributes to the ongoing discourse on the importance of safeguarding and revitalising indigenous African dances to preserve cultural diversity and identity.
 Keywords: Umxhentso dance; Cultural heritage; documenting indigenous dances; African traditional dances; Xhosa culture; Indigenous dance.

Cultural Crisis, Deteriorating Heritage, and Placemaking: A Study of Rural West Bengal, India

‘Culture’ denotes the co-shared beliefs, values, ethos, norms, lifeworlds, and activities commonly represent nature-culture reciprocity. In several remote areas of India, folk culture still breaths within its age-old life world. Against this backdrop, the southwestern part of West Bengal, also known as ‘Jangal Mahal’ has been studied in the present research. In this area, approximately 40% of the population directly depends on indigenous sources of livelihood, and they belong to tribal communities like Mahato, Kurmi, Lodha, Santal, Bauri, and others. These native people are culturally distinct and are identified through their folksongs and dance forms, such as Tusu, Kirtan, Baul, Bhadu, and folk dances, such as Chhau, Khati, etc. However, urban spaces and citizens’ choices for entertainment have brought about considerable changes in the culture and life of these people. Resultantly, with the increasing pace, deterioration in the heritage and culture of such groups seems to set in. Thus, this study highlights the changing scenarios of cultural crises, deteriorating heritage values, and placemaking. We have followed participatory methods, including field observation, interviews and group discussions. And a door-to-door survey was conducted in the 12 villages of four districts with a semi-structured survey schedule. Sixty troupes were selected for interview and Focused Group Discussions (FGDs). The findings show that values and cultural practices change over time, thereby losing their identity. The placemaking of popular culture results in a deep crisis in livelihood and lifestyle. People are slowly adopting other modes of earning, which further threaten their culture. This study aims to suggest suitable ameliorative measures to preserve the pristine cultural art forms and safeguard livelihood and skill sets.

Contemporary Dance: Examining Limitations and Expanding Pedagogy

This article examines limitations of teaching contemporary dance through a Eurocentric lens and proposes an expansive approach to contemporary dance pedagogy that honors students’ experiences in multiple dance forms and cultures. I question the Western pedagogy of contemporary dance and problematize the use of ballet pedagogy as a foundation of contemporary dance class. I document lived experiences and reference established approaches to provide a pedagogic framework that acknowledges differences and creates a comprehensive learning environment.

Designing an illustrated book as an educational medium to introduce Ronggeng Gunung dance to the younger generation: an effort to preserve traditional dance

This research delves into Ronggeng Gunung dance, a traditional folk art from West Java, Indonesia, which, despite its cultural significance, remains relatively unknown. The study focuses on the crucial task of introducing this dance form to the younger generation, leveraging their receptiveness and curiosity. The primary objective is achieved through an illustrated book, offering a visual journey into the cultural roots and historical context of Ronggeng Gunung. The research extends beyond documentation by integrating educational aspects, providing insights into dance attire and musical components, and a comparative analysis of the dance's evolution over time. To accomplish this, a qualitative descriptive method is employed, grounded in accurate facts. Diverse data collection methods include a Literature Study covering books, articles, and journals related to Ronggeng Gunung dance, Observation of the traditional art form through archival and documentary examination, and Interviews with original sources to obtain authentic information. Additionally, Questionnaires assess the younger generation's interest in traditional dance, their knowledge of Ronggeng Gunung, and their preferences for the illustrated book's style. The overarching aim is to cultivate awareness and facilitate the preservation of traditional Ronggeng Gunung dance. After meticulous data collection and analysis, the research advances through design, media, and visual concepts, culminating in the creation of the illustrated book. A beta test validates its impact on the younger generation, demonstrating that the incorporation of a popular illustration style effectively captivates the audience. This outcome underscores the success of the book in fostering a more engaging and comprehensible understanding of the Ronggeng Gunung dance narrative for the younger audience.

초등학교 체육교과 세계민속무용 영역 내용 분석

Objectives The primary objective of this study is to investigate the significance of cultural education within the domain of world folk dance as integrated into primary school physical education curricula. Methods The study applied open coding, axial coding and selective coding techniques rooted in grounded theory principles. The analysis encompassed eight distinct primary school physical education textbooks tailored for fifth-grade students, specifically focusing on the segment dedicated to folk expression through world folk dance. The research involved categorizing content by the countries of origin, dance types, and specific dance composi-tions, encompassing a comprehensive scope of 20 nations and 38 distinct dance works featured in these textbooks. This analysis aimed to delve into the realm of folk expression while concurrently examining its relation-ship with cultural education, with a particular focus on discerning patterns and characteristics within the realm of folk dance. Through the autoethnography as a qualitative methodology, this study connects the concepts of dia-spora and cultural hybridity. It explores diaspora space appeared in diaspora festivals and the world festivals that include folk dances. Results The analysis of primary school physical education textbooks reveals three fundamental aspects of cultural education such as cultural identity, cultural diversity and cultural hybridity within the context of world folk dance. First, Cultural Identity: World folk dance serves as a conduit for students to connect with and express their cultural heritage. It provides a platform for celebrating one’s cultural identity through physical movement. Second, Cultural Diversity: The inclusion of folk dances from diverse nations exposes students to the rich tapestry of global cultures. This exposure fosters an appreciation for the diversity of human traditions, promoting tolerance and understanding. Finally, Cultural Hybridity: Some folk dances exhibit characteristics of cultural hybridity, where di-verse cultural influences merge to create unique dance forms. This aspect underscores the dynamic nature of culture and the interconnectedness of different societies. Conclusions The study highlights the significance of world folk dance in primary school physical education curric-ula, particularly for fifth-grade students. World folk dance serves as a valuable tool for enhancing students’ non-verbal expressive abilities through physical movements, simultaneously deepening their comprehension of diverse cultural perspectives. By framing world folk dance as an integral facet of culture, the research encourages educators to provide optimal opportunities for students to engage in meaningful expression activities within the realm of cultural education. The integration of world folk dance into primary school physical education curricula enriches students’ cultural experiences and aligns with broader goals such as cultural identity, cultural diversity and cultural hybridity.

”DOLO-DOLO” SEBAGAI BENTUK MUSIK, TARI DAN SASTRA MASYARAKAT FLORES TIMUR (LAMAHOLOT), NTT

: Dolo-dolo as a Kind of Music, Dance and Literary Community in East Flores (Lamaholot), NTT. Dolo-dolo is a kind of folk art that consist of music, dance and literature that comes from the East Flores (Lamaholot), NTT. There are many other similar arts can be found in every province from NTT that has the same elements. The art like this usually have the shape of ritual and entertainment by the performance art. Dolo-dolo is a kind of art from NTT that packaged in one complete presentation which has third of the art elements in a show. Such as in the form of dance, which is not only the dance that contained in the serving, but rather the elements of music and literature also very important in it. Based on its history and its development, Dolo-dolo has value and functionality in the local area connection that does not even have separated from Western culture. This became the basis of a mix of acculturation and inculturation are very complete.

HANDS UP: WHAT’S UP WITH HASTAS REVIEWING THE DISCOURSE OF INTRODUCING HAND GESTURES TO CODIFY WAACKING

Waacking/Whacking as a 70s Los Angeles disco gay dance form is consistently being discovered and localized in different dance ecosystems of the world. The Indian chapter of its trajectory is uniquely drawing a certain kind of display which is in direct cognizance of its own codified forms of hand movements. The present study focuses on the seepages and abstinence of hand gestures through understanding the impetus to do so. Based on the analysis of the occurrences associated with its usage, through detailed conversations, literature review and reading of performance texts, several inferences can be drawn, and a better understanding of the genre can be further achieved.

INCONCEIVABLE CREATION: THE KALBELIYA DANCE FROM & ITS CONCEPTION TO WORLDWIDE IDENTIFICATION

This research paper is focused on the 'kalbeliya Gypsy dancing form', this form is having its Origin in the first Rajasthan tourism performance and first international performance (the United States of America.) recognition, intangible inventions. A dance performed by the nomadic kalbeliya community is featured in Rajasthan "Gypsy" performances in Rajasthan, which have fast gained popularity among Indian tourists and on venues for world music in the west. The Indian government recognizes Rajasthan, the kalbeliya's home state, as "India's legacy state" in order to stimulate travel and the international diffusion of Indian culture through performances and festivals. The kalbeliya dance form was developed in the 1978s, but it wasn't until 2010 that UNESCO designated it as an intangible cultural asset. Through this research paper, the researcher highlights and mentions the name of the woman who gave birth to the kalbeliya dance form and design costume and jewelry assets for the performances. The research writing more profoundly overviews the development of the Kalbeliya dance form's development from its inception in the 1978s until the UNESCO nomination. The study also raises the roof of the implications of its name as a world heritage dance tradition.

ANTIQUITY'S PHILOSOPHY AS A METHODOLOGY FOR CONTEMPORARY DANCE SCHOLARSHIP

Abstract. The art of antiquity, including dance, has long captivated human fascination with its timeless perfection, leaving an indelible mark on contemporary art. This influence is evident in the scholarly pursuits of those studying ancient Greek history. Dance held a significant position in ancient Greek life, as attested by surviving artifacts such as sculptures, reliefs, depictions on Greek vessels, and a wealth of written sources. Renowned philosophers, historians, and writers of antiquity, including Socrates, Plato, and Lucian, paid heed to dance as an art form. Even the epic poems of Homer, the "Iliad" and the "Odyssey," mention various forms of dance more than 20 times. Today, more than 300 types of Greek dances can be counted, and according to some sources, "there are more than 10,000 traditional dances that come from all regions of Greece." As research methods, the author uses an analytical review of surviving artifacts and ancient written sources, testifying to the important role of the art of dance in the life of the ancient Greeks. The author also made an analysis of the literature, which testifies to the important role of art, including dance in ancient Greece, which to this day has a huge impact on the development of modern art of choreography. And the “Apollonian” (conscious) logical and “Dionysian” (unconscious) free creative beginnings in art, which are widely discussed today, also originate from ancient Greek art. The author also emphasizes the epistemological significance of dance education and advocates for the revival of the classical tradition of mandatory dance instruction in schools.