The social-dance

2017 ◽  
Author(s):  
Caroline P. Whyatt ◽  
Elizabeth B. Torres
Keyword(s):  
Social Dance ◽  
The Social

Growing old gracefully: social dance in the third age

2002 ◽  
Vol 22 (6) ◽  
pp. 689-708 ◽  
Author(s):  
LESLEY COOPER ◽  
HELEN THOMAS
Keyword(s):  
Qualitative Research ◽  
Older People ◽  
Research Project ◽  
Social Dance ◽  
Third Age ◽  
The Third ◽  
Social Dancing ◽  
The Social ◽  
One Year

This paper examines the meaning of social dancing for older people. It is based on a one-year qualitative research project, which is seeking to explore the experiences of social dance for people aged 60 years or more who attend various dance events in Essex and south-east London. The findings suggest that the social dance experience is not only or simply a beneficial physical experience for older people, it also bestows other significant benefits for those who enter the third age and beyond. It can provide continuity within change. It offers an opportunity to be sociable and have fun in ways that both reflect, and avowedly move beyond, the dancers' teenage years. It promotes a welcome sense of a community spirit. It is a way of becoming visible and aesthetically pleasing, and it bestows a sense of worth and achievement in skills learnt through dancing. Last but not least, dancers can experience the joy of a fit and able body in both real and mythic senses.

A Proposition for Reenactment

2017 ◽  
Author(s):  
Catherine Soussloff
Keyword(s):  
African American ◽  
Close Reading ◽  
Social Dance ◽  
Alternative Approach ◽  
The Social ◽  
Cross Dressing

The chapter provides an examination of how the photographs by Stan Douglas use disco—the discotheque as a place, disco as the music that is played and heard in that place, and disco dancing as the social dance form that occurs in that place—and the rebel insurgency in Angola to suggest that fictional reenactments address an alternative approach to the false separation of history from time. A close reading of the photographs finds associative congruencies between African fighters, the Afro-beat of disco music, and the African-American roots of disco culture; between dressing for war and dressing up (including masking and cross-dressing) for disco; between the theater of war and the theatrics of disco dancing; between the homosocial behaviors on view in Angola and the homosexual roots of disco culture.

scholarly journals UPAYA MENERAPKAN NILAI-NILAI SOSIAL TARI JAPIN KUALA MEMBENTUK BUDI PEKERTI BAGI PESERTA DIDIK KELAS VII DI SMP NEGERI 1 ALALAK KEC. ALALAK KAB. BARITO KUALA MELALUI PEMBELAJARAN SENI TARI

Jurnal Socius ◽  
2019 ◽  
Vol 8 (2) ◽  
Author(s):  
Siti Aminah
Keyword(s):  
Social Values ◽  
Research Result ◽  
Self Esteem ◽  
The Other ◽  
Dance Movement ◽  
Mutual Cooperation ◽  
Social Dance ◽  
Dance Class ◽  
The Social ◽  
Islamic Religion

AbstractThe purpose of research to describe social values at Japin Dance Kuala in learning art dance class VII SMP Negeri 1 Alalak with qualitative research methods. The main purpose of using this method is to describe the nature of a situation that is temporarily running at the time of the study, and examine the causes of a particular symptom. The research result of Japin Kuala dance is one of South Kalimantan people dance. Japin dance is derived or grow and develop in the coastal area of the Martapura River or often called kuala area. Japin Kuala dance is a young promiscuous dance in Banjar area, which describes the tight feeling of silaturrahmi and brotherhood. This dance is very liked by young people Banjar Land because in addition to express the joy in an event, not infrequently also  Japin dance is a medium for finding a mate. Although this dance is a social dance but still holds the norms of Islamic religion .. Japin Kuala dance variety is very much related to the social values that exist in society, such as communicative and trusted, low self-esteem, environmental awareness, mutual cooperation, respect and appreciate.Implementation of social values in 100% students are taught always to help friends, 100% of teachers always give advice, 100% students are taught always work together, 100% of students are always taught to help each other students who can not dance, 100% of teachers always give advice in the form of social values contained in the dance, 80% of students rebuked the other students (partner) if one in a dance movement, 100% of students stated always cooperate while practicing dancing, 85% of students invite friends to learn dance, and 96.15% students are supported by the lord to learn to dance.Keywords: Social Values, Kuala Japin Dance, Dance ArtsAbstrakTujuan penelitian untuk mendeskripsikan nilai-nilai sosial pada Tari Japin Kuala dalam pembelajaran seni tari kelas VII SMP Negeri 1 Alalak dengan metode penelitian kualitatif. Penelitian deskripsi bertujuan untuk menggambarkan suatu realita sosial tertentu atau dirancang untuk mengumpulkan informasi tentang keadaan- keadaan nyata yang berlangsung sekarang. Tujuan utama menggunakan metode ini adalah untuk menggambarkan sifat suatu keadaan yang sementara berjalan pada saat penelitian dilakukan, dan memeriksa sebab-sebab dari suatu gejala tertentu. Hasil penelitian Tari Japin Kuala merupakan salah satu tari rakyat Kalimantan Selatan. Tari Japin ini berasal atau tumbuh dan berkembang di daerah pesisir Sungai Martapura atau sering dinamakan daerah kuala. Tari Japin Kuala merupakan tari pergaulan muda – mudi di daerah Banjar, yang melukiskan rasa eratnya tali silaturrahmi dan persaudaraan. Tarian ini sangat disukai oleh muda-mudi Tanah Banjar karena disamping untuk mengekspresikan kegembiraan dalam suatu acara, tak jarang pula Tari Japin merupakan media untuk mencari jodoh. Walaupun tarian ini adalah tarian pergaulan namun masih memegang norma - norma agama Islam.. Ragam gerak tari Japin Kuala sangat terkait dengan nilai-nilai sosial yang ada dalam masyarakat, seperti komunikatif dan dipercaya, rendah diri, keperdulian dengan lingkungan, gotong royong, menghormati dan menghargai.Implementasi nilai-nilai sosial pada peserta didik 100% diajarkan selalu membantu kawan, 100% guru selalu memberikan nasehat, 100% peserta didik diajarkan selalu bekerja sama, 100% peserta didik selalu diajarkan untuk saling membantu peserta didik lainya yang belum bisa menari, 100% guru selalu memberikan nasehat berupa nilai-nilai sosial yang terkandung dalam tarian, 80% peserta didik menegur peserta didik lainnya (pasangannya) apabila salah dalam melakukan gerakan tari, 100% peserta didik menyatakan selalu bekerjasama saat berlatih menari, 85% peserta didik mengajak temannya untuk belajar menari, dan 96,15% peserta didik didukung oleh orang tuan untuk belajar menari.Kata Kunci : Nilai-Nilai Sosial, Tari Japin Kuala, Seni Tari

The Viennese Ballroom in the Age of Beethoven

2021 ◽  
Author(s):  
Erica Buurman
Keyword(s):  
Nineteenth Century ◽  
Social Contexts ◽  
Dance Music ◽  
Musical Life ◽  
Social Dance ◽  
Concert Music ◽  
The Social ◽  
Social Dances ◽  
Ballroom Dance

The repertoire of the early Viennese ballroom was highly influential in the broader histories of both social dance and music in nineteenth-century Europe. Yet music scholarship has traditionally paid little attention to ballroom dance music before the era of the Strauss dynasty, with the exception of a handful of dances by Haydn, Mozart and Beethoven. This book positions Viennese social dances in their specific performing contexts and investigates the wider repertoire of the Viennese ballroom in the decades around 1800, most of which stems from dozens of non-canonical composers. Close examination of this material yields new insights into the social contexts associated with familiar dance types, and reveals that the ballroom repertoire of this period connected with virtually every aspect of Viennese musical life, from opera and concert music to the emerging category of entertainment music that was later exemplified by the waltzes of Lanner and Strauss.

“Dancing through Oz”

2018 ◽  
pp. 103-120
Author(s):  
Claudia Funder
Keyword(s):  
Original Film ◽  
Cultural Significance ◽  
Social Dance ◽  
Wizard Of Oz ◽  
Close Analysis ◽  
The Social ◽  
And Performance

This chapter examines the contribution of the often overlooked dance sequences in The Wizard of Oz. It explores the social and cultural significance of the choreographed musical numbers and how they contribute to the film and to its immense popularity over the last seventy-five years. Close analysis is given to the jitterbug scene, which was cut from the original film. The choreography and “The Jitterbug” song are examined in detail, providing an excellent comparison point from which to explore other dance numbers, such as the Yellow Brick Road reprisal skipping sequence and the scarecrow’s dance. Within this discussion, key cultural and social themes are also addressed, specifically issues of race and social-dance and performance-dance practices. Finally, the question of why dance numbers were eliminated from the final cut is raised.

scholarly journals Variability of artistic and aesthetic features of social dance Brazilian Zuk and its bedding

2021 ◽  
Author(s):  
Anastasia Zhuravleva
Keyword(s):  
Modern Dance ◽  
Dance Movement ◽  
Social Dance ◽  
Smooth Flow ◽  
The Social ◽  
The Gift ◽  
Domestic Art ◽  
Social Dances ◽  
Individual Type ◽  
Theoretical Generalization

The purpose of the article is to identify the genre, stylistic and rhythmic specifics of the social dance Brazilian Sound, as well as to theorize the artistic and aesthetic features of the new dance backgrounds developed on its basis. Methodology. A typological method was applied, thanks to which the main characteristics of the social dance Brazilian Zuk were determined; figurative-stylistic and formal-stylistic method, which helped to identify a system of typical forms and lexical features inherent in the dance and developed on its basis substrates; the method of comparative analysis, which revealed the common and distinctive features of the traditional social dance Brazilian Sound and innovative backgrounds created on its basis; method of theoretical generalization, which helped to summarize the results of the study. Scientific novelty. The process of origin and development of one of the most popular social dances of the XXI century is studied. Brazilian Zuk; the compositional features of the Brazilian Sound were identified and analyzed; For the first time in domestic art history the genre-stylistic and rhythmic features of the main sub-styles (Rio-zouk style, Porto-Seguro style, M-zouk, Neo-zouk) and sub-styles (Modern zouk, Soulzouk R&B zouk) of the Brazilian Zuk are considered and the specificity of their art is revealed. aesthetic variability. Conclusions. The study found that the Brazilian Sound is an independent style of modern dance art, which is characterized by a number of features: the atmosphere of performance (platforms for social dances, dance conferences, seminars, etc.); creating a composition of the Brazilian Sound is usually a collective process - the authorship of style and background belongs to talented dancers, who are endowed with the gift of improvisation and specific temperament; special individual type of dance movement: the basic sequence of steps is connected with metrorhythmic features of musical accompaniment; a specific combination of plasticity, flexibility, and rotations creates individual dance backgrounds: acrobatic Acro Zouk, smooth Flow Zuk, contrast Zuk Revolution, improvisational M-zuk, inflammatory Lambazuk, philosophical-hypnotic Neo-zuk, and others. Prospects for innovative research in the field of genre-style interaction of the Brazilian Sound and modern dance trends are the unique basis of dance, which is positioned as the initial impetus for further lexical and rhythmic-intonational choreographic experiments and depends on the peculiarities of musical material. Keywords: Brazilian Zuk, social dance, artistic and aesthetic features, M-zuk, Neo-zuk, Lambazuk.

scholarly journals Social Dancing for Successful Ageing: Models for Health, Happiness and Social Inclusion amongst Senior Citizens

2013 ◽  
Vol 34 (1) ◽  
pp. 18-29 ◽  
Author(s):  
Jonathan Skinner
Keyword(s):  
Qualitative Study ◽  
Social Inclusion ◽  
Senior Citizens ◽  
Health Benefits ◽  
Successful Ageing ◽  
Social Psychological ◽  
Social Dance ◽  
Social Dancing ◽  
The Social ◽  
Us Findings

Abstract: This article presents findings from a qualitative study of social dancing for successful ageing amongst senior citizens in three locales: in Blackpool (GB), around Belfast (NI), and in Sacramento (US). Findings also attest to the social, psychological and health benefits of social dancing amongst senior citizens. They also articulate three different social dancing models: social dance as tea dance (Sacramento), social dance as practice dance (Blackpool), social dance as motility (Belfast and environs).

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