The Folk Dance as Theatrical Performance and the Training of Dance Teachers

2006 ◽  
Vol 5 (1) ◽  
pp. 51-63 ◽  
Author(s):  
F. Filippou
Pedagogika ◽  
2014 ◽  
Vol 114 (2) ◽  
pp. 191-199
Author(s):  
Laimutė Kisielienė

he article analyses the Lithuanian folk dance as a means of national identity fostering in Lithuanian diaspora in North America. National identity maintenance especially in emigration is topical problem which started with the first wave of emigrants into US after the First World War. The evolution of Lithuanian folk dance in North America can be divided into two parts.  The first period involves Lithuanian dance origins in North America, where in 1925 the first Lithuanian dances were captured in Lithuanian operas and choral performances. The first and second waves of emigrants didn't have chance to experience folk dance revival period in Lithuania, so they tried to dance dances which they knew from their parents and grandparents. Therefore dance repertoire was not abundant. During this period national dance activities were enlivened and enriched only by M. Baronaitės arrival from Lithuania seeking to maintain national identity and to expand dance repertoire.The second Lithuanian folk dance development period in North America covers the period from 1944, when the third wave of emigrants, who has experienced national revival in Lithuania,  joined  the  Saturday  schools  and  established  Lithuanian  dance  ensembles  which  expanded Lithuanian folk dance repertoire in North America. Most of the national dance up holders were teachers, who acquired dance knowledge in primary school physical education teacher courses or by teaching children dance at Lithuanian schools.Lithuanian  Folk  Dance  Institute  (LFDI)  is  an  important  cultural  institution,  which aims  to  explore  and  spread  Lithuanian  folk  dances,  to  promote  the  related  customs, games, folklore, folkmusic and costumes hereby encouraging Lithuanian national identity. The focus of LFDI is appointed to organization of folk dance festivals, selection of artistic director and program approval. One of the major challenges of LFDI is to hold annual dance teacher seminars, which seek to improve folk dance teachers’ competences.


2015 ◽  
Vol 2015 ◽  
pp. 146-152
Author(s):  
Rebecca Pappas

My participatory paper considers Jérôme Bel's seminal work The Show Must Go On as a rewriting of folk dance tradition, drawing from and reinventing popular tropes of the Euro-American relationship to pop music and the popular body. I look at both the piece, and also Bel's methods of restaging it worldwide, as a means of regularizing, reinventing, and reperforming popular dance. I compare his practice to that of national folkdance ensembles that choreograph indigenous traditions for theatrical performance. I am fascinated with this process of fixing “cultural dance” for recognition and consumption by an audience. Bel's work depends on the audience's ability to recognize themselves within its music, imagery, and performing ensemble. Does this make it folk dance? My paper mines the category of “folk dance,” asking whether there is, in fact, a distinction between folk, social, and popular dance and arguing that in the recognizability and participatory nature of his work, he has inadvertently created a contemporary Euro-American folk dance. In addition, I will develop the presentation choreographically, directing the bodies of the listeners in ways meant to evoke Bel's participatory community.


2021 ◽  
Vol 2 (2) ◽  
pp. 75-86
Author(s):  
Anna Gordos

The scarf is a less used tool in the methodology of teaching folk dances. This object, however, had a crucial role both in Hungarian folk dance tradition and in the way of life of peasants. The paper presents the traditional appearances of the scarf in dances and its usage’s symbolic semantic layers with a special focus on wedding pair-choosing dances. The scarf has a privileged role in these playful pair-swapping games, on the one hand as the realisation of improvisation, on the other hand as a means of creating an equal relationship between dance partners. These structural and conceptual conclusions could be translated and applied in the process of dance teaching: the scarf as a tool of methodology eases communication, reveals the dynamism between dance partners and the emotional aspects of dance. The present study is followed by a supplement of 12 scarf games, which provides new ideas for practising dance teachers on how to use the scarf in teaching folk dances.


2021 ◽  
Vol 2 (1) ◽  
pp. 73-89
Author(s):  
Anita Lanszki ◽  
Adrienn Papp-Danka ◽  
Eszter Szabó

In the EFOP-3.2.6-16 Tender framework to Facilitate the Development of Student’ Skills in the Public Education System, the Hungarian Dance University developed a program with methodological guides and teacher training programs for ballroom dance, classical ballet, commercial dance, folk dance, and modern dance education. The training, held in 2018 and 2019, was attended by 126 graduate dance teachers from 57 public education institutions, mainly primary art schools. In this research, those teachers’ experiences are examined who included the methodological program in the 2019/2020 school year. For data collecting, an online questionnaire of 27 items was used. The questions covered three major topics: (1) opinion of teachers about the training; (2) incorporating new methodological materials into everyday practice; (3) the relationship between differentiation, talent management, and disadvantage compensation with the new methodology. Most teachers (n=103) have already incorporated the new methods into their practice, primarily for diversity, innovation, and experiential pedagogy. Still, there have also been teachers who have modified the original methodology to implement differentiation, talent management, and disadvantage compensation more effectively.


2015 ◽  
Vol 9 (4) ◽  
pp. 442-450 ◽  
Author(s):  
Carlota Torrents ◽  
Marta Castañer ◽  
Ferran Reverter ◽  
Gaspar Morey ◽  
Toni Jofre

2012 ◽  
Author(s):  
James Livingston ◽  
Sagar Parikh ◽  
Erin Michalak ◽  
Victoria Maxwell ◽  
Vytas Velyvis ◽  
...  

Author(s):  
Isaac Hui

Reading Jonson with the Fabliau, Boccaccio and Chaucer, this chapter, with the help of Lacan’s theory, rereads Volpone Act 3 scene 7, explaining why Volpone ‘delays’ his ‘rape’ of Celia. While Volpone is commonly known for his love of theatrical performance and transformation, the chapter suggests that this cannot be thought without the concept of his being ‘castrated’. Although ‘castration’ is usually regarded as a censoring force, Volpone is empowered and thrives on it. Moreover, this chapter compares the scene in Volpone with another similar one in Philip Massinger’s The Renegado, discussing how the subject of castration is used in early modern comedy and tragicomedy.


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