The Development of Taiwanese Dance Groups after Attending International Folklore Dance Festivals

2021 ◽  
Author(s):  
Yi-Chieh Tien
Keyword(s):  
2021 ◽  
Vol 6 (12) ◽  
pp. 218-226
Author(s):  
Terane MURADOVA

Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.


2009 ◽  
Vol 24 (3) ◽  
pp. 119-123
Author(s):  
Alen Miletic ◽  
Radmila Kostic ◽  
Ana Bozanic ◽  
Durdica Miletic

Various dance techniques and performances have different effects on the biomechanics of the body and may lead to different injury profiles. Few studies have analyzed the risk of injury associated with particular types of dance, especially in adolescents when accelerated growth compounds the risk of injury. Ninety-six female dancers with international competitive dance experience from four Balkan European countries were selected from a population of 347 adolescent dancers for this study. Their average age was 13.8 yrs (range, 12 to 16). The subjects were divided into four groups according to their dance styles: cheerleading, dance show, disco dance, and standard and Latin dance. The first aim of the study was to identify differences between the various dance style groups in body mass index (BMI) and dance sport involvement. According to Wilks' test (oneway MANOVA), there was a significant multivariate effect (F = 13.8; p < 0.001) between the four dance groups. The dancers belonging to the disco group started systematic training earlier than the other dancers, the standard and Latin dancers practiced the most intensively, and the show dancers had considerably lower BMI than the disco dancers. The second aim of the study was to define the pain status in 14 body regions for dancers in the various dance styles by monitoring their pain status with the SEFIP questionnaire. The most common locations for pain were the calves (43.7%), knees (32.7%), and ankles (27.2%). According to the χ2 test, cheerleading dancers reported a significantly higher frequency of knee injuries, and standard and Latin dancers reported a significantly higher frequency of toe injuries. The specific way in which some dance disciplines are practiced and their dance techniques do induce characteristic injuries.


Via Latgalica ◽  
2013 ◽  
pp. 105
Author(s):  
Ingars Gusāns

The topic of this article is to illustrate the contribution of festivals to Latgalian culture. The article gives an overview on the development of the festivals: Latgales Televīzijas Mūzikas festivāls, ”Osvalds”, ”Muzykys Skrytuļs” and Latgales Mūzikas festivāls. The article is based on interviews with the festival organizers, available press materials, internet resources and the author’s personal observations both as a listener and a participant of the described festivals. Festivals are mentioned in chronological order. Latgales Televīzijas Mūzikas festivāls was the festival that started advertising of regional art in Latvia. It was characterized by a variety of genres and the opportunity for artists to introduce themselves to the general public on a high professional level. “Osvalds” is an entertainment festival for people of different taste. It popularizes regional associations and most up-to-date Latvian artists; the Latgalian element does occur, but it is not the main objective. “Muzykys Skrytuļs” has promoted the creation of Latgalian songs, the foundation of music groups and has given opportunity for newcomers to perform on a bigger stage. By concert records and live broadcasts this festival makes a great contribution to the development and the popularization of Latgalian identity. Latgales Mūzikas festivāls has provided an opportunity to the most famous, up- to-date Latgalian artists to perform at the festival on the main stage, thus filling a time gap within the field of Latgalian festivals. Each festival expresses the Latgalian identity in a different manner. However it can be perceived in each of them, therefore it is possible to affirm that festivals integrate, help to maintain and console the Latgalian identity. Most prominently it demonstrates to the new generation that Latgalians are a part of the modern world just like everyone else and that in order to express their cultural identity they themselves could actively participate in various folklore and folk dance groups or even start a rock band that performs in Latgalian language.


2017 ◽  
Vol 58 ◽  
pp. 88
Author(s):  
Edit Bugge

<p><strong>Úrtak</strong>: Tann norski fólkavísudansurin vaks fram i byrjan av 1900­árunum og var fyrst og fremst en nýtíðar norsk tulking av føroyska dansinum. Tann norski fólkavísudansurin spældi stóran lut i fólkaupplýsingar­ og tjóðbyggingarstarvinum hjá „norskdomsrørsluni“. Í hesi grein verður greitt frá nøkrum eyðkennum í norska fólkavísudansinum, upphavi og søguligu menning hansara. Í norska diskursinum um stílideal í fólkavísudansi spæla møti við og hugmyndir av <em>autentiskum </em>føroyskum dansi stóran lut. Tiknar verða fram tvær vitjanir, sum føroysk dansifeløg gjørdu hjá norskum fólkadansifeløgum í Noregi. Hesar vitjanir hava havt ávirkan á menningina av fólkavísudansi í Noregi, og tær hava fyri ein part eisini ført til split í norskum fólkadansihøpi.</p><p> </p><p><strong>A</strong><strong>bstract</strong>: Norwegian <em>folkevisedans </em>is a dance form that appeared in the early 1900s. It is primarely a modern Norwegian interpretation of the Faroese chain dance. The Norwegain <em>folkevisedans </em>played a central role as a cultural expression to the nation building and cultivation project of <em>The Movement for Norwegianness (norskdomsrørsla)</em>. The article gives a short introduction to Norwegian folkevisedans, its origin and historical development. Encounters with and ideas about <em>authentic </em>Faroese dance has been, and still is, an important topic in the Norwegian discourse on the aestetic and stylistic ideals of <em>folkevisedans</em>, <em>sangdans </em>and <em>stordans</em>. The article discusses two such cultural encounters, in which Faroese dance groups have visited Norway. These encounters have had an impact for the development of the folkevisedans in Norway, and to some extent they have given rise to a dissension between Folkevisedans enthusiasts.</p>


Africa ◽  
1972 ◽  
Vol 42 (4) ◽  
pp. 289-304 ◽  
Author(s):  
Alvin Magid

Opening ParagraphThe notion that rural political life is essentially traditional tribal in Africa and therefore scarcely relevant to modern decision-making at higher echelons of government has had a commanding influence in African studies. Associated with this viewpoint has been a tacit division of labour in the social sciences which emphasizes the pre-eminence of anthropology in the tribal domain and the pre-occupation of political science with macropolitics especially in the urban sphere. Happily, a younger generation of political scientists has emerged in recent years to challenge an essentially artificial arrangement.


2016 ◽  
Vol 2016 ◽  
pp. 292-298
Author(s):  
Christos Papakostas

It is a commonly held assumption that new technologies have changed human society, culture, and communication dramatically. New phenomena appear, and the new reality is a challenge on many levels. The mass expansion of the Internet, since the early 1990s, has brought new circumstances at the economic, social, and cultural levels, as well as new forms of behavior and expression. In recent years, the basic practice of instructors, dancers, and dance enthusiasts is searching and downloading videos on traditional Greek dancing. In many cases, the videos are considered “research” products capable of supporting the teaching of dance in traditional dance groups. What inevitably emerges is a mode of YouTube as a new digital dance archive. In this peculiar condition, the production, distribution, and “assessment” of the content are in the hands of the user community, who, as Derrida notes, are possessed by one “irrepressible desire to return to the origin”. In Foucault's terms, the archive is a space of enunciation. Repositioned as something that defies exhaustive description, for Foucault, the archive becomes engaged in the production and authorization of discourse itself. This perspective raises questions about the issues of standards, evaluation, and quality of the “material”. But, the most important question is, what is the concept and the content of the terms “research” and “teaching?”


Author(s):  
Tetiana Blahova

Development dynamics of choreographic amateur as a phenomenon of creative activity in the structure of non-formal art education is investigated in the article. The main stages of becoming a choreographic amateur in Ukraine in the context of socio-political and cultural-artistic determinants are characterized. It has been found that during the XX century choreographic activity as a component of non-formal art education had passed a difficult and contradictory path from the experiments of dance studios and the search for “Soviet dance” to the creation of groups, ensembles, creative associations, and later the appearance of amateur dancers of various genres of choreographic performances. Choreographic performance was actively implemented in the permanent and temporary forms of organization that brought together different social groups. The study analyzes the content of choreographic training in the activities of dance groups in different cultural and educational locations at different stages of historical development. The actual perspective of the development of theoretical studies in the field of choreographic education is the understanding of pedagogical resources of amateur choreography, the analysis of its strategies, meaningful content in various forms of organization. 


Author(s):  
Rita Spalva

As a country with a relatively small population (approximately 2 million), Latvia can take pride in the number of people who are practicing folk dance at amateur level. Based on 2015 information provided by the Latvian National Centre for Culture, this amateur movement counts 603 dance groups (over 12 000 dancers) and accordingly 417 dance group leaders. The main goal of dance group activities is to sustain the idea of national consciousness through the means of folk dance, which is a meaningful factor in the strengthening of national identity to progress to a modern and national country. The National Song and Dance Festival, which takes place every five years in Latvia and which is one of the UNESCO Masterpieces of Oral and Intangible Heritage of Humanity, is a significant tool for maintaining a national cultural environment within amateur dance. The festival combines artistic, national social and other functions of significance to social development. All above-mentioned conditions determined the research problem – how to develop dance group leader lifelong education programmes more successfully, in order for these to purposefully integrate participants of various levels of professionalism. The research aim is to analyse existing lifelong education contents available to dance group leaders, along with the challenges and risks they pose. The study predominantly makes use of empirical methods – lifelong education programme participant surveys and their analysis; analysis of the artistic performance of dance groups.


Author(s):  
Rachyl Pines ◽  
Howard Giles

Dance is a visual, socially organized form of communication. There are countless forms and styles of dance, each with its own criteria of excellence, with varying degrees of technical training ranging from classical ballet to krumping. This could, at times, lend itself to intergroup antagonism with the various genres of dance as subgroups. However, all types of dancers have the potential to identify with one another as sharing in the superordinate identity, dancer. Dance may be consumed as an artistic performance, or one can engage it as a participant—dancing as a professional, as a form of recreation, or as a form of self-expression. The processes of producing, consuming, and participating in dance as a spectator, choreographer, or performer are all intergroup phenomena. For example, a spectator of a performance learns something about the culture that produced this dance. With this there is potential for intergroup contact and vicarious observation with dancers and the various audiences. This can be powerful for changing attitudes and conceptions of different dance groups. The attitude change may occur as people are exposed to a culture presented as art instead of exposure to information via factual accounts such as textbooks or museums. Also, a spectator or consumer’s perception of the performance is informed by group membership. For example, some religious groups discourage dance because they believe it is a sin or evil. These groups, if exposed to a dance performance, will experience it much differently than members of other groups that encourage dancing and actively seek its viewing. In sum, dance is a vehicle through which group membership and social identity can be expressed. As dancers perform they can, for instance, express gender and sexuality. As choreographers direct movements, they express their conceptions of gender through the dancers. And as spectators view the performance, they are shown something about gender expression. When it is used as a form of protest, as a cultural expression, or as a form of social innovation, dance can express social group membership.


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