Lorenzo y Los Reyes de Albuquerque. Musica Antigua (The Social Dance Music Tradition in Northern New Mexico)

1995 ◽  
Vol 16 (1) ◽  
pp. 112
Author(s):  
Peter J. Garcia ◽  
Roberto Martinez
Keyword(s):  
New Mexico ◽  
Dance Music ◽  
Social Dance ◽  
The Social ◽  
Music Tradition

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.

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.

Fluid kinship: Race, power, and the hydrosocial order of water flow along New Mexico’s acequias

2019 ◽  
Vol 38 (4) ◽  
pp. 718-735
Author(s):  
Elise T Jaramillo
Keyword(s):  
New Mexico ◽  
Water Flow ◽  
Social Space ◽  
Participant Observation ◽  
Water Rights ◽  
Water Conflict ◽  
Human Relationships ◽  
The Social ◽  
Material Reality ◽  
Depth Interviews

In New Mexico, the marketization of water rights, urbanization, and the legacies of colonialism divide neighbors and pit them against one another over water. New Mexico’s acequias (community irrigation ditches) are organized by water flow, and the physical and interpersonal connections that enable it and are enabled by it. I examine the way that the social and material reality of water flow troubles deeply embedded racial and socioeconomic divisions by creating what I call fluid kinship: a social space that flows like an acequia, according to a topography of human relationships. Based on participant observation and in-depth interviews with acequia users in New Mexico, I elucidate how fluid kinship can reshape the terms of water conflict into unexpected configurations. By drawing attention to fluid kinship, I seek to elucidate the potentiality of the acequia as a counter-geography of relatedness and possible reconciliation.

scholarly journals Stars inside have reached outside: The effects of electronic dance music DJs’ social standing and musical identity on track success

PLoS ONE ◽  
2021 ◽  
Vol 16 (8) ◽  
pp. e0254618
Author(s):  
Hyeongseok Wi ◽  
Wonjae Lee
Keyword(s):  
Social Standing ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Music Festivals ◽  
Musical Identity ◽  
Artistic Value ◽  
The Social ◽  
Different Types ◽  
Professional Artists

The social standing of an artist provides a reliable proxy for the value of the artist’s product and reduces uncertainty about the quality of the product. While there are several different types of social standing, we focus on reputation among professional artists within the same genre, as they are best able to identify the artistic value of a product within that genre. To reveal the underlying means of attaining high social standing within the professional group, we examined two quantifiable properties that are closely associated with social standing, musical identity and the social position of the artist. We analyzed the playlist data of electronic dance music DJ/producers, DJs who also compose their own music. We crawled 98,332 tracks from 3,164 playlists by 815 DJs, who played at nine notable international music festivals. Information from the DJs’ tracks, including genre, beats per minute, and musical keys, was used to quantify musical identity, and playlists were transformed into network data to measure social positions among the DJs. We found that DJs with a distinct genre identity as well as network positions combining brokerage and cohesion tend to place higher in success and social standing.

Supervision in Performance Settings (Dance, Music, Acting)

2019 ◽  
Author(s):  
Gene M. Moyle
Keyword(s):  
Service Delivery ◽  
Performing Arts ◽  
Organizational Context ◽  
Dance Music ◽  
Performance Psychology ◽  
Training Models ◽  
Roles And Responsibilities ◽  
The Social ◽  
And Performance ◽  
Sport And Exercise

Literature regarding supervision and related supervisory and training models applied within the field of sport, exercise, and performance psychology (SEPP) has grown exponentially as the field continues to define and redefine itself. A range of supervision models from mainstream psychology has been explored and applied within SEPP settings, with research indicating that regardless of the preferred model of supervision, a key component of effective supervision is the supervisor’s knowledge and skills related to the area of service delivery. Whilst the supervision of psychologists-in-training within performing arts settings presents similar challenges faced by those working in sport and exercise settings, the social, cultural, and artistic considerations embedded within these performance contexts necessitates a nuanced approach. The provision of supervision for psychologists within performing arts (e.g., dance, music, acting) requires scaffolded learning opportunities that assist the practitioner to gain an in-depth understanding of the context, including how to best tailor, translate, and communicate psychological concepts and skills to their clients that will address their unique challenges and meet their distinctive needs. Furthermore, clarity regarding the roles and responsibilities of the supervisee within the organizational context of an artistic setting is vital to ensuring that effective and ethical service delivery can be provided.

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.

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