scholarly journals TRANSFORMATION OF WESTERN PODILLIA TRADITIONAL DANCE IN THE CONTEXT OF REGIONAL FESTIVAL MOVEMENT

2021 ◽  
Author(s):  
Liudmyla Shchur ◽  
Bohdan Vodianyi ◽  
Valentyna Vodiana
Keyword(s):  
Cultural Identity ◽  
Folk Art ◽  
Folk Dance ◽  
Research Article ◽  
Traditional Dance ◽  
Folk Ritual

The article covers the issue of transformation of traditional dance in the context of festival movement in the particular region and Ukraine as a whole. The research article analyses the functioning of art folklore festivals on the territory of Western Podillia. The study investigates the organization of art festivals of the region in historical and chronological perspective and presents the key tasks for their holding. The article partially covers the activities of some dance and folk-ritual groups of Western Podillia, which are active participants and popularisers of folk art, in particular of local traditional dances. The study reveals the issues related to the functioning and development of traditional dance in terms of folklorism, which is implemented during the «Ternopil talismans», regional festival of folk crafts, folklore and choreography, which hosts the «Ternopil Polka», festival of authentic dance (Ternopil); «Red guilder-rose», folk dance festival (Ternopil); «Bells of Lemko region», All-Ukrainian festival of Lemko culture (Bychova tract of Monastyryskyi district); «Embroidery blossoms in Borshchiv region», annual All-Ukrainian Folklore and Art Festival (Borshchiv) and other local festivals. The article highlights the importance of organizing and holding regional local holidays and folklore and art festivals in the context of the revival of the national and cultural identity of Western Podillia as an integral part of Ukraine.

scholarly journals 11. Continuity and Reinvention

2020 ◽  
pp. 317-342
Author(s):  
Sille Kapper
Keyword(s):  
Twentieth Century ◽  
Local Community ◽  
Folk Dance ◽  
Dance Movement ◽  
Traditional Dance ◽  
Round Dance ◽  
The Relationship

Kapper (Estonia) focuses mainly on the twentieth century, basing her discussion on information from folk dance collectors and researchers connected to the folk-dance movement. She surveys round dance forms described or referred to as part of this information, and discusses the relationship between round dances and other dances in a local community, particularly if that community was known as a stronghold of traditional dance. She also refers in brief to the folk-dance movement. In this way, she includes two of the groups mentioned above: the ‘dancing crowds’ and the folk dancers, and discusses the place round dancing has within each.

scholarly journals Analysis on the Advantages and Disadvantages of Using Multimedia Courseware in Chinese Folk Dance Classes

2020 ◽  
Vol 3 (3) ◽  
pp. 61
Author(s):  
Jiajun Huang
Keyword(s):  
Teaching And Learning ◽  
Teaching Method ◽  
Folk Dance ◽  
Advantages And Disadvantages ◽  
Traditional Dance

The development of technology will affect the development of traditional dance classes. The teaching method is no longer a singular course of teaching and learning. Multimedia courseware is a commonly used course technology, based on computer and projection technology, to convey rich knowledge to students. This paper discusses the use of multimedia courseware in dance classes, then, combined with the majors the author have studied, creatively discusses the influence of multimedia courseware on Chinese folk dance courses.

A Revolution in Movement

2020 ◽  
Author(s):  
K. Mitchell Snow
Keyword(s):  
National Identity ◽  
Cultural Identity ◽  
Golden Age ◽  
Modern Dance ◽  
Folk Dance ◽  
Visual Artists ◽  
Ballets Russes ◽  
National School ◽  
The Creation ◽  
The 1960S

A Revolution in Movement is the first book to illuminate how collaborations between dancers and painters shaped Mexico’s postrevolutionary cultural identity. K. Mitchell Snow traces this relationship throughout nearly half a century of developments in Mexican dance—the emulation of Diaghilev’s Ballets Russes in the 1920s, the adoption of U.S.-style modern dance in the 1940s, and the creation of ballet-inspired folk dance in the 1960s. Snow describes the appearances in Mexico by Russian ballerina Anna Pavlova and Spanish concert dancer Tortóla Valencia, who helped motivate Mexico to express its own national identity through dance. He discusses the work of muralists and other visual artists in tandem with Mexico’s theatrical dance world, including Diego Rivera’s collaborations with ballet composer Carlos Chávez; Carlos Mérida’s leadership of the National School of Dance; José Clemente Orozco’s involvement in the creation of the Ballet de la Ciudad de México; and Miguel Covarrubias, who led the “golden age” of Mexican modern dance. Snow draws from a rich trove of historical newspaper accounts and other contemporary documents to show how these collaborations produced an image of modern Mexico that would prove popular both locally and internationally and continues to endure today.

Dance and Hinduism

Hinduism ◽  
2019 ◽  
Author(s):  
Katherine Zubko
Keyword(s):  
Social Systems ◽  
Folk Dance ◽  
Classical Dance ◽  
Opportunity To Respond ◽  
British Raj ◽  
Critical Scholarship ◽  
Technical Vocabulary ◽  
Textual Authority ◽  
Hindu Temples ◽  
Folk Ritual

Dance is a central practice in Hinduism across a variety of contexts, mythological narratives, and time periods. Gods such as Śiva and Kṛṣṇa are dancers, and humans also dance, often embodying these gods as part of bhakti, or devotion. Dance is a rich area for exploring the ways categories are created and negotiated: classical and folk, local and global, male and female, East and West, text and practice, colonial and postcolonial, and India and its diaspora. Coursing through these dynamic categories are questions of identity: gender, nationality, politics, race, ethnicity, sexuality, and immigrant experience—all experienced through the embodiment of devotional dance forms that continue to undergo many iterations as new populations, venues, and intentions emerge. This bibliography provides resources for the history and practices of dances that range from folk/ritual to classical. Folk dance forms are devotional and cultural, such as popular garba and raas dancing. Other ritual dances invite a god to be embodied in the devotee through possession or depicted theatrically in solos and dance-dramas. The emphasis of the majority of the scholarship is weighted toward the formation and practice of eight classical dance forms. These have been constructed out of a hybridization of preexisting regional temple, court, and folk styles in collaboration with the ancient textual authority of the Nāṭyaśāstra, “Science of Dance-Drama,” during the early 20th century. This Sanskrit compendium infused technical vocabulary, movement grammars, a sacred origin story, and rasa, an audience-receptivity theory of aesthetic mood experienced by audience members as created by dancers through their physical expressions, or bhāvas. In the early 1900s, social welfare movements converged on an opportunity to respond to the ills of society and build an awareness of arts that could support an emerging nationalism. “Reformers” and “revivalists” claimed to undo systems of oppression of women, such as preventing dedication of devadāsīs who danced in Hindu temples, and “rescue” dances with ties to ancient and religious origins from the hands of these hereditary dancers, whose loss of patronage and misunderstood social systems led to them being labeled prostitutes under the British Raj. One of the first ongoing waves of critical scholarship reveals the erased histories and consequences of these changes. A second strand seeks to situate dance within transnational Hindu contexts. A third trajectory validates contemporary experiments that reframe the interpretive possibilities of religious and gendered themes across hybridized movement grammars within the bodies of dancers and across diasporic geographies.

scholarly journals Actualization of traditional art practices in contemporary art of Mordovia (in the context of creating choreographic suites)

2020 ◽  
Vol 12 (3) ◽  
pp. 314-324
Author(s):  
Yurii A. Kondratenko ◽  
Elena N. Antipkina
Keyword(s):  
Contemporary Art ◽  
Modern Dance ◽  
Folk Art ◽  
Folk Dance ◽  
Traditional Values ◽  
Systematic Analysis ◽  
Traditional Art ◽  
The Past ◽  
The People ◽  
Compositional Structures

Introduction. Among the processes that are clearly traced in the modern artistic practices of Mordovia, there is one that draws particular attention – the desire to comprehend folk art in a new way, to actualize the traditional layers of culture within the framework of neo-traditional forms of contemporary art. A folk dance is an example of one of the directions of modern choreography. The purpose of the article is to review the experience of creating choreographic suites in modern dance in Mordovia, based on traditional folklore. This allows studying the techniques of citing traditional forms of folk art in contemporary art and the ways of their actualization. Materials and Methods. As the main material for studying, this study analyzed the performances of choreographers of Mordovia, working with such modern dance as choreographic suites «Girl-birch» and «Eight Mordovian songs». It was possible to formulate answers to the research tasks as a result of the application of a systematic analysis of sources on this topic, as well as carrying out a comparative analysis of the compositional structures of these choreographic suites, the specific features of the construction of their choreographic texts and work with musical material. Results and Discussion. The actualization of traditional artistic practices in contemporary art is an experiment and constant search for new ways of expression. Within the framework of one of the neo-traditionalist trends in contemporary art, folk dance, one can observe the way how traditional values are rethought and considered as relevant now, thereby the past becomes part of the modern way of life. In this context, the analysis of the search for a new way of expression within the framework of the suite form is of particular interest. As a result of the analysis of the compositional forms of modern choreographic performances in Mordovia, it revealed two trends in the development of the form of a choreographic suite: a movement along the path of creating a production with non-classical content on the basis of the classical suite structure and an appeal to traditional compositional forms of folk art and filling them with relevant content. Conclusion. The neo-traditional trend in art is based on the idea that tradition is not only the past of the people, it also exists here and now, our actual present. With the advent of the folk direction in modern choreography, the search for such an actual true tradition has become a unique feature of modern dance in Mordovia. Within the framework of this article, some ways of the development of folk direction were noted, associated with experiments in relation to the form of a choreographic suite and the main trends in the search for the development of the dance form were outlined.

scholarly journals BALINESE DANCE AND MUSIC IN RELATION TO HINDUISM

SPAFA Journal ◽  
2018 ◽  
Vol 2 ◽  
Author(s):  
I gede Arya Sugiartha
Keyword(s):  
Cultural Identity ◽  
Southeast Asia ◽  
Daily Life ◽  
Artistic Expression ◽  
Hindu Religion ◽  
Religious Ceremony ◽  
Traditional Dance ◽  
The People ◽  
Art And Culture ◽  
Over Time

Balinese traditional dance and music are imbued with the values, cultural identity and artistic expression of the Balinese, with close links to the Hindu religion. Balinese Hindus in particular strongly believe that dance and music are mediums to bring them closer to the gods. In Bali, religion, art and culture are fused together in daily life. For the Balinese, no religious ceremony is complete without the presence of art and culture. Equally as important as dance and music, living in harmony with the environment for the sake of human survival is another strong conviction among the people of Bali. In addition to music and dance performances, nature is believed to hold many supernatural powers which cannot be understood by mankind. People are expected to maintain a harmonious relationship between all elements. This is why dance and music are continuously maintained and developed over time. The strong adherence of the Balinese people to Hinduism contributes to the preservation of traditional dance and music so that these traditions may never be lost. This paper was first presented on the Workshop of Hindu Art in Southeast Asia hosted by SEAMEO SPAFA, on May 28, 2017, at ISI Denpasar and has been peer-reviewed.

scholarly journals The Transformation of Traditional Dance from Its First to Its Second Existence: The Effectiveness of Music - Movement Education and Creative Dance in the Preservation of Our Cultural Heritage

2017 ◽  
Vol 6 (1) ◽  
pp. 104 ◽  
Author(s):  
Lykesas Georgios
Keyword(s):  
Cultural Heritage ◽  
Learning Process ◽  
Cultural Development ◽  
Cultural Tradition ◽  
Folk Dance ◽  
Movement Education ◽  
Creative Dance ◽  
Traditional Dance ◽  
Educational Processes ◽  
Folk Tradition

Being an indispensable part of our folk tradition, the traditional dance bears elements of our cultural tradition and heritage and passes them down from generation to generation. Therefore, it contributes substantially to the reinforcement of our cultural identity and plays a crucial role in the "cultural development" of our society.Our culture is going through a constant process of mutation. Some traditional elements get lost, while others resist and survive or get transformed and readjust to new emerging circumstances.The aim of the present study is to investigate the learning process of Music/ Movement Education and Creative Dance within the context of the “second existence” of dance, and the way in which this learning process can effectively save and preserve the characteristic cultural traits of the "first existence" of the traditional dance.The experiential way of learning and transmitting dance from one generation to the other, is characterized as “the first existence” of dance. Changes in modern social, political and economic conditions have influenced the Greek traditional dance, which has acquired a more entertaining and tourist-commercial character, while its educational character has transformed going through teacher-centered educational processes. Having undergone this change, the traditional dance is now defined as “the second existence” of folk dance. The conversion of the traditional dance from its "first existence" into its "second existence" is supported and interpreted by the three components of the dancing process, the so-called “communication triangle”: the dancer, the dance and the viewer. The adoption of the particular approach of Music - Movement Education and Creative Dance in teaching Greek traditional dances can preserve and convey a large part of our cultural heritage to the new generation.Only by learning their country’s history and culture will the young generations be able to learn their own identity and make the best of the past in order to live more happily today and create a better future.

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