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.

Dudley, Jane (1912–2001)

2018 ◽  
Author(s):  
Victoria Phillips Geduld
Keyword(s):  
New York ◽  
Professional Training ◽  
Modern Dance ◽  
The United States ◽  
London School ◽  
Contemporary Dance ◽  
Martha Graham ◽  
Dance Movement ◽  
The Social ◽  
Political Works

Jane Dudley, a key figure in the radical dance movement of the 1930s, was a choreographer who developed her own distinctive voice within the modern dance idiom and an educator who trained numerous dancers both in the United States and in England. An early member of the New Dance Group (NDG), she oversaw the creation of group works such as Strike (1934), while choreographing solos such as Time is Money (1934), in which she used the modern dance idiom to embody a worker’s oppression on the assembly line. A striking performer, Dudley joined the Martha Graham Company in the mid-1930s. At the same time, she continued to develop her own repertoire, in part through the Dudley–Maslow–Bales Trio, whose founders—Sophie Maslow, William Bales, and herself—remained committed to the social ideals of the 1930s long after they had abandoned the making of overtly political works. Dudley’s loyalty to NDG extended over several decades during which it became a major New York training venue, offering inexpensive classes and professional training to promising students, including many African Americans. From 1970 to 2000, Dudley directed the London School of Contemporary Dance, transforming it into one of Europe’s leading modern dance institutions.

The Social Life of Dances

Valuing Dance ◽  
2019 ◽  
pp. 89-140
Author(s):  
Susan Leigh Foster
Keyword(s):  
Twentieth Century ◽  
Hip Hop ◽  
Social Life ◽  
Modern Dance ◽  
Wild West Shows ◽  
Studio Instruction ◽  
The Social ◽  
Social Dances ◽  
Private Studio ◽  
Historical Moment

Chapter 3 pursues the thesis that commodity and gift forms of exchange are interconnected and inseparable. It does this through an examination of three case studies: hip-hop, private dance studio instruction, and powwow. The recent histories of these three examples is examined alongside some of their antecedents at the beginning of the twentieth century. Hip-hop is located along a continuum with the early twentieth-century African American social dances that fueled a dance craze taking place in the urban United States. Private studio instruction is traced back to the social and modern dance instruction offered by entrepreneurial teachers who codified and sold those dances. Powwows are connected to the Wild West shows and other exhibitions of Native dances that brought Native peoples into greater contact with one another and with white audiences. Analyzing the development of these dance practices over time enables a more focused inquiry into the values and belief systems that infuse dance in a given historical moment and the ways that these connect to larger systems of shared values. Each example also calls attention to the way that commodification yields values that collude with forms of social and political domination including racialization and racist ideologies, Orientalism and exoticism, and colonial settler logics.

The Prehistory of Samba: Carnival Dancing in Rio de Janeiro, 1840–1917

1996 ◽  
Vol 28 (1) ◽  
pp. 29-47 ◽  
Author(s):  
John Charles Chasteen
Keyword(s):  
Twentieth Century ◽  
Rio De Janeiro ◽  
Modern Dance ◽  
Social Meaning ◽  
The Social ◽  
Social Dances ◽  
Brazilian Identity ◽  
Afro Brazilian

AbstractRio's pre-Lenten carnival and its Afro-Brazilian dance, samba, have been symbols of Brazilian identity since the 1930s. This article explores the choreographical antecedents of samba, before the crystallisation of the modern dance genre with that name, highlighting the importance of earlier social dances in the evolution of the twentieth-century symbol. It traces the development of carnival dancing in Rio de Janeiro from the time when few danced, through the long reign of the polka, to the emergence of generalised carnival street dancing around 1889. A modified view of the roots of samba has interesting implications for on-going debates on the social meaning of Brazilian carnival.

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.

Micah’s Theory of the Justice of Judgement (Micah 3:1-12)

2018 ◽  
Vol 26 (2) ◽  
Author(s):  
Blessing Onoriode Boloje
Keyword(s):  
Theory Of Justice ◽  
Background Structure ◽  
The Social ◽  
Egalitarian Society ◽  
The Gift ◽  
Special Concern

This article is an examination of Micah’s theory of justice within the overall context of his oracles of judgements. While there are competing perspectives in the justice of judgement in the book of Micah, particularly in relation to the extent of judgement, this article concerns itself with the interrelatedness and connection between sin and judgement. The judgements envisioned in Micah’s oracles are provoked by the violations of the traditional moral and social solidarities resulting from the Covenant, which formed the basis of society. As an egalitarian society, the social blueprint of Yahweh’s Torah for Israel advocated special concern for weak and vulnerable individuals as fundamental. The gift of Torah inaugurated Israel as a community meant to personify Yahweh’s justice. However, increasing injustice profoundly jeopardized this witness to God’s healing agenda. For failing to uphold justice the perpetrators are liable and the judgements constitute justice. This justice may not necessarily be corrective in quality but punitive. The article therefore examines briefly the background, structure, and approaches to the book of Micah, analyses a unit of judgement oracle (3:1–12), and concludes by synthesising Micah’s theory of justice within the overall context of his oracles of judgements.

Marcel Mauss and the Turn to the Gift

2018 ◽  
Author(s):  
Rebecca Colesworthy
Keyword(s):  
Social Sciences ◽  
Experimental Writing ◽  
Market Society ◽  
The Arts ◽  
The Social ◽  
The Gift ◽  
New Material ◽  
Anglo American ◽  
Leonard Woolf

Chapter 1 takes a cue from recent anthropologists who have stressed the influence of Mauss’s socialism on his sociological work. Returning to Mauss’s The Gift, the chapter argues that what links his essay to the experimental writing of his literary contemporaries is not their shared fascination with the primitive, as other critics have suggested, but rather their shared investment in reimagining social possibilities within market society. Mauss was, as his biographer notes, an “Anglophile.” Shedding light on his admiration of British socialism and especially the work of Beatrice and Sidney Webb—friends of Virginia and Leonard Woolf—as well as competing usages of the language of “gifts” in the social sciences and the arts, the chapter ultimately provides a new material and conceptual framework for understanding the intersection of largely French gift theory and Anglo-American modernist writing.

Coerced Human Mobility and Elite Social Networks in Early Dynastic Iraq and Iran

2020 ◽  
Vol 7 (1) ◽  
pp. 25-57
Author(s):  
Vitali Bartash
Keyword(s):  
Human Mobility ◽  
Historical Analysis ◽  
Spatial Mobility ◽  
Male Adult ◽  
Early Dynastic ◽  
The Social ◽  
The Gift ◽  
The Persian Gulf ◽  
City State ◽  
Social Profiles

AbstractThe article provides a historical analysis of cuneiform records concerning the circulation of unfree humans among the political-cultic elite in southern Mesopotamia and the Persian Gulf during the Early Dynastic IIIb period, ca. 2475–2300 BCE. The analysis of the written data from the Adab city-state demonstrates that the royal house used the unfree as gifts to maintain a sociopolitical network on three spatial levels – the internal, local, and (inter)regional. The gift-givers and gift-receivers were mostly male adult members of the local and foreign elite, whereas the dislocated unfree humans were heterogeneous in terms of age, gender, and the ways they lost their freedom. The author relates the social profiles of both groups to the logistics of human traffic to reveal the link between social status and forms and nature of spatial mobility in the politically and socially unstable Early Dynastic Near East.

‘Tout, dans ses charmes, est dangereux’: music, gesture and the dangers of French pantomime, 1748–1775

2008 ◽  
Vol 20 (3) ◽  
pp. 241-268
Author(s):  
HEDY LAW
Keyword(s):  
Moral Philosophy ◽  
Moral Claim ◽  
Potential Danger ◽  
Binary Opposition ◽  
High Culture ◽  
Social Dance ◽  
Social Thinking ◽  
Musical Syntax ◽  
Social Dances ◽  
Harmful Effects

AbstractIn 1779 Chabanon noted the potential danger inherent in gesture because it might produce instantaneous and harmful effects. This article examines how Rameau, Rousseau and Grétry incorporated putatively dangerous gestures into the pantomimes they wrote for their operas, and explains why these pantomimes matter at all. In Rameau's Pygmalion (1748), Rousseau's Le Devin du village (1752–3) and Grétry's Céphale et Procris (1773, 1775), pantomime was presented as a type of dance opposite to the conventional social dance. But the significance of this binary opposition changed drastically around 1750, in response to Rousseau's own moral philosophy developed most notably in the First Discourse (1750). Whereas the pantomimes in Rameau's Pygmalion dismiss peasants as uncultured, it is high culture that becomes the source of corruption in the pantomime of Rousseau's Le Devin du village, where uncultured peasants are praised for their morality. Grétry extended Rousseau's moral claim in the pantomime of Céphale et Procris by commending an uneducated girl who turns down sexual advances from a courtier. Central to these pantomimes are the ways in which musical syntax correlates with drama. Contrary to the predictable syntax in most social dances, these pantomimes bring to the surface syntactical anomalies that may be taken to represent moral licence: an unexpected pause, a jarring diminished-seventh chord, and a phrase in a minuet with odd-number bars communicate danger. Although social dances were still the backbone of most French operas, pantomime provided an experimental interface by which composers contested the meanings of expressive topoi; it thus emerged as a vehicle for progressive social thinking.

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