scholarly journals Антропологические аспекты современного танца. Беседы с Акрамом Кханом о судьбе, вдохновении и сценическом повествовании

2021 ◽  
pp. 157-176
Author(s):  
Светлана Игоревна Рыжакова
Keyword(s):  
Cultural Identity ◽  
British Empire ◽  
Life Stories ◽  
Historical Memory ◽  
The Body ◽  
Contemporary Dance ◽  
Artistic Activity ◽  
Personal Attitudes ◽  
New Vision ◽  
Ethnic And Cultural Identity

Современный танец – глобальный феномен, однако национальные и этнические аспекты регулярно проявляются и в содержании, и в форме постановок, и в судьбах артистов. Акрам Кхан – один из самых известных и высокооплачиваемых танцоров и хореографов нашего времени: член Ордена Британской Империи за заслуги в области танца с 2005 г., он – создатель множества балетов, представляемых различными труппами, а также автор и исполнитель сольных представлений. Каждое из его выступлений – событие, предлагающее новое видение как формы, так и содержания современного танца. Настоящая статья написана на основе многолетних исследований южноазиатской танцевальной культуры, а также личных бесед Светланы Рыжаковой с Акрамом Кханом в 2017 и 2019 гг. и анализа особенностей его семейной истории, творческого пути и особенности художественной деятельности. Обсуждение проблем этнокультурной идентичности, отношения к языку и к телу, исторической памяти, социальной напряженности, «своего» и «чужого», понятию родины, а также тех путей и способов, с помощью которых современность можно отражать на сцене легли в основу наших разговоров. Contemporary dance is a global phenomenon, but national and ethnic aspects are regularly manifested both in the content and in the form of performances, and in artists’ life-stories. Akram Khan is one of the most famous dancers and choreographers of our time. Member of the Order of the British Empire for Dance Merit since 2005, he is the creator of numerous ballets performed by various troupes and the author and performer of solo programs. Each of his performances is an event that offers a new vision of both the form and the content of contemporary dance. This essay is based on personal conversations of Svetlana Ryzhakova with Akram Khan in 2017 and 2019, as well as observations and analysis of his family history, career and artistic activity. Akram Khan was born and raised in England, but his parents are migrants from Bangladesh, a Muslim, although a very Westernized family. Problems of ethnic and cultural identity, personal attitudes towards language and the body, historical memory, social tension, “friends and foes”, homeland, as well as how modernity can and should be reflected on stage formed the basis of our conversations and reasoning of Akram Khan.

scholarly journals THE YOUTH OF THE RUSSIAN EMIGRATION IN THE 1920–1930s: MECHANISMS OF PRESERVING AND REPRODUCING THE ETHNOCULTURAL IDENTITY

2020 ◽  
Vol 1 (4) ◽  
pp. 169-173
Author(s):  
Lyudmila V. Klimovich ◽  
Leonid A. Shaipak
Keyword(s):  
Cultural Identity ◽  
Birth Rate ◽  
Historical Memory ◽  
Host Community ◽  
Young Generation ◽  
The Family ◽  
Long Time ◽  
History Of ◽  
Ethnic And Cultural Identity ◽  
Low Birth Rate

The article is devoted to examining the issue of preserving the cultural identity by the Russian emigrants in the 1920–1930s. On the basis of modern research, the authors reveal the mechanisms for the transmission of ethnic and cultural identity in conditions of living in a non-home country. On the example of the young generation of emigrants from Russia it is shown how these mechanisms functioned. It is noted that much attention was paid to preserving the native language, in the family, in the “Russian school” children were spoken in Russian, main training was conducted in it. The study emphasizes that holidays and commemorations contributed to preserving the historical memory; they passed the traditions and history of Russia to the younger generation. It is noted that among young people there was a high percentage of unmarried people, a low birth rate, the percentage of marriages with foreigners was minimal, all this did not contribute to reproduction of the emigrant community. The Russian youth who found itself in emigration did not try to integrate into the host community for a long time, which indicated ethno-cultural identity preservation.

scholarly journals Voyageurs malgré eux: Silence, embodiment, and exposure in Minh Tran Huy and Doan Bui

2021 ◽  
pp. 095715582110259
Author(s):  
Caroline D. Laurent
Keyword(s):  
Second Generation ◽  
Life Stories ◽  
The Body ◽  
French Society ◽  
Dual Identity ◽  
Vietnamese Literature ◽  
Asian Descent ◽  
Vietnamese Community ◽  
Body Self ◽  
Do So

In recent Franco-Vietnamese literature written by descendants of immigrants, the liminality of exile is portrayed in all its complexity through migrant bodies – that of parents’ bodies – and through political and social bodies – linked to History and the Việt Kiều’s positionality in French society. The experience of external movement becomes an internal one, creating porosity between the outside and the body, self and others, places and times. This article argues that, in Minh Tran Huy’s Voyageur malgré lui and Doan Bui’s Le Silence de mon père, by representing their family’s migration, both authors present the silenced histories of the Vietnamese community in France. In order to do so, Tran Huy and Bui first focus on uncovering and writing the stories of their silent fathers: through their embodiment of exilic history, the fathers transmit the wound of their immigrant condition to their daughters. Consequently, daughters come to manifest similar bodily expressions of traumas they have not experienced and know little about. The fathers’ histories are eventually voiced and re-invested by the second generation. This shows how the unearthing of their fathers’ life stories is also about reappropriating a dual identity as well as making Asian diasporic perspectives and histories visible, notably to create new avenues of representation for French individuals of Asian descent.

scholarly journals Herbs of Our Own Kingdom: Layers of the ‘Local’ in the Materia Medica of Early Chosn Korea

2008 ◽  
Vol 4 (2) ◽  
pp. 395-422 ◽  
Author(s):  
Soyoung Suh
Keyword(s):  
Chinese Medicine ◽  
Herbal Medicine ◽  
Cultural Identity ◽  
The Body ◽  
Korean Medicine ◽  
Materia Medica ◽  
Fundamental Assumption ◽  
Cultural Conditions ◽  
Korean Identity ◽  
Previous Scholarship

AbstractPrevious scholarship takes increasing Korean interest in ‘local botanicals’ () in its dynamic with Chinese counterparts as a gauge to measure the degree of independence and the extent of indigenisation of Korean medicine during the Chosn Dynasty (1392‐1910). Questioning this fundamental assumption about the development of Korean medicine, my article aims to scrutinise evocation of ‘the local’ in changing medical strategies concerned with Korean identity. While analysing major texts on local botanicals published during the early Chosn Dynasty, I claim that the classificatory arrangement used to map the local on botanicals often overlapped, and was not organised into a clear set of categories. Considering the traffic of herbal medicine across political and geographical boundaries, and the extreme diversity of botanical names, shapes and attributes, texts on local botanicals cannot be said to show clearly what belongs to a local ‘us’ or a foreign ‘them’. Instead, adjusting the names of botanicals, textualising the folk names of certain species, and publishing a series of books focusing on local botanicals reflected the socio-cultural need of scholars during the Chosn Dynasty to imprint motifs of the ‘local’ on Materia Medica simultaneously making a display of a separate Korean cultural identity. It was an accommodation of what was regarded as universal knowledge to a locale where the body of Chinese medicine had to be interpreted and mediated by the socio-cultural conditions of Chosn Korea.

Dance Imagery for Technique and Performance

2014 ◽  
Author(s):  
Eric Franklin
Keyword(s):  
Deep Understanding ◽  
The Body ◽  
Artistic Expression ◽  
Contemporary Dance ◽  
Improve Technique ◽  
Dance Class ◽  
Dance Improvisation ◽  
Dance Imagery ◽  
And Performance ◽  
Dance Educators

Renowned master teacher Eric Franklin has thoroughly updated his classic text, Dance Imagery for Technique and Performance, providing dancers and dance educators with a deep understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance. These features are new to this edition: • Two chapters include background, history, theory, and uses of imagery. • 294 exercises offer dancers and dance educators greater opportunities to experience how imagery can enhance technique and performance. • 133 illustrations facilitate the use of imagery to improve technique, artistic expression, and performance. Franklin provides hundreds of imagery exercises to refine improvisation, technique, and choreography. The 295 illustrations cover the major topics in the book, showing exercises to use in technique, artistic expression, and performance. In addition, Franklin supplies imagery exercises that can restore and regenerate the body through massage, touch, and stretching. And he offers guidance in using imagery to convey information about a dancer’s steps and to clarify the intent and content of movement. This new edition of Dance Imagery for Technique and Performance can be used with Franklin’s Dynamic Alignment Through Imagery, Second Edition, or on its own. Either way, readers will learn how to combine technical expertise with imagery skills to enrich their performance, and they will discover methods they can use to explore how imagery connects with dance improvisation and technique. Dance Imagery for Technique and Performance uses improvisation exercises to help readers investigate new inner landscapes to create and communicate various movement qualities, provides guidelines for applying imagery in the dance class, and helps dancers expand their repertoire of expressiveness in technique and performance across ballet, modern, and contemporary dance. This expanded edition of Dance Imagery for Technique and Performance supplies imagery tools for enhancing or preparing for performance, and it introduces the importance of imagery in dancing and teaching dance. Franklin’s method of using imagery in dance is displayed throughout this lavishly illustrated book, and the research from scientific and dance literature that supports Franklin’s method is detailed. The text, exercises, and illustrations make this book a practical resource for dancers and dance educators alike.

Face Substances. The rhetoric of Kapists’ self-portraits: between self-reflection and confession

2021 ◽  
pp. 51-67
Author(s):  
Łukasz Kiepuszewski
Keyword(s):  
The Body ◽  
External Reality ◽  
Self Reflection ◽  
Artistic Activity ◽  
The Relationship

Self-portraits are specific kinds of pictures where the subject’s experience is closely combined with the act of painting. Such works constitute a mixture of internal iconic power with external reality, e.g. the artist’s body, his thought, and theory, etc. This applies in particular to self-portraits painted by the members of the Paris Committee since the idiomatic nature of painting was the primary quality on which they based the language and poetics of their art. This paper analyses selected self-portraits by Józef Czapski (1896–1993), Zygmunt Waliszewski (1897–1936), Piotr Potworowski (1898–1964), Artur Nacht-Samborski (1898– 1974), and Jan Cybis (1897–1972). The focus on the strategy of incorporating physiognomy into the matter of painting stems from the fact that on this particular level the intensification of the relationship between the author’s image and his painterly gesture gains the strongest self-reflective potential. This allows for a reading of self-portraits as developing the artist’s reflections about art and himself, included in theoretical writings and intimate journals. Analyses presented in this paper can, therefore, be defined as an attempt to recreate rhetoric of the painterly trace on the basis of choices particular for given work. In this optic, crucial are these aspects of painting that manifest a form of the author’s subjective investment in artistic activity: from emphasising the distance through which the painting presents itself as a code offered to the viewer to decipher (as in Nacht-Samborski’s work) through to declarations to blur the boundary between the artist and the work, which results in an almost organic communion of the body and the matter of painting (Cybis).

scholarly journals Language planning for "Mundurukú do Amazonas"

2012 ◽  
Vol 12 (2) ◽  
pp. 405-423 ◽  
Author(s):  
Gessiane Picanço
Keyword(s):  
Cultural Identity ◽  
Language Proficiency ◽  
Language Use ◽  
Mother Tongue ◽  
Language Planning ◽  
Local Schools ◽  
Ethnic And Cultural Identity ◽  
Language Revitalisation ◽  
Definition Of ◽  
Indigenous Land

Mundurukú, a Tupian language of Brazil, exhibits two opposite scenarios. On one extreme, there is Mundurukú do Pará, the language of daily communication in the Mundurukú Indigenous Land, with fluent speakers found across all generations and still acquired by children as a mother tongue. On the other extreme, there is Mundurukú do Amazonas, formerly spoken in the Kwatá-Laranjal Indigenous Land, but whose inhabitants have shifted to Portuguese. A group of Mundurukú students from Amazonas decided to initiate a process of language revitalisation as a way to strengthen the community's ethnic and cultural identity. This paper reports the initial stages of language planning, and includes future actions to promote language use in the homes and communities, assessement of language proficiency, and definition of educational programs to teach Mundurukú in local schools.

The Beydāni : An ethnic and cultural identity

Al-Masāq ◽  
1990 ◽  
Vol 3 (1) ◽  
pp. 55-59
Author(s):  
Angeles Hernandez‐Moreno
Keyword(s):  
Cultural Identity ◽  
Ethnic And Cultural Identity
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