Music Fundamentals for Dance

2013 ◽  
Author(s):  
Nola Nolen Holland
Keyword(s):  
Dance Performance ◽  
Support Materials ◽  
Web Resource ◽  
Dance Training ◽  
Art Form ◽  
Practice Opportunities ◽  
Music For Dance ◽  
Dance Educators ◽  
Music Fundamentals ◽  
Music Skills

Music Fundamentals for Dance provides students with a fundamental understanding of music and how it applies to dance performance, composition, and teaching. This valuable reference helps professional choreographers, dance educators, and dancers expand their knowledge of music and understand the relationships between music and dance. Fundamentals of Music for Dance helps dancers understand of the elements of music—form and structure, musical time, melody, texture, and score reading—and how they relate to dance performance and choreography. They will learn music vocabulary for easier communication with other dancers, musicians, and conductors. Overviews of musical forms, styles, and genres are complemented by an examination of their relation to dance and choreography. Each chapter ends with exercises, activities, and projects that offer students a range of active learning experiences to connect music fundamentals to their dance training. An accompanying web resource contains these features: • Extended learning activities and support materials, including practice opportunities combining music skills with dance or choreography, chapter summaries, a glossary, websites, and handouts to help students practice music skills • Music clips on the website offer ready-made examples, which students can use in applying concepts from the book Written by an experienced dance educator, dancer, and choreographer, Music Fundamentals for Dance is the only current text that explains essential concepts of music and examines these concepts in relation to dance performance, composition, and teaching. By providing readers with a foundation of music knowledge, Music Fundamentals for Dance assists both future and current professionals in understanding the art form that will enhance their contributions as performers, choreographers, and educators.

scholarly journals Analisis Koreografi Tari Ganjur Pada Upacara Adat Erau Kutai Kertanegara Kabupaten Kutai Kertanegara, Kalimantan Timur

JOGED ◽  
2017 ◽  
Vol 10 (2) ◽  
pp. 517-532
Author(s):  
Agus Yulianti
Keyword(s):  
Surrounding Area ◽  
Dance Movement ◽  
Dance Performance ◽  
Classical Dance ◽  
Art Form ◽  
The People ◽  
City District ◽  
Evil Spirits ◽  
Musical Accompaniment ◽  
Male Dancers

Tari Ganjur merupakan kesenian yang berbentuk ritual dalam sebuah upacara adat yaitu Upacara Erau adat Kutai Kartanegara Ing Martadipura, yang dilestarikan oleh masyarakat kota Tenggarong, kabupaten Kutai Kartanegara, Kalimantan Timur.Tari Ganjur merupakan tarian Klasik yang dimiliki oleh Kesultanan Kutai Kartanegara Ing Martadipura dalam bentuk koreografi kelompok, karena dapat dilihat dari bentuk pertunjukan tari ganjur yang ditarikan oleh empat penari laik-laki. Di dalam tari Ganjur menggunakan sebuah properti Gada yang biasa disebut dengan ganjur. Tari Ganjur menggambarkan seorang pangeran yang sedang menjaga keamanan tiang ayu agar pada saat acara Bepelas Sultan tidak diganggu oleh roh-roh jahat. Tari Ganjur mengenakan busana atasan miskat sedangkan bawahannya mengenakan celana panjang berwarna hitam dipadukan dengan sarung Samarinda. Rias penari menggunakan rias natural, serta iringan tari menggunakan seperangkat alat gamelan Kutai.Dalam hal ini yang menjadi pokok permasalahan adalah analisis koreografi tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura. Untuk menjawab permasalahan tersebut, maka akan meminjam teori Y. Sumandiyo Hadi mengenai Koreografi Bentuk-Teknik-Isi. Menurut Y. Sumandiyo Hadi ketiga konsep bentuk, teknik, dan isi ini tidak dapat dipisahkan dalam sebuah pertunjukan tari. Dalam penelitian ini tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura dapat ditinjau dari aspek bentuk, teknik, dan isi. Aspek bentuk tari Ganjur terbagi menjadi tiga bagian, pembagian ini terlihat dari perpindahan iringan musiknya. Aspek teknik gerak tari Ganjur terdapat kesamaan dengan gerak tari Klasik yang ada di Surakarta dan Yogyakarta. Aspek isi tari Ganjur bertemakan keamanan yang bertujuan untuk menjaga keamanan daerah sekeliling Tiang Ayu. Kehadiran tari Ganjur dalam upacara Erau adat Kutai Kartanegara Ing Martadipura sangat berperan penting dalam acara bepelas sultan, karena kehadirannya diperuntukan menurunkan Pangeran Sri Ganjur untuk menjaga keamanan tiang ayu dari roh-roh jahat, dan kehadirannya selalu ada pada malam Bepelas Sultan.  Ganjur dance is a ritual art form in a traditional ceremony that is customary Erau ceremony Kutai Ing Martadipura, preserved by the people of Tenggarong city, district, Kutai, East Borneo. Ganjur dance a classical dance that is owned by the Sultanate of Kutai Ing Martadipura in the form of choreography Group, because it can be seen from the form of dance performances ganjur danced by four male-male dancers. In Ganjur dance uses a property called Gada commonly called ganjur. Ganjur Dance depicts a prince who is guarding the security pole so that at the time of the Sultan Bepelas event is not disturbed by evil spirits. Ganjur Dance wearing a clothing top miskat while his subordinates dressed in black trousers combined with sarong Samarinda. The dancers makeup using natural makeup, dance accompaniment using a set of Kutai gamelan instruments.In this case an issue of concern is the analysis of dance choreography Ganjur Ceremony Indigenous Erau Martadipura Kutai Ing. To answer these problems, it will borrow Y. Sumandiyo Hadi theory regarding Choreography Form-Fill-technique. According to Y. Sumandiyo Hadi these three concepts of form, technique, and content can not be separated in a dance performance. In this study dance Ganjur Ceremony Indigenous Erau Kutai Ing Martadipura can be viewed from the aspect of forms, techniques, and content. Aspects of dance form Ganjur is divided into three parts, this division is seen from the transfer of musical accompaniment. Techniques of motion dance movement Ganjur there are similarities with Classical dance movement in Surakarta and Yogyakarta. Aspects of dance contents Ganjur themed security that aims to maintain the security of the surrounding area Tiang Ayu. The presence of dance in the ceremony Ganjur custom Erau Kutai Ing Martadipura very important role in the event bepelas sultan, because his presence is intended to lower the Prince Sri Ganjur to maintain the security of ayu pole of evil spirits, and his presence is always there at night Bepelas Sultan.

Chaki Sircar, Manjusri (1934–2000) and Sircar, Ranjabati (1963–1999)

2018 ◽  
Author(s):  
Prarthana Purkayastha
Keyword(s):  
Women's Rights ◽  
Feminist Movement ◽  
Women’S Rights ◽  
Right Wing ◽  
Dance Performance ◽  
Representation Of Women ◽  
Dance Training ◽  
Literary Sources

In early 1980s, Manjusri Chaki Sircar and her daughter, Ranjabati Sircar, coined the term Navanritya or New Dance for their methodology of dance training and choreography. The Sircars’ New Dance emerged from the Bengal region of India in a period that simultaneously witnessed a nationwide upsurge of women’s rights movements and the rise of right-wing antifeminist politics. Energized by the feminist movement, the Sircars challenged and critiqued patriarchal frameworks governing the production of dance for the modern Indian stage. They questioned, both through their dancing bodies as well as through their published work, existing conventions of dance performance such as the stereotypical representation of women in performance. They presented highly innovative and subversive dance works that provided fresh, startling, and contemporary interpretations of available literary sources and inherited dance-drama traditions.

Royal Ballet Flanders Under Sidi Larbi Cherkaoui

2021 ◽  
pp. 523-542
Author(s):  
Lise Uytterhoeven
Keyword(s):  
State Of The Art ◽  
The State ◽  
Institutional History ◽  
Context Analysis ◽  
Dance Performance ◽  
Political Issues ◽  
Art Form ◽  
The World ◽  
Artistic Vision ◽  
Artistic Director

This chapter evaluates Sidi Larbi Cherkaoui’s new tenure, since 2015, as artistic director of Royal Ballet Flanders within the company’s institutional history in context. Analysis of Cherkaoui’s dramaturgical approach to the programming of the ballet company’s seasons demonstrates that his artistic vision centers on the renewal of ballet as an art form. He explores the synergies between the classical, the modern, and the contemporary through a wide-ranging juxtaposition of choreographic material. Cherkaoui’s programming is strongly networked, enabling him to acquire key repertoire and new commissions for the company that are responsive to current debates about the state of the art form. The seasons are also shaped by a macro dramaturgy through which dance performance executes its function in society, as their juxtaposition of different ideas, voices, and perspectives invites audiences to critically reflect on cultural and political issues in the world at large.

Perceptions and Utilization of Strength Training and Conditioning in Collegiate Contemporary and Ballet Dancers: A Qualitative Approach

2021 ◽  
Vol 36 (2) ◽  
pp. 78-87
Author(s):  
Miriam Rosenthal ◽  
Alyssa M McPherson ◽  
Carrie L Docherty ◽  
Joanne Klossner
Keyword(s):  
Body Image ◽  
Strength Training ◽  
Injury Risk ◽  
Well Being ◽  
Qualitative Approach ◽  
Structured Interviews ◽  
Ballet Dancers ◽  
Dance Training ◽  
Aesthetic Appearance ◽  
Dance Educators

AIMS: Research demonstrates that dancers benefit from reduced injury risk and improved health by engaging in strength training and conditioning (STC). Historic bias within the discipline of dance, however, establishes a long-standing stigma that gains in muscle mass and strength lessen a dancer's aesthetic appearance, and thus many dancers rebuff STC as a supplement to dance training. However, there is growing evidence that dancers and dance educators are beginning to understand the importance of additional resistance training and cardiovascular conditioning. This study explored dancers' perceptions and utilization of STC using a general qualitative approach. METHODS: Twenty-three female collegiate dancers (13 contemporary dancers, 10 ballet dancers, mean age 19.95 x 0.97 yrs) volunteered to participate in this study. The principal investigator conducted individual, semi-structured interviews. RESULTS: Inductive analysis revealed three major themes: 1) evolving body image, 2) motivation, and 3) education. Trustworthiness was established using member checks, peer debriefing, and journaling. This study concluded collegiate dancers utilized STC as a means to enhance the individual's body image. This was driven by a continuum of motivating factors. Although collegiate dancers are utilizing STC, education on STC techniques and practices was minimal. CONCLUSIONS: While further research is needed, results from this study suggest STC could be initiated and promoted in the discipline of dance to further enhance physical fitness and general well-being. Dancers and dance instructors should receive education about the importance of STC within dance training as well as how to safely implement STC exercise into training regimens.

edged: Exploring the porous boundaries between teaching philosophy, dance performance and choreographic practice

2020 ◽  
Vol 11 (1) ◽  
pp. 43-57 ◽  
Author(s):  
Louis Laberge-Côté
Keyword(s):  
Creative Process ◽  
Porous Body ◽  
Teaching Philosophy ◽  
Dance Performance ◽  
The Past ◽  
Dance Training ◽  
The Creation ◽  
Guiding Principles ◽  
And Performance ◽  
Porous Boundaries

Over the past four years I have developed The Porous Body, a teaching philosophy that promotes the practice of heightened physical and mental malleability in dance training by following four fundamental guiding principles: flow, playfulness, metaphor and paradox. As my process deepened, I wondered: what would happen if I applied The Porous Body to my choreographic practice? How might this framework prove fruitful during a creative process? What kind of choreographic work would emerge from this experiment? This article is an artist’s reflection on an artistic experiment; it describes the first choreographic process to which I applied The Porous Body’s guiding principles, and which led to the creation and performance of edged, a solo work exploring the porous edges between inner/outer, planned/unplanned, control/surrender, pleasure/struggle and terror/courage.

Analysis of the Force-Velocity Profile in Female Ballet Dancers

2020 ◽  
Vol 24 (2) ◽  
pp. 59-65
Author(s):  
Juan Antonio Escobar Álvarez ◽  
Pedro Jiménez Reyes ◽  
Miguel Ángel Pérez Sousa ◽  
Filipe Conceição ◽  
Juan Pedro Fuentes García
Keyword(s):  
Velocity Profile ◽  
Relevant Parameter ◽  
Strength And Conditioning ◽  
Dance Performance ◽  
Jump Performance ◽  
Ballet Dancers ◽  
Dance Training ◽  
Optimal Force ◽  
Force Velocity ◽  
The Relationship

Jumping ability has been identified as one of the best predictors of dance performance. The latest findings in strength and conditioning research suggest that the relationship between force and velocity mechanical capabilities, known as the force-velocity profile, is a relevant parameter for the assessment of jumping ability. In addition, previous investigations have suggested the existence of an optimal force-velocity profile for each individual that maximizes jump performance. Given the abundance of ballistic actions in ballet (e.g., jumps and changes of direction), quantification of the mechanical variables of the force-velocity profile could be beneficial for dancers as a guide to specific training regimens that can result in improvement of either maximal force or velocity capabilities. The aim of this study was to compare the mechanical variables of the force-velocity profile during jumping in different company ranks of ballet dancers. Eighty-seven female professional ballet dancers (age: 18.94 ± 1.32 years; height: 164.41 ± 8.20 cm; weight: 56.3 ± 5.86 kg) showed high force deficits (> 40%) or low force deficits (10% to 40%) regardless of their company rank. Our results suggest that dance training mainly develops velocity capabilities, and due to the high number of dramatic elevations that dance performance requires, supplemental individualized force training may be beneficial for dancers. The individualization of training programs addressed to the direction of each individual's imbalance (high force or low force) could help dancers and their teachers to improve jump height and therefore dance performance.

scholarly journals PROPER BREATHING IMPORTANCE IN CLASSICAL AND MODERN DANCE TRAINING

2017 ◽  
Vol 4 ◽  
pp. 158
Author(s):  
Sandra Vītola
Keyword(s):  
Research Method ◽  
Modern Dance ◽  
The Body ◽  
Theoretical Research ◽  
Important Condition ◽  
Dance Performance ◽  
Dance Training ◽  
Correct Usage ◽  
Movement Performance

Based on the theoretical ideas of scholars in the field of dance, the article analyses the significance of correct breathing and its usage in movement performance in classical and modern dance acquisition. The most important condition for dancers is the daily workout, which develops an understanding of basic components of movements, one of the most significant being correct breathing. Application of correct breathing facilitates a comprehension among dancers of the possibilities of the body – the amplitude and quality of performed movements, as well as the ability to control the strength necessary for movement performance. This article aims to analyse the meaning of correct breathing and to justify its use among dancers acquiring classical and modern dance. The article makes use of the theoretical research method – characterising differences between classical and modern dance acquisition, analysing breathing and its correct usage during a dance performance.

Relation of Dance Skills to Body Cathexis and Locus of Control Orientation

1978 ◽  
Vol 46 (2) ◽  
pp. 465-466 ◽  
Author(s):  
Carol Smith Dasch
Keyword(s):  
Locus Of Control ◽  
Dance Performance ◽  
Negative Relation ◽  
Dance Training ◽  
Control Orientation ◽  
And Performance ◽  
Body Cathexis ◽  
Internal Scale

33 subjects provided measures on extent of dance training, dance performance, locus of control orientation, and three measures of body cathexis. Pearson product-moment correlations yielded significant, though modest, positive relations between three measures of body cathexis and performance, and between time dancing and the Levenson Internal scale; and a negative relation between body cathexis 2nd the Levenson Chance scale.

Physiological Elements Required by Dancers

2013 ◽  
Vol 22 (5-6) ◽  
pp. 343-368 ◽  
Author(s):  
Alexandros Malkogeorgos ◽  
Eleni Zaggelidou ◽  
Georgios Zaggelidis ◽  
Galazoulas Christos
Keyword(s):  
Physical Fitness ◽  
Injury Risk ◽  
Muscular Strength ◽  
Muscle Tension ◽  
General Rule ◽  
Cardiovascular Fitness ◽  
Literature Study ◽  
Dance Performance ◽  
Positive Effects ◽  
Dance Training

Abstract Dancing is an excellent alternative exercise for improving health related physical fitness elements. Dance performance requires support from enhanced physiological requirements necessary for dancers including cardiovascular fitness, muscle flexibility, muscular strength/power. A reduction in muscular strength associate with injury risk and many dancers succumb to problems such as the overtraining syndrome. Improvement in lower body muscular strength appears to have positive effects on aspects of dance performance and injury prevention. The qualities and benefits offered by dancing depend on the dance forms concerned but as a general rule, it improves physical health by developing strength, suppleness, coordination and balance in varying amounts. This literature study showed differences in fitness levels exist between in different dance forms but also in levels of dancers. As in most sports, dancing is a demanding exercise form for all styles dancers, taxing both aerobic and anaerobic processes and develops high levels of muscle tension. Joint mobility and body composition are also important parts of dance fitness. Dance training consists of technique and style training with an aim to increase the skill level of dancers. Furthermore, it needs more investigation whether improved physical fitness has positive effect on dance performance.

scholarly journals Analisis Koreografi Tari Ganjur Pada Upacara Adat Erau Kutai Kertanegara Kabupaten Kutai Kertanegara, Kalimantan Timur

JOGED ◽  
2017 ◽  
Vol 8 (2) ◽  
pp. 517-532
Author(s):  
Agus Yulianti
Keyword(s):  
Surrounding Area ◽  
Dance Movement ◽  
Dance Performance ◽  
Classical Dance ◽  
Art Form ◽  
The People ◽  
City District ◽  
Evil Spirits ◽  
Musical Accompaniment ◽  
Male Dancers

Tari Ganjur merupakan kesenian yang berbentuk ritual dalam sebuah upacara adat yaitu Upacara Erau adat Kutai Kartanegara Ing Martadipura, yang dilestarikan oleh masyarakat kota Tenggarong, kabupaten Kutai Kartanegara, Kalimantan Timur.Tari Ganjur merupakan tarian Klasik yang dimiliki oleh Kesultanan Kutai Kartanegara Ing Martadipura dalam bentuk koreografi kelompok, karena dapat dilihat dari bentuk pertunjukan tari ganjur yang ditarikan oleh empat penari laik-laki. Di dalam tari Ganjur menggunakan sebuah properti Gada yang biasa disebut dengan ganjur. Tari Ganjur menggambarkan seorang pangeran yang sedang menjaga keamanan tiang ayu agar pada saat acara Bepelas Sultan tidak diganggu oleh roh-roh jahat. Tari Ganjur mengenakan busana atasan miskat sedangkan bawahannya mengenakan celana panjang berwarna hitam dipadukan dengan sarung Samarinda. Rias penari menggunakan rias natural, serta iringan tari menggunakan seperangkat alat gamelan Kutai.Dalam hal ini yang menjadi pokok permasalahan adalah analisis koreografi tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura. Untuk menjawab permasalahan tersebut, maka akan meminjam teori Y. Sumandiyo Hadi mengenai Koreografi Bentuk-Teknik-Isi. Menurut Y. Sumandiyo Hadi ketiga konsep bentuk, teknik, dan isi ini tidak dapat dipisahkan dalam sebuah pertunjukan tari. Dalam penelitian ini tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura dapat ditinjau dari aspek bentuk, teknik, dan isi. Aspek bentuk tari Ganjur terbagi menjadi tiga bagian, pembagian ini terlihat dari perpindahan iringan musiknya. Aspek teknik gerak tari Ganjur terdapat kesamaan dengan gerak tari Klasik yang ada di Surakarta dan Yogyakarta. Aspek isi tari Ganjur bertemakan keamanan yang bertujuan untuk menjaga keamanan daerah sekeliling Tiang Ayu. Kehadiran tari Ganjur dalam upacara Erau adat Kutai Kartanegara Ing Martadipura sangat berperan penting dalam acara bepelas sultan, karena kehadirannya diperuntukan menurunkan Pangeran Sri Ganjur untuk menjaga keamanan tiang ayu dari roh-roh jahat, dan kehadirannya selalu ada pada malam Bepelas Sultan.  Ganjur dance is a ritual art form in a traditional ceremony that is customary Erau ceremony Kutai Ing Martadipura, preserved by the people of Tenggarong city, district, Kutai, East Borneo. Ganjur dance a classical dance that is owned by the Sultanate of Kutai Ing Martadipura in the form of choreography Group, because it can be seen from the form of dance performances ganjur danced by four male-male dancers. In Ganjur dance uses a property called Gada commonly called ganjur. Ganjur Dance depicts a prince who is guarding the security pole so that at the time of the Sultan Bepelas event is not disturbed by evil spirits. Ganjur Dance wearing a clothing top miskat while his subordinates dressed in black trousers combined with sarong Samarinda. The dancers makeup using natural makeup, dance accompaniment using a set of Kutai gamelan instruments.In this case an issue of concern is the analysis of dance choreography Ganjur Ceremony Indigenous Erau Martadipura Kutai Ing. To answer these problems, it will borrow Y. Sumandiyo Hadi theory regarding Choreography Form-Fill-technique. According to Y. Sumandiyo Hadi these three concepts of form, technique, and content can not be separated in a dance performance. In this study dance Ganjur Ceremony Indigenous Erau Kutai Ing Martadipura can be viewed from the aspect of forms, techniques, and content. Aspects of dance form Ganjur is divided into three parts, this division is seen from the transfer of musical accompaniment. Techniques of motion dance movement Ganjur there are similarities with Classical dance movement in Surakarta and Yogyakarta. Aspects of dance contents Ganjur themed security that aims to maintain the security of the surrounding area Tiang Ayu. The presence of dance in the ceremony Ganjur custom Erau Kutai Ing Martadipura very important role in the event bepelas sultan, because his presence is intended to lower the Prince Sri Ganjur to maintain the security of ayu pole of evil spirits, and his presence is always there at night Bepelas Sultan.

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