The reminiscences of Salome’s dance and the Danse Macabre in authors’ models of the late 19th — early 20th centuries literature

The subject of the study is the topos of dance. The article identifies the factors of its actualization in the literature of the late 19th — early 20th centuries; considers the origins of its reading through the prism of Eros and Thanatos; analyses works with “dance” imagery, and clarifies its role in the texts poetics. These tasks aim to outline the author’s models that utilize “Dance of the Seven Veils” and “The Danse Macabre”. Comparative, mythological-archetypal, historical-cultural research methods have been applied to study the specifics of dance interpretation in the aesthetic coordinates of modernism. The interest in these aspects of the archetypal topos existence and the need to define the author’s representations as variants of the national determine the relevance of the study. Results of the Study. The reminiscences of Salome’s dance and the Dance of Death are due to the perception of the era as a “plague age”; aesthetic understanding of dance as a personification of the phenomenon of death; interest in the body as a socio-cultural concept and its sensory cognition; a revival of the art of dance; interest in the theme of the East; popularity of erotic motives and the character “woman-child”; the relevance of archetypal codes for the triad “life — death — art”. Charles Baudelaire’s poetry is analyzed as the origins of the modernist interpretation of dance at the intersection of Thanatos and Eros. His dance imagery is characterized by its ironic understanding through the prism of existential categories and interpretation in the context of eschatological and aesthetic issues. The development of the Baudelaire tradition is reflected in the examples of the “new drama”: Lesya Ukrainka reminiscences Salome’s dance as an embodiment of bodily freedom (The Forest Song) and dance as a sign of humility and choice of “death” of the spirit (The Orgy). In Henrik Ibsen’s A Doll’s House the tarantella is both an image of a festive atmosphere and a sign of falsified values of the characters. The dance heralds the catastrophe of Nora’s “puppet” house and at the same time opens up prospects for finding one’s self. The Danse Macabre for Mykhailo Kotsyubynsky (Ivan’s dance with Chuhaister in Shadows of Forgotten Ancestors) and Thomas Mann (dance seen in Aschenbach’s bizarre dream in Death in Venice) is connected with the infernal. It symbolizes the heroes’ awareness of the new “reality” and the transition to another level of worldview; concentrates on thanatological and erotic and defines the complex relationship of mind and body as issues of works. For both characters, the dance is a warning of imminent physical death. But for Aschenbach, it is also the last act of dying as an artist, a symbol of his soul’s death. In contrast, for Ivan, it is a duel-dance to protect his beloved, reunion with whom gains his integrity.

Initial development of the Dance Imagery Questionnaire for Children (DIQ-C): establishing content validity

Given the differences between young dancers’ and adult dancers’ use of imagery, a valid and reliable questionnaire specific to young dancers was necessary. The current study is the first phase of a multi-phase study in the development of the Dance Imagery Questionnaire for Children (DIQ-C). Specifically, the purpose of this study was to establish content validity of the DIQ-C. This was achieved through the following three stages: (1) definition, item, and scale development, (2) assessment of item clarity and appropriateness via cognitive interviews, and (3) assessment of item-content relevance via an expert rating panel. Guided by previous qualitative research with young dancers, 46 items representing seven subscales (i.e., imagery types) were developed. The initial item pool was then implemented during cognitive interviews with 16 dancers (15 females; Mage=10.63, SD=1.82), which led to the removal of 13 items and the modification of 21 items. Consequently, the revised 33-item pool was then administered to an expert panel of four imagery researchers and four dance instructors to measure item-content relevance. This resulted in the removal of eight items, the revision of four items, and the merging of two subscales. Overall, the current study provides content validity evidence for a 25-item pool (representing five subscales) to be used in further development of the DIQ-C (i.e., identifying and establishing factor structure).

We’ll Show You Boys How to Dance

Through war-dancer imagery and its display in expressive culture in the Southwest, Kiowas and others created intertribal arenas that stretched beyond Oklahoma, and Kiowas contributed to the making of a larger intertribal, twentieth-century world. Fancy-dance imagery created a contemporary picture of Kiowa young men that was built from older Kiowa constructions of gender and the popular representation of Plains Indians. Painters forged war-dancer imagery though dance, regalia, paintings, and murals.

Poetics of Dance: Body, Image, and Space in the Historical Avant-Gardes

When Gabriele Brandstetter publishedTanz-Lektüren: Körperbilder und Raumfiguren der Avantgardein 1995, German dance studies hardly existed. The book was a pioneering effort that exerted considerable influence on dance studies in Germany as it developed over the next decades. Now, twenty years later,Tanz-Lektürenhas been translated into English, and its appearance is most welcome. The book's importance is not merely historical; on the contrary, it has much to offer today's anglophone reader, particularly in Brandstetter's use of Aby Warburg's theories to analyze dance imagery and movement patterns. Important, too, is her inclusion of numerous writers and artists whose views on dance are little known, or at least little analyzed, in English.

Empire, Vision, and the Dancing Touch

This chapter argues that dance imagery and screen choreography arising from postcolonial regions, such as India, hold the potential to intervene in the binary way in which modern nations and empires regulate physicality through the technologies of vision. For in these regional cultures of visibility, nonmodern practices of personhood, embodied performance, and sensuous community overlap with modern approaches to and critiques of gendered movement arts. The claim is illustrated through a genealogical study of selected Indian practices of physicality and visibility: new liberal Bollywood cinema; present-day avant-garde screendance; made-for-television video; colonial Indian photography; and modern and premodern dance and painting. The disrupted choreographies to be found on Bollywood screens are discussed hand in hand with the critical approaches of the feminist choreographer Manjusri Chaki-Sircar, the transgender filmmaker Rituparno Ghosh, and the anti-imperialist dance philosopher and Nobel Prize winner, Rabindranath Tagore.

Dance Imagery for Technique and Performance

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.