Characteristics Of Spiritual and Social Values in Saman Dance Culture In Gayo Community

<p>This research is going to explain the characteristics of spiritual and social values in saman dance culture in gayo community in Aceh. Saman Gayo dance is not only unique but also has original Indonesian cultural values which is one of the media for delivering da'wah messages which contains religious values, manners, togetherness, and educational values. This research on the characteristics of spiritual and social values in the Saman Dance culture in the Gayo community is a descriptive study with a qualitative approach. The data analysis technique in this paper refers to the data analysis technique of Miles and Huberman with three stages, namely data collection, data processing, and drawing conclusions. The data collection technique in this paper is to use data collection methods that are literature study to more accurately research from a scientific perspective. The results of this paper shown that the Gayo Saman Dance has various philosophies such as singing, movement, types of Saman Dance, to its function which of course must be maintained and preserved. In the other hand, Saman Dance is used to strengthen Local Identity, good values ranging from values in the field of education, unity and integrity, friendship.</p>

The history of the development of ballroom choreography in the Republic of South Africa

The purpose of the article is to analyze trends in the development of ballroom choreography in the Republic of South Africa. Research methodology is an organic set of basic principles of research: objectivity, historicism, multifactorial, systematicity, complexity, development, and pluralism, and to achieve the goal, the following methods of scientific knowledge are used: problem-chronological, concrete historical, statistical, descriptive, logical- analytical. Scientific Novelty. An attempt was made to research the topical issues of the history of the development of ballroom choreography in the Republic of South Africa. Conclusions. The versatility of the choreoplastic language of ballroom dance leads to the fact that even in those regions where ballroom choreography was historically regarded as the art of outsiders (conquerors and colonizers), which contradicts local artistic and aesthetic traditions, ballroom dancing becomes a part of the local dance culture. In addition, it is the ballroom choreography that is the very integrative element that connects local cultures that are quite far from Western thinking with the global worldview system. International cooperation between amateur dancers and professionals is promising in terms of cultural interaction and exchange of experience in the field of choreographic art. In general, the analysis of the African experience allows us to conclude that after passing through the stage of a kind of "nationalization" and adaptation by local ethics and aesthetics, ballroom choreography organically merges into the system of organizing leisure time, scenic screen art, and sports. To date, from the point of view of the development of ballroom choreography for Africa, only the overcoming of economic difficulties remains relevant. In the context of government support, ballroom choreography functions as an important resource for recovery, education, socialization of the population; it is able to fit into the national system of education, leisure, culture, and sports in the vast majority of African countries. Keywords: ballroom choreography, ballroom dance, competition dance.

Problems of Modern Folk and Stage Choreography: Artistic Language and Motivations

The article is devoted to revealing the peculiarities of the artistic language of folk-stage choreography at the beginning of the XXI century. and to determine the specifics of the use of motifs of folk dance movements in the process of modern stage interpretation of Ukrainian dance. The article considers the processes of creating signs that make traditional Ukrainian dances unique, as well as identifies the features of their use and transformation in the context of the development of modern stage folk dance. The study found that the leading, determining role in the system of heterogeneous means of artistic language of stage folk dance belongs to the authentic dance culture. This is explained by several aspects: first, the archetypal nature of the stage dance itself, which finds expression not so much in the return to the syncretism of the archaic, but in the appeal to the inexhaustible potential of artistic and aesthetic possibilities contained in any archetype; secondly, the fact that folk-stage choreography is extremely receptive to creative pursuits and bold artistic experiments. That is why even in the most difficult, crisis moments in the history of Ukrainian culture, in the moments of its transformation and transition to a new level, stage folk dance plays a special role, because against the background of complex transformations returns Ukrainian culture national spirit, and on the other the language of folk-stage dance determines the search for new forms and meanings. It is noted that authentic Ukrainian dance, whose motives come from folk beliefs, legends, myths, rituals and ceremonies, is designed to promote the national identity of the modern generation, which is an urgent problem of socio-cultural space of the early XXI century.

Geographical Distribution of the Traditional Dance Culture in Mezőség

The exact definition of the Mezőség/Câmpia Transilvaniei/Transylvanian Plain, hereafter Plain, as a region with an independent folk culture having a coherent internal structure is still a subject of debate among ethnographers. Some of them regard certain small regions (Borsa/Borșa Valley, Kis and Nagy Szamos/Someșul Mic și Someșul Mare etc.) as belonging to the Mezőség/Plain, while others do not. I distinguish a central group of the villages in the Mezőség/Plain region (Belső-Mezőség or Central Plain: e.g. Visa/Vișea, Magyarpalatka/Pălatca, Katona/Cătina, Pusztakamarás/Cămăraşu) from the rest of the territory, similarly to György Martin, István Pávai and László Barabás, relying on material culture and folklore research, as well as my own investigations. When advancing outward from this core area, the concentric circle of so-called peripheral areas follow (the West, North, East and South Plain/Mezőség), reaching the boundaries on the edges of the region: Nagy Szamos/Someșul Mare Valley, Lápos/Lăpuș Valley, Sajó/Șieu Valley, Maros/Mureş Valley, Marosszéki1 Mezőség/Mureș Seat Plain, Erdőalja/Sub Pădure area, Borsa/Borșa Valley, and Kis Szamos/Someșul Mic Valley. A further, smaller group of villages can be distinguished in the area of Belső-Mezőség/Central Plain by their dance and music culture; for the regular weekend dance events of these villages, organised by local youths in the 1960s, Roma musicians of Magyarpalatka/Pălatca would play the music. I assign the name Palatka dance district to this area in my paper.

Development of Board Game Media in Art Culture and Craft Learning at 5th Grade of Elementary School

Indonesia has a variety of cultures including traditional dances that students must know and which need to be socialized in learning. This socialization is carried out through education that is packaged as attractively as possible, namely media in the form of games (board game), especially for students. This study aims to introduce and memorize the dance culture of Indonesia in fifth grade at the elementary school level. To find out how the process of media development and how the quality of the media. This research is a type of ADDIE model research proposed by Tegeh which consists of four stages, includes analyze, design, implementation, and evaluation stage. The research subjects were fifth grade elementary school students in the academic year 2021/2022, based on field trials the results of expert validity research were in the very valid category with an overall average of 89%. The results of these student responses show a total score of 47 out of a maximum total score of 52. After being analyzed and presented as a percentage, the score is 90% with a very valid category. Based on field trials, researcher conducted tests on students with the results of classical learning completeness as much as 86%. Based on the results of data analysis in general, it can be concluded that SBdP learning using the Board Game media that has been developed greatly supports the learning process. With this, it can also be seen from the number of students who have completed the trial test on the material about traditional dance in Indonesia.

Tafsir Tari Zapin Arab dan Melayu dalam Masyarakat Melayu

This article aims to describe and interpret the Zapin Arab and Zapin Malay dances. Zapin dance comes from Arabic and developed within the scope of the Malay community. At first the Zapin dance culture was brought by merchants from Gujarat to various regions in the archipelago in the XV century. Zapin dance has a heroic background, because the movement was originally a sense of uplifting the spirit of the companions of the prophet for war. The development of Zapin Arabic and Malay dances are both expressed in the form of performing arts. The problem in this research is focused on the structure of the Malay zapin dance. In order to approach this problem, the structuralism theory reference from Levi Strauss' model is used. Structural theory is applied to describe Malay society. The data were collected through statements and experiences of sources, observation, and document review, then analyzed descriptively qualitatively. Data analysis uses textual and contestual interpretations, namely interpreting denotative and connotative structures. This study concludes that, (1) the Arabic Zapin dance has Arabic cultural content, and (2) the Malay Zapin dance is an Islamic expression of Malay culture.

Social Dance as a Phenomenon of Modern Dance Practice

The article is devoted to the study of social dance as a phenomenon of modern dance practice. It is emphasized that in modern culture there is an increase in interest in social dance, which necessitates a theoretical understanding of this phenomenon in particular and dance culture in general from the standpoint of modern science, because at the moment its level does not correspond to the degree of practical interest in social dance. It is stated that for most world civilizations, dance in general and social dance in particular, is one of the most important expressions of their worldview, which represents both historical and contemporary cultural values. And forms of movement illuminate and define gender, shape personal and group identity, and reflect and define political and religious status and aesthetic values. Thanks to advances in the media, social dance is now one of the most popular pastimes in the world, combining dance forms of past centuries with new ones, such as hip-hop and contact improvisations. The study found that the phenomenon of social dance in the context of dance practice in the XXI century. is an organic combination of elements of various areas of dance culture with the culture of modern society, as well as the promotion of philosophical and ideological paradigm of freedom of movement and communication in dance.

Anglicization and Canonization of Ballroom Dance, Late 19th — Early 20th Century

The purpose of this article. The purpose of the article is to determine the specifics of the evolutionary processes in the English dance style of the XX — early XXI century. The methodology is an organic set of basic research principles: objectivity, historicism, multifactority, systemacity, complexity, development and pluralism, and to achieve the goal, the following methods of scientific knowledge are used: problem­chronological, concrete historical, statistical, descriptive, logical­analytical. The results. The evolution of the English dance style took place through professionalization. Communication at the international level between teachers­choreographers, the popularization of dance competitions and tournaments, the development of a judging system formed not only the content of new ballroom dances, but also the manner of their performance. The English style of performance has become a model for the world dance society for many years. Foreign­born dances, which were fashionable among the general public, were transformed by the British dance society in the 1920s and 1930s to form the so­called “English style” of ballroom dancing. Consistently claiming that dance is an expression of national character, the country’s professional dancers and dance teachers have sought to create a British dance form that is distinct from foreign forms. It was the process of “Anglicization” of foreign ballroom dancing that became one of the most important elements of the national dance culture of Great Britain in the 1920s and 1930s. The original British school of ballroom dancing, the style and methods of which were popularized in European countries in the early 1930s, led to the development and standardization of requirements for the conduction of competitions and championships. Improving the national rating system, the English system of training and identifying the best performers of ballroom choreography for many decades of the XX century remained the only generally recognized dance school in the world. Now the UK remains a leader in the art of ballroom choreography in many of its aspects — from pedagogical methods of training high­class performers and choreographers to the media and tournament sphere. The topicality. An attempt has been made to research the topical issues of the development of the English dance style of the XX — early XXI century. The practical significance. The research may be used in developing lectures by specialists in choreography.

«Are you Koreans?» — «No, we are Kalmyks!»: развитие танцев «K-pop cover dance» среди молодежи Калмыкии

Introduction. The article deals with the k-pop cover dance direction as one of the movements globalizing the youth environment. Nowadays, the K-pop youth subculture has reached a significant number of teenage schoolchildren with its popularity. Currently, belonging to the K-pop subculture and its dance practices are becoming integral to creating new global identities for young people. Goals. The study aims to examine the richness of K-pop components through dance culture, especially popular among school-age teenagers. Materials. The work primarily analyzes the author’s field materials with the aid of the structural/functional method, that of included observation, as well as interviews (narrative, semi-structured) with respondents. Results and Conclusions. The paper concludes that Kalmyk K-pop fans form a bi-ethnic identity in which a combination of features of both — their own and other ethnic cultures — is equally manifested. At the same time, K-pop cover dance proves the most accessible way to get socialized and develop imagination (i.e., a leisure-time activity) in present-day youth culture.

The origin of the Subcarpathian choreographic culture and its perception in literary sources

The aim of the article — to analyze and highlight the preconditions for the emergence of Subcarpathian choreographic culture and to carry out historiographical analysis of published artistic, folklore, ethnographic literary sources, which are focused on the consideration and perception of the origin and development of dance culture of Subcarpathia. The methodology. General scientific, specific scientific and special methods were used to reveal the general principles of the research topic. The basic methodological basis is based on the culturological approach. Since culture is constantly in the process of movement, a hermeneutic approach and a historical method of research were used to study it. The method of analysis is a thorough method that was used in the study of various literature sources and substantiation of conclusions. The results. It can be stated that the issue of the emergence of the culture of Subcarpathia has not been studied sufficiently. The first mention of its origin is found in the chronicles. The fiction reflects the life, way of life, culture, dance in particular, the people of Subcarpathia. Of great value are historical and ethnographic works in which scholars study the rites and dance traditions of the region. Researches of choreographic art by V. Avramenko, K. Vasylenko, V. Verkhovynets, R. Herasymchuk are more immersed in the coverage of the development of choreographic art. Modern scientists continue and improve the scientific works on the theory of choreography that are based on the works and creative heritage of their predecessors. However, there is a lack of research on the interaction of regional cultures and the cultures of neighbouring peoples in relation to the culture of Subcarpathia, which gives impetus to further research in this area. In our opinion, in terms of research by scientists and analysis of literary sources, the choreographic art of the Carpathian region was formed for a fairly long period of time and continues its development today. The scientific topicality. This work is probably the first attempt to investigate the moment of origin of Subcarpathian culture, the influence of other cultures and to analyze and structure in more detail the literary sources that reveal this issue, as this issue has not acquired a sufficient comprehensive coverage of modern domestic science. The practical significance. The information contained in the article can be useful for students, teachers and researchers of Subcarpathian culture.