Variability of artistic and aesthetic features of social dance Brazilian Zuk and its bedding

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.

Contact improvisation in the context of social dance of the XX century: features of the open dance form "jam"

Contact improvisation in the context of social dance of the XX century: features of the open dance form "jam" The purpose of the article is to reveal the features of contact improvisation as a practice of social dance of the XXI century and to determine the specifics of its implementation in the unique dance form "jam". Research methodology. A comprehensive method of studying the features of contact improvisation in the context of a social dance of the XXI century, a historical method, thanks to which the details of the development of contact improvisation have been clarified; the method of functional and systems analysis, which contributed to the study of contact improvisation as a unique hybrid practice; a phenomenological method that helped to highlight the essential features and identify the key elements of contact improvisation in the dance form "jam", etc. The scientific novelty consists in expanding the theoretical basis for analyzing the phenomenon of contact improvisation; clarifying the concept of "contact improvisation"; the features of the practice of contact improvisation in the context of the specificity of social dance are investigated on the basis of the analysis of its physical and mental components; analyzed the main elements of contact improvisation (inaction, weighing/carrying, falling, playing, discussing, observing, touching) through the prism of the unique open dance form "jam". Conclusions. Contact improvisation is based on communication between two moving bodies that are in physical contact, and the cumulative relationship of physical laws governing their motion - the laws of gravity, momentum, and inertia. In accordance with the specifics of social dance, contact improvisation is a tool for studying one's own capabilities, a model of human relations and meditative practice, which creates the preconditions for further development, providing a huge space of freedom and ease of performance of one or another dance element, removes the restrictions imposed by choreography, allows you to move like this, as the dancer wants, without tension, provides new material for self-knowledge and exploration of relationships, is a source of inspiration and a way of expressing the creative energy that is in the body. Contact improvisation, as a hybrid practice, works at the crossroads between body meditation, psycho-kinesthetic therapy, sports training, and dance improvisation and, in the context of the specifics of social dance, is implemented at improvisational meetings of contactees, the so-called jams, at the local and national level. Keywords: contact improvisation, social dance, jams, dance practice, dance form.

The Viennese Ballroom in the Age of Beethoven

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.

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.

Converging Styles

Building from a musical and movement analysis of the jazz tap choreography in Orchestra Wives (1942), this chapter gives an explication of the Nicholas Brothers’ “classical jazz tap” dancing as the open-partner synchronization of adagio ballroom dance, the Africanist-inflected stage and social dance styles of the teens and twenties, the flash and acrobatics of turn-of-the-century black comedy dance, the formal elegance and fastidious movement rhythms of the class act, and the rhythmic drive of the challenge dance—all absorbed by the Nicholases and then distilled into their own distinctive style of American jazz dancing. The speedy, swinging rhythms of the Nicholas Brothers’ drum dancing—dissonant in the clatter of metal tapping, yet exciting in the offbeat, rhythmic propulsion—sounded out a new breed of black American jazz artists who shaped a classical American style of jazz dancing that in sound and shape was purely modernist.

The symbolic meaning of Lulo dance: Tolaki tribe culture as communication medium

Indonesia consists of various ethnic groups; the traditions and culture of each are different and have meaning. One of them is the Lulo dance from Southeast Sulawesi, which provides meaning and benefits to its supporters. This study aims to describe the Lulo dance movements’ meaning in the culture of the Tolaki tribe and its use as a traditional communication medium in maintaining harmonious and peaceful relations amid Indonesian society’s situations with so many different. This research used qualitative methods with descriptive analysis. The symbols of dance movements are analyzed with Barthes’s semiotic theory through two stages of signification to get Lulo dance’s meaning. Based on this study’s results, the symbolic messages conveyed in this dance have a meaning that identifies unity, harmony, and mutual respect for differences. The message is packed with movements displayed in dance performance: the hands hold each other, the movements of the hands and feet, and the formation in a circle. Lulo dance, which is also called social dance, can be followed by everyone without exception. Therefore, this dance can strengthen the relationships between every human being. The Lulo dance performance is one of Southeast Sulawesi traditions used to achieve a harmonious and peaceful social life.

Jazz Music and Its Choreographies of Listening

Through an interrogation of hybrid social dance/jazz concert events held in Atlanta in 1938, this chapter presents the book’s guiding questions and methods, which also stem from the author’s own experience as a social jazz dancer. Applying Susan Foster’s model of choreography as a broadly applicable analytic for the socially reinforced structuring of movement in space, it asks how and why jazz audiences’ default listening postures have moved from standing and dancing to relatively motionless sitting and listening. Exploring this question requires a critical, reflective look at the role of bodies in intellectual and aesthetic hierarchies and the complex webs of desire and anxiety that have shaped American institutional cultures’ conflicted relationships with music, with dance, and with all things corporeal. Critiquing the valorization of transcendence and universalism in American aesthetic discourses and in jazz music history specifically, this chapter advances an embodied approach to jazz history where dance becomes a point of entry into stories that de-center the pillars upon which jazz music’s canonic historical and ideological narratives rest. Following choreographer/folklorist Mura Dehn’s description of social jazz dancing, this book thus advances a perspective that operates “between the beats” of jazz history’s canonic time-spaces, seeking to focus on dancing and musicking as practices that begin within the body and to dig into the complex and messy viscera underneath the skin of those narratives that form the so-called jazz tradition.