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Malay Heritage Centre Media Factsheet
MALAY HERITAGE CENTRE MEDIA FACTSHEET ABOUT THE MALAY HERITAGE CENTRE Officially opened by Prime Minister Lee Hsien Loong in June 2005, the Malay Heritage Centre (MHC) showcases the history, culture and contributions of the Malay community within the context of Singapore‟s history and multi-cultural society. Re-opening on 1 September 2012, MHC‟s refurbished permanent galleries will be home to a collection of interesting artefacts that support its new focus on Kampong Gelam‟s history as a bustling port town integral to the development of the Malay community as well as Singapore‟s connections to the region. Through its exhibits, programmes and activities, MHC aspires to be a vibrant destination of historical and cultural significance for both Singaporeans and international visitors. It also hopes to honour the past of the Malay community while providing a means for the community‟s present-day expression. The Malay Heritage Centre is under the management of the National Heritage Board in partnership with the Malay Heritage Foundation. Vision To establish a sustainable destination of historical and cultural significance for visitors and the community Mission To develop the MHC, a heritage institution managed by the National Heritage Board (NHB), into a leading heritage institution and a focal point for the community 1 Key Objectives 1. To establish the MHC as a respected heritage institution through museum excellence; 2. To connect and collaborate with key stakeholders to promote Malay culture and community rootedness; 3. To conduct research to promote a deeper understanding of the MHC and its values; 4. To establish strategic partnerships with regional and international counterparts. -
CHERES Hailed to Be “The Best Purveyor of Authentic Ukrainian Folk
CHERES Hailed to be “the best purveyor of authentic Ukrainian folk music in the United States” by the former head of the Archive of Folk Culture at the Library of Congress, Cheres brings to life melodies from the Carpathian mountains in Western Ukraine and neighboring Eastern European countries. Since its founding in 1990 by students of the Kyiv State Conservatory in the Ukraine, the ensemble has enthralled North American audiences with their rousing renditions of folk music performed on the cymbalum, violin, woodwinds, accordion, bass, and percussion. Virtuoso musicians join spirited dancers, all donned in traditional Western Ukrainian hand-embroidered garments, to paint a vivid picture of Ukrainian folk art. The musicians, most of whom are from Halychyna in western Ukraine, are united by an artistic vision to preserve their traditions. “Cheres” is actually a little known Ukrainian term for a metal- studded leather belt formerly used as a bulletproof vest during the Middle Ages. Today, the group Cheres has adopted this Medieval protective shield as their name to symbolize the safeguarding of vanishing folk art traditions from the Carpathian mountains. This seasoned ensemble has performed in nightclubs and concerts in New York City; music festivals in the Tri-State area, including Lincoln Center’s Out of Doors Festival in 2006 and Folk Parks in 2000, as well as colleges and universities on the east coast. Cheres has appeared on television on NBC’s Weekend Today show, as well as the Food Network’s Surprise! show. Tracks from their latest CD, Cheres: From the Mountains to the Steppe” have been played on WNYC’s New Sounds program, as well as other stations in the region. -
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901 Int. J Sup. Chain. Mgt Vol. 9, No. 5, October 2020 Malaysian Society’s Appreciation for Nationhood Symbols in the Face of Industrial Revolution 4.0 Challenges: An Initial Observation Mohamed Ali Haniffa#¹, Ayu Nor Azilah Mohamad*², Nor Azlah Sham Rambely#³ ¹ ³School of Languages, Civilisation and Philosophy, Universiti Utara Malaysia, 06010, Sintok, Kedah, Malaysia ²Pusat Pengajian Teras, Kolej Universiti Islam Antarabangsa Selangor, ¹[email protected]; ²[email protected]; ³[email protected] Abstract-This article discusses the importance of Malaysian the country in facing the challenges of Industrial society in appreciating the symbols of Malaysian nationhood. Revolution 4.0. The symbols of Malaysian nationhood are the country’s Coat of Arms, National Anthems, National Flags, National Flowers 3. Methodology and National Languages. It also discusses the appreciation and preparedness required by Malaysian society in sustaining the survival of Industrial Revolution 4.0. This article is a This study uses a qualitative method by focusing on preliminary study conducted based on reading, observation secondary sources as preliminary findings. A close and views. This study uses library resources. The findings examination is performed on printed materials such as based on the preliminary study indicate that Malaysians still books, articles, journals, brochures, newsletters, have a low level of knowledge and sensitivity to the Malaysian guidelines, and ministry policies. national symbols. 4. Literature Review Keywords-Appreciation, Symbols of Malaysian nationhood, Writings on nation, patriotism and nationalism are often Nationalism, Identity, Industrial Revolution 4.0. discussed by scholars both domestically and abroad. The basic reading of this title can be found in a paper entitled 1. -
A Special Issue to Commemorate Singapore Bicentennial 2019
2019 A Special Issue to Commemorate Singapore Bicentennial 2019 About the Culture Academy Singapore Te Culture Academy Singapore was established in 2015 by the Ministry of Culture, Community and Youth to groom the next generation of cultural leaders in the public sector. Guided by its vision to be a centre of excellence for the development of culture professionals and administrators, the Culture Academy Singapore’s work spans three areas: Education and Capability Development, Research and Scholarship and Tought Leadership. Te Culture Academy Singapore also provides professional development workshops, public lectures and publishes research articles through its journal, Cultural Connections, to nurture thought leaders in Singapore’s cultural scene. One of the Academy’s popular oferings is its annual thought leadership conference which provides a common space for cultural leaders to gather and exchange ideas and best practices, and to incubate new ideas. It also ofers networking opportunities and platforms for collaborative ideas-sharing. Cultural Connections is a journal published annually by the Culture Academy Singapore to nurture thought leadership in cultural work in the public sector. Te views expressed in the publication are solely those of the authors and contributors, and do not in any way represent the views of the National Heritage Board or the Singapore Government. Editor-in-Chief: Tangamma Karthigesu Editor: Tan Chui Hua Editorial Assistants: Geraldine Soh & Nur Hummairah Design: Fable Printer: Chew Wah Press Distributed by the Culture Academy Singapore Published in July 2019 by Culture Academy Singapore, 61 Stamford Road #02-08 Stamford Court Singapore 178892 © 2019 National Heritage Board. All rights reserved. National Heritage Board shall not be held liable for any damages, disputes, loss, injury or inconvenience arising in connection with the contents of this publication. -
Korean Dance and Pansori in D.C.: Interactions with Others, the Body, and Collective Memory at a Korean Performing Arts Studio
ABSTRACT Title of Document: KOREAN DANCE AND PANSORI IN D.C.: INTERACTIONS WITH OTHERS, THE BODY, AND COLLECTIVE MEMORY AT A KOREAN PERFORMING ARTS STUDIO Lauren Rebecca Ash-Morgan, M.A., 2009 Directed By: Professor Robert C. Provine School of Music This thesis is the result of seventeen months’ field work as a dance and pansori student at the Washington Korean Dance Company studio. It examines the studio experience, focusing on three levels of interaction. First, I describe participants’ interactions with each other, which create a strong studio community and a women’s “Korean space” at the intersection of culturally hybrid lives. Second, I examine interactions with the physical challenges presented by these arts and explain the satisfaction that these challenges can generate using Csikszentmihalyi’s theory of “optimal experience” or “flow.” Third, I examine interactions with discourse on the meanings and histories of these arts. I suggest that participants can find deeper significance in performing these arts as a result of this discourse, forming intellectual and emotional bonds to imagined people of the past and present. Finally, I explain how all these levels of interaction can foster in the participant an increasingly rich and complex identity. KOREAN DANCE AND PANSORI IN D.C.: INTERACTIONS WITH OTHERS, THE BODY, AND COLLECTIVE MEMORY AT A KOREAN PERFORMING ARTS STUDIO By Lauren Rebecca Ash-Morgan Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2009 Advisory Committee: Dr. Robert C. Provine, Chair Dr. -
Zubir Said: a Man Made of Music by Perera, Loretta Marie, Written in August 2010 National Library Board, Singapore
ARTICLE Zubir Said: A Man Made of Music by Perera, Loretta Marie, written in August 2010 National Library Board, Singapore Driven by his love for music, Zubir Said’s work, headlined by Singapore’s national anthem Majulah Singapura, has become an important part of the nation’s history and culture. Despite rapid social change and development, his traditional yet modern works, underscored by a timeless sensibility, remain as relevant and evocative as they have always been. Born in Bukittinggi, Minangkabau in West Sumatra, Indonesia, on July 22, 1907, Zubir Said grew up under the care of his uncle, a musician, after the death of his mother when he was seven years old. He never had an interest in studies until a teacher introduced him to Solfa music, the teaching of notes sung to a syllable ( do, re, mi). This served as the starting point of what would become a lifelong love affair with music. Once regarded as “the most respected maestro in both practical and theoretical aspects of Malay music”, Zubir showed a strong inclination towards music from an early age, learning the flute in primary school, followed by the guitar and drums in middle school. Despite strong objections from his father, who wanted his eldest child to succeed him as village chieftain, he became a member of a keroncong group instead. While travelling through Sumatra with his group, a sailor friend told him of the “glittering lights, kopi susu (coffee with milk) and butter” of Singapore. He then made his way to Singapore in the hope of developing a career in music. -
NARRATING the NATIONAL FUTURE: the COSSACKS in UKRAINIAN and RUSSIAN ROMANTIC LITERATURE by ANNA KOVALCHUK a DISSERTATION Prese
NARRATING THE NATIONAL FUTURE: THE COSSACKS IN UKRAINIAN AND RUSSIAN ROMANTIC LITERATURE by ANNA KOVALCHUK A DISSERTATION Presented to the Department of Comparative Literature and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Anna Kovalchuk Title: Narrating the National Future: The Cossacks in Ukrainian and Russian Romantic Literature This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Comparative Literature by: Katya Hokanson Chairperson Michael Allan Core Member Serhii Plokhii Core Member Jenifer Presto Core Member Julie Hessler Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Anna Kovalchuk iii DISSERTATION ABSTRACT Anna Kovalchuk Doctor of Philosophy Department of Comparative Literature June 2017 Title: Narrating the National Future: The Cossacks in Ukrainian and Russian Romantic Literature This dissertation investigates nineteenth-century narrative representations of the Cossacks—multi-ethnic warrior communities from the historical borderlands of empire, known for military strength, pillage, and revelry—as contested historical figures in modern identity politics. Rather than projecting today’s political borders into the past and proceeding from the claim that the Cossacks are either Russian or Ukrainian, this comparative project analyzes the nineteenth-century narratives that transform pre- national Cossack history into national patrimony. Following the Romantic era debates about national identity in the Russian empire, during which the Cossacks become part of both Ukrainian and Russian national self-definition, this dissertation focuses on the role of historical narrative in these burgeoning political projects. -
No. 22 How Did North Korean Dance Notation Make Its Way to South
School of Oriental and African Studies University of London SOAS-AKS Working Papers in Korean Studies No. 22 How did North Korean dance notation make its way to South Korea’s bastion of traditional arts, the National Gugak Center? Keith Howard http://www.soas.ac.uk/japankorea/research/soas-aks-papers/ How did North Korean dance notation make its way to South Korea’s bastion of traditional arts, the National Gugak Center? Keith Howard (SOAS, University of London) © 2012 In December 2009, the National Gugak Center published a notation for the dance for court sacrificial rites (aak ilmu). As the thirteenth volume in a series of dance notations begun back in 1988 this seems, at first glance, innocuous. The dance had been discussed in relation to the music and dance at the Rite to Confucius (Munmyo cheryeak) in the 1493 treatise, Akhak kwebŏm (Guide to the Study of Music), and had also, as part of Chongmyo cheryeak, been used in the Rite to Royal Ancestors. Revived in 1923 during the Japanese colonial period by members of the court music institute, then known as the Yiwangjik Aakpu (Yi Kings’ Court Music Institute), the memories and practice of former members of that institute ensured that the music and dance to both rites would be recognised as intangible cultural heritage within the post-liberation Republic of Korea (South Korea), with Chongymo cheryeak appointed Important Intangible Cultural Property (Chungyo muhyŏng munhwajae)1 1 in December 1964 and a UNESCO Masterpiece of the Oral and Intangible Heritage in 2001, and the entire Confucian rite (Sŏkchŏn taeje) as Intangible Cultural Property 85 in November 1986.2 In fact, the director general of the National Gugak Center, Pak Ilhun, in a preface to volume thirteen, notes how Sŏng Kyŏngnin (1911–2008), Kim Kisu (1917–1986) and others who had been members of the former institute, and who in the 1960s were appointed ‘holders’ (poyuja) for Intangible Cultural Property 1, taught the dance for sacrificial rites to students at the National Traditional Music High School in 1980. -
The Ukrainian Weekly 1940
English supplement of SVQBQDA. Ukrainian daily, found d 1893. Dedicated to the needs and, interests of young Americans of Ukrainian descent. 9 JERSEY CJTY, N. J., SATURDAY, MARCH 2, 1940 оаша&ма YVASHINiGTONTO BESITE OF UKRAINIAN CON • Ш CAN!T rBELJEVE fHEM •/ UKRAINIAN DEVELOPMENTS US GRESS. IN MAY Ap^irently to win the confidence and.aid of»)Ufk- immw -ішт ти rainians''"fpr the projected plane to;reconstitute a- tpGe Poland, certain ргощідепі Poles have on several occasipns Representatives of leading Uk UKRAINIAN ^PtEAL rainian-American national organ expressed themselves in favor of Ukrainian.national free izations meeting in . Philadelphia dom. Typical of such comment is that of General'Haller, last Saturday, unanimously resolved now turned tourist who recently said: "J believe and favor ROME (AP). —Euhen Onatsky, to go .ahead., with the, preparations [Rome .avrrespondeflt^of "Svpbo- for the qoming Ащегісап-Ukrainjan an independent Ukraine ..." . da"}hjhaa. sent.en. open letter«^^ I Congress, and scheduled it to take ,Much as .we would ДЦсе to believe General J^aUe^and SumriervWelies, Rre^enti|loose- place early,in May in the nation's velt's. special епі^р^тЩкю^ре, capital, Washington. others Цке ЬДт, we simpjy cannot. There is too, niuph pleading ь£ог .• x&#f&tionmj{ рМЛ evidence to > the contrary. In addition, - history shows cause,- ^he.Rome office о&фщщЯр: As,a final effort, .however, .to rainian Nationalists, disclosed * tor. gain for the,congress the support that. all;such- Polish,overtures of friendship toward, the of the- Workingmen's and. Provid Ukrainians, were .insincere. Whenever* 4Jher Ukrainians ac- %3ie tetter, asked (tbai *ЇЩЇГІЬІ~) ence, associations,, whjch, refjauned • cepted them, they • always found cause to deeply- regret States і'.'Ьеаг injmind" the. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Embodiments of Korean Mask Dance (T'alch'um) from the 1960s to the 1980s: Traversing National Identity, Subjectivity, Gender Binary Permalink https://escholarship.org/uc/item/9vj4q8r2 Author Ha, Sangwoo Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Embodiments of Korean Mask Dance (T’alch’um) from the 1960s to the 1980s: Traversing National Identity, Subjectivity, Gender Binary A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Sangwoo Ha June 2015 Dissertation Committee: Dr. Linda J. Tomko, Chairperson Dr. Anthea Kraut Dr. Jennifer Doyle Copyright by Sangwoo Ha 2015 The Dissertation of Sangwoo Ha is approved: Committee Chairperson University of California, Riverside Acknowledgments I would like to take this opportunity to thank several people who shared their wisdom and kindness with me during my journey. First, Dr. Linda J. Tomko, who offered to be my advisor, introduced me to notions about embodying dances past, critical thinking, and historical research approaches. Not only did she help guide me through this rigorous process, she also supported me emotionally when I felt overwhelmed and insecure about my abilities as a scholar. Her edits and comments were invaluable, and her enthusiasm for learning will continue to influence my future endeavors. I offer my sincere gratitude to my committee members, Dr. Anthea Kraut, Dr. Priya Srinivasan, and Dr. Jennifer Doyle. They all supported me academically throughout my career at the University of California, Riverside. -
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Morphosyntactic analysis of Surzhyk, a Russian–Ukrainian mixed lect A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Kateryna Kent IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Nancy Stenson Adviser August 2012 © Kateryna Kent 2012 i Acknowledgements I am grateful for the assistance of the following professors: o Dr. J.P. Marcotte for his invaluable guidance on the earlier drafts of this dissertation. o Dr. Nancy Stenson for many hours of time and guidance. Her knowledge and expertise in the area of language contact and field research made this dissertation possible. I would like to thank my research participants in Ukraine for providing me with hours of corpus data and for sharing their life stories with me. Their stories enriched me professionally, culturally, and spiritually. I would like to thank my colleagues from the Classical Private University in Ukraine for their help with collecting data and recruiting research participants for my study. I would like to thank my parents, Viktor and Svitlana Dyatlov, for help and support throughout these years of graduate studies. They spent countless hours helping me recruit the research participants, driving me to my research sites all over Ukraine, and watching my son so that I can spend time writing. Finally, I would like to thank my husband, Daniel, and my son, Motya, who watched me sit in front of the computer and write, who supported me through all of the difficult times and stress that dissertation writing can cause. I love you both. -
A Post-Ironic Elegy to National Identity?
A POST-IRONIC ELEGY TO NATIONAL IDENTITY? The Liminal Ordeal of Ukraine Through the Prism of Digital Culture Yelyzaveta Burtsev National University of Kyiv 1 Yelyzaveta Burtsev perspective—namely, its liminal memories, liminal identity, and liminal National University of Kyiv position vis-à-vis the West and the East. Accordingly, in the first chapter, I provide several illustrative examples of how digital culture reflects the Ukrainian population’s ambiguous stance on its Soviet past. I then proceed by reflecting on transgenerationalhybrid memories to explore the multi- layer structure of Ukrainian mnemonic warfare. The second chapter elucidates the role of the «self» in Ukrainian digital mythology. "LIMINALITY CAN BE In this chapter, I explore the pervasive lack A Post-Ironic of netizens’ sense of national pride, and dwell DEFINED AS THE STAGE on the phenomenon of national indifference. I OF TRANSITION, IN- also trace how the inclusive identity zeitgeist Elegy to National was captured by President Zelensky’s rhetoric and how it eventually led to the reinvigorated BETWEENNESS, BEING debates over the choice between two national identity models. Identity? NEITHER HERE NOR In the last chapter, I examine how the collective unconscious of Ukrainian netizens THERE.." perceives the other to explain the contrarian The Liminal Ordeal of Ukraine Through motives of those who refuse to echo the orthodox pro-European narrative. I also touch the Prism of Digital Culture on Ukrainians’ visions of the state’s future international role, most notably in the context of Ukraine’s never-ending transition between the East and the West. Through these chapters, this paper reveals that the identity-building “Am I joke to you?” wonders a giant virion edited into a photo from process of Ukraine is still unravelling, while the digital landscape offers a a mass rally that erupted in Kyiv on June 17, 2020.