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A Dramatization of Italian Tarantism in Song
Lyric Possession: A Dramatization of Italian Tarantism in Song Item Type text; Electronic Dissertation Authors Smith, Dori Marie Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 24/09/2021 04:42:15 Link to Item http://hdl.handle.net/10150/560813 LYRIC POSSESSION : A DRAMATIZATION OF ITALIAN TARANTISM IN SONG by Dori Marie Smith __________________________ Copyright © Dori Marie Smith 2015 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2015 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Dori Marie Smith, titled Lyric Possession: A Dramatization of Italian Tarantism in Song and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _______________________________________________________________________ Date: April 24, 2015 Kristin Dauphinais _______________________________________________________________________ Date: April 24, 2015 David Ward _______________________________________________________________________ Date: April 24, 2015 William Andrew Stuckey _______________________________________________________________________ Date: April 24. 2015 Janet Sturman Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. -
Europeanfolkdanc006971mbp.Pdf
CZ 107911 EUROPEAN FOLK DANCE EUROPEAN FOLK DANCE .-<:, t "* ,,-SS.fc' HUNGARIAN COSTUME most elaborate costume in Europe EUROPEAN FOLK DANCE ITS NATIONAL AND MUSICAL CHARACTERISTICS By JOAN LAWSON Published under the auspices of The Teachers Imperial Society of of Dancing Incorporated WITH ILLUSTKATIONS BY IRIS BROOKE PITMAN PUBLISHING CORPORATION NEW YORK TORONTO LONDON First published 1953 AHSOOrATKI) SIR ISAAC PITMAN & SONS. I/TT>. London Mblbourne Johannesburg SIR ISAAC PITMAN & SONS (CANADA), LTD. Toronto MADB IN QIUtAT DRTTACN AT TTIK riTMAN PRBSB^ BATH For DAME NZNETH DB VALOIS With Gratitude and Admiration Hoping it will answer in some part Iter a the request for classification of historical and musical foundation of National Dance Preface MrlHE famous Russian writer has said: and warlike Gogol "People living proud lives I that same in their a free life that express pride dances; people living show same unbounded will and of a diniate A poetic self-oblivion; people fiery express in their national dance that same and passion, languor jealousy," There is no such as a national folk dance that a dance thing is, performed solely within the boundaries as are known political they to-day. Folk dances, like all other folk arts, follow it would be to define ethnological boundaries; perhaps possible the limits of a nation from a of the dances the and the arts study people perform they practise. The African native of the Bantu tribe who asks the do great stranger "What you dance?" does so because he that the dance will knows, perhaps instinctively, stranger's him to understand of that man's life. -
Teaching English Through Body Movement a Pa
AMERICAN UNIVERSITY OF ARMENIA College of Humanities and Social Sciences Dancing – Teaching English through Body Movement A paper is submitted in partial fulfillment of the requirements for the degree Master of Arts in Teaching English as a Foreign Language By Ninel Gasparyan Adviser: Raichle Farrelly Reader: Rubina Gasparyan Yerevan, Armenia May 7, 2014 We hereby approve that this design project By Ninel Gasparyan Entitled Dancing – Teaching English through Body Movement Be accepted in partial fulfillment for the requirements of the degree Master of Arts in Teaching English as a Foreign Language Committee on the MA Design Project ………..………………………… Raichle Farrelly ………..………………………… Rubina Gasparyan ………..………………………… Dr. Irshat Madyarov MA TEFL Program Chair Yerevan, Armenia May 7, 2014 ii TABLE OF CONTENTS Abstract ….....….………………………………………..………………………… v Chapter One: Introduction …………...….………………………………………… 1 Chapter Two: Literature Review ……..…………………………………………… 3 2.1. Content-Based Instruction Models ……..……………..……………………… 5 2.1.1. The use of Dance in an EFL Classroom ………...…..……………………… 11 Chapter Three: Proposed Plan and Deliverables…………………..……………… 15 3.1. Course Description ..………………………………………………………….. 15 3.1.1. Needs and Environment Analysis ……………………..…………………… 15 3.1.2. Goals and Objectives ……………………………………………….………. 16 3.1.3. Assessment Plan …………………………………………………….…….... 17 3.1.4. Learning Plan ……..…………………………………………….…..……… 19 3.1.5. Deliverables …………………………………………………………....…… 24 Chapter Four: Reflection and Recommendations ……………………..……...…… 27 4.1. Reflection -
01-ALEA Program April 2, 2018-II
F o r t i e t h S e a s o n THE NEXT ALEA III EVENTS 2 0 1 7 - 2 0 18 Music for Two Guitars Monday, April 2, 2018, 8:00 p.m. Community Music Center of Boston 34 Warren Avenue, Boston, MA 02116 Free admission ALEA III Alexandra Christodimou and Yannis Petridis, guitar duo Piano Four Hands Thursday, April 19, 2018, 8:00 p.m. TSAI Performance Center - 685 Commonwealth Avenue Theodore Antoniou, Free admission Music Director Works by Antoniou, Gershwin, Khachaturian, Paraskevas, Piazzolla, Rodriguez, Ravel, Rachmaninov, Villoldo Contemporary Music Ensemble in residence at Boston University since 1979 Laura Villafranca and Ai-Ying Chiu, piano 4 hands Celebrating 1,600 years of European Music Wednesday, May 9, 2018, 8:00 p.m. Old South Church – 645 Boylston Street, Boston, MA 02116 Music for Two Guitars Free admission On the occasion on the Europe Day 2018. Curated by CMCB faculty members Works from Medieval Byzantine and Gregorian Chant, through Bach Santiago Diaz and Janet Underhill to Skalkottas, Britten, Messiaen, Ligeti, Sciarrino and beyond. ALEA III 2018 Summer Meetings Community Music Center of Boston August 23 – September 1, 2018 Allen Hall Island of Naxos, Greece 34 Warren Avenue, Boston A workshop for composers, performers and visual artists to present their work and collaborate in new projects to be featured in 2018, 2019 and 2020 events. Daily meetings and concerts. Monday, April 2, 2018 BOARD OF DIRECTORS BOARD OF ADVISORS I would like to support ALEA III. Artistic Director Mario Davidovsky Theodore Antoniou Spyros Evangelatos During our fortieth Please find enclosed my contribution of $ ________ Leonidas Kavakos 2017-2018 season, the need payable to ALEA III Assistant to the Artistic Director Milko Kelemen for meeting our budget is Alex Κalogeras Oliver Knussen very critical. -
Environmental and Risk Assessment of the Timok River Basin 2008
REC GREY PAPER Environmental and Risk Assessment of the Timok River Basin 2008 ENVSEC Initiative DISCLAIMER The opinion expressed herein are those of the authors and do not necessarily reflect the opinion of the REC, UNECE or any of the ENVSEC partners. 1 AUTHORS: Momir Paunović, PhD, University of Belgrade, Institute for Biological Research “Siniša Stanković”, Serbia Ventzislav Vassilev, SIECO Consult Ltd. Bulgaria Svetoslav Cheshmedjiev, SIECO Consult Ltd. Bulgaria Vladica Simić, PhD, Institute for Biology and Ecology, University of Kragujevac, Faculty of Science, Serbia ACKNOWLEDGEMENTS The present report was developed with contributions by: Mr. Stephen Stec, Regional Environmental Center for Central and Eastern Europe Ms. Cecile Monnier, Regional Environmental Center for Central and Eastern Europe Ms. Jovanka Ignjatovic, Regional Environmental Center for Central and Eastern Europe Ms. Ella Behlyarova, United Nations Economic Commission for Europe Mr. Bo Libert, United Nations Economic Commission for Europe Mr. Milcho Lalov, Major of Bregovo municipality Ms. Danka Marinova, Danube River Basin Directorate - Pleven, Bulgaria 2 TABLE OF CONTENTS ACKNOWLEDGEMENTS..................................................................................................................................2 ABBREVIATIONS...............................................................................................................................................5 1. INTRODUCTION........................................................................................................................................6 -
The Taranta–Dance Ofthesacredspider
Annunziata Dellisanti THE TARANTA–DANCE OFTHESACREDSPIDER TARANTISM Tarantism is a widespread historical-religious phenomenon (‘rural’ according to De Martino) in Spain, Campania, Sardinia, Calabria and Puglia. It’s different forms shared an identical curative aim and by around the middle of the 19th century it had already begun to decline. Ever since the Middle Ages it had been thought that the victim of the bite of the tarantula (a large, non- poisonous spider) would be afflicted by an ailment with symptoms similar to those of epilepsy or hysteria. This ‘bite’ was also described as a mental disorder usually appearing at puberty, at the time of the summer solstice, and caused by the repression of physical desire, depression or unrequited love. In order to be freed from this illness, a particular ritual which included dance, music and the use of certain colours was performed. RITUAL DANCING The first written account of music as an antidote to the bite of the tarantula was given by the Jesuit scientist, Athanasius Kircher, who was also the first to notate the music and rhythm in his book Antidotum Tarantulæ in the 16th century. Among the instruments involved and used, the frame drum plays an important role together with the violin, the guitar or chitarra battente, a ten-string guitar used percussively, and the button accordion or organetto. This form of exorcism consisted in a ritual carried out in the home of the sick person and a religious ritual in the Church of San Paolo (Saint Paolo in Galatina (Lecce)) during the celebrations of the Saints Peter and Paul on the 28th June each year. -
Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Armenian Polka Armenia Ajoian, F. 57 Bardezuh Mer Armenia Ajoian, F. 56,57 Boozdigoots Armenia Ajoian, F
LISTING BY TEACHER Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Armenian Polka Armenia Ajoian, F. 57 Bardezuh Mer Armenia Ajoian, F. 56,57 Boozdigoots Armenia Ajoian, F. 57 Gemrigin Baduh Armenia Ajoian, F. 56 Golden Bracelet Armenia Ajoian, F. 56, 57 Halay Armenia Ajoian, F. 55 Halay Havasi Armenia Ajoian, F. 56 Lorkay Lorkay Armenia Ajoian, F. 56, 57 Medax Tashginag Armenia Ajoian, F. 57 Nor Imatsa (Yerzinga Tamzara) Armenia Ajoian, F. 57 Pompouri Armenia Ajoian, F. 55 Sotis Armenia Ajoian, F. 56 Tamzara Armenia Ajoian, F. 55 Three And One (Bar) Armenia Ajoian, F. 55 Sheleg Al Iri Israel Alpert, A. 18 Ve’shuv Itchem Israel Alpert, A. 18 Yaffo Israel Alpert, A. 18 Normali israel Alpert, A. 18 Or Chadash Israel Alpert, A. 18 Haleluyah Le’Gal Israel Alpert, A.` 18 Hayom Hazeh Israel Alpert, A.` 18 Heya Heya Israel Alpert, A.` 18 Hora Ha’bika Israel Alpert, A.` 18 Carbonero, El El Salvador Amaya, N. 68 Cortadoras, Las El Salvador Amaya, N. 68 Diablo Chingo, El Costa Rica Amaya, N. 68 Xuc, El El Salvador Amaya, N. 68 Yenka Spain Amaya, N. 68 Bereznianka Ukraine Arabagi, G. & I. 14 Bukovinskii Tanets Ukraine Arabagi, G. & I. 12 STOCKTON FOLK DANCE CAMP INDEX 1948-2018 PAGE 1 LISTING BY TEACHER Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Dansul Tiganilor Basarabeni Moldova (Bessarabia; Rom) Arabagi, G. & I. 14 Hora din Giurgiuleşti Moldova (Moldavian) Arabagi, G. & I. 12 Hora Dragostei Moldova Arabagi, G. & I. 14 Horlitsya Ukraine Arabagi, G. & I. 14 Hutsulka Ukraine Arabagi, G. & I. 12 Joc Mare Ukraine (Moldavian) Arabagi, G. -
Download Dance in the Schools Presentation
A Rationale for Offering Ethnic Folk Dance Programs in the School Curriculum Pathways to Health, Teamwork and Multi-Cultural Understanding Programs for Grades 5 through 12 – 2009 Paul Collins Ethnic Dance Connection (Dancing As a Second Language) Mobile: (847)-846-8139 – Office: (773) 463-2288 [email protected] - www.ethnicdance.org Ethnic Dance Connection – All Rights Reserved – v21 - 1991-2009 Page 1 Photo Gallery - 1 Catholic Central High School (Burlington, WI) – 12th Graders at Diversity Day Ethnic Dance Connection – All Rights Reserved – v21 - 1991-2009 Page 2 Photo Gallery - 2 Spring Hill Middle School (Wisconsin Dells, WI) – 8th Graders at International Festival Ethnic Dance Connection – All Rights Reserved – v21 - 1991-2009 Page 3 About Paul Collins Paul Collins is a management consultant, providing high performance techniques and technologies that support collaborative problem solving and decision-making in web-based meetings. His clients, generally Fortune 1000 Companies and Government Agencies, have included, NASA, the US EPA, BP/Amoco and Motorola. He is currently a part-time student in Northwestern University’s Leadership and Organization Behavior program. Paul has had a passion for dance since he started dancing at the age of eight and called his first Square Dance at the age of twelve. He has taught ethnic dance programs at the Old Town School of Folk Music, the University of Chicago and the University of Illinois at Chicago, has been a popular instructor in downtown dance programs at SummerDance in Grant Park, Millennium Park and the Cultural Center, and has taught dance workshops throughout the United States, Canada and Europe. In 1989, Paul founded Ethnic Dance Chicago which now meets weekly at the Chicago Latvian Cultural Center and the S.P.A.C.E. -
La Danca Che Cura
University of Helsinki ”LA DANZA CHE CURA” - DANCERS’ PERCEPTIONS OF SOUTHERN ITALIAN TARANTELLA Master’s thesis Sofia Silfvast Faculty of Arts Department of World Cultures Master’s Degree Programme in Intercultural Encounters Major: Religious Studies January 2015 2 Tiedekunta Laitos Humanistinen Maailman kulttuurien laitos Tekijä Sofia Silfvast Työn nimi “La danza che cura” – Dancers’ Perceptions of Southern Italian Tarantella Oppiaine Uskontotiede – Master’s Programme in Intercultural Encounters Työn laji Aika Sivumäärä Pro Gradu Tammikuu 2015 103 Tiivistelmä Tutkielmani käsittelee Etelä-Italian perinteistä tanssia tarantellaa, jonka suosio on lisääntynyt huomattavasti viimeisen 20 vuoden aikana. Tarantella on yleisnimitys musiikille ja tansseille, joille yhteistä on 6/8 rytmi ja tamburello-rumpu. Tarantella on piirissä tai pareittain tanssittavaa. Tarantella tarkoittaa ‘pientä hämähäkkiä’. Nimi antaa viitteitä sen yhteydestä tarantismiin, musiikilla ja tanssilla parantamisen rituaaliin, jota harjoitettiin 1950-luvulle asti Etelä-Italian Salenton seudulla. Tutkimusaineistoni koostuu 11 teemahaastattelusta, jotka toteutin kahdella kenttätyömatkalla vuonna 2013. Haastattelin tanssijoita, jotka toimivat esiintyjinä, opettajina ja perinteenvälittäjinä Italiassa ja eri puolilla Eurooppaa. Haastattelujen lisäksi osallistuin tanssityöpajoihin sekä musiikki- ja tanssitapahtumiin. Tiedonhankintaani helpotti italian kielen taito ja teatteriharrastustaustani. Tutkimukseni tavoitteena on tarkastella erilaisia diskursseja, joita liitetään tarantellaan -
Tarantism and Tarantella in a Doll's House
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by NORA - Norwegian Open Research Archives SANDRA COLELLA TARANTISM AND TARANTELLA IN A DOLL’S HOUSE MASTER THESIS IBSEN STUDIES 2007 INDEX INTRODUCTION………………………………………………………………………………pg 3 CHAPTER 1 TARANTELLA IN A DOLL’S HOUSE . IBSENIAN SCHOLARS’ VIEWS..........………………………………………………...…...pg 15 CHAPTER 2 TARANTISM AND TARANTELLA. BERGSØE’S TREATISE AND THE SCANDINAVIAN STUDIES…………………………………………………….pg 31 CHAPTER 3 THE ITALIAN FOLK DANCE TARANTELLA………………………………………..….pg 45 CHAPTER 4 THE PHENOMENON OF TARANTISM. DE MARTINO’S WORKS AND THE OTHER STUDIES……………………………………………………………..…pg 55 CHAPTER 5 TARANTISM AND TARANTELLA IN A DOLL’S HOUSE . A NEW HYPOTHESIS OF INTERPRETATION……………………………………….…pg 85 CONCLUSION...………………………………………………………………………………pg 99 BIBLIOGRAPHY………………………………………………………………………....…pg 101 2 INTRODUCTION Echoes of the controversies about the meaning of the drama A Doll’s House and Nora’s character continue to reach us from 1879, the year in which Ibsen completed his probably most famous work in Amalfi. Up till now, the complexity of the characters and the wise webbing of the drama, scattered of symbolic moments, widening its study, are the cause of divergent interpretations by the scholars. An example, exemplifying for all the discussions, could be the famous problem of Ibsen’s “feminism”. In the chapter “The poetry of feminism” in her book Ibsen’s women the American scholar Joan Templeton (2001) tries to say a definitive word about the sense to attribute to the drama. She quotes an impressive series of evidences with great accuracy, coming not only from works, but also from specific events and stands of which Ibsen was protagonist, to be opposed to only one point in favour of the detractors of the feminist vision about A Doll’s House . -
Stockton Index by Instructor
LISTING BY TEACHER Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Armenian Polka Armenia Ajoian, F. 57 Bardezuh Mer Armenia Ajoian, F. 56, 57 Boozdigoots Armenia Ajoian, F. 57 Gemrigin Baduh Armenia Ajoian, F. 56 Golden Bracelet Armenia Ajoian, F. 56, 57 Halay Armenia Ajoian, F. 55 Halay Havasi Armenia Ajoian, F. 56 Lorkay Lorkay Armenia Ajoian, F. 56, 57 Medax Tashginag Armenia Ajoian, F. 57 Nor Imatsa (Yerzinga Tamzara) Armenia Ajoian, F. 57 Pompouri Armenia Ajoian, F. 55 Sotis Armenia Ajoian, F. 56 Tamzara Armenia Ajoian, F. 55 Three And One (Bar) Armenia Ajoian, F. 55 Sheleg Al Iri Israel Alpert, A. 18 Ve’shuv Itchem Israel Alpert, A. 18 Yaffo Israel Alpert, A. 18 Normali israel Alpert, A. 18 Or Chadash Israel Alpert, A. 18 Haleluyah Le’Gal Israel Alpert, A.` 18 Hayom Hazeh Israel Alpert, A.` 18 Heya Heya Israel Alpert, A.` 18 Hora Ha’bika Israel Alpert, A.` 18 Carbonero, El El Salvador Amaya, N. 68 Cortadoras, Las El Salvador Amaya, N. 68 Diablo Chingo, El Costa Rica Amaya, N. 68 Xuc, El El Salvador Amaya, N. 68 Yenka Spain Amaya, N. 68 Bereznianka Ukraine Arabagi, G. & I. 14 Bukovinskii Tanets Ukraine Arabagi, G. & I. 12 Dansul Tiganilor Basarabeni Moldova (Bessarabia; Rom) Arabagi, G. & I. 14 STOCKTON FOLK DANCE CAMP INDEX 1948-2019 PAGE 1 LISTING BY TEACHER Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Hora din Giurgiuleşti Moldova (Moldavian) Arabagi, G. & I. 12 Hora Dragostei Moldova Arabagi, G. & I. 14 Horlitsya Ukraine Arabagi, G. & I. 14 Hutsulka Ukraine Arabagi, G. & I. 12 Joc Mare Ukraine (Moldavian) Arabagi, G. -
Economic Role of the Roman Army in the Province of Lower Moesia (Moesia Inferior) INSTITUTE of EUROPEAN CULTURE ADAM MICKIEWICZ UNIVERSITY in POZNAŃ
Economic role of the Roman army in the province of Lower Moesia (Moesia Inferior) INSTITUTE OF EUROPEAN CULTURE ADAM MICKIEWICZ UNIVERSITY IN POZNAŃ ACTA HUMANISTICA GNESNENSIA VOL. XVI ECONOMIC ROLE OF THE ROMAN ARMY IN THE PROVINCE OF LOWER MOESIA (MOESIA INFERIOR) Michał Duch This books takes a comprehensive look at the Roman army as a factor which prompted substantial changes and economic transformations in the province of Lower Moesia, discussing its impact on the development of particular branches of the economy. The volume comprises five chapters. Chapter One, entitled “Before Lower Moesia: A Political and Economic Outline” consti- tutes an introduction which presents the economic circumstances in the region prior to Roman conquest. In Chapter Two, entitled “Garrison of the Lower Moesia and the Scale of Militarization”, the author estimates the size of the garrison in the province and analyzes the influence that the military presence had on the demography of Lower Moesia. The following chapter – “Monetization” – is concerned with the financial standing of the Roman soldiery and their contri- bution to the monetization of the province. Chapter Four, “Construction”, addresses construction undertakings on which the army embarked and the outcomes it produced, such as urbanization of the province, sustained security and order (as envisaged by the Romans), expansion of the economic market and exploitation of the province’s natural resources. In the final chapter, entitled “Military Logistics and the Local Market”, the narrative focuses on selected aspects of agriculture, crafts and, to a slightly lesser extent, on trade and services. The book demonstrates how the Roman army, seeking to meet its provisioning needs, participated in and contributed to the functioning of these industries.