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Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Arm Aitor MI 48106-1346 USA 313/761-4700 800/521-0600 V,: "he dreamed of dancing with the blue faced people ..." (Hosteen Klah in Paris 1990: 178; photograph by Edward S. Curtis, courtesy of Beautyway). THE YÉ’II BICHEII DANCING OF NIGHTWAY: AN EXAMINATION OF THE ROLE OF DANCE IN A NAVAJO HEALING CEREMONY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Sandra Toni Francis, R.N., B.A., M. -
Living Culture Embodied: Constructing Meaning in the Contra Dance Community
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2011 Living Culture Embodied: Constructing Meaning in the Contra Dance Community Kathryn E. Young University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Anthropology Commons, and the Dance Commons Recommended Citation Young, Kathryn E., "Living Culture Embodied: Constructing Meaning in the Contra Dance Community" (2011). Electronic Theses and Dissertations. 726. https://digitalcommons.du.edu/etd/726 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. LIVING CULTURE EMBODIED: CONSTRUCTING MEANING IN THE CONTRA DANCE COMMUNITY __________ A Thesis Presented to the Faculty of Social Sciences University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Master of Arts __________ by Kathryn E. Young August 2011 Advisor: Dr. Christina F. Kreps ©Copyright by Kathryn E. Young 2011 All Rights Reserved Author: Kathryn E. Young Title: LIVING CULTURE EMBODIED: CONSTRUCTING MEANING IN THE CONTRA DANCE COMMUNITY Advisor: Dr. Christina F. Kreps Degree Date: August 2011 Abstract In light of both the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage and the efforts of the Smithsonian Center for Folklife and Cultural Heritage in producing the Smithsonian Folklife Festival, it has become clear that work with intangible cultural heritage in museums necessitates staff to carry out ethnographic fieldwork among heritage communities. -
Dancing Postcolonialism
Sabine Sörgel Dancing Postcolonialism TanzScripte | edited by Gabriele Brandstetter and Gabriele Klein | Volume 6 Sabine Sörgel (Dr. phil.) teaches the history and theory of theatre and dance at Johannes Gutenberg-University Mainz. Her current research includes cross- cultural corporealities, contemporary performance and postcolonial theory. Sabine Sörgel Dancing Postcolonialism The National Dance Theatre Company of Jamaica Die vorliegende Arbeit wurde vom Fachbereich 05 Philosophie und Philologie der Jo- hannes Gutenberg-Universität Mainz im Jahr 2005 als Dissertation zur Erlangung des akademischen Grades eines Doktors der Philosophie (Dr. phil.) angenommen. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2007 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Cover illustration: Rex Nettleford, NDTC’s »moving spirit«, co-founder, princi- pal choreographer, and current Artistic Director. Here seen in lead role of »Myal«. Credits: Photographs: cover illustration and pages 100, 102, 103, 110, 112, 119, 131, 175, 176, 177 courtesy and copyright by Maria LaYacona and NDTC ar- chives; page 140 courtesy and copyright by Denis Valentine and NDTC ar- chives; page 194 courtesy and coypright by W. Sills and NDTC archives. All video stills: courtesy -
ICTM Abstracts Final2
ABSTRACTS FOR THE 45th ICTM WORLD CONFERENCE BANGKOK, 11–17 JULY 2019 THURSDAY, 11 JULY 2019 IA KEYNOTE ADDRESS Jarernchai Chonpairot (Mahasarakham UnIversIty). Transborder TheorIes and ParadIgms In EthnomusIcological StudIes of Folk MusIc: VIsIons for Mo Lam in Mainland Southeast Asia ThIs talk explores the nature and IdentIty of tradItIonal musIc, prIncIpally khaen musIc and lam performIng arts In northeastern ThaIland (Isan) and Laos. Mo lam refers to an expert of lam singIng who Is routInely accompanIed by a mo khaen, a skIlled player of the bamboo panpIpe. DurIng 1972 and 1973, Dr. ChonpaIrot conducted fIeld studIes on Mo lam in northeast Thailand and Laos with Dr. Terry E. Miller. For many generatIons, LaotIan and Thai villagers have crossed the natIonal border constItuted by the Mekong RIver to visit relatIves and to partIcipate In regular festivals. However, ChonpaIrot and Miller’s fieldwork took place durIng the fInal stages of the VIetnam War which had begun more than a decade earlIer. DurIng theIr fIeldwork they collected cassette recordings of lam singIng from LaotIan radIo statIons In VIentIane and Savannakhet. ChonpaIrot also conducted fieldwork among Laotian artists living in Thai refugee camps. After the VIetnam War ended, many more Laotians who had worked for the AmerIcans fled to ThaI refugee camps. ChonpaIrot delIneated Mo lam regIonal melodIes coupled to specIfic IdentItIes In each locality of the music’s origin. He chose Lam Khon Savan from southern Laos for hIs dIssertation topIc, and also collected data from senIor Laotian mo lam tradItion-bearers then resIdent In the United States and France. These became his main informants. -
Dancesense, a Production of KET, the Kentucky Network
TEACHER’S GUIDE KET THE KENTUCKY NETWORK This Teacher’s Guide accompanies the ten-part television series DanceSense, a production of KET, The Kentucky Network. Timothy Bischoff, producer-director. Mary Beth Hester, production assistance. Katherine Kramer, content designer. Nancy Carpenter, executive producer. Teacher’s Guide Writer: Katherine Kramer Editor: Nancy Carpenter Design and Layout: Megan Canfield Production Photography: Dave Crawford KET gratefully acknowledges the contributions of the content advisors and all the dancers, choreographers, and others who appeared in the series and provided information and encouragement along the way. Content Advisors: Rayma Beal, University of Kentucky; Jimmie Dee Kelley, Hardin County Public Schools; and Liz Jewell, KET Humanities Instructor. This project was funded, in part, by contributors to the W. Paul and Lucille Caudill Little Arts Endowment. ©Copyright 2001 KET Foundation, Inc. 600 Cooper Drive Lexington, KY 40502-2296 ISBN 1-881020-47-9 2 DANCESENSE TEACHER’S GUIDE TABLE OF CONTENTS Introduction ................................................................................... 5 Program 1: Understanding Dance .................................................. 6 Why people dance Program 2: The Dance of Culture .................................................. 8 Origins and functions of dance in various cultures Program 3: Dance in America ...................................................... 10 The influence of Native American, African American and European dances on the development -
Dance Vocabulary
Dance Vocabulary Dance Movement human movement, combined with artistic expression movements • nonlocomotor Actions made by the body Actions of the body that do not cover space (bend, • locomotor stretch, twist, and swing) Actions of the body that cover space (walk, run, skip, hop, jump, slide, leap, and gallop) Elements of Dance the basic parts of dance: space, time, and force force • pathways The use of energy while moving Patterns that the body makes as it moves through space or on the floor space • shape The area covered by the dance movements (This The design of the body as it exists in space includes shape, level, directions, and pathways.) • directions time Forward, backward, sideways, up, down, etc. How fast or slow (tempo); even or uneven (beat); • level and long or short (duration) the movement is The distance from the floor Dance Forms the way movements are put together dance composition expressive qualities A group of dance movements with a beginning, a Ideas and emotions communicated by the move- middle, and an end ment patterns of a dance composition Cultures the customs, beliefs, arts, and way of life of a specific group of people African Native-American African Dance is ceremonial and is an example of Native-American Dance, like African Dance, is Ceremonial dancing. classified as a form of Ceremonial dancing. Colonial The purposes of Colonial dances were social. An example of Colonial Dance is the Virginia Reel. Purposes the reasons why people dance artistic dance dances) or ceremonies (Native-American dances for Dances -
Performing Arts-Grade 8-Dance
1 Curriculum Framework for Performing Arts: Dance School: Kuumba Academy Charter School Curricular Tool: Teacher Created Grade: Elective Course__ Teacher: ___________ All 6th grade KACS students will take Musical Theater 1 to gain experience in music, theater, and dance through an integrated performing arts curriculum. In grades 7 and 8, students will focus their study of performing arts by selecting from three performing arts electives: Dance, Musical Theater 2, or Musical Theater 3. The elective courses in grades 7 and 8 will be taught over the course of the full school year, but in the second trimester of dance, during the Choreographic Forms unit, students will work on dance projects related to the school musical. The dance elective will utilize the talent of resident teaching artists through the partnership between KACS and the Christina Cultural Arts Center. Standards Alignment Unit Concept Essential Questions Assessments Big Ideas Student Learning Targets Unit One: Purposes of Dance Timeline : 4 week Standard 1: Identifying and demonstrating There are various reasons Essential Questions: Suggested Formative movement elements and skills in performing arts people dance. Why do people dance? Assessments: Teacher observation of 1.1 E Perform axial movements (e.g., bend, stretch, Dance has three purposes: What are the characteristics of a students learning dances. twist, turn, Swing, collapse) Ceremonial ceremonial dance? E Recreational Graphic Organizer, Checklist 1.2 E Demonstrate accuracy in moving to a musical Artistic What are the characteristics of a or Venn Diagram comparing beat and responding to changes in tempo recreational dance? and contrasting the purposes of E Dance is created and dance. -
Dances of India.Pdf
VIVEKANANDA KENDRA PATRIKA DANCES OF INDIA DANCES OF INDIA CONTENTS 1. Acknowledgements 1 2. Editorial Dr.Padma Subrahmaniam 3 3. The Dance of Shiva Ananda K. Coomaraswamy 15 4. The Gift of Tradition K. S. Ramaswami Sastri 20 5. The Spiritual Background of Indian Dance Rukmini Devi 25 6. The Renaissance of Indian Dance and its Consequences Mohan Khokar 30 7. The Art of Dance Dr. C. P. Ramaswami Iyer 35 8. The Place of Language in Dance Prof. C. V. Chandrasekhar 40 9. Waiting in the Wing Usha Jha 47 10. The Ramayana in Indian Dance and Dance-Drama Mohan Khokar 54 11. The Art and The Artist K. S. Ramaswami Sastri 60 12. Kuchipudi Dance V. Patanjali 62 13. The Veedhi of Bhagavatam Andhra Dr. V. Raghavan 69 14. Bhagavata Mela - Dance-Drama S. Natarajan 72 15. Koodiyattom D. Appukuttan Nair 74 16. Origin and Development of Thullal P. K. Sivasankara Pillai 77 17. Kathakali-The Total Theatre M. K. K. Nayar 81 18. Mohiniaattam Dr. (Smt.) Kanak Rele 97 19. Bharatanatyam Smt.Chitra Visweswaran 102 VIVEKANANDA KENDRA PATRIKA DANCES OF INDIA 20. Dance can Play a Therapeutic Role Smt.Sudharani Raghupathy 105 21. Yakshagana Bayalata K. S. Upadhyaya 108 22. A Glimpse Into Odissi Dance Dr. Minati Mishra 115 23. Mayurabhanj Chhau Dr. (Mrs.) Kapila Vatsyayan 121 24. Kathak Dance as an Art -Form Dr. S. K. Saxena 132 25. Udayshankar Moni Bagchee 135 26. Temples as Patrons of Dance Dr. K. V. Raman 138 27. Therukkoothu-The Folk-Theatre of Tamilnad Smt. Shyamala Balakrishnan 140 28. -
About Israeli Folk Dance
About Israeli Folk Dance Dr. Phillip M. Feldman Notes for 31 May, 2015 Presentation to the Congregation B’nai B’rith Israeli Folk Dance Special Interest Group 0. Scope and Outline I'd like to discuss how Israeli folk dance came into being, how it developed, and what makes it special. And, I really do mean “discuss”, in the sense that I’d like this to be interactive as long as we don’t get too far afield. I have a total of four topics: 1. What is Folk Dance? 2. The Origins and Development of Israeli Folk Dance 3. What Makes Jewish Folk Dance Special 4. What Are Israeli Folk Dances About? 1. What is Folk Dance? Before we can discuss the title topic in a meaningful way, we need to settle at least one question—What is a folk dance? I keeping with Jewish tradition, I will try to answer this question by asking more questions, and you will have to help answer these. Firstly, what does it mean to choreograph a dance? (Wait for answers). A. To choreograph a dance means to create or work out the movements of the dance; choreography can be communicated via written instructions, by pictures, by verbal instructions, or simply by showing someone the dance. Despite the etymology, choreography does not have to be written. Is any dance done to folk music accompaniment a folk dance? How many people say yes? Suppose that I choreographed a dance for the song “This land is my land, this land is your land”. Would my dance be an American folk dance? Not right away, although it might conceivably become one over time. -
Dancescapes in Dialogue: an Exploration of Indigenous Australian and Indian Classical Dance Ontologies
Dancescapes in Dialogue: An Exploration of Indigenous Australian and Indian Classical Dance Ontologies Sidha Naayaki Pandian National Centre for Indigenous Studies The Australian National University A thesis by creative works submitted for the degree of Doctor of Philosophy of The Australian National University Canberra, June 2019 © Sidha Naayaki Pandian 2019 All rights reserved Statement of Originality I hereby declare that to the best of my knowledge and belief this is an original work by Sidha Naayaki Pandian and has not been previously submitted for any degree or examination at any university. Signed: ------------------------------------ Sidha Naayaki Pandian Date: 7th June 2019 ii Acknowledgements Hari Oṃ I wish to acknowledge Australia’s First Peoples upon whose lands this thesis emerged, and I pay my respects to all elders past and present. To the foremost Director of the National Centre for Indigenous Studies (NCIS) at the Australian National University (ANU), Professor Michael Dodson, your wisdom and generosity will not be forgotten. Thank you for believing in me. To the current Director of NCIS, Professor Asmi Wood, thank you for your constant friendship and guidance. My dearest supervisory panel – Dr Diane Smith, Dr Katerina Teaiwa and, Chair, Dr Bill Fogarty – I’m extremely grateful for all the inspiration, love and knowledge you have showered onto me and into this thesis. Thank you for taking turns to be my pillar of strength during the toughest moments of this PhD. Your commitment and perseverance through these years have led me to this point and cannot be forgotten. My heartfelt thanks to Jacob Ong and all my colleagues and staff at NCIS for all your friendship and support – I am grateful to have met each and every one of you. -
Book of Abstracts 2
1 INTERNATIONAL COUNCIL FOR TRADITIONAL MUSIC 44TH WORLD CONFERENCE 13 - 19 JULY 2017 BOOK OF ABSTRACTS 2 Kai Åberg (University of Eastern Finland) Finnish Romani songs – a product or a process? the constructivist perspective to the music of the Finnish Kaale Over the past 25 years among the Finnish Romani musicians (and elsewhere in Europe), I have sought various things in the empirical material of my research. The basic question, however, was already crystallized in an early stage of the research process: How are the elements of cultural meaning of the songs and the informants’ conceptions of the songs constructed? Because legacies may be constituted in a multiple and flexible way, the purpose of my presentation is not only to describe the songs or events of song culture, or to chart their distribution, but also to seek more complex ways of understanding and explaining them: How are the meanings of the Romani music constructed in different times and places? Although we can be partly freed from determinism by underscoring the role of humans in construction of their own reality, people should not, however, be defined as independent of their culture. Seen from a folkloristic perspective, the same could be said in other terms; even constructivists have not ignored that people belong to their heritage before heritage belongs to them. When speaking of a collective musical tradition we must not forget that underlying tradition there is a social group and people tend to act differently in groups than on their own. My approach is based on the notion of knowledge as socially constructed. -
Folk Dance I INTRODUCTION
Folk Dance I INTRODUCTION Traditional Irish Dancing Irish dancing comprises mainly reels and jigs and may be accompanied by lively folk music played on the fiddle, harp, or bagpipes. The tradition of Irish dancing survives to the present day. These dancers from Dublin are performing at the 2005 Folk Festival (Europeade) in Quimper, Brittany. Miriam Smith Folk Dance, recreational or ceremonial dance performed usually by members of the community to which the dance is traditional. Varying criteria have been used to differentiate folk dance from other kinds of dance: For example, the dancers are said to belong to a certain economic level or come from certain locales; the steps are simple and repeated, so that any member of the community can participate; the dances require no audience; and they are passed down through many generations. Each of these criteria can be contradicted by dances that are indisputably folk dances, and in each of these criteria, folk dance overlaps with other kinds of dance. II THE DANCERS Folk dance is sometimes defined as dance performed by agricultural peoples who live in close-knit communities—a definition that reflects the division of preindustrial Europe into a peasant class and an aristocracy. People in modern industrialized cities, however, participate regularly in what are called folk dances, which were brought to the city by immigrants from rural areas or, sometimes, from other nations. Although the dances of rural Europe are called folk dances, in Africa—which has no peasant-aristocracy division comparable to that of 18th-century Europe—rural dances that in function and complexity are comparable to European folk dances are instead often called tribal dances; confusingly and inconsistently, African traditional stories are often called folktales.