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OBJECTIVE: The study aimed to identify the effects of ground reaction forces (GRF) recorded during landing in typical elements of three dance styles, including classical, modern, and folk dance, on injuries` topography. METHODS: The research involved a survey and measurements of GRF generated during landing after the jump. The survey involved a group of 90 professional dancers. In the questionnaire, the dancers marked areas of the human body that were affected at least once by injuries. Biomechanical tests of the GRF recording were conducted on a group of 15 professional dancers. The analysis focused on the following parameters: a maximum value of the vertical variable of the GRF relative to body weight (maxGRF_z), the time between the moment from first foot contact with the ground to the moment of reaching the maxGRF_z (_tmaxGRFz), and the loading rate of the GRF relative to body weight (LR_GRFz). RESULTS: Regardless of dance style and sex, the lower spine, knee joints, ankle joints and feet were the areas most affected by injuries among professional dancers. The level of maxGRF_z, t_maxGRFz and LR_GRFz during typical jumps in classical, modern, and folk dance was statistically significantly different (P

During the existence of Yugoslavia (1945–1991), the leading political ideology of "brotherhood and unity" had to be manifested in all forms of cultural life. Promoting the physically capable body as part of a larger cultural movement, Yugoslavia witnessed the transformation of physical daily regimens into mass bodily spectacles performed at stadiums, called sletovi, demonstrating the power of mass-choreographed discipline. Similarly, Yugoslav choreographers were encouraged to develop a distinct performance aesthetic based on stylization as a rhetoric for modernization, using folk dance as a medium to showcase and promote the collective body of the people through choreographed folklore spectacles. Focusing on these two case studies that exemplify how mass choreography was used as a strategy to choreograph the Yugoslav society, this paper analyzes how political ideologies and their constructions through physicality supported the Yugoslav state project, thereby pointing to the present-day remnants of these aesthetics in the post-Yugoslav republics, evident in mass protests. By utilizing archival and choreographic analysis, I demonstrate how movement and dance impacted the public understanding of unity and helped the creation of a Yugoslav socialist society, drawing from Andrew Hewitt's thesis on "social choreography". [ABSTRACT FROM AUTHOR]

In this paper, the authors present an in-depth analysis of eight educational videos, selected from the total of 153 videos for teaching music art at the classroom level (ages 6–10 years) on the Slovenian educational portal www.razlagamo.si, created during the COVID 19 pandemic. The in-depth analysis focuses on the folk dances presented in the videos, the articulation of the teaching unit, the use of teaching methods, the integration of student activities, the use of audiovisual resources and adaptations. On the basis of the shortcomings that were identified, the authors highlight guidelines and didactic recommendations for teaching folk dances in traditional lessons and through educational videos, justify the usefulness of folk dances in music teaching in primary schools and present possibilities for using new information technologies in the preservation of intangible cultural heritage.

With the arrival of the informationization era, the inheritance and development of ethnic folk dance in dance teaching faces new challenges and opportunities. This paper discusses effectively inheriting and developing ethnic folk dance under informationization. The research methodology includes the Analysis of folk dance movement characteristics, movement capture and feature extraction based on Kinect acquisition technology. The results show that the dancer’s movement data can be accurately recorded by Kinect capture technology, and the error of capture coordinates can be minimized up to 1.115. The study also finds that the dance movement features can be effectively extracted using Gaussian Mixture Model Background Subtraction and Median Filtering preprocessing techniques. In addition, the “Trinity Teaching Assistive Technology” proposed in this study can improve teaching quality. The application of information technology not only promotes the scientific and standardized teaching of folk dance, but also helps improve students’ skills and creativity.

The pedagogy and practices of folk music and folk dance are firmly separate in Finland. Furthermore, the expertise in these fields focuses heavily on folk music and dance as performing arts rather than communal activities. The situation has led to the differentiation and fragmentation of professional and amateur activities. To address this gap in knowledge and practice, the KanTaMus project intends to present a pedagogical model for a joint participatory folk dance and music pedagogy devised through practice-based development work. This article explains the basic premises of the model under development. We first discuss the legacy issues crucial in Finnish folk dance and music and its pedagogy. Secondly, we outline the values, pedagogical principles, and prior development work we see as fundamental to our work. Martin Seligman's PERMA theory serves as an overall canvas for our development work. The basic elements of the theory, i.e., positive emotions, engagement, relationships, meaning, and accomplishment, work as a basis for our model, which emphasises embodied presence, inclusion, and interaction as crucial features of a shared learning situation in dance and music. Finally, we present the pairing process as a specific example of the application of the model.

For a dance researcher, audiovisual recordings are the most informative part of archives. For various reasons, in Estonia, re-embodiment of traditional dances has been based more on verbal descriptions and less on film and video. Nonetheless, some analysis has been done by today, and some findings on individual, local, and temporary variability of traditional dancing in different parts of Estonia exist, and some clips have been published. Despite of availability of archival video recordings, folk dance teachers usually prefer verbal descriptions, which leads to the loss of a great deal of detailed information. In the article, I explore some of the reasons for this situation, based on my own teacher practice and a case study inquiry among teachers of high school girls' dance groups involved in the process of the 12th Youth Dance Celebration in 2017. In this project high school girls' groups were proposed to learn Ristpulkadetants (Crossed Sticks Dance) in an unusual way - as a supplement to verbal descriptions, an archival movie clip was provided to teachers as source material. This made it possible to investigate teachers' interest in the use of film, as well as the facilitating or hindering factors of actual use. About a fifth of the involved teachers expressed an opinion that archival recordings contain information not yet verbalized in descriptions and could help them in adding new qualities to the bodily dimension of their own and their students' dance. As a result of the study, it can also be said that archive videos of a traditional dance are not that available to folk dance teachers as they would like them to be. [ABSTRACT FROM AUTHOR]

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Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article addresses the issue of the evolution of the dance style and technique, based on different concepts and approaches. In this sense, the following theories are analyzed: the biological, psychological, social and communicational, as well as the cultural, philosophical and artistic factors. It should be mentioned that all the types of choreographic art through its interconnection, the interpretative art of great performers, different currents of choreographic art have contributed to the formation and development of the stylistics and technique of the dance, which, even at the current stage, evolves under the influence, first of all, of postmodernism.

The main purpose of this research is to study the experience and achievements of previous generations of folk dance performers to improve work with future choreographers who study Kazakh folk dance in higher education institutions of the Republic of Kazakhstan. The study's methodological approach is the search and theoretical analysis of sources aimed at studying both the history of the Kazakh folk dance itself and the development of the performing skills methods of Kazakh dance in future choreographers. This research uses typological, historical, and thematic analysis methods from used literature collected during the writing of the article. The author analyzes the historical stages of the development of the professional training of choreographersperformers and the influence of the experiences and achievements of previous generations on the performing skills of future choreographers in Kazakh higher educational institutions. This study also found that modern teaching is based on the integration of experience and achievements in the art of choreography for the development of performing skills and choreographer-performer skills of Kazakh folk dances in higher educational institutions of the Republic of Kazakhstan. This research work is of practical importance in the study, as well as training of future choreographers who study dance in various areas of original folk art in higher education institutions of the Republic of Kazakhstan. [ABSTRACT FROM AUTHOR]

In the case of a mixture of dance languages, especially in dance productions that are the result of a conscious creative process, the interpretation of the symbolic content and message of the dance language elements becomes important. It is in this context that the dance art endeavours of the 19th and 20th centuries in Hungary can be examined, which aimed at staging folk dance culture on the one hand, and at developing a modern language of dance art by using folk dance culture as a source of inspiration on the other. The underlying motivations behind these dance art endeavours could be different, as they could be born in the spirit of modernism or traditionalism, or they could be the manifestation of political-social artistic aspirations, or the two different motivations could overlap. Taking these aspects into account, my study seeks to answer the question of why and how the need for a stage work to function as a national representation of Hungarianness emerged in the history of Hungarian ballet. [ABSTRACT FROM AUTHOR]

During the existence of Yugoslavia (1945–1991), the leading political ideology of “brotherhood and unity” had to be manifested in all forms of cultural life. Promoting the physically capable body as part of a larger cultural movement, Yugoslavia witnessed the transformation of physical daily regimens into mass bodily spectacles performed at stadiums, called sletovi, demonstrating the power of mass-choreographed discipline. Similarly, Yugoslav choreographers were encouraged to develop a distinct performance aesthetic based on stylization as a rhetoric for modernization, using folk dance as a medium to showcase and promote the collective body of the people through choreographed folklore spectacles. Focusing on these two case studies that exemplify how mass choreography was used as a strategy to choreograph the Yugoslav society, this paper analyzes how political ideologies and their constructions through physicality supported the Yugoslav state project, thereby pointing to the present-day remnants of these aesthetics in the post-Yugoslav republics, evident in mass protests. By utilizing archival and choreographic analysis, I demonstrate how movement and dance impacted the public understanding of unity and helped the creation of a Yugoslav socialist society, drawing from Andrew Hewitt’s thesis on “social choreography”.

Romanian folk dances are a wealth of generations that we owe to preserve, protect and leave our inheritance to our descendants as a proof of our identity and history. By practicing dance, the customs and traditions of the people are learned; young people develop harmoniously due to the various movements in which the dances are composed. Romania has a wide range of games, dances and costumes inherited from tradition, perpetuated through repertoire and ethnography, which convinced us to address and highlight the important role of the traditions, folk dances in Bihor County, the beneficial effect that they have in the personal development of the dancers. The proposed research methodology for the study addresses methods such as the survey method by applying a questionnaire and the statistical-mathematical method. The results highlight the importance of folk dances first present in the family and the fact that passion is the main motivation of dancers that drives them to practice folk dance. It is necessary to give children the opportunity to make direct contact with the sources of popular creation such as dance, music, customs and folk costume, to create optimal conditions for learning our folk dances, the priceless treasure of our people.

The national rhythms are formed by urbanized versions of each nation, which create a set of musical genres that serve as the basis for the practice of specialized physical activity, while enriching the cultural heritage. The rescue of cultural traditions goes through specific actions that include Physical Education teachers. Therefore, the purpose of the research is to theoretically validate, through consultation with specialists, a methodological proposal for teaching folk dance with the Pasacalle rhythm. The research is of a descriptive-explanatory type with a prospective orientation. A methodological proposal was designed and validated through a survey by 15 national specialists. The proposal of a methodology for the teaching of the folkloric dance of the Pasacalle rhythm is acceptable according to the specialists consulted (w=0.513), presenting an average score in the indicators "relevance" (4.20: very adequate), "originality" (3 : adequate), “affordable” (4.27: very adequate) and “objective” (3.93: between adequate and very adequate). The proposal includes characteristics of a methodological strategy that contains a theoretical and methodological foundation, with a diagnostic phase and a planning phase, plus three stages that include the determination of the methodological steps, the design of an optional subject and the evaluation. methodology, as well as a group of contents and objectives to be implemented in the physical education class, plus teaching resources and skills with performance criteria.

The given paper elucidates one of the main professional skills of a dancer / performer - artistic expressiveness. Following the analysis of several studies in the field of choreographic art dedicated to expressiveness and methods of its development in choreographic creation, the concept of expressiveness is revealed by defining it in different types of art, cultural studies, philosophy, etc. The most complex description of the component of artistic expressiveness is present in classical, folk and modern dance, where the conditions of its formation and development are exposed in the practical classes of classical, folk and modern dance. The stated issue was researched in a study was conducted over three years of university studies at cycle I (Bachelor).

Folk dance is an important tool in preparing students of the College of Culture for teaching as leaders of an amateur creative team. The content of their training includes the choreographic creativity of different peoples. The purpose of the article is to determine the necessary and sufficient minimum knowledge about the specific features of the Chuvash national choreography so that students can use this knowledge to implement choreographic productions, improve performing techniques and embody the manner of performing the Chuvash folk dance. The material of the research was the author's long-term observations of the Chuvash folk choreography, passed through personal experience of staging dances for the professional stage. The work is based on the description method and in general is of a review nature. Folk dance is the most expressive layer of the Chuvash culture. It contains a significant potential necessary to maintain the vital properties of the Chuvash ethnos. In particular, it has unique ethnic features and only in some cases allows borrowing from other peoples. In general, the Chuvash dance in movements repeats the aesthetics of national embroidery. Important properties in the Chuvash dance are endowed with hands: women's movements are extremely smooth and slow, men's are sharp and fast. The position of the hands, combined with the movement of the legs and the body as a whole, create a unique ethnic flavor. Chuvash dances have dialectal differences according to ethnographic groups, while they are based on a single complex, historically dating back to rituals and ceremonies.

The scarf is a less used tool in the methodology of teaching folk dances. This object, however, had a crucial role both in Hungarian folk dance tradition and in the way of life of peasants. The paper presents the traditional appearances of the scarf in dances and its usage’s symbolic semantic layers with a special focus on wedding pair-choosing dances. The scarf has a privileged role in these playful pair-swapping games, on the one hand as the realisation of improvisation, on the other hand as a means of creating an equal relationship between dance partners. These structural and conceptual conclusions could be translated and applied in the process of dance teaching: the scarf as a tool of methodology eases communication, reveals the dynamism between dance partners and the emotional aspects of dance. The present study is followed by a supplement of 12 scarf games, which provides new ideas for practising dance teachers on how to use the scarf in teaching folk dances.

Copyright of PODIUM- Revista de Ciencia y Tecnologia en la Cultura Física is the property of Universidad de Pinar del Rio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the case of a mixture of dance languages, especially in dance productions that are the result of a conscious creative process, the interpretation of the symbolic content and message of the dance language elements becomes important. It is in this context that the dance art endeavours of the 19th and 20th centuries in Hungary can be examined, which aimed at staging folk dance culture on the one hand, and at developing a modern language of dance art by using folk dance culture as a source of inspiration on the other. The underlying motivations behind these dance art endeavours could be different, as they could be born in the spirit of modernism or traditionalism, or they could be the manifestation of political-social artistic aspirations, or the two different motivations could overlap. Taking these aspects into account, my study seeks to answer the question of why and how the need for a stage work to function as a national representation of Hungarianness emerged in the history of Hungarian ballet.

Ethnic communities with different religions and languages live together in harmony in Hatay. Individuals belonging to these communities maintain their cultural ethnic identity along with their national Turkish citizenship identity. The Arab Alawite community is the largest community in Hatay who speak the local dialect Arabic. The dabke, as a folkdance, whose lyrics are spoken in their unique local Arabic dialect, is seen as an indicator of their cultural differences and cultural identities. The musical structure of dabke, which is sung in Arabic in other ethnic communities in Hatay and danced as line called halay in Turkish, is widely danced in Middle Eastern countries and cultures such as Lebanon, Palestine, Israel, Syria, and also in Europe and America where these communities live through immigration. Until now, there has been no academic study on the folkdance of dabke music and lyrics in Hatay that emerged from events such as cultural life and social solidarity. In this study, the subject of dabke dance’s lyrics and music in Hatay Arabic Alawite culture was examined and musical notes were written for the first time. The information obtained by conducting field research with the subject participant-observer method was analyzed within the framework of cultural theories from an academic perspective. The most widespread dabke pieces were determined, musicologically, to consist of six musical works which were compiled and recorded. It was determined that Ala delo’una was the most common work in the Middle East and Hatay region. In this academic study about dabke as a folk dance common in a multicultural region among the folk dances included in the UNESCO sustainable intangible cultural heritage list, the subject was examined in terms of term, etymology, history, cultural, social and social aspects.

The concept of education reform in Serbia as well as in other countries in transition has faced the challenge of creating a functional, flexible and quality education system in a rapidly changing society. Some of the goals and tasks of the education program important for the subject of Music Culture are to develop awareness of state and national affiliation; nurturing Serbian tradition and culture, as well as the tradition and culture of national minorities; enabling involvement in European and international integration processes. In order for an individual to be formed as socially responsible with a certain attitude towards cultural and national identity, it is necessary to teach the contents of the subject Music Culture - especially those related to our past, its heroes, tradition, folk art, customs, etc. they emphasize knowledge from the social sciences and realize it in such a way that in each processing of the segment of folk tradition its significance, role, time of origin, social circumstances, etc. are emphasized. With this approach, we systematically influence the ubiquity of traditional values in children's lives. Early exposure of children to musical experiences that include folk art enables the achievement of a higher level of awareness of the social identity of the individual. One of the goals of teaching the subject Music Culture is to nurture folk traditions and creativity and personal identity. Social contents that are closely connected with the acquisition of knowledge from the tradition of the people are in the subject World around us and Nature and society. "The main purpose of studying the integrated subject World Around Us / Nature and Society is that by acquiring knowledge, skills and abilities, students develop their cognitive, physical, social and creative abilities, and at the same time learn and build attitudes, adopt values of the environment and the wider community. They grow up. By discovering the world, children's cognitive abilities are developed, basic concepts are formed and the foundations for a system of concepts in the field of nature, society and culture are gradually built. The value of music in society and its diverse effects on people can be very important factors in creating a cultural identity. Getting to know the folk creation at a younger school age through traditional folk games with singing, leads us directly to preserving the traditions of our people. From today's point of view, it is clear that folk dances with the singing of our country had and still have an integrative social function, since they influence the nurturing of collective identity at different levels of the community, is a symbol of national unity and transmits tradition from generation to generation. The paper presents an example of the social function of traditional folk dance through poetic, melodic-rhythmic analysis of a song, then folk costume, folk dance and folk instruments, based on the presented views.

This article investigates a recent period in which dissenting activism has been shifted in Istanbul under the state of emergency (2016-2018). Based on an ethnography conducted with activists in feminist and LGBTQI+ demonstrations, anti-emergency decree vigils, and the Presidential Referendum protests, the study discusses how activists resist and undermine mobilization of violence through using the hegemonic tools of repression tactically, and choreographically. By employing Hannah Arendt’s concepts of “politics” and “isolation,” I examine that state agencies like the police forcefully disperse protesters and display authority, oppression, and occupation of public spaces by constantly creating an atmosphere of fear and insecurity. In opposition, dissenters practice and rehearse dispersal as a resilient choreography to once again relate each other against the forces of isolation. I suggest the term “tactics of dispersal” to define and analyze how activists depart from the central assembly of the social movement to create smaller, mobile, and ephemeral assemblies. In the city-scale, by scattering themselves in the city of Istanbul and mobilizing peripheries of the urban space, dissenters re-choreograph and subvert a thanatopolitical strategy of dispersal in favor of pluralism under political hardship. In the bodily-scale, activists claim the public sphere through the transience of folk dance. Whenever protesters depart from folk dance collectives to create new ones, they perpetually re-configure the area and initiate novel actions contingent upon their temporal and positional assessments during the dance. Such tactical applications of dispersal characterized by the smaller scale and transitory gatherings with ever-changing combinations of bodies at the peripheral space of urban activism manifest its great potential for collective agency and plural politics.

The paper discusses the interpretations of the choreographic aspects of different versions of the performance of the ballet The Ohrid Legend by Stevan Hristić. In the choreographies of this ballet, ballet vocabulary is combined with folklore motifs, using the principle of balletization of folklore. This choreographic approach has produced a pluralism of opinions on the ballet critical scene - from the modernization of folklore elements to views that the work still belongs to the traditional ballet choreographic structure. Pluralism of opinion provides an opportunity to open new approaches in the interpretation of the choreography itself. In this paper, an anthropological approach is treated, based on the intersection of different styles of play. [ABSTRACT FROM AUTHOR]

Traditional folk dances- important elements in oral culture- play important role in transmitting cultural values between generations. The dance called “canimen” performed by the Alawi Turkmens in Central Anatolia is also one of the elements of traditional oral culture and has been carried to the present day as a cultural heritage whose source is the community and whose creator is not known. The tradition of using the performing arts dating from the era before Turks’ embracing of Islam as their religion has been preserved in Alawi practices which are based on different belief forms of Turkish culture within the belief system of Alawis. This study reveals the traces of “canimen” from the past. The functions dances fulfil in the transmission of cultural codes from generation to generation are examined within the scope of the study. The field study of the dance “canimen”- which is integrated into the value system of Alawism, which reflects the social structure of the local people, which transmits the cultural features to the present and which is performed for fun- was limited to Elmapınar village of Kalecik district of Ankara. Folk dances assemble people and they prevent them from being individuals and thus play role in turning them into collective elements. The functions of the folk dance have been evaluated not only as the explicit function that is performed in the visible state but also with implicit latent functions including rituals and ceremony elements. The research data were collected through semi-structured interviews. In the study, the play-dance relationship has been emphasized and canimen is considered as a didactic element. It is found in this study that the dance has functions that strengthen the sense of unity and togetherness as an important cultural element of the community, which enable the transmission of cultural codes between generations and which also act as an instrument of socialization. On the other hand, the way folk dances are performed and the functions they fulfil also change in parallel to socio-economic and socio-cultural developments such as globalization, urbanization, and migration. While maintaining its existence in the culture-belief system in the region; it has been observed that the concepts of verbal memory of the folk dance were gradually forgotten, visual memory was beginning to disappear and the didactic function of the dance coming from the past to the present time cannot be fulfilled sufficiently today. Because rituals have significant functions in arranging, maintaining, and establishing social order; they are also open to changes in accordance with social structure. Canimen- which faces the danger of being forgotten today- is an important product of a social culture with its cultural codes and functional properties. It is of vital importance that its current structure should be recorded and transformed into a written source in keeping the cultural values alive so that the folk dance can be transmitted down to next generations by re-synthesizing it in the system of values which develop with changing life conditions. This paper considers the folk dance, canimen, from the sociological perspective. Such an element of oral culture-which is in danger of beginning forgotten- will be preserved through studies to be performed in the future with larger samples in disciplines such as literature, folklore, and performing arts. Besides, it is also thought that studies which describe the historical, cultural, and geographical details of the dance will contribute to the areas of culture and science significantly. [ABSTRACT FROM AUTHOR]

The article emphasizes the revival of folk traditions of the Ukrainian Podunavija, focuses on the significant role of folk choreography in this process. The role of folk dance for the national education of youth is revealed, and their respect for folk traditions and customs is implanted. The author highlights the problematic aspects of teaching folk dance and suggests ways to solve them. It is emphasized that the means of folk choreography form the national consciousness and respect for Ukrainian national traditions and customs.

Romanian folk dances and games dance in unity, however they vary in execution and in relation with inspiration and emotions of those dancers. In the development of the folk dances it is observed a large amount of rhythms, an extended range of tempos, as many forms of presentation, appearance and expression. Taken together, dances blend elegance with vivacity of the movements, with tenderness of the female dancing, a special note with shouts and shout that accompanies almost continuously beyond the game. The cultural and artistic manifestations of students is an opportunity to achieve preserving and transmission of traditions, habits, songs and dances from one generation to the next and strengthen cultural and spiritual identity of the Romanian people. Variety of the folk material, of the music and folk dance, creates situations that allow complex knowledge of life and soul of a nation. It is therefore our duty of those, who work with students, to familiarize them from very early times of childhood and to develop the passion and love toward music and folk dance.

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Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Folk dance, described in Folkloristics through notions like traditional dance, or, more often, folk choreography, refers to a specific domain of traditional spirituality, and is the third major component of folklore, alongside traditional literature/literary folklore and traditional music/musical folklore.The relation between folk dance and the Romanian education system is a long-lasting one, having taken various forms and degrees of intensity, as this folklore category offers resources and contents that have been used, and still are, in the education of children, youth, and adults. This article refers to the basic components of folk dance distinguished in Ethnochoreology which can offer useful contents to the process of didactic transposition at different levels of education in the Romanian school.

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Jindo Drum Dance is an extremely distinctive form of Korean folk dance that is still very much alive as a performance medium and has been designated by the Jeollanam-do Government as an example of intangible cultural heritage. Current research on Jindo Drum Dance has focused on its choreography, comparing different styles and genres and analyzing specific dance movements; methodological studies on the practice level, however, remain very limited. Through a combination of visits and field studies, I have categorized and summarized the strength, energy and charm of Jindo Drum Dance from a first-person perspective, and have further investigated the cultural connotations embodied within the dance form. This paper firstly aims to promote a broader perspective of Jindo Drum Dance through integrating theory with practice and then aims to provide further references for those who study Jindo Drum Dance by sharing my own personal experiences.

Introduction: This study aimed to compare spine curvatures in the sagittal plane, spine mobility, and the intensity and frequency of low back pain among Polish folk and ballroom dancers. Material and methods: The study involved 19 folk dancers and 15 ballroom dancers aged 18-32 with an average dance experience of 7.7 years. A control group (17 non-dancers) was matched for age and gender to the studied groups. An electronic inclinometer was used to assess spine curvatures; spinal mobility was assessed using Otto's and Schober's tests, and the intensity and frequency of back pain were assessed using an author questionnaire with a VAS scale. Results: The analysis of the results showed significant differences in the angle of thoracic kyphosis between folk and ballroom dancers (40 vs. 33, p=0.002). The studied groups did not differ in other measurements (p>0.05). The analysis of the relationship between pain intensity and thoracic spine mobility showed a very strong and negative correlation only in the group of non-dancers (R= -0.95, p=0.003). Conclusions: - Folk dancers are characterized by a greater angle of thoracic kyphosis compared to ballroom dancers. - Due to the high prevalence of back pain among dancers, further research on risk factors in this population is recommended. - People at risk of developing back pain should be encouraged to exercise regularly and incorporate ROM exercises into their daily activities. [ABSTRACT FROM AUTHOR]

Considering the necessity of cultural continuity; the function of cultural venues is needed to be examined as the places where culture is produced and transmitted in the field of folk dances as well as in other cultural areas. At this point, with concern of cultural values being vanishing as the places where culture is kept alive and transferred to the future generations, comes the concern of culture vanishing itself. Two seperate contracts being signed by Unesco in 2003 and 2005 regarding the protection of cultural heritage also validates that opinion as Unesco mainly aiming the protection of cultural diversity and heritage, considering the function of cultural space as one of the most important elements of this activity. Venues of social life in traditional cultural structure of folk dances are places where traditional celebrations and rituals are created and kept alive such as birth, circumcision, marriage, vintage and spring festival tradition. These places are subject to a rapid change and transformation by the effects of todays both global and local conditions and affects. Changing life conditions combined with differences in global and local culture has generated new dimensions in culture and place interaction, and tradition still continues in these transformed venues. Today, the importance of cultural venues in the transfer of folk culture to new generations is more significant than ever considering the negative effects of urbanisation, technological developement and globalisation on cultural continuity and diversity. In this paper; the function and transformation of cultural venues is examined and discussed in terms of culture, place and human.

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The environment of performance has a role as important in production, transfer and representation of oral cultural products as instruments, lyrics and performers. These environments, bearing the traces of their geography and social atmosphere, are so special that they become important determinants of the character of the dances that take place within them. The traditional musical gathering is one of the important performance environments of Turkish Folk music. In addition to it being an important determinant of oral cultural products in a wide area of our country, it also aims to put social rules into practice in a field of socialization. Stories are told, theatrical games are exhibited and folk dances are performed along with regional melodies in traditional musical gatherings referred to as "conversations", "meetings" as well as specific names that vary from place to place such as Ferfene, Yâren, Kürsübaşı, Sıra Gecesi, Barana etc. Traditional musical gatherings, which have occurred up through the present day and originated from Ahî Community (13th century) as it has been determined from sources, are male-dominant conversations. Women have no role in these gatherings. But, through the study of written sources and our field work, it has been determined that there are conversation environments, performance environments for which women gathered. In these gatherings, women appearing in the roles of instrument player, singer, actress, and dancer represent their region and reveal oral cultural products that are specific to women and local dances that are specific to the female body. At this point, we will answer the following questions with the support of visual and aural data that we obtained from field recordings; how do women representatives create a performance environment for themselves for musical gatherings? Do the performance environments they create fit with the traditional musical conversations of Turkish folk music? Do works sung by female representatives and the folk dances they perform in traditional musical conversations reflect their regions' traditional styles and forms? In addition, are there examples that reveal a women's style in these data? etc. In addition to written sources, we will answer the questions by supporting them with the visual and auditory data obtained from the records of the Ankara Club Association (Ankara Kulübü Derneği). While examining local music and describing forms of local dances of 21st century women representatives, we will try to identify women's status in their society and we will evaluate their representation of their form of art in their social environment by in terms of a cause and effect relationship. The scope of the research is related to the impact of the space (meetings with music, chatting environment) on women's execution of art. Questions that constitute the essentials of the research, are based on the assumption that the place of execution (space), where women are present, is closely related to the space theory and social gender coding. As the music is a means of body language in the study, it also appears as the executive of the environment where social gender roles are exhibited; and the women who perform exist as representatives of the tradition in the performance area of the study. [ABSTRACT FROM AUTHOR]

This article examines the role of dance of the Skolt Sámi in Finland in negotiating their history, identity and agency. The Skolt Sámi are a culturally and linguistically distinct group of the Eastern Sámi. Originally, they lived in a wide area, from Lake Inari eastward to the Russian city of Murmansk. Today, most Skolts live near Lake Inari in Finnish Lapland, where they were relocated after World War II. The multiple identities of the Skolts are actualized in many ways, in language, music, religion, but perhaps most distinctively in their dancing. Their dancing traditions, especially the quadrille, separate them from other Sámi in Finland and connect them to Northern Russian culture. Despite their dramatic past, the Skolts have preserved their culture and distinctive, yet ever-changing ethnic identities. Their identities are characterized by many points in their social and personal histories, and dancing is a part of the routes they have traveled within these experiences.

The tradition of Estonians’ cultural festivals is a rich topic and may be considered profoundly distinctive for Estonian people. It is a unique way of maintaining and advancing the traditions of national heritage through a variety of activities. Since after World War II a forced separation took place in Estonian national culture and many citizens of the former Republic of Estonia escaped from the Soviet occupation to the Free World (thereby splitting geographically into the groups of homeland Estonians and Estonians abroad), the tradition of cultural festivals continued on both sides of the Iron Curtain, in an effort to maintain traditions under different circumstances. This special issue of the journal is the outcome of a project begun in 2012, to investigate the role of folk dance hobby activities and festival traditions in the maintenance of national culture. During the compilation of the special issue the focus shifted towards the question of the role of Estonians’ traditional festivals in the ever-changing world – their viability and transmission of the traditions of national identity both in Estonia and abroad. This issue covers the experiences of hobbyists in traditional cultural activities, their involvement in festivals, and their cultural contribution, both in Estonia and in communities outside it. Among the basic themes of the articles the following deserve special attention: the place of the Baltic countries’ song festivals in the world cultural heritage and the relationship between new and traditional songs; the role of dance festivals in the preservation and transmission of traditional dancing skills in contemporary Estonia and the nature of cultural heritage being maintained at dance festivals; the role of folk dance among the Skolt Saami, our neighbours in the North, in shaping their history, identity, and future, as well as the connections between contemporary Skolt Saami folk dance and identity; the revitalisation of old folk musical instrument traditions both in Estonia and among the Estonian diaspora; the split and repression in the realm of choir music, due to the forced separation by a foreign power; the recording of World War II refugees’ cultural events on narrow gauge film in Sweden and the identification of the filmed individuals by a group of experts. Another and not less important goal of this issue is to stimulate a more wide-ranging discussion in Estonian society about the role of hobbies and traditional festivals, especially outside Estonia, which are an integral part of Estonian national culture and Estonian folk culture.

Big festivals and folk culture events have been a centuries-old tradition in Estonia. Today, alongside the preservation of national traditions and being cultural events, these events have also become popular leisure activities. Leisure activities are known for their positive effect on humans’ subjective wellbeing through emotional, social and psychological effects. This article focuses on adults’ motivation, both in Estonia and abroad, to engage in folk dance activities and their possible impact on subjective wellbeing. The study was carried out among Estonians living in Estonia and abroad, and it was designed as a mixed methods research. The results indicate that social factors play an important role in motivating adults to engage in folk dance, but also educational aspects are involved, which contribute to the general wellbeing of a folk dancer.