Search

The preservation and promotion of the Indigenous communities' cultural heritage have been a long endeavor of many advocates from across the globe to lessen the possibility of losing it in the future. Thus, without the written documentation of the Tarek dance of the Pala'wan community in Barangay Bulalacao, Bataraza, Palawan, the researcher conducted descriptive research in the barangay. The data collected from the observation and interview among the Pala'wan elders were transcribed and analyzed through framework analysis. Tarek is a stamping dance on a bamboo floor, making a beautiful and synchronous sound with the Basal (the music produced by the percussion instruments), with common steps, namely, taptap, baw'bawi, and sinaraksakan. Furthermore, two sample lesson plans for teaching Tarek in Physical Education among grades 4 and 7 were proposed. The conclusions drawn in this study suggest the conduct of Pala'wan-led seminar-training workshops organized by the concerned units for teachers, dance enthusiasts, and other groups, a field testing of the sample lesson plans, and cultural mapping in other barangays of Bataraza, Palawan. [ABSTRACT FROM AUTHOR]

Lower limb injuries in dancers are a very common complication preventing them from maximizing their performance or even causing one to end their dance career. The aim of this study was to investigate the dynamic stability using the Y-balance test (YBT) in professional folk dancers in comparison with the non-dancers. The study involved 30 folk dancers from the Urpin Folk Group and a control sample of 30 individuals from the general. Analysis of the results showed no statistically significant difference between the folklorist group and the control group in the anterior direction. However, the differences between groups were statistically significant for the posteromedial direction with the medium effect size for both legs and for the posterolateral direction with the strong effect size for both legs. The differences in the composite score for the right leg were not statistically significant with the small effect size, yet the difference in the left leg in the composite score was statistically significant with the strong effect. The results of the study indicate that folk dancers present poorer dynamic balance compared to the general population. [ABSTRACT FROM AUTHOR]

This study aimed to characterize the Pinilisa dance using the dance protocol as performed by a local community in Isabela and to create instructional materials as well as to improve the Pinilisa dance movement. Using ethnographic and narrative inquiry in the data gathering through a Focus Group Discussion (FGD), observation, structured interview guide, and documentation, this study documented, notated, and analyzed the Pinilisa dance as a reflection of the Ilocano culture, as well as the costumes, props, accessories, movement or dance pattern, dance notation, staging (formation) and performance, music notation, and sequencing to facilitate the development of supplemental instructional materials in teaching folk dance in Grade 7 Physical Education subject. This study's key informants were the residents and government employees of Jones, Isabela who are knowledgeable about the Pinilisa dance, including the municipal vice-mayor, municipal administrator, tourism officer, festival organizer, selected Local Government Units (LGUs), choreographers, and PE teachers. This study revealed that Pinilisa dance is an expression of Ilocano culture emphasizing five aspects: political, social, physical, economic, and religious. It is a dance that celebrates the abundant harvest of Pinilisa rice, from planting and harvesting to selling, honoring its people and expressing gratitude for the year's abundant crop. It embodies the Ilocano values of being hard-working, industrious, family-oriented, bayanihan, cheerful, resilient, and God-fearing, which reflects the people of Jones. The instructional materials in which the documented Pinilisa dance is an input for significant use in PE class in Grade 7, particularly in teaching folk dance. It is an additional instrument for uplifting, preserving, and promoting Jones, Isabela's cultural heritage. [ABSTRACT FROM AUTHOR]

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

The article explores the digital innovations that are being used in a folk performance in West Bengal, namely the Chhau dance. The COVID-19 pandemic foregrounded the relevance of digital space across disciplines. Being an expression of the collective experience of the people of the Purulia district, Chhau dance is commonly associated with fostering and perpetuating folk and mythical beliefs through its extensive use of masks and dance movements steered by the Jhumur songs. While the common urge to archive the traditional dance-drama form in its 'authentic' essence precipitates a digital turn within the performance, the digital contact paradoxically reorients the 'authentic' identity of this cultural practice. The present study seeks to use the 'identity–authenticity' interplay in the context of globalization as the crux of the article. Within this framework, the article analyses how a folk cultural practice like Chhau dance, with its recent innovations in masks and performances mandated by the pandemic, problematizes the debate. It further strives to recognize the implications of the digital presence of the performances as well as the performers, which, for many of the traditionalists, might have jeopardized the ritualistic practices that were considered the 'essence' of the performance. The research was conducted through ethnographic methods gathered through fieldwork to gain first-hand knowledge of the ground reality. [ABSTRACT FROM AUTHOR]

Folk dance is an important intangible cultural heritage in China. In the environment where movement recognition technology is widely used, there is still no research field on the protection and inheritance of folk dance culture. In order to better protect and inherit the minority dance, screening the typical movements of 5 types of minority dance, through the dance video frame processing, obtain the key movements of 19 class dance sequence, build the national dance typical action data set, put forward a 3D CNN fusion Transformer national dance recognition network model (FCTNet), the recognition rate of 96.7% in the experiment. The results show that the construction method of the folk dance data set is reasonable, the identification model has good performance for the classification of folk dance, and can effectively identify and record the folk dance movements, which also makes new contributions to the digital protection of folk dance. [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". [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.

Copyright of Yaratici Drama Dergisi is the property of Yaratici Drama Dergisi 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.)

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.

Video analysis of human motion has been widely used in intelligent monitoring, motion recognition, and virtual reality as a research hotspot in computer vision. Dance is a classic form of human motion that is usually performed as a reaction of expression to music. Dance requires a variety of complex motions that closely resemble each other in terms of body postures and hand gestures. It is essential to decompose and monitor the movements to improve the training quality in dance training. To reduce the intensity of professional work in dance and improve the level of dance art, this study proposes a dance recognition system based on the contour model. A Bluetooth-based system is used to collect dancers' movement information. Then, the discrete cosine transform is used to extract distinct features of the contour images and establish the energy map of the national dance posture. The postures in the dance video sequence are combined with the Baum–Welch algorithm to train a hidden Markov model (HMM) with the optimal parameters. The forward and backward algorithms of the HMM are used to obtain the probability of observing the sequence postures. The maximum probability model is considered the posture of national dance recognition. Results show that the model achieved better results with 93.1% accuracy. Through experimental verification, it is demonstrated that the method can effectively improve the level of dance art. [ABSTRACT FROM AUTHOR]

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]

Copyright of Teaching Innovations / Inovacije u Nastavi is the property of University of Belgrade, Faculty of Teacher Education 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.)

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.)

Copyright of Turkish Studies - Language & Literature is the property of Electronic Turkish Studies 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.

This academic paper examines a sacred ceremony known as "Balan" through descriptive analysis. The Nepali community in India, Nepal, and other countries where the Khas subgroup of Nepalis resides does this cultural leisure with religious faith. The majority of the study is done by confining the research area to the Sikkim state of India just since this paper is the outcome of a minor project by the UGC under Sikkim University for the faculties. Under the direction of Khalifa (the master performer), some trained young boys conduct a type of religious rite known as the Balan Nach. A set of religious rites are carried out in a predetermined order while paying attention to the purity of body and mind. The dances, music, and other performances are all quite theatrical and filled with religious choruses. Along with the Ramayana and the Mahabharata stories from the Hindu epics, several deities' poojas are also conducted. Since antiquity, various poetic and musical muddles have been played and passed down from one generation to the next. [ABSTRACT FROM AUTHOR]

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]

The article is dedicated to the analysis of culturological framework regarding the evolution of the scenic dance. In this sense, the philosophy of humanism has largely predetermined the emergence of currents such as classicism, romanticism, expressionism, etc. It is in the context of these currents that the evolution of choreographic art is approached, highlighting those specific factors that influenced this process. At the same time, this problem is approached from the perspective of modernism and postmodernism. [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.

This study examined the implementation of a cooperative learning model for upper grade elementary students. The participants were 30 fifth-grade students and an elementary school teacher with 20 years of teaching experience. The target class was “Jump Bands,” a simplified version of the “Bamboo Dance” from the folk-dance unit of expressive activity. The unit was 10 periods in total. Questionnaires, interviews, and field notes were collected as data. During the implementation process, the teacher was aware of the advantages of the cooperative learning model from the first to the fifth period, although there was some anxiety at the time of introduction. Subsequently, from the sixth to the seventh period, the teacher was aware of difficulties such as a sense of stagnation and lack of perspective. However, from the eighth to the tenth period, the children’s learning situation was found to improve dramatically after adjustment of the plan. The implementation of the cooperative learning model was found to be smooth in some cases, depending on the compatibility of the students’ actual conditions with the conditions of the task, while in other cases, stagnation tended to occur due to incompatibility between the difficulty level of the task or insufficient structuring of the task. Conversely, any stagnation that occurred in the implementation process was resolved by restructuring the task and re-explaining it to the students during the course of the unit, leading to a leap forward in the students’ grasp of the task. It is suggested that coping with a sense of stagnation or difficulty is an important part of the implementation process of an effective cooperative learning model. [ABSTRACT FROM AUTHOR]

This article addresses the issue of the evolution of dance art from a historical perspective: Ancient Epoch, Middle Ages Epoch, Modern Epoch, Contemporary Epoch. For each epoch, the characteristic peculiarities, representatives and values were established and analyzed. The emphasis is on identifying the regularities and factors that influenced and influence the development of scenic dance, but also the role of great choreographers throughout history in this regard. [ABSTRACT FROM AUTHOR]

The main purpose of the article is to confirm an alternative hypothesis about the existence of significant differences between Chinese and Japanese folk dances, as well as to study the perception of East Asian folk dances by people of different nationalities. The main comparable variables were the number and nature of arm and leg movements, head and hip tilts, and smoothness of movement. The materials obtained in the course of this study are eight samples with characteristics of folk solo and group dances of China and Japan performed by female and male dance groups. The obtained results indicate significant differences in the aesthetic principles of Chinese and Japanese folk dances for eight out of ten selected characteristics. All obtained data were checked for compliance with the normal distribution law using the Shapiro-Wilk test. The main analysis of the obtained samples was carried out using the two-sample Shapiro-Wilk test for independent values. The results obtained indicate a low level of potential viewers' awareness of the culture and traditions of China and Japan, despite the existence of significant differences between the choreography of these nationalities. The basic data and methodology of the present research can serve as a basis for further research in the field of dance performances. In addition, the results of the work can be relevant for conducting education al activities in order to familiarize people with the traditions of China and Japan (in particular, dance). [ABSTRACT FROM AUTHOR]

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.

The medium of dance can offer routes other than textual and verbal for expressing women's oppression and also their resistance to it. The folk dance of garba in the Gujarati film Hellaro (The Outburst, 2019) directed by Abhishek Shah is an exemplary instance of this. Further, the present essay traces the history of this dance form to explore the filmic reversal of the traditional understanding concerning garba. Garba changes in the film from being a ritualistic and religious performance to a recreational one, thematically linking women's leisure as a mode of resistance to patriarchy. Moreover, such an understanding of garba serves to highlight women's negotiation of agency in their everyday lives through nonverbal cues, as in the film. [ABSTRACT FROM AUTHOR]

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 present study introduces the role played by the Hungarian Heritage House in applied ethnography and the folk art revival. It is the first such study to review their antecedents over the past 70 years, the evolution of the institutional background, and activities of varying emphasis (research, teaching, certification) in the fields of folk dance, folk music, and folk handicrafts. The second part of the study evaluates professional tasks in the context of the organizational framework of the Hungarian Heritage House, which was founded in 2001, highlighting the internal relationships among activities embedded within the historically developed structure. The study then goes on to describe the intermediary role of the institution in relation to the practical use/usefulness of basic ethnographic research in terms of: (a) knowledge transfer -- the utilization of basic ethnographic research in trainings and courses; and (b) digitization -- ensuring wide access to ethnographically authentic archive folk music and dance recordings as the socialization of basic ethnographic research; and (c) research activities within the scope of applied ethnography and existing and potential cooperation with the academic sector. By way of conclusion, the study outlines pressing tasks in the field of applied ethnographical research that are crucial to the everyday, practical work of folklorism. These tasks include delineating the image (i.e., concept) of folk art and folk tradition in the Hungarian Heritage House; clarifying the terminological issues that affect the profession as a whole; creating a professional historical archive of folklorism; organizing a regular forum for critical discussion; and rethinking the cultural context and function of the folklore revival in light of the present-day challenges. [ABSTRACT FROM AUTHOR]

Copyright of Theatrical Colloquia is the property of George Enescu University of Arts, Artes Publishing House 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.)