Dance Anthropology Research Papers - Academia.edu (original) (raw)

2025, Studia ethnologica Croatica

The present paper explores the negotiation of national identity in contemporary mega sporting events. The study focuses on certain performances of Greekness through Zorba's dance in national sporting victories, especially in basketball. The attention shifts onto wider nationalisation processes by highlighting the socio-political relations of sport. The fieldwork took place in the broader area of Athens (Attica) and Patras (Peloponnese), between September 2020 and September 2022. It was based on Visual Anthropology methods, working with interlocutors who are engaged with sports in various ways. Through endearing habits, athletes and fans can constitute different embodied performances inside and outside the stadiums, where sport as a performative place of collectivity and solidarity invites a continuous embodied creative action highlighting how complex, versatile, and political it can be. This paper is open access and may be further distributed in accordance with the provisions of the CC BY-NC-ND 4.0 HR licence.

2025, INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY EDUCATIONAL RESEARCH

ABSTRACT: The Indian women writers have always expressed their opinion and agony through their writings
at all times. Patriarchy and imperialism have exerted dominance over the subsidiary women, so it was important
to come out to the front position and expose the undue cruelty be held on them by men. It was necessary for the
women to oppose this male dominance over them. Indian women writers portray the injustice, the suffering and
the misery they received in a male dominated society. In this man centric world they are trying to bring out the
feminine individuality through their works. Though the Indian women writers try to depict the women as strong
and focused in their vision to succeed in lives, they were, however, ablest to succeed in their lives only in the
space fixed to them by the men.
Indian women writers never attempted to take up any masculine roles to achieve themselves as equal as men, but
through their writings they came across all the barriers of class, gender and space boundaries. Through their
works the Indian women writers aim to project women’s responses to gender questions. However, they tried to
depict the fact that writings of women need not be differentiated by language or location.

2025, African Studies

Culture, and its bedfellow cultural rights, are fast becoming ubiquitous global concepts and rallying cries in today's world. If the second half of the 20 th century saw the ascendancy of universal human rights, as this century unfolds we are witnessing the relentless rise of cultural rights in law, policy, rhetoric, and everyday practice. Some of the reasons for this flourishing (such as the concomitant explosion in identity politics, and a growing culture of entitlement) will be discussed in this Special Issue, primarily with regard to Kenya, whose new (2010) constitutional cultural rights provisions provide a useful case study whose implications go way beyond that country. Many of the articles share an analytical framework of governmentality and citizenship, linked to culture, rights and constitutionalism, which has applications across the continent. This Special Issue is the main written output of the ESRC-funded research project 'Cultural rights and Kenya's new constitution', which was based from 1 September 2014 to 30 September 2017 at The Open University, UK. 1 Core articles by members of this interdisciplinary research team are complemented by contributions from other scholars and practitioners who bring fresh and exciting perspectives that are largely, like ours, based on new empirical research. These other perspectives look beyond Kenya in some cases (for example Harriet Deacon; Jérémie Gilbert & Kanyinke Sena; Celia Nyamweru & Tsawe-Munga Chidongo; and Yash Ghai), and we believe the insights and analysis expressed in these pages can be applied more broadly to other countries in Africa and beyond. The team set out to examine and analyse the different ways in which Kenyans are engaging with culture and exercising their cultural rights, following the promulgation in 2010, following a public referendum, of a new constitution which enshrined such rights for the first time (see Deacon; and Ghai in this Special Issue). These rights included, for example, rights to ancestral land, cultural expression, protection for traditional knowledge, endangered languages and intellectual property, promotion of alternative forms of dispute resolution, and simply the right to 'enjoy' one's culture. At the same time, the constitution outlawed harmful cultural practices, without naming any. In the event of a clash between cultural rights and human rights, it was clear (though maybe not entirely so to all citizens) that the constitution would trump 'tradition'. It also allowed for the devolution of governance to 47 new county governments which have, since 2013, been extremely active in promoting and employing culture for economic, political and other ends. 2 This

2025, Eurythmie

In the heart of Zug lies a training center that treats dance not as a performance, but as a practice-an art form that speaks as much to the inner self as it does to the audience. Eurythmie Zug Training Center has redefined what it means to attend a dance school in Zug, offering a movement-based education that is personal, profound, and rooted in purpose.

2025

This essay analysed the legal restrictions imposed on women by the 2017 Burundian Decree No. 100/196, regulating the operation of drums at the national and international levels. It argues that despite the fact that ancient Burundi drums were more than mere musical instruments, they were also sacred objects for the purpose of ceremonial use and were only used in exceptional circumstances and according to specific rituals. However, before the promulgation of the decree, drum beating was more a business-related performance where even some women were participants. This essay posits that drum beating basically represented all the major happenings of the country: enthronements, funerals of rulers or celebrating the cycle of seasons. It is also assumed that the politicization of an erstwhile cultural performance fosters the discrimination of an already marginalised layer of the society; women. One of the most surprising features, however, is that the different parts of the drum are named a...

2025, International Journal of Creative Research Thoughts

Acharya Shri Vidyasagar Ji Maharaj, one of the mentors of the National Education Policy 2020 of Bharat, was a revered saint of Jainism. He gave his sermons on holistic education and lifestyle, along with Jain scriptures. His educational thoughts are highly remarkable in the contemporary world. His concerns are primarily on the moral and character development of the student. He was also a strong supporter of women’s education. He gave much attention to vocational education and developing entrepreneurial skills in students. His view on environmental education is remarkable. This qualitative review article presents an overview of his educational philosophy and its relevance in the contemporary world.

2025, I Congreso Internacional de Estudios de Danza y Sociedad. Libro de actas

A lo largo de la historia moderna, la celebración de bailes de máscaras
fue una constante en las cortes europeas como evento social y cultural.
En España, esta tradición tuvo que enfrentarse con las reticencias de la
jerarquía eclesiástica cuya influencia supuso repetidas prohibiciones o
limitaciones las cuales duraron hasta bien entrado el siglo XIX. Podemos
aventurar que la ciudad de Huesca no fue una excepción, teniendo en
cuenta la información de la que disponemos relativa a los diferentes
espacios escénicos y crónicas de fiestas conservada en los archivos
locales.

2025

Adler's perspective on personality was broad and open; he saw the person as a whole, unified organism and underlined the need for the individual's relationship with the rest of society. This study thoroughly examines Adlerian theory compared to psychoanalytic, cognitive-behavioural, and humanistic methods, showing its clinical uses using thorough case studies and empirical research. The current study offers a critical debate meant to improve the knowledge of Adlerian psychotherapy using systematic and narrative review techniques. Adlerian psychotherapy is still a relevant and valuable therapeutic tool for dealing with the need for social relationships, human purpose, and personal development. Modern critiques of its theory underline the need to know the person's lifestyle and the social setting in which they function. Adlerian therapy keeps evolving, including contemporary methods, while keeping its fundamental values of support and community spirit. Adlerian psychotherapy provides a complete framework that tackles personal problems and the larger social forces in play. Future studies should investigate its use in various cultural settings and its integration with other therapeutic approaches to guarantee its adaptation to the evolving scene of mental health treatment. In the end, Adlerian psychotherapy is a monument to the ongoing relevance of Alfred Adler's observations on human conduct and interpersonal interactions.

2025, Танцът на скръбта: слядното хоро като телесен израз на колективната травма

Настоящото изследване е посветено на "слядното хоро"-български народен танц от Южните Родопи и Западна Тракия, който е почти изгубен в забвение. Хорото се свързва със селата Черничево, Аврен, Сачанли, Манастир, Дервент и др. Разпространението му в сравнително ограничен район показва, че то е възникнало и се е запазило в специфичен исторически контекст, отразяващ опита на местното население. Целта на това изследване е двойна: първо, да се направи цялостен преглед на този образец на нематериалното културно наследство на българския народ; и второ, да се създаде основа за бъдещи изследвания в тази област.

2025

A text in two parts. A discussion of her emerging methods is presented by H’Doubler herself in Part One, “Miss H’Doubler Remembers”. Here, speaking to dance students at Wisconsin ca. 1963, she recalls how she arrived in Madison, what occurred when she discovered women’s sports, the invitation to ‘stay on’ after graduating to coach basketball and baseball, the assignment she reluctantly accepted from her supervisor to “look into dance’” while pursuing graduate studies in philosophy at Columbia University, and the new life she discovered for herself when she came back to Madison in the summer of 1917 to teach her first dance class. I’ve inserted italicized ‘sidebars’ within the text to provide additional information and context.
Part Two is a re-presentation of Miss H’Doubler’s 1925 text "The Dance and its Place in Education." Developed out of her graduate MA thesis, it considers dance in education broadly; that its instruction involved more than just the study of its forms. Without explicitly saying as much, because no one, as yet, was thinking in these terms, H’Doubler presents dance studies as if they constituted the study of a discipline.

2025

Vehicle Routing Problem (VRP) may be a loosely renowned NP-Hard ombinatorial improvement issue. This paper analysis of proposition of a memetic calculation with reenacted tempering (RT) as direction based mostly strategy for coping with the Capacitated Vehicle Routing Problem with Time Windows (CVRPTW). a completely unique hybrid administrator, the Single Breaking-point Sequence Based Crossover (SBSBX), is conferred and contrasted and a loosely utilised administrator, the Sequence-based Crossover (SBX). Introductory investigations demonstrate that the distinctive hybrid directors intensely have an effect on the conservation of tight selection within the people.

2025, Anthropology of East Europe Review

The Anthropology of East Europe Review Volume 22 Number 1 Spring 2004 ... Signifying Self in Plural Cultural Contexts: Subjectivity, Power and Individual Agency in North-western Greek Macedonia ... Ioannis manos Department for balkan... more

2025, Γλώσσα και (επιστημονική) φαντασία: οι τεχνητές γλώσσες

Ομιλία στο Πανεπιστήμιο Κύπρου, 10/03/2025

2025, De Jure 17 (2)

This article explores the intricate relationship between law and dance through a ‘choreolegal’ perspective, redefining legal theory via movement, embodiment, and performance. Drawing from Critical Legal Studies and
interdisciplinary frameworks, it argues that dance is a legal method, a source of normativity, and a means of emancipation. It examines how choreography shapes legal cultures, judicial proceedings, sovereignty, and
diplomacy while influencing conflict resolution, human rights advocacy, and indigenous legal traditions. Challenging rigid binaries of logic and aesthetics, this study reimagines justice as a dynamic, embodied practice,
revealing law’s fluid, performative, and deeply human nature.

2025

This article examines variation and standardisation created by the structural assembly of motifs in the 'classic' Bulgarian dance Paydushko horo and how this affects the dance phrase. I propose that there are a number of different, but related, dance 'families' that are generically termed Paydushka by the choreographers and dance collectors. This article only considers the 'classic' widely popular form, however from the geographic distribution of related dances it seems likely that dances in this rhythm are endemic to the lower Danube region. I conclude that as concordance with the music is not culturally required, the dance phrase length is generated by the selection of motifs in the dance, however some adaption might happen to maintain the popular 10-measure or 12measure phrases.
https://eliznik.me.uk/wp-content/uploads/articles/Nick-Green-ELIZNIK-Pajdushka-structure-2025.pdf

2025

Kültürel değerler çerçevesinde bir miras olarak görülen halk oyunlarının, sosyal hayat içersinde canlılık gösterdiği bölgelerden biri de Türkiye’nin doğu Karadeniz bölgesinde fındık üretimi ve yeşil doğasıyla anılan Giresun ilidir. Türkiye Cumhuriyeti’nin kuruluş sürecinde, topluma aidiyet duygularını geliştirme aracı olarak görülen halk oyunlarının, devlet teşviki ve halk organizasyonlarıyla devam edişi günümüze kadar gelen ‘Türk Halk Oyunları’ paradigmasını doğurmuştur. Bu paradigma kültür, sanat ve sporun kesiştiği bir noktayı tanımlamaktadır.
Giresun halk oyunları, Türkiye’nin sayıca zengin dans geleneğinin bir parçasıdır. Dans etmek Türkiye’de birçok isimle adlandırılır ve hepsi ‘oyun’ ifadesi altında toplanır. Giresun halk oyunları, diğer yörelerde olduğu gibi karakteristik olarak öznel ve bölgesel olduğu gibi oyun geleneği bağlamında ulusaldır. Türkiye’de halk oyunları, evrensel bir olgu olan ve oyuncu insan anlamına gelen homo ludens kavramının iz düşümüdür.
‘Etnokoreoloji’, kaynağı tarihsel bir sürece dayalı, gizemlilik ve ritüel özellikler barındıran dansları konu alan multidisipliner bir bilimdir. Etnokoreoloji, dansı incelerken ,halk bilimi, etnomüzikoloji, antropoloji, etnoloji, sosyoloji, tarih, psikoloji, arkeoloji, ikonoloji ve semiyoloji gibi birçok bilimden yararlanır. Halk oyunları, yararlanılan bu bilimlerin hiç birisinin asıl öznesi olamayınca, hepsinyle ortak çalışan ‘Etnokoreoloji’ bilimi doğmuştur. Bu kitapta Giresun halk oyunları, etnokoreolojik bir bakış açısıyla değerlendirilmeye çalışılacaktır.

2025, Journal of East Africa Studies

This paper examines the over-criminalization of the tribe in post-colonial Kenya through the lenses of postmodern and postcolonial literary theory. The tribe, often demonized as a threat to national unity and cohesion, has been positioned as the "other" in the discourse surrounding national identity and political stability in Kenya. Rooted in the colonial strategy of "divide and rule," the fragmentation of ethnic groups has been perpetuated by both colonial and post-colonial powers, resulting in a continuous marginalization of local identities. By analyzing the narratives of tribe in post-colonial literature, political discourse, and law, this paper argues that the demonization of ethnic identities serves as a mechanism for maintaining the hegemony of the ruling elite while simultaneously disavowing the complex social realities of ethnic diversity in Kenya.

2025

Customs and traditions of any nation act as a powerful lens through which we can understand a nation's values, beliefs, and attitudes. They are the outward manifestations of a nation's shared history, traditions, and social norms. Traditions serve as a powerful reflection of a community's ingrained behaviour. They are the rituals, customs, and practices passed down through generations, shaping how people act and interact within their social groups.

2025, Revista Código Civil y Comercial

En este breve trabajo se propone un análisis crítico del llamado diálogo o armonización de fuentes. Se recurre a los trabajos de los autores que han defendido su incorporación en la metodología jurídica iusprivatista y se hace una análisis crítico del Anteproyecto de Código de Defensa del Consumidor. La cuestión es abordada desde una matriz analítica
a partir de algunos conceptos fundamentales de la teoría general del derecho. Se concluye que se tratan de expresiones teórica y metodológicamente problemáticas.

2025

What happens with the feeling of "being in the zone" or with the flow (after Csikszentmihalyi 2001) when members of International or Bulgarian folk dance communities can only dance together on zoom? Or, what happens if every dancer is required to wear a mask in the dance hall? How do these experiences reveal the "true" nature of dance and dancing with others? This paper discusses these questions while analyzing surveys and observations, starting with the author's reflection on her personal experience.
Keywords: dance, Covid-19, flow, Zoom
...
Reconsidering Knowledge Production and Inclusion/Exclusion in Dance Communities
Proceedings of the 32nd Symposium of the ICTM Study Group on Ethnochoreology
29 July–5 August 2022, Brežice, Slovenia
Edited by Rebeka Kunej and Ann R. David
Issued by the International Council for Traditions of Music and Dance (ICTMD)
ZRC SAZU, Institute of Ethnomusicology
Published by Založba ZRC, ZRC SAZU
2024

2025

Ritual Mappandretasi dibudayakan oleh masyarakat Bugis untuk menyampaikan rasa kesyukuran dan penghormatan kepada semangat ghaib. Upacara ritual Mappandretasi bermaksud sajian makanan yang dihanyutkan ke sungai ataupun laut sebagai persembahan sajian kepada mahluk ghaib yang dipercayai ada kaitan kekeluargaan dengan keluarga yang mengamalkan ritual tersebut. Selain itu, ritual Mappandretasi juga digunakan sebagai upacara pengubatan dan tolak bala. Namun, peredaran masa yang semakin membangun mempengaruhi ritual tersebut yang dahulu sangat dipatuhi perlaksanaan upacaranya kurang diingati dan mengalami perubahan. Penyesuaian yang baharu terhadap upacara ini semakin melenyapkan keaslian upacara ritual yang sebenar kerana pengamalnya semakin hari semakin berkurangan. Kajian ini bertujuan untuk mengenalpasti perbandingan pelaksanaan dalam upacara ritual Mappandretasi masyarakat Bugis di pantai timur Sabah dan faktor-faktor perubahan dalam pelaksanaan tersebut. Melalui kerja lapangan data...

2025

The essay, ‘Masters and Muses: Abhinaya Transmission in Twentieth-Century Bharatanatyam’ (2025) by Jeetendra Hirschfeld focusses on the transformation of abhinaya (expressive storytelling). Highlighting the contributions of nattuvanārs (dance masters) and courtesans, it examines how their interdependence shaped the art form. The article delves into the nuanced differences in their approaches, using the Tanjore Quartet varnam Dāni Ké as a brief case study to illustrate the tension between structured teaching and spontaneous, lived expression. It underscores the importance of preserving these diverse contributions to maintain Bharatanatyam’s emotive and artistic depth. Note:
In 2009, a slightly different version of this article was originally published on the blog sathirdance.blogspot.com. Photos were added in 2025.

2025, eliznik.me.uk

This paper combines a choreological analysis of the use of syncopation in dance steps and a musical analysis of rhythmic asymmetry of the Romanian traditional couple dance known as Învârtita, and the related Soroc from Banat, addressing... more

2025, Polis (santiago)

El presente artículo se enmarca en el campo de la comprensión acerca del sentido que se le otorga a la escuela. En este caso se contextualiza la pregunta en estudiantes mapuche que asisten a un colegio rural de alta vulnerabilidad socioeconómica. A través de un enfoque cualitativo se buscó principalmente comprender el sentido que le dan niños y niñas a la escuela y las motivaciones que tienen para asistir. Participaron 20 niños y niñas en dos grupos focales. Luego de los análisis iniciales se procedió a volver al campo realizando diez entrevistas individuales. Los resultados muestran que el sentido de la escuela se configura tanto por motivaciones internas como expectativas que tienen los padres sobre el futuro de sus hijos. Desde la mirada de los estudiantes, tanto profesores como padres motivan a los estudiantes a salir de la ruralidad, a seguir estudios superiores como una fórmula de éxito social. Palabras clave: Sentido de la escuela, Educación rural, Educación intercultural.

2025, Etnomüzikoloji Dergisi

The purpose of this paper is to present the local musical tradition of the villages of Drama, which are part of the general Greek rural folk musical tradition. Drama is a geographical region of Eastern Macedonia in Northeastern Greece, consisting of a main town, Drama, and many surrounding villages. The villages of Drama are known for their unique local musical tradition, which varies from village to village. In these villages we find an accompaniment, called “zygiá” in Greek, made up of two musical instruments, a combination of the lýra, gkáinta and ntaharé. In particular, this paper deals with the villages of Xiropótamos, Monastiráki, Pírgi, Kalí Vrísi, Micrópoli, Pagonéri, Vólakas, but concentrates on the case of the village of Petroússa. It aims to describe the local musical tradition of Petroússa more precisely (i.e. which folk instruments are played, what are the main songs and instrumental pieces, what are the prominent rhythmic structures?). This study also gives a general idea of when and how local folk music is performed in Petroússa and who were and are its main bearers. More importantly, this paper comments on the musicological characteristics of the Drama folk musical tradition, providing examples, and exploring the social factors that have influenced it.

2025, Research Article

The features and functions of dance have been discussed in many ways and have been the focus of the attention of researchers. One of these features is the healing feature of dance. Research in which the findings obtained from laboratory experiments and social observations take an active role is very important in testing the functions of dance. Shamanism, which takes place in the origin debates of Turkish folk dances, continues today by being updated with dance therapy. In this respect, Turkish folk dances can be examined under the headings of folk medicine as a type of dance with the healing feature. The common points between the concepts of Turkish folk dances, dance therapy, and folk medicine help explain the healing function of dance. In this study, the findings obtained through literature review and participant observation were handled with qualitative data analysis method. The data analysis method developed by Henry F. Wolcott was applied and the findings were described, analyzed and interpreted. According to the findings that constitute examples, the audience, performer and learner of dance benefit from the purpose of healing. These benefits are divided into two headings as physical and spiritual. The article provides information about the overlapping and differentiating points between the concepts mentioned.

2025, Etnofoor

This essay explores the complexity of enacting what I call “Crip utopian performatives” within integrated dance, a field in which dancers both with and without disabilities collaborate in creating shared art work, focusing on the ways some of the politics of this field are navigated by dancers and creators. Drawing on extensive ethnographic research, the essay examines the struggles involved in the endeavor to effect inclusivity in dance, contextualizing Crip utopia within the realms of performance and dance, emphasizing the ways these practices can both challenge and reinforce existing power dynamics and ableist structures. It delves into the artistic
and political dilemmas that arise when attempting to create inclusive spaces, where decisions about casting, choreography, and representation can lead to frictions and conflicts, reinforce power differentials or provoke notions of “victim art” or “disability porn.” These challenges are framed within the broader discourse of disability politics, drawing on theoretical perspectives from Crip studies, performance studies, and dance anthropology. Through a close analysis of behind-the-scenes integrated dance practices, the essay as a whole addresses the pitfalls and possibilities of Crip utopian performatives, highlighting the ongoing negotiations between artistic expression and socio-political activism, arguing that the pursuit of a Crip utopia in dance is fraught with contradictions and limitations, yet remains a vital endeavor, a space for imagining and enacting more just and accessible futures. Ultimately, the essay contributes to the understanding of how disability, performance, and politics intersect, offering insights into the embodied realities of creating Crip utopian performatives in an ableist world, as well as points of
reflection on utopian world-making in general.

2025, BLACK THEOLOGY

ABSTRACT
Within the historical formation of Jamaica, Christian rhetoric and rhetorical practices ritually exiled African Diaspora/Black Atlantic women and their bodies from essential human and feminine value systems. However, there were other scripts brought to the island in the bodies of African peoples who arrived as captives in a pernicious Christian project. These scripts promote, value and affirm the bodies of African peoples as sacred and divine. This article presents an ethnographic exploration of Jamaican Catholic women’s bodily presence and performance at the Liturgy of the Eucharist, highlighting critical spiritual practices around the notion of body as temple. In the enlivened space of contemporary Jamaican Catholic Christianity, Jamaican women participate in ongoing rituals of body reverence, the claiming, re-claiming and repossessing of body-selves, in order to become dynamic crossroads spaces where human and divine regularly encounter and intermingle.

2024, Revista Universidad EAFIT

La metodología se basa en el viaje por cuatro mundos: artes, ciencias, corporal y vida en sociedad. Las actividades y vivencias despiertan intereses, habilidades, destrezas y gustos. Foto cortesía Comfama.

2024

In ‘Embodying the Heroine in the Tanjore Quartet Varṇams’ (2025), I examine the refined artistry of Bharatanatyam, with a focus on the courtesan (heroine, nāyikā) as depicted in the Tanjore Quartet’s iconic compositions. This article delves into historical contexts, poetic subtleties, and the performer’s transformative role in bringing the courtesan to life. It explores how circumstances, emotions, and music converge to create a narrative filled with depth and emotional power, showcasing the seamless connection between text, melody, and dance.
In 2009, a slightly different version of this essay was originally published on the blog sathirdance.blogspot.com.

2024, Mîn sang sol wesen dîn. Deutsche Lyrik des Mittelalters und der Frühen Neuzeit: Interpretationen, hg. von Tobias Bulang, Holger Runow und Julia Zimmermann

Der Wilde Alexander: Dô durch der werlde unmüezekeit (KLD II,12f. / LDM J WAlex 15f.) Dô durch der werlde unmüezekeit her abe von küninges künne schreit daz tihten und daz singen, von sündehaften schulden ez quam 5 daz daz seitspil urloub nam und der juncvrouwen springen. dô viel ez an die ergern hant. ein armiu diet sichs underwant, ûf daz der künste niht gieng abe. 10 dô truogn die herren durch die kunst den selben helfebaere gunst unde nerten sie mit varnder habe. (KLD II,12 = J 15) Swer in daz reht verstürzen wil, der sol üeben seitenspil und niuwiu lieder singen und schricken zuo der hôchgezît 5 als vor der arken künic Dâvît. diu brût sol selbe springen als künic Herôdes tohter spranc; sô nimt diu kunst ein widerwanc hin ûf sam sie her abe ist komen. 10 dunkt aber iuch daz ein schemelich leben und künt irs niht, sô sult ir geben den die sich kunst hân an genomen.

2024

More than 20 million overseas Chinese and Indian diaspora are living in the Southeast Asian countries.Historically, Southeast Asia has been hugely influenced by both India and China in the realms of art, culture, architecture, court etiquettes, religion and many other things. The mythological stories and mythological Indian figures are seen in the the old monuments of Indonesia and Thailand and other southeast Asian countries.

2024, Patrimonios en riesgo Múltiples miradas

La comida tiene un papel central en la Danza de Arrieros que se realiza en el pueblo de San Bartolo Ameyalco, en este texto se dan elementos etnograficos e históricos sobre la danza y los cambios que ha sufrido.

2024

Over the last few years a lot of research work HUMANOS Y NO-HUMANOS: UN BALANCE DE LA ETAPA ALCANZADA EN LA SOCIOLOGÍA DE LOS COLECTIVOS Humans and non-humans: a progress report of the sociology

2024

Dance rehearsals of the Bulgarian diasporic dance communities play a crucial role in the life of the dance groups, the individuals involved, and the communities. But what do these rehearsals look like as a structure and process? What do people rehearse/repeat every week? What is going on after the rehearsal? In what ways are the diasporic Bulgarian rehearsals similar or different from 1) the folk dance ensembles/groups and 2) the folk dance clubs in Bulgaria? Who leads them, who attends, when, where, and how often? How do group' leaders' and members reflect on their experience after ten or more years of practice? I suggest applying an interdisciplinary approach, which would present a broader framework for studying a multifaceted cultural phenomenon like a rehearsal. My research benefits from the studies presented during the 15th Symposium of the ICTM Study Group on Ethnochoreology (Copenhagen 1988) on "The Dance Event: A Complex Cultural Phenomenon. I follow Ronström's point that "event" is fruitful as a theoretical concept because of the processual and futural aspects it implies. I outline insights from sociological studies (after Goffman 1967 and Wenger 1998). I observe Lotman's understanding that "each fragment of the semiotic structure or individual text preserves the mechanisms for reconstructing the entire system" (Lotman 1992). I also take a philosophical stand, viewing the rehearsal experience as transformative (after L.A. Paul 2014). This topic has not been studied before. The outcomes of this research may provide a foundation for further studies.

2024, The Choreography of Traditional Dance on Stage: Crises, Perspectives and Global Dialogues

This paper investigates the history of Romanian ethno-choreography and its proponents by drawing from documentary sources and the author's long-term fieldwork. It explores multi-layered notions of local cultural norms, choreographic... more

2024, Konservatoryum

This paper aims to frame and contextualize Selena’s research between 2010 and 2019 in villages with a Serbian population situated in the Danube Gorge in Romania and in particular the village of Svinit,a (Svinica). Selena’s research focus... more

2024, Book of Proceedings from the 4th Symposium “THE UNKNOWN”

This paper presents two case studies of customs from Southern Romania that are also found in some villages in northern Bulgaria; the custom of dedicating a dance to a deceased person during a community cultural event, known as Hora de... more

2024, Dance Chronicle

This paper investigates how engagement with the Ugandan Baakisimba folk dance tradition enables cultural resilience and identity continuity for members of the Ugandan diaspora community in Trondheim, Norway. Through an immersive seven-month ethnographic study involving participant observation and interviews, the findings reveal baakisimba’s versatility as a vehicle for intergenerational transmission of intangible heritage, as a tool for strengthening social cohesion, and providing a conduit for productively processing nostalgic sentiments. Analysis of a baakisimba performance during a baptism ceremony demonstrates the dance form’s effectiveness in shaping communal belonging and sparking continuity with Ugandan cultural roots despite migration’s ruptures. The research underscores embodied artistic practices’ considerable capacity to mediate complex relocations.

2024

Ich lasse nun zuerst einen Auszug aus dem Platon-Kapitel aus dem Werk "Kleine Weltgeschichte der Philosophie von Hans Joachim Störig folgen: "Als ich einst jung war, ging es mir wie vielen anderen: Ich hatte im Sinn, sobald ich mein eigener Herr wäre, mich sofort der Politik zu widmen. Diesem Entschluss stellten sich aber folgende Erfahrungen im öffentlichen Leben in den Weg. Unsere damalige Verfassung galt in weiten Kreisen als minderwertig, und so kam es zu einem Umsturz. An der Spitze der neuen Verfassung standen 51 Männer... 30 aber übernahmen die gesamte Regierung mit unumschränkter Gewalt. Unter ihnen hatte ich einige Verwandte und Bekannte, und diese versuchten nun sogleich mich heranzuziehen... Die Erfahrungen, die ich hierbei infolge meiner Jugend machte, sind weiter nicht verwunderlich. Ich hatte geglaubt, sie würden die Staatsverfassung aus einem ungerechten Leben in die Bahn der Gerechtigkeit lenken, und so achtete ich gespannt darauf, was sie tun würden. Und da sah ich dann, dass diese Männer in kurzer Zeit die frühere Verfassung als das reine Gold erscheinen ließen. Abgesehen von anderem beauftragten sie einen mir befreundeten älteren Mann, Sokrates, den ich nicht anstehe, den rechtschaffensten Mann jener Zeit zu nennen, mit anderen, einen Bürger mit Gewalt zur Hinrichtung herbeizuführen, um ihn so... an ihrer Politik mitschuldig zu machen. Dieser aber gehorchte ihnen nicht, sondern riskierte lieber alles, als sich an ihren frevelhaften Handlungen zu beteiligen. Als ich das alles sah und noch manches andere derart und nicht eben Kleinigkeiten, da erfasste mich ein Widerwille, und ich zog mich von diesem verbrecherischen Regiment zurück. Bald darauf wurden die dreißig und mit ihnen die ganze Verfassung gestürzt. Da begann mich wieder, zwar viel langsamer, aber eben dennoch die Lust zu politischer Tätigkeit zu erfassen... Nun geschah es aber, dass einige der Machthaber jenen unseren Freund Sokrates vor Gericht zogen, indem sie die frevelhafteste Beschuldigung gegen ihn erhoben, die am allerwenigsten auf Sokrates passte: Sie zogen ihn nämlich wegen Gottlosigkeit vor Gericht, verurteilten ihn und ließen ihn hinrichten, ihn, der damals an dem ruchlosen Vorgehen gegen einen Gesinnungsgenossen ihrer damals verbannten Freunde nicht hatte teilnehmen wollen... Als ich dies sah und die Leute, die die Regierung führten, die Gesetze und die Sitten, und je mehr ich bei fortschreitendem Alter dies ganze Getriebe durchschaute, desto mehr kam ich zu der richtigen Einsicht, wie schwer es sei, Politik zu treiben. Denn ohne Freunde und zuverlässige Parteigenossen war überhaupt nichts auszurichten... Auch nahmen die Verderbnis in der Gesetzgebung und der Sittenverfall in erstaunlicher Weise zu. Und so ergriff mich, der ich anfangs voll Eifer für politische Tätigkeit gewesen war, bei Blick auf diese Vorgänge und bei der Betrachtung dieses ganzen plan-und ziellosen Treibens schließlich ein Schwindel. Zwar ließ ich nicht ab, mir Gedanken darüber zu machen, wie es denn mit diesen Dingen und mit dem ganzen Staatswesen besser werden könnte, und wartete immer wieder auf eine Gelegenheit zum Handeln, schließlich aber kam ich zu der Erkenntnis, dass die bestehenden Staaten insgesamt in einer üblen Verfassung seien. Denn ihr gesetzlicher Zustand ist nahezu unheilbar, wenn nicht eine wunderbare Neuorganisation unter günstigen Umständen ihnen zu Hilfe kommt. Und so sah ich mich denn genötigt, in Anerkennung der wahren Philosophie es auszusprechen, dass nur sie den Blick für die Gerechtigkeit im gesamten öffentlichen und privaten Leben verleiht und dass das Unglück des Menschengeschlechts nicht aufhören wird, bis entweder das Geschlecht des rechten und wahren Philosophie in den Staaten zur Regierung gelangt oder die Machthaber in den Staaten infolge einer göttlichen Fügung wirklich Philosophen werden." (Platon: Brief VII, 324 B -326 B) Hier haben wir, von Platon selbst in einem Brief (den die Forschung als authentisch anerkennt) geschildert, die bestimmenden Eindrücke seines Lebens und manchen Hinweis für die Beweggründe seines philosophischen und politischen Denkens. Platon wurde 427 v. Chr. geboren als Abkömmling einer der führenden Familien Athens. Er war 20 Jahre alt, als Sokrates seinen Weg kreuzte und ihn auf immer bestimmte, die bis dahin betriebenen literarischen Versuche aufzugeben und sich der Philosophie zuzuwenden. Acht Jahre blieb er dessen Schüler. Unter dem erschütternden Eindruck der Verurteilung und Hinrichtung des Sokrates... kehrte er zunächst seiner Vaterstadt den Rücken, ging vorübergehend nach Megera, unternahm später ausgedehnte Reisen, die ihn vermutlich auch nach Ägypten führten und ihn mit der dortigen Religion und Gelehrsamkeit und auch dem ägyptischen Priesterstand bekannt machten. Vielleicht drang er auch weiter in den Orient vor und lernte die Weisheit der Inder kennen -manches in seinem Werk spricht dafür. Auf jeden Fall aber verweilte er längere Zeit im griechisch kolonialisierten Unteritalien und Sizilien, wo er mit der pythagoreischen Schule in enge Berührung trat und bestimmende Eindrücke für sein späteres Denken empfing. Einige Zeit hielt er sich dabei am Hofe des Tyrannen Dionys von Syrakus auf, den er, im Endeffekt vergeblich, für seine Ideen zu gewinnen suchte. Im Jahre 387 v. Chr. eröffnete er in einem Garten seiner Heimatstadt eine Schule, die nach seinem Tode als "Platonisch Akademie" noch Jahrhunderte lang bestehen sollte. Hier unterrichtete er unentgeltlich einen sich alsbald sammelnden Kreis von Schülern. Ganz dieser Tätigkeit lebend, die nur durch gelegentliche erneute, aber wiederum vergebliche Reisen nach Syrakus unterbrochen wurde, erreichte er ein Alter von 80 Jahren und starb in voller Arbeit. Platons Lehrer Sokrates hatte seine Lehrtätigkeit so ausschließlich als unmittelbare Einwirkung auf seine Mitmenschen in Gespräch und Rede betrieben, dass keine Zeile von ihm selbst überliefert ist. Von Platon ist eine Reihe von Schriften erhalten. Es ist sicher, dass der größte Teil von diesen -inzwischen durch die Forschung von späteren Zutaten und Unterschiebungen gesondert -auch von ihm stammt, ebenso einige Briefe. Ebenso sicher ist aber, dass auch für Platon der Schwerpunkt seines Wirkens in mündlicher Lehrtätigkeit lag. Über die Schriftstellerei hat er nicht gerade mit Hochachtung gesprochen -was bei glänzenden Schriftstellern, wie Platon einer war, des Öfteren vorkam. Doch er sagte geradezu, dass er den innersten Kern seiner Lehre niemals einer Schrift anvertrauen und so der Missgunst und dem Unverständnis preisgeben würde. Darüber, sagt er, "gibt es keine Schrift von mir, und es wird nie eine geben; denn es lässt sich nicht wie anderes, das man erlernen kann, aussprechen, sondern es entsteht plötzlich, wie von einem springenden Funken entzündet, ein Licht in der Seele, das von nun an sich selbst erhält." (Platon: Briefe VII) Immerhin sind für uns Nachfahren seine Schriften die einzige Quelle für die Kenntnis seiner Philosophie, und sie tritt uns aus diesen von ihm fast verleugneten Erzeugnissen noch großartig genug entgegen. Ihre Abfassung erstreckt sich über fünf Jahrzehnte. Die einzelnen Probleme werden darin so behandelt, wie sie sich Platon zu der betreffenden Zeit jeweils darstellten. Zu den meisten Fragen sind deshalb Wandlungen in seiner Auffassung ersichtlich. Platons Werke haben fast alle die Form von Dialogen (Gesprächen). In den ersten, bald nach Sokrates' Tod niedergeschriebenen Dialogen ist dieser die beherrschende Gestalt. Auch in fast allen späteren Schriften spielt er eine Rolle; dabei ist schwer auseinanderzuhalten, wie viel von dem, was Sokrates sagt, auf seine eigenen Äußerungen zurückgeht und wieweit Platon die Figur benutzt, um eigenes auszusprechen. Überliefert unter Platons Namen sind 34 Dialoge. Ein Teil davon gilt als nicht authentisch.

2024, Etcetera

e-tcetera.be/ali-asghar-dashti-nasim-ahmadpour-we-came-to-dance-kunstenfestivaldesarts "Can we fundamentally give a dancer an order to stop moving? […] Is dance not defined as the potential movement within the dancer's stillness?" These questions, read aloud in a calculated calm, resound throughout We Came to Dance. Iranian director Ali Asghar Dashti and playwright Nasim Ahmadpour introduce the performance as a socio-performative action, a contract between the audience members and the four readers on stage, which may or may not be the actual people credited as the makers and performers of this piece. I say readers, for these individuals deliberately refrain from performing a character or even their self; they don't really engage with the audience, either. Nothing is spontaneous or contingent, not even an involuntary gesture. Everything that appears or does not appear is already prescribed by the projected hypertext, leaving nothing to chance.

2024

Transcript of the third episode of the Sathir Dance Podcast, titled “From Tanjore to Baroda: Mahārāṇī Chimna Bāi.” This episode explores the life of Chimna Bāi I, the 19th-century Mahārāṇī of Baroda and adopted daughter of Princess Vijaya... more

2024

Increasing commonality across their models allows commercial aircraft manufacturers to reduce the product development cycle time and tailor their models to their customers' needs. The cockpit is an area where commonality is thought to be particularly desirable, since it also simplifies the pilots training process for the airline companies. However, no set of metrics is currently able to measure the efficiency of commonality application at this level from a total lifecycle standpoint. In this paper, we propose a set of metrics adapted to large commercial aircraft and taking into account the main parts of the product lifecycle. The concept of lead time is central in our measurement of commonality, as it strongly influences the value of the aircraft for all primary stakeholders. We examine the extent to which these metrics are independent from aircraft particularities (such as physical dimensions). We indicate their limitations and what additional research should be performed to obtain a set of metrics able to measure the efficiency of commonality implementation for the whole aircraft. We use the example of two competing medium-haul aircraft families to test our set of metrics. We evaluate the efficiency of commonality according to our metrics and we compare with field results obtained from the manufacturers' studies and from the results of interviews of airlines pilots. We show how our set of metrics can help determining how to optimize the level of commonality for all stakeholders.

2024, Community Engagement Through the Arts: Case Studies from Southeast Asia

In Johor, Malaysia, the traditional dance form known as Permainan Zapin has faced significant challenges due to the pervasive forces of urbanization, modernization, and shifts in performance orientation, leading to a preference for proscenium stage Zapin performances. These challenges can be traced back to an array of Zapin festivals organized by Yayasan Warisan Johor (YWJ) since 1996, where hundreds of Zapin performers from across the state and neighbouring regions have gathered to showcase their well-choreographed dances and meticulously composed music. This initiative has subsequently inspired the establishment of additional Zapin events and performances by various organizations within Johor and beyond. To address these challenges, Persatuan Zapin Muar Johor (PERZIM) has emerged as a crucial entity in the cultural landscape to revive Permainan Zapin. Founded by cultural enthusiasts based in Muar and deeply committed to preserving Malay Zapin, PERZIM exemplifies the efficacy of a community of practice in engaging the local populace and ensuring the sustainability of cultural traditions. PERZIM stands as a paradigmatic example of how communities of practice can catalyse community engagement through the promotion and revitalization of cultural practices. The association’s initiatives are multifaceted, encompassing meticulously organized events, educational workshops, and collaborative endeavours. These activities not only preserve the traditional dance form but also adapt it to contemporary contexts, thereby ensuring its relevance and accessibility to modern audiences. By striking a balance between maintaining authenticity and embracing innovation, PERZIM presents a holistic approach to cultural preservation.

2024, Prosiding Seminar Kajian Ilmiah Seni Persembahan 2024

Abstract In the realm of contemporary dance, it is widely accepted that the presence of a well-structured and unrestrictive course of action is of utmost importance. This paper will explore how individuals construct their contemporary... more