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

- by
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- Dramaturgy, Dance Research
- by Nehemia Polen
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- Jewish Studies, Feminist Theory, Dance Studies, Feminist Philosophy
- by Frédéric Lefrançois
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- Music, Musicology, Dance Studies, Dance Anthropology

Although recreational dancing is associated with increased physical and psychological
well-being, little is known about the harmful effects of excessive dancing. The aim of the
present study was to explore the psychopathological factors associated with dance addiction.
The sample comprised 447 salsa and ballroom dancers (68% female, mean age: 32.8
years) who danced recreationally at least once a week. The Exercise Addiction Inventory
(Terry, Szabo, & Griffiths, 2004) was adapted for dance (Dance Addiction Inventory, DAI).
Motivation, general mental health (BSI-GSI, and Mental Health Continuum), borderline personality
disorder, eating disorder symptoms, and dance motives were also assessed. Five
latent classes were explored based on addiction symptoms with 11% of participants belonging
to the most problematic class. DAI was positively associated with psychiatric distress,
borderline personality and eating disorder symptoms. Hierarchical linear regression model
indicated that Intensity (ß=0.22), borderline (ß=0.08), eating disorder (ß=0.11) symptoms,
as well as Escapism (ß=0.47) and Mood Enhancement (ß=0.15) (as motivational factors) together
explained 42% of DAI scores. Dance addiction as assessed with the Dance Addiction
Inventory is associated with indicators of mild psychopathology and therefore warrants
further research.

- by Anikó Maráz
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- Dance Studies, Anthropology Of Dance, Dance, Escapism

A peer-reviewed paper that evaluates and discusses the impact of a dance and health project in a setting for people with dementia in Nottinghamshire, UK that was designed and carried out by Tina Heeley. It discusses the importance of collaboration, of partnership with the host organisation, of mentorship for those involved and the importance of independent evaluation, as well as the benefits/outcomes for all involved.

- by Richard Coaten
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- Dance Studies, Dance/Movement Therapy, Dance Anthropology, Dance and the brain

Qual è stato l'atteggiamento della stampa del tempo fascista nei riguardi della danza teatrale? Quali i discorsi, le istanze e l'immaginario che, sull'argomento, emergono dalle colonne di quotidiani e periodici? Il volume affronta simili questioni mediante l'analisi di un'imponente mole di documenti quasi totalmente inediti e capaci di aprire prospettive inusuali sulla danza italiana del primo Novecento. Dal riconoscimento della danza come autentica forma d'arte alla contrapposizione (spesso violenta) fra "tradizione" italiana e "modernità" straniera, dalla difesa della tecnica accademica all'apprezzamento per forme di danza "libera", infatti, la stampa intercetta, filtra e rielabora processi culturali di ampia portata, la cui complessità è qui presa interamente in carico e restituita mediante una costante lettura critica delle fonti. Ne risulta un lavoro intimamente "corale", in cui le voci di anonimi cronisti si intrecciano con quelle di uomini di teatro e di artisti di spicco e che, proprio in virtù del suo carattere polimorfo, riesce forse ad aprire uno squarcio sulla contraddittorietà di un'intera epoca storica, il tutto mantenendo sempre fermo il punto di vista, volutamente e proficuamente "minore", sul corpo che danza.

- by Giulia Taddeo
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- Dance Studies, Futurism, Cultural Nationalism, Dance History
- by Giulia Taddeo
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- Italian Studies, Fascism, Fascism and Modernism, Dance History

Mit ihrer SchattenTrilogie, die die Installationsperformances "Die Scheinwerferin" (2011), "Absolute Helligkeit" (2012) und "Unverinnerlicht" (2015) umfasst, hat sich die an den Grenzen von bildender Kunst und szenischer Installationskunst agierende Naoko Tanaka nicht nur im gesamten Bundesgebiet (mit Vorstellungen u.a. in Berlin, Leipzig, Essen, Hannover, Düsseldorf) einen Namen gemacht, sondern auch auf internationaler Ebene (mit Gastspielen u.a. in Japan, Frankreich, Belgien, Österreich, Schweiz, Italien, Serbien, Polen, Portugal). Die SchattenTrilogie vereint drei eigenständige und doch aufeinander bezogene, objekt- und bildbasierte, atmosphärisch dichte Auseinandersetzungen mit Licht und Schatten, die die Künstlerin als technisch-mediale Phänomene ebenso interessieren wie als Sinnbild für existenzielle Fragen. Um die Performances kreisen wie Satelliten Skizzen und Zeichnungen, Vorarbeiten der Künstlerin, Fotografien, die Einblicke in die Vorbereitung und Einrichtung der Szene und die Anfertigung der Objekte geben, sowie ein poetischer Text von Yoko Tawada und wissenschaftliche Essays von Hartmut Böhme, Gabriele Brandstetter und Adam Czirak, die sich als Angebote verstehen, mit Tanakas Arbeiten ins Gespräch zu kommen.
Das Buch erscheint zunächst auf Deutsch, im Herbst 2017 auch in einer englischen und in einer japanischen Ausgabe.

- by Astrid Hackel and +1
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- Philosophy, Aesthetics, Visual Studies, Perception

O corpo é capaz de realizar movimentações, e essas se darão em espaços. Enquanto espaços darão ou não as possibilidades da existência de uma movimentação. A partir dessa relação entre espaço e movimentação, percebe-se que o mediador é o corpo. Problematizando esses três conceitos a pesquisa realiza uma aproximação entre os campos conhecimento da arquitetura e da dança. Essa aproximação é sistematizada com a construção de um diagrama-objeto capaz de representar as relações conceituais construídas em torno dessas disciplinas, numa releitura metodológica de Rosalind Krauss (1979). Foram elaborados conceitos pertinentes à essas áreas de conhecimento, e investigadas suas semelhanças e diferenças. O intuito dessas investigações estava em perceber os conhecimentos da arquitetura e da dança como complementares em uma crítica relativa a experiência e produção do espaço. Os principais conceitos utilizados foram cunhados utilizando, sobretudo, as reflexões sobre arquitetura de José Cabral dos Santos (2005) e sobre dança de Samuel Thorton (1972). Cunhou-se então o que seria a arquitetura, a dança, o espaço, a movimentação, o projeto e a coreografia, para as problematizações construídas sobre uma crítica da relação entre os corpos e o espaço em que se situa.

- by Vinícius Bicalho
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- Architecture, Dance, Experience, Arquitetura
- by janette hoe
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- Art, Performance Studies, Performance Art, Site-Specific Art and Performance

Der Beitrag gibt einen historischen Überblick über die unterschiedlichen Möglichkeiten, die Flüchtigkeit von Tanzbewegung mit der Transitorik von Blumen zu verschränken. So wird im Bühnentanz das Auf- und Verblühen von Blumen verkörpert, etwa im Romantischen Ballett (»Théa, ou La Fée aux Fleurs«, 1847) oder in diversen Blumenchoreographien des Ausdruckstanzes. Umgekehrt erfahren Blumen trotz ihrer Sessilität eine kulturelle Zuschreibung von Tanzbewegungen, etwa bei William Wordsworth (»I wandered lonely as a cloud«, 1807) oder Hans Christian Andersen (»Die Blumen der kleinen Ida«, 1835), und fast immer wird auch hier die besondere Vergänglichkeit von Blumen mithilfe der Metapher des flüchtigen Tanzes reflektiert.

- by Alexander H Schwan
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- Cultural Studies, Performing Arts, Theatre Studies, Dance Studies
- by Alexander H Schwan
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- Cultural Studies, Art History, Performing Arts, Theatre Studies

The purpose of this research was to explore the varied ways in which self-identified transgender people experience bodily identity, specifically feelings of dissonance between inner sense of self and visibly bodied self. Ethnographic case study research was conducted in the form of in-depth interviews with two, self-identified transmen. Interview topics focused primarily on participants’ past and present feelings about their bodies, their experiences of gender identity “from within,” and their journeys to discover and work towards more personally authentic gender expression. In total, four themes emerged from the interviews, two of which emerged in both interviews: 1) finding one’s authentic gender expression, and 2) accepting one’s past as part of one’s total gender identity. Each participant also had one theme that was unique to his interview: The influence of social expectations on body image and The importance of passing in a socially conservative environment. The participants’ narratives were transcribed, and results were analyzed in relation to the various theoretical work presented in the literature review. The results of these interviews suggest that the participants’ relationships to their bodily selves, as experienced “from within” and as represented in their visible presentations, are complex. Their embodied identities cannot be reduced to the “trapped in the wrong body” narrative that is deployed in mainstream media to represent all trans relationships to bodily identity. Additionally, both participants said that movement activities increased their sense of being “at-one” with their bodies, and described experiences of self-empowerment or transcendence while engaged in dance, thus suggesting that dance/movement therapy might prove useful to individuals reconciling inner and outer bodily identities.

- by Rachel Wyman
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- Dance Studies, Dance/Movement Therapy, Transgender Studies, Anthropology Of Dance

The article suggests that a dance field emerged i the early 20th century with 3 subfields, folk dance, theatre dance and ball room dance. These fields are compared to the total dance activity in the country, and a pioneer representing each of the fields is portrayed in term of social class and ideological standing. They are Hulda Garborg, Gyda Christensen and Hjalmar Svaae. Examples from other Nordic countries are also brought in. Egil Bakka followed up this pilot study with another article; "Class dimensions of dance spaces: situating central agents across countries and categories"
Nordic Dance Spaces. Practicing and Imagining a Region
Edited by Karen Vedel and Petri Hoppu Routledge 2016T

- by Egil Bakka and +1
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- Dance Studies, Anthropology Of Dance, Ethnochoreology, Dance History

Introduction. The richness of the terminology of academic dance lies both in the great quantity and variety of its nomenclature and in the accuracy of its terms. We refer to words that describe the execution of the movement itself, the exact anatomical and spatial location, the type and quality of the displacement, the dynamics, the speed, the relationship with the music in the tempo and in the rhythmic content, as well as the interpretative desired effects. This exhaustive description of the movement will facilitate its teaching, its understanding, and therefore, its interpretation. Objective. We try to demonstrate that the nomenclature of academic dance has suffered impoverishment throughout the ages, and especially in the twentieth century, becoming a kind of coding vocabulary devoid of meaning. Method. Several terms of the ballet vocabulary will be analyzed contrasting different definitions given by manuals and specialized dictionaries: Le Moal (1999), Challet Hass (1987), Guillot-Prudhomeau (1974), Bourgat (1948), Lifar (1971), Vaganova (1961) and Cecchetti (2003), with the purpose of verifying that from the original word variants have been developed that, often, clearly move away from the original meaning of the term. Results. It is verified that from the original word have appeared variants and meanings often removed from the original form and meaning of the term. Conclusions. The contribution of a maximum of data about the quality and quality of the movement is essential to optimize not only the technical execution, but also the artistic interpretation of the dancer. For this reason, the terminology of classical dance must be preserved with the most etymological fidelity, since the meaning and reason of its origin are still valid today. This vocabulary is, therefore, a historical treasure that can only sublimate even more the art of classical dance, its pedagogy and its correct transmission to future generations.
Keywords: academic dance, terminology, classical dance, vocabulary, ballet, interpretation

- by Ph. D. Paula de Castro
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- Dance Studies, Dance Science, Dance History, Dance Education

The author argues that the works of Rami Beer, the artistic director of the Kibbutz Contemporary Dance Company are infused with the legacy of the company’s founder, Holocaust survivor Judith Arnon. The article frames the choreographic heritage of the KCDC within the context of ‘choreo-trauma’ – a concept designed to study the link between trauma and choreography. By combining theoretical literary methodologies, psychoanalysis, trauma studies and dance analysis, the works of Arnon and Beer are interpreted as representing the ‘poetics of loss.’ In this light, they exemplify metaphoric and metonymic modes of choreographic testimony, reflecting respectively the experience of first and second generation Holocaust survivors.

- by Liora Bing-heidecker
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- Dance Studies, Choreography, Holocaust Studies, Post-Holocaust Trauma

This movement session proposes specific exercises for becoming aware of the importance of the core muscles in the vertical alignment of ballet. The focus is to push-off from gravity. The inherent reality of what happens in the erect body is often non-present in our conscious mind. Creating habits of verticality by using terms like "lengthen the spine", "feel the head like a balloon"… proposing the idea of lifting ourselves off the ground, like Baron Münchhausen, are counter productive. Working against nature's laws of gravity, these images create inappropriate efforts in the superficial muscles and inhibit the work of the core muscles; the alignment muscles close to the centerline of the body. To find the vertical line between earth and heaven, with all its curves and spirals, we have to learn to relax, let our bony parts sit and hang like Mabel Todd proposed. Only then can we learn to take advantage of the "wonders" of pushing-off from gravity. Alignment is intimately connected to balancing and balancing is intimately connected to pushing-off from gravity: Learning to push-off the floor with the feet aligns the knees. Pushing-off from the top of the femurs using the six deep rotators of the hip joints aligns the pelvis. Pushing-off the sacral bone against the iliac bones aligns the spine…. Pushing-off using the third lumbar vertebra can be enough to align the upper body. Alignment, verticality and balance become effortless when the core muscles take care of dance technique. Dancers become less injury prone when strong core muscles provide the necessary support for the explosive movements of dancing. Introduction. From tradition to evolution. The secret paths of the dancer's body landscape have undergone many changes since ballet first came to being. Evolution, for better or worse, constantly poses new challenges to dancers and their teachers/trainers. The past few generations of ballet dancers have experienced bigger transformations in body structure and technical demands than most of the preceding ones throughout ballet history. From dancing within the body's natural movement patterns, with bodies that look like " you and me " , the need for ballet dancers to satisfy the long, slim " Barbie Doll " dream of the fifties has formed. With extreme flexibility, amazing insteps and swayback legs, ballet dancers today master a multitude of movement patterns and styles their teachers could not have dreamed. Helping the new generation acquire necessary mastery in the marvelous art of dancing with personal know-how and experience is not enough anymore. Swayback knees and amazing insteps can bring teachers face to face with problems they have never faced before. Another challenge is moving the gesture leg around the ears, a style that came into fashion with Sylvie Guillem in the eighties. It changed the way the turnout (of the gesture leg) has to be taught to a way that requires more logic for the body (using the psoas group of muscles instead of the quadriceps), and brings me to confront the many unsuccessful evolutions in ballet training. Accepted as unquestionable truths, movement patterns like pushing the heels forward, tucking under, forcing an erect, military way of holding the spine, pulling up… all have become " corrections " we, with the weight of tradition take as absolute facts. Nevertheless, it is enough to watch films and pictures from the time our grandmothers danced to realize how much ballet dancing has changed.

- by Annemari Autere
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- Dance Research
- by Susan W Stinson
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- Dance Research

Dance research has various approaches such as historical, political, socio-cultural, ethnic, epistemological and so on. These approaches need to be theorized for which theoretical foundations need to be addressed and adhered to, in order... more

- by achala bhargavi
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- Dance Studies, Dance History, Dance and Aesthetics, Dance Education
- by Özlem Oğuzhan
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- Cultural Studies, Mythology, Culture, Cult of Demeter and Kore

The story of Bharatanatyam encapsulates the complex interplay between tradition and modernity, colonialism and nationalism, and the power dynamics inherent in cultural reformation. In this paper I have critically examined the forces (to an extent) that shaped its evolution; to gain insight into the politics of identity, representation, and cultural appropriation. The paper also highlights the transnational dimensions of Bharatanatyam's revival, with the Theosophical Society serving as a conduit for Western interpretations of Indian spirituality and culture.

- by RAGAMALIKA MURALEEDHARAN
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- History, Culture, Dance History, Bharatha Natyam
- by Lester Tome
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- Cuban Studies, Dance History, Dance Criticism, Classical Ballet

Although settler colonial discourses about yoga often eclipse Native peoples, today in the U.S., there is a growing interest in yoga among Native Americans. This essay analyzes two Native, cinematic representations that center Haley Laughter, a Diné (Navajo) woman, practicing yoga on Diné lands. Laughter is the founder of Hozho Total Wellness—an organization that brings yoga to Native people—and a prominent and well-respected figure in the Native American yoga movement. These films, Hozho Yoga and Hot Hooghan Yoga, were posted to the Hozho Total Wellness YouTube channel in February 2017 and April 2019, respectively. They demonstrate the powerful and vital ways that Laughter fuses yoga and Diné cultural practices. Although yoga and Diné philosophies emerge out of completely different sociohistorical contexts, they also share similarities as Indigenous epistemologies. My examination of these videos employs a “choreographic analysis” or close readings of bodies and movements. I argue that in the videos, Laughter blends yoga and aspects of her Diné culture in ways that challenge settler colonialism by making visible Native people and practices in the contemporary moment and their enduring interconnectedness with more-than-human relatives and holistic understandings of the mind, body, and spirit. A close reading of Laughter’s body, poses, transitions, and sequencing on Diné lands also provides insight into why Diné and other Native peoples—whose tribal nations also have epistemologies which emphasize human and more-than-human respect and reciprocity and mind, body, spirit connection—might draw on yoga as a way to strengthen their Native identities.

- by Tria Blu Wakpa
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- Native American Studies, Indigenous Studies, Dance Studies, Embodiment

In the seventeenth century the Pavana was one of the most characteristic pieces of the Spanish dancing school. Akin to the Pavane d’Espagne by Arbeau, and the Pavaniglias by Caroso and Negri for their musical features, the Spanish Pavana is distinguished by a vocabulary of steps and a style of its own, although strongly influenced by the Italian school of late sixteenth century. Until recently we could study it through three sources: Discursos sobre el arte del dançado, published by Juan de Esquivel Navarro in 1642, the Libro de dançar de don Baltasar de Rojas Pantoja, a manuscript by the dancing master Juan Antonio Jaque, dated in the last twenty years of the seventeenth century, and Explicación del danzar a la Española published by Pablo Minguet e Yrol c. 1737. The discovery in 2011 of the dance treatise Choregraphie figurativa, y demostrativa del Arte de Danzar, en la forma Española, written by Nicolás Rodrigo Noveli in Madrid in 1708, found in the library of the Real Academia de Bellas Artes de San Fernando of Madrid by the musicologist Raquel Aranha, adds a new source to this research. This article seeks to contribute to the knowledge of Spanish dance in this period, presenting the most important features of the Choregraphie figurativa of Nicolás Noveli, the biographical data on the author(s), and carrying out a comparative study on the Pavana described in it with the versions of this dance from the other mentioned sources. Thereby we seek to place this new source in its historical context, and to highlight the common elements and the differences in the various versions of this piece over a period of almost a century, which can be extrapolated to the rest of the dances described in this treatise.

- by Diana Campóo
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- Dance Studies, Dance History, Dance and Aesthetics, Dance Research

Premières pages de la thèse de doctorat en anthropologie, résumé et sommaire.

- by Rachel S Keco
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- Dance Studies, Higher Education, Dance Anthropology, Dance History

The early days of this dance are shrouded in a mist of uncertainty. Was this a peasant dance which was then taken over by high society, as has often been claimed? Or was it entirely a creation of the upper strata? All documentation we have regarding the Maltese dance dates to no earlier than the nineteenth century and is connected with the Governor’s Palace or with high society balls. This article briefly looks at the history of the dance. Since this was a special edition of Treasures of Malta focussing on the Gollcher family, it looks at the Gollcher contribution to the 'Maltija', a printed music score of which is to be found in the Palazzo Falson Library.

- by Anna Borg Cardona
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- Dance Studies, Anthropology Of Dance, Dance, Dance Research

iq ka or;a jh ú §u ks id we;s jk i;= g idfma la Ih' th mq oa .,dkq noa Oj jq ufkda uQ ,s l ia jrEmhla ys ñlr.ka fka h' ^The Psychedelic beauty& kuq ;a ta iq ka or;a jh fmdÿ rihla njg m;a ùfï È ta i|yd n,mdk jdia ;úl iq ka or;a jhla ^Objective beauty& o mj;s k wjia :d úoHd;a ul kHdh Tia fia fmka jd § we;' fN!;s luh jYfhka .;a l, YÍr p,khka f.a yeis Íu yd fh §u u; ys Èñka ta jd jdia ;úl ixl,a m hgf;a ú.% y l< yels h' idïm% odhs l Wvrg k¾;k p,khka f.a ^Kandyan Dance& jdia ;úl iq ka or;a jfhys fh §u ms <s n| wOHhkh ls ßu fuu m¾fha IKh Tia fia is ÿflf¾' uQ ,dY% Ndú;fha § m% d:ñl yd oa ú;S l uQ ,dY% mßYS ,kh is ÿlrk w;r .‚;fha fhÈï fhdod .ks ñka úfYa Ifhka *s fndkdÑ ^Fibonacci& l% ufõoh fuys È Ndú;d lr tu.s ka >Dcq o¾YkS h wdldrhg fm% dis kS hï fõÈldj úfYa I fldgf.k fuu p,k l% ufõoh l% s hd;a ul fõ' ms <s .;a .‚;uh Ndú; lrñka *s fndkdÖ ixLHd; yd rka wkq md; l% uh ^Golden ratio& hgf;a Wvrg k¾;k p,kfha jdia ;úl iq ka or;a jh ms <s n| Okd;a ul l;s ldjla f.dvke.S u u.s ka ,dxfla h k¾;kh ls hùu i|yd kj m% fõYhla újr ls Íug fuu m¾fha IKfhka W;a iq l fjhs '

- by dileep bandara
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- Dance Studies, Dance/Movement Therapy, Dance Science, Dance Anthropology

Back cover text: Real Social Science presents a new, hands-on approach to social inquiry. The theoretical and methodological ideas behind the book, inspired by Aristotelian phronesis, represent an original perspective within the social sciences, and this volume gives readers for the first time a set of studies exemplifying what applied phronesis looks like in practice. The reflexive analysis of values and power gives new meaning to the impact of research on policy and practice. Real Social Science is a major step forward in a novel and thriving field of research. This book will benefit scholars, researchers, and students who want to make a difference in practice, not just in the academy. Its message will make it essential reading for students and academics across the social sciences.

- by Bent Flyvbjerg and +1
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- Screenwriting, Critical Theory, Critical Theory, Critical Theory

Abstract
Dance is a fascinating artistic activity, although highly demanding as regards physical and technical skills.
It forces dancers in major loads which lead to musculoskeletal problems, with ankle injuries being undoubtedly
amongst the most common dance injuries.
Posterior Tibialis Tendonitis although not common, it may be a debilitating pathology affecting female classical
ballet dancers, especially when anatomical foot abnormalities are present.
Clinicians dealing with dance injuries should be aware of this existing, although rare pathological entity, due to
the fact that it may prove to have harmful influence on a dancer’s career.
In this review an analysis of the basic aspects of pathogenesis, diagnosis and treatment of this specific clinical
entity is conducted, with special focus on dancers

- by Gergana Panova-Tekath
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- Social Sciences, Ethnomusicology, Dance Anthropology, Politics
- by Stéphanie Gonçalves
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- Dance Studies, Dance, Dance Research

In the 1920s, Oskar Schlemmer, artist in the Bauhaus movement , created the Triadic Ballet costumes. These restrict movement of dancers, creating new expressions. Inspired by this, we designed an interactive wire costume. It restricts lower body movements, and emphasizes arm movements spurring LED-light 'sparks' and 'waves' wired in a tutu-like costume. The Wire Costume was introduced to a dancer who found that an unusual bond emerged between her and the costume. We discuss how sensory alteration (sight, kinesthet-ic awareness and proprioception) and bodily training to adjust to the new soma, can result in novel, evocative forms of expression. The interactive costume can foster a certain mood, introduce feelings, and even embody a whole character only revealed once worn and danced. We describe a design exploration combining cultural and historical research, interviews with experts and material explorations that culminated in a novel prototype.

- by Eva Hornecker
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- Embodiment, Dance Research, Oskar Schlemmer, Embodiment and Body Knowledge

Certain trends in the recital of Western art music composition and performance have embraced indeterminacy through an emerging sonic aesthetic that seeks to redefine the notion of failure. From Charles Ives' adoption of bi-tonality in the early twentieth century to the ‘glitch’ movement in contemporary computer music, this article traces ways in which musicians have sought to embrace the risk for failure in performance with special attention to virtuosic instrumental music (Cascone 2006; Rodgers 2003; Godlovitch 1998; Rosen 2002). Drawing upon the author's recent interdisciplinary practice-led research ‘Woman=Music=Desire’ (2010) and adopting a choreographic approach to the re-appropriation of musical gesture, the author explores how the risk for failure contributes to live musical experience. This discussion is then extended to the process of corporeal acquisition necessary in rehearsing and performing a piece of music which, the author suggests, results in a degree of gestural self-simulation. In this way, the performer's personal authenticity is discussed as a potential locus of failure in which the physical manifestation of emotional expression helps to determine empathetic identification between performer, spectator and instrument (Kivy 1995). Drawing upon Steven Baker's notion of ‘botched taxidermy’ (2000), the author suggests that this empathetic identification creates a space in which the potential risk for failure might be considered intrinsic to conceptions of corporeality in music performance. In this way, live musical experience is posited a site of risk in which the performer, as a desiring subject, emerges as the embodiment of failure. A short excerpt of the case study ‘Woman=Music=Desire’ may be viewed at: http://www.imogene-newland.co.uk/perf_women_md.php

The topic I have chosen is the Nijemo Kolo- a silent folk dance from the Dalmatian Hinterland in Croatia. In this essay, my inspiration is the concept of folk dance, where I focus on dance in text, while later I write about the experience of witnessing folk dance and I focus on dance performance. My main argument in this paper is that in the Balkans, during folk dance performances, the general audience is often only informed, therefore interested in the idea of the concept of the dance instead of its actual and physical performance. I will use Egil Bakka's and Gediminas Karoblis'24 theory of "concept and realization" when talking about the dance, as a starting point to demonstrate this phenomenon. Finally, I am testing my own different personas as a dancer, ethnochoreologist and as a tourist by approaching a performance of the Nijemo Kolo through three different, what Lena Hammergren 25 calls personas. Starting with this question, I present three different explanations of experiencing the Nijemo Kolo as performed by "Lado" - the Croatian National Folk Dance Ensemble.

- by Filip Petkovski
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- Anthropology, Folklore, Dance Studies, Ethnography

Following ongoing endeavors to occasionally assess our own discipline, the paper presents the development of ethnochoreology in Croatia, with the focus on the past decade. 1 As described in the last review (Zebec 1996), the method of work and activities within the discipline had already been discussed. While shaping the bibliography of ethnochoreological texts available in US libraries, Elsie Ivancich Dunin (1981) reviewed the basic trends in dance research covering the region of entire ex-Yugoslavia. Stjepan Sremac (1983a) wrote on the aspirations of Croatian ethnochoreology in the 1945-1983 period, while Ivan Ivan~an (1985) provided a chronological review of sources for studies into the history and origin of dance, with an insight into Croatian dance culture over centuries. History in brief Out of scarce sources from distant past (from the 13 th century on), contributions in Zbornik za narodnìivot i obi~aje (Collection for folk life and customs) proved to be the most valuable. Bas...

- by Tvrtko Zebec
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- Research Methodology, Anthropology Of Dance, Ethnochoreology, Dance Research