EKSISTENSI TARI BEDHAYA KETAWANG
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Bedhaya Ketawang dance is a dance developed in the Surakarta Palace. This dance in ancient times should only be performed when Jumenengan sinuwun. The development of this dance can then be danced outside the palace walls. The problem in this study is how the philosophical values contained in the Bedhaya Ketawang Dance and how the existence of the Bedhaya Ketawang Dance existed in the past with the present. The benefits of this research are entitled Philosophical Values in Bedhaya Ketawang Dance (Its existence in the past with the present) is to find philosophical values in the Bedhaya Ketawang Dance and see its existence in the past with the present. Research on Philosophical Values in Bedhaya Ketawang Dance is a type of library research. Library research is a study carried out by examining a number of libraries that are used as references. The results of this study are the philosophical values contained in the Bedhaya Ketawang Dance and the existence of the existence of the Bedhaya Ketawang Dance in the past with the present.Keywords: Bedhaya Ketawang, philosophy, existence, shiftKeywords:
Contemporary dance
This article interrogates the multivalent understandings of the term “contemporary dance” in concert, commercial, and world dance contexts. I argue that placing multiple uses of the term “contemporary” alongside one another can provide insight into the ways that “high art” dance, popular dance, and non-Western dance are increasingly wrapped up with each other and, at the same time, the ways that their separations reveal our artistic, cultural, and political prejudices, as well as the forces of the market.
Contemporary dance
Modern dance
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The role of dance in social and cultural contexts has been a topic for focused anthropological study since the 1960s. When the Western concept of dance does not work, dance anthropologists look for bounded rhythmical movements but also dance events and dance culture. Dance can drive transition and negotiate both conflict and unity. The anthropology of dance covers all forms of dance, Western and non‐Western, ranging from dance in ritual, folk dance, and diaspora dance to social dance and street dance, as well as staged performance dance, and dancesport. Because of the transient nature of dance, issues of preservation and mediation are at stake. Dance and movement have been analyzed in relation to theories of the body, race, gender, and sexuality, as well as to ethnicity and nationalism, postcolonialism, and globalization.
Contemporary dance
Dance improvisation
Diaspora
Modern dance
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The paper defines modern dance and contemporary dance.Based on the analysis of them,it's concluded that either Chinese modern dance or contemporary dance is the result of modern art.They both differ from Western modern and contemporary dance.The paper considers that we need not colon Western standards,for Chinese modern dance and contemporary dance lie in our national culture.
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From the 1930s to the present day, modern dance has had a profound impact on the construction of Chinese contemporary dance in different historical periods. Since the beginning of the new dance art initiated by Wu Xiaobang, the innovation and creative spirit of modern dance has enabled Chinese contemporary dance to continuously move towards a developmental orientation of the times, the nation, and the masses, and ultimately to become unique.
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Author(s): McMahan, David M | Advisor(s): Naugle, Lisa | Abstract: The legacy of American modern dance is one of change and innovation. Since the turn of the twenty-first century, modern dance training has evolved by incorporating many new contemporary styles. Through this thesis research, I explore the relevance of classical modern dance techniques in the training of contemporary dance students. My research examines some of the significant historical factors which some dance scholars have claimed as driving forces for the creation and development of American modern dance up to this current time.The relevance of classical modern dance technique was determined through interviews with university dance educators, modern dance repetiteurs, and notable modern and contemporary choreographers. The research culminated in a dance concert performance created for the purpose of reflecting on influencing factors stemming from my own classical modern dance training and their influence on my choreographic process as a contemporary creator.
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Chapter 1 explores the historical development of dance in Europe, from the Renaissance to the early eighteenth century, focusing particularly on the themes of dance structures, authorship, and autonomy. It considers early modern and secondary sources on social dance, the ballet de cour, and baroque dance, developing the argument that none of these practices produces dance works in the modern sense. Nonetheless, early dance sources to concepts of dance-as-object and dance as “performable” operating well before the idea of a work of dance art develops. This first chapter, then, explores what might be termed the early prehistory of the dance work, through analysis of different ways in which dances are conceived, composed, notated, performed, and linked to developing artistic traditions.
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Modern dance
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Contemporary dance in Indonesia was in the encounter between traditional dance and modern dance. Traditional dance in Indonesia could be seen from two forms, namely traditional dance that grew and developed inside the palace walls (classical dance) and traditional dance that grew and developed outside the palace walls (folk dance), while modern dance was a dance that had shown its contact with Western world. Traditional dance was a form of collective expression, while modern dance was a personal expression. It was in this context that Indonesian contemporary dance found its form. Contemporary dance in Indonesia always tried to re-dialogue the forms of dance that had been there before, both traditional and modern to be brought back with a new spirit and values in accordance with the current conditions of society. Deconstruction became a way to re-read dance worked that already exist, to be communicated again with the community today. Keywords: contemporary dance, deconstruction, tradition, modern. DOI : 10.7176/ADS/78-02 Publication date: November 30th 2019
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Deconstruction (building)
Modern dance
Dance improvisation
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Dance is part of identities of the many tribes and communities in nations. It indicates or differentiates us as beings or entities in the same state called Nigeria. In the early 1990s, 1992-1994 to be precise, a ‘new’ genre of dance eroded and overwhelmed the dance industry in Nigeria. It is known and called contemporary dance. It was believed to have been introduced by the French Cultural Centre in Lagos. The spread of the dance genre was like wildfire that almost swept off the essence of our traditional dances. It was most rampant in South West Nigeria, precisely Lagos, Ogun and Oyo States. Its consequences still linger till date among the different professional dancers and choreographers across the country, with its traces and traits in every work of dance choreographed. This paper, therefore chronicles the origin and development of this dance genre as well as its vast effects on our cultural dances, the dance artistes and the dance industry in general. This paper concludes that people of Africa should not reject contemporary dance genre because it is about other people’s culture, and that our ability to allow several foreign dance forms to grow side by side with our own various dances will allow us to come to term with the reality of postmodern studies.
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Set against rich descriptions of sociopolitical realities in urban areas, Rose Martin’s Women, Dance, and Revolution examines contemporary dance practice in Jordan, Syria, Egypt, Lebanon, and Palestine. Drawing on her multisited research between 2009 and 2014, Martin provides an observant glimpse into the dance journeys of eight women choreographers and the sociocultural milieu in which they work. The resulting text traces the contemporary dance experience arising from specific social and political situations.Martin, with her own background in contemporary dance and dance pedagogy, brings focus to contemporary dance practice in these countries, highlighting the understudied area of women’s performance in the Levant and North Africa. The recent notable exceptions include Talking Dance, by Nicholas Rowe and Ralph Buck (2014), which brings together interviews with practitioners of contemporary dance and artists practicing in several other dance disciplines. There is a small but active contemporary dance community and several festivals, such as the Ramallah Contemporary Dance Festival (Palestine), Beirut International Platform of Dance (Lebanon), and the Dancing on the Edge Festival (the Netherlands), that showcase contemporary dance from these regions. Women, Dance, and Revolution is unique in its focus on women’s experiences. Throughout the book Martin examines the doubly marginalized area of contemporary dance performance in the Southern Mediterranean and women’s experience within this field.Martin favors the term Southern Mediterranean, which stems from the approach in Talking Dance (2014), to describe the Levant and North Africa. She contends that the label Middle East is Eurocentric and politically charged (98). She uses geography and seas as descriptive reference points instead. She aims to catalyze a rethinking of stereotypes in relation to women in dance in this region by interweaving through her own story her specific journeys and encounters with women. This multisited approach provides a glimpse into the heterogeneity of the contemporary dance experience in the Southern Mediterranean, as well as into the broad spectrum of contemporary dance experience in each location. Her methodology consists of interviews, participant observation in dance classes, workshops, seminars, and informal discussions with dancers.Martin’s ethnography provides a richly detailed picture of the region’s contemporary dance scene, such as in her description of a class in the Martha Graham technique of modern dance in Cairo’s Opera House dance studio. The heterogeneity of the contemporary dance experience is reflected in the diversity of training infrastructure. While some locations had institutions imparting professional training in contemporary dance at the time of her fieldwork, other cities offered no avenue for dancers wishing to pursue professional training. Travel deeply framed several of the dancers’ stories, since they had acquired professional training at dance institutions in Europe or North America. Martin also discusses the dancers’ experiences with infrastructural and social changes resulting from political upheavals and revolutions.Women, Dance, and Revolution is essentially a study of individual experiences in terms of subject and approach. Martin structures each chapter around the primary account of the experiences of a dancer combined with her observations. While connective threads emerge through the experiences of the different dancers, Martin does not artificially tie them together. She uses her interviews and observations in multiple field sites to present the dancers’ individual experiences rather than make generalizable conclusions. Martin indicates early in the book that she was driven by a desire to communicate the integrity of the interviewees’ experiences (15) and does so without mediating via critical theories. She maintains that “there was never any intention for these stories to speak for the entire dancing population of the Southern Mediterranean” (16). This approach lends a refreshing centrality to the subject’s story. Choreographic works are described in the choreographers’ voices or by Martin herself without analytic engagement with the choreographic text, illustrating Martin’s devotion primarily to the dancer’s journey. The chapters include photographs taken by Amber Hunt and Arnaud Stephenson featuring the choreographers in a setting of their choice, such as in the studio, in the outdoors, or at home. These photos, in line with Martin’s larger project, counter several stereotypes.A reader may want more sociopolitical background to situate the experiences of the dancers, though Martin’s objective is to present a “layered account” (22) rather than provide a detailed account of the politics of the region. This approach remains consistent throughout, with contextual notes referring to political movements in the countries where she conducted fieldwork. This allows Martin to foreground the immediacy of the dancers’ stories and feature dance as an act of resistance, including dancing despite a ban or expressing political subtexts in choreography. As Martin points out, these women believe that their work makes a difference, even if small, and creates a foundation for future generations (160).Women, Dance, and Revolution is a valuable contribution to the scant literature available on contemporary dance practice in the Southern Mediterranean. The book recognizes this artistic movement in this region, thereby addressing a long-standing gap in dance studies and performance studies, whose focus is frequently state folk-dance ensembles or the solo performance genre of raks sharqi (“oriental dance,” also known as “belly dance”) in the context of women’s movement traditions. Giving voice to the women choreographers and providing observant portraits of contemporary dance experiences, the book is useful in Middle East studies, gender studies, sociology, and related disciplines and enables future critical study of this area.
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The nationally-recognized Susquehanna
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contemporary pieces. The ChoraleAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂA¢AÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂAÂs
performances have been described
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