Dance Anthropology

Euro-American performance arts are exceptional among the world’s cultures in that music and dance are separable and constitute independent disciplines. In the late-nineteenth and early-twentieth centuries, a distinct consciousness emerged that demonstrated an awareness of the varying and protean relationships that music and dance can share. While some artists were keen to develop their particular medium to its fullest potential, others were keen to group expressive mediums together into new wholes. These explorations were accompanied by a rapid but uneven expansion in audio, visual and audio-visual technology. As artistic practices evolved and technology developed, a range of possibilities were explored and the discipline of choreomusicology finally emerged. Choreomusicology is the study of the relationship between sound and movement within any performance genre. As a pedagogical tool, this article discusses key developments in the history of choreomusical theory and practice with a sympathetic selection of material using the words of artists and theoreticians. The evolving relationship between music and dance in any performance tradition is a socially situated process shaped by a range of historically constituted practices. The current discussion situates the artistic legacy inherited by contemporary Euro-American artists within a historical and cultural context.

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.

This article provides an overview of the methods used for a structural analysis of a Ukrainian Canadian dance “kolomyika.” The "kolomyika" exists in numerous historical and contemporary contexts. Focusing specifically on this "one" dance, I developed the hypothesis that the kolomyika has existed in at least five discrete "traditions" in Ukrainian Canadian culture. I named them the "Early Social Kolomyika," the "National Kolomyika," the "Children's Kolomyika," the "Spectacular Kolomyika," and the "Recent Social Kolomyika." The strategy for analysis was to carefully document a specific corpus of representative video recordings from each kolomyika tradition, identifying and notating the motifs and macrostructures in each dance. The entire corpus was described according to consistent parameters, which would hopefully elucidate the differences in form between each tradition. Criteria were developed for identifying motifs and macrostructural units which could be applied identically in all instances across all the different traditions. In general, the structural analysis supported the hypothesis established for the project. Each of the five kolomyika traditions is quite different in form. Many motifs were found to be performed in only one kolomyika tradition, and not in the other four. The macrostructure charts also show strong similarities within each tradition but contrasts across traditions. Indeed, it is striking that these clearly different kinds of dancing are all called by the same name - kolomyika.

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 '

Versuch der Rekonstruktion eines initiatorischen Handelns* "Es soll also gesagt werden, und sollte es mich auch mit Schmach und Gelächter ordentlich wie eine aufsprudelnde Welle überschütten .... Wenn nicht ... entweder die Philosophen Könige werden in den Staaten oder die jetzt so genannten Könige und Gewalthaber wahrhaft und gründlich philosophieren und also dieses beides zusammenfällt, die Staatsgewalt und die Philosophie, ... eher gibt es keine Erholung von dem Übel für die Staaten ... und ich denke auch nicht für das menschliche Geschlecht."1 sendem Hohn, staunendes Befremden über das für uns Befremdliche aufkommt. Ziel ist es, wenn auch nur in einigen Aspekten, so doch, die gravierenden Unterschiede in der Konzeption und Funktion der Philosophie -und damit der Logik -aufzuzeigen, die Platon von uns, aber auch schon von Aristoteles trennen. Im ersten Teil werden dazu die meiner Meinung nach zuwenig beachteten Beziehungen zur griechischen Religiosität behandelt, um ein erstes "Befremden" zu ermöglichen; im zweiten will ich versuchen, Platons religiöse Konnotationen dem Verdacht des der Philosophie bloß Äußerlichen zu entziehen, indem sie in dessen Verständnis von Sprache und Denken begründet werden. Abgeschlossen werden diese Überlegungendrittens -durch den Versuch das platonische Grundparadigma herauszuarbeiten, das vermittels der Logik der Ideen sowohl die philosophische Theorie, als auch deren psychagogische Praxis leitet: die Harmonien der kultisch-getanzten Musik.

You don't look like a Bulgarian!?!" (M.S.)-"What do Bulgarians look like?" (G.P.-T.)-"Dark ... dark skin, dark hair ... like the Roma are. Sorry! Aren't you Roma there?" (M.S.) 1 I have had this kind of conversation very often in Germany-without conflicts or obviously bad intentions on the part of my German interlocutors in the situational contexts of everyday life. It reminds me of studies that describe stereotypes and conflicts based on prejudices, but also prompts me to consider the concept of "fluid minorities". In this article, I will not primarily address Roma and the power of their relationship with Bulgarians. I would rather like to discuss self-determination as a minority or majority and concentrate on individuals and groups that minority research is not usually concerned with. I believe that in the global risk society, in which "everyone lives in direct and universal neighborhood with everyone else" (Beck 2017: 363), minority researchers need to increase their interest in dominant cultures in order to be capable of understanding contemporary shifts. We have to react sensitively to the flexible (self-)identification of individuals, communities and nations and even be ready for a new discussion on the term "minority". My answer to the questions about my looks and nationality could be "Who are We?-And Should it Matter in the 21st Century?" which is the title of a book by Gary Young. He stresses that "if you look at the broad trajectory of equality and human rights, then women, gays, black people, religious and national minorities and the disabled-the majority of humanityare all doing better than they were a century ago". At the same time the black author admitted that "there are no straightforward answers and few basic universal truths as to when the politics of identity can be elevated to great and worthy purpose and why it may descend into venal, vile bigotry." (Young 2011: 228) In my dance examples there is no bigotry and even no evidence of "the harsher interpersonal climate" (Gauck 2019: 9) that prompted former Unfortunately, I have authored only a few publications on hybridity and transitive identity in English (i.e.

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.

This is an edited version of the essay published by the Netherlands Association for Gender Studies and Feminist Anthropology in LOVA Journal Issue #36 (February 2016).

Abstract
This essay explores the role of dance in Katherine Dunham's ethnography of the Caribbean, Island Possessed, focusing on the fieldwork she conducted in Haiti. Dunham, an African-American dancer and anthropologist, carried out her research in 1935 after completing her training in anthropology under the guidance of Melville J. Herskovits. Starting from Johannes Fabian's work on theatre and anthropology, I will question Dunham's use of dance as both a source and mode of embodied knowledge in fieldwork and a way of sharing time and exchanging information within the communities she studied. The role of the (black, female) ethnographer's body will be analysed as a locus of possible continuities/discontinuities between American and African identities, and a place of intersection for power relations between the United States and the Caribbean. The role of dance and performance in such critical junctures will be looked at as both a mode of conducting ethnography and a subject of anthropological interest. In this latter case, the different meaning ascribed to dance (e.g. ritual Vaudun dances in Haiti) will be taken into consideration as an important example of the performative character of cultural knowledge according to Fabian's analysis of shared time in communicative events and as a particular way of accessing knowledge in Yvonne Daniel’s reading of dance as a heuristic method.

The Book titled “Hasta Mudra Therapy – An effective aspect of Dance Therapy” deals with various disciplines like Dance, Therapy, Dance Therapy, Hasta Mudra Therapy, Hasta Mudras used in Dance, Yoga, Hindu and Buddhist religious practices; Physiology of palm, Pharmacokinetics and Acupressure. This Book is the result of the PhD thesis titled “A study of Dance Therapy with specific reference to Hasta Mudra Therapy”, submitted to University of Hyderabad, Telangana, India, which fetched me a PhD degree. The research involved a comprehensive study and analysis of the above mentioned disciplines to substantiate the work and prove it scientifically. Dance is an ocean which has boundless and inexhaustible benefits hidden in it. Dance involves all the fine arts, it encompasses mathematics, physics, chemistry, biology, management; it is closely associated to mythology; imbibes culture and tradition; involves language with technical grammar; improves communication skills & memory; cultivates discipline; it is a fitness health, entertainment & refreshment; imparts knowledge and above all it is divine and next to God. Dance can also be a mode of therapy, a skill which keeps you fit and good health. Practicing dance nurtures the body just like any other physical training or meditation. Although dance has been a method of expression for centuries, it wasn’t until recently that it was characterized as a form of therapy. Dance Therapy research has been undertaken to heal both physical and mental illness, however, Dance as a whole or Dance Movement analysis is only considered as the research topic. Dance Therapy research in specific to Hasta Mudras is not done till 2008, which prompted me to choose it as my PhD research topic, as most of the Indian classical Dance forms use the Hasta Mudras to communicate Dance. From the study, it is obvious that, Dance therapy and in specific Hasta Mudra Therapy, can be a potential alternative therapy which has been proved and established.

Otgonbayar Chuluunbaatar -Ч. Отгонбаяр (Монгол улсын ШУА-ийн Хэл зохиолын хүрээлэнгийн гадаад гишүүн, Австри улсын судлаач) Монголчуудын дунд биелгээ эсвэл бүжиг гэж нэрлэдэг байхад харин ойрадууд үүнийг бий хэмээн нэрлэдэг. Ойрадын бийлэх болон бүжиглэх урлагийн төрөлд багтах Долдой зээрд хэмээх нэгэн ховор дуут бий тэр бүр манай бүжиг болон Жангар туулийн судлаачдын хараанд өртөж, бүрэн сайн танигдаагүй байсаар иржээ. Энэ Долдой зээрд хэмээх бийг ерөнхий утгаар нь Жангар судлалын нэгэн хэсэгт хамааруулан судлах бүрэн боломжтой хэмээн үзэж байна. Монголд дуут бийн энэ төрөл маш ховор бөгөөд зөвхөн Алтайн уулсын ай савд нутагладаг баруун монголчуудын нэгэн хэсэг болох ойрадын захчин угсаатны дунд биелэлээ илүү олж хөгжин, бийлэгдэж иржээ.

El cuerpo es uno de los ejes centrales-tanto en la teoría como en la práctica-de la performance. Debido a este importante vínculo entre corporalidad y performance, en este artículo se propone reflexionar sobre la danza como práctica social, entendiendo lo cuerpos como signo social a través del cual los grupos transmiten sus normas y creencias, y como un importante vínculo con el mundo para expresar preocupaciones y problemas dentro de la sociedad. Consideramos el lenguaje corporal como legítima alternativa a los discursos verbales y, por lo tanto, tomamos los estudios de performance y el análisis de la danza como herramientas importantes para la observación de las prácticas corporales y la conducta social. Sostenemos que los cuerpos tienen la capacidad de percepción y de expresión y, por tal razón, los actores sociales tienen agencia para expresarse a través de sus cuerpos no solamente en un sentido estético-artístico, sino que también les permite encontrar en ellos signos de resistencia dentro de las complejas relaciones de poder. Para reafirmar esta posición tomamos como un ejemplo la danza brasileña en el Valle de Lerma (Salta, Argentina), donde pudimos observar estas cuestiones, a partir de la danza como práctica social en la vida cotidiana y donde mujeres toman poder de sus cuerpos articulándose a través de la danza.

The body is one of the central axes –both in theory and in practice– of performance. Due to this important link between corporeality and performance, the paper aims to reflect on dance as social practice, understanding the body as a social sign through which groups transmit their norms and beliefs, and as an important link with the world to express concerns and problems within society. In this context, body language is considered a legitimate alternative to verbal discourses. Therefore, performance studies and dance analysis constitute an important tool for the observation of bodily practices and social behavior. The researcher argues that bodies have the capacity for perception and expression. For this reason, social actors have agency to express themselves through their bodies not only in an aesthetic-artistic way, but also to find in them a tool for resistance within complex power relations. To reaffirm this position, the article explores as an example Brazilian dance in the Lerma Valley (Salta, Argentina), where it was possible to observe these issues. Furthermore, the research highlights dance as social practice in everyday life where especially women take power of their bodies articulating themselves through dance.

This thesis examines the concept and meaning of igal, an indigenous dance tradition of the Bajau Laut community in Semporna, Sabah. Igal or ‘dance’ to the Bajau Laut community signifies more than just a ‘dance’. This thesis posits that igal represents Bajau Laut’s culture, heritage, worldview, and cultural memory; through its epistemology and the construction of its form and content. The practice and performance of igal in Bajau Laut cultural landscape articulates the psychological impression of concept and meaning, and is signified as the Bajau Laut restored behavior. Thus, it is necessary to uncover the concept and meaning of igal through investigative studies on its practices and performances within the Bajau Laut traditional landscapes as well as stage performances. This thesis adopted Ferdinand de Saussure’s dyadic model of decoding the sign - signifier and signified; to investigate, interpret and understand the holistic conception of meaning of igal in the Bajau Laut society. This thesis also incorporated Richard Schechner’s concepts of performativity and restored behavior to elucidate the culturally structured movement system of the Bajau Laut community as a performative, symbolic and reflexive “performance.” This thesis attempts to discuss that igal as a structured movement system, is a performative expressions of an explicit and implicit coded aspect of Bajau Laut culture.

This is an excerpt of my M.A. thesis that summarizes a two-year long research, which concentrated on different social and cultural issues surrounding participants’ and teachers’ understanding of the imagination-stimulating improvisation-based movement practice called Gaga, which belongs to the Batsheva Dance Company and Ohad Naharin, who has developed Gaga since becoming artistic director of the company in 1990.
My research was carried out by engaging in embodied ethnography and experimental visual ethnography, mainly in Tel Aviv (Israel), Budapest (Hungary), and Antwerp (Belgium).
After an examination of the terminologies and pedagogical strategies used by the Gaga teachers and the process of contextualising these within the wider framework of several theoretical concepts, I claim that the focal point of this study is the hidden tension between regulation and freedom, “democracy” and “hierarchy,” in the Gaga movement system, as well as in its community. My hypothesis, based in part on Paul Connerton’s How Societies Remember (2007), is that this tension is rooted in the present nature of Gaga, which is transitioning from being an incorporating practice (transmitted from person to person) to becoming an inscribing one (transmitted through photographs, recordings, notations, etc.) due to the franchising and branding of Gaga in a global context.

Bu kitap bir başka! Bunu “bizden” biri olarak yazmaya çalıştım çünkü. Akademik kadroda görevli bir biliminsanı olmamı gözardı etmeden, bilimle elde ettiğim tecrübelerimle kolkola; bir sanatçı olarak tozunu yuttuğum sahnelerin ışıkları altında ve bir dans eğitimcisi olarak öğrencilerimin huzûrunda yazdım. Kuralları bir kenara ittim. Ama bunu,  sâdece kitap yazabilmek için değil, "zeybek dansının bu şekilde kaleme alınan ilk kitabını" yazabilmek için yaptım. Ancak ve ancak özgür tavsiyeler verilerek yapılabilirdi bu bence.
İçerikte yer verdiğim hemen her şey, benden “size” yalnızca tavsiye. Tavsiye ama dayanakları; ya tecrübelerim, ya araştırmalarım ya da bu genç yaşımda edindiklerimin bana hissettirdikleri. Yâni hepsini reddetme şansına sâhipsiniz. Elinizin tersi ile bir kenara itebilir ya da okuyan öğrencilerinize "aklınızı çelmesine izin vermeyin" diyebilirsiniz. Ama sizin yerinizde olsam; kulak kabartır, gözlerimi pörtletir, söylediklerimi bedenleştirir, ondan sonra karar verirdim. Bilin ki o tavsiyeler doğrudan benim uygulamalarımdan geliyor. Tecrübeyle "sâbit" değil, ama tecrübeyle. Çünkü bu kitap bir "ototeknigrafi"

Attraverso un esperimento svolto nel 2011, riprendendo la teoria di Turner sui fenomeni liminoidi in relazione ai drammi sociali, sono andata alla ricerca del dramma sociale rappresentato attraverso le performance di improvvisazione in danza. L’esperimento ha quindi coinvolto 6 performer in un workshop dando vita a un ciclo di 12 performance all’aperto nel centro storico di Firenze, durante le quali è stato intervistato il pubblico di passaggio sulle impressioni e parole chiave che le performance suscitavano in loro. Dalla ricorrenza di alcuni termini è stato evidente il collegamento con il concetto postmoderno di libertà. Secondo Bauman viviamo in una società in cui è stato guadagnato in libertà individuale perdendo però quella sicurezza che teneva insieme la società moderna.
Nel mondo postmoderno vige la frammentazione e la mancanza di un quadro, sembrano mancare gli strumenti concettuali per esaminare la situazione in modo coerente e integrato. La vita individuale è concepita più che altro come un opera o come un’impresa, come qualcosa che va sviluppata, perfezionata e rielaborata fino a raggiungere il massimo potenziale. Al giorno d’oggi sembra che anche semplici scelte, come quale detersivo comprare, ci mettano di fronte a una crescente incapacità di scegliere. Nel gioco di specchi dell’improvvisazione come fenomeno liminoide possiamo quindi vedere chiaramente quali sono i nessi tra questa pratica performativa e la società postmoderna: il performer, improvvisando, si definisce nel presente della performance, compiendo le sue scelte passo dopo passo sulla scena. Si pone in una situazione di “precarietà creativa”, di “crisi volontaria”, come se avesse riprodotto una “scenografia postmoderna”.
Sembra che l’arte abbia proposto uno spazio protetto in cui potersi liberare
dall’ansia della scelta, in cui le parole chiave sono accettazione, ascolto e
mancanza di giudizio. Sembra inoltre aver riportato l’attenzione su un nodo
cruciale: la scelta non è quasi mai razionale, è intuitiva e sociale.

Al di là di ogni pretesa universale ricorrenza di forme espressive di carattere coreutico, della possibilità di ricondurle entro una o più tipologie funzionali (stante, se non altro, la diversità delle concezioni del corpo e dei significati e delle funzioni ascritti ai suoi movimenti presso le diverse culture), può dirsi, venendo a guardare contesti storicamente e etnograficamente ben documentati, che numerose attività rituali, presso molteplici culture, sono state e sono caratterizzate da attività coreutiche intese a illustrare in modo particolarmente esplicito – pur secondo codici gestuali culturalmente variabili – l’esistenza di una relazione tra competenze ed atti che presuppongono un sistema di credenze (religiose) nonché, correlatamente, una precisa visione dell’ordinamento sociale e del sistema di valori a questo soggiacente. L’esistenza di questa relazione consente di ipotizzare, e non di rado di verificare, quanto l’esecuzione reiterata di sequenze di movimenti coreutici contribuisca, all’interno di precisi contesti rituali, alla introiezione di credenze, saperi e modalità comportamentali socialmente accettati e condivisi, facendosi così strumento di incorporazione delle norme e dell’etica sociali. La verifica di alcune ipotesi circa le funzioni assolte da certe tipologie di danza e le relazioni tra queste intercorrenti, nonché una riflessione sui meccanismi che consentono a certe danze rituali di produrre sugli individui effetti permanenti di notevole ricaduta sociale, sono parte rilevante della presente ricerca; una ricerca che, muovendo dall’esame di peculiari forme di danza armata diffuse nella Grecia antica per arrivare a pratiche coreutiche tutt’oggi osservabili in diversi contesti festivi siciliani, necessariamente si addentra in ambiti non abitualmente frequentati dagli antropologi e si misura con metodi e con competenze propri di altri ambiti disciplinari. Occupandosi dello studio di specifiche performances coreutiche, questa non può e non vuole proporre letture di carattere generale e non ambisce a produrre affermazioni estendibili a tutte quelle forme espressive corporee che studiosi di varie discipline hanno qualificato come danze; vuole piuttosto rilevare la consistenza delle funzioni che certe danze, formalmente assimilabili in ragione della condivisione dei simboli rituali delle armi, della contesa e della forza virile, hanno detenuto all’interno di specifici contesti culturali e, di converso, individuare l’eventuale ricorrenza di questi valori funzionali in associazione a certe tipologie coreutiche non necessariamente armate, senza peraltro procedere a comparazioni azzardate e pretendere di istituire diretti rapporti di filiazione e ininterrotte continuità.

A modo de etnografía o diario de viaje, desde la perspectiva de las profesoras se presentan reflexiones en torno al proyecto “Escuela de Danza ¡A Danzar!”, inicialmente denominado “Escuela de Danza en Recoleta”, consistente en desarrollar el primer año de funcionamiento de una escuela de danza en un contexto de vulnerabilidad socioeducativa. El proyecto obtiene el 75% de financiamiento por medio del Fondo de Fomento del Arte en la Educación (FAE), bajo la modalidad innovación curricular, pues plantea unir el paradigma de la danza educativa moderna con la enseñanza por proyectos. Se finaliza con la entrega de una serie de premisas que se consideran de interés para instalar y desarrollar proyectos de danza en estos contextos.

Dance Management is a new domain in the theoretical aspects of Management. It is at a very young stage with respects to its literature; however, the concept of management prevailed since its evolution. The management tools, features, functions etc are all followed and implemented in a Dance profession too, knowingly or unknowingly, but are not acknowledged till recent times. Dance is a performing art which is always dealt with respects to its technicalities of a performance. Dance has always been witnessed as an entertainment since ancient times. Dance, besides giving entertainment, yet it has various other benefits and features, which are to be investigated and accredited. Dance profession or Dance as a practice itself is Management. The concept of Management is part and parcel of Dance by itself, both in its performance and practice. This study enlightens and focuses on Management in Dance. The major aim and objective of the study is to prove, establish and confirm the evidence of Management in Dance. This paper is a modest attempt to bring in the functions and features of Management with an analytical approach.

In my earlier article on Tanjore Gnyana (In Search of Gnyana, the Prettiest Dancer in Tanjore) I was concerned with making the case that certain pictorial and textual links had worked to associate a number of photographs, found at several archival sites, with the 19th-century Sadir dancer, Gnyana, who performed at the reception for the Prince of Wales at the Royapuram Station Hall in December 1875. In addition to this exercise, I provided some context and a number of passages from descriptions of the Royapuram event by reporters who were present on that occasion. Interested readers are therefore urged to consult that article before continuing here. In this article I reconstruct her biography from a number of oral sources, and present a full pictorial survey of her life.

Abstract in English:
The author in her article presents the method of feedback interview on the example of dances in a Transylvanian village (Câmpia Transilvaniei, Romania). The name of the method comes from Anglo- American ethnomusicology and dance anthropology. The presentation of a recording of a dance functions as a source of information and the interviewee verbally reacts upon what (s)he sees. The feedback interview is based on the remarks of the performers on their own performances: it is a sort of recollection of a given dance performance in which the researcher and the performer reconstruct past events recollecting memories. The Hungarian folk dance revival movement considers dance films and recordings available in archives as primary sources whose investigation makes it possible to recreate and reconstruct the dance tradition of a given settlement or area. The author has reconstructed the circumstances of a recording of dances in a Transylvanian settlement and, highlighting the characteristic features of local couple dances, provides a critical approach to the source.

While researching different forms of technology in relation to bodily practices for several years, I have become increasingly interested in the decision-making and power relations in this domain because technology is now an essential part of human evolution, existence and everyday use. So, my purpose here is to re-investigate the relationship between human beings and technology in the context of Aeroplane Pilots and their Aircraft. Aircraft manufacturers come up with new ideas to meet up with the technological advancement of the time, they build different designs to suit economic demands, give better flight experience, reduce fuel consumption, and make profit. The constant factor in all these are the pilots who have to deal with the technological advancements on new model aeroplanes as well as the existing ones. So, the profession of the pilot and his or her interaction with the aeroplane is investigated, with specific focus and analysis on the Boeing 737 Max aircraft, the Manoeuvring Characteristics Augmentation System (MCAS) on that aircraft, as well as the incidents that led to its grounding. This paper, in the context of its selected case studies, questions as well as analyses the role new technology plays in the decision-making with this profession and how it affects their previous training as well as embodied knowledge. What kinds of communication or relationship exist between technology and human being? Is the communication a dialogue, is the relationship a democratic one or there are power tussles? What are the challenges and the consequences they face? Who are victims and how can these be resolved? To answer these questions, this study analyses the recent crashes of the 737 Max and other similar incidents. Also, this study investigates power relations within this interaction with technology by evaluating the decisions on how or when technology can or should be used and when it can or should be ignored. I draw from existing literature, a reflexive account of my personal experiences as a frequent flyer, and an extensive online ethnography. The study begins with some background stories which gave rise to my research interest.

Definition of "tribe" in the Indian context is a highly complicated process or is made complicated because of various reasons. However, its application to the various ethnic groups in India is no less reflected in the artistic sphere involving the interest of the whole country. Distinction between "tribe" / "non-tribe" as reflected in today's Indian social outlook has many conditions and dimensions, such as political, economic, linguistic, cultural. "Belonging" or "not belonging" to a particular group or a community in the form of a tribe sometimes depends on the outcome of a long process of negotiation, which may create contradictions at certain level. At the same time the clieche "tribal dance" is well known in the social and cultural world and is widely in use, though often in an extremely unclear way. The paper is focused on what it actually stays for a "tribal dance" in today's India, what are its characteristics, what is its content. It examines the concept of "tribal dance" in India in opposition to "folk", "classical" and similar such connotations, as well as in the context of its increasing use in the recent phenomenon of "neorural" and "neo-tribal". Few cases (Santali, Kalbelia dances) show highly conditional, uncertain and loose character of the schemes adopted to classify dancing practice as an ethnographic reality in today's India.

Hunting stories will always glorify the hunters, since it is the hunters who write the stories. In this book, Dénètem Touam Bona takes up the perspective of the hunted, using the concept of marronage to highlight the lives and creativity of colonized and subjugated peoples. In a format which blends travel diary, anthropological inquiry and philosophical and literary reflection, he narrates the hidden history of fugues, those of the runaway slave, the deserting soldier, the clandestine migrant and all those who challenged norms and forms of control. In the space of the fugue, in the folds and retreats of dense and muggy woods, runaway countercultures appeared and spread out, cultures whose organization and values were diametrically opposed to colonial societies.

El origen de LA SARDANA es un extracto del libro Karuo el secreto ibero, Enrique Cabrejas o Enric Cabrejas nos relata de modo llano su experiencia personal con lo extraordinario de un descubrimiento. El 21 de Abril de 2012 consiguió lo que parecía imposible: Descifrar la escritura ibérica. El hallazgo más relevante de la cultura universal en nuestro país de los últimos tiempos, sin lugar a dudas. Un hito en la historia de la escritura sin precedentes. Desde este mismo instante la obra Karuo de Enrique Cabrejas lo convierte en un referente destacado a nivel mundial en historia y lingüística. Los innumerables datos, explicaciones, pruebas y significados que nos reporta nunca conocidos antes, son una referencia obligada para todos aquellos que quieran comprender la historia, la lengua antigua e incluso también la moderna de nuestro país o para quienes en el futuro deseen estudiarla e investigarla en profundidad, más si cabe desde el mundo académico.

Rasa plays a very prominent role in performing arts. It is the soul and motive for a successful performance of a dance, an act or a play. If Rasa is to be of any moment and significance, it must necessarily be educated and explored. This research article might provoke thought and further inspire the performer to devise various ways and means in understanding the concept and significance of Rasa and incorporate the same in their performances. It would also facilitate in creating interest among individuals and professionals and further help in taking up in-depth research in this domain.This study has been undertaken to investigate the aesthetics of the sentiments and their interpretation in Kuchipudi dance.

Lilies that fester smell far worse than weeds. 2 Animation In cultural history, the tropisms and nastic movements of plants have been closely intertwined with the topos of transience. Floral movements, like the opening and clos ing of a blossom, its coming into bloom and its withering away, gradually emerged as a leading metaphor of ephemerality. 3 A radical understanding of this transi toriness assumed its exemplary representation in the largest class of seed-bearing plants, the Magnoliopsida or angiosperms, which encompasses all flowering plants, includ ing grasses, shrubs and trees. Plant movement, and specifically the movement of flowers, has become a regular allegory for the fleeting and impermanent nature of life, especially the life of human beings.

This paper discusses recent folk dance activities among the Bulgarian communities in Los Angeles, Orange County, San Diego and San Francisco/San Jose, California. These activities are viewed in the contexts of the larger Bulgarian folk dance movement in North America and the recent “boom” of recreational folk dance club movement in Bulgaria. The “boom” is interpreted as  an “explosive moment” (in the Lotmanian way) that had a significant impact on the establishment of the Bulgarian dance groups in Bulgaria and in the US subsequently. In answering the question, “Why do Bulgarians in California go folk dancing now?” the paper proposes that there are not only  “internal” (coming from inside) but also “external” (coming from outside) stimuli that served as a call for action and achievements. The most powerful engine for re-discovery of folk dancing is the desire to reconnect with Bulgaria through the joy of music, movement and social interaction and to introduce children to Bulgarian culture. But there is something else:  it is related to the desire to build a dignified image of Bulgaria and Bulgarians living abroad and to establish cultural bridges with others.
Keywords:  folk dancing, Bulgarians, California, U.S.A.

Българският текст е подготвен през 2004 г. и е  мислен като есе, базиращо се на "включени" наблюдения от  периода  2000-2003 г. Като доклад на английски език той е представен по време на срещата на изследователската група по етнохореология при ICTM (International Council for Traditional Music) в Болоня през 2004 г. Сборникът с доклади е публикуван през 2008 г. Вж.
“Paneurhythmy in Bulgaria: philosophical aspects.” Elsie Ivancich Dunun; Ann von Bibra Wharton (editors), Proceedings for The 23rd Symposium of the ICTM Study Group on Ethnochoreology, 2004: 221-226. Monghidoro (Bologna), Italy: ICTM Study Group on Ethnochoreology; ‘E Bene Vega Maggio’ Association, Monghidoro; Institute of Ethnology and Folklore Research, Zagreb, Croatia.
https://www.academia.edu/20276850/Philosophical_Aspects_of_Paneurhythmy

Rasa plays a very prominent role in performing arts. Shringara Rasa is the primary Rasa that occupies a significant place amongst the Rasas.  It is the soul and motive of all the Rasas; and is termed as the king of all the Rasas. Due to its prominence and significance, it must necessarily be educated and explored. This chapter might provoke thought and further inspire the performer to devise various ways and means in understanding the concept and significance of ShringaraRasa and incorporate the same in their performances. It would also facilitate in creating interest among individuals and professionals and further help in taking up in-depth research in this domain.

Indigenous and folk dance movement motifs, as points of inspiration and innovation for contemporary dance theater, have consistently functioned as choreographic tools in the dance theater scene in Manila. This Major Research Paper (MRP) written in fulfilment of the requirements for a Masters of Arts in Dance at York University, explores the embodiment of indigeneity in three contemporary dance theater pieces that are inspired by Filipino folk dance movements and indigenous ways of living. These pieces have been presented from 1970 to 2016 at the Cultural Center of the Philippines. My MRP primarily asks why Filipino choreographers, specifically Alice Reyes (c1970s), Agnes Locsin (c1990s) and Al Garcia (present) have had a need and artistic inclination to employ tradition for contemporary works. Through dance studies and dance anthropology methods of ethnography, archival research, and movement analysis, I elucidate how the performance of traditional dances cultivated through the nationalist rhetoric of the Bayanihan, the Marcos regime and Francisca Reyes Aquino, had created a national repertoire from which the unity of the Philippines can be corporeally imagined. When referenced and represented in different forms, such as modern and contemporary dance, this nationalist repertoire becomes a performance of nationalism and therefore gains significance and becomes consumable for the urban audience. Thus, in creating a distinct contemporary dance aesthetic in the Philippines, these choreographers transformed tradition to imagine a Filipino dancing identity that decolonizes Western form and respects the heterogeneity of the nation-state. In using traditional elements for contemporary dance theater, they create knowledge and meaning in embodying indigeneity for the urban and postcolonial context of Manila, and in embodying both Western and Philippine aesthetic values through dance.

The paper describes the musical instruments and musical occasions of the Berom people of the Jos Plateau, Central Nigeria. These were first described by Luc Bouquiaux in the early 1960s, and the paper synthesises fieldwork 2003-2021 and archive photographs from 1981 and 1994. The context of this music has changed radically during this period, since much of this music originally accompanied important annual rituals such as Mandyeeng, and has now been adapted to secular festivals such as Nzem Berom. Also included is a description of the major accoutrements of Berom dancers, since performers generally felt musical performance ‘incomplete’ without such additions.

Rasa plays a very prominent role in performing arts. It is the soul and motive for a successful performance of a dance, an act or a play. If Rasa is to be of any moment and significance, it must necessarily be educated and explored. This chapter might provoke thought and further inspire the performer to devise various ways and means in understanding the concept and significance of Rasa and incorporate the same in their performances. It would also facilitate in creating interest among individuals and professionals and further help in taking up in-depth research in this domain.

“Now, for objective adjustment in the physical world, Shiva propounded song, dance and instrumental music in such a manner so that it would directly vibrate the ectoplasm, so that the ectoplasmic movement converges into one point touching the soul point,” according to Prabhat Rainjan Sarkar”. “That is why great people of all ages have encouraged all three aspects of music.”  P. R. Sarkar, (1921-1990), was a spiritual guru in the tradition of Shiva and Krishna. He composed a collection of 5018 spiritual songs called Prabháta Saḿgiita, and founded the socio-spiritual movement Ananda Marga (“the Path of Bliss”).  –  Richard Gauthier, Department of Chemistry and Physics, Santa Rosa Junior College, Santa Rosa, California, USA, May 23, 2021.

Beginning with the example of Beyoncé's music video for her song "Countdown," which copied movements from Anna Teresa De Keers-maeker's early choreographic work, this article explores the role of plagiarism, reconstruction, and recreation in contemporary dance. With regard to theories of repetition (such as those of Søren Kierkegaard and Giorgio Agamben), a particular focus is placed on the ephemerality and corporeality of movement, arguing for the convergence of copying and repetition in dance. While, due to the restrictions of human anatomy and the responding characteristics of movement, dancing is always already interwoven with the process of copying, it is, however, the inevitable inexactitude of these copies that guarantees the non-iterability of dance, as well as its alteration and innovation.