Buyo, The Classical Dance.

1972 ◽  
Vol 27 (4) ◽  
pp. 471
Author(s):  
Ted T. Takaya ◽  
Masakatsu Gunji ◽  
Don Kenny ◽  
James R. Brandon
Keyword(s):  
Classical Dance

Intégration et transformation d’une figure de la danse classique par la danse coréenne – une analyse comparée de la Pirouette en dehors et du Hanbaldeuleodolgi basée sur la notation Laban

2017 ◽  
Vol 56 (2) ◽  
pp. 309-327 ◽  
Author(s):  
Kyung-Eun Shim ◽  
Blandine Bril
Keyword(s):  
Detailed Analysis ◽  
20Th Century ◽  
Cultural Exchange ◽  
The West ◽  
Dance Movement ◽  
Classical Dance ◽  
Central Figure ◽  
Mechanical Constraints ◽  
Classical Ballet ◽  
Korean Dance

Due to cultural exchange between the West and Asia since the beginning of the 20th century, the Korean dance has integrated quite a few aspects of classical dance while transforming its figures. The transformation itself is what we are interested in. We focus on a central figure in classical ballet, la pirouette en dehors, which in the Korean dance is known as the Hanbaldeuleodolgi. Our research aims at understanding how is expressed in both cultures (France and Korea), a dance movement which comes under similar mechanical constraints (producing rotational forces) while displaying a unique aesthetic to each context. The detailed analysis of this figure is carried out based on the theory of Rudolf Laban.

Survey of Musculoskeletal Injuries among Female Bharatanatyam Dancers in the Udupi District of India

2021 ◽  
Vol 36 (3) ◽  
pp. 199-206
Author(s):  
Lavanya P Kumar ◽  
Shruti J Shenoy
Keyword(s):  
Medical Professional ◽  
Musculoskeletal Injuries ◽  
Limited Information ◽  
Classical Dance ◽  
Dance Training ◽  
Lower Back ◽  
Injury Occurrence ◽  
Indian Classical Dance ◽  
The Impact ◽  
And Training

BACKGROUND: Bharatanatyam is an Indian classical dance form that is practiced globally. There is limited information about the prevalence of injuries in Bharatanatyam dancers. OBJECTIVES: To investigate the prevalence of musculoskeletal injuries and specifics of dance training in female Bharatanatyam dancers in the Udupi district of India. METHODS: We developed and tested a survey for Bharatanatyam dancers regarding injury history in the prior year, including location, time loss, cause, and need for medical help. We also obtained demographic and training information. RESULTS: 101 dancers completed the survey. 10.8% of dancers reported musculoskeletal injuries because of participation in dance. They sustained 0.65 injuries/1,000 hours of dancing. The most frequently injured areas were ankle (27.2%) and knee (27.2%) followed by lower back (13.6%) and hip (9%). Despite being injured, 36.4% of the dancers continued to dance. 54.5% of the injured dancers sought the help of a medical professional for their dance-related injuries. The most common surface for dance was concrete followed by other hard surfaces such as marble and tile. CONCLUSION: Female Bharatanatyam dancers are prone to injuries of the lower extremity and back. Most dancers in our study practice the Pandanalluru style on hard surfaces. There is a need to investigate the impact of training factors on the injury occurrence.

scholarly journals Being Carmen: Cutting Pathways towards Female Androgyny in Japan and India

2018 ◽  
Vol 34 (4) ◽  
pp. 307-325
Author(s):  
Catherine Diamond
Keyword(s):  
Southeast Asia ◽  
Gender Representation ◽  
Environmental Literature ◽  
Classical Dance ◽  
Traditional Dance ◽  
Asian Society

In this article Catherine Diamond examines the flows of transcultural hybridity occurring in dance between Spanish flamencos, Japanese exponents of flamenco, and Indian dancers interacting with flamenco within their classical dance forms. Japan and India represent two distinct Asian reactions to the phenomenon of global flamenco: the Japanese have adopted it wholesale and compete with the Spanish on their own ground; the Indians claim that as the Roma (gypsy) people originated in India, the country is also the home of flamenco. Despite their differing attitudes, flamenco dance offers women in both cultures a pathway toward participating in an internal androgyny, a wider spectrum of gender representation than either the Asian traditional dance or contemporary Asian society normally allows. Catherine Diamond is a professor of theatre and environmental literature. She is Director of the Kinnari Ecological Theatre Project in Southeast Asia, and the director/choreographer of Red Shoes Dance Theatre in Taiwan.

scholarly journals BREATHING EXERCISES IN CHOREOGRAPHIC EDUCATION

2020 ◽  
Vol 14 (4) ◽  
pp. 696-708
Author(s):  
A. V. Oleneva ◽  
◽  
I. A. Stepanik ◽  
Keyword(s):  
Respiratory System ◽  
Vocational School ◽  
Ballet Dancer ◽  
Classical Dance ◽  
Physiological Indicators ◽  
Breathing Exercises ◽  
Breathing Techniques ◽  
Before And After ◽  
5Th Grade ◽  
Distinguishing Features

Introduction. The paper emphasizes the importance of work on breathing in professional choreographic education. The distinguishing features of breathing in choreography are presented. The study involves an analysis of various breathing techniques (yoga, pilates, Strelnikova gymnastics, and others), their compliance with the choreographic art requirements, and adaptability to professional choreographic education. Materials and methods. The analysis has been used to compile a set of breathing exercises corresponding to the classical dance requirements. The 5-month practice at the choreographic vocational school has been described. Results: Main physiological indicators of the respiratory system of 5th-grade students before and after daily breathing exercises have been compared. Conclusions: The findings suggest that the discussed experimental gymnastics can be used for professional choreographic education. Keywords: choreography breathing, breathing gymnastics, breathing exercises, choreography education, classical dance, ballet dancer, aerobic stamina, development of respiratory system.

scholarly journals Critiques on the Ideologies of Contemporary Bedhayan Dances

2017 ◽  
Vol 9 (1) ◽  
pp. 104-114
Author(s):  
Sawitri Sawitri ◽  
Bani Sudardi ◽  
Wakit Abdullah ◽  
Nyoman Chaya
Keyword(s):  
Descriptive Analysis ◽  
Iron Curtain ◽  
Global Culture ◽  
Cultural Products ◽  
Classical Dance ◽  
Life Orientation ◽  
Court Dance ◽  
Classical Culture ◽  
The Relationship

This present paper provides a descriptive analysis toward a traditional court dance called Bedhaya, one of the cultural products of the Javanese community in Surakarta which evolved into its modern version Bedhayan due to the flow of global culture. By applying the theories of hermeneutics, ideology, aesthetics and Semiotics, the data are inferred according to the purposed questions. The inquiry is directed to infer the factors encompassing Bedhaya dance such as its emergence and the development, relationship with the existence and its role in the society, the relationship with systems within the society or with various interests. The results as inferred from the data obtained views in looking at the development on the classical dance of Bedhaya into Bedhayan left worthy of critical assessments. The reality of Bedhayan dance in the view of art as an ideology, from the outside, appears that the choreograhers/artists can freely express their creative ideas in the context of the fight agains the classical culture which is strongly enacted by the myths and power of the rulling king. However, it should be noted that Bedhayan dance artists which have managed to bring the classical bedhaya dance out of the walls of the Kraton also in essence always work in the confines of the iron curtain of a creativity called ideology. Whether consciously or not, being forced or sincere in living it, these choreographers actually fall into the life orientation which solely concerns the fulfillment of material needs.

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