Hyojun Nihon Buyo-fu (A Standard Japanese Classical Dance Notation)

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.

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Elementary units of an action sign system: The Hasta or hand positions of Indian classical dance

Semiotica ◽

10.1515/semi.1986.62.3-4.247 ◽

1986 ◽

Vol 62 (3-4) ◽

Cited By ~ 2

Author(s):

RAJIKA PURI

Keyword(s):

Classical Dance ◽

Sign System ◽

Indian Classical Dance

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Buyo, The Classical Dance.

Monumenta Nipponica ◽

10.2307/2383828 ◽

1972 ◽

Vol 27 (4) ◽

pp. 471

Author(s):

Ted T. Takaya ◽

Masakatsu Gunji ◽

Don Kenny ◽

James R. Brandon

Keyword(s):

Classical Dance

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Indian Classical Dance classification by learning dance pose bases

2012 IEEE Workshop on the Applications of Computer Vision (WACV) ◽

10.1109/wacv.2012.6163050 ◽

2012 ◽

Cited By ~ 16

Author(s):

Soumitra Samanta ◽

Pulak Purkait ◽

Bhabatosh Chanda

Keyword(s):

Classical Dance ◽

Indian Classical Dance

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A Body of Accents

Nordic Journal of Dance ◽

10.2478/njd-2018-0005 ◽

2018 ◽

Vol 9 (1) ◽

pp. 44-51

Author(s):

Ami Skånberg Dahlstedt

Keyword(s):

Performing Arts ◽

Dance Education ◽

Cultural Exchange ◽

Foreign Accent ◽

Contemporary Dance ◽

Cultural Roots ◽

Professional Dance ◽

Year 2000 ◽

Exchange Programmes ◽

Nihon Buyo

Abstract Dance practice is often hidden inside dance studios, where it is not available for dialogue or interdisciplinary critique. In this paper, I will look closer at one of the accents that my body has held since the year 2000. To Swedish dance academies, it is perhaps the most foreign accent I have in my dance practice. It has not been implemented as ‘professional dance’ in Western dance studios. This foreign accent is called Nihon Buyō, Japanese dance, also known as Kabuki dance. Nihon Buyō, Nō or Kabuki are local performing arts practices for professional performers in Japan. A few foreigners are familiar with these practices thanks to cultural exchange programmes, such as the yearly Traditional Theatre Training at Kyoto Art Centre. There is no religious spell cast over the technique or a contract written that it must be kept secret or that it must not leave the Japanese studio or the Japanese stage. I will compare how dance is being transmitted in the studio in Kyoto with my own vocational dance education of many years ago. Are there similarities to how the female dancer’s body is constructed? Might there be unmarked cultural roots and invisible originators of the movements we are doing today in contemporary dance?

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

Medical Problems of Performing Artists ◽

10.21091/mppa.2021.3022 ◽

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.

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