Abstract This paper examines and compares the erotic court dances of the 14th century Javanese culture and today's local folk-dancers, ronggeng. The paper explains that, in addition to expressing the age-old dichotomy between the masculine and feminine principles, Javanesedance is also useful in preserving what the Javanese believed would be lost through colonialism, their culture. The paper claims that the first schools of classical Javanesedance were founded out of a desire to retain and maintain the true Javanese culture, with its Hindu and Buddhist elements.
From the Paper "Two sons of a Javanese sultan, both of whom were nationalists, founded a dance school, Kridha Beksa Wirama, in 1918. Moro notes that the school was "groundbreaking" as it was the first effort to make court dance democratic, and less 'feudal.' Its first students were the youth affiliates of Budi Utomo, the first nationalist organization in the region. However, because members in these somewhat avant garde groups were primarily aristocrats, the elite continued to have a hold over the arts. Still, graduates of that school went on to teach in the Taman Siswa schools, a system dating to 1922 that " linked education and experimental pedagogy to the goals of Indonesian nationalism" (Moro, 2004)."
Abstract This paper examines how dance's relationship to the healing forces in ritual is at the heart of the question of how we understand the healing power of ritual. It analyses the peformative approach, as exemplified in V. Turners work, before going on to consider the in-depth case study of the Khita healing cult among the Yaka. It also argues for a dialectical approach to the roles of poles in dancing.
From the Paper "In such a social drama, the place of the symbols involved is that of a displacement that works by signifying ? there is no emphasis on symbolisation as process. This has implications for how we understand dance. Dance then, can occupy a positional place within this world, but only as a disguised expression of the social. This is also the case with other elements of the senses and the emotions. In the Nkula cult, the rich social drama includes the placing of initiate's belongings and excreta into a calabash with a figure made of a red tree ? this figure is made by men. For Turner, this indicates men asserting their domination over reproduction ? the importance of the red blood tree us worked out positionally, as metaphor only has meaning in the transference from other domains of cosmology."
This paper explores the history of the Hula dance and describes how the Hula maiden, with hips swaying in the breeze, has become a legendary symbol of Hawaii.
Abstract The writer of this paper details the history of the Hula dance and its significance as a ritual of religion, celebration, mourning and communication. This brief, yet concise paper, examines how, in ancient times, dancers were selected for hula training in childhood, spending their formative years under the care of a hula master, separated from the outside world and dedicated to the goddess Laka, patron of the hula. Hawaii's history of births, deaths, loves and battles were expressed in the Hula dance. The writer also details the accompanying music and melodic poetry, to which the dancer's swayed, which include the double-gourd drum, called ipu heke.
From the Paper "The history of births, deaths, loves, and battles of the people were preserved in chants and dance. Since Hawaii's history was recorded as dance, "hula dancers were expected to remember and repeat every dance step perfectly and under punishment of death," for "to change the dance was to change history." Hula was the written word for ancient Hawaiians, told through the movements of the dancers' feet, hands, and body movements. Through dance, stories were told, genealogies were kept, and beliefs were shared and imposed, thus to change the steps would be to change the message."
Tags:dance, history, hawaii, culture, ritual, communication
Abstract This paper examines Tony Hillerman's book "Dance Hall of the Dead"about a Navajo policeman who investigates the murder of a young Zuni. It discusses how no one, outside an initiated practitioner in a Native American religion can really comprehend the true significance of its beliefs and rituals and how Hillerman in this novel makes an excellent beginning in differentiating between spiritual beliefs of Zuni and Navajo. It shows how the Zuni religion can be seen to be extensively different from the religion of the Navajo's in the two tribes' rituals, burial practices and beliefs in an afterlife. It uses outside sources to confirm and expand on the understanding of these varied spiritual practices.
From the Paper "For the Navajo, spirituality permeates all areas of life and is rooted in nature. Daily life proceeds upon Mother Earth and under Father Sky. There is no word for religion in the Navajo language, not because there is no religion, but because religion is not separate from life. There is nothing but religion, otherwise known as life among the Dineh, or the People. Rituals, prayers, legends and songs, are scarcely ever out of their minds. The Navajo create sand paintings and hold sings such as the Enemy Way, the Blessing Way, the Flint Way and the Mountain Top Way to cure illness and to help them surmount the problems of life on earth (Waters 248-249). From the Navajo point of view, as Frank Waters puts it, "religion is the way of life" (Waters 396)."
Abstract The paper is an in-depth study of the history of hip hop dance, from before and after the 1970s, and its effects on society. It explores how this type of dance is unlike other dance forms and the elements that make it up. There are no fixed forms to dance, but only styles. The rest is up to the dancer. It is a style of dance for all society giving the freedom to all to dance according to their desires. The paper also shows how hip hop is very much an American product. The hip hop trend enables the path for several dancers, and at the same time it also fosters and promotes more suggestive dance moves. The paper provides clear indications of the effects on culture; some hip hop is racist in theme, while others are sexist. Many hip hop musicians concentrate on such issues like social inequity and the dangers of heroin use. The conclusion is that hip hop is more than just music. It is becoming the soul of pop culture as never before, and steadily moving from the street corners and music videos towards usage in the fitness centers, dance studios as well as television shows.
From the Paper "Hip hop may be viewed as a culture and is often used to refer to commercial rap music, but hip-hop is not only music. It is loved by the American ghetto youth who claim that it is their method of self-expression and use hip hop to rise over their physical situations. The culture of hip hop has its roots based on truth, self-determination, courage and pride. This is the reason why it has grown to have its impact on almost every part of the world. (Hip-hop History) Some hip hop is racist in their themes, while others are sexist. At the same time, there are also many hip hop musicians who concentrate on such issues like social inequity and the dangers of heroin use. From its early days in the US, the music is being played in projects and some underground clubs, but, now it has achieved a profile that has led to include it in the 1992 presidential debates over Sister Soljah. In the 20th Century Fox movie, Bulworth, there is Warren Beatty playing a Senator who berates his opponents using rap. Hip hop, it would seem, has become a part of our lives. (Classified Hip-Hop or I wanna blow up like Marilyn Monroe's skirt) At the same time, hip hop is not only music. This form of dancing has become very popular and this is clear from the opinions of some experts. "There's a definite surge in the white neighborhood that wouldn't necessarily be exposed to hip-hop in their everyday life," says Keith Pinto, who is an MC and hip-hop dance teacher at the Dance Attack in Los Gatos, California. "They watch MTV, see other kids doing it and want to be a part of it. You can pretty much go to any dance studio in the Bay area and they'll have a hip-hop class." (Hip-hop dance fever)"
Abstract This paper examines historically social dancing in the 20th century, also called couple dancing. The paper describes the five different types: Modern Waltz, Tango, Viennese Waltz, Slow Foxtrot, and Quickstep, all of which are presently danced the world over both socially as well as in dance sport competitions.
From the Paper "Social dancing was derived from the concept of dancing by a couple, usually a man and a lady, in a closed hand. Coming from the eighteenth and early nineteenth century, these dances gained popularity from the standard ballroom dances with diverse rhythms, tempos, and aesthetics. Although all these aspects changed with the change in the social attitudes, the one thing, which remained common through out the history of dancing, is that of the couple dance or the social dances. (Evans 2001)"
Abstract This paper explains that many dance traditions have originated in India and Indonesia, such as the Bharata Natyam from South India, which had an important historical and cultural influence on the history of India. The author points out that important elements of Hinduism, particularly the figure Nataraja, a form of Shiva, are expressed in Bharata Natyam. The paper relates that this dance, as well as many other religious dances, demonstrate the integral relationship between religious dances and the religious themes that inspire them.
From the Paper "Many dance traditions have originated in India and Indonesia, such as the Bharata Natyam from South India, which had an important historical and cultural influence on the history of India. Important elements of Hinduism, particularly the figure Nataraja, a form of Shiva, are expressed in Bharata Natyam. This dance, as well as many other religious dances, demonstrates the integral relationship between religious dances and the religious themes that inspire them. In terms of specific details of Bharata Natyam, it emerged in southern India and developed over the centuries as a living tradition as generation after generation handed it down from parents to children, and gained ascendancy when the Devadasi system emerged in India."
Abstract This paper is about dance movement therapy as a form of expressive art therapies. The paper focuses on how dance therapy is about the release of emotional trauma or beliefs as well as feelings that have been suppressed, through appropriate movement. There is a brief history of development of dance therapy as well as a personal story about how fears can limit the ability to dance.
From the Paper "The expressive arts offer a multitude of opportunities for the human spirit to achieve balance, freedom, relief and potentially self-actualization. While great emphasis in class has been placed on the spirit of the human condition and spirit of the soul, after a brief discussion about the spirit, this paper will focus on what movement and dance therapy are about, the use of dance therapy as a way of unleashing burdensome emotions and psychological pathology in combinations of the arts and solely using dance and movement as the expressive medium. This paper will also include comments on the generally fear and shame based reasons why individuals might initially shy away from dance and movement therapy."
Abstract This paper describes the Ghost Dance religion and how it spread to Native American tribes. The paper discusses the history of the Native Americans from the time of Andrew Jackson until the Wounded Knee massacre, and demonstrates how the Native Americans were pushed farther and farther westward, and eventually limited to a very small area. The paper explains how the United States army and government's fear of the Ghost Dance religion led to the Wounded Knee massacre, describing the events of the massacre, and the political issues surrounding the massacre and the Ghost Dance religion.
From the Paper "James Mooney writes in The Ghost-Dance Religion and the Sioux Outbreak of 1890 that the essential part of the teaching of the Ghost Dance is the doctrine that the world is old and worn and the time is near for its renewal (Mooney 661). The Ghost Dance was an American Indian religious revivalist movement that spread through the Plains Indians and other ethnic groups during the 1890's and due to a culmination of events is forever linked to the Wounded Knee massacre of 1890 (Ghost pp)."
Abstract This paper takes a look at Islam's view on dance and music. According to the paper, although there are many groups within Islam that profess that music and dancing are forbidden, it is clear that the Qu'ran itself does not explicitly prohibit these activities. The paper goes on to say that several avenues of worship within Islam have developed into the practice of reaching God through dance or music. The paper focuses specifically on the Quwalli and the Mevelevi Order, also known as The Whirling Dervishes.
From the Paper "More intentionally musical is the Sufic tradition of the Quwalli. Quwali means "word," and can be thought of as the physical and auditory manifestation of the divine voice. As with the Quri, the Quwallis use their voice as a tool of worship, but they move into the world of interpretation and individual expression of the words themselves. They can be likened to the Gospel singers of the Western world in this respect, though this may be a misleading comparison since the Sufi practice, from which the Quwalli find their beginnings and roots, is far more steeped in history and tradition and could be considered a more "serious" endeavor. Quwallis use the music of their voices to worship foremost, and to communicate and encourage their listeners to worship with them is a secondary concern."
Abstract This paper discusses the film "Dances With Wolves" in relation to man's inhumanity to man, culture, our attitudes towards other cultures, and the media's portrayal of other cultures through the medium of film.
From the paper:
"The film ?Dances With Wolves? (Costner) looks in detail at the way strangers get to know each other. It is seen from the point of view of John Dunbar, a lieutenant fighting during the American Civil War. We meet the wounded hero in a field hospital just as he is about to have his leg amputated. However, when the doctors leave, he decides to rejoin his regiment, and invites death by riding his horse in a suicidal charge at the enemy lines."
Abstract In this paper, the writer discusses that the Baile, Egyptian Cabaret, and Nritta represent a cross-cultural connection in world dance, which embodies the love that men and women share for each other. In this manner, the religious idioms of the cultures described here represent the manner of movement that depicts love, but through the sacred ideals of commitment and love. The writer points out that although these differ slightly in the accompaniment of dancers, or in the stylistics of the choreography, there is a archetypal cultural unifier that relates the desire and higher love of men and women across the world.
From the Paper "This study examines the multi-cultural aspects of "divine love" in Kathak, Middle Eastern, and Flamenco dancing. Within these dances there is a greater blend of different cultural values that make up each of the formats of these dances. In this manner, the chain of influence upon the Kathak, Middle Eastern, and Flamenco dances offer a multi-cultural depiction of how dance is not created within the limitations of geographical boundaries. By understanding the cultural similarities based in these dances, one can realize the power of movement that is a commonality within the religious and divine nature of love. The Kathak dance is a religiously based dance that formally uses the divinity of love for Indian gods, and their dance in the Cosmos."
Abstract This is a high level overview of dance movement therapy, what it means and how it can successfully be integrated into an individual's life. Part of the overview includes an emphasis on how dance movement therapy can be beneficial for one's daily live even if one is not suffering from emotional or mental health issues. There is also a brief explanation of the role of expressive arts therapy.
From the Paper "Expressive arts therapy has many components, one of which is dance movement therapy. Halprin (1999) states "movement is the body's universal language...a bridge to the interior world of self and between self and the world." Dance movement therapy has few limitations as to who can do partake in this expressive form of movement and who can benefit from it. This paper will provide a basic overview of what dance movement therapy is and how it is effective. The second section of the paper will focus on how dance movement therapy can be successfully integrated an individual's life. Part of the overview includes an emphasis on how dance movement therapy can be beneficial for one's daily live even if one is not suffering from emotional or mental health issues. "
Abstract This paper looks at rituals and how they structure society. The author discusses how rituals effect communication mediums between people as well as how they impact cooperation and understanding. The author examines different types of rituals in different cultures.
From the paper:
"Regardless of who we are, or where we live, rituals form a basic part of our lives. We participate in them ourselves, we see them being performed by others, we notice them in the actions of animals. Rituals are physical actions that mean something to us: we do them because they serve a purpose and help us achieve what we need to in order to move on to the next step in our daily lives."
Tags: tradition, culture, religion, religious, god, ritual, bond
Abstract This paper looks at ballet as the form of dance. The paper presents the major argument that ballet is used to create ideas of cultural superiority. The paper considers that at the same time this cultural superiority is used to make other cultures look inferior.
From the Paper "Art forms are filled with signs, messages, symbols and a whole range of other semiotic features. In Messages and Meanings II Marcel Danesi defines art as, "Disciplined expressive activity that provides the people who produce it and the community that observes it with a range of experiences that might be aesthetic, emotional, intellectual, or a combination of these (Danesi 2004: 332)." Many activities within human societies could be considered art. Singing, music, sculpting, drawing or painting, writing and acting are all activities preformed by societies that are considered art. Each piece of artistic work is filled with symbols, signs and meanings."
