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Anthropologists and sociologists explore dance as a political and cultural performance to express beliefs, ideologies and social ideas. This article examines the impact of Israeli folk dance on the socialisation and integration, of Jewish newcomers (Olim) from Turkey into contemporary Israeli society. Based on in-depth interviews, questionnaires, and spontaneous conversations, as well as auto-ethnographic writings, the article clarifies how, by dancing Israeli folk dance, and particularly through participation in the Israeli folk dance troupe, Olim manage diverse social interactions and cultural negotiations within Israeli society, construct their national identity and shed light on tensions and changes regarding homeland, immigration, and Jewish peoplehood. It argues that Israeli folk dance is an important channel in their process of Israelization. On the one hand, it connects them to Israeli culture and strengthens their Jewish pride; on the other, it clarifies the distinction between life in the diaspora and life in an ethno-national space, expressing otherness while encouraging them to bring their own traditions to an Israeli stage. [ABSTRACT FROM AUTHOR]

In this paper, we first use CNNS to collect rich samples of folk dance music, establish a model framework and a functional system framework, and conduct a comprehensive process analysis of the music. Then, the instrumental features, frequency features, and timbre features are extracted to obtain the spectral information. In the stage of chord analysis and encoding, a multivariate chord encoding model is established based on the acquired spectral information, including two parts: chord representation preprocessing and chord encoding. By utilizing this model, the chord structure of music was successfully and accurately encoded, allowing for analysis with up to 98% accuracy. Furthermore, significant recall results were achieved, reaching over 0.9, which suggests that the extracted chord features are highly reliable and accurate in recognizing musical chord information.

Patayani is an ancient ritual art form which blends music, dance, theatre, sataire, masks, costume, paintings, etc. Patayani highlights the domination of light over darkness. Patayani orginated from the myth dharikavadham. It is also a harvesting festival. Patayani is a combination of myraids of ancient belief system and diverse of worship. Motif is the basic unit of folklore; it relates a character, story and incident, just like a phoneme in language that is an arbitatary sign. The artist imposes a specific meaning to motif. This research paper analyzes the motifs of Patayani. [ABSTRACT FROM AUTHOR]

Copyright of Erciyes Akademi is the property of Erciyes Universitesi Sosyal Bilimler Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Res Humanitariae is the property of Res Humanitariae and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Canadian Journal of Latin American & Caribbean Studies (Taylor & Francis Ltd) is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Folk dance, described in Folkloristics through notions like traditional dance, or, more often, folk choreography, refers to a specific domain of traditional spirituality, and is the third major component of folklore, alongside traditional literature/literary folklore and traditional music/musical folklore. The relation between folk dance and the Romanian education system is a long-lasting one, having taken various forms and degrees of intensity, as this folklore category offers resources and contents that have been used, and still are, in the education of children, youth, and adults. This article refers to the basic components of folk dance distinguished in Ethnochoreology which can offer useful contents to the process of didactic transposition at different levels of education in the Romanian school. [ABSTRACT FROM AUTHOR]

A large number of folk dance videos are uploaded on the web or added as a situational song in the Bollywood movies. The classification of folk dance videos is essential for dance education, to preserve cultural heritage, and for music companies to provide better customer oriented service. India is a country having many regional languages and each region has its own popular folk dances. Four different Indian folk dances namely, 'Garba', 'Lavani', 'Ghoomar' and 'Bhangra' are considered. A Folk Dance Classification Framework is proposed which extracts audio signal from video, takes a fragment of 125 seconds from the beginning and further separates it into a set of small segments, calculates Mel-frequency Cepstral Coefficients (MFCC) and Linear Predictive Coding (LPC) coefficients, generates high dimensional feature vector, reduces dimensionality using Principle Component Analysis (PCA) and classifies segments using Scale Conjugate Gradient Neural Network. The performances of chosen classifiers, K-Nearest Neighbor, Naïve Bayes and Neural Networks, are compared. Class labels of all segments are clubbed together and based on majority voting class label is assigned to a folk dance song. System achieves more than 90% accuracy. [ABSTRACT FROM AUTHOR]

This year marks the centenary of Pat Shaw (1917-77), composer and collector, and this article describes the Pat Shaw Archive now at the Vaughan Williams Memorial Library. The article comprises a select bibliography of dances, music, writings, and recordings. There is an also an outline of research into Pat Shaw’s work. [ABSTRACT FROM AUTHOR]

The article focuses on findings of a study on sociopolitical aspects of "Ojapali" performance of Assam, India. Topics include cultural deiversity in Assam, which is divided in Upper and Lower Assam in terms of cultural differneces; cultural performances of Assam like Bihu dance; role of Ojapali as an epic storytelling form in Assam; identity Darangi cultural practitioners; and significance of Ojapali as a struggle for recognition of the cultural identity of Lower Assam.

The history of song, of romance, or more precisely of the Romanian lied, is very long, closely connected to the faith of the Romanian people. Romanians, who underwent poverty, wars, riots and social upheavels, felt the need to confort this pain. They have always born their cross with resolution in times of need, but they have also lived their joy by singing holy songs during church services, through the songs known by those hiding in the mountains and forests-drafting songs, through the shepards who sang ballads and melancholic songs to their sheep, or mothers who sang lullabies to put their children to sleep, then through violin players and other traditional musicians performing for round dances and folk dances. [ABSTRACT FROM AUTHOR]

The traditional musicological perspective on Chopin's slow, minor-key mazurkas and mazurka sections--that he modeled these episodes on the kujawiak, a Polish folk dance from Kujawy region-- is plagued by contradictory statements. Re-evaluation of source material reveals that the kujawiak, as it is understood in relation to Chopin's mazurkas, is largely a creation of Polish nationalism after Chopin's time. In Chopin's own time, the term kujawiak is used only sporadically and appears to be interchangeable with mazui; by the end of the nineteenth century, however, the kujawiak becomes an important marker of Polishness for which authors offer specific but widely diverging musical characterizations. It is around this time that writers also begin to emphasize the kujawiak1 s impact on Chopin's mazurkas, forging a persistent link between this imagined "national dance" and his compositions. In place of these vague and conflicting constructs, it is proposed that Chopin used the slow mazurka--the kind widely but anachronistically called the kujawiak--to summon nostalgia for the spatially and temporally distant (and mythical) Poland, through musical styles and gestures that include reminiscence and allusion; auditory distancing; disruptions of form and genre; and surface distortions. Nostalgia as a cultural and medical concept also provides a prism through which his contemporaries perceived Chopin's illness, his experience in exile, and his music. [ABSTRACT FROM AUTHOR]

The Venezuelan Escuela Nacional Moderna (1930s-40s) considered die joropo folk dance an inherendy rich musical expression that demanded the spodight of artistic autonomy. Jose Clemente Laya’s Sonata venezolana (1946) demonstrates how these composers transformed the framework of sonata form with the joropo’s musical presence. [ABSTRACT FROM AUTHOR]

This article intends to uncover a concept of developing tradition-art groups in West Sumatra, which is considered that they have been left behind by modern-art groups in terms of packing aspect, presentation, and technical skills. Hence, this article reveals intervention of the academician in developing and providing support in the forms of improving skills and knowledge of the artists and art groups. The support includes improving skills and knowledge of expressing arts through giving packing techniques and arranging art performance, orientated toward educational and social extension actions. The knowledge may consist of techniques for developing movements, dance music, costumes, and make-up affecting skills of arranging and packing performance arts that can be divested in art industries. The method used in this investigation was games that aimed to cope with boredom and improve new awareness of concepts of how to pack performance arts. In addition, the case study was employed to solve problems faced by partners in the field. Moreover, practices about how to pack the arts were critical to be done through brainstorming, discussing, and lecturing. [ABSTRACT FROM AUTHOR]

This article explores how the Mah Meri have standardized and exoticized the music and dance performance of the Main Jo'oh in response to the "tourist gaze" and identity politics in Malaysia. A comparison of the form, texture, melody, dance choreography, and costume of the Main Jo'oh in the late twentieth and early twentyfirst centuries shows that the Mah Meri have transformed the Main Jo'oh in various ways, including (1) reducing the time and length of the performance, (2) sustaining traditional acoustic sounds, and (3) self-indigenizing and exoticizing. Playing to the gaze of the tourists, the Mah Meri sustain and innovate the Main Jo'oh by creatively exploring their improvisatory skills, traditional weaving and carving skills, and resources from the depleting mangrove forest on Carey Island, their ancestral territory and home. [ABSTRACT FROM AUTHOR]

This article presents a study of the BakwenaPhathisidance by a non-Bakwena group, the Diwetse Cultural Troupe. It is based on interviews with members of the troupe and audience members at performances given by the troupe. The study examines how the Diwetse Cultural Troupe engages with and interprets thePhathisidance before, during and after performance, seeking to understand the performance structure and essential features of the dance such as gender roles, attire, basic sequences as well as the relationship between what is deemed traditional or modern. The article focuses on decoding the embedded meanings inPhathisiperformances with the aim of contextualising a Mokwena herdboy's lifestyle (represented by the dancer), his environment and in the Kweneng region. This study also explores how the historical and cultural traits of the dance are recreated, choreographed and presented to the audience. [ABSTRACT FROM PUBLISHER]

A fifty-year (1962P-2012) period has been shown as a history of ethnochoreology supported by living memories of members of the International Council for Traditional Music (ICTM) Study Group on Ethnochoreology. Recently uncovered and juxtapositioned correspondence of three predecessors within earlier years of the International Folk Music Council (IFMC) broadens the history. This article reveals the emergence of ethnochoreology during the 1950s with publications of the two Janković sisters in Serbia with that of Gertrude Kurath in the United States, alongside correspondence with Maud Karpeles, the unheralded founder of the IFMC. [ABSTRACT FROM AUTHOR]

Copyright of Revista del Centro de Investigación Flamenco Telethusa is the property of Centro de Investigacion Flamenco Telethusa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of the article is to reveal choreographic narrative of national dance and to specify the contents of such works. The event of the Song and Dance Celebration called Graži Tu, Mano Brangi Tėvyne (Engl. You Are So Nice, My Dear Motherland) dedicated to the 150th anniversary of Maironis and the repertoire of the concert was chosen for the analysis of the national dance. The event took place on June 2nd, 2012. An attempt was made to pay attention to the choreographic pieces currently performed by the dance groups of the city. The event of the song festival is analysed not accidentally. Such events are the most important venues for performances of national dance groups. Tradition of song and dance celebration has been acknowledged as intangible cultural heritage masterpiece since 2003 and the tradition of the celebration in Estonia, Latvia and Lithuania has been included in the list of intangible cultural heritage of the humankind since 2008. Song and dance celebrations are organized on the national level as well as in individual Lithuanian cities and different regions. The celebrations differ in the age of the participants: pupils participate in pupils' song and dance festivals, and the last one in 2012 also featured children from Vilnius kindergartens; students from the universities of three countries (Lithuania, Latvia and Estonia) participate in Gaudeamus celebrations; participants of different age groups participate in Lithuanian song festival whereas Lithuanian groups from all over the world are invited to perform here. Despite the fact that several events of the Song and Dance Festival took place this year (for example, national pupils' song festival called Our Name is Lithuania took place on July 4th - 8th in Vilnius; it featured the pupils from various Lithuanian locations; Kaunas regional Song and Dance Festival featuring participants of various age groups from Kaunas area took place in Kulautuva on June 9th), Kaunas city song and dance festival was chosen for the analysis. An attempt has been made to pay attention to the repertoire of the national dance groups of the city and to discuss national dances performed by dancers of various age groups. Choreographic content in national dances is the object of the research. Special attention has been paid to national dance groups which currently exist, perform and present the form of art in Kaunas and to their repertoire. Development of the national dance and ambivalent attitude towards the form of art are discussed in the article while describing the most important historical facts of the national choreography. Choreographic changes are found both in the choreographic terminology and in the works of art (national dances). Lithuanian dances meant for spectators had different names throughout the decades. Choreographers tried to emphasize differences of dances and specify peculiarities of choreographic works by tagging them "national dance", "national stage dance" or "folk dance". Works currently performed in song festivals have been adapted, given style or newly created for spectators during various decades. For example, dance Kepurinė performed in the city festival was first performed on stage as long ago as in 1905, while dances Sidir Vidir Žolynėlis and Ne Dėl Žalio Vyno were created by choreographers only in the beginning of this century. Various steps and moves are used in different dances, different text is told by means of choreography in different works. Summarizing the concerts during Kaunas city festival performed by the most famous Kaunas city dance groups it could be stated that national dances seek to show fragments of rural life in Lithuania from the end of 19th century to the beginning of the 20th century. National dances performed by Kaunas dance groups portray rural environment, for example, birds that lived there (Blezdingėlė (swallow), Kurapkytė (little partridge), everyday activities (Malūnėlis (mill) represented sieving of flour, Suk, suk ratelį showed hay making), also seasonal feasts that were celebrated (Kupolinis represented Midsummer's feast, Jievaro tiltas - the period of advent) or jolly parties (Parovėjos suktinė, Polka su ragučiais). It is possible to state that the repertoire presented by national dance groups represents archaic rural culture. Rural environment in national dances is created not only by moves or choreography but also through additional means of expression. The national costume itself represents a peasant's Sunday outfit, which was worn more than one hundred years ago while in some dances additional attributes are used (for example, straw hats, wooden sticks, wild flower wreaths, hubs) in order to better express the context of a dance. The mentioned additional choreography measures enable better understanding of archaic peasantry environment (back to the beginning of the 20th century)- everyday environment as well as celebration traditions. National dances that are newly created by choreographers nowadays seek to introduce the spectators as well as the dancers themselves not to modern citified life but to rural past, the lifestyle that goes back a hundred years ago. It is possible to state that the peculiarity of national dances as a separate choreography genre is to disclose the rural culture of Lithuanian villages of earlier centuries through choreography. [ABSTRACT FROM AUTHOR]

National dances—or “character” dances—have remained on the periphery of studies of the eighteenth-century musical vocabulary of topics and styles, much as the countries from which they hailed were viewed as tangential to the European mainstream. Yet, dances such as the ongherese, fandango, and polonaise carried affective content beyond their nationality. The stereotypes associated with these three countries—Hungary, Spain, and Poland, respectively—illuminate what composers sought to project in their uses of such dances. The ongherese had a dual cultural significance, evoking both Hungarian national pride and the fierce independence of the Gypsies who usually played it—eventually developing into what became the nineteenth-century style hongrois. The use of the fandango went beyond local color to imply the more negative elements of an older Spanish stereotype—including arrogance, haughtiness, and the unbridled exercise of power—both directly and as mocking irony. In contrast, the polonaise—as a noble presentation-step for couples—could be played “straight” in instrumental music, but gained a comedic significance when used by opera composers to mock the idea of dignity à deux, whether in a context of flirtation or quarreling. Thus, the uses of these dances meant more than their national associations, and their broader meanings need to be incorporated into the growing topical lexicon. [ABSTRACT FROM PUBLISHER]

Copyright of Journal of the Cukurova University Institute of Social Sciences is the property of Cukurova University Institute of Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The 'Eightsome Reel' is a fusion of opposites: the elegant quadrille with its French roots and the energetic reel native to Scotland. In the three-part structure of the 'Eightsome Reel', which evolved from the mid-1880s to the late 1890s, communal figures derived from the quadrille frame a long core section in which individual dancers display their prowess in reel steps of their choice. The community expressed by the dance was originally aristocratic, as the dance first appeared on the programmes of the exclusive Highland balls. Dance publishers stressed its social prestige and soon included it in the canon of Scottish national dances. In particular, the vigour of the reel steps and the traditional reel tunes used for the 'Eightsome' were perceived as emblematic of the robust energy of the Scottish character. So cultural nationalism enhanced the dance's popularity, and the community it expressed grew to encompass the nation itself. [ABSTRACT FROM AUTHOR]