History of Dance

Island studies is a growing field of research. A relational turn has recently taken place in island studies alongside relational turns in associated fields of research, including oceanic and ship geographies (although not always in conversation with them). While all three now challenge the land-locked nature of geography and related disciplines, this paper suggests that islands, oceans and ships should not always be reductively conceptualised in isolation, because they are often bound together through complex and shifting relations and assemblages. After reviewing debates and conceptual gaps in the critical island, sea and ship literatures, the paper makes this argument by reference to an island dance performance and social institution that is not wholly of the island, the ship or sea, called the Barbados’ Landship.

KEYWORDS:- Island Studies, Islands, Relational Turn, Ships, Ocean, Sea

‘Dancing Glass: Reflection of Art through Dance’ was a collaborative project using artwork from the glass gallery at the Lowe Art Museum of the University of Miami, as a springboard for artistic inquiry in improvisational dance. Students enrolled in a Dance Improvisation course, guided by professors Carol Kaminsky and Jorge L. Morejón in order to create dance pieces based on the exploration of shape, line, design, and symbolism of glass art. Several works of art were identified for this project which allowed a moving dialogue based on authentic and aesthetic responses. Students’ generated movement, combined with sound, photo, film, and written responses, resulted in themes that emerged from their personal connection to the art. However, the course was just the frame for a bigger research project whose objective was to find out whether glass sculptures influenced creativity in dance improvisation, and how creativity, in turn, affected the students’ self-esteem and self-confidence. The performance, along with their journal entries, the audience surveys and their personality measurement assessments brought the semester to a successful closure as students gained in self-esteem and self-confidence through dance improvisation.

KEYWORDS: Dance improvisation, dance research, glass art, self-esteem, embodied learning self-confidence

Au début du siècle, les musiques et les danses des descendants d'Africains à Cuba étaient considérées comme répugnantes et inaudibles, et leur pratique sévèrement réprimée. Aujourd'hui, les tambours batá et les danses d'orichas attirent un nombre croissant de visiteurs européens et américains dans l'île, en tant que paradigmes d'une supposée "pure tradition yoruba". Cet article tente d’analyser le rôle joué par les institutions (commerciales et nationales) et les intellectuels cubains dans le changement de statut de ce répertoire spécifique, ainsi que les interactions entres ces institutions et les pratiquants eux-mêmes, acteurs à part entière de cette évolution.

"Over fifty years ago, it became unfashionable—even forbidden—for students of literature to talk about an author’s intentions for a given work. In Murder by Accident, Jody Enders boldly resurrects the long-disgraced concept of intentionality, especially as it relates to the theater.

Drawing on four fascinating medieval events in which a theatrical performance precipitated deadly consequences, Enders contends that the marginalization of intention in critical discourse is a mirror for the marginalization—and misunderstanding—of theater. Murder by Accident revisits the legal, moral, ethical, and aesthetic limits of the living arts of the past, pairing them with examples from the present, whether they be reality television, snuff films, the “accidental” live broadcast of a suicide on a Los Angeles freeway, or an actor who jokingly fired a stage revolver at his temple, causing his eventual death. This book will force scholars and students to rethink their assumptions about theory, intention, and performance, both past and present."

Thanking all those who have requested that I upload a copy, very sorry not to be able to oblige but copyright law forbids it. But here's a peek at the Prologue or Mise-en-Scène  JE

In Nikos Kazantzakis' novel, Zorba the Greek, dance has a great importance. The transposition of the novel into a ballet by Lorca Massine (1987), simplified the novel's complexity " rejuvenating " the ancient world described by Kazantzakis. The contrast Apollonian/Dionysian is entrusted to the style of the protagonists. They propose the modern heritage of traditional Greece, imposing a new dance tradition (syrtaki), based on ancient and popular reminiscences, a new myth. A considerable social phenomenon. This contribution wants to analyze how dance becomes expressed revealing of collective identity, in the transposition from the novel into a ballet through the movie.

This article presents a new theory on the origin of the calenda (also known as calinda, colinda, corlinda, and caringa) by analyzing the term from an Iberian perspective. It claims that the term should not be understood as a type of dance or song, but as a festive period in the Iberian calendar. It explains the calenda with reference to an Afro-Iberian substratum in Black performance culture in the Americas and highlights the role of brotherhoods.

ABSTRACT: Painter, sculptor, and owner, integrated into an elite from Borba, José de Sousa de Carvalho (1741 – 1795) is the author of various paintings that are spread across public and private spaces, including the extremely rare musical representations kept in the Town Hall of Borba. Father of Bernardo Germano de Carvalho (1777 – 1853), also a painter and an owner, and paternal grandfather of José Ignácio de Carvalho (1819 – 1887) who was a chorister in the Mother Church and a chaplain in the Colegiada da Misericórdia (Collegiate Church of Mercy) of Borba, José de Sousa de Carvalho integrated our fieldwork, our archiving work, our work of iconographic-iconological analysis, concerning the pioneer survey of Musical Iconography in Painting in Portugal, which we have been carrying out since 2009, searching to unveil sources and models used in paint shops and workshops. In this context, we will make a small contribution to the musical life of Borba between the end of the XVII century and the beginning of the XIX century, including unpublished notes concerning the so far unknown Pedro(s) Gonçalves Mexia.
KEYWORDS: Borba; Dance; José de Sousa de Carvalho; Music; Painting; XVIII century.
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RESUMEN: Perteneciente a la clase alta borbense, José de Sousa de Carvalho (1741 –  1795) es un pintor y autor de diversas obras pictóricas repartidas por lugares públicos y privados, entre las que se encuentran rarísimas representaciones musicales conservadas en los distintos palacios del Concejo de Borba. Nuestro protagonista, padre del también pintor y autor de varias obras, Bernardo Germano de Carvalho (1777 –  1853), y abuelo paterno de su tocayo José Ignácio de Carvalho (1819 – 1887), quien fuera miembro del coro de la Iglesia Matriz y capellán de la Colegiata de la Misericordia de Borba, centra nuestro trabajo de campo, archivo y análisis iconográfico e iconológico sobre la pionera recopilación de la iconografía musical en la pintura portuguesa que venimos realizando desde 2009, a través de la búsqueda de las fuentes y modelos empleados en los estudios y talleres de pintura. En este contexto, seleccionaremos unas breves aportaciones a la vida musical de Borba entre finales del siglo XVII y principios del XIX, incluyendo notas inéditas pertenecientes a los hasta ahora desconocidos Pedro(s) Gonçalves Mexia. Confirmar se e um ou dois
Palabras clave: Borba; José de Sousa de Carvalho; Música; Pintura; Siglo XVIII.
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RÉSUMÉ: Peintre et propriétaire, intégré dans une élite de Borba, José de Sousa de Carvalho (1741 – 1795) est l’auteur de plusieurs tableaux répandus dans plusieurs espaces publics et privés, y compris les très rares représentations musicales conservées dans l’Hôtel de Ville de Borba. Père de Bernardo Germano de Carvalho (1777 – 1853), également peintre et propriétaire, et grand-père paternel de José Ignácio de Carvalho (1819 – 1887) qui fut choriste dans l’Église-mère et aumônier dans la Collégiale de la Miséricorde de Borba, José de Sousa de Carvalho intègre notre travail sur le terrain, d’archivage et d’analyse iconographique iconologique, concernant une étude pionnière sur l’Iconographie musicale de la Peinture au Portugal, que nous avons menée à bien de 2009 jusqu’à aujourd’hui, cherchant à déceler des sources et des modèles utilisés dans les ateliers de peinture. Dans ce contexte, nous apporterons de brefs compléments pour la vie musicale de Borba entre la fin du XVIIe siècle et le début du XIXe siècle, y compris des notes inédites concernant le Pedro Gonçalves Mexia, méconnu jusqu’à nos jours.
Mots-clés: Borba; José de Sousa de Carvalho; Musique; Peinture; XVIIIe siècle.

RESUMO: Pintor, escultor e proprietário, integrado numa elite borbense, José de Sousa de Carvalho (1741 – 1795) é o autor de várias pinturas que se espalham por espaços públicos e privados, incluindo as raríssimas representações musicais e de dança que se guardam nos Paços do Concelho de Borba.  Pai de Bernardo Germano de Carvalho (1777 – 1853), também pintor e proprietário, e avô paterno de José Ignácio de Carvalho (1819 – 1887), corista na Igreja Matriz de Borba e capelão na Colegiada da Misericórdia de Borba, Sousa de Carvalho documenta, em oito telas que pinta de visu – para decorar, com grande probabilidade, a sua residência familiar, o Palacete dos Sousa Carvalho e Melo –, momentos de recreio da escol borbense inerentes ao gosto coevo, aos hábitos domésticos de sociabilidade crescente, e à grandeza e poder de uma família telúrica endinheirada. Em contexto, deixaremos breves achegas para a vida musical borbense entre finais do século XVII e o início do século XIX, incluindo notas inéditas relativas ao, até agora, desconhecido Pedro Gonçalves Mexia.

The art historian Leo Steinberg regularly recommended imitating the poses of figures depicted in artworks, as a means of understanding the apparent motivations of the figures. Such an approach was conceptually related to the concept of Einfühlung, or empathy, which had been discussed in German aesthetic circles in the late 1800s. But in the early 1960s, when Steinberg first began to employ such an approach, it was also associated with the world of dance: a sphere with which Steinberg was also quite familiar. This essay thus considers Steinberg’s method of analysis in relation to the discursive traditions of art history and modern dance theory, detailing connections while also acknowledging distinctions in motivation.

Antonia Mercé Luque (Buenos Aires, 1890-Bayona, 1936), conocida con el nombre artístico de la Argentina, es posiblemente la bailarina española con más proyección internacional en la primera mitad del siglo XX. Sus contribuciones fueron clave en la definición y consolidación del lenguaje de la danza española y sus diversas vertientes. La publicación del epistolario de la bailarina y coreógrafa es una edición del CDAEM en colaboración con el CSIC, y recoge un trabajo que se enmarca en dos proyectos de investigación (ERC2018-092829 y PGC2018-093710-A-I00) auspiciados por el Ministerio de Ciencia e Innovación, bajo la dirección de Idoia Murga Castro. La edición, realizada junto a un equipo de investigadores y documentalistas formado por Blanca Gómez Cifuentes, Mª José González Ribot, Raquel López Fernández y Alejandro Coello Hernández, comprende más de dos centenares de cartas datadas entre los años 1915 y 1936. Esta correspondencia, escrita por Antonia Mercé y por su mánager, Arnold Meckel, procede de diversas instituciones, entre las que figuran el Archivo Manuel de Falla, la Fundación Juan March, la Bibliothèque Nationale de France, el Archivo Histórico Nacional, la Residencia de Estudiantes, el Archivo Ignacio Zuloaga, etc. A través de este conjunto, podemos asomarnos a la intensa actividad y la brillante personalidad de la bailarina y coreógrafa, que escribió a figuras tan destacadas como Manuel de Falla, Ignacio Zuloaga, María Ruanova, André Levinson, Joaquín Nin, Meg Villars-Catusse, Cipriano Rivas Cherif, Artur Michel, Jacques Rouché, Enrique Fernández Arbós, Ernesto Halffter, Carlos Sáenz de Tejada, Gustavo Durán y Néstor de la Torre. Se completa el epistolario con una serie de apéndices que incluyen índices cronológico, onomástico, de entidades, obras y topónimos, y una selección de imágenes que, junto a la transcripción de las cartas, ayudan a contextualizar y ahondar en el conocimiento de una figura tan destacada de nuestra cultura.

Dancing mania' has often been understood as an expression of purportedly 'typical medieval' mass hysteria. Yet evidence suggests that a better interpretation would be to see it as a disease, the idea of which was shaped by patterns tracing back to antique cosmology. During the later Middle Ages, this concept became reality as a form of suffering primarily determined by spiritual forces (e.g. the might of Saint John the Baptist) which typically struck only individuals or small groups in narrowly defined regions. This article closely examines a key shift in the semiotic setting of how this disease was interpreted: During the 15 th and early 16 th centuries, it became medicalised and desacralized. Evidence of this development can be found in isolated instances of 'dancing mania' in towns of the Rhine and Moselle area which at first glance would appear to be of little significance. As a medical concept, 'dancing mania' would survive the Reformation, and as a concept of primarily medical understanding it would later be reintegrated into the renewed Catholic culture of the late 16 th and 17 th centuries.

Performance and ritual were central to the functioning of royal courts in the Georgian era. Every year George III held court balls to mark the birthdays of the monarch and consort. The royal birthday ball opened with minuets, a dance that demonstrated grace, ease, politeness, gentility and education. The pressure to perform with grace and accomplishment was immense, as any missteps were eagerly commented on in the press and in correspondence. This article examines the ballroom as an intense emotional space for demonstrating membership of the bon ton.

a study of the ambient sound of the Crimean War and of English society in the same years, with particular focus on animals, armaments, parlor games, habits of whistling, and popular dance and song, most especially "Pop Goes the Weasel," as associated also with contemporary engineering and physics.

O livro investiga quais as relações entre Ballet Stagium, crítica de dança e poder público que tornaram possível a companhia permanecer no tempo, entrelaçando acontecimentos históricos do período, as produções cênicas do Ballet Stagium e as representações sobre elas com um panorama geral da dança, para compreender a constituição e funcionamento de um campo da dança como arte no Brasil.

Disponível para venda no site da Editora CRV: https://editoracrv.com.br/produtos/detalhes/34498-crv

For the fisrt films of Edison and the Lumière brothers, starring imitators of Loïe Fuller and her serpentine dance, dancing has been present in the cinema, either with images of troupes dancing in front of the camera, or as bit players in some of the most diverse stories. In the films of Méliès and his imitators, the presence of dancers was a constant, alone or in groups, either performing dance numbers or featuring in the final climax of his films.  The cinema also focused its attention on famous dancers such as Cléo de Mérode, Carlota Zambelli, Tórtola Valencia, or the leading figures of the Ballets Russes like Tamara Karsavina. And even on artists who were not dances by profession, such as Régina Badet of the Opéra Comique de Paris, or women famous for their scandalous private life such as Bella Otero or Christine Kerf. The most successful dancer was Stascia Napierkowska, who starred in numerous melodramas for Gaumont.

This essay offers a preliminary portrait of Anna of Denmark, queen of Scotland from 1589 for her marriage with James VI and queen of England, Scotland and Ireland for her husband’s accession to the throne as James I in 1603. Unjustly described by the anti-jacobean storiography as a vague character, changeable and superficial, extremely frivolous because of her interest in the court revels, Anna was instead an emblematic and eclectic personality, both in politics and cultural activity, expecially for her patronage of arts, artists and spectacle. Patron of painters, musicians and actors, connoisseurs of the Italian Renaissance architecture, Anna was the effective promoter of the english court spectacle, creating a series of yearly events which, from 1604 to 1611, signed the ultimate codification of the English masque.

(English Abstract) The Gospel of Matthew (2: 1-12) tells us that three wise men, the Magi, came from the East to worship the divine child, the future King of the Jews. Since the early centuries of the Christian era, new data was gradually added to the canon of tradition. And only in the Fourteenth century did John of Hildesheim define one of the Magi as being "Ethiopian", meaning that he came – according to the geographic knowledge of that time-from sub-Saharan Africa in its broad sense. As a result, in iconography, three banners were created to differentiate between the countries and peoples of origin of the three character. In Hans Memling's work, the African king's standard is the only one showing a colorful full length figure, characterized by an enthusiastic and lively dynamism, instead of elementary symbolism. This icon summarizes the Western view of African kinetics: it defines a "national and ethnic" model, going beyond the stylized form expressing the Renaissance perception of foreigners. It arises from the common belief that Africans did not think of anything but dance. This idea of expressing themselves and "living" while dancing has become the figurative paradigm of the exotic and picturesque attitude of individuals and peoples profoundly "different" from us. In the history of culture the paradigm is well represented and developed between the Middle Ages and Renaissance: see, for example the iconography of coats of arms, the images included in the first ethnographic chronicles, the shows of the European courts and the representations and parodies of Moorish dance.

(Italian Abstract) Tre saggi arrivarono da Oriente per adorare il bimbo divino, futuro re dei Giudei: questo è tutto ciò che ci dice il Vangelo di Matteo (2, 1-12) sui Magi. Nuovi dati saranno gradualmente aggiunti al canone dalla tradizione, a cominciare dai primi secoli dell'era cristiana. E solo nel XIV secolo Giovanni da Hildesheim attribuì a uno dei Magi la qualifica di " Etiope " : proveniente cioè-nella geografia dell'epoca-dall'Africa subsahariana intesa in senso generico. A sua volta l'iconografia, per distinguere i paesi e popoli di provenienza dei tre personaggi, coniò tre vessilli. Nell'elaborazione di Hans Memling, non priva di precedenti, lo stendardo relativo al re africano è l'unico a non essere espresso da un simbolismo elementare, rappresentando invece un personaggio di colore a figura intera, caratterizzato da un dinamismo entusiastico e vivace. L'icona sintetizza la visione occidentale della cinetica africana: definisce cioè un " tipo " nazionale ed etnico andando oltre la semplice fisiognomica, forma stilizzata, tra altre, di quella che era la percezione rinascimentale degli stranieri; e trova spunto nel luogo comune che gli africani non pensino ad altro che a danzare. Quest'idea di esprimersi e " vivere " danzando diventa paradigma figurato di un'attitudine eso-tica e pittoresca di individui e popoli profondamente " diversi " da noi. Nella storia della cultura il paradigma si trova ben rappresentato e sviluppato fra Medioevo e Rinascimento: nell'iconografia dei blasoni aristocratici, ma anche nelle prime cronache etnografiche, negli spettacoli delle corti europee, nelle parodie e nell'iconografia della danza moresca.

The Soundscape of the Venetian Terraferma in the Early Modern Era is an international conference organized by the Accademia Filarmonica of Verona on the occasion of the 475th anniversary of its foundation (23 May 1543), in collaboration with the University of Verona, Ca’ Foscari University of Venice, the University of St Andrews and the Conservatorio “E. F. Dall’Abaco” of Verona. Natural sequel to The Soundscape of Early Modern Venice (Ca’ Foscari University of Venice, 24-27 May 2017 – Visit the Venice conference web section ), this further initiative has the aim of increasing debate on the varied soundscape of the Venetian Terraferma in the early modern period. This territory, which stretched from Bergamo in the west to the Friulian Alps in the north-east and the river Po at the Republic’s southern extremity, formed one of the three subdivisions of the Serenissima; the others were the Dogado (Venice and surrounding area) and the Stato da mar (Venetian possessions in the eastern Adriatic and Mediterranean areas). The articulate system that regulates musical and non-musical sound in the Venetian territories prior to the fall of the Serenissima in 1797 is highly conducive to an interdisciplinary approach which draws on the new perspectives offered by urban history, humanistic geography and historical anthropology. Emblematic, in this sense, are the activities of the Accademia Filarmonica, which have dominated almost five centuries of local musical history.

http://www.accademiafilarmonica.org/filarmonica/en/convegno-internazionale-2018

The ballet "Don Quixote" is one of the most frequent works included in the classical repertoire since the 17th century. Marius Petipa’s version with Léon Minkus’ score, premiered in 1869, is its most famous choreography. Identified with the Spanish stereotype, it has been versioned in many ways, choosing some of its most wellknown episodes. However, the Spanish republican exile of 1939 circumstances has marked and shaped the ballet version presented between the forties and sixties.  This paper analyses those Don Quixote ballets where republican exiled artists worked in its choreography, music or set and costume design in the different refugee territories: "Don Quijote" (Palacio de Bellas Artes in Mexico, 1948), "Le chevalier errant" (Paris Opera, 1950), "Don Quixote" (Royal Opera House, London, 1950) and "Don Quixote" (New York State Theatre, 1965).

O presente artigo visa a refletir sobre os caminhos da dança na Universidade Federal do Rio de Janeiro (UFRJ), desde sua implementação, pela professora Helenita Sá Earp, como disciplina autônoma, até a criação do primeiro curso universitário de dança em uma universidade pública no Rio de Janeiro, seus desdobramentos e seu panorama atual na referida Universidade, que, após uma ampliação mais recente, criou dois novos cursos na área. Objetivamos traçar uma trajetória da dança, seus marcos e conquistas, não somente nos últimos 20 anos de ensino, pesquisa e extensão, mas também desde a entrada da dança na UFRJ, na década de 40 do século passado.

Reservados todos los derechos por la legislación en materia de Propiedad Intelectual. Ni la totalidad ni parte de este libro, incluido el diseño de la cubierta, puede reproducirse, almacenarse o transmitirse, en manera alguna, por medio ya sea electrónico, químico, óptico, informático, de grabación o de fotocopia, sin permiso previo por escrito de la editorial.

This paper examines politically inspired dance practices in 1930s Britain which have fallen into relative obscurity.  The paper summarises work undertaken by a small number of British based modern dancers and musicians – Margaret Barr, Teda de Moor, Katie Eisenstadt and composer Alan Bush.  Their dances were inspired by communist ideologies, reinforcing working class identities and agitating for social change through dance, at times as part of a larger choreographed spectacle.  Events such as the Pageant of Labour at London's Crystal Palace (1934) and Towards To-morrow: a Pageant of Co-operation in Wembley Stadium (1938) are discussed alongside smaller group works performed under the auspices of Unity Theatre.