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« Divertissement » und „Sitten-Lehre“. Zur gesellschaftlichen Funktion des Tanzes im 17. und frühen 18. Jahrhundert

100%
Rentsch I.
Hudební věda (Musicology)
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2008
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vol. 45
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issue 1-2
25-44
EN
The article focuses on the social and political implications of the ballet and social dance of the 17th and early 18th centuries. By the end of the 1660s, the idea of demonstration of French power through the allegorical ballets lost its importance, and the court dance functions were transferred to the balls. There, the dancers had to present themselves according to the social hierarchy, and in the manner appropriate to their rank. The fact that the dance ideal, which developed from the late 16th century, and reached its peak during the reign of Louis XIV, applied for the social dance deep into the 18th century, showed itself not only in the period ways of dance music performance, but also in its development.
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TO BE SEEN...

80%
Kowalska J.
Etnografia Polska
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2005
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vol. 49
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issue 1-2
17-29
EN
Min Tanaka, the master of the Japanese dance 'butoh' began his address at the Barcelona congress dedicated to dance with the following words: 'We live with our bodies and we perceive the world by keeping the eyes of our bodies open'. The statement is provocative in it obviousness. The 'movement' aspect of all forms of human activity is undeniable, yet it is rarely noticed. We move, i.e. use movement, we emit movement, movement is a means of transmission of many signals and signs, significant as elements of human communication. They are the a u x i l i a r y m e a n s of speech, supportive to the basic language transmission. (Guiraud 1974, Birdwhistell 1952) or the 'communicative aspects of the learnt and structurized behaviour of a moving body' (Birdwhistell 1952). When, in the mid 1970s, the authoress started her studies on movement symbolism, terms such as 'non-verbal communication', 'anthropology of the body', 'kinesics', or 'proxemics' were, as a matter of fact, only coming into use and works by Edward Hall, Ray Birdwhistell, Michael Argyle, Umberto Eco and other scholars dealing with the subject were not available in Poland for obvious reasons. The Hidden Dimension by Edward Hall was translated into Polish in 1976, the first works of Umberto Eco in 1972. Books by Argyle and Birdwhistell are known only in original versions and to narrow circles of specialists till now. Both kinesics and proxemics are close to particular approaches in cultural anthropology. They all concern the problems of human understanding of the surrounding world and human self-reflection. Within the recent 10-15 years the world has 'shrunken'. Coming into touch with 'the others' which earlier was experienced only by the minority, now is more and more common. We learn foreign languages, we also learn the 'body language' which,being the common feature of all human beings, is by no means unequivocal, contrary to what was believed and is sometimes still believed. Besides the gestures and movements which are really universal being determined by the body build, there are also some, as numerous as the former ones, which are culture-related. The article deals with the role of forms and means of self-presentation in contemporary culture.Most interesting for me is the problem if, having gained particular knowledge on non-verbal codes as well as the awareness of their existence, we know how to use them. At this stage of my studies I concentrated on the scope of the usage of body language. Quite narrow as a matter of fact, focused on manipulating people and watching their reactions and movements in order to reveal their hidden motives. Knowledge of 'movement, another area of speech' treated in this way, instead of being the key to the cognition of man becomes no more than a picklock.
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TRADIČNÁ NÁSTROJOVÁ HUDBA NA SLOVENSKO-MORAVSKOM POMEDZÍ: HERNÝ REPERTOÁR A FORMY JEHO OSVOJOVANIA

80%
Obuch P.
Etnologické rozpravy (Ethnological Disputes)
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2019
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vol. 26
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issue 2
5 – 53
EN
The paper deals with the music repertoire of traditional instrumental ensembles and solo musicians in the border region of Slovakia and Moravia in the western tip of the White Carpathians (the area of Myjava, Horňácko, Moravské Kopanice and the border area of lower Trenčín and Uherskobrodsko) before the 1960s. The basic criterion in the classifying the repertoire is its connection to dance. In addition to the musical parameters of individual repertoire segments, attention is paid also to their cultural and social context, and also to the process of building the music repertoire and the differences that depend on the type of instrument ensembles (string bands, brass music).
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FRIEDRICH NIETZSCHE'S IDEA OF 'THE DANCING ÜBERMENSCH' IN THE POETRY BY VASYL PACHOVSKII

80%
Matusiak A.
Slavia Orientalis
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2006
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vol. 55
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issue 1
43-56
EN
The end of the 19th and early 20th century was the time when people became interested in the art of dance to a great degree. The fact that the art of dance became so popular is related to Friedrich Nietzsche's philosophical thought: Nietzsche determined dance as one of the main categories of his philosophy. The philosopher gave the fullest form to his idea of dance in the character of Zarathustra. Zarathustra referred to dance while expressing both feelings and opinions. The authoress of the article discusses the concept of “the Dancing Übermensch” in relation to 'The Eagle's Flight', a poem by Vasyl Pachovskii. She also adapts the broad and multi-aspect context of other Nietzschean categories of 'genius', 'free spirit', and 'the promethean man', interpreting them from the point of view of the round dance movement forms presented in Pachovskii's text, which the Ukrainian artist associates with the universal symbols of an ideal method of gnosis, reflecting an active, cognitive, and transformative human attitude to one's reality and to oneself. In this way, Pachovskii implies that an individual can be fulfilled only by means of physical and spiritual effort and only then does an individual become an 'Übermensch', that is an artist, a creator fulfilling one's life in the realm of art in the only possible way: the never-ending dance.
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Тело дионисийское в творчестве русских символистов

70%
Cymborska-Leboda M.
Slavica Wratislaviensia
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2011
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vol. 153
289-299
EN
In the first part of the article, the author discusses the function and meaning of the category of the (Dionysian) body in Thus Spoke Zarathustra and shows the significant presence of Nietzschean impulses (the body–dancer concept, the vision of the woman and other) in Russian Symbolists’ poetic thinking about the body and corporeality (V. Briusov, F. Sologub, A. Blok). The second part of the article provides a contextual interpretation of dance as an ecstatic whirl and as a creation of a symbolic I–You (man–woman) relationship in A. Blok’s cycle of poems entitled Zaklatie ogniom i mrakom. The author reveals the overt and implicit reminiscences of Zarathustra’s “Second Dance-Song” and analyses the image of the body and the meanings of corporeality in Blok’s poetry.
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K některým otázkám etnochoreologického studia: tanec, gender a politika

70%
Stavelova D.
Národopisná revue (Journal of Ethnology)
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2010
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vol. 20
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issue 4
239-243
EN
The contribution presents a theoretical definition of the dance anthropological study aimed at the issue of gender and social and political aspects. The above is based on post-structuralist tendencies and especially on possible semiotic analysis. The comprehension of dance expression as a symbol (which can be understood only if beany a part of so-called performance) and the reference to its multi-dimensionality have become a significant point of the study. Dance as a visual expression significantly contributes to the study of gender relations, especially because of the gender performativity whose essence is created by repeated and ritualized acts and gender body stylizations. There is pointed out the fact that dance disposes of unique power thanks to which it can support and change the existing social and political structure simultaneously. In this sense, there is developed the possibility to use the dance as a symbol of national identity whereby the deliberate manipulation with this symbol is an essential element. The manipulation then becomes an efficient weapon in reaching the political goals. Important remains the fact that the dance as a clearly visible (and audible) hallmark improved by the entertainment experience is - in this case - a suitable mean of expression, which can be understandable for the widest social groups within the given culture.
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Capoeira jako politicky funkční fenomén

61%
Slezakova K.
Národopisná revue (Journal of Ethnology)
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2010
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vol. 20
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issue 4
280-289
EN
Capoeira is a Brazilian cultural phenomenon. It is a motion activity at the boundary of fight, dance and play accompanied by specific music and songs, whose outstanding feature is a unique leading musical instrument. Today, capoeira serves as a legacy of slavery because it originates in mingling of the dragged Africans´ cultures with the new environment suppressing every human liberty. The essay deals with the development of capoeira within the political relations of the country. It follows how capoeira reflects the changes of political regimes in Brazil, pointing out that the phenomenon - because of its character - entered into the political events directly, having become a bearer of certain ideas. The author comes to a conclusion that the political significance of the observed phenomenon has changed lately and capoeira is becoming rather an instrument of social mechanisms. The issue if the phenomenon is influencing the political events even today or if it can be a part of political programs remains opened, leaving room for next research.
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ETNOCHOREOGRAFICKÁ ANALÝZA ZMIEN TANEČNÉHO REPERTOÁRU A PREJAVU ŽIEN Z OBCE TELGÁRT SO ZAMERANÍM NA ŽENSKÉ KOLESO

61%
Krausová A.
Etnologické rozpravy (Ethnological Disputes)
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2019
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vol. 26
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issue 2
54 – 95
EN
The influence of commercialization via mass media, as well as the contact between two ethnic groups, has resulted in an ongoing modification of the dance repertoire and dance expressions of Romani and non-Romani village communities in the Horehronie region (Central Slovakia). The aim of the study is an ethno-choreographically analysis of changes in dance praxis of women during the second half of the 20th century until present in the village Telgárt. The author places a strong focus on formal and structural analysis of the dance called the „circle“ which plays a crucial role in the dance repertoire of women from both ethnic communities. The analysis and synthesis of „dance style“ as a syncretic union of its current and archaic forms is also a part of the study.
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THE COLONIAL DANCER IN ORGIA OF LESYA UKRAINKA (Kolonialna tencerka w 'Orgii' Lesi Ukrainki)

61%
Matusiak A.
Porównania
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2009
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vol. 6
197-209
EN
The presented text is an attempt at analyzing the colonial discourse in one of the most recent works of Lesya Ukrainka 'Orgia', in which all of the most important issues of the entire output of the Ukrainian author are present. The authoress of the article suggests that the dancer Terpsychora/Nerisa cold be viewed as a primary metaphor of meaning and value which confronts culture with nature, low art with high art and most of all the colony/Ukraine with the colonizer/The Russian Empire. The authoress situates her analysis in the context of Michel Foucault's thought in which the sex and its subservient body as a source of meaning constitute very political instruments, key areas of leadership and the norms for these areas.
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DIVADLO A TEATRALITA V KONTEXTE (SLOVENSKÉHO) VIZUÁLNEHO UMENIA

51%
Filová E.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
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issue 3
208 - 220
EN
There has been an overlap between theatre and film since the beginning of cinematography; first film performances were held in theatre buildings and first film theoreticians sought similarities and particularities of film as a new technical or artistic medium in relation to theatre and other art disciplines. Probably the first film made for the purpose of a theatre performance was a short avant-garde film Entr´Acte (1924), screened between acts of a Dadaist ballet. Experimentation with theatre space has developed from kinetic-lighting effects through simultaneous projection screens of the magic lantern to Woody Vasulka’s Theater of Hybrid Automata (1990). If we think of theatre as an intermedia space occupied by film (videos, new media) and modern technologies, the same can be said about film: theatre and theatre aesthetics may serve as a referential framework for film, video art and new media. In the history of cinematography there are a number of directors who drew inspiration from theatre tradition (Ingmar Bergman, Peter Greenaway, Jan Švankmajer and others). The specifics of theatre art or theatre space also appear, to a different extent and in different forms, in Slovak visual arts, for example, in the work of Anna Daučíková, Mira Gáberová, András Cséfalvay and Zuzana Žabková.
11
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Argentinské tango: genderový obraz společnosti

51%
Novakova T.
Národopisná revue (Journal of Ethnology)
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2010
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vol. 20
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issue 4
270-279
EN
The contribution features the parallel between the development in gender relations and in dance. The objective is to verify the hypothesis that the reflections of social changes in cultural phenomena become evident – in case of Argentine tango - through the transformation of traditional roles, interfering with the hitherto firm parallel: body - sex - gender - gender's dance role - gender's performance. In the preamble, the author introduces the phenomenon of Argentine tango and the social and anthropological background of her research, which allows analyzing the human body and its motion as a text in context. In the first part of the essay, she introduces the reader to the history, development, structure, and etiquette of Argentine tango. Essential for the essay is its closing part, an analysis of the tango gender structure and its transformations in time, analyzing the structure, performance, interference, and deconstruction of gender stereotypes and archetypes in tango. The author points out an apparent hierarchy of those concepts and their postmodern characteristics.
12
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Tanec v literární tvorbě Boženy Němcové: fikce, nebo fakta?

51%
Stavělová D.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2012
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vol. 99
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issue 3
259-280
EN
Even a cursory reading of the fiction work of Božena Němcová reveals frequent mentions of dance. The scenes often take place during dancing. The dancing assumes the role of the image in which the important moments of the plot structure are integrated. The patterns of behavior emerge during the dance that turn into testimonies of collectively shared reality. Therefore, the question arises on the sense of these reflections of the dance. Can they serve as a source of information on the dance practices of the time tance, or are they only a product of a literary fiction? This also provokes considerations as for the motivations for depicting the folk dance tradition and what else it reveals about the mutual relations in a given socio-cultural millieu. The article will consider if the dance situation can be considered as a literary device and if the description of the manifestations of folk dance culture could be understood as responding to the contemporaneous interest in traditional village culture as embodiement of positive values, as it reflected in the works of the so called village realists of the second half of the nineteenth century.
13
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THE CREATIVE DIMENSION OF DANCE (Tworczy wymiar tanca)

51%
Mond-Kozlowska W.
Horyzonty Wychowania
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2011
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vol. 10
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issue 20
163-179
EN
The paper advocates the high position of the art of dance in the humanities. Since the dance is embedded in the human body, creating dance stands for creating human being. This makes up an authentic realm of the anthropological creativity. Thus one can say that dance is anthropological and anthropocentric. The stand is rooted in the Hellenic tradition, where paideutic formation of the society of free men included physical exercises, predominantly dance united with music and word. In his the human body was perceived as a god-like temple of the noblest human faculties that were the subject of constant training and melioration. The list of modern 'debtors' to the Greeks in this field is presented to instantiate the immortality of Hellenic educational ideas across millennia. Another aspect of the discourse is the interrelation between aesthetics and ethics through the training process in dance.
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