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2021
2021 •
Professionalizing of “folk dances” was part of the state policy of Bulgaria in the years 1950- 1989. However, did the professional dancers and choreographers view their work as a political mission? How did this novel genre of the performing arts in Bulgaria serve to boost national identity by combining diversity with homogeneity, and spontaneity with intention? The instrumentalization of folklore and the changed understanding of authenticity is illustrated by the first professional ensemble for folk dance and songs, the “Philip Koutev Ensemble”. Its dance troupe established a role model for the phenomenon which grew immensely and became a business card of the country. With the advent of democracy, innovative ideas emerged in the field through Neshka Robeva’s troupe, “East Wind”, “Chinary” and “Bulgare”. In the model of Pluralization, Bulgarian professional folk dancing responds to the free market. Its experiments reflect on the old myths of monoculturalism and offer insights into new hybridity. The phenomenon still participates in the dynamic contemporary processes of national identity design. Using “reflexive participation” as a research method, the author determines three central political missions of professional folk dancing: cultural determination, intercultural reconciliation and transcultural inspiration. They all relate to the ambassadorial role of the phenomenon and the power of its symbolism. Professional folk choreography survived the transformation in the history of Bulgaria, constructing a social frame for the individual and collective memory, establishing the cultural uniqueness and aligning it with the world.
Pomona Faculty Publications and Research
Review: Dancing From Past to Present: Nation, Culture, Identities (Madison, 2006); Dance and Society: Dancer as a Cultural Performer. Re-appraising Our Past, Moving Into the Future (Budapest, 2005)2008 •
Folk dance production at the stage in Croatia has never been considered as a revival. At this point this discussion should not be a part of this panel but as the participants are always invoking past dancing through the paradigm of showing old, domestic and local tradition, discussion fits into proposed cross- cultural comparison. The concept of revival got some other connotations in our social and political context after the last war 1991/92. From time when it started in 1920s and 1930s public practice of folk music and dance was a part of political program of the Croatian Peasant Party. Political ("national") orientation focused on local, regional, and ethnic/national identity in dance was always important especially when social and ideological circumstances changed. Following these changes up until today the author analyses and puts together emic and etic dimensions and views of participants in processes and interpret them from the other proposed discourses – "recr...
Dance, Politics & Co-Immunity, Stefan Hölscher & Gerald Siegmund (eds.), Zürich: diaphanes
Notes on Politicality of Contemporary Dance2013 •
The links between politics and dance appears as one of the hot topics in the performing arts today. Before I try to answer that theme, I will think this very phenomenon, introducing some epistemic and social frameworks within which we speak and can speak about politics when speak about contemporary performance and art in general. Then I will continue with the characteristic modalities of politicality that I register on the actual international dance scene. At the very beginning I want to emphasize that my focus here won't be a particular politics of contemporary dance, but the politicality as the aspect of an artwork or art practice that addresses the ways it acts and intervenes in public sphere, in regard to discussions and conflicts around: the subjects and objects that perform in it; the arrangement of positions and powers among them; the "distribution of the sensible"; and the ideological discourses that shape a common symbolic and sensorial order of society, which affects its material structure and partitions. Therefore, I aim here neither to advocate political art, nor to divide dance performances to socio-politically engaged and l'art-pour-l'art-istic ones. Instead, I would stress an urge to reflect a broad and complex raster of politicality as an aspect that characterizes each and every performance-be it political or apolitical, resistant or complicit, transformative or servile-as a social event that is practiced in public.
This article provides a genealogical critique of the history and modernity of dance. In doing so it establishes the political importance of dance as an art not principally of the body and its biopolitical capacities for movement, but of images and imagination. It traces the development of dance as an art of imagination, lost and buried in the works of Domenico da Piacenza, Jean-Georges Noverre, and Loïe Fuller, as well as its counter-movement expressed in the work of Rudolf Laban. It also locates contemporary dance within this political conflict by exploring new works, especially those of Ivana Müller, which call upon beholders to use their imaginations through the evocation of histories and memories. Such works can be understood to be deeply political, it will argue, because they work to transform society by creating time for a belief in the impossible. At its best, dance does not simply incite bodies to move but suspends movement, transforming the very image of what a body is capable of. These aims and practices of dance speak to contemporary concerns within political practice, theory, and philosophy for a reawakening of political imagination in times of crisis and neoliberal hegemony.
While thinking about notions of the ‘local’, the ‘regional’ and the ‘authentic’ in a social and economic context, one sees these terms becoming increasingly blurred. What remains when the ‘local’ turns out to be a mere product? How does this constant shift between locations, contexts and cultures influence artists’ work? How do these artists elaborate their ways of communicating their practice, while challenging the status of mobility, instability, being-in-motion? Where are the centre and peripheries and how do they influence working conditions? Is the East still running after the West? And what does ‘the East’ mean, after all? These were the main questions we asked while creating IDENTITY.MOVE! - a temporary space for sharing knowledge, experience and intuitions for performing artists working in so-called ‘East Europe’ - a Europe which, for many, remains on the peripheries. The geopolitical situation definitely influences artistic practice, not necessarily always thematically, but mainly through accessible working conditions and artists’ position in society.
This groundbreaking collection combines ethnographic and historic strategies to reveal how dance plays crucial cultural roles in various regions of the world, including Tonga, Java, Bosnia-Herzegovina, New Mexico, India, Korea, Macedonia, and England. The essays find a balance between past and present and examine how dance and bodily practices are core identity and cultural creators. Reaching beyond the typically Eurocentric view of dance, Dancing from Past to Present opens a world of debate over the role dance plays in forming and expressing cultural identities around the world.
W. Eck-A. Pangerl, ZPE 222, 2022, 234-236
ZUM DIPLOM MIT DEM PRÄSIDIALPROKURATOR COCCEIUS NASO, PUBLIZIERT IN AMN 58/I, 2021Journal (Canadian Dental Association)
Ontario Dentists' Estimation of Patient Interest in Anesthesia2017 •
The Biological Bulletin
Antipredator Defense and Phenotypic Plasticity of Sclerites FromRenilla muelleri, a Tropical Sea Pansy2007 •
Environmental science and pollution research international
Natural vs anthropogenic components in sediments from the Po River delta coastal lagoons (NE Italy)2018 •
Speech Communication
A new distortion measure for spectral quantization based on the LSF intermodel interlacing property2001 •
Comité International des Études Pré-Ottomanes et Ottomanes (CIEPO 25)
Kafkasya’da Paganlar ve Kutsal Ağaçlar Arasında: Müderris İbrahim Efendi’nin Çevresini Kurgulamak2024 •
RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas
Las Tic en la educación superior, innovaciones y retos / The ICT in higher education, innovations and challengesJournal of the European Ceramic Society
Ink-jet printing of micro-emulsion TiO2 nano-particles ink on the surface of glass2012 •
Health Tomorrow: Interdisciplinarity and Internationality
Educating Canadians on the Health Risks of Corporal Punishment and Safe and Effective Alternatives2015 •
JCSE : Journal of community service and empowerment
Assistance in the implementation of occupational safety and health towards halal certification for small and medium enterprise2023 •
Indian Journal of Agricultural Sciences
Design, development and performance evaluation of manual planter for system of wheat intensification2019 •
Geoarchaeology
Assessing visibility and geomorphological biases in regional field surveys: The case of Roman Aesernia2017 •
Applied Sciences
An Improved Method for Reconfiguring and Optimizing Electrical Active Distribution Network Using Evolutionary Particle Swarm Optimization2018 •
Physical Review Materials
Erratum: Bridging particle deformability and collective response in soft solids [Phys. Rev. Materials 5 , 055605 (2021)]2022 •
2019 •
Vol. 11 No. 1 (2024): Proceedings of the 11th European Conference on Social Media - ECSM 2024
'It's Just Pictures': The Death of Social Photography as we Know it2024 •
Il Tribunale inquisitoriale vescovile di Monreale
Il Tribunale inquisitoriale vescovile di Monreale2021 •
Journal of Environmental and Public Health
Simulation of the Final Size of the Evolution Curve of Coronavirus Epidemic in Morocco using the SIR Model2020 •
Advances in neural information processing systems
Multi-task Vector Field Learning2012 •