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Ethnochoreology (also dance ethnology, dance anthropology) is the study of dance through the application of a number of disciplines such as anthropology, musicology, ethnomusicology, and ethnography. The word itself is relatively recent and etymologically means "the study of ethnic dance ", though this is not exclusive of research on more ...
Joann Wheeler Kealiinohomoku (also known by other orthographic variation including Keali'inohomoku) (1930–2015 [2]) was an American anthropologist and educator, co-founder of the dance research organization Cross-Cultural Dance Resources (CCDR).
[3] as: "the science of nations and peoples, or, that study of learned men in which they inquire into the origins, languages, customs, and institutions of various nations, and finally into the fatherland and ancient seats, in order to be able better to judge the nations and peoples in their own times." [4]
The following is a list with the most notable dances. Names of many Greek dances may be found spelt either ending with -o or with -os.This is due to the fact that the word for "dance" in Greek is a masculine noun, while the dance itself can also be referred to by a neuter adjective used substantively.
Definitions of what constitutes dance are dependent on social, cultural, aesthetic, artistic and moral constraints and range from functional movement (such as Folk dance) to codified, virtuoso techniques such as ballet. A great many dances and dance styles are performed to dance music.
Brenda Dixon Gottschild is an American cultural historian, performer, choreographer, and anti-racist cultural worker. She has used her background as a dance performer and as a professor of dance to create works that bring racism, gender, and societal questions to the forefront of discussions.
John Martin (June 2, 1893 – May 19, 1985) became America's first major dance critic in 1927. Focusing his efforts on propelling the modern dance movement, he greatly influenced the careers of dancers such as Martha Graham. Within his life he wrote several books on the modern dance and received numerous awards for his work.
The confusion continues. By 2006, there are still scant references to ethnocinema and they frequently conflict. One online blog characterises a Burmese festival as “a surrealist anti-documentary, with no voice-over, odd visual juxtapositions, and none of the quasi-academic tone that afflicts so much official ethno cinema”. [21]