从近代中国舞蹈史感悟舞蹈的发展

<正>舞蹈是人类艺术之母。舞蹈艺术形神兼备,融会了音乐的动感、诗歌的韵味、哲学的思辨、戏剧的激情、雕塑的质感、绘画的灵性、宗教的神秘。在舞蹈世     

滚龙翩跹 一路狂歌天上去

<正>古镇的似水流年黔东名胜梵净山,当地人称"饭甑山",这大概因为除其主峰"金顶"酷似饭甑外,还与武陵山水养育一方生灵有关。世居武陵山区的苗、汉、土家等各族人民围绕"饭甑山",披荆斩棘,繁衍生息,创造文明。     

Dance arenas,dance events

Katrina Hazzard‐Gordon. Jookin’: The Rise of Social Dance Formations in African‐American Culture. Philadelphia: Temple University Press, 1990. xiii + 226 pp. including bibliographic end notes and index. $24.95.

Jane K. Cowan. Dance and the Body Politic in Northern Greece. Princeton: Princeton University Press, 1990. xv + 252 pp. including references and index. $45.00 cloth, $14.95 paper.     

向海,丹顶鹤在这里飞舞

<正>向海位于吉林省通榆县境内,是科尔沁草原上的一颗璀璨明珠。向海自然保护区的地貌以沙化和盐渍化的平原为主,区内多固定沙丘,沼泽湿地和湖泊分布其间:沙丘上千奇百怪的蒙古黄榆,是世界罕见的生态景观;一望无际、神秘莫测的蒲草苇荡,是向海的独特景观;3万多公顷湿地草原,是向海核心中的核心,被世界环保组织定为A级湿地,是中国六大湿地之首。     

与虎共舞 在狂野处转身

春节期间中国各地时兴舞狮子,不过云南省双柏县小麦地冲的一支彝族人却有"舞老虎"的风俗。每年正月初八,全村的成年男丁到后土地庙遗址集合,先杀鸡敬"土地神",随后祭"虎神"。巫师占卜选中8位村民,让他们打扮成老虎的样子,披上画有虎斑纹的披毡,脸、脚、手上绘上虎纹,颈上挂一个大铜铃,一直到正月十五。     

Relational creativity and improvisation in contemporary dance

ABSTRACT

In a study combining methodological elements from cognitive psychology and social anthropology, we worked with professional contemporary dancers making choreographic movement material to investigate the effects of working with others during improvisation. Dancers improvised alone, in pairs, and in a trio, they self-reported the number of new movement ideas created within two and four minutes, and self-rated ease, interest, originality, and clarity. Within two minutes, higher ratings were assigned in the unfamiliar pair than the familiar pair condition but there was no effect of group size on the number of ideas created. Within four minutes, more ideas were created in the solo condition than the pair condition with no effect of group size on ratings. Open-ended responses suggested that the quality and relevance of the ideas increased in the duo and the trio conditions. The conclusions point to emergent aspects of relations between persons as fundamental to creativity.     

浅谈呼吸在朝鲜族舞蹈中的重要作用

<正>一、朝鲜族舞蹈的特点我国的朝鲜族是从朝鲜半岛迁徙而来的,是朝鲜人在中国生活定居后形成的中国少数民族。这个能歌善舞的民族把这     

The intimate dance of diplomacy: in praise of practice

Those who study international relations pay little attention to those who practise them. But the terms of scholarly explanation—the great abstractions of state, interest, power and so on—are always embodied in human representatives, and their interactions mediated through human relationships. The daily experience, lived and felt, of diplomats thus offers a valuable perspective on how international relations work. Two recent studies by Iver Neumann capture this world through an anthropology of the diplomatic tribe. They illuminate the highly distinctive conventions, rituals and symbols of this world, showing how diplomats are recruited and socialized, where and how they perform their roles and how they communicate —and how these practices evolve in the face of social and technological change. Diplomats emerge as indispensable specialists in creating, asserting and agreeing meaning, and diplomatic conduct as a critical variable in explaining international outcomes. Taking the perspective of practice seriously can build a better political science of international relations, balancing first‐person understanding with third‐person explanation, impersonal forces with human stories, and contextual facts with their rhetorical construction. It can also help bridge the gap between theory and practice. This points to an exciting agenda for future research.     

浅谈中国古典舞与西方古典芭蕾舞之比较

<正>中国古典舞与西方古典芭蕾舞是两种完全不同的舞蹈形式,它们独具的特点、独具的魅力源于中西方历史文化和思想道德观念的差异。既然二者在字面上都     

论二人转起源于萨满歌舞

二人转是东北古老的民间演唱艺术,至今已有三百余年历史。关于它的起源,有多种观点。作在经过大量调查研究的基础上,提出了东北二人转起源于萨满教歌舞形式的观点。本从二人演唱形式是萨满教祭祀歌舞形式的承袭、音乐唱腔来源于萨满神歌、舞蹈动作来源于萨满舞蹈、曲目唱段多成萨满神歌中来、曲目中表现的古老婚丧习俗来自萨满化、二人转是东北满汉化融合的结晶等六个方面,以具体的实例证明了二人转与萨满化的渊源关系．观点新颖,说服力强。     

我们用唱歌学说话，用跳舞学走路

据说,在石乃亥,孩子们“唱歌学说话,跳舞学走路”。呀呀学语的孩子咿咿吟哦着的第一句谁也听不懂的话,像“勒”,又有点像段夏,像花儿,又有点像勾毛：至于歪歪扭扭迈出的第一步,可以约略看得出,那似乎是锅庄、堆谐、则柔、卓则或热巴……     

Performing identities: music and dance in the Irishcommunities of Coventry and Liverpool

This article will examine how British-born second- and third-generation Irish people use Irish music and dance in the production of an Irish cultural identity. The article draws on research undertaken with members of the Irish communities in the English cities of Coventry and Liverpool. The research was conducted with music and dance practitioners in Liverpool who strongly identify as Irish and also with schoolchildren in Coventry whose parents or grandparents were born in Ireland. The paper first explores the comments of the Liverpool respondents and points to how music and dance can offer a space in which different generations can mark out their affiliation or embody their Irishness. Secondly, the paper considers interview work with schoolchildren in Coventry, concentrating on their responses as listeners to Irish traditional music. Their comments point to the capacity of this music to resonate with multiple, even conflicting, productions of Irishness. The comments of all the respondents raise key debates about authenticity and the construction of identity.     

试析西安地区唐墓壁画中的乐舞图

本文以西安地区出土的唐墓壁画中的乐舞图入手,指出不同时期乐舞图的特点。     

And if they don't dance,they are no friends of mine: Exploring boundaries of national identity

National identity is widely used to explain anti-immigrant attitudes and thus the appeal for right-wing (populist) parties. Yet, consensus on how to capture national identity is lacking. This article identifies ideal-typical patterns of national boundary making across 42 countries and more than 25 years beyond the ethnic–civic dichotomy and addresses the multidimensionality of national identity. Using latent class analysis and cluster analysis, four ideal-typical conceptions of nationhood are identified and shown to be differently related to national attachment, national pride, and national chauvinism. Overall, the results close the methodological–empirical gap between classical approaches and recent inductive approaches to national identity and demonstrate that national identity is a cross-cultural phenomenon with distinct types.