This thesis is the result of an historical and anthropological investigation of the thrae longsword dance teams of South Yorkshire: the Grenoside Sword Dancers, the Handsworth Traditional Sword Dancers and Barnsley Longsword. Longsword dancing is a form of traditional dance found throughout Europe and, with few exceptions, is historically specific in Britain to Yorkshire and the peripheral areas of adjoining counties. The approach is both diachronic and synchronic. Established anthropological research techniques (participant-observation combined with questionnaires and interviewing) were used during twenty-eight months of intensive fieldwork. Considerable library and archive research was also conducted. This study examines continuity and change in the dance, the dancers and their communities and draws attention to the role of conflict -- opposition between ideas and interests -- in the process of tradition. It presents detailed descriptions of the dances and traces changes in costume, style and structure. The nature of the dancers and their communities are explored from the 1880s up to the present, and the dance is considered as a dynamic product of group behaviour. Having previously received no serious academic attention, this study represents the first interdisciplinary exploration of the tradition of longsword dancing in the United Kingdom. It adds to the growing body of knowledge surrounding the history, development and current practice of traditional dance in England and provides the groundwork for future research in the field.

Ukrainian staged dance is a popular element of Ukrainian culture. In Canada, Ukrainian dance flourished and has transformed into a distinct symbol of Canadian-Ukrainian culture. Each Canadian province shows an evolution in its Ukrainian dance that is distinct from the others, depending on where the choreographers found inspiration. Ukrainian dance in Montral has been influenced strongly by the spectacular dance model, which was associated most strongly with the state sponsored dance companies coming from the Soviet Union. A question arose regarding this observation: why would these rather anti-Soviet communities in Canada choose a Soviet style to represent Ukrainians? And why would Qubcois choreographers repeatedly choose to add Ukrainian dance into their international dance repertoire? The goal of this research project is to set a chronological and aesthetic framework of Ukrainian dance in Montral and to observe the main influences that changed its aesthetics both inside and outside the Ukrainian community. / Ukrainian Folklore

No description available.

Inaug.-diss.--Munich. / Lebenslauf. "Literatur": p. 99-101.

Inaug.-diss.--Munich. / Lebenslauf. "Literatur": p. 99-101.

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI/Dissertation Abstracts International.

Thesis (M.A.) - Carleton University, 2003. / Includes bibliographical references (p. 267-276). Also available in electronic format on the Internet.

Thesis (doctoral)--Universität Hamburg, 1985. / Includes bibliographical references (p. lxxvii-lxxxiv).

The folk tradition has often been divided between two sections: on one side is music,on the other is dance. The aim of this research is to study the relationships between dance and music inside one individual to create a new profile: the dancing musician.The process of this research went through different stages. First of all, I relied on my background as a folk musician and dancer to enable dialogue between these two profiles. Then I went beyond the boundaries of the folk tradition by mixing improvisation and folk music. Finally, I analysed movements, meters and expression of each part in order to combine them and to resolve technical issues of the multitasking process. The present study shows different ways of using this dance-music combination as a creative tool and explains what effects those arts have on each other.

Esta dissertação teve como objetivo geral reconstruir a história do Conjunto de Folclore Internacional Os Gaúchos nos seus primeiros sete anos (1959 a 1966). Como objetivos específicos, busquei analisar os dados acerca da formação do CFI Os Gaúchos; identificar aspectos da cena cultural da cidade de Porto Alegre que possibilitaram a formação e a permanência de um grupo desse estilo; e verificar o papel dos participantes na formação do grupo e as contribuições trazidas por suas diferentes formações. Para a realização desta pesquisa, foram coletados depoimentos com integrantes do grupo, baseados nos aportes teóricometodológicos da história cultural e da história oral. Depois de processados esses depoimentos, foram colocados em diálogo com outros documentos (atas do grupo, programas de espetáculo, currículos do grupo e dos integrantes, convites) e publicações sobre o grupo. Dos cruzamentos entre diferentes fontes de pesquisa foi possível perceber que o grupo atua com dança de projeção com coreografias inspiradas nas danças folclóricas de diversos países, especialmente da América Latina. Foi fundado em 1959, por iniciativa da professora e folclorista Marina Cortina Lampros, que reuniu pessoas das escolas de balé e dos Centros de Tradições Gaúchas. Alguns fatores do contexto cultural de Porto Alegre, a partir dos dados levantados, foram fundamentais para o surgimento de um grupo dessa natureza: o estado de pesquisa e divulgação do folclore, que já possibilitava a identificação das manifestações de cada país; a forte presença na cidade dos Centros de Tradições Gaúchas e das escolas de dança; a realização da Mesa Pan-Americana Feminina, que já planejava ações de integração da cultura americana; a inauguração da emissora de televisão local; e a aceitação e disponibilidade de pessoas para integrar o Conjunto. O grupo recebeu destaque primeiramente pelas apresentações internacionais. A formação de seus integrantes foi fundamental para definições de estilo e temática do conjunto. No período final de análise, o ano de 1966, vários fatores ocorreram e mostraram novos rumos para o Conjunto, tais como saída de integrantes, reestruturação da diretoria e mudanças no estatuto social. / This dissertation had the general objective to reconstruct the history of the International Folklore Group Os Gaúchos (CFI Os Gaúchos) in its first seven years (1959 to 1966). As specific objectives, I tried to analyze data about the formation of the CFI Os Gaúchos; to identify aspects of the city of Porto Alegre’s cultural scene that enabled the formation and persistence of a group like that; and to verify the role of participants in shaping the group and the contributions made by its different configurations. For this research, interviews with the group members were collected, based on theoretical and methodological frameworks of cultural history and oral history. After processing, these testimonials were set in dialogue with other documents (group’s protocols, show programs, curricula of the group and of its members, invitations) and publications about the group. From the interlacement between different research sources it was revealed that the group acts with projection dance with choreographies inspired in folk dances from various countries, especially from Latin America. It was founded in 1959 on the initiative of professor and folklorist Marina Cortina Lampros. Some factors of Porto Alegre’s cultural context, from the obtained data, were essential for the emergence of such a group: the state of folklore research and its dissemination, which already had the identification of each country’s expressions; the strong presence of Gaucho Traditions Centers and dance schools in the city; the occurrence of Pan American Women’s Bureau, which had already planned integrations actions of American culture; the inauguration of the local television station; and the acceptance and availability of people to join the group. The group was highlighted first by its international presentations. In the final period of analysis, the year 1966, several factors occurred and showed a new direction for the group, such as member exits, management restructuring and changes in the statute.