DOI:
https://doi.org/10.14483/21450706.22171Publicado:
2024-11-20Número:
Vol. 20 Núm. 37 (2025): Enero-junio 2025Sección:
Sección CentralDancing and artistic projects of the 20th-21st centuries (problems of intercultural dialog)
Danza y proyectos artísticos de los siglos XX-XXI (problemas del diálogo intercultural)
Dança e projetos artísticos dos séculos 20 e 21 (problemas de diálogo intercultural)
Palabras clave:
arte, proyecto artístico, arte danzante, diálogo intercultural, comunicación social (es).Palabras clave:
art, artistic project, dancing art, intercultural dialog, social communication (en).Palabras clave:
projeto artístico, dança-arte, diálogo intercultural, comunicação social (pt).Descargas
Resumen (en)
The article explores dancing and artistic projects from the 20th and 21st centuries within the framework of intercultural dialogue, focusing on choreographic art as a means of reconstructing everyday reality. It highlights the role of social dance and physiological rehabilitation classes in facilitating productive intercultural communication. Through effective analysis, the study identifies trends in dance art that contribute to advancing choreographic mastery. The investigation emphasizes the positive impact of choreographic sessions, particularly in art therapy, revealing improved psychological states among participants. Social dancing is shown to have therapeutic benefits and social value, fostering group cohesion and personal growth. Ultimately, the study underscores how social dance influences task completion, team spirit, and personal identity formation, thereby enhancing dancing mastery and individual development.
Resumen (es)
El artículo explora la danza y los proyectos artísticos de los siglos XX y XXI en el marco del diálogo intercultural, centrándose en el arte coreográfico como un medio para reconstruir la realidad cotidiana. Se destaca el papel del baile social y las clases de rehabilitación fisiológica en facilitar una comunicación intercultural productiva. A través de un análisis efectivo, el estudio identifica tendencias en el arte de la danza que contribuyen a avanzar en la maestría coreográfica. La investigación enfatiza el impacto positivo de las sesiones coreográficas, particularmente en la arteterapia, al mejorar los estados psicológicos de los participantes. Se muestra que el baile social tiene beneficios terapéuticos y valor social, pues fomenta la cohesión grupal y el crecimiento personal. Finalmente, el estudio subraya cómo el baile social influye en la realización de tareas, fortaleciendo el espíritu de equipo y la formación de la identidad personal, lo cual potencia la maestría en la danza y contribuye al desarrollo individual.
Resumen (pt)
O artigo explora os projetos de dança e artísticos dos séculos XX e XXI no âmbito do diálogo intercultural, centrando-se na arte coreográfica como meio de reconstrução da realidade quotidiana. O papel das aulas de dança social e reabilitação fisiológica na facilitação da comunicação intercultural produtiva é destacado. Por meio de uma análise eficaz, o estudo identifica tendências na arte da dança que contribuem para o avanço do domínio coreográfico. A pesquisa enfatiza o impacto positivo das sessões coreográficas, particularmente na arteterapia, melhorando os estados psicológicos dos participantes. A dança social demonstrou ter benefícios terapêuticos e valor social, pois promove a coesão do grupo e o crescimento pessoal. Por fim, o estudo destaca como a dança social influencia no desempenho das tarefas, fortalecendo o espírito de equipe e a formação da identidade pessoal, o que potencializa o domínio da dança e contribui para o desenvolvimento individual.
Referencias
Adshead-Lansdale, J., & Layson, J. (1994). Dance his- tory: An introduction. London; New York: Routledge.
Alferova, O. I. (2008). Visual art in the end of century – beginning of century: Summary for scientific degree of Doctor of Arts. Kharkov.
Babeshko, O. A. (2013). Features of students' self-actu- alization leisure. Analytica kulturologii, 2(26), 136-143.
Baglai, V. E. (2007). Ethnic choreography of peoples of the world. Rostov-on-Don: Feniks.
Bezuglaya, G.A. (2015). Musical analysis in the work of choreographic teacher. Study aid. Moscow: Planet of music, Lan.
Cohen-Stratyner, B. (2001). Social dance: Contexts and definitions. Dance Research Journal, 33(2), 121- 124. DOI:10.2307/1477809
Dils, A., & Albright, A. C. (2001). Moving history/danc- ing cultures: A dance history reader. Middletown, Conn.: Wesleyan University Press.
Dudinskaya, N. (2017). Life in art. St. Petersburg: St. Petersburg State University of Labor Unions.
Foulkes, J. L. (2002). Modern bodies dance and Ameri- can modernism from Martha Graham to Alvin Ailey.
Chapel Hill: University of North Carolina Press.
Herath, D., Kroos, C., & Steralc. (2016). Robots and art: Exploring an unlikely symbiosis. Singapore: Springer.
Kazhan, V. I., & Kalinina, R. P. (2012). Personal names and their sources in choreographic art terminology. Philological Studios, 6(2), 63-68.DOI: 10.31812/FILSTD.V6I2.734
Kostrovitskaya, V., & Pisarev, A. (2014). School of clas- sical dance. Moscow: Iskusstvo.
Kovaleva, A. I. (2004). Socialization. Knowledge. Un- derstanding. Skill, 1, 395-401.
Le Moal, P. (1999). Dictionnaire de la danse. Paris: Larousse.
McDonagh, D. (1990). The rise and fall of modern dance. Pennington, NJ: A Capella Books.
Meer, N., & Modood, T. (2012). How does intercultural- ism contrast with multiculturalism? Journal of Intercul- tural Studies, 33(2), 175-196.DOI: 10.1080/07256868.2011.618266
Penzina, E. V. (2012). Globalization phenomenon: Glo- balization and westernization. Bulletin of Krasnoyarsk State Agrarian University, 8(71), 228-233.
Prina, F., Zavakou, A., Ghirardi, F., & Colombo, S. (2013). Minorities, media and intercultural dialogue. ECMI working paper No. 71. European Centre for Minority Issues, Flensburg.
Ratzmann, N. (2019). Intercultural dialogue: A review of conceptual and empirical issues relating to social transformation. Management of Social Transforma- tions Programme (MOST) Discussion Papers 01. Paris: United Nations Educational, Scientific and Cultural Organization (UNESCO).
Scheff, H., Sprague, M., & McGreevy-Nichols, S. (2010). Exploring dance forms and styles: A guide to concert, world, social, and historical dance. Champaign, IL: Human Kinetics.
Semi, G., Colombo, E., Camozzi, I., & Frisina, A. (2009). Practices of difference: Analysing multiculturalism in everyday life. In A. Wise, & S. Velayutham (eds.), Ev- eryday multiculturalism (pp. 66-84). London: Palgrave Macmillan. DOI: 10.1057/9780230244474_4
Serdyuk, T. (2009) Choreography in bringing up stu- dents. Art and Education, 2, 22-25.
Sharikov, D. I. (2008). Classification of modern chore- ography: Trends, styles, types. Kiev: Karpenko V.M.
Sharikov, D. I. (2013). Art science choreology as the ar- tistic culture phenomenon. Choreography typology.Part III. Kiev: Kiev International University.
Skinner, J. (2013). Social dance for successful aging: The practice of health, happiness, and social inclusion amongst senior citizens. Anthropology & Aging Quar- terly, 34(1), 18-29. DOI: 10.5195/aa.2013.24
Smyth, M. M. (1984). Kinesthetic communication in dance. Dance Research Journal, 16(2), 19-22.DOI: 10.2307/1478718
Vasilieva-Rozhdestvenskaya, M. (2015). Historical folk dance. Moscow: Iskusstvo.
Woodin, J., Lundgren, U., & Castro, P. (2011). Tracking the traces of intercultural dialogue ininternationaliza- tion policies of three EU universities: Towards a frame- work. European Journal of Higher Education, 1(2-3), 119-134. DOI: 10.1080/21568235.2011.629038
Yakuba, Yu. V. (2017). To the issue of relevant quali- ties of a future choreographic teacher. In Musical and choreographic education in the context of society cultural development: Proceedings and abstracts of III International scientific-practical conference of young scientists and students, October 13-14, 2017, Odessa, Ukraine (vol. 2, pp. 109-111). Odessa: Kostiantyn Ush- insky South Ukrainian National Pedagogical University.
Zhuravleva,A.V. (2017). Theory and teaching method- ology of popular dancing styles. Kiev: Kiev National University of Culture and Arts.
Cómo citar
APA
ACM
ACS
ABNT
Chicago
Harvard
IEEE
MLA
Turabian
Vancouver
Descargar cita
Licencia
Derechos de autor 2024 Tatiana Portnova
Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-CompartirIgual 4.0.
Licencia actual vigente
Creative Commons BY NC SA - Atribución – No comercial – Compartir igual. Vigente a partir del Vol. 17 No. 32: (julio-diciembre) de 2022.
This work is licensed under a https://creativecommons.org/licenses/by-nc-sa/4.0/deed.es
Licencias anteriores
- Desde el Vol. 14 Núm. 25 (2019) hasta el Vol. 17 Núm. 31: enero-junio de 2022 se utilizó la licencia Creative Commons BY NC ND https://creativecommons.org/licenses/by-nc-nd/4.0/deed.es
- Desde el Vol 1 Num 1 (2007) hasta el Vol. 13 Núm. 23 (2018) la licencia fue Creative Commons fue Reconocimiento- Nocomercial-Sin obras derivadas 2.5 Colombia https://creativecommons.org/licenses/by/2.5/co/