STUDY OF CREATIVE DANCE AND ITS TRANSFORMATION UNDER CULTURAL HERITAGETION OF OUR CULTURAL HERITAGE
This lesson teaches us about our cultural past and the value of imaginative dance. To gauge the pupils' degree of understanding of cultural heritage, we used 5 statements. The social dance, an essential component of our society's customs, transmits elements of our social tradition from one...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
University of Innsbruck in cooperation with the John Hick Centre for Philosophy of Religion at the University of Birmingham
2023
|
| In: |
European journal for philosophy of religion
Year: 2023, Volume: 15, Issue: 1, Pages: 412-424 |
| Further subjects: | B
Creative Dance
B Cultural Heritage ion B philosophy of music B Heritage B Transmission of knowledge |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Summary: | This lesson teaches us about our cultural past and the value of imaginative dance. To gauge the pupils' degree of understanding of cultural heritage, we used 5 statements. The social dance, an essential component of our society's customs, transmits elements of our social tradition from one generation to the next. As a result, it commits significantly to enhancing our social personality and fundamentally affects the "social upheaval" in our general population. Constant change is occurring in our way of life. While some societal perspectives are lost, others struggle and persist or are modified and altered to fit new conditions. This investigation examines the development of music/movement education and creative dance in relation to the "second presence" of movement and how this development may really preserve the social qualities of social dance's "first existence." The "introductory presence" of dance is defined as a method of obtaining and transmitting dance from one age to the next through experiential learning. Greek social dancing has changed to take on a genuinely engaging and tourist commercial angle while also changing its informative nature through teacher-centered educational practices due to current social, political, and economical changes. Social dance is now referred to as "the subsequent presence" of social dance due to this development. The "correspondence triangle," which consists of the three components of the moving system—the artist, the dance, and the spectator—supports and explains how social dance changes from its "first existence" to its "second presence." A substantial portion of our social heritage can be preserved and passed on to future generations using the Music Movement Education and Creative Dance technique to teach Greek social motions. The dance represents cultural history and is an essential component of all nations, reflecting local customs and culture. Even though dance's significance has long been understood, little research has been done on how to preserve dance culture. To solve these concerns and ensure the long-term preservation of the cultural heritage of dance and the transmission of dance abilities from generation to generation, this research aims to study and identify the challenges cultural dancers face in developing nations. It was done to aid in the ongoing dissemination of knowledge. from one generation to the next. According to our research, the cultural heritage of arts and crafts in emerging countries is threatened for several significant reasons. |
|---|---|
| Contains: | Enthalten in: European journal for philosophy of religion
|
| Persistent identifiers: | DOI: 10.24204/ejpr.2021.3846 |