Louise Lightfoot and Rajkumar Priyagopal Singh: the first Manipuri dance tour of Australia, 1951

Manipur, a small state in the North-Eastern corner of India, is traditionally regarded as the home of gandharvas (the celestial dancers). Manipuri is one of the 11 dance styles recognized by the Ministry of Culture of India that have incorporated various key techniques mentioned in the ancient treatises like the Natya Shastra and Bharatarnava and has been placed under 'a common heritage' called Indian classical dance forms (shastriya nritya) - Bharata Natyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniyattam, Odissi, Sattriya, Chhau, Gaudiya Nritya, and Thang Ta. In 1951 Louise Lightfoot, the 'Australian mother of Kathakali' dance, visited the remote mountain state of Manipur to learn more about Manipuri dance. Soon she was successful in persuading and bringing eminent exponents of Manipuri dancing style Jagoi, Rajkumar Priyagopal Singh and Lakshman Singh, to tour Australia. Priyagopal, with the help of Lightfoot and their international tours, to some extent, de-provincialized and also popularized the Manipuri dance and paved the way for other dancers from North-eastern region of India in the International art world. Through this paper I attempt to highlight the contribution of Lightfoot in the promotion of Manipuri dance and in Australia. I here also engage explicitly with Priyagopal and Lightfoot's unusual dance collaboration and trace the historical journey and reception of a Manipuri dance in Australia. © 2014 © 2014 Taylor & Francis.

Idol

Donna Hewitt (composer/vocalist/emic designer), Avril Huddy (choreographer/dancer) and Vanessa Mafé (dancer). Donna is performing with her invention called the eMic (extended mic-stand interface controller). The work explores the use of gesture to control live sound processing during the performance. The work was choreographed by Avril Huddy.

The Reef Cycle: Paradise; Paradise Plundered; Paradise Preserved by people Power

This is a musical theatre production with an environmental message addressing a Queensland, Australia tussle between the development of the Galilee Coal Basin and the potential threat to the health of the Great Barrier Reef along the Queensland coast. The drama is enacted by characters representing "goodies" and "baddies" and includes epic poetry, dance, orchestra and drama. The whole performance is enacted in the midst of a post graduate student art exhibition with a coral and coal theme.

Evaluation of Australian Performing Arts Market 2014-2018: APAM inter-year report 2015

In the awarding of the tender for APAM by the Australia Council to Brisbane Powerhouse for the delivery of the market in 2014-2018, a requirement is that a formal evaluation of the three iterations of APAM be undertaken by the Queensland University of Technology, Creative Industries Faculty, under the leadership of Associate Professor Sandra Gattenhof. The agreed research model delivers reporting on outcomes not only in the year in which APAM is delivered (2014, 2016, 2018) but also in the years between (2015, 2017). This inter-year report focuses on the domestic and international touring outcomes resulting from engagement in the 2014 Market and responds two of the three key research foci for the evaluation that are articulated in the Brisbane Powerhouse Tender (2011) document as: • Evaluation of international market development outcomes through showcasing work to targeted international presenters and agents • Evaluation of national market development outcomes through showcasing work to national presenters and producers. The reporting for mid-year 2015, a non-APAM year, collects data from two key sources – six identified case study productions that have been tracked for eighteen months, and an online survey delivered to all APAM 2014 delegates. This inter-year report is a six month follow-up with delegates and identified case studies companies that track the ongoing progress of market outcomes and levers for ongoing improvement of the APAM delivery model that was tabled in the Year One Report delivered to Brisbane Powerhouse in October 2014.

Nuorten hyvinvointi, opiskelu ja opinto-ohjaus erityisen koulutustehtävän saaneessa lukiossa

This is a case-study of students well-being studying in Sibelius Upper Secondary School which has got a special educational task in dance and music. The first purpose of this study is to analyse the students well-being, motivation, studying satisfaction and try to find out what kind of problems the students meet when studying in Upper Secondary School. The second purpose of this study is to try find means in counselling to help students in their Upper Secondary School Studies. The data were gathered in three parts. The first questioning was based on Allardt s (1976; 1998) well-being theory. In this questioning (N = 187) the students described their satisfaction in having (material things), loving (social relationships) and being (free time). The second data was collected by interviews (N = 19). The third data is a follow-up questioning (N = 10) for graduated students. The whole data was analysed with qualitative methods. The gathered qualitative data were compared with the quantitative data gathered by the National Institute for Health and Welfare. Results of this study indicate that the students in this case-study are mainly satisfied with their well-being, social and material things in their studying environment including counselling and teaching. The research results show that some of the students are exhausted due too muchtime spent in studying. This was verified also in the quantitative data gathered by the National Institute for Health and Welfare. These students suffer for the lack of free time and rest. Students who are motivated and have reached the autonomous way of studying do better in their Upper Secondary School Studies than those who study in unautonomous way.A quite wide range of students tend to make individual studying programmes and spend four or more years in Upper Secondary School instead of the three year programme. The individual programme gives them more time for practicing their special skills in the field of the school s special educational task and to give themselves more time for studying the basic subjects of the Upper Secondary School. Some of the students who tend to take extra years in Upper Secondary School have difficulties in their studying skills and are unsure of their studying motivation. The competition among students in Upper Secondary School with the special educational task causes stress and exhaustion for some of the studied students. These students have difficulties with integrating themselves into the social environment. For the other students the school s social environment works as a motivator for their studies and increases their well-being in their studies. According to the results of the follow-up questioning in this study the students value most the network with the other students they made while studying at the Sibelius Upper Secondary School. According to this study the students would need more counselling in all stages of their Upper Secondary School Studies. The autonomous students do quite well in their studies despite of the small amount of given counselling. They would also need more counselling in planning their further studies after Upper Secondary School. The biggest challenges to student counselling in Sibelius Upper Secondary School are helping the students to find their individual ways of studying and helping them to learn the ways of autonomous studying skills. Keywords: Upper Secondary School with a special educational task, well-being, talent, Upper Secondary School, Young person in Upper Secondary School, motivation, counselling, studying

Espectáculos cortesanos en la América española del siglo XVII : las fiestas como caso para el análisis de la relación entre la Corte y la Corte virreinal

La Corte madrileña de los Austrias, al igual que el resto de las monarquías europeas del siglo XVII, generó una variada gama de fiestas públicas y privadas, como por ejemplo teatro musical, mascaradas y procesiones callejeras en las que desfilaban carros alegóricos con danzantes y músicos. Estos espectáculos no eran un mero entretenimiento sino que estaban destinados a resaltar las virtudes del monarca y a hacer conscientes a los espectadores del lugar que les cabía ocupar en esa sociedad recurriendo para ello a un complejo discurso simbólico. Las Cortes virreinales de América trasladaron a sus territorios estas prácticas que valían, fundamentalmente, para hacer presente la figura del rey y mantener viva la lealtad a la corona. Analizamos dos ejemplos de fiesta, una mascarada celebrada en Pausa (Perú) y un intermedio dramáticomusical en Sucre, que nos revelan la forma de pensamiento, las conductas y la organización de la sociedad cortesana virreinal.

Da Atenas Brasileira à Jamaica Brasileira: reflexões sobre processos de construção de identidades culturais da capital maranhense

Estudo sobre o processo de construção identitária da cidade de São Luís. Dos vários epítetos pelos quais a cidade é designada, são contemplados aqui apenas os de Atenas Brasileira, Única cidade brasileira fundada pelos franceses e Jamaica Brasileira. O propósito é o de identificar as condições sociais, políticas e culturais presentes no contexto específico de cada uma dessas construções. São levados em conta o modelo eurocêntrico e o elitismo cultural vigentes na sociedade de um século XIX marcado pelas categorias dominantes/dominados, cultura letrada/cultura popular próprias das condições que ensejaram o estabelecimento da Atenas Brasileira. Foi analisada a estratégia que fez de um acontecimento histórico a instauração de um ato fundador de tradição e, por extensão, de criação de identidade cultural, tática que deu a São Luís, na primeira década do século XX, a designação de Única cidade brasileira fundada pelos franceses, a mesmo tempo em que ensejou a revitalização da primeira identidade cultural. Por fim, a análise do advento da Jamaica Brasileira nos anos de 1970, identidade cultural oriunda das massas populares e periféricas da cidade de São Luís, caracterizadas pela exclusão social e negritude, de forte apelo sensível e estético marcado pelo ritmo, pela dança, pela música reggae de origem jamaicana. Esses estudos tiveram como fundamentos epistemológicos teorizações dos campos da comunicação, dos estudos culturais, memória e narrativa. Para sua realização foram efetuadas leitura e análise de material bibliográfico e documental, realizadas entrevistas e aplicados questionários. O estudo revelou que os processos de construção das identidades culturais da cidade de São Luís foram influenciados pela po

Sources for understanding Sallé's Pigmalion

Choreographer Marie Sallé's Pigmalion of 1735 has long been recognised as one of the most seminal dance works of the period. Yet no choreography survives. This article draws on written, musical, and iconographical evidence of the period to illuminate this previously inaccessible production.

Holding eternity in an hour: A practical exploration of the arts in the health care of older people with dementia

This project involved creative artists working with older people with dementia and staff from two Belfast Health and Social Care Trust supported housing centres in a mixed programme of dance, painting, music and drama which culminated in an open workshop with relatives and friends of the tenants. The study steered away from traditional medical models of art/music/dance therapy where the participant is perceived as a ‘patient’ in favour of identifying the participant as a ‘student’ who avails of a life-long learning experience. A key premise was that access to the arts is a human right, especially in the context of advancing age and cognitive impairment. . According to one the tenants of Mullan Mews, the project served to ‘awaken - or reawaken - folk with dementia to the endless vista of possibility already in their lives if they will only look for it’. A phenomenographic analysis of video data generated by the project emphasises the importance of the individual experiences of participants in the programme. The evidence from these storylines gained strength from the development of a documentary-style film text that has proved successful in capturing and translating the live experience of the project participants into a supportive text that goes beyond the written word.

Le rôle des interfaces dans l’expérience de jeu vidéo : le jeu du ping-pong et son adaptation sur des plateformes numériques

Le succès commercial des jeux vidéo nous montre qu’ils sont devenus une alternative non négligeable en matière de loisir et de divertissement. En observant les tendances, on constate que les concepteurs de jeux vidéo cherchent à transposer ou adapter les loisirs comme la danse, l’interprétation de la musique ou la pratique d’un sport dans le contexte de jeux vidéo (l’univers virtuel) et ceci est devenu encore plus évident depuis l’apparition des nouvelles technologies intégrant le mouvement comme mode d'interaction. En rapport aux activités dont les jeux vidéo s’inspirent, ces tendances entraînent des changements considérables sur l’aspect formel de l’activité ludique et notamment l’interaction. Dans le cas particulier du tennis de table, ou ping-pong dans le langage courant, il semble y avoir des différences en terme de plaisir lors de la pratique de ce loisir de façon traditionnelle ou en mode virtuel dans ses différentes adaptations. Le but de cette recherche est de mettre en évidence les différences entre l’appréciation de l’interaction avec le contrôleur multifonctionnel Wiimote et une raquette traditionnelle de ping-pong et de découvrir les implications sur l’expérience du plaisir de la transposition du jeu ping-pong traditionnel comparé aux adaptations sur la console Wii. Ainsi, en regard du CLASSIC GAME MODEL de Juul (2005) et du modèle THE FOUR FUN KEYS de Lazzaro (2008) nous comparons les deux modes d’interaction, jeu traditionnel avec le jeu virtuel, sur le plan formel du jeu et sur les dimensions du plaisir que chacun procure. Les résultats obtenus par l’observation des tests de jeu et l’entremise des autres outils permettent de souligner le rôle déterminant des interfaces dans l’engagement des joueurs et de montrer les limites des interfaces digitales par rapport à celle des jeux traditionnels.

Linguistic imperialism : a study of language and yoruba rituals in Wole Soyinka’s Death and the king’s horseman

L’objectif de ce mémoire est de démontrer le rôle important de la langue dans la pièce de théâtre Death and the King’s Horseman par l’auteur nigérian Wole Soyinka. Le premier chapitre traite les implications de l'écriture d'un texte postcolonial dans la langue anglaise et revisite les débats linguistiques des années 1950 et 1960. En plus de l'anglais, ce mémoire observe l'utilisation d'autres formes de communication telles que l'anglais, le pidgin nigérian, les dialectes locaux et les métaphores Yoruba. Par conséquent, l'intersection entre la langue et la culture devient évidente à travers la description des rituels. La dernière partie de ce mémoire explore l'objectif principal de Soyinka de créer une «essence thrénodique». Avec l'utilisation de masques rituels, de la danse et de la musique, il développe un type de dialogue qui dépasse les limites de la forme écrite et est accessible seulement à ceux qui sont équipés de sensibilités culturelles Yoruba.

Musical arts education in Africa : differentiation, integration and disassociation

By discussing the future challenges to musical arts education in Africa in which local cultural practices are valued, the differences of those historically marginalised by virtue of gender, race, ethnicity, and class, are celebrated. In Africa, musical arts education and culture are regarded as an integral part of our life, which not only embraces the spiritual, material and intellectual aspects of our society, but also contributes greatly toward our emotional development. This affirms the integrity and importance of various forms of 'Art' including literature, technology, design, dance, drama, music, visual art, media and communication.

This paper will discuss the future of African musical arts education programmes through the dynamic cycle of differentiation, integration and disassociation. The authors will consider the concept of ‘differentiation’, ‘integration’ and ‘disassociation’ within musical arts practice. An analysis of selected international arts education programmes provides a globally differentiated perspective through a discipline-based approach. In the African context, arts education programmes are located within an integrated approach. The structure of a Music Action Research Team (MAT cell) in Southern African Developing Community (SADC) countries will be highlighted as a means to address disassociation through the active engagement of professional development programmes offered by the Centre for Indigenous African Instrumental Music and Dance (CIIMDA).

Do picadeiro ao céu : o riso no teatro de Ariano Suassuna

The analysis of this work seeks to investigate the meaning of the laughter in the paraibano writer Ariano Suassuna s armorial theater. The study departs, firstly, from an argumentation which centers its content in the theory of the many theoreticians of the question: Henri Bergson, Vladimir Propp, Jolles, Freud, Bakhtin. The essence of the laughter in Suassuna and its esthetic relations are commented, because those elements are responsible for the strength of the literary text. On the condition of scholar about Esthetic and Art History, Suassuna always puts the methods of the estheticism in favor of the loud laughter bearing in mind that it is a source of improvisation, i.e., it may have many senses depending on what it is pretended to transmit to the reader/viewer. The laughter is a mask which is changed to each new situation, representing that way own human condition. Because the theater is an art subjected to recreation, the laughter also is. And because it is a great party where other arts (the dance, the music, mamulengo e the bumba-meu-boi) are present, united to compose a confluent and hybrid language, the meaning of hilarity during the popular celebrations is studied mainly those that happened in Medieval Europe. Thus, in the second part, the basis of the research is the Russian Mikhail Bakhtin s theory that helps to link Suassuna s laughter to the popular party, showing the language used in them and the jokes that give life to the joy of the folk. Soon after, the importance of Suassuna s laughter to the Brazilian Culture, is examined making a reflection about its function at the sociocultural context of the country