Popular Dances

Reporte sobre danzas populares de la Navidad en Ayacucho, Perú.
Christmas popular dances in Ayacucho, Peru.
Por Kike Pinto Cárdenas. 22 de diciembre de 1978 en Huamanga, Ayacucho.
By Kike Pinto Cárdenas. December 22nd, 1978. Huamanga, Ayacucho.

This review article is based on the PhD thesis on Human Motricity in the dance especialty entitled: "THE POPULAR DANCE IN THE TRAINING PROCESS OF THE CLASSIC AND CONTEMPORARY DANCER: STUDY ABOUT THE SCHOOL OF THE BOLSHOI THEATER OF BRAZIL" held at the Faculdade de Motricidade Humana, Portugal. In thinking about the expression "popular dance," we are immediately confronted with analogies as manifestations of the "people," folklore, and the idea of "less privileged culture," that is, dances inherent to popular cultures from different geographical regions. As each culture develops in the face of a systemic apparatus that characterizes it according to the inuences that each member of the cultural communities has, we believe that each person has a unique capacity to contribute to their culture and consequently to their dance.

O objetivo deste texto é contextualizar, estabelecer pontos em comum e filiações entre o
pensamento de Émile Jaques-Dalcroze e de Mário de Andrade, destacando as ideias de
ambos sobre danças populares e ensino musical. Dalcroze fez uso de danças coletivas
como ferramenta de uma nova percepção rítmica, visando uma musicalização coletiva na Europa das primeiras décadas do século XX. Andrade, um dos principais autores brasileiros, era interessado nessas renovações modernas, teve atuações nos estudos culturais e nas políticas educacionais. Este artigo analisa documentos que comprovam as leituras que Mário de Andrade fazia de Dalcroze.

The purpose of this text is to contextualize, to establish common points and affiliations between Émile Jaques-Dalcroze and Mário de Andrade's thinking, highlighting their ideas about popular dances and music education. Dalcroze uses public dances as a tool for a new rhythmic perception, aiming at a collective musicalization in Europe of the first decades of the 20th century. Andrade, one of the leading brazilian authors, was interested in these modern renovations and he worked in cultural studies and educational policies. This article analyzes documents proving Mário de Andrade readings on Dalcroze writings.

This review article is based on the PhD thesis on Human Motricity in the dance especialty entitled: "THE POPULAR DANCE IN THE TRAINING PROCESS OF THE CLASSIC AND CONTEMPORARY DANCER: STUDY ABOUT THE SCHOOL OF THE BOLSHOI THEATER OF BRAZIL" held at the Faculdade de Motricidade Humana, Portugal. In thinking about the expression "popular dance," we are immediately confronted with analogies as manifestations of the "people," folklore, and the idea of 
"less privileged culture," that is, dances inherent to popular cultures from different geographical regions. As each culture develops in the face of a systemic apparatus that characterizes it according to the inuences that each member of the cultural communities has, we believe that each person has a unique capacity to contribute to their culture and consequently to their dance.

‘Celtic music’ is a complex and controversial category because of the multifarious nature of its integral elements and associated connotations. However, its formal parameters have received little scholar attention, normally limited to some general stereotypes. Technically there are many pieces that develop extensively a simple initial motif; they become sophisticated amplifications of old melodies, with an emphasis on timbral enrichment and internal counterpoint, although without regard for original tonality and performance context. The genre is a forerunner of so-called ‘World music’, sharing diverse commercial and political interests, and expanding via comparable appropriation and transformative processes.
  This presentation focuses on the melodic variation, harmonic addition, structural reorganisation, and timbral development, performed by Galician band Milladoiro (in Milladoiro 3, CBS, 1982) of the “Danza e Contradanza de Darbo” (an old religious dance from Darbo, in Galicia, NW Spain), comparing the referential score from the Cancionero de Galicia (Sampedro 1982: 134-135), with Milladoiro’s performance (in our notation). Research includes personal interviews with three members of Milladoiro, who describe their working method.
  Attention is also paid to the de-contextualisation and folkloristic processes involved, with relevant consequences for both the material sonority and semantic meaning of the new piece, as well as for a specific social assumption of the ‘original’. Conclusions show how Celtic musicians expound an entirely new language, full of hybridizations and freely incorporating transcultural/globalizing elements. Nonetheless, Celtic music retains a profound connection with the formal traits of the primal sources, without which the genre would lack its guiding inspiration.