Dance Research

Do Russian Diplomats Believe in Their Own Myths? The Partisan Paths/Voices of Regime Change in the Russian Diplomatic Administration from Gorbachev to Putin (1985-2000)

In 1985, the political and diplomatic changes initiated by Mikhail Gorbachev offered a textbook case of the role of ideas in international relations. This article focuses on the cognitive mechanisms of those who were responsible for the day-to-day running of Soviet and Russian diplomacy from 1985 to 2000. It seeks to account for both the mechanisms of redefinition of a regime of truth within the Communist Party of the Soviet Union and the trajectories, beliefs and emotions of diplomats in context of change of political regime. It demonstrates the decisive role the militant investment and disinvestment of state officials played in the changeover to a new regime and the plurality of ways of believing in the diplomatic corps. It then focuses on the alternatives to Gorbachev’s policy and the emergence of new diplomatic thinking that the Russian diplomats who remained in their posts were able to support after 1991 and which can shed light on the reshaping of the Kremlin’s foreign policy today.

This article contributes to the reimagining of Roman Catholic ethics in the twentyfirst century, building on the research of Sweeny Block, who argues that the unconscious dimensions of the moral life play a decisive role in moral agency. By taking account of the work of researchers in moral psychology, the traditional boundaries of moral theology can be reimagined to give a more accurate accounting of moral agency, leading to improved work in moral formation. This interdisciplinary approach engages the experiences of Catholic thinkers from the Global South, whose experiences are not usually countenanced in theorising on the nature of morality. The discussion presents a Caribbean refinement of Bandura's eight mechanisms of moral disengagement, which are amplified and distilled into culturally relevant attitudes captured in the everyday language or speech events of the Jamaican people. Roman Catholic ethics have not treated with the concept of moral disengagement in any meaningful fashion. The amplification of the mechanisms of moral disengagement points to and reinforces the inadequacy of models of moral agency that disregard unconscious dimensions while centring rationality and free will in the face of human fallibility and social contexts that are distorting and deforming. It points to storytelling, an important part of the Caribbean culture, as one way to improve our moral agency by expanding the moral imagination to better form our moral vision.

TesisA pesar de que la actividad central de la danza contemporánea sea la creación, no existe una forma única establecida para crear. Este problema trae consigo la dificultad de enseñar a crear en danza. Situándonos en esta problemática, la presente investigación tuvo como propósito explorar y describir las experiencias, en los procesos de creación, de un grupo de alumnos de la especialidad de Danza de la Pontificia Universidad Católica del Perú (PUCP). Para el recojo de información se realizó entrevistas semiestructuradas a once estudiantes de último año de carrera sobre los procesos creativos de los que fueron parte a lo largo de su formación en danza. Se preguntó acerca de las motivaciones que tienen para participar en o iniciar una creación dentro de su formación universitaria, sobre el punto de partida de tales procesos, sobre los tipos de relaciones que se establecen entre el director y los bailarines, los métodos para la generación de material de movimiento, las concepciones ...

The aim of this article is to provide a brief overview of the use of improvisation in relation to choreography in Greece as an embodied practice. Although many dance scholars acknowledge the aesthetic potential and the freedom of spontaneity in the improvisational process, there is not direct theoretical reference to the choreographing methodologies that have been used in the Greek contemporary dance scene from the late 1980s until today. The research is qualitative and draws data from multiple sources, which include interviews with nine choreographers, attendance of live dance performances and/or performative events and references from the related dance literature. The authors' reflections reveal important epistemological issues for further dance research on the current collaborative performing arts contexts.

Este trabajo expone y amplía parte de los resultados de una investigación mayor sobre la coreografía del poder (Cajías Ponce, 2024), que surgen del análisis de 11 celebraciones oficiales del Día de Independencia y Fundación de Bolivia ydiez celebraciones en el área rural andina del mismo país, entre 2009 y 2019. El objeto de este artículo es observar en qué medida las acciones de rezar, marchar y bailar se manifiestan como la triada de la identidad corpórea festiva en estas conmemoraciones patrias y qué revelan sobre la construcción simbólica de la nacionalidad en contextos urbanos y rurales.

la hora del té, no sé qué me marcó más, si los diez años de ballet clásico que estudié mientras hacía el colegio, si las coreografías de pop que imitaba en mi temprana adolescencia, si los tambores y las cantaoras que instalaron una cadencia en mi centro que me hicieron llevar desde entonces el orgulloso apelativo de caderona, si las andanzas por el entrenamiento actoral, el capoeira, la danza contacto y el release, si las inmersiones terapéuticas de la biodanza, si la salsa de las noches de viernes o si esa inquietante sospecha teórica de que cualquier movimiento, cualquier gesto es danza. No sé qué me marcó más ni qué me seguirá marcando. Mi historia en la danza, o mejor, la historia de la danza en mí, está compuesta de múltiples influencias. Es mi historia privada, irrepetible además, que tengo grabada en el cuerpo -tatuada-y que se trasluce cada vez que estiro la mano para parar un taxi, cada vez que acaricio a la persona que amo, cada vez que levanto una maleta en el aeropuerto y cada vez que veo a otros moverse, en la calle, en la fiesta, en la clase o en el escenario.

this ABC was developed.) These carefully selected, highly individual, yet professional terms provided an impetus for the authors' musings on dance dramaturgy. Each entry in this glossary was written by one of the MMDD participants -the variety of responses, approaches and forms reflect the beautiful diversity and creativity of those who were part of this project in the past three years. Yet, the aim with this publication is not merely to mark the place we reached on our journey, exploring micro and macro dramaturgies in dance but allow colleagues and fellow wanderers to be inspired by our discoveries, and continue the conversation and the journey. The ABC can be read in many ways and directions, moreover, some entries call for a score or even an embodiment. As editor of this volume, I hope that the constellation of all twenty-seven entries will reflect truthfully our findings with the MMDD research as well as contribute to the development of this exciting field and will inspire future explorations and dance

This article explores the transformative role of Artificial Intelligence (AI) and Extended Reality (XR) technologies in enhancing accessibility within live performance. Moving beyond conventional definitions of access as physical or logistical, the analysis addresses how digital tools are reshaping creative practices, participatory models, and performance environments. Through five thematic lenses-remote participation, inclusive creation, smart archives, disability-led innovation, and ethical challenges-the article illustrates how AI and XR technologies are expanding not only who can engage with performance but also how performance is conceived, made, and experienced. Emphasis is placed on the importance of inclusive design, digital literacy, and the active involvement of disabled artists in technological development. The article argues that while these tools offer unprecedented opportunities for inclusion, their implementation must be critically informed by relational accountability and equity. By integrating research from performance studies, disability studies, and media theory, the article proposes a framework for responsible innovation that centres accessibility as a core aesthetic and infrastructural value in contemporary performance-making.

Tomamos como objeto de estudio los efectos analíticos específicos del psicoanálisis. Exploraremos sus propie-dades especialmente en el punto en el que muestran un límite a la sugestión directa y se constituyen por fuera y más allá de cualquier tipo de intervención directiva del analista. Los relacionaremos con la aparición del sujeto del inconsciente y con la posibilidad por parte de este de responsabilizarse del padecer subjetivo que lo aqueja. Estableceremos también relaciones entre estos efectos analíticos y los efectos terapéuticos característicos de la clínica psicoanalítica. Tomaremos algunas elaboraciones conceptuales de Freud y de Lacan y al final ilustraremos con un caso del Servicio de atención clínica de adultos del Programa Avellaneda de la Facultad de Psicología.<br>Our aim is to study the analytical effects of psychoanalysis. We will explore their properties specially where they show a limit to direct suggestion and they appear beyond any type of directive interv...

Our aim is to study the analytical effects of psychoanalysis. We will explore their properties specially where they show a limit to direct suggestion and they appear beyond any type of directive intervention of the analyst. We will relate them with the appearance of the subject of the unconscious and its possibility of taking responsibility of its own subjective suffering. We will also establish a relationship between these analytical effects and therapeutic effects of the psychoanalytical clinic. We will take some Freud's and Lacan's elaborations and at the end we will illustrate with a case of the Service of clinical attention of adults at the Avellaneda Program of the Psychology Faculty.

In this article, we claim a concept of education that allows a space for dealing with sensuous impressions, examining knowledge, experiencing disconnections, re-experiencing meaningful connections and learning "how to know." This is a different form of education than where the emphasis is merely on the "flow of information." Arts education, we argue, should not be a practice that is pre-designed, and hence textually ordered and contextually controlled, in order to better serve the expectations of any societal or cultural institution. In claiming this space, we need to deconstruct both the concept of "Aesthetic" and "Education" in order to find new ways of organising an education that is both aesthetic and playful. What we argue is that Dramatic Knowing is a form within the broader concept of a "cultural aesthetic," and highlight cultural production as distinct from merely socialising young people to arts canons or using theatre as an...

In this article, we claim a concept of education that allows a space for dealing with sensuous impressions, examining knowledge, experiencing disconnections, re-experiencing meaningful connections and learning "how to know." This is a different form of education than where the emphasis is merely on the "flow of information." Arts education, we argue, should not be a practice that is pre-designed, and hence textually ordered and contextually controlled, in order to better serve the expectations of any societal or cultural institution. In claiming this space, we need to deconstruct both the concept of "Aesthetic" and "Education" in order to find new ways of organising an education that is both aesthetic and playful. What we argue is that Dramatic Knowing is a form within the broader concept of a "cultural aesthetic," and highlight cultural production as distinct from merely socialising young people to arts canons or using theatre as an under-developed curriculum tool. Recent studies of youth culture (as referred) show that young people make the most of the inter-textual play between fine art, popular art and everyday life, and it is in this area of "play" that we are able to uncover new models of drama education. In linguistic terms, dramatic knowing highlights a certain intentional, interactive, creative, and contextsituated production of meaning. This production takes place in theatre workshops, and two forms of workshops are described that reflect arguments made about education, partnership and the potential for youth culture research. Metadata, citation and similar papers at core.ac.uk

This study articulates the Sociology of Emotions with the Critical Social Transformative Learning (CSTL) theory to understand how the emotional experiences of business management professors contribute to the engagement of their students in transformative learning processes towards facing collective dilemmas through Community Outreach Projects (COPs) based on the Sustainable Development Goals (SDGs). The interviews conducted with 16 business management professors from 9 different Brazilian universities and the reports received by 60 students showed that the basic elements of the professors' emotional experiences included "distress-disagreement-shame-guilt, prosocial behaviour, and empathy." These elements developing in primary socialization triggered the professors to develop pedagogical practices to address the resolution of collective social problems advocated in the SDGs. The results obtained in this study indicated the dynamics of this process and brought implications to the Sociology of Emotions and CSTL theory as well as practical implications for professors, students, and Higher Education Institutions (HEIs) worldwide, in particular, but not limited to, Business Management Education.

Aproximación crítica a la novela De cuando en cuando Saturnina (2004) de Alison Spedding. El trabajo sostiene que se trata de una parodia de las novelas cyberpunk, pero desde una base literaria andina, tanto cultural como lingüísticamente. El autor propone llamar esta propuesta literaria p'ajpa cyberpunk, singularizándola por su anacronismo espaciotemporal; el texto de Spedding iría incluso más lejos, al plantearse como "contra-cyberpunk", en la medida en que no propone un mestizaje, sino un hibridismo delirante y desordenado. Finalmente, se indica que la novela está escrita desde un punto de vista feminista.

This chapter is organized along two main axes. On the one hand, it situates the contribution of somaesthetics to the philosophy of food within the movement born in the 20th century with John Dewey and pragmatism that sought to free aesthetics from the dualistic and hierarchical model in favor of a relational paradigm, showing that the modern notion of taste is flawed by prejudices and, as such, cannot give rise to a real gustatory taste. On the other hand, it proposes a different theory of taste in which food must be understood as a fundamental part of human life qua conscious life, showing that this aspect is still largely ignored in food studies and gastronomy. I identify the three main obstacles to the development of food consciousness and suggest ways to overcome them through a relational, processual, and haptic approach to gustatory perception.

This chapter offers an inquiry into the experience of flavors and into food-related acts and situations. Drawing from somaesthetic tenets, the argument mainly refers to and is inspired by some of Italo Calvino's novels and short stories where odors and gastronomy play a relevant role. First, the aesthetic and epistemological issues related to the experience of flavors are investigated. Then, the exploration proceeds by considering the relationships between food smells and affections in somatic qua sentimental terms. Finally, the idea of food-related olfactory "somatic style" is discussed in broad terms.

realizaron, entre el 22 y el 24 de agosto de 2013, el Segundo Congreso Nacional de Investigación en Danza. El Congreso buscó hacer visible la investigación en danza como un punto de encuentro de distintas experiencias, preguntas, problemas y desarrollos de esta disciplina, así como de otras disciplinas que aportan al esclarecimiento de este fenómeno artístico y cultural en el país. Este Congreso buscó, así mismo, responder a los diálogos iniciados en su primera versión, que se realizó también en la UJTL, en 2012, generando un espacio académico de intercambio dirigido a investigadores, bailarines, coreógrafos, maestros, gestores, artistas e interesados en la danza, así como a agentes independientes y colectivos. 1 Adscrito al grupo Relexión y creación artísticas contemporáneas (COL0033999), Colciencias, categoría A, 2014-2015. pensar con la 12 • Por otra parte, a la Tadeo se le ha reconocido una enorme fortaleza en la formación en los campos de las artes, los diseños, la arquitectura y las humanidades. Y todos estos campos, a través de las actividades y de la producción académicas de los docentes investigadores que integran el grupo que coordinó académicamente la propuesta y la puesta en marcha de este Congreso, se dieron cita para darle un sustento investigativo irme a la iniciativa del Congreso y para contribuir a delimitar los alcances y horizontes de creación y relexión en las artes dancísticas. Además de haber realizado la primera versión del Congreso y de haber realizado varias versiones del Festival de Danza mencionado, la UJTL ha desarrollado, a través de un grupo interdisciplinario de docentes convocado por el Departamento de Humanidades, durante los últimos cuatro (4) años, un proyecto de investigación que se ha ocupado del surgimiento y presencia del cuerpo en las manifestaciones, prácticas y fenómenos artísticos contemporáneos: su nombre es "Hacia una cartografía del cuerpo en el arte contemporáneo". Algunos de sus resultados investigativos no sólo han dado respaldo a las líneas de investigación de la Maestría de Estética e Historia del Arte, que ha ofrecido la Universidad en los últimos 5 años, y a la Carrera en Historia del Arte, que inició en forma sus actividades académicas en el primer semestre de 2014, sino que también han acompañado el

During 2013 and 2018 in Colombia an interdisciplinary group of professionals gave life to a project named “Creative tools for peace building through dance, body and movement”. The purpose was to contribute to collective repair of the social tissue that was severely affected by the armed conflict. Our job was to create communities of leaders, teachers, elders who naturally sustain social bonds that were a central part in collective memory and contention.
This paper exposes ideas in the ways body, movement, and dance can contribute to this scenery allowing sensitive experiences that connect people with others in order to build collective empathy and, eventually, repair and heal. This text explores the concepts that have been developed around the kinaesthetic empathy and how it allowed victims opportunities to talk about the traumatic memories with others in movement, and gave us several opportunities to recognise collective trauma and embrace some forms of repair.
To navigate this presentation, this paper will develop 3 different moments in my own journey to understanding the potential of dance to help repair social tissue so damaged by civil war:
Exploring the idea of movement as the way to make the world and build knowledge.
Exploring the relationship between my movement and others, to trigger ideas around intersubjectivity.
An example case of collective kinesthetics’ empathy, which shows the ways of collectively building and rewriting memories.

The Routledge Companion to Applied Performance provides an in-depth, far-reaching and provocative consideration of how scholars and artists negotiate the theoretical, historical and practical politics of applied performance, both in the academy and beyond. This paper explores the work through dance and movement in two cases - projects: one with ex combatants from illegal armed groups and other one with victims of the armed country, both in Colombia during 2011 and 2012. It presents reflections, findings , conclusions and resonances between them.

Artículo en el marco del Simposio Tradición y Contemporaneidad. II Congreso Nacional de Investigación en Danza, Colombia. El texto explora las relaciones, tensiones y preguntas en torno a la danza tradicional y su estar en la contemporaneidad, así como las fronteras entre lo que se supone contemporáneo en relación - tensión con lo nombrado como tradicional.

El texto presenta un recorrido analítico a la implementación del programa Danza Viva, implementado por el Ministerio de Cultura de Colombia, desde el Plan Nacional de Danza vigente entre los años 2010 y 2020 en Colombia. Presenta un recorrido por las preguntas y realizaciones importantes de las acciones y reflexiones sobre las transformaciones de la danza en el país en ese período de tiempo.

For a Vague Writing: contemplation and (re)generation-This article is a reflective dialog between artists/educators/researchers from various Brazilian institutions integrating ecoperformances and Somatics in Artistic Practice as Research. A vagal movement as writing, based on the contemplation of the generative impulse present in ecoperformative practices, shifts the group from an environmental immersion to a textual immersion. The attentional supports-somatic rest, dynamic pause, and tensional contemplation-attune with diverse immersive contexts-geoecological performance, virtual ecoperformance, staging and ecoperformative news. There is a summoning to the field of ecoperformance and Somatics, so the research's written outwarding is guided by the mobilizing principles of the somatic-performative practice, within an ecocentric ethics.

In the eighth-ninth century, Shankaraachaarya gave the principle of monism. This doctrine is also called Vedaanta. According to this belief, Brahma is the only truth and this visible world is false and most importantly that Jeev (Aatmaa), the soul and Brahm (Paramaatmaa), the Supreme Power, are one and there is no difference between them. It is also said in the Brihadaaranyaka Upanishad, 'Aham Brahmaasmi' that means I am Brahma. That is, the soul is Brahma (the supreme power). Advaita not only says that the soul (Jeev) is a part of the Supreme Soul (Paramaatmaa) , or a particle is a bit or piece of the universe, but it also believes that this world is false If we examine Ghalib's religious views expressed in his poetry, we find that he believed in monotheism. Ghalib says that everyone accepts that You (Allah) are one, unique and that no one can match you or face you. Ghalib is a strong advocate of Tauhiid, the belief that God is only one and unique. He is against the belief of Shirk, (polytheism). He favored mutual communion among all sects. He has said that we are believers of one God and our tendency is to give up the bonded www.ijcrt.org

Abstrak ___________________________________________________________________ Pertunjukan Rapai Geleng sebagai salah satu kesenian tradisi Aceh, merupakan hasil kesatuan antara agama dengan kebudayaan. Hal ini menjadikan Rapai Geleng bagian dari kehidupan masyarakat Aceh. Penelitian ini bertujuan untuk menganalisis dan memahami identitas budaya Aceh yang tercermin pada pertunjukan Rapai Geleng. Metode yang digunakan kualitatif dengan pendekatan Antropologi Budaya. Teknik pengumpulan data meliputi observasi, wawancara dan studi dokumen. Teknik keabsahan data menggunakan teknik triangulasi dan teknik analisis data yang digunakan mengikuti langkah analisis model interaktif. Hasil penelitian menunjukkan bahwa nilai-nilai budaya yang terkandung dalam pertunjukan Rapai Geleng, terbukti sebagai cerminan identitas budaya Aceh. Dari beberapa nilai budaya yang telah dijelaskan,sebagian masuk dalam faktor pembentuk identitas budaya berdasarkan kepercayaan, bahasa, dan pola prilaku. Sehingga dapa...

This paper delves into the Pajok dance of the Bangrus, a Nyishi subtribe in the Kurung Kumey district. This dance carries a ritualistic element and is performed during the Longte festival and other special events believed to invoke either a blessing or a curse. This paper aims to shed light on the worldview of the Bangrus through the Pajok dance. Using in-depth interviews and secondary data analysis, the paper explores the portrayal of gender in the Pajok dance, particularly the role of men in the performance.

O objetivo foi acompanhar um processo de criacao em danca para compreender como o coreografo concebe sua obra e se relaciona com os bailarinos durante a criacao. Houve observacao sistematizada durante a criacao e ensaios da obra Bachiana no 1 de Rodrigo Pederneiras para a Sao Paulo Companhia de Danca, mais especificamente, o pas de deux. Bailarinos e coreografo responderam entrevistas semi-estruturadas cujas perguntas os levaram a discutir e refletir sobre esta criacao, em particular sobre relacoes entre coreografo, bailarinos e obra. O coreografo primeiramente organizou suas ideias a fim de comunica-las oral e corporalmente para os bailarinos. Ao compartilhar a sua criacao com os mesmos e com sua assistente, Pederneiras buscava que eles estabelecessem conexoes com sua paixao pela musica e sensualidade do ato de amor que tanto almejava. Pederneiras atuava ora como coreografo, ora como diretor: Nos momentos de direcao, ampliavam-se as trocas e sugestoes dos bailarinos sobre a obra, p...

«Ogni gesto muove la luce. Io cercavo l’arte, tu vuoi da me la vita». Con queste parole la danzatrice Anna Zamboni ricorda l’incontro con Carolyn Carlson ripercorso nel volume, assieme ad altri contatti con significativi esponenti dalla danza internazionale e con il regista statunitense Robert Wilson, che sceglie la danzatrice come Mima-ballerina per il «Doktor Faustus» andato in scena al Teatro alla Scala di Milano nel 1989. Quello spettacolo apre la  strada alla carriera scaligera di Anna, svoltasi per quasi vent’anni, con la partecipazione a rappresentazioni che hanno segnato la storia del teatro. Dopo l’intervista alla danzatrice futurista Giannina Censi (1987), Anna decide di portare avanti una personalissima interpretazione della Danza Futurista, tra tutte le correnti di danza moderna, l’unica nata in Italia. Il volume è la storia anche della «Anna Zamboni Scuola di Danza & Movimento» che, dal 1990 al 2021, ha accolto a Milano centinaia di allieve e allievi, contribuendo a formarli alla danza amatoriale e costituendo un’occasione di crescita soprattutto interiore, come loro stessi raccontano. Grazie a un dialogo con l’arte figurativa, costruito anche per immagini, il testo mette in scena l’idea che la danza possa dare vita a una vera e propria opera d’arte visiva.

La prefazione è di Elisa Guzzo Vaccarino, Critico e Storico della danza.

The anthology of fresh essays gathered in Dance of the Persianate World adds a new dimension to Iranian dance studies. It includes detailed research on several regional dances, with the notable exclusion of information on the dance of the Azeris, Iran’s largest minority. The volume is generously illustrated with diagrams, photographs, and color plates but the hefty collection could have been made less cumbersome if the new voices on Persian dance scholarship were not burdened with the editor’s recycled material.

The reason I wrote my first book, an exploration of how certain territories of the body have been traditionally debased and underdeveloped in Western culture was because I needed to understand more about the obstacles that I constantly encountered and suffered as a dancer, movement teacher and choreographer. In that same book and in order to establish yet another necessary terrain of expressing in words the experience of movement, I also wrote about many movement experiments and dance creations that I had directed with my dance company during many years of research and practice. My dance creations can be seen, and my book, Cuerpo Como Territorio de la Rebeldía, downloaded from the blog or facebook page of my dance company Aktion Kolectiva: www.facebook.com/aktionkolectiva, www.aktionkolectiva.com As a continuation of that research, I am presently writing a book, which deals with how to help remedy the problem of how we approach the body. This time outside the domain of my particular aesthetic interests which are very widely explored in the work I have done with my company Aktion Kolectiva. The following conference is an extract of this recent investigation.

De que falamos cando falamos de artes vivas? E de artes do corpo, ou de artes performativas? É o mesmo falar de artes vivas que utilizar (en liña ca temática nomeada para esta mesa) os termos 'novas linguaxes escénicas' ou 'creación escénica contemporánea'? Que somos contemporáneos, seres habitando o tempo presente, iso sabémolo. Que nos percibamos, expresemos ou comprendamos dende o sentir propio dese tempo (non só o tempo herdado, nin só o tempo proxectado, pero ambos no seu encontro e ningún deles); é dicir, que gocemos dunha cultura en consonancia ca nosa contemporaneidade… iso é cuestionable. E de feito, aquí estamos: nunha mesa de traballo titulada 'Cara a unha escena plural', proxectando o que debería ser hoxe, o noso tempo presente, do cal sentimos tamén nostalxia e desexo. Un algo que non pasou, que seguimos agardando, e que non acaba de chegar. Como é que sempre se nos escorrega? Penso que as "artes vivas" refiren á idea do 'tempo sendo vivido', da intensificación do presente a través do exercicio artístico. Isto-vivir o tempo presente-só pode darse a través do encontro dos corpos, e engloba todo o que un corpo vivo pode facer en relación cos seus arredores, sexan estes materiais, espaciais, conceptuais, políticos… É por todo isto (e moito máis) que lles chamamos artes "vivas": porque non exclúen nada e porque escapan á categorización, esa práctica tan limitadora para as artes. "Artes vivas" non ten que ser algo novo, non ten que ser multidisciplinar, conceptual ou abstracto… Pode ser todo ou nada diso, sempre que veña ao caso. Peza de danza, performance, situación escénica, acción escultórica ou poética, intervención teatral ou plástica, videoinstalación…

The reflections shared here are based on a research experience carried out with the support of A/R/Tography (Dias; Irwin, 2013), together with the Bachelor of Dance Education Course at the Federal University of Santa Maria, during the year 2024. In this article, we aim to discuss a possibility of artistic-pedagogical work in the teaching of dance history, developed through what we call Didactic Concerts, based on a proposal developed in the undergraduate course in Artistic Education at the University of Pedagogical Sciences Enrique José Varona (Cuba). Given the historical Eurocentric hegemony present in the ways of producing research and in the teaching-learning processes in the field of dance history, it seems pertinent to develop other perspectives that help us to resignify these practices. The theoretical explanation-staging mediated by the artistic dance practice offers another type of experience for both teachers and students, promoting greater interaction between them and resignifying the roles between teacher x student, public x audience, in addition to mobilizing greater student engagement with the content studied.

Keywords: Dance History; Didactic Concert; Bachelor of Dance Education.

La investigación se centra en el ritual del Larqalli en la comunidad de Cotaña, ubicada en los
valles del nevado Illimani, dentro del municipio de Palca, Bolivia. Este ritual, realizado anualmente
siempre en agosto, consiste en la limpieza de acequias para asegurar la distribución de
agua, vital para el riego. Acompañado por la música de la pinkillada y personajes como los
“Achachi-Awila” el Larqalli refleja la cosmovisión andina que considera al agua y a los nevados
como seres sagrados. A pesar de desafíos contemporáneos como el cambio climático, la urbanización,
la minería y la religión, la comunidad mantiene viva esta práctica, aunque algunos
de sus significados culturales están en riesgo de perderse. La investigación busca analizar
cómo se organiza y desarrolla este ritual, sus elementos etnomusicológicos, y su preservación
por las nuevas generaciones, destacando su importancia en la gestión sostenible del agua y
como una forma de cohesión comunitaria.

Resumo : O artigo situa a centralidade para as pesquisas e producao da arte indiana da obra Natyashastra de Bharata, escrita entre os seculos II a.C e II d.C., de ampla influencia sobre expressoes que vao desde o teatro classico, a poesia, a danca, a musica, a literatura e o cinema. Em seguida, expoe os conceitos que formam o nucleo central de sua poetica, que sao experiencia estetica (rasa), estados emocionais (bhAva) e campos expressivos (abhinaya). Ao final, sublinha-se a onipresenca da poetica centrada na experiencia estetica (rasa) e conclui-se pela necessidade do dominio de conceitos especificos para a apreciacao, pesquisa, criacao e critica qualificada das artes indianas. Abstract : The article places the centrality for the research and production of Indian art of the work Natyashastra of Bharata, written between the secondcentury BC and second AD, of wide influence on expressions ranging from classical theater, poetry, dance, music, literature and cinema. Then it expounds t...

El amor es un sentimiento complejo y profundo que une a las personas y les da sentido a sus experiencias. Se puede manifestar de distintas formas: Romántica, familiar o incluso pasión por algún ideal. La música, por su parte, es un arte que se expresa a través de la combinación organizada de sonidos y silencios, creando melodías, armonías y ritmos que pueden evocar emociones, sensaciones y recuerdos. La relación que hay entre ambas es que el amor inspira a la creación musical, y, a su vez, la música se convierte en un medio para transmitir y revivir el amor en todas sus dimensiones. "El amor es la dedicación apasionada entre personas o una profunda inclinación hacia algo" (Salvatore Damato) Desde mi punto de vista, yo creo que el amor y la música se complementan demasiado bien y encajan muy bien juntas.

Réadaptation et psychose : de l'enveloppe soignante à l'enveloppe sociale Résumé Après un rappel théorique des notions essentielles de réadaptation, réhabilitation et réinsertion, les auteurs ouvrent la réflexion sur la réadaptation à partir d'une expérience clinique auprès de patients psychotiques chroniques en appartements thérapeutiques. Ils montrent comment le patient réaménage ses liens à son entourage et au monde social, à travers une réorganisation psychique parsemée de moments de crise : le patient doit progressivement se détacher de l'« enveloppe soignante » pour investir des enveloppes substitutives, avant de pouvoir intégrer un nouveau groupe constitutif de l'« enveloppe sociale ».

This article examines how women in local communities, particularly factory workers, use music for power negotiation by analyzing musical events and cultural activities. The study uses theoretical frameworks of social space and everyday forms of resistance to show that music has become a significant space for women to assert their identity and negotiate power in local contexts. This reflects the changing economic and social roles of women in communities. Musical events serve as entertainment spaces and new social spaces that challenge traditional power structures and capitalist cultural domination. The findings highlight the importance of promoting women' s cultural spaces in local communities and understanding music's role as a tool for empowerment and social change.

This article is a reflective dialog between artists/educators/researchers from various Brazilian institutions integrating ecoperformances and Somatics in Artistic Practice as Research. A vagal movement as writing, based on the contemplation of the generative impulse present in ecoperformative practices, shifts the group from an environmental immersion to a textual immersion. The attentional supports-somatic rest, dynamic pause, and tensional contemplation-attune with diverse immersive contexts-geoecological performance, virtual ecoperformance, staging and ecoperformative news. There is a summoning to the field of ecoperformance and Somatics, so the research's written outwarding is guided by the mobilizing principles of the somatic-performative practice, within an ecocentric ethics.

This essay examines what defines “choreography” in Bharatanatyam, distinguishing between original creation and adaptation within inherited frameworks. Using the Tanjore Quartet varnam Nī Sāṭi Dora as a brief case study, it traces how varnams move from courts and seraglios to modern stages while retaining their structural core. It highlights the balance between continuity and reinterpretation, showing how these works endure as living palimpsests, layered with the artistry of nattuvanars, courtesans, and today’s dancers. In doing so, it reflects on the delicate interplay of inheritance and invention that sustains Bharatanatyam’s tradition across centuries.

L’art et la maladie ont une histoire commune. Notre intervention porterait sur l’étalage des caractéristiques principales de l’actuel mouvement institutionnel, reconnaissant à l’art une place importante  dans les services de soins et les institutions de santé, santé physique ou mentale.  Ce contexte historique et contemporain interroge sur  les liens existants entre art et interventions thérapeutiques en l’occurrence  l’éducation thérapeutique ? En d’autres termes, l’art peut-il véhiculer des messages pédagogiques pour
l’acquisition des compétences d’autosoins  et d’autonomie ? Dans quelle mesure l’Art -Thérapie  se répercute sur le malade chronique  dans son processus de représentations et des croyances liées à la santé et à la  maladie ainsi qu’à 
son adaptation a cette maladie  organique chronique, donc acquisition du comportement lié à la santé : la compliance thérapeutique dans le programme de l’éducation thérapeutique.
        Des éléments de
réflexion seront  proposés ainsi que des pistes pédagogiques possibles.
    Par rapport à la psychologie de la santé, l’approche de l’art-thérapie est plus centrée sur l’accroissement et la capacitation des ressources personnelles. L’art-thérapie, c’est l’habileté à faire avec soi-même. L’art-thérapie va offrir cette liberté d’expression que les mots ne permettent pas d’atteindre, elle propose une manière d’exprimer ses difficultés par un autre moyen que la parole, afin d’éviter le blocage des mots.
Ce qui compte c’est le processus thérapeutique, qui s’inscrit dans un espace/temps intérieur du sujet. L’expérience vécue au moment présent permet de redéfinir un cadre, d’ouvrir de nouvelles perspectives, dans une trajectoire de vie avec un passé qui peut devenir moins pesant et un futur qui peut enfin s’éclaircir.
      L’art-thérapie permet alors de se débloquer dans sa vie et de retrouver de nouvelles motivations. Réaliser et transformer quelque chose par le biais du bricolage créatif amène les personnes à faire des choix et prendre des décisions.
      Dans les établissements de santé, les activités artistiques peuvent servir de complément aux protocoles thérapeutiques ou renforcer ces derniers, souligne l’OMS qui a par exemple constaté que l’écoute de la musique ou les réalisations artistiques limitaient les effets secondaires des traitements contre le cancer, dont la somnolence, le manque d’appétit, l’essoufflement et les nausées.
Mots-clés: Psychologie de la santé/Art –Thérapie /Education thérapeutique/Maladie & Santé/Capacitation

RESUMEN: Conceptos, elementos y circunstancias a considerar para la realización de actos creativos. Emoción + idea + intuición + imaginación, encontramos centrada la génesis de la ideación, Pluriculturalidad y Pensamiento Divergente. Multilingüismo y pluriculturalidad. Ciencia y Arte, libertada y felicidad. La disciplina en el Espacio/Tiempo.
Deuda histórica con el género femenino y los reconocimientos en niveles académicos.