摘要：This study focuses on a dance event （choroesperida = dance evening） in a small community in Northern Greece. The community comprises Dopioi （= locals） and Vlachs, who have lived in the same village since 1960, keeping watertight boundaries between each other. In this context, we shall try to show how a dance event can lift the impermeable boundaries between two ethnic groups, and how cultural identities at dance events of this kind become objects of negotiation and are transformed in the course of the performance

摘要：In recent years,the living standard of the peasants has been improved *** a result,they pay more attention to the quality of their *** spontaneously jump square dance more and more,which also plays a more and more important role in the cultural life of the *** present,the development of rural square dance have been well developed,but there are also some problems with it,such as:the lacking of government support,deficiency of dancing skills,*** roots government should increase support for rural square dance,strengthening lead dancer’s training,encouraging social forces to support the rural square dance activities.

摘要：Karima Mansour,Egyptian dancer,choreographer and educator,graduated with both a *** a Masters degree in Contemporary dance from the London Contemporary dance ***,England,after having completed her *** Film from the High Institute of Cinema,Academy of Arts in Cairo,*** her return to Egypt,she founded her company MA AT for Contemporary dance in 1999.

摘要：Lively oldest forms of women art in Central Asia came up to the present day through the traditions of ＂ustoz-shogird＂ （teacher-pupil）. In particular, wall painting, sculptures, and evidence of women＇s work in Amir Temur, Ulugbek, and Zakhiriddin Muhammad government describe a variety of women＇s roles in art. The women＇s art of Yallachi was also developed in Bukhara, Khorezm, and Kokand khanates time as a unique way. As a result, the Uzbek Yalla genre was established in the art of music. The tradition of Yallachi art continues today. In this context this art is more effective in the light of forms of music

摘要：持续了大半年的"舞动无界"在保利的成功演出和舞蹈学院的热烈研讨中划上了圆满的句号。作为一个小小的项目助理,我亲身经历了三个英国编导和一个中国编导完整的编创过程。这样的机会是我倍感珍惜,从中我不但看到了西方人和中国人不同的思维方式在舞蹈艺术中的体现,更加令人欣喜的是。

摘要：The aim is to examine how the musical work of Roberto Carlos was mobilized in the danceshow“The songs you danced for me”.The contact between the songs and the contemporary dance defined different *** results indicate that such contact reaffirms romantic love and the heroism of the protagonist,but also opens possibilities for relationships that escape from the heteronormative romantic ideal.

摘要：一、身体舞蹈与影像舞蹈舞蹈(dance),英文的原意是"延伸"和"张力"。当人们有感情要抒发时,就会延伸舒展身体动作来表达。正如《毛诗·大序》所说:"情动于中而形于言,言之不足故嗟叹之,嗟叹之不足故咏歌之,咏歌之不足,不知手之舞之足之蹈之也。"《大英百科全书》解释为"舞蹈是身体有节奏的动作,通常会出现在一个特殊的空间并伴随着音乐;

摘要：One of the most intellectually challenging and perhaps rewarding engagements in any creative endeavour, be it written literature or performance, is decrypting the metaphorical construct imbued in such a work, within the confines of the intentions of the writer or performer. Beyond coded speech, dance and choreography are works of art which make use of symbols to communicate man＇s thought, experience, and emotions. These symbols are conveyed basically through movement and they are forms of artistic expression to which all men, across climes, can respond, be it in a live performance or recorded video film. More than ever before, the music video film has taken a great place of prominence in the entertainment circles the world over, and musical choreography has become a major tool, used by singers, musicians, and music producers in these video films to enhance their creative output and make their productions more appealing both for economic and aesthetic purposes. This paper examines the motifs of dance and choreography in two Nigerian music videos, namely, Olori Oko （2006） by a Gospel group called Infinity and Roll It （2007） by a hip-hop group named P. Sqanre. The paper investigates the themes of the music, the concepts of the dances, and the styles of choreography in both works. The paper concludes that though both works belong to different genres, they are each successful in their own rights and have both contributed in elevating the standards in the practice of dance and choreography in Nigerian music video film.

摘要：吴地乐舞,是吴地悠久历史文化的折射和延续。它的生成、繁衍和发展,无不积淀于吴地深沉厚重的文化结构之中,得天独厚的地域自然条件,聪慧勤劳的吴地先民的发明创造,使吴舞——这朵中华舞苑中的璞玉和瑰宝展现出它绚丽夺目的风采。它从远古图腾中走来,从农村旷野中生发,在华丽的宫殿中展示。"鱼龙曼延"之舞是先民极尽想象的"百兽率舞"的具象;"防风古乐"是吴地农垦文化的表征;馆娃宫下清脆回廊的"屐舞",更是吴舞风姿飘逸的动人画卷;吴地乐舞渗透着"中和平正,节序有度"的乐舞审美思想,它为吴地舞风雅致、委婉、和谐奠定了吴舞发展的美学基础。