Dance and Self-Accompaniment

Kealiinohomoku, Joann W.

doi:10.2307/850239

Cited by 6 publications

(5 citation statements)

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“…Focusing on both musical sound and bodily movement addresses a musicological shortcoming of only focusing on sound (Torp 2013). Emerging in response to the need to study the intimate entanglement between music and dance, the field of choreomusicology is being developed by scholars from music (e.g., Fogelsanger 2005; Hodgins 1992), dance (Jordan 1984(Jordan , 1993(Jordan , 2000(Jordan , 2011 and anthropology (Kealiinohomoku 1965;Mason 2012). Choreomusicology offers a range of analytical tools directly useful for musicians and dancers as well as performance theorists, experimental psychologists and cultural anthropologists.…”

Section: Choreomusicology In the Anthropology Of Music And Dancementioning

confidence: 99%

“…To emphasise the movement, add dramatic tension to their performance and further demonstrate their skill, dextrous performers tap their plates with a ring on one of their fingers as they swing their arms widely. When Tari Piring dancers produce sound to accompany their movement, Tari Piring-like Maculelê-can be classified according to Kealiinohomoku's (1965) taxonomy as a self-accompanied dance with an emphasis on dance. Tapping the plates with a ring is complicated.…”

Section: Oblique Correspondencesmentioning

confidence: 99%

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Tapping the Plate or Hitting the Bottle: Sound and Movement in Self-accompanied and Musician-accompanied Dance

Mason

2014

Ethnomusicology Forum

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Section: Choreomusicology In the Anthropology Of Music And Dancementioning

confidence: 99%

Section: Oblique Correspondencesmentioning

confidence: 99%

Tapping the Plate or Hitting the Bottle: Sound and Movement in Self-accompanied and Musician-accompanied Dance

Mason

2014

Ethnomusicology Forum

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“…Extending on this thesis, the dance anthropologist Kealiinohomoku (1965) observed that there is a tendency by dance analysts “to expect music to accompany dance and to consider dance the prime feature in a performance while the music accompaniment provides an appropriate completion of a theatrical audio-visual effect” (p. 292). This article critiques this characterization by making a case that music is not just an accompaniment, but it plays a pivotal role in aiding the teaching and learning of African dances.…”

Section: Dissecting the Connection Between Music And Dance: A Literarmentioning

confidence: 99%

Music as a pedagogic tool and co-teacher in African dances: Dissecting the reflections and practices of teachers of cultural heritage dances in Uganda

Mabingo

2019

Research Studies in Music Education

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The subject of the inseparability of music and dance in African artistic experiences has preoccupied scholars and researchers in the field of ethnomusicology, ethnochoreology, and musicology. Commonly, music is conceptualized as an accompaniment to dance. Moreover, the existing literary perspectives frame the inseparability of music and dance in African communities in aesthetical, structural, functional, and semiotic terms. This article provides an intellectual excursion that locates music as pedagogy of dances in African practices. It offers a critical examination of how teachers of cultural heritage dances in nonacademic environments in central Uganda engage music as a pedagogic aid. I draw on the idea of choreomusicology and social learning theories to locate the place of music in dance not just as an accompaniment, but also as a teaching and learning aid. A total of eight dance teachers were engaged through storytelling, interviews, and inquisitorial observation for a period of nine months to elicit their reflections on and interpretations of application of music as a pedagogic stimulus in teaching cultural heritage dances. The findings revealed that elements of music such as songs, mnemonics, instrumental sounds, body percussion, and drum rhythms are key drivers in guiding and framing the teaching and learning processes of the dances. Through music, the dance teachers provoke learners to individually and communally embody, experience, question, abstract, experiment with, concretize, and conceptualize kinesthetic and historicized movement knowledge and skills of the dances. Music scaffolds and staircases learners into kinesthetic journeys of embodied knowing, experiential agency, constructive thinking, creative and reflective imagination, socialized connectivity, and corporeal action. The article provides insights into how music and dance practitioners in Western and non-Western traditions can leverage music to facilitate holistic pedagogic and creative processes of dance.

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“…Even though some created dance works begin with developing movement or through kinesthetic stimuli, these two methods require a basic understanding and musical skills in order to create creativity in dance works in accordance with the ideas and concepts of the dance that will be created. The existence of music as an accompaniment in dance will have a movement impact through the sound effects it presents (Kealiinohomoku, 1965;Mason, 2012).…”

Section: Introductionmentioning

confidence: 99%

“…The connection between music and dance in an art performance has been recognized by ethnomusicologists and choreologists (Hanna, 2020;Mason, 2012;Petrie, 2015;Richter, 2010;Volpi, 2014). These two elements of the performing arts have their respective roles (Hampton, 2017;Kealiinohomoku, 1965;Mabingo, 2020;Mason, 2014). Music and dance become units that can create an artistic expression (Mason, 2012(Mason, , 2014.…”

Section: Introductionmentioning

confidence: 99%

Enhancing students' understanding and skills on dance music: An action research

Taryana

Budiman

Karyati

et al. 2021

CJES

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Dance students in university tend to have minimum understanding and skills in processing music to address the creativity needs in new dance works. Therefore, effective and critical learning strategies are needed so they are able to process music to create dance works. This research aims at enhancing dance students’ understanding and skills to process music in creating new dance works in the future. It was conducted using an action research design involving 30 dance students at one of the universities in Indonesia. The results showed that, in terms of skills and understanding of music, students were not used to processing music for their dance works, since they were mostly assisted by music stylists. Through internal and external music exploration learning, the musical dance students’ skills could be improved. Therefore, the findings of this research are recommended to be used as an alternative learning in enhancing dance students’ musical ability. Keywords: Dance Music, Movement Exploration, External Music, Internal Music, Dance Creativity.

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Dance and Self-Accompaniment

Cited by 6 publications

References 0 publications

Tapping the Plate or Hitting the Bottle: Sound and Movement in Self-accompanied and Musician-accompanied Dance

Tapping the Plate or Hitting the Bottle: Sound and Movement in Self-accompanied and Musician-accompanied Dance

Music as a pedagogic tool and co-teacher in African dances: Dissecting the reflections and practices of teachers of cultural heritage dances in Uganda

Enhancing students' understanding and skills on dance music: An action research

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