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*The partial or entire republication of articles and texts is prohibited without the written approval of "Greek Dance Archives".

 
     
ALL SCIENTIFIC ARTICLES
 
 
 
The Dance Phenomenon and Social Reality - Ass. Prof Anna Lydaki
 
The Dance Phenomenon and Social Reality Methods of Research Anna Lydaki, assistant professor at the Sociology Department of the Panteion University of Social and Political Sciences Introduction Condillac calls the expression of dance factual language and writes that this language was evidently preserved, even after phonetic-verbal expression was created, in order to notify people about topics of prime importance related to law or religion.
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FOLK DANCES AND GLOBALIZATION- Prof. Dr. Neoklis Sarris / GREECE
 
I will start with a common aphorism so that I can conclude with a common observation as well. This aphorism is about technology as a human product, and the observation is that, within the last century, a radical and fundamental change took place in human societies through technology, which further evolved them into a uniform type: There are those who want to present this type as the ideal type representing what they call "globalization".
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MUSIC IN CINEMA AS A NATIONAL AND CULTURAL IDENTITY- Dr Renata Dalianoudi
 
MUSIC IN CINEMA AS A NATIONAL AND CULTURAL IDENTITY Dr Renata Dalianoudi PhD. Ethnomusicology (slide 2) Since music in cinema started to serve aesthetical needs of a film and not just be one among other elements of the film projection (as it used to happen in the mute cinema and in the first steps of the speaking cinema), in other words since 1930, music has become an essential and inseparable component of a movie.
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GREEK FOLK MUSIC: FROM YESTERDAY TO THE PRESENT – Á ÌUSICOLOGICAL, ETHNOLOGICAL AND AESTHETICAL APPROACH
 
A synoptic ethnographical presentation of the Greek folk music from the South to the North (from the island of Crete to Macedonia) and from the East to the West (from the Ionian islands to the north Aegean islands) proves that the Greek folk/ traditional music has a variety of rhythms, melodies, dancing forms/ formulas, musical instruments, poetic lyrics, metric, morphological types and structures, strophic schemes etc. A typical characteristic of the Greek traditional music is its three-part cultural identity: it is consisted of music, lyrics and dance, elements which -since the very Antiquity- were a solid and inseparable unity.
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NIKOS XYLOURIS -ONLY IN GREEK
 
NIKOS XYLOURIS -ONLY IN GREEK
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National Orchestras of Siberia: The Past and the Present
 
In 1920s the government of the Soviet Union declared the beginning of a cultural revolution in the country. Its primary goals were: liquidation of illiteracy of the population, citizens’ familiarization with the achievements of world culture, and maximum development of creative abilities in each person. PROF. VICTOR KITOV
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Scientific Research in the Field of Folklore within Globalization and Integration Processes- Dr Oksana Mykytenko
 
Scientific Research in the Field of Folklore within Globalization and Integration Processes A Ukrainian magazine «Vsesvit» interviewed a famous public and cultural figure in Japan Daisaku Ikeda.- Dr Oksana Mykytenko
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ONLY IN GREEK
 
ONLY IN GREEK
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Continuity and Change of Ethnicities and Cultures in New Jersey, U.S.A - Dr Iveta Pirgova
 
1. Introduction This paper does not provide an in-depth analysis of the communities and cultures in New Jersey, but it rather suggests an overview of their very complex character as well as an approach for better understanding the continuity and change of each culture as shaped by its long-lasting co-existence in multi-ethnic and multi-cultural context.
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Relations Between the Leading Dancer and the Co-Dancers in Neo-Hellenic Dance -Dr. Ánna Panagiotopoulou
 
Introduction To make this paper fully comprehensible, the terms used must first be explained. By the term "Neo-Hellenic Dance" we mean the dance phenomenon of Greece, which is also known as Greek traditional dance.
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Prof. Charles Nyakiti Orawo. Cultural changes and Maintenance of Traditional Values
 
Introduction- Thum as known today is amorphous in that its corpus has been broadened to include not only the Luo lyre, but also the fiddle, the accordion and the guitar musics unlike what it stood for before the coming of Europeans into the Luo territory. The art of thum tradition consists of solo vocal performance by jathum, the instrument player accompanied on his instrument most often with a chorus who may or may not be involved with other instrumental accompaniments. Whatever the case, the other instrumental accompaniments would be subordinate to that played by jathum.
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DANCE DURING THE TRANSITION FROM THE RURAL TO THE URBAN ENVIRONMENT AND TO THE CYBERSPACE
 
In the age of the Internet and Universalism, a simple click on our computer is all it takes to bridge the distance that separates us from all the information that is relevant to dancing and contact with the bodies that provide it.
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DANCES OF MOLISTA- EPIRUS REGION
 
ONLY IN GREEK
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The Role of Dance in the Formation of Ethnic Identityamong Diaspora Greeks. A Case Study from Australia
 
The Role of Dance in the Formation of Ethnic Identityamong Diaspora Greeks. A Case Study from Australia- This paper explores the hypothesis that ethnic identity among Greek Australians is expressed and transmitted in practical ways and in ritual contexts, especially through traditional dances. Dr. Vassiliki Chryssanthopoulou
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ARTICLE ONLY IN GREEK
 
ARTICLE ONLY IN GREEK
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CAN ONE CROSSBREED AN ORANGE WITH AN APPLE ? - Professor Anna Brzozowska-Krajka
 
Can one crossbreed an orange with an apple?Intermarriage and ethnicity in American multicultural metropolis (In view of the movie My Big Fat Greek Wedding) Professor: Anna Brzozowska-Krajka Department of Polish, Maria Curie-Skłodowska University- Lublin, Poland- (In view of the movie My Big Fat Greek Wedding) In American social structure ethnicity refers not to the dominant native host society (summarized as WASP, i.e. White Anglo-Saxon Protestants) but to the “aliens” who inhabit mostly urban centres (those who achieve financial success move to suburbs). They include white ethnics, defined by Monsignor Geno Beroni as PIGS (Poles, Italians, Greeks, Slavs). Their ancestors immigrated to the New World for economic or political-economic reasons. From the point of view of the host society and its dominant culture they were “alien” and became outsiders. They were included into the host society but occupied partly marginal positions in it. However, according to Roger D. Abrahams and Susan Kalčik, such marginality might beas a source of power and energy
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MUSIC AND DANC OF BAFA-IOANNINA
 
MUSIC AND DANCES OF BAFRA - IOANNINA OÍLY IN GREEK
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ARTICLE ONLY IN GREEK
 
ARTICLE ONLY IN GREEK
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FIELD RESEARCH, GREEK ONLY
 
FIELD RESEARCH, GREEK ONLY
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ARTICLE ONLY IN GREEK
 
ARTICLE ONLY IN GREEK
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THE DEVELOPMENT OF LATVIA - Dr. Aija Jansone N FOLK DANCE IN THE PERIOD FROM THE SECOND HALF OF THE 19TH TO THE LATE 20TH CENTURY
 
THE TRANSITION FROM RURAL TO URBAN ENVIRONMENT AND THE EFFECTS ON TRADITIONAL CULTURE Aija Jansone /Dr. hist./ LATVIA 5th International Symposium of GREEK DANCE ARCHIVES , May 2006 Dance is one of the oldest human ways of expressing feelings and experiences, involving a variety of rhythmic movements to the accompaniment of song or musical instruments. During centuries of cultural development, in accordance with the characteristics of popular life, the means of expression used in dance have been selected and developed, and the principles guiding the development of dance sequences have become established. During this period, several genres of folk dance have developed, with their own special patterns of form and style, traditional kinds of artistic representation and means of expression.
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GREEK TRADITIONAL DANCES-DANCE OCCASIONS AND FOLK FESTIVALS IN GREECE
 
GREEK TRADITIONAL DANCES-DANCE OCCASIONS AND FOLK FESTIVALS IN GREECE - TENTZERAKIS CHRISTOS & MICA PAPPA-SEVOU Tenzerakis Christos President of Greek Dance Archives, President - IOV Hellas. & Mica Pappa-Sevou General Secretary - IOV Hellas. Koprivshtica National Folk Festival August 2005. Dear Director of the Academy of Sofia, Dear Professor Kaufman, Dear Professor Mrs Santova, Dear General Secretary of Ministry of Culture and Tourism Mrs Gimina, Dear Professors of the Academy, Dear Congress Participants, Ladies and Gentlemen, We would like to emphasize once again, that we are very glad to be with you all those days in Koprivshtica, here in Bulgaria, as quests of this magnificent folklore festival. We would also like to thank Her Excellency, the Minister of Culture and Tourism of Boulgaria, Mrs Nina Chilova, the Director of the Institute of Folklore of Academia of Sofia, Professor Mrs. Mila Santova and the General Secretary of Ministry of Culture and Tourism, Mrs Gimina, for their kind invitation and the warm hospitality they have offered to us. Through the protection, promotion and preservation of the folk culture the organisers of this important Festival contribute significantly to the maintenance of the traditional values and the mutual understanding among people
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GREEK COMPOSER MANOS XATZHDAKIS
 
GREEK COMPOSER MANOS XATZHDAKIS - Dr. Renata Dalianoudi. MANOS HADJIDAKIS & THE GREEK FOLKLORIC MUSIC TRADITION- TRANSITION FROM THE TRADITIONAL TO THE ART-POP MUSIC. A characteristic case of the transition from the “anonymous” spontaneous music performing ïr/ and the traditional dance -as a collective cultural expression of the members of a local society- to the elaborated musical score and from the rural environment (where a musical or/ and a dance feast takes place) to the concert hall is that of the Greek Oscar-awarded composer Manos Hadjidakis, which is the subject of my doctoral dissertation.
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ARTICLE IN GREEK
 
ARTICLE by Prof. Vassiliki Rokou . ONLY IN GREEK. IOANNINA UNIVERSITY.
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ARTICLE ONLY IN GREEK
 
ARTICLE ONLY IN GREEK
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ARTICLE IN GREEK
 
ARTICLE IN GREEK
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CULTURAL ACTIVITIES
 
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